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THE  CRAFTSMAN 

an  Illustrated  Month- 
ly Magazine  in  the 
Interest  of  Better  Art, 
Better  Work,  and  a 
Better  and  More  Rea- 
sonable Way  of  Living. 
Volume  Twenty -Sev- 
en, October,  1914- 
March,   1915 


"f    T 


GusTAv  Stickley,  Editor 
The  Craftsman  Building, 
38th  and  39th  Sts.,  East  of  5th  Ave. 
New  York 


THE  CRAFTSMAN 


VOLUME  XXVII 


CONTENTS 

OCTOBER  1914— MARCH  191 5 


Absence:  A  Poem 

Adam  Style  as  Applied  to  Furniture  and 

Fittings,  The 
After:  A  Poem 
Als  ik  Kan 

America,  The  Test  of 

Arbors  and  Garden  Furniture.  See  Fur- 
nishing Your  Garden,  p.  690 

Architectural  Tournament :  Successful 
Designs  for  American  Suburban 
Homes 

Are  We  Training  for  War  or  Peace? 

Art  of  America.    See  My  People,  p.  179 

Audubon  Societies,  The  Work  of  the. 
See  Gun,  the  Wild  Bird  and  the 
Boy,  p.  213 

Ballad  of  the  Three  Wise  Men,  A 

Baskets,  Reed,  Their  Many  Uses  and 
How  to  Weave  Them 

Basketry,  Unique  and  Simple,  A  Les- 
son in 

Beauty :  A  Poem 

Beauty-Letters 

Beehive,  The  :  Feminism  Contrasted  with 
the  Zenana 

Belgium,  the  Hero  Among  Nations 

Between  the  Poison  and  the  Worm :  A 
Study  of  War  and  the  New  Peace 

Bird  Corner  of  Our  Garden  Floor 

Bird  Houses  and  How  to  Build  Them 

Bird  Sanctuaries  All  Over  America,  A 
New  Plan  for 

Book  Reviews 

Brasses,  Old  English 

Bungalow,  A  California — Unique,  Prac- 
tical and  Picturesque 

Bungalow  Court  Idea  Shown  in  Practi- 
cal Operation,  The 


By  Ethel  Marjorie  Knapp 


515 


By  James  Thomson  470 

By  Charles  Hanson  Towne  418 

By  Gustav  Stickley  109,  231 

344.  45 1  >  587.  708 
By  Will  Levington  Comfort  351 


By  Gustav  Stickley 


By  Margaret  Widdemer 
By  Mertice  MacCrea  Buck 


By  Carrie  D.  McComber 
By  Phyllis  Ward 


By  Rabindranath  Tagore 


By  Will  Levington  Comfort 
By  Eloise  Roorbach 
By  Ned  Dearborn 


By  T.  Gilbert  Pearson 
By  James  Thomson 
By  Charles  Alma  Byers 
By  Charles  Alma  Byers 


516 
29 


246 


449 
178 

97 

364 
59 

119 

583 
216 

394 
112,  345,  453 

445 
206 

317 


CONTENTS— Continued 


Cabins,  Rustic.    See  Houses,  Craftsman, 

p.  312 
Camp,  Helpful  Facts  in  Building  a  Sum- 
mer:    By    a    woman    camper    who 
knows  all  about  it 

Carlisle,  Thomas,  and  the  Thirty  Soldiers 
of  Dumdrudge 

Chickens,  Turkeys,  Ducks,  and  Geese, 
Modern  Methods  in  Raising.  See 
Poultry,  p.  326. 

Christmas  Garden,  The:  Plants  and 
Shrubs  that  Give  Color  to  the  White 
Landscape 

Christmas  Rose,  The :  The  Snow-Flower 
of  America  which  Should  Flourish 
in  Every  Northern  Winter  Garden. 

Christmas,  The  Miracle  of :  A  Greeting 

Chrysanthemums,  the  Crest  of  the  Mi- 
kado and  the  Favorite  of  the  Little 
Garden 

Civic  Center  for  the  People  of  Santa 
Barbara,  A 

Cold  Frame,  How  to  Make  a 

Color :  The  Magic  Spirit  in  the  Home 

Command  of  the  Earth— For  Prosperity 
We  Look  to  the  Farmer,  Not  to  the 
Warrior 

Cottage-Bungalow :  A  New  Development 
in  Intimate  Home  Architecture: 
Photographs  by  Helen  Lukens  Gaut 

Craftsman  Bazar.  See  New  Way  to 
Shop  in  America,  A,  p.  435 

de  Meyer,  Baron.  See  How  Baron  de 
Meyer  Sees  Modern  Spain,  p.  46 

Dwellings,  Properly  Appointed  and  Be- 
coming: The  Introduction  to  a  Se- 
ries of  Articles  on  Home  Decora- 
tion 

Number  Two 
Woodwork  as 
grounds 

Number   Three:    After    the    Archi- 
tect, Furniture  and  Fittings 
Number  Four :  Comfort  from  Small 
Fittings  in  Home 

Exercise 


Walls,    Floors    and 
Harmonious    Back- 


By  Coningsby  Dawson 


By  Marion  Craig  Wentworth 
By  David  Don 
By  Marie  Hall 


567 
197 


266 


239 
235 


125 

320 

577 
419 


150 
209 


By  Gertrude  Russell  Lewis 


309 

409 

547 
672 
478 


CONTENTS— Continued 


^. 


Fairies,    The   Value   of:    What   Arthur 
Rackham  Has  Done  to  Save  Them 
for    the    Children    of     the    Whole 
World 
Feminism.     See  Beehive :  p.  364 
Fern-Holders,  Clay,  New  Designs  in 
Flower  Lover,  A  New  England 
Flowers.    See  To  Protect  Your  Flowers 

from  Jack  Frost,  p.  334 
Fountain    Sculpture,    Recent   American ; 

The  Artist  in  the  Garden 
Furnishing  Your  Garden 
Furniture  and  Fittings  for  Gardens,  Con- 
crete 
Furniture  and  Garden  Shelters,  Rustic 

Garage,  Fireproof,  A  New  Type  of 

Garden.  See  Green  World  in  Winter, 
The,  p.  386 

Garden,  A  Japanese,  in  America :  Gar- 
den-Making That  in  Formal  Man- 
ner Expresses  History,  Romance 
and  Poetry 

Garden,  the  Wild,  A  Plea  for:  The 
Beauty  and  Usefulness  of  Our  Van- 
ishing Wild  Flowers 

Garden,  Your  Own :  Any  Kind  You 
Like 

Gardening,  Lidoor:  How  to  Keep  Sum- 
mer the  Year  Round 

Green  World  in  Winter,  The :  A  Garden 
the  Year  Round 

Gun,  the  Wild  Bird  and  the  Boy,  The : 
The  Work  of  the  Junior  Audubon 
Societies 

"Hai,  Joe,  Where  Are  You  Marching?" 
A  Study  of  the  War 

Happy  Dead,  The :  A  Poem 

Harts,  The 

Heppelwhite,  the  Artist  and  His  Style 

Hero,  The :  A  Russian  War  Story 

Hilda's  Pillow :  Healing  the  Insane 
through  Work 

Home  Decoration.  See  Dwellings,  Prop- 
erly Appointed,  p.  309 

Home-Furnishing  Founded  Upon  Beau- 
ty,   Comfort    and    Simplicity.      The 


By  Clara  T.  MacChesney 


By  Edward  Hale  Brush 


By  Eloise  Roorbach 


By  T.  Gilbert  Pearson 


By  Will  Levington  Comfort 
By  Marjorie  Sutherland 
By  Gertrude  R.  Lewis 
By  James  Thomson 
By  Evgeny  Tchirikov 

By  Dr.  Mary  Lawson  Ness 


248 

693 
630 


612 
690 

695 
696 

230 


620 

597 
702 
520 
386 

213 


3 
265 

68 
158 

16 

99 


CONTENTS— Continued 


Development  of  an  American  Style 
of 
Home-Making  in  America 
Home,    What    Two    Thousand    Dollars 
Will  Accomplish  in  Building  a  Com- 
fortable 

Home,  Your  Own:   Twelve  Lessons  in 
Practical  House  Construction: 
Number  One:  The  House  and  Its 
Site  ^       ^ 

Number  Two:  Plannmg  for  Com- 
fort, Economy  and  Beauty 
Number  Three:   Selecting  the  Ma- 
terials for  Durability,  Economy  and 
Picturesqueness 

Number  Four :  The  Planning  of  the 
Grounds 
Homes,  Modern  Suburban,  Some  Inter- 
esting Models,  Bringing  Old-Fash- 
ioned  Charm  into 
Homestead,  The  Winning  of  a 
House,  A  Stately 
House  with  a  Garden  Room,  A 
Houses,    Craftsman:    Craftsman    Stucco 
House  with  Unique  and  Interestmg 
Plan   to   Secure    Sunlight,   Air   and 
Outlook :  No.  194 

Craftsman  Field  Stone  Bungalow, 
No.  195  ,     , 

Rustic  Cabins:  A  New  Method  of 
Slab  Construction  Designed  by  Gus- 
tav  Stickley:  Rustic  Cabin,  Play- 
house, Dog  Kennel 
Craftsman  cottages  designed  for  the 
Practical  Housekeeper  Who  Wants 
SimpHcity  and  Comfort:  Nos.  199 
and  200  . 

Comfort  and  Economy  Combined  in 
Small  Craftsman  Homes:  Nos.  201 
and  202 

Two  Unique  and  Practical  Designs 
for  Craftsman  Country  Bungalows 
How  The  Farmer's  Daughter  Can  Earn 
Pin  Money 

Imports,    Living    Without    Our:    What 
They  Are — How  We  Can  Do  It 


By  Charles  Alma  Byers 


By  F.  G.  Lippert 
By  Harriet  Joor 
By  Gertrude  Russell  Lewis 


69 
193 

571 

279 
402 

534 
660 


275 
436 
493 
564 


199 
312,  313.  314 

425 

558 
684 
105 


By  Joseph  French  Johnson 


CONTENTS-Continued 


Kitchen.  See  Why  I  Am  Interested  in 
the  Craftsman  Kitchen,  p.  530 

Land,  Idle  City,  Profit  Heahh  and  Hap- 
piness from 

Landscape  Forestry  and  Wild  Garden- 
ing Increase  the  Beauty  and  Value 
of  the  Farm 

Laughter,  the  City  of 

Listening  for  the  Lark !   A  Story  : 

Lotus,  Symbol  of  the  World,  The 

Love :  A  Poem 

Luxembourg  Gardens.  See  Youth,  Art 
and  the  Lovely  Old  Luxembourg 
Gardens,  p.  9 

Market  Basket,  Return  of  the:  How 
Farmers  and  Housewives  May  Re- 
duce the  Cost  of  Living  by  the 
Spread  of  Free  Markets  in  America 

Milt's  Wisdom :  A  Word  to  the  Nations 

Monograms.    See  "Beauty  Letters,  p.  97 

Muir,  John 

My  Father's  Garden  and  Mine 

"My  People":  The  Indians'  Contribu- 
tion to  the  Art  of  America 

"Aly  People" 

New  Way  to  Shop  in  America,  A 

Orchid,  The  Mysterious 

Orphan,  the  New  Home  Ideal  for  the 

Painting,  Water-Color:  Children  and  the 
War 

Palace  for  Our  Presidents,  A  Mountain 

Passing  of  the  War  Virtues 

Peonies,  the  Sweet  Witches  of  the  Gar- 
den 

Planting  in  Relation  to  Color 

Planting  Practical  Gardens  for  Beauty 

Planting  Your  Garden  to  Attract  the 
Birds 

Plants,  Our  Friends,  The :  How  We  Can 
Grow  Them  and  What  They  Can 
Do  For  Us 

Plants,  Shrubs  and  \'ines  for  Winter. 
Hardy,  How  and  When  to  Protect 


By  Wilhelm  Miller 

By  Coningsby  Dawson 

By  Will  Levington  Comfort 

By  Ethel  Marjorie  Knapp 


106 


650 

42 
643 
605 
401 


By  Will  Levington  Comfort  260 

By  Eloise  Roorbach  47^ 

By  Julian  Burroughs  591 

By  Charles  A.  Eastman  (Ohiyesa)  179 
By  Robert  Henri  45Q 


By  Alice  Lounsberry 
By  Clara  de  L.  Berg 


By  Robert  H.  Moulton 
By  Jane  Addams 

By  Eloise  Roorbach 

By  Harold  D.  Phelps 


435 

481 
441 


358 

494 

79 

20 

707 
699 

563 


498 


By  Adelaide  Thayer  Thomson        202 


CONTENTS—  Continued 


Potters  of  America,  The:  Examples  of 
the  Best  Craftsmen's  Work  for  In- 
terior Decoration ;  Number  One ; 
Craftsmen's  Work  for  Garden  Dec- 
oration :  Number  Two 

Pouhry,  Quick  Profits  from  ]\Iodern 
Methods  in  Raising  Chickens,  Tur- 
keys, Ducks  and  Geese 

Profit,  Health  and  Happiness  from  Idle 
City  Land 

Rain  Song :  A  Poem 

Remembrance:  Greek  Folk  Song 

Roads,  Good,  and  Their  Building :  Mod- 
em Progress  in  an  Ancient  Art 

Russians,  The  Singing :  Slav  Music  Born 
of  Folk  Song 

Santa  Claus,  The  American,  and  His 
Gifts 

School,  The  Country.  See  Working  for 
Play,  p.  304 

Seed  and  Garden  Department  on  the 
Fifth  Floor  of  the  Craftsman  Build- 
ing, Our 

Slav,  The:  His  Splendor,  His  Misery, 
and  His  Place  Among  the  Nations 
of  Tomorrow 

Strength  and  Beauty  Are  in  His  Sanc- 
tuary :  A  Poem 

Talachino:  A  Home  for  Russian  Folk 
Art 

Teaching  Mothers  and  Children  How  to 
Market 

Tiles  from  the  Potters  of  Tunis:  Sug- 
gestions for  the  American  Land- 
scape Gardener 

To  Protect  Your  Flowers  from  Jack 
Frost 

Toys,  The  Make-Believe  World  of :  Hu- 
morous Dollies  and  Merrj'  Animals 

Vegetable  from  Japan,  A  New 
Vice-Clad  Bowers  and  Garden  Vistas 
Vintage,  Nineteen  Fourteen :  A  Story 
Violets  :  The  World's  Favorite  Flower  : 
Jupiter's  God-Child 


By  Frank  W.  Gaylor 


By  Charles  Hanson  Towne 
By  Margaret  Widdemer 


295 
377 

326 

106 

124 
8 

323 
166 

338 
580 


135 

By  William  Allen  Wood 

424 

By  K.  R.  Cain 

92 

223 

584 

334 

286 

By  Will  Levington  Comfort 

104 
636 
508 

By  Eloise  Roorbach 

369 

CONTENTS-  Continued 


0 


War  and  Peace.  See  "Between  the  Poi- 
son and  the  Worm,"  p.  119 

War,  Creative 

War  or  Peace?  See  Are  We  Training 
for  War  or  Peace?  p.  29 

What  Will  the  War  Bring  to  America? 

Why  I  Am  Interested  in  the  Craftsman 
Kitchen 

Winter  Decoration,  Beauty  Harvests 
from  Field  and  Forests  for 

Women,  American,  and  Housework: 
The  Problem  Presented  by  the 
Prophesied  Decline  in  Immigration 

Wonder-Stone,  The  Artist's :  How  Bar- 
on de  Meyer  Sees  Modern  Spain 

Working  for  Play:  The  Country  School 
Developed  into  a  Social  Center 

Youth,  Art,  and  the  Lovely  Old  Luxem- 
bourg: Gardens 


By  John  Ruskin 

By  Francis  Grierson 

By  Alfred  W.  McCann 

By  Antoinette  Rehmann  Perrett 


By  Walter  A.  Dyer 


By  Mary  Fanton  Roberts 


294 


530 


53 
46 


304 


ILLUSTRATIONS 


Adam  Style  as  Applied  to  Furniture  and 
Fittings,  The:  By  James  Thomson— A 
beautiful  wedgewood-decorated  Adam 
mantelpiece  in  pure  statuary  marble, 
panel  decorations  by  Flaxman,  470;  Adam 
settle  of  light  and  exquisite  design ; 
Chairs  in  the  Adam  style,  painted  decora- 
tion, 471  ;  A  sideboard  table  in  pure  Adam 
design,  472;  Drawing-room  cabinet,  char- 
acteristic example  of  Adam  panel  design, 
473;  Adam  seat  showing  Empire  influ- 
ence ;  A  second  example  of  the  beautiful 
sideboard  table,  474;  Adam  mantel  and 
detail  from  an  example  to  be  seen  in  the 
Geffrye  Museum,  London;  Adam  center 
table,  475  ;  Details  in  designs  of  mantels 
of  this  period,  476;  Enlarged  detail  of 
Adam  design  on  the  table  in  figure  three, 
477. 

Architectural  Tournament,  An— First  prize- 
winning  design  in  "The  Brickbuilder's" 
competition:  By  William  G.  Rantoul,  of 
Boston,  516;  Jerauld  Dahler,  of  New 
York,  was  the  designer  of  this  friendly 
house,  which  won  the  second  prize,  517  ; 
The  house  that  won  the  third  prize:  An 
attractive  suburban  home  designed  by 
J.  Ivan  Disc,  of  New  York,  518;  This 
charming  home,  with  its  small  garage  on 
the  right,  was  the  fourth  prize-winner  in 
"The  Brickbuilder's"  contest,  and  was 
submitted  by  Richard  M.  Powers,  of  Bel- 
mont, Mass.,  519;  Plans  and  sketches 
showing  arrangement  of  interior  and 
grounds,  and  construction  of  entrance  for 
first  prize-winning  house ;  Plans  and  de- 
tails of  construction  of  house  which  won 
the  second  prize  in  "The  Brickbuilder's" 
competition :  Front  and  side  elevations  of 
the  garage  are  also  seen  here,  574; 
Ground  plan  and  detail  sketches  of  third 
prize-winning  house :  Note  the  layout  of 
garden  with  relation  to  house  and  garage, 
575  ;  Plans  and  details  of  suburban  home 
with  garage  attached :  This  design  won 
the  fourth  prize,  576. 

Basketry,  Unique  and  Simple,  A  Lesson  in : 
By  Carrie  D.  Macomber— Detail  No.  i, 
showing  the  beginning  of  the  weave ;  De- 
tail No.  2,  showing  the  combination  of 
reed  and  raffia  in  process  of  weaving; 
The  finished  Porno  basket  woven  to  fit 
and  cover  a  bowl,  449. 


Baskets,  Reed,  Their  Many  Uses  and  How 
to  Weave  Them:  By  Mertice  MacCrea 
Buck— Cut  VII:  Reed  bouquet  holders; 
Cut  VIII :  Trays  and  shallow  covered 
baskets,  86;  Convenient  bird's  nest  or 
bird-house  woven  of  reeds;  Cut  IX: 
Large  reed  basket;  Cut  IV:  i  and  3 
jardinieres:  2,  basket  for  transplanting 
flowers,  87;  Cut  III:  Vegetable  basket 
and  melon  basket ;  Cut  I :  Upright-handle 
flower  basket,  and  drop-handle  flower 
basket,  88;  Fig.  i.  Method  of  starting 
round  bottomed  basket.  Fig.  2.  Method 
of  starting  oval  bottomed  basket  (base). 
Fig.  3.  Working  with  two  strands  (one 
colored).  Fig.  4.  Melon  basket  (side 
view).  Fig.  5.  End  view;  Four  illus- 
trations in  explanation  of  weaving,  89,  90. 

"Beauty-Letters" — Two  illustrations,  97,  98. 

Beehive,  The :  Feminism  Contrasted  with 
the  Zenana :  By  Rabindranath  Tagore — 
"Not  by  violence  can  we  recover  the 
home ;"  "Our  women  make  our  homes 
smile  with  sweetness,  tenderness  and 
love,"  365. 

BelgiuiTi,  the  Hero  Among  Nations— Hotel 
de  Ville,  Louvain,  Belgium ;  This  most 
beautiful  town  hall  in  the  world  was 
erected  between  fourteen  hundred  and 
forty-eight  and  fourteen  hundred  and 
fifty-nine  by  Mathieu  de  Layens,  Master- 
Workman,  61 ;  Old  Flemish-Gothic 
church,  St.  Pierre,  completely  destroyed 
during  the  sacking  of  Louvain ;  St.  Mich- 
ael of  later  date  than  St.  Pierre :  It  was 
a  perfect  example  of  Flemish-Baroque 
architecture  and  was  built  for  the  Jesuits 
in  sixteen  hundred  and  fifty,  62 ;  Inner 
entrance  to  the  church  of  St.  Pierre, 
Louvain ;  A  sample  of  the  rich  stone 
carving  found  everywhere  throughout  the 
interior  of  the  wonderful  old  Gothic 
church  of  St.  Pierre,  63;  Antwerp  Cathe- 
dral; New  Town  Hall  of  Antwerp,  64; 
The  famous  old  University  at  Louvain, 
destroyed  by  the  German  soldiers,  66. 

Bird  Houses  and  How  to  Build  Them  :  By 
Ned  Dearborn — Figure  one:  Hollowed 
gourds  strung  on  a  pole  make  a  satisfac- 
tory "tenement  house"  for  a  colony  of 
martins;   Figure   two:   Wrens   and  blue- 


ILLUSTRATIONS 


x> 


birds  will  patronize  these  gourd  houses. 
216;  Figure  four:  Stages  in  the  making 
of  a  log  bird  house;  The  halves  are 
gouged  out  to  form  a  cavity,  then  screwed 
together  and  the  top  covered  with  tin  or 
zinc ;  Figure  three :  A  hollow  log  makes 
an  alluring  home  for  bird  tenants,  espe- 
cially in  rustic  surroundings,  217;  Figure 
five :  Foundation  for  house  shown  in  fig- 
ure eight ;  Figure  six :  Floor  and  posts 
added  to  foundation  shown  in  figure  five ; 
Figure  seven ;  Swallow  or  bluebird  house 
ready  to  place  over  floor  and  posts  shown 
in  figure  six ;  Figure  eight :  A  little  house 
for  swallows  and  bluebirds,  showing 
cross  section  and  interior  of  front  half  ; 
Figure  nine ;  Lumber  diagrams  for  build- 
ing bird  house  shown  in  figures  five  to 
eight.  218;  Figure  ten:  Diagrams  of  a 
blue  bird  house  that  can  be  removed  from 
its  floor  by  unfastening  two  wire  hooks ; 
Figure  eleven :  Lumber  diagrams  of 
house  shown  in  figure  ten  ;  Figure  twelve  : 
House  suitable  for  sparrow  hawks, 
screech  owls,  blue-birds  and  wrens :  de- 
signed to  be  placed  in  trees :  bottom  can 
be  removed  by  turning  button ;  Figure 
thirteen :  Section  of  house  shown  in  fig- 
ure twelve ;  Figure  fourteen :  Lumber 
diagrams  of  house  for  sparrow  hawks 
and  screech  owls,  shown  in  figure  twelve, 
219;  Figure  fifteen:  Diagram  of  house 
for  blue-birds ;  Figure  sixteen :  A  post  or 
the  stub  of  a  tree  is  the  best  site  for  this 
flicker  house,  220. 

Bird  Sanctuaries  All  Over  America,  A  New 
Plan  for:  By  T.  Gilbert  Pearson— An 
oriole  for  beauty,  394;  The  ever  welcome 
wood  thrush ;  Scarlet  tanagers  for  color 
and  cheer,  395 ;  Indigo  buntings ;  Golden 
and  ruby  crowned  kinglets,  396 ;  Spar- 
rows the  year  'round,  397 ;  Nut-hatch 
farnily,  398;  Chickadees  at  play,  399;  The 
robin  in  spring  blossoms,  400. 

Book  Reviews :  "The  Concrete  House  and 
Its  Construction" — A  flat  concrete  roof, 
transformed  into  an  attractive  garden ; 
One  of  the  innumerable  uses  to  which 
this  adaptable  material  may  be  put,  113; 
This  window,  in  the  residence  of  Albert 
Moyer,  South  Orange,  N.  J.,  shows  a 
strikingly  decorative  use  of  concrete  with 
tiles  and  mosaics  in  relief :  Tracy  & 
Swartout,  architects,  114;  Detail  of  the 
Moyer  home,  in  which  borders  of  Mora- 
vian tile  are  used  in  the  rough  concrete 
walls    with   unusually    rich    and    interest- 


ing effect,  115;  The  simple  design  of  this 
house  is  especially  suited  to  a  Monolithic 
style  of  concrete  construction,  116;  Etch- 
ings and  other  Graphic  Arts — "A  Dutch 
Greengrocerie :"  An  etching  by  Sir  Frank 
Short :  From  George  T.  Plowman's  book 
on  etching,  just  published  by  the  John 
Lane  Company,  453 ;  "In  Rome :"  From 
an  etching  by  Mr.  Plowman,  the  frontis- 
piece of  his  new  book,  454;  "Woolworth 
Building,  New  York,  at  Night :"  From  a 
charcoal  drawing  by  George  T.  Plowman, 
455- 

Brasses,  Old  English:  By  James  Thomson 
— Lockplate  from  a  Jacobean  chest; 
Jacobean  lockplate,  seventeenth  century ; 
Elizabethan  lockplate,  sixteenth  century, 
445 ;  Cabinet  metal  ware,  from  furniture 
of  the  Jacobean  period,  446 ;  Jacobean 
hinges  and  drop  handle;  English  metal- 
ware  of  the  year  1777,  447;  This  double 
hinge  plate  belongs  to  the  period  when 
doors  were  made  flush  with  their  pilas- 
ters, 448. 

Bungalow,  A  California — Unique,  Practical 
and  Picturesque :  By  Charles  Alma  Byers 
— A  charming  bungalow  in  Pasadena, 
California,  the  home  of  Joseph  M.  Maid- 
enberg:  Edward  E.  Sweet,  Architect; 
Living  room  in  the  Pasadena  bungalow, 
with  a  glimpse  of  the  music  room  be- 
yond :  The  fireplace  of  paving  brick  is 
quite  in  keeping  with  the  simple  home- 
like furnishings  and  woodwork,  206;  Din- 
ing room  in  the  Maidenberg  bungalow; 
Floor  plan  of  $5,000  bungalow  in  Pasa- 
dena, California :  Edward  E.  Sweet, 
Architect,  207. 

Burroughs,  John  :  From  a  portrait-study  by 
C.  S.  Pietro,  Sculptor.  Frontispiece,  opp. 
P-  591- 

Bungalow  Court  Idea,  Shown  in  Practical 
Operation,  The— By  Charles  Alma  Byers 
— Bungalow  court  in  South  Pasadena, 
California,  designed  by  Edward  E. 
Sweet :  An  example  of  community  or 
group  building  that  is  rich  in  suggestions 
for  home-builders  and  architects ;  Ground 
plan  of  bungalow  court,  showing  interest- 
ing grouping  of  the  individual  homes  and 
arrangement  of  the  community  garden, 
317;  One  of  the  cement  and  shingle 
homes  in  the  bungalow  court :  Neither 
comfort  nor  beauty  has  been  sacrificed  to 
the  efficiency  of  this  unique  cooperative 
building  scheme;  Floor  plan.  318. 


ILLUSTRATIONS 


Camp,  Helpful  Facts  in  Building  a  Sum- 
mer—Up the  trail  to  the  camp,  567  ;  Look- 
ing into  the  camp  porch,  568 ;  Two  happy 
young  campers,  569;  August  in  the  per- 
manent camp,  570. 

Christmas  Garden,  The  :  Plants  and  Shrubs 
that  Give  Color  to  the  White  Landscape 
—Nine  illustrations,  266-273. 

Chrysanthemums,  the  Crest  of  the  Mikado, 
and  the  Favorite  of  the  Little  Garden— 
Eighteen  illustrations,  125-134. 

Civic  Center  for  the  People  of  Santa  Bar- 
bara—Civic center  of  Santa  Barbara, 
Cahfornia,  where  young  and  old  find  rest 
and  recreation  among  homelike  and  beau- 
tiful surroundings:  J.  Corbley  Pool, 
Architect,  320;  Roof  Garden  of  the  civic 
center,  with  hammocks  and  hickory  fur- 
niture; In  this  pleasant  airy  retreat  the 
folk  of  Santa  Barbara  find  refreshment 
and  comfort  at  noon  or  tea-time,  321  ; 
Fireplace  corner  in  the  recreation  center, 
which  shows  what  a  homelike  quality  per- 
vades this  delightful  community  home, 
322 ;  A  spacious  auditorium  forms  an  im- 
portant part  of  the  "People's  Head- 
quarters" and  provides  a  meeting  place 
where  lectures,  concerts  or  plays  may  be 
given,  323. 

Cold  Frame,  How  to  Make  a:  By  David 
Don — Cold  frames  for  forcing  early 
vegetables,  577 ;  When  it  is  the  purpose 
to  devote  the  greenhouse  to  full  blooming 
plants  it  is  an  excellent  plan  to  back  up  a 
cold  frame  against  it  to  hold  all  the  slips 
and  seedlings ;  Starting  seeds  in  a  cold 
frame  with  a  double  sash  advances  the 
growth  of  the  garden  fully  six  weeks, 
578 ;  Where  the  season  is  short  it  is  an 
admirable  idea  to  start  all  vegetables  in 
cold  frames ;  This  greatly  increases  the 
commercial  value  of  a  garden,  579. 

Colonial  Mansions  of  Maryland  (See  Book 
Reviews,  p.  347) — Garden  entrance  to 
Burleigh,  Howard  County,  Maryland : 
One  of  the  stately,  beautiful  old  home- 
steads illustrated  in  "Colonial  Mansions 
of  Maryland  and  Delaware,"  Published 
by  J.  B.  Lippincott  Company,  347 ;  Classic 
entrance  to  Belmont,  "The  Ancient 
Stronghold  of  the  Dorseys  and  Hansons," 
in  Maryland :  From  "Colonial  Mansions 
of  Maryland  and  Delaware,"  348. 


Command  of  the  Earth,  The— For  Prosper- 
ity We  Look  to  the  Farmer— Eight  illus- 
trations, 151-154- 

Cottage-Bungalow:  A  New  Development 
in  Intimate  Home  Architecture:  Photo- 
graphs by  Helen  Lukens  Gaut — Cottage- 
bungalow  in  Pasadena,  California  :  A  new 
type  of  domestic  architecture  which  com- 
bines many  practical  and  charming  fea- 
tures :  Cost  of  construction,  $4,000 :  Syl- 
vanus  B.  Marston,  Architect,  209 ;  Ground 
floor  plan,  210;  Simple  yet  decorative  ex- 
terior, and  compact,  homelike  arrange- 
ment within,  make  this  cottage-bungalow 
in  Pasadena  worth  studying :  Cost  of  con- 
struction, $3,500:  Sylvanus  B.  Marston, 
Architect,  211 ;  Ground  floor  plan,  212. 

Dwellings,  Properly  Appointed  and  Becom- 
ing:  Number  Two — Eight  illustrations, 
showing  well-planned  interiors,  411-414; 
Number  Three :  After  the  Architect,  Fur- 
niture and  Fittings — Drop-Leaf  Table  of 
modified  Jacobean  design;  Mirror  with 
American-Colonial-Jacobean  motif ;  Table 
with  American-Colonial-Jacobean  motif, 
547 ;  A  New  England  room  fitted  up  in 
genuine  style,  with  gate-leg  table,  Col- 
onial-Empire mirror,  built-in  mahogany 
china  closet,  and  delightful  effect 
from  flowered  chintzes  and  land- 
scape wall-paper ;  A  simple  interior  in 
which  the  Colonial  finish  of  the  room  and 
fireplace  is  perfectly  supplemented  by  the 
style  of  furniture  and  rugs :  Even  the 
clock  and  candlestick  are  harmonious  in 
design,  549;  A  later  Colonial  dining  room 
with  Colonial  fireplace,  window  and  china 
closet  well  combined :  The  Empire  mir- 
ror is  simple  enough  to  seem  appropriate 
over  the  later  Adam  mantel,  and  the  side- 
board is  exactly  suited  in  construction  and 
finish ;  A  room  which  might  be  a  beau- 
tifully fitted  up  end  of  a  charming  old 
New  England  kitchen,  550;  Dining  room 
fitted  up  with  English  cottage  furniture; 
A  bedroom  also  fitted  in  the  English  cot- 
tage manner,  551  ;  A  Colonial  bedroom 
with  chintz-striped  paper  and  rich  mahog- 
any pieces,  showing  the  fine  simplicity 
which  characterized  the  furnishings  of 
that  period ;  A  simpler  room  of  a  slightly 
later  period  with  a  cozy  window  seat : 
The  bed  and  dresser  with  their  slender 
grace  are  reminiscent  of  Adam  designs, 
552 ;  Well-thought-out  reproductions  of 
Jacobean  designs ;  These  pieces  of  uphol- 
stered furniture  are  evident  reproductions 


ILLUSTRATIONS 


from  Adam  models,  influenced,  in  the 
couch  at  least,  by  the  Empire  st>'le :  The 
woodwork  is  mahogany,  carved,  553 ;  A 
variety  of  new  Craftsman  Furniture  de- 
signs in  gumwood,  maliogany  and  oak  as 
well  as  upholstered  willow  :  These  show 
a  few  of  the  many  departures  from  our 
original  more  simple  and  sturdy  oak 
models — not  to  take  the  place  of  the  old 
furniture,  but  to  enrich  the  variety  which 
this  general  style  has  produced,  554 ;  Re- 
production of  arm-chair  of  Farthingale 
design ;  Reproduction  of  Farthingale  side 
chair ;  Early  Colonial  Windsor  chair, 
from  collection  of  E.  R.  Lemon,  Wayside 
Inn,  Sudbury,  Mass. ;  Bates  hall  chair, 
Boston  Public  Library,  556;  Table  with 
Colonial  Adam  motif  ;  Hall  table  of  modi- 
fied Adam  design;  Drop-leaf  table  based 
on  Jacobean  design ;  Seat  with  Adam 
motif,  557. 

Number  Four:  Comfort  from  Small 
Fittings  in  Homes — An  interesting  and 
novel  treatment  of  an  unusual  square 
casement :  Silk  of  black  line  would  be 
equally  effective ;  Here  the  colors  of  the 
draperies  are  repeated  in  the  decorations 
of  the  chair,  673 ;  This  group  of  modern 
reproductions  of  Adam  furniture  shows 
two  occasional  chairs  which  would  be  ap- 
propriate for  almost  any  corner  of  living 
or  drawing  room  :  The  same  may  be  said 
of  the  slender  but  firmly  made  table ;  A 
conversation  corner  with  Colonial  chair, 
armchair  and  gateleg  table,  made  in  the 
same  wood  as  the  Adam  pieces — San  Do- 
mingo mahogany  with  mellow  brown  fin- 
ish:  A  Craftsman  lamp  with  mahogany 
base  and  silk  shade  provides  a  friendly 
light,  674;  Some  modern  reproductions 
showing  the  English  and  French  influ- 
ence ;  New  and  decorative  examples  of 
block-printed  linens  are  presented  in  this 
cozy  lounging  corner :  The  rich  designs 
and  brilliant  colors  of  the  pillows  and 
drapery  afi'ord  an  interesting  contrast  to 
the  softer  tones  of  the  willow  couch  and 
lamp,  676;  Two  views  in  one  of  the  model 
rooms  in  the  department  of  interior  fur- 
nishings in  the  Craftsman  Building,  sug- 
gest an  attractive  way  of  arranging  a  bed- 
room, dressing  room  or  boudoir,  677 ;  The 
desk  and  chair  shown  are  unusually  satis- 
factory reproductions  of  Adam  pieces, 
made  in  mahogany ;  An  exceptionally 
charming  window  corner  is  reproduced 
at  the  left — that  shows  how  various  types 
of  furniture  styles  and  materials  can  be 
harmoniously   combined,   678 ;    Afternoon 


tea  would  be  doubly  refreshing  served  m 
this  tasteful  corner:  The  armchair,  tea 
wagon  and  muffin  stand  represent  some 
of  the  most  recent  designs  in  willow  fur- 
nishings ;  A  sewing  corner  in  which  work 
would  be  a  pleasure,  679;  A  reading  cor- 
ner that  suggests  current  magazines  and 
the  latest  novel:  The  light  willow  book- 
shelf could  be  moved  in  summer  onto  the 
porch ;  White  enamel  furniture,  pale 
striped  walls  and  rose-covered  chintz 
draperies  bring  a  delightful  fresh  and 
dainty  atmosphere  into  this  simple  bed- 
room, 680;  Suggestion  for  a  dressing- 
room  window  corner  showing  the  influ- 
ence of  modern  decorative  art  in  window 
draperies  and  furniture;  A  sunny  corner 
in  which  the  light  is  softened  by  hang- 
ings of  rich  cliintz  matching  the  arm- 
chair, 682  ;  interesting  treatment  of  double 
windows  and  door,  with  the  same  fabric 
repeated  in  the  Viennese  furniture;  For- 
mal and  graceful  window  draperies  that 
harmonize  with  the  furnishings,  683. 

Fairies,  The  Value  of:  By  Qara  T.  Mac- 
Chesney — "Hush-a-bye  baby,  on  the  tree 
top,"  248;  "Here  am  L  little  jumping 
Joan ;"  "Pussy  cat,  pussy  cat,  where  have 
you  been  ?"  249 ;  "The  fair  maid  who  the 
first  of  May,"  from  a  drawing  by  Arthur 
Rackham,  251  ;  "Bye.  baby  bunting,"  from 
a  drawing  by  Arthur  Rackham,  252; 
"There  was  an  old  woman  lived  under  a 
hill,"  from  a  drawing  by  Arthur  Rack- 
ham, 253;  "Little  Miss  Muffett,  sat  on  a 
tuffet,"  from  a  drawing  by  Arthur  Rack- 
ham. 254  ;  "Cock-a-doodle,  doo  !  My  dame 
has  lost  her  shoe;"  "One  a  penny,  two  a 
penny,  hot-cross  buns,"  256;  "Little  Bo- 
peep  has  lost  her  sheep,"  from  a  drawing 
by  Arthur  Rackham,  257 ;  "Ring  a  ring  o' 
roses,"  from  a  drawing  by  Arthur  Rack- 
ham, 258. 

Fern-Holders,  Clay,  New  Designs  in — A 
clay  fern-holder  which,  with  its  removable 
zinc  box,  is  equally  suitable  for  window 
sill  or  table;  A  circular  fern  jar,  four 
and  one  half  inches  high,  which  suggests 
in  its  design  and  soft  buff  finish  some 
antique  classic  piece,  693, 

Floor,  Garden,  of  the  Craftsman  Building 
where  seeds,  tools  and  various  forms  of 
garden  equipment  are  to  be  found ;  A 
corner  of  the,  697. 

Flower  Lover,  A  New  England— Four  illus- 
trations, 631-634. 


ILLUSTRATIONS 


Fountain  Sculpture:  By  Edward  Hale 
Brush— Seaweed  fountain,  by  Janet  Scud- 
der  for  garden  of  Mrs.  Arthur  Scott, 
Hicksville,  N.  Y.,  612;  Fountain  group  by 
Isidore  Konti,  on  the  estate  of  Samuel 
Untermyer,  Greystone,  N.  Y.,  613;  Foun- 
tain group  by  Sherry  E.  Fry,  used  for  the 
wall  fountain  on  the  Brewster  estate. 
Mount  Kisco,  N.  Y. ;  Fountain  group  de- 
signed by  Mrs.  Carol  Brooks  MacNeil, 
615 ;  A  delightfully  planned  and  executed 
wall  fountain  in  the  house  wall  of  Felix 
Warburg,  White  Plains,  N.  Y.,  the  work 
of  Edward  McArtan,  616;  Fountain  in  the 
court  at  Forest  Hills  Gardens:  Designed 
by  A.  K.  Hanks,  618. 

Furnishing  Your  Garden— A  group  of 
semi-rustic  garden  furniture  of  new  and 
decorative  design,  in  which  smooth  board 
seats  are  used  for  the  chairs  and  settle, 
690;  For  the  grounds  of  a  Colonial  house 
this' latticed  arbor  would  be  especially  ap- 
propriate; A  semi-rustic  arbor  which 
comprises  seat,  shelter  and  support  for 
vines  all  in  one  structure,  691  ;  Armchair, 
table  and  settle  of  wood  showing  an  un- 
usually decorative  latticelike  design,  692. 

Furniture  and  Fittings  for  Gardens,  Con- 
crete—Concrete garden  furniture  shown 
in  one  corner  of  the  garden  floor  of  the 
Craftsman  Building,  695. 

Furniture  and  Garden  Shelters,  Rustic- 
Old  hickory  rustic  furniture  and  garden 
fittings  shown  on  the  Craftsman  garden 
floor,  696. 

Garden,  The  Wild,  A  plea  for— Bloodroot. 
597;  May  Apple,  599;  Hepatica ;  Dutch- 
man's breeches,  600;  Catkins,  fiddle 
heads,  601 ;  Trailing  arbutus,  602 ;  Wind- 
flower,  604. 

Garden,  A  Japanese,  in  America :  By  Eloise 
Roorbach— Walking  up  the  stony  way 
through  the  gate  of  imagination,  620; 
The  iris  by  the  water's  edge  must  sug- 
gest poetic  thought,  621 ;  The  lotus,  like 
a  statue  of  Buddha  must  be  there  to  up- 
lift the  mind,  622;  Masses  of  wistaria 
will  suggest  to  the  Japanese  the  clouds 
of  a  sunset  sky,  623 ;  A  Japanese  garden 
in  the  Golden  Gate  Park,  California: 
From  the  Zashiki,  or  residence,  the  Jap- 
anese gardeners  walk  to  the  pool  and  dip 
water  for  the  ceremonial  tea  exactly  as 
in  their  native  land,  625;  The  full-moon 


bridge  or  Sori-Hasi,  has  been  reproduced 
in  this  garden  in  all  its  decorative  beauty, 
duplicating  the  favorite  form  often  seen 
in  the  temple  gardens  of  Japan,  626 ;  This 
is  the  lovely  gate  in  the  courtyard  through 
which  the  little  maid-of-all-work  goes  to 
her  servant's  quarters  lying  between  the 
Zashiki  on  the  right  and  Kuri,  or  fire- 
proof go-down,  on  the  left,  627;  Within 
this  two-story  gateway  of  the  garden  the 
atmosphere  of  Japan  has  been  created— 
dwarfed  trees,  stone  lanterns,  little 
brooks  and  all,  628. 

Gardening,  Indoor— Eleven  illustrations, 
521-529- 

"Genius  of  Creation,  The:"  By  Daniel 
Chester  French,  Sculptor,  Frontispiece, 
opp.  p.  351- 

Green  World  in  Winter,  The:  A  garden 
the  year  round- A  spray  of  Austrian  pine 
cones  and  a  branch  of  the  fragrant  pinus 
pungens— two  beautiful  species  of  ever- 
green that  help  to  keep  the  garden  lovely 
throughout  the  winter  months,  386 ;  A 
branch  of  Juniper  with  its  tiny  decorative 
fruit;  Another  variety  of  Juniper  more 
symmetrical  in  growth;  This  gracefully 
drooping  bough  of  hemlock  reminds  one 
how  much  warmth  and  friendliness  the 
evergreens  can  give  to  a  bare  winter  gar- 
den, 388;  The  graceful  cones  and  needles 
of  the  Himalaya  pine,  which  make  such 
a  lovely  contrast  of  brown  and  green  in 
the  garden;  This  Douglas  spruce  cone 
suggests  the  subtle  grace  one  finds  in  a 
Japanese  print — so  wonderfully  has  the 
great  artist,  Nature,  drawn  it;  A  branch 
of  the  pinus  pungens,  sometimes  called 
the  table  mountain  pine  :  It  is  found  in 
our  Eastern  and  Southern  states  from 
New  Jersey  to  Georgia.  389;  Foliage  of 
the  bald  cypress,  feathery  of  growth ; 
Spray  of  white  spruce;  The  Taxus  Ba- 
catta,  390. 

Gun,  The  Wild  Bird  and  the  Boy,  The  :  By 
T.  Gilbert  Pearson— A  newly  formed 
Audubon  society,  213 ;  Fifth  grade  Audu- 
bon club  of  Chagrin  Falls  Public  Schools ; 
The  Junior  Audubon  Society  at  the  Wil- 
liam McGufley  School  in  the  Miami  Uni- 
versity, 214;  Miss  M.  L.  Buren's  Junior 
Audubon  Society,  215. 

Harvests  from  Field  and  Forest  for  Win- 
ter   Decoration    Beauty:    By    Antoinette 


ILLUSTRATIONS 


*v 


Rehmann     Perrett — Twelve    illustrations, 
33-38. 

Heppelwhite,  the  Artist  and  His  Style :  By 
James  Thomson — Thirteen  illustrations, 
158-163. 

Hilda's  Pillow :  Healing  the  Insane  through 
Work — A  wooden  toy  skillfully  made  by 
an  insane  patient;  Hilda's  pillow,  99; 
Handbag  of  cord,  the  making  of  which 
shows  no  sign  of  a  disordered  mind ;  A 
really  artistic  rug  woven  by  a  patient  in 
an  insane  hospital,  100;  Pillow  woven  on 
a  small  hand  loom  by  an  insane  woman ; 
Rose  and  violet  bowl  woven  over  a  glass 
finger  bowl  which  the  weaving  holds 
firmly  inside:  It  is  colored  with  the  juice 
of  wild  smilax  berries ;  Basket  in  Indian 
design,  craftwork  of  the  insane,  loi ; 
Rake-knitter  made  by  a  patient  in  a  New 
England  hospital ;  A  cheerful  little  croco- 
dile made  for  a  child  to  play  with,  102. 

Home  Furnishing,  Founded  upon  Beauty, 
Comfort  and  Simplicity — An  interesting 
group  of  Fulper  pottery  in  varied  tones, 
69;  The  Craftsman  willow  of  today  is  a 
luxurious  article  of  furniture,  71 ;  Two 
interesting  pieces  of  modern  furniture, 
Jacobean  in  suggestion;  Two  additional 
examples  of  the  dark  oak  furniture :  The 
table  is  covered  with  a  Chinese  rug  in 
blue  and  yellow  which  makes  an  exquisite 
color  harmony  with  the  warm  green  tone 
of  the  pottery  lamp  and  the  flowers  in 
the  willow  basket,  ^2 ;  This  group  of 
Chinese  Chippendale  furniture  gives  but 
a  faint  impression  of  the  beauty  of  a 
room  furnished  with  this  new  and  distin- 
guished adaptation  in  modern  furnisliing, 
73 ;  Dining  room  set  of  Craftsman  make 
and  design,  74 ;  Rich-toned  Lenox  pot- 
tery, 75 ;  Six  illustrations  showing  vari- 
ous furnishings,  76-78. 

Home-makers  of  America :  House  at  Oyster 
Bay,  Long  Island,  N.  Y.,  in  which  Fiske 
tapestry  brick  was  used :  Carrere  and 
Hastings,  Architects,  225 ;  Chimneypiece 
of  rough  textured  brick  laid  in  geometric 
designs  :  The  work  of  the  Colonial  Fire- 
place Company,  one  of  the  Craftsman  ex- 
hibitors; This  charming  brick  fireplace 
is  equipped  with  a  "Covert"  iron  tliroat 
and  damper — a  modern  invention  that  can 
be  seen  in  the  exposition  at  the  Crafts- 
man Building,  226;  Children's  playroom 
in  the  Craftsman  Building,  in  charge  of 


Mrs.  Helen  Speer,  the  designer  of  these 
unique  and  friendly  toys  and  furnishings : 
This  department  is  on  the  eleventh  floor, 
227 ;  An  interesting  example  of  modern 
roofing  is  shown  here :  Transite  Asbestos 
shingles  made  by  the  Johns-Manville 
Company  form  the  fireproof  covering, 
228 ;  Bungalow  of  hollow  wall  concrete, 
built  by  W.  H.  Riley  at  Riverside,  Cali- 
fornia :  A  demonstration  of  this  type  of 
construction,  known  as  the  Van  Guilder 
system,  is  among  the  interesting  features 
of  our  exposition,  229. 

Home,  What  Two  Thousand  Dollars  Will 
Accomplish  in  Building  a :  By  Charles 
Alma  Byers^-The  bungalow  home  of  Mr. 
R.  H.  Drew,  Los  Angeles,  California,  de- 
signed by  E.  B.  Rust,  Architect,  and  cost- 
ing only  $2,000,  571  ;  Corner  of  dining 
room  in  the  Drew  bungalow,  showing 
paneled  walls  and  simple  built-in  buffet, 
572;  Floor  plan,  573. 

Home,  Your  Own :  Twelve  Lessons  in 
Practical  House  Construction :  Number 
One — The  House  and  Its  Site — Seven  il- 
lustrations including  the  homes  of  Robert 
C.  Bridge,  Manapashamet,  Mass. ;  Mrs. 
Barker,  at  Annisquam,  Mass. ;  The  Bow- 
man house  and  grounds  at  Katonah,  N.  Y., 
281-284. 

Number  Two :  Planning  for  Comfort, 
Economy  and  Beauty  House  at  Cedar- 
croft,  Maryland,  Morris  and  Erskine, 
Architects :  An  example  of  irregular 
planning  for  varied  outlook  and  low 
roof  lines,  402 ;  Lea  cottage,  Charn- 
wood  Forest,  Leicestershire,  England : 
Ernest  Gimson,  Architect :  An  inter- 
esting type  of  old-fashioned  country 
home ;  Another  view  of  Lea  cottage  and 
garden,  403 ;  English  dwelling  planned 
for  a  long  narrow  site :  H.  G.  Ibberson, 
Architect,  404;  "Rosebriers,"  Llanfair- 
fechan.  North  Wales :  H.  L.  North, 
Architect :  This  picturesque  terraced 
home  overlooks  its  garden  from  many 
angles,  as  the  ground  plan  shows,  405 ; 
Cottage  at  Medmenham,  England,  show- 
ing symmetrical  gable  design  and  front 
court,  the  result  of  an  unusually  attrac- 
tive plan :  Arnold  Mitchell,  Architect, 
406;  Semi-detached  cottages,  Byfleet, 
Surrey,  England :  Niven  &  Wiggles- 
worth,  Architects ;  First  and  second  floor 
plans,  407 ;  An  exceptionally  compact  and 
comfortable  bungalow  plan ;  Fireplace 
nook  in  bungalow  with  chimneypiece  de- 


ILLUSTRATIONS 


signed  by  the  Colonial  Fireplace  Company, 
408;  First  floor  plan  of  house  at  Cedar- 
croft  ;  Second  floor  plan  of  house  at  Cedar- 
croft ;  Plan  of  Lea  cottage  and  grounds, 
431 ;  First  and  second  floor  plans  of  Eng- 
lish dwelling;  Plan  of  "Rosebriers"  and  its 
garden,  432 ;  Plan  for  a  simple  bungalow  : 
The  big  main  room  can  be  used  as  both 
living  and  dining  room:  Note  separation 
of  bedrooms  from  rest  of  plan ;  First 
floor  plan  for  a  two-story  cottage  ar- 
ranged for  simple  housekeeping;  Second 
floor  plan  for  a  two-story  cottage  ar- 
ranged for  simple  housekeeping,  433 ; 
First  floor  plan  for  a  two-story  cottage  : 
The  dining  room  is  especially  interesting 
— practically  a  part  of  the  kitchen ;  Sec- 
ond floor  plan  of  two-story  cottage : 
Cross-ventilation  is  secured  for  each  bed- 
room, 434. 

Number  Three:  Selecting  the  ma- 
terials for  durability,  economy  and 
picturesqueness — This  garden  wall  of 
brick  and  stone,  with  its  curiously  carved 
wooden  gate,  illustrates  well  the  interest 
of  combined  materials :  It  is  typical  of 
California  and  encloses  the  home  of  J.  W. 
Neill,  at  Pasadena :  Greene  and  Greene, 
Architects,  534;  Stone,  brick,  half-timber 
and  tiles,  in  the  Vanderbilt  Lodge  at 
Deepdale,  Long  Island:  John  Russell 
Pope,  Architect :  Reproduced  by  the  cour- 
tesy of  the  Century  Company,  535 ;  Brick, 
tile,  timber  and  shakes  are  used  with  es- 
pecially decorative  eflFect  in  this  unique 
California  home  and  garden  :  The  owner 
is  J.  H.  Thorsen,  of  Berkeley,  and  the 
architects  were  Greene  and  Greene ;  The 
Culbertson  house  at  Pasadena,  California, 
537 ;  Another  view  of  Mr.  Neill's  home, 
the  garden  wall  of  which  is  shown  on 
page  534:  An  interesting  example  of 
brick  and  cobblestone ;  A  house  in  Berke- 
ley, California,  designed  by  Greene  and 
Greene :  Note  the  irregular  placing  of  the 
bricks,  and  the  terraced  entrance,  538 ;  A 
very  pleasing  use  of  irregular  field  stone 
with  stucco  above  is  shown  in  this  house 
at  Merion,  Pa.,  designed  by  David  Knick- 
erbacker  Boyd ;  This  semi-rustic  home, 
with  its  massive  log  walls,  shingled  gables 
and  dormers,  rough  stone  chimneys  and 
stone  kitchen,  harmonizes  well  with  its 
woodland  surroundings :  As  some  of  our 
readers  may  remember,  it  is  the  home  of 
Mr.  Stickley,  at  Craftsman  Farms,  N.  J., 
539;  The  brick  walls,  stone-floored  ter- 
race and  "shingle-thatched"  roof  of  this 
house  at  Lake  Forest,  111.,   show  an  ex- 


ceptionally charming  combination  of_  ma- 
terials, 540;  This  pleasant  cottage  is  of 
a  type  particularly  adapted  to  cement 
construction  :  It  was  designed  by  Howard 
Greenley  for  the  estate  of  Mr.  C.  A.  Coffin 
at  Locust  Valley,  Long  Island,  N.  Y.: 
Reproduced  from  "The  Honest  House," 
by  Ruby  Ross  Goodnow  and  Rayne 
Adams,  542;  The  wide  clapboard  wails 
and  shingled  gambrel  roofs  of  this  digni- 
fied, hospitable-looking  house  are  well 
suited  to  the  design  :  It  is  the  home  of 
Henry  S.  Orr  at  Garden  City,  Long 
Island,  and  is  an  excellent  instance  of  the 
work  of  Aymar  Embury  II,  who  holds  to 
the  best  Colonial  and  Dutch  traditions, 
543 ;  The  heavy  timbers  and  shingles  of 
this  old-fashioned  modern  home  at  Tuck- 
ahoe,  N.  Y.,  show  a  successful  use  of 
wood ;  The  building  was  designed  for 
Jerome  C.  Bull  by  Aymar  Embury  II, 
544;  Stucco  and  tile  are  used  here  with 
charming  eff^ect  in  house,  garden  wall  and 
hooded  entrance :  From  one  of  the  many 
interesting  sketches  in  "The  Honest 
House" ;  Single  and  semi-detached  houses 
that  lend  therselves  well  to  stucco  con- 
struction, 546. 

Number  Four :  The  Planning  of  the 
Grounds — -A  simple  vine-edged  pool 
reflects  the  symmetrical  roof  and  gables 
of  this  well-designed  house,  giving  a 
peculiarly  interesting  atmosphere  to 
the  level  grounds :  The  home  of  Or- 
ville  E.  Babcock,  Lake  Forest,  Illinois : 
Albro  and  Lindeberg,  Architects,  660; 
"The  White  Cottage,"  Englefield  Green, 
Egham,  Surrey :  An  English  home  that 
has  been  charmingly  linked  to  its  sur- 
roundings by  vines  and  border  planting : 
From  "Country  Cottages,"  by  J.  H. 
Elder-Duncan,  661 ;  Home  of  Mrs.  Joseph 
Bright  at  Bryn  Mawr ;  A  delightful  sug- 
gestion for  the  planting  of  vines  and 
shrubs  against  the  walls,  665 ;  A  gener- 
ous growth  of  vines  over  the  walls  and 
luxurious  planting  of  flower-beds  sep- 
arated by  wide  grassy  walks,  bring  this 
pleasant  home  into  close  companionship 
with  its  garden,  666 ;  California  archi- 
tects and  gardeners  realize  how  especially 
valuable  vines  are  in  softening  the  new- 
ness of  recently  erected  walls  and  pro- 
viding a  transitional  step  between  house 
and  grounds :  This  picture  shows  how 
this  was  accomplished  in  the  home  of 
Mrs.  George  W.  Fulford  at  San  Diego, 
designed  by  Irving  Gill,  667 ;  A  classic  air 
distinguishes    the    pergola-covered    walls 


ILLUSTRATIONS 


on  the  grounds  of  J.  H.  Barnes  at  Pasa- 
dena, California :  Hunt  and  Grey,  Archi- 
tects; Cottage  garden  with  nodding  holly 
hocks,  668;  A  detail  from  a  Pasadena 
home  designed  for  J.  W.  Neill  by  Greene 
and  Greene;  Entrance  to  a  New  Jersey 
home  in  which  vine-covered  lattice  work 
and  flower-filled  window-box  take  away 
any  look  of  bareness  from  the  walls,  669 ; 
Architect  and  gardener  have  worked  to- 
gether in  a  remarkably  sympathetic  fash- 
ion in  the  home  pictured  here;  The  resi- 
dence of  D.  C.  W.  Leffingwell,  Pasadena, 
designed  by  Hunt  and  Eager,  670. 

Homes,  Modern  Suburban:  By  F.  G.  Lip- 
pert — A  suburban  cottage  of  stucco  and 
shingles  which  shows  Colonial  inspira- 
tion, 275  ;  Field-stone  bungalow  especially 
suitable  for  a  hilly  site  :  The  design  is  so 
simple  that  it  can  be  built  by  a  local  car- 
penter or  mason :  F.  G.  Lippert,  Architect, 
276;  Suburban  residence  of  stucco  and 
shingles  designed  along  Colonial  lines : 
The  roomy  porches  and  balconies  provide 
ample  space  for  outdoor  living  and  sleep- 
ing, 277;  A  spacious  suburban  home  of 
stone,  stucco  and  half-timber :  F.  G.  Lip- 
pert,  Architect;  Fireplace  corner  with  in- 
teresting use  of  woodwork,  in  field-stone 
bungalow  shown  on  page  276,  278;  First 
floor  plan  of  Colonial  cottage;  Second 
floor  plan  of  Colonial  cottage,  335;  First 
floor  plan  of  Colonial  suburban  residence  ; 
Second  floor  plan  of  Colonial  suburban 
residence,  336;  First  floor  plan  of  "Old 
English"  suburban  home;  Second  floor 
plan  of  "Old  English"  suburban  home 
shown  on  page  278,  337 ;  First  floor  plan 
of  field-stone  bungalow,  338. 

Homestead,  The  Winning  of  a :  By  Harriet 
Joor— Two  women  homesteaders  in  South 
Dakota,  436;  Our  pets  are  all  practical, 
437;  One  of  our  friends,  438;  One  of  the 
tasks  for  the  woman  homesteader,  439. 

House,  The  Concrete:  See  Book  Reviews 
p.  114. 

House  with  a  Garden  Room — A  San  Diego 
house  with  a  garden  room :  Designed  by 
L  J.  Gill  and  owned  by  Mrs.  George  T. 
Fulford;  A  glimpse  of  the  garden  from 
the  arcade,  564;  The  center  of  the  garden 
room,  565;  The  picturesque  outer  wall; 
The  arcade  which  connects  the  garden 
with  the  houses  by  a  series  of  spacious 
arches,  566. 


Houses,  Craftsman  —  Craftsman  stucco 
house  with  unique  and  interesting  plan 
to  secure  sunlight,  air  and  outlook- 
Craftsman  stucco  house  No.  194  planned 
to  secure  the  utmost  advantage  of  expo- 
sure, 83 ;  First  floor  plan,  81  ;  Second  floor 
plan,  82;  Side  view  of  house  No.  194,  84; 
A  Craftsman  bungalow  with  glass- 
roofed  garden  room— Craftsman  field- 
stone  bungalow  No.  195,  199;  Rear  view 
of  bungalow,  200;  Floor  plan  of  field- 
stone  bungalow,  201. 

Rustic  Cabins :  Craftsman  rustic  cabin 
vvith  slab  walls  and  shingled  roof,  espe- 
cially suitable  for  the  woods  or  moun- 
tains, 312;' A  rustic  playhouse  for  the 
children :  Floor  plan  of  rustic  cabin  ;  Plan 
of  playhouse,  313;  Dog  kennel  of  logs 
and  slabs,  314;  Vertical  section  through 
one  end  of  rustic  cabin;  Vertical  section 
through  wall  and  porch  of  rustic  cabin, 
315. 

Craftsman  Houses  Designed  for  the 
Practical  Housekeeper  Who  Wants  Sim- 
plicity and  Comfort— Craftsman  two- 
story  shingled  cottage.  No.  199:  The  liv- 
ing porch  is  so  built  that  it  can  be  glassed 
in  for  the  winter  if  desired,  427;  First 
floor  plan;  Second  floor  plan,  426;  Crafts- 
man stucco  bungalow.  No.  200,  428;  First 
floor  plan;  Attic  plan,  429;  Craftsman 
shingled  bungalow  No.  201,  558;  This  two 
story  Craftsman  house  No.  202  is  built 
with  the  lower  walls  of  stucco  and  shin- 
gles in  the  gables  and  roof,  560;  Floor 
plan  of  Craftsman  shingled  bungalow  No. 
201,  558;  Craftsman  concrete  and  shin- 
gle bungalow  No.  202:  First  floor  plan; 
Second  floor  plan,  561. 
Two  Unique  and  Practical  Designs  for 
Craftsman  Country  Bungalows  —  Brick 
and  shingles  are  used  in  this  homelike 
Craftsman  bungalow.  No.  203 :  The  house 
is  planned  for  a  country  site,  with  all  the 
rooms  for  the  family  on  the  ground  floor, 
and  an  extra  bedroom  and  bath  for  the 
maid  in  the  attic,  685;  Craftsman  bunga- 
low No.  203,  main  floor,  684;  Craftsman 
bungalow  No.  203:  Attic  plan  showing 
arrangement  of  maid's  room  and  bath 
and  storage  place,  also  construction  of 
the  roof,  687 ;  Craftsman  shingled  bunga- 
'ow  No.  204,  686;  Main  floor;  Attic  floor, 
688. 

Landscape  Forestry  and  Wild  Gardening 
Increase  the  Beauty  and  Value  of  the 
Farm:  By  Wilhelm  Miller— The  farther 
bank  of  this   stream  needs   only  the  re- 


ILLUSTRATIONS 


moval  of  a  few  young,  short-lived  trees 
to  give  an  interesting  vista  through  the 
woodlands,  651  ;  A  colony  of  American 
bluebells,  Mertensia  Virginica,  which 
bloom  in  May,  carpeting  the  woods  with 
tiny  flowers ;  The  preservation  and  plant- 
ing of  dogwood  will  add  greatly  to  the 
beauty  of  the  farm  grounds  and  neigh- 
boring woods,  653 ;  Clusters  of  American 
bluebells  and  striped  white  violets ;  The 
trees  of  this  picturesque  Illinois  woodlot 
stand  knee-deep  in  a  tangled  mass  of 
flowers  and  foliage  of  American  blue- 
bells, 654;  A  flowering  dogwood,  a  tree 
that  adds  much  to  the  beauty  of  the  spring 
woods ;  By  fencing  in  a  portion  of  one's 
woodlot  the  wild  flowers  will  soon  flour- 
ish once  more :  Here  is  shown  a  orice 
devastated  hillside  woodlot  covered  with 
wild  blue  phlox,  65S ;  A  decorative  border 
of  wild  grape  in  Highland  Park,  near 
Chicago,  beside  the  home  of  E.  L.  Mil- 
lards  :  This  luxuriously  growing  vine  is 
an  invaulable  aid  in  beautifying  farm 
grounds ;  In  level,  wind-swept  country 
the  planting  of  evergreens  not  only  serves 
as  a  windbreak  but  adds  a  note  of 
warmth  and  color  to  the  landscape  the 
whole  year  round,  656. 

Lotus,  Symbol  of  the  World.  The— Four 
illustrations,  607-610. 

Market  Basket,  Return  of  the— City  house- 
wives at  the  New  York  free  markets, 
203;  His  f^rst  day  as  a  city  dealer,  204; 
Seven  A.  M.  at  Fort  Lee  Ferry  market, 
205. 

"Mother  and  Child,"  from  a  relief  by  An- 
ning  Bell,  Frontispiece,  opp.  p.  235. 

Muir,  John,  of  California,  Poet,  Naturalist, 
Philosopher,  Friend,  Frontispiece  opp.  p. 

459- 

"My  People,"  by  Robert  Henri — Four  il- 
lustrations from  paintings  by  Robert 
Henri :  "Tam  Gan,"  463 ;  "Yen  Tsidi" 
(ground  sparrow),  from  a  painting  made 
in  the  Southwest,  464;  "Ramon — A  Mexi- 
can," 465;  "Jim  Lee,"  from  a  painting 
made  in  the  Southwest,  466. 

"My  People :"  The  Indian's  Contribution  to 
the  Art  of  America ;  By  Charles  A.  East- 
man (Ohiyesa)— Dr.  Charles  A.  Eastman 
in  Indian  dress,  180;  Irene  Eastman,  in- 
terpretive Indian  singer :  A  graduate  of 
Hampton,  181 ;  Angel  de  Cora  Dietz,  col- 


lege graduate  and  worker  among  her 
people,  182;  William  H.  Dietz  (Lone 
Star),  a  pioneer  for  his  race,  183. 

Orchid,  The  Mysterious:  By  Alice  Lo'uns- 
berry — Fifteen  illustrations,  481-491. 

Orphan,  The  New  Home  Ideal  for  the  :  By 
Clara  de  L.  Berg— The  lovely  cheerful 
playroom  in  the  new  type  of  orphan  asy- 
lum in  Westchester  County,  New  York; 
The  entrance  to  one  of  the  group  of  cot- 
tages in  the  new  home  plan  for  children, 
441  ;  Could  you  picture  a  more  cheerful 
place  for  homeless  little  folks  to  eat  in? 
442 ;  Their  beds  are  immaculate  and  the 
children  take  care  of  the  sleeping  room 
themselves,  443. 

"Our  Cow,"  Erich  Schmidt-Kestner,  Sculp- 
tor, Frontispiece,  opp.  p.  3- 

Painting,  Water  Color :  Children  and  the 
War— "Above  the  Mill,"  from  a  painting 
by  A.  E.  Albright.  359;  "The  Village," 
from  a  painting  by  W.  Fair  Kline,  360; 
"The  Empty  Bowl,"  from  a  paintmg  by 
Naomi  B.  Gregson,  361  ;  "Yvonne,"  from 
a  painting  by  H.  C.  Merrill,  362. 

Palace  for  Our  Presidents,  A  Mountain ;  By 
Robert  H.  Moulton— The  granite  castle 
to  be  built  upon  Mount  Falcon,  in  Colo- 
rado, as  a  summer  home  for  our  Presi- 
dents:  The  cornerstone  is  to  be  laid  by 
President  Wilson,  who  expects  to  make 
it  his  Western  Capitol  during  the  warm 
months  of  the  coming  year,  495 ;  Two 
magnificent  views  from  the  castle,  496. 

Peonies,  The  Sweet  Witches  of  the  Gar- 
den :  By  Eloise  Roorbach— Thirteen  illus- 
trations of  peonies,  20-28. 

Plants,  Our  Friends  the— Twelve  illustra- 
tions, 499-506. 

Potters  of  America,  The :  Number  One— 
The  interesting  tile  design  shown  is  from 
the  Grueby  Faience  and  Tile  Company 
and  is  a  panel  in  the  bathroom  of  Mrs. 
Searls  in  San  Francisco;  This  conserva- 
tory was  planned  by  the  Grueby  Faience 
and  Tile  Company  for  an  interesting 
home  in  Montreal :  The  floors  are  covered 
in  small  rich  green  tiles,  the  body  of  the 
fountain  is  in  dull  green  and  blue,  and 
even  the  heating  pipes  are  covered  with 
green  tile:  A  rarely  fine  background  for 
growing  plants  and  brilliant  flowers,  297 ; 


ILLUSTRATIONS 


This  group  of  flower  holders  from  the 
Lenox  Pottery  is  of  exceptional  grace 
and  originality :  They  are  in  rich  shades 
of  blue,  orange  and  green  and  in  the  more 
delicate  blues  and  pinks ;  Unique  collec- 
tion of  new  designs  in  Lenox  Pottery  in 
which  the  Viennese  inspiration  is  felt  in 
the  use  of  black  and  white :  Since  the 
days  of  the  old  Greek  pottery  this  com- 
bination of  black  and  white  has  not  been 
in  vogue ;  A  third  collection  of  Lenox  in 
rich  dark  tones,  equally  interesting  for 
flower  holders  or  as  a  basis  for  lamp  con- 
struction. 298;  The  collection  of  Fulper 
Pottery  shown  here  is  quite  representa- 
tive of  the  variety  and  rich  interests  of 
this  ware;  This  collection  of  pottery 
shows,  to  the  most  delightful  degree,  the 
mat  finish  for  which  the  Fulper  people 
are  famous,  299 ;  The  top  of  a  fireplace 
designed  by  the  Rookwood  Pottery  Com- 
pany with  sea  motives  in  both  panels ; 
These  two  Rookwood  jars  are  represen- 
tative of  this  artistic  make  of  pottery : 
The  colors  are  in  the  rich  dark  tones  for 
which  the  Rookwood  ware  is  famous : 
They  are  interesting  as  ornaments  and 
practically  beautiful  as  flower  holders  or 
lamp  jars.  300. 

Number  Two — The  garden  pottery  shown 
here  as  well  as  on  page  382  is  designed 
and  made  by  Mr.  E.  E.  Soderholtz,  and 
was  displayed  recently  in  the  Arts  and 
Crafts  Exhibition  in  Boston  as  an  in- 
stance of  exceptionally  fine  American 
work :  The  pieces  are  of  cast  concrete, 
with  a  rich  mellow  surface,  in  various  vel- 
vety tones  of  warm  gray  and  red ;  Seven 
illustrations,  379,  382 ;  Five  pieces  of 
Hartman-Sanders  Garden  Pottery,  380 
Sharonware,  eight  illustrations,  381 
Egypt,  B.  C.  2000,  Early  Greek  Kiln,  384 
"He  wrought  a  work  upon  the  wheels, 
and  the  vessel  that  he  made  of  clay  was 
marred  in  the  hands  of  the  Potter :  So  he 
made  it  again  another  vessel,  as  seemed 
good  to  the  Potter  to  make  it" — (Jere- 
miah) ;  India,  B.  C.  2000,  385. 

Poultry,  Quick  Profits  from — Colony  coop 
for  growing  chickens  after  they  leave  the 
hen  or  brooder :  This  size  holds  forty 
chickens :  By  permission  of  E.  F.  Hodg- 
son Company,  326 ;  This  colony  chicken 
coop  is  made  with  yard  and  feed  hopper 
and  is  especially  practical  as  it  can  be 
readily  moved  to  new  ground :  By  per- 
mission of  E.  F.  Hodgson  Company ;  Col- 
ony laying  house  with  upper  story  for 
roosting  and  laying,  and  lower  story  for 


scratching  pen :  This  type  is  particularly 
suitable  for  winter  quarters  :  By  permis- 
sion of  E.  F.  Hodgson  Company,  327 ;  In- 
cubator room  in  duck  plant  at  Speonk, 
Long  Island,  N.  Y. :  By  permission  of 
Frank  W.  Gaylor ;  Pekin  ducks  in  the  fat- 
tening yards  at  the  Speonk  plant,  328; 
Two-pen  sectional  poultry  house,  fitted 
with  dropping  board,  roosts,  nests,  feed 
hopper,  shell  box  and  fountain :  By  per- 
mission of  E.  F.  Hodgson  Company,  329. 

Rose.  The  Christmas — Eight  illustrations, 
241-245. 

Russians,  The  Singing :  Slav  Music  Born 
of  Folk  Song — M.  Moussorgsky,  the  com- 
poser of  the  great  Russian  opera,  "Boris 
Godounow,"  which  was  produced  in  New 
York  winter  before  last,  167 ;  N.  Rimsky- 
Korsakow,  a  member  of  the  five  great 
Russian  musicians,  painted  also  by  J. 
Repine,  168 ;  C.  Cui,  a  member  of  the  five 
famous  Russian  musicians  :  Drawn  by  J. 
Repine,  169;  M.  Clinka,  the  Russian  mu- 
sician who  first  introduced  national  Rus- 
sian music  to  Paris :  One  of  the  most 
honored  of  Russian  composers :  Painted 
by  J.  Repine,  170;  P.  Tchaikowsky,  who 
is  possibly  the  best  known  among  Russian 
musicians,  to  us  in  America :  Painted  by 
N.  Kouznetzow,  171  ;  A.  Glazounow.  one 
of  Russia's  musicians  who  is  widely 
known  in  America :  From  a  drawing  by 
T.  Serow,  172;  S.  Liapounow.  a  Russian 
musician  of  note :  From  a  drawing  by 
Leon  Bakst,  173 ;  A.  Scriabine,  a  Russian 
musician  who  has  practically  revolution- 
ized the  musical  scale ;  Drawn  by  E.  Zak, 
174- 

Santa  Claus,  The  American,  and  His  Gifts 
— Copper  book  ends  from  the  Karl  Kipp 
shop ;  Copper  smoking  set  from  the  Karl 
Kipp  Studios,  338;  Copper  jewel  case 
designed  by  Karl  Kipp ;  Mayonnaise  set  of 
sterling  silver,  from  the  Karl  Kipp  shop ; 
Wall  sconce  of  hand-wrought  copper ; 
Slender  Lenox  vases,  simple  Fulper 
clocks,  and  well  designed  Fulper  candle- 
stick, 339 ;  Rustic  gateway,  porch  and  gar- 
den furnishings  on  the  garden  floor  of 
the  Craftsman  Building — a  delightful 
place  for  a  Christmas  shopper.  This  cozy 
bird  house  makes  a  charming  gift  for  the 
garden-lover ;  A  wigwam  bird  house  of 
tiny  logs :  One  of  the  many  new  and 
unique  models  on  the  garden  floor  of  the 
Craftsman  Building,  340;  Useful  and 
richly  colored  lacquer  gifts  made  by  the 


ILLUSTRATIONS 


Forest  Craft  Guild;  Craftsman  letter 
rack,  book  ends  and  revolving  book  rack 
of  mellow  oak,  which  make  serviceable 
and  inexpensive  holiday  gifts  for  library 
desk  and  living  room  tables,  341 ;  Bread 
and  milk  set  of  Lenox  China ;  Hammered 
copper  fittings  of  Craftsman  design,  342 ; 
A  corner  of  the  Alchauquin  Studios :  The 
woven  draperies,  baskets,  leather  work 
and  jewelry  made  here  can  be  found  in 
the  Craftsman  Building  among  the  many 
other  interesting  displays,  343. 

Slav,  The:  His  Splendor,  His  Misery,  and 
His  Place  Among  the  Nations  of  Tomor- 
row— "A  Question";  By  M.  P.  Iwanoff, 
Russian  painter,  139;  Portrait  of  Anton 
Rubinstein,  the  great  Russian  pianist :  By 
Ilja  Repin,  Russian  painter,  140 ;  A  typi- 
cal Russian  landscape :  By  Purwitt,  Rus- 
sian painter,  141 ;  Tolstoi  with  his  fam- 
ily in  the  evening :  By  L.  Pasternack, 
Russian  painter,  142. 

"Slav  Thinker,  The"  :  From  a  bust  by  the 
great  Russian  sculptor,  Naoum  Aron- 
son,  Frontispiece  opp.  p.  119. 

Talochino :  A  Home  for  Russian  Folk  Art : 
By  K.  R.  Cain — Frieze  designed  by  N. 
Roerich — an  example  of  Northern  folk 
art  of  unusual  interest  and  beauty ;  The 
fagade  of  the  Teremok,  which  houses 
Talachino's  library :  The  designer  is  Mali- 
outine,  art  director  of  the  school.-  Rus- 
sian fondness  for  ornamentation  is  here 
evident,  92;  Chair  of  carved  and  painted 
wood  by  A.  Zinovief ;  Armchair  of  mas- 
sive proportions  and  rich  execution,  after 
the  design  by  A.  Zinovief,  93 ;  Hall  bench 
with  curious  fish  motif,  after  the  design 
of  S.  Malioutine :  A  piece  which  reveals 
both  solidity  and  grace ;  In  this  simple 
desk,  designed  by  N.  Roerich,  restrained 
and  carefully  placed  ornament  relieves  the 
solid  wood ;  A  sturdy  table  of  remarkable 
decorative  charm,  made  after  the  design 
of  J.  Ovtchinnikof,  94 ;  Sleigh  decorated 
after  the  design  of  the  Princess  Teni- 
chef,  Founder  of  the  Russian  art  center 
of  Talachino;  Cradle  with  beautifully 
decorated  wood  and  drapery,  the  design 
of  the  Princess  Tenichef,  95 ;  Extreme 
gate  of  the  Teremok,  designed  by  S. 
Malioutine  and  sculptured  in  wood,  96. 

Tiles  from  the  Potters  of  Tunis — Entrance 
to  the  Villa  Persane,  Tunis :  Showing  an 
unusually  decorative  use  of  brilliant  col- 
ored tiles  in  the  concrete  walls,  584;  Tu- 
nis courtyard   with  tiled  pool  and  walls 


that  reveal  a  decorative  handling  of  this 
beautiful  f aiencework ;  Vista  through  the 
gardens  of  the  Villa  Persane :  Modern 
reproductions  of  these  wonderful  tiles 
have  been  recently  introduced  into  Amer- 
ica, 585 ;  American  landscape  gardeners 
and  home-makers  may  find  here  a  charm- 
ing suggestion  for  the  use  of  richly  col- 
ored mosaics  in  low  concrete  walls  and 
garden  seat,  586. 

Toys,  The  Make-Believe  World  of :  Hu- 
morous Dollies  and  Merry  Animals — 
Thirteen  illustrations  including  Mrs. 
Speer's  nursery  furnishings  in  the  Crafts- 
man Building  and  four  groups  of  Ger- 
man dolls  and  doll  furniture,  286-293. 

Vine-Clad  Bowers  and  Garden  Vistas — ^^ 
Latticed  garden  bower,  with  arched  roof, 
sheltered  seat  and  covering  of  Virginia 
creeper,  637 ;  A  slender  trellised  archway 
almost  hidden  by  luxurious  crimson  ram-, 
biers,  638;  In  an  informal  garden  noth- 
ing can  be  more  appropriate  than  rustic 
construction  for  arches  and  bowers,  639; 
Somewhat  unusual  and  very  decorative 
use  of  rustic  work;  A  simpler  or  more  in- 
expensive garden  arch  than  the  one  pic- 
tured could  hardly  be  imagined,  for  it 
consists  merely  of  two  upright  logs,  with 
a  third  spiked  across  the  top,  640. 

Violets  :  The  World's  Favorite  Flower :  By 
Eloise  Roorbach — Eleven  illustrations, 
369-376. 

What  Will  the  War  Bring  to  America?  By 
Francis  Grierson — Mr.  Francis  Grierson, 
from  a  photograph  by  Clarence  White, 
taken  in  New  York,  1914,  145. 

Wonder-Stone,  The  Artist's :  How  Baron 
de  Meyer  Sees  Spain — Four  photographs 
by  Baron  de  Meyer :  A  typical  beauty  of 
Granada,  47 ;  "The  Spanish  Dancer  of 
Today,"  48;  "A  Modern  Caballero  of 
Granada,"  49;  "Dreaming  of  Victory," 
SO. 

Youth,  Art,  and  the  Lovely  Old  Luxem- 
bourg Gardens :  By  Mary  Fanton  Rob- 
erts— "Cold,"  Roger  Bloche,  Sculptor : 
From  the  Luxembourg  Galleries,  Paris, 
11;  "A  Study  of  Love,"  Eugene  Car- 
riere.  Painter :  From  the  Luxembourg 
Galleries,  12;  "The  Baby,"  Roger  Bloche, 
Sculptor :  From  the  Luxembourg  Galler- 
ies, 13;  "Beethoven,"  Bourdelle,  Sculp- 
tor :  From  the  Luxembourg  Galleries,  14. 


OUR  COW,      ERICH   SCHMIDT- 
KESTNER,    SCULPTOR. 


THE  CRAFTSMAN. 

PUBUSHED    BY    THE    CRAFTSMAN    PUBLISHING    CO. 
VOLUME  XXVII  OCTOBER,  1914  NUMBER   1 

"HAI,  JOE,  WHERE  ARE  YOU  MARCHING?" 
A  STUDY  OF  WAR:  BY  WILL  LEVINGTON 
COMFORT 

LABOR-GANG  was  trenching  for  tile  in  a  near  field 
and  I  went  to  the  boss  to  hire  one  of  his  men.  Of 
course  I  could  have  one,  he  said,  remarking  that  they 
were  treading  on  one  another's  feet,  as  it  were.  .  .  . 
"Take  Joe,  over  there.    .    .    .    Hai,  Joe!" 

A  derby  hat  at  any  season  is  unmitigated,  but  in 
the  first  days  of  August,  in  the  splendid  fury  of 
summer,  this  approach  was  not  unlike  the  passing  of  a  kitchen-range. 
Joe  was  clapped  in  it.  The  whole  field  had  a  pent  and  airless  look — 
from  this  crown  of  labor,  heavy,  sagging  and  mossy.  I  inquired  of 
the  boss  if  Joe  were  hopelessly  addicted.  He  feared  so,  but  added: 
"You'll  forget  that.  Joe's  a  bull  with  a  pick." 
I  led  him  to  the  house  and  brought  forth  a  wide  hght  straw.  In 
firm  quiet  manner,  I  took  the  bleak  hearse  from  his  head  and  hung 
it  from  a  projecting  stone  high  against  the  cobbled  masonry  of  the 
stable,  wondering  if  it  would  affect  the  pigeon-crosses,  as  Jacob's 
rods  of  hazel  and  chestnut  at  the  water-troughs  ring-streaked  the 
new-bom  calves.  Joe's  troubled  face  looked  less  lardy  under  the 
straw-thatch,  though  his  eyes  turned  often  to  the  cobble  work.  In 
the  afternoon,  I  found  the  straw  hat  hanging  there,  too  gentle  and 
humane  to  alter  Nature  in  any  way,  unless  to  puzzle  the  hawks  for 
a  day  or  two,  and  stimulate  the  spiders  to  new  manners  of  suspensions. 
The  derby  was  back  in  place,  clamped  solid  under  the  arc  of  the  pick. 
The  idea  was  to  shelve  a  Roman  path  from  the  shore  to  the  top 
of  the  clay-bluflf,  a  fifty -foot  rise.  Joe,  comprehending  presently,  tore 
loose  at  the  bank  with  a  brute  strength  altogether"  new  to  me.  I 
regarded  him  frequently  and  with  alarm  lest  he  turn  blue.  He  could 
forget  himself  in  that  rending  labor,  as  one  at  bis  best  forgets  the 
instrument  when  typing  with  machine.  Labor,  the  heaviest  and 
least  inspiring,  yet  it  filled  him  so  that  he  asked  no  more.  Having 
found  his  work,  he  lost  himself  and  the  illusion,  time;  gave  himself' 
to  his  task — a  celestial  profit  in  that  mystery  which  touches  the  spirit 
of  creativeness  and  silently  fits  a  man  to  live  indeed. 

It  was  the  children  who  found  out  that  Joe  was  Russian;  that  he 


WAR!  BY  WILL  LEVINGTON  COMFORT 

had  been  in  this  country  for  a  year,  had  a  wife  and  baby  boy  at  home, 
shortly  to  be  sent  for.  In  the  afternoons,  they  would  fill  his  dinner- 
box  with  tomatoes,  radishes  and  cucumbers.  Meanwhile  the  path 
shadowed  forth  from  the  bluff,  and  Joe  paved  it  with  gravel  from 
the  beach.  I  found  it  good  to  be  with  him  from  time  to  time,  found 
possibly  something  of  that  excellent  simplicity  which  Tolstoi  turned 
back  to  re-discover.  He  recalled  to  my  mind  Manchuria,  too,  the 
Christless  havoc  of  the  war-days  there,  and  the  morning  I  awakened 
to  hear  a  brigade  of  his  fellow-peasants  shouting  forth  its  soul  in 
song — singing,  it  seemed  to  me,  as  men  never  sang  before,  led  singing 
to  the  slaughter  of.Liaoyang — faces  like  Joe's,  miles  of  them,  decent 
simple  |men,  the  stuff  to  make  gods  from,  and  murdered  like  a 
pestilence  of  vermin  a  few  days  afterward,  not  by  the  Japanese,  but 
by  the  debauched  appetites  of  their  princes. 

And  now  Russia  was  at  it  again,  all  Europe  in  frightful  demolition, 
and  the  poor  of  the  world  to  pay.  First  the  flower  of  the  people,  then 
the  stalk — all  but  the  root  to  go.  Every  ship  and  shell,  the  last 
confiscations  and  the  first  by  the  strong  hands  of  war,  indemnities 
demanded  by  victor,  wounds  of  pride,  the  cessations  of  almighty 
trade,  even  the  infringements  of  neutrality,  to  be  paid  by  the  poor 
of  the  world — the  bewildered  and  hunger-driven  poor,  first  in  blood 
and  then  in  famine  and  labor.  And  from  the  undermen,  from  the 
maimed  and  the  heavy-laden  must  the  earth  be  replenished  again. 

A  last  time.    .    .    . 

IT  |was  one  of  the  children  who  very   recently   asked  Joe  if  he 
would  liave  to  go  away  and  fight.    His  pick  poised  and  then  low- 
ered with  its  own  weight.     His  hard  rounded  palms  opened  to 
the  sky.     A  look  of  childish  terror  came  into  his  face. 

''No — no — no!"  he  said,  shaking  his  head,  as  a  child  aroused  from 
evil  dream.  I  saw  that  there  was  added  terror,  because  the  Uttle 
boy  had  spoken  it. 

It  signified  the  destruction  of  all  he  had  worked  for,  the  wrecking 
of  his  dream.  Not  vague,  nor  dull,  nor  greedy,  this  dream — a  clear, 
clean  home-making,  labor-giving  conception  rather;  a  dream  that  had 
found  its  form  through  thousands  of  tons  of  labor,  hewn  and  graven 
in  earth-clay,  but  clearly  done  in  the  sight  of  God,  I  think,  an  equit- 
able holding. 

It  was  not  the  fear  of  war,  but  the  fear  he  would  be  called.  Across 
the  world,  but  still  cornered.  In  the  heart  of  a  strange  country,  yet 
he  was  not  his  own  law.  .  .  .  Joe  lived  with  desperate  frugality, 
slept  in  the  comer  of  a  factory,  yet  every  stroke  of  his  strong  hand 
was  constructive  and  not  for  self,  done  with  simple  valor  for  a  woman 


WAR!  BY  WILL  LEVIN GTON   COMFORT 

and  child.  He  was  established  in  the  beginnings  of  individuality, 
because  he  worked  for  others;  heroically  on  his  way,  requiring  no 
sentiment  to  call  forth  the  honor  of  worthy  men.  For  there  is  but 
one  path.  Genius  nor  prophet  need  ask  to  be  more  whole-heartedly 
on  the  way.  One  path  without  beginning  and  without  end,  but  every 
path  runs  two  ways.  Those  who  rise  against  the  grade,  who  face 
the  East,  are  brothers. 

Yesterday,  he  touched  the  old  hat  as  I  approached,  leaned  the 
pick-handle  against  the  rim  of  the  trench  for  he  was  hip-deep  in  the 
groimd,  and  rolled  a  cigarette,  the  one  fine  thing  that  Joe  does  with 
his  hands. 

"I  go  back  to  Russia,"  he  said,  quietly. 

"To  your  family,  Joe?"  I  asked. 

"No— to  fight." 

No  terror  now,  not  even  the  opposite  swing  to  apathy.  The  call 
had  come,  the  dream  was  ended,  his  prayer  failed,  his  entity  lost. 
The  pressure  of  centuries  had  prevailed  upon  the  beginnings  of  his 
personal  spirit.  .  .  .  He  worked  until  six  as  usual,  said  good-bye 
as  usual.  The  children  ate  their  supper  in  silence.  Joe  meant  Russia 
and  world-war  to  them;  to  us  all,  the  war  was  more  intimate  and  hor- 
rible. .  .  .  "/n  a  space  of  fifty  square  yards/'  I  read  from  a  Belgian 
chronicle,  'Hhe  bodies  of  hco  hundred  Germans  lay  crying  for  burial." 

''WTiy,  that's  just  the  size  of  the  vegetable  garden,"  said  one  of 
the  children. 

At  the  end  of  dusk  that  night,  last  night,  I  went  out  alone  to  the 
edge  of  the  bluff.  Stillness,  save  for  the  crickets  and  cicadas;  the  trees 
still  and  the  sky  pure,  the  white  magnolias  blooming  again.  The 
Lake  tranced  the  last  of  the  light;  lakes  of  corn  were  a  silent  back- 
ground; children  laughed  in  the  distance  among  the  pleasant  lights  of 
the  neighboring  cottages.  The  two  noblest  planets  seen  from  earth 
were  in  the  sky  and  no  others  yet,  a  rare  visitation — Jupiter  rising  in 
the  East,  Venus  setting  in  the  West.  The  land  teemed  with  richness 
and  peace;  and  the  white  immortal  reflections  in  the  sky  completed 
the  globe  of  promise.  Yet  fifty  years  from  now  they  will  say  (never 
quite  comprehending)  of  this  waning  summer  of  nineteen  fourteen, 
"In  the  midst  of  that  year,  all  Europe  went  suddenly  insane."  .  .  . 
A  last  time. 

HOW  clear  it  is  that  lawless  ego  turns  insane — and  yet,  so  long 
have  the  multitudes  lost  themselves  in  obedience  to  a  few  families 
that  have  never  learned  to  govern  themselves,  much  less  their 
race;  the  many  fallen  victim  often  to  imperial  sons  who  have  not  the  in- 
telligence to  keep  themselves  clean,  mere  galvanisms  of  degraded 


WAR!  BY  WILL  LEVINGTON  COMFORT 

passions.  Inbred,  luxury -lapped,  world-fattened  princes,  played  upon 
by  every  illusion  and  destructive  force  of  the  world  of  matter,  nurtured 
in  nests  of  softening,  out  of  which  any  common  man,  not  stupid,  would 
pluck  his  own  son  as  from  a  net  of  the  devil ;  and  the  fortunes  of  whole 
races  of  men  in  the  hands  of  such  decadents — down-grade  men,  their 
backs  to  the  East,  drawn  not  to  Heaven  nor  any  ideal,  but  like  other 
brute  material,  answering  with  little  or  no  complication,  the  pull  of 
the  earth's  center.  Before  God,  that  man  is  king  only  who  has 
mastered  himself,  and  this  is  the  last  time  for  the  multitudes  to  be 
slaughtered  and  betrayed  by  the  mock  divinity  of  war-lords. 

It  was  very  clear  (though  I  had  been  unable  to  perceive  it  before 
this  rending  of  Europe  and  the  world)  that  there  must  be  a  great  war 
to  end  war.  In  no  other  way  was  that  master  of  hes  to  be  destroyed — 
that  the  only  safe  peace  is  in  the  presence  of  great  armaments.  All 
the  seers  and  prophets  of  the  world  could  not  make  themselves  heard 
in  the  din  of  gun  practice  and  riveting  armor  plate.  The  poor  wiU 
die  and  the  poor  will  pay,  and  then  the  poor  will  speak — that  is  the 
high  and  thrilling  hope  of  this  hour.  Peace,  not  as  a  policy,  but  as 
a  principle — the  old  love  of  man  for  his  neighbor — that  is  the  very 
essence  of  our  future  welfare  and  nobility.  It  is  tragically  clear  now 
that  war,  in  its  very  nature,  could  not  die  a  lingering  death,  but  must 
die  with  violence — a  passing  that  will  rend  the  world. 

A  passing,  too,  of  the  last  imperial  house,  and  all  the  barbarism 
and  flunkey  ism  appertaining;  for  the  spiritual  deformity  of  kings  is 
the  breeding-bed  of  war.  The  passing  of  HohenzoUem,  Hapsburg, 
Romanoff  and  other  national  parasites  and  baneful  autocracies,  all 
roots  and  lines  that  ramify  them,  not  only  cut  down  but  burned  after- 
ward— the  trade-cunning  of  Krupp  and  his  like  with  them — that  this 
may  be  the  true  and  final  extermination  of  the  army  worm.  The 
strong  peasant  stalk  and  bloom  where  they  cling  and  devour — this 
is  the  great  sacrifice.  A  last  time,  for  the  poor  of  the  world  must  now 
perceive  the  truth.  The  final  tragedy  of  God's  many — that  the  dream 
and  the  spirit  of  peace,  conceived  in  agony,  brought  forth  in  this 
planetary  parturition  of  war,  may  emerge  not  a  dream,  but  clothed 
in  the  body  and  brain  of  flesh  to  move  forever  among  men. 

"In  a  space  of  fifty  square  yards,  the  bodies  of  two  hundred 
Germans  lay  crying  for  burial,"  and  on  the  same  sheet,  this  cry  of 
America,  "Now  is  the  time  for  us  to  profit!"  The  States  of  America 
must  go  to  their  knees  to  be  rid  of  that  temptation — the  voice  of  the 
trade  mind  at  its  worst  and  lowest,  a  blend  of  green  and  yellow,  of 
covetousness  and  cowardice,  in  the  presence  of  Europe's  ineffable 
disaster,  which  if  not  overcome  now  will  bring  us  to  the  pass  of  Europe 
or  worse,  before  it  is  done.    The  spirit  of  peace  flees  to  fields  of  carnage 


WAR!  BY  WILL  LEVIN GTON  COMFORT 

from  the  atmosphere  of  that  conception.  But  such  a  shame  will  pass. 
The  formal  neutrality  and  the  substantial  neutrality  of  these  States 
shall  not  be  fouled  in  such  a  crisis  by  the  dollar. 

There  is  no  law  to  prevent  us  accepting  in  silence  the  inevitable 
advantages  of  Europe's  disruption,  but  to  campaign  and  aggressively 
to  accumulate  trade  in  this  hour  (in  which  it  verily  seems  that  the 
high  God  is  testing  the  earth  to  find  His  few)  such  is  the  final  de- 
bauchery of  virtue. 

Here  is  the  chance  for  us  to  become  workmen,  not  squirrels.  The 
very  streets  are  full  of  the  strange  new  needs>  because  we  are  suddenly 
denied  the  products  of  European  workmen.  We  miss  their  mastery 
in  chemicals  and  minerals  and  wood.  Here  is  the  spur  of  need  to 
make  us  workmen  and  masters  of  the  secrets  of  matter — but  to 
remain  masters  of  matter  in  spirit  and  truth,  the  whole  reason  and 
purpose  of  manhood,  adding  to  matter  the  intuitions  of  the  spirit, 
and  not  making  matter  our  God,  for  world- wars  and  every  immortal 
wretchedness  is  the  price  of  just  that. 

Never  before  in  the  history  of  the  United  States  was  there  such 
time  and  incentive  for  austerity  and  contemplation,  such  need  for 
sensitiveness  to  reality,  for  flippant  and  temporal  things  to  be  put 
quite  away — such  a  need  to  bum  and  weep  and  pray  for  the  abate- 
ment of  agony  and  the  new  reign  of  God  in  the  world — such  a  need 
to  give  and  not  to  gain,  to  love  and  not  to  seize. 

In  the  spirit  of  hope  I  tried  to  see  clearly  the  demon  of  Russia 
cast  out,  her  lofty  and  inimitable  genius  manifesting  free-handed  at 
last.  .  .  .  Miles  of  bayonets  rusted  in  their  fixity,  miles  of  ashen  faces 
and  sodden  gray  coats — the  dust  of  their  tramping,  the  heaven  of 
their  singing.  This  was  the  Russian  peasantry  on  the  march,  a  moving 
storehouse  of  the  earth's  future  spirit,  the  genius  of  her  coming  days. 
They  leave  the  sane  brown  yielding  earth,  all  gilded  with  the  beauty 
of  harvests,  for  the  red  fields  of  madness.  They  march  from  cosmos 
to  chaos.  .  .  .  There  is  an  end  to  the  singing;  the  hour  has  come 
of  fire  and  blood.  Through  the  wind  tattered  smoke,  there  is  the 
strewn  field  covered  with  silent  men  and  writhing  men.  The  rem- 
nant rises  and  marches  on.  .  .  .  But  one  face  to  me,  not  in  helmet 
nor  cap,  but  in  a  derby,  old  and  absurd — a  face  of  torture  and  be- 
wilderment— rising  from  the  field  and  marching  on.  .  .  .  "Hai,  Joe, 
turn  back  to  the  woman  and  the  boy!  Hai,  Joe,  where  are  you 
marching?" 

It  is  the  peasantry  of  the  world  marching  forth  a  last  time  to  find 
its  prophet. 


REMEMBRANCE:  GREEK  FOLK  SONG 

NOT  unto  the  forest — not  unto  the  forest,  0  my  lover! 
Why  do  you  lead  me  to  the  forest? 
Joy  is  where  the  temples  are,  Unes  of  dancers  swinging  far. 
Drums  and  lyres  and  viols  in  the  town 
{It  is  dark  in  the  forest) 
And  the  flapping  leaves  will  blind  me  and  the  clinging  vines  will  bind 
me 
And  the  thorny  rose-boughs  tear  my  saffron  gown — 
And  I  fear  the  forest. 

Not  unto  the  forest — not  unto  the  forest,  0  my  lover! 
There  was  one  once  who  led  me  to  the  forest: 

Hand  in  hand  we  wandered  mute,  where  was  neither  lyre  nor  flute. 
Little  stars  were  bright  against  the  dusk 
{There  was  wirid  in  the  forest) 
And  the  thickets  of  wild  rose  breathed  across  our  lips  locked  close 
Dizzy  perfumings  of  spikenard  and  musk    .    .    . 
I  am  tired  of  the  forest. 

Not  unto  the  forest — not  unto  the  forest,  0  my  lover! 
Take  me  from  the  silence  of  the  forest! 

I  will  love  you  by  the  hght  and  the  beat  of  drums  at  night 
And  the  echoing  of  laughter  in  my  ears, 
But  here  in  the  forest 
I  am  still,  remembering  a  forgotten,  useless  thing, 
And  my  eyelids  are  locked  down  for  fear  of  tears — 
There  is  memory  in  the  forest. 

Margaret  Widdemer. 


YOUTH,  ART,  AND  THE  LOVELY  OLD 
LUXEMBOURG  GARDENS:  BY  MARY  FANTON 
ROBERTS 

IN  the  morning,  the  Luxembourg  Gardens  are  almost 
empty.  The  women  have  not  yet  come  with  their  em- 
broidery and  knitting;  the  students  are  in  the  ateUers, 
waiting  for  fame;  the  poets  are  sleeping,  forgetting 
moonlight  cafes  and  young  girls  with  tender  eyes  from 
the  Provence;  the  goffre  man  has  not  commenced  to 
make  waffles  for  the  children  and  the  birds.  The  foun- 
tains play  very  softly  in  the  shade,  and  the  only  music  is  in  the  trees. 
A  world  of  deserted  beauty  gathers  about  one.  And  yet  the  Garden 
is  never  lonely.  The  souls  of  all  those  who  have  loved  it,  seem  to 
linger  there.  The  great  and  the  young  have  left  their  delicate  im- 
print upon  the  spirit  of  the  place.  And  rich  memories  touch  the 
shadowy  walks,  the  sunlit,  simple  flowers,  the  statues  benign  and 
somber. 

As  you  walk  through  the  green  aisles  toward  the  old  Luxembourg 
Gallery,  an  understanding  of  the  real  France  comes  to  you,  the  France 
that  is  wise  and  thrifty,  imaginative  and  sensitive,  the  France  of 
strong  mothers,  of  gay  little  children,  of  unworldly  poets,  of  scientific 
artists — a  France  forever  young.  It  is  this  marvelous,  unquenchable 
youth  that  has  made  France  a  nation  of  progressive  experiments,  a 
nation  of  eager  striving  for  new  accomplishment.  Always  the  young 
poet  has  a  hearing,  the  young  painter  with  his  new  and  amusing 
technique  has  his  audience,  the  investigator  of  truth  beyond  magic, 
his  following.  And  so  the  creative  world  has  turned  to  Paris  sure  of 
finding  there  an  environment  sympathetic,  curious,  kind.  There  is 
probably  no  other  nation  in  the  world  so  eager  for  knowledge,  so  ready 
to  give  aid  in  the  development  of  individuality.  Hence  there  is  no 
country  with  so  rich  and  diversified  achievement  in  art,  science  and 
industry. 

Naturally  this  open-mindedness,  this  delight  in  the  new  and 
strange,  has  its  obverse  side,  and  the  merely  novel,  the  wholly 
eccentric  often  for  the  moment  whirl  through  the  Paris  boulevards 
and  are  accorded  a  reception  at  once  cordial,  humorous  and  bewilder- 
ing— ^L'Art  Nouveau,  for  instance.  Futurist  clothes,  purple  veils  and 
"Eggist"  sculpture.  But  these  are  surely  a  small  and  amusing  price 
to  pay  for  the  hospitable  spirit  that  welcomed  Lalique,  Rodin,  Poiret, 
Bourdelle,  Carrie  re,  Isadora  Duncan,  Verlaine — all  splendidly 
liberated  souls  owing  their  freedom  to  French  enlightened  sym- 
pathy. 

While  Europe,  as  a  whole,  is  still  bound  hand  and  foot  to  the 
formal  and  the  classic  in  art,  France  has  her  great  Luxembourg 


FRANCE,  THE  MOTHER  OF  MODERN  ART 

Gallery  open  to  the  men  of  today,  to  Sargent,  Whistler,  Henner, 
Corot;  for  not  only  is  Paris  curious  and  alert  for  the  new  and  the 
individual,  but  she  is  eager  to  welcome  and  make  permanent  all  that 
the  new  can  express,  all  that  the  individual  has  to  say.  Puvis  de 
Chavannes  circles  the  Pantheon,  Rodin  has  set  his  seal  upon  the 
Tuilleries  Gardens,  and  within  the  lovely  old  Luxembourg  Palace 
we  find  on  every  wall  the  men  with  strength  to  escape  the  traditions 
of  the  eighteenth  century.  Here  is  recognition  of  what  is  most  beauti- 
ful and  valuable  in  the  art  of  today. 

THE  significance  of  a  gallery  like  the  Luxembourg  is  not  only 
that  it  houses  fine  examples  of  modern  achievement  in  all  the 
plastic  arts,  but  that  it  is  an  immense  inspiration  to  the  artists 
of  today.  The  living  man  whose  works  are  in  the  Luxembourg  reahzes 
that  the  world  is  with  him,  that  his  message  has  been  heard.  It  seems 
to  me  that  nothing  can  be  more  detrimental  to  the  progress  of  art 
than  the  old  theory  that  all  a  man's  ideals,  enthusiasms,  joys  must 
remain  during  his  lifetime  unappreciated,  that  he  must  always  work, 
always  strive  to  express  the  splendor  of  his  soul  only  in  the  end  to 
discover  he  is  his  own  sole  audience.  Surely  in  the  long  run  the  lack 
of  sympathetic  contact  in  the  enjoyment  of  art — even  of  one's  own — 
must  prove  paralytic.  Movement  is  necessary  for  health  everywhere, 
whether  it  is  a  dark  green  pool  in  the  forest  or  a  stagnant  reservoir  of 
hope  and  imagination  in  a  garret.  Sunlight  must  sweeten  it,  art 
and  motion  purify  it  to  be  as  productive  as  its  birth  into  the  world 
would  warrant.  For  a  man  to  walk  through  the  vast  halls  of  the  old 
palace  museum  and  find  the  work  of  his  hands  upon  the  walls  or  upon 
some  well-placed  pedestal,  must  be  the  kind  of  earthly  reward  for 
sacrifice  and  fine  endeavor  that  is  just  as  purifying  and  freshening  as 
oxygen  for  the  green  pool. 

We  have  been  too  slow,  the  world  over,  in  granting  permission 
for  the  greatness  of  the  present  century  to  stand  erect  amongst  us. 
We  have  hunted  new  life,  new  dreams,  new  beauties  into  the  dark 
corners  of  the  world.  We  have  refused  recognition  to  the  glories  of 
our  own  time.  We  have  been  strangely  without  self-reliance,  without 
courage — this  especially  in  America,  although  it  is  true  to  a  large 
extent  in  England,  pathetically  so  of  Italy  and  wholly  so  of  Spain. 
France  alone  has  practically  always  kept  her  vision  clear  for  any 
access  of  beauty  wherever  or  in  whomever  it  might  be  born.  She 
has  been  a  true  republic  in  art  and  letters,  as  well  as  in  politics.  And 
so  her  museums  as  well  as  her  libraries,  her  great  buildings,  her  little 
shops,  have  all  been  open  for  the  freshest,  the  most  vigorous,  the  most 
original  thought  of  the  day.    And  the  result — the  widest  accomphsh- 


'^'U',-   ROGER  BLOCHE,  SCULPTOR:    FROM 
THE      LUXEMBOURG      GALLERIES,      i'ARIS. 


A       STUDY      OF       LOVE,         EUGENE      CAKRIERE, 
PAINTER  :    FROM    THE   LUXEMBOURG   GALLERIES. 


"the   baby,"    ROGER    BLOCHE,    SCULPTOR: 
FROM       THE      LUXEMBOURG      GALLERIES. 


l*^ 


BEETHOVEN,      BOURDELLE,    SCULPTOR  : 
FROM     THE     LUXEMBOURG     GALLERIES. 


FRANCE,  THE  MOTHER  OF  MODERN  ART 

ment  for  the  youth  of  this  country  which  stands  with  its  hat  off  before 
all  youth. 

THE  illustrations  we  are  using  in  this  article  present  the  work 
of  three  great  modem  men — Bourdelle,  one  of  the  most  vigor- 
ous and  mighty  of  the  sculptors  of  his  age;  Carriere,  an  artist, 
delicate  and  ethereal,  a  painter  of  the  soul,  and  a  man  whose  name  is 
little  known  on  this  side,  Roger  Bloche,  whose  sculpture  presents  a 
depth  of  feeling,  a  tenderness,  a  searching  emotional  sympathy  that 
has  seldom  found  its  way  through  marble  to  the  human  heart. 

These  four  illustrations  were  selected  from  a  large  collection  of 
photographs  of  the  work  of  modern  men  as  possibly  the  most  sig- 
nificant not  only  of  the  greatness  and  variety  of  the  technique  of  today 
but  also  of  the  type  of  subject  which  seems  more  and  more  to  be 
interesting  our  really  great  men  in  sculpture,  painting  and  literature. 
We  have  come  far  from  the  vague,  classic  ideal  of  purely  impersonal 
beauty  which  rendered  Greek  art  famous,  to  an  expression  of  vital, 
soul-searching  human  emotions.  Our  artists  of  today  are  humani- 
tarians as  well  as  technicians,  and  what  they  are  striving  to  present 
is  their  own  impression  of  the  beauty  of  all  the  goodness  of  the  world, 
the  beauty  of  kindness,  gentleness,  courage,  unselfishness,  devotion, 
the  beauty  of  a  mother's  protective  love,  of  a  lover's  sorrow,  of  a 
little  child's  happiness — in  other  words,  an  understanding  of  the 
elemental,  ageless  beauty  of  all  times.  And  then  the  aim  seems  to 
be  to  present  these  wonderful  qualities  through  a  technique  so  fluent, 
so  broad  and  free  and  luminous  that  the  emotion  of  the  artist  reaches 
us  before  an  appreciation  of  his  methods.  This  is  indeed  the  modern 
spirit  in  art,  and  the  spirit  which  dominates  the  galleries  of  the  old 
French  museum  and  which  hngers  with  one  out  into  the  lovely 
Luxembourg  Garden,  which  through  ages  of  affectionate  usage  has 
become  an  abiding  place  equally  beautiful  and  .comforting  for  the 
young  and  the  old,  the  poor  and  the  rich. 


15 


THE  HERO:  A  RUSSIAN  WAR  STORY:  BY 
EVGENY  TCHIRIKOV 

Translated  by  John  Cournos 

HERO?  Who  is  a  hero?  Field  Captain  Puisin.  .  .  . 
In  his  day  he  had  been  mentioned  in  the  despatches 
from  the  theater  of  war  as  a  hero.  Leading  his  com- 
pany, he  was  the  first  to  mount  the  hilltop.  With 
a  dexterous  blow  of  the  sabre,  he  knocked,  out  of  the 
hands  of  a  .Japanese,  the  enemy's  standard. 

The  portraits  of  Field  Captain  Puisin  appeared  in 

his  day,  in  many  join-nals,  with  the  inscription:  "The  hero  of  N 

Hill,  Field  Captain,  etc."  In  these  portraits  he  appears  handsome, 
young,  with  audaciously  turned-up  moustaches,  and  the  daring  glance, 
if  not  that  of  an  eagle,  at  least  that  of  a  hawk.  His  fur  cap  rests  a 
little  more  on  one  ear  than  on  the  other;  his  head  is  turned  a  little 
sideways  and  lifted  high.  .  .  .  More  than  one  maiden  in  the  prov- 
inces, upon  looking  at  a  new  number  of  The  Niva,  would  pause,  with 
attention  akin  to  rapture,  to  scrutinize  this  portrait;  and  sigh  at  the 
sudden  trepidation  in  her  heart.    .    .    . 

"Look,  Glashenka,  what  a  handsome  fellow!" 

"The  hero  of  N Hill."    .    .    .    Really,  a  hero!    One  could 

see  that  at  once.    .    .    . 

The  Field  Captain  had  had  this  picture  taken  just  before  his 
departure  for  the  battlefields. 

"I  should  like  to  take  your  photograph,  with  Rembrandt  effect. 
Will  you  permit  me?" 

"How?"  asked  Puisin  doubtfully. 

"With  Rembrandt  effect!" 

"Well,  go  ahead!  I  don't  mind.  I  should  like  you,  however,  to 
catch  the  most  prominent  trait  in  my  character.    .    .    ." 

The  "Rembrandt  effect"  was  successful. 

"Hm.  .  .  .  Not  at  all  bad!"  observed  the  Field  Captain  after- 
ward, examining  the  first  proof;  and,  as  he  twisted  with  his  fingers 
his  left  moustache,  he  passed  a  mental  reflection  upon  himself:  "A 
right  smart-looking  lad!"  .  .  .  Even  his  wife,  accustomed  as  she 
was  to  daily  contact  with  the  future  hero,  flashed  her  eyes  and 
whispered  with  tender  pride : 

"Volodka!    W'hat  a  handsome  husband  I  have!" 

"Really?" 

"See  for  yourself!" 

And  looking  at  the  portrait  together  they  both  admired  it. 

"What  a  pity  you  did  not  take  a  full  length!  Upon  my  word, 
you  look  a  real  hero  here!    .    .    ." 

Liuba  pressed  close  to  her  husband;  they  embraced  each  other, 
then  gave  way  to  tears.    .    .    . 
i6 


THE  HERO 

"And  you  too?  .  .  .  Don't.  .  .  .  It  doesn't  become  you !  .  .  . 
A  captain!"  .  .   .  murmured  Liuba  through  her  laughter  and  tears. 

"Fiddlesticks!    I  won't.    ..." 

"Heroes  don't  weep,  and  here  .  .  .  there  are  tears  in  your 
eyes.    .    .    ." 

And  they  both  laughed  as  they  looked  caressingly  at  each  other. 

"I  will  prove  to  you  that  I  am  no  coward,  that  I  am  exactly  as 
I  am  in  the  portrait!" 

"Well,  beware!     I  want  to   be   proud   of   you.     Do  you  hear?" 

"Yes!"  answered  the  Captain  resolutely,  then  shook  his  head  and 
wiped  dry  with  his  handkerchief  his  merry  eyes. 

"And  what  are  you  doing  here?"  he  asked  his  servant,  who  had 
become  an  unintentional  witness  to  this  touching  scene.  "What  are 
you  crj'ing  about?" 

"We  might  die,  your  honor,  together.    .    .    ." 

"Not  'your  honor,'  but  'your  excellency',"  corrected  Liuba. 

"So,  so!  I,  too,  have  a  wife  in  the  village.  .  .  .  And  a  little 
lad — Meetka,  by  name.    .    .    ." 

"Look  here,  Stepan,  don't  you  abandon  your  master  there!  Keep 
a  good  watch  over  him!" 

"I'll  do  vnY  best,  lady!  Everyone  in  our  company  loves  his  ex- 
cellency very  much.    They  would  do  anything,    .    .    ." 

"Good!  Good!  Now  don't  stand  there  snivelling!  We  are  not 
two  women!" 

"So,  so,  your  excellency !  I'll  stop.  .  .  .  No,  not  women.  Heroes, 
your  excellency!" 

The  somewhat  perturbed  Ameeshka  circled  between  and  around 
their  feet,  and  barked  joyously  at  the  heroes. 

"And  what  is  the  matter  with  you,  you  little  silly?  As  if  you 
understood  anything!  Now  whom  are  you  trying  to  bark  at?  It 
is  plain,  Volodia,  she  does  not  want  you  to  go  to  war!  .  .  .  You 
don't  want  him  to  go?    .    .    .    Yes?    .    .    ." 

"It's  food  she's  always  begging!"  explained  the  servant. 

WHAT  a  short  time  has  elapsed  since  all  this  had  taken 
place!  ...  It  might  have  been  yesterday.  .  .  .  But 
how  everything  has  changed!  .  .  .  Field  Captain  Puisin 
had  been  made  full  Captain  at  the  time  of  his  discharge;  and  not 
alone  was  he  a  captain  but  a  hero.  .  .  .  He  had  kept  his  promise, 
although  he  little  resembles  now  his  portrait,  which  he  and  Liuba 
had  admired  so  much.  The  captain's  legs  had  been  left  behind  in 
a  strange  and  distant  region. 

The  hero  has  been  granted  rank,  the  cross  of  St.  George,  a  pension 

17 


THE  HERO 

for  life.  ...  He  could  hardly  expect  to  be  granted  another  pair  of 
legs.  And  since  that  time — it  is  already  the  third  year — the  Captain 
does  not  arise  from  his  soft  and  comfortable  chair  on  wheels.  Now 
he  can  only  sit  in  his  chair  by  the  window  and  look  wearily  out  into 
the  street.  Like  a  beggar  thrust  out  of  doors,  he  confronts  the 
brightly  illuminated  windows  of  the  temple  of  life  and  timidly  listens 
to  the  joy  of  existence.    .    .    . 

They  had  taken  away  from  the  Captain  his  legs.  And  the  Cap- 
tain's legs  had  taken  away  from  him  everything,  absolutely  every- 
thing. The  Captain  has  been  forgotten  by  everyone,  abandoned  by 
everyone;  he  has  become  like  a  broken  toy  cast  aside  by  the  children. 
Only  two  have  remained  faithful  to  him :  his  serv'^ant  Stepan,  and  his 
little  dog  Ameeshka.  The  servant  diverts  the  Captain  with  stories 
of  street  occurrences,  and  reminiscences  of  the  past,  while  Ameeshka, 
as  before,  stands  up  on  her  hind  legs  before  the  Captain,  and  begs 
a  lump  of  sugar;  and,  as  before,  licks  his  hand  and  continues  to  romp 
about  the  rooms.  Of  the  Captain's  former  personal  efiPects  there  re- 
main only  the  clock,  a  double  bed,  and  many,  many  portraits.    .    .    . 

And  here  is  another  day  fading  away.  On  the  opposite  side  of 
the  little  gray  house  a  small  flame  is  seen  to  glimmer  suddenly.  In  the 
room  of  the  hero  everything  is  impressively  still.  Only  the  clock  on 
the  wall  continues  its  measured  beat,  to  the  accompaniment  of  string- 
like,  metallic  echoes.  So  ticked  the  same  clock  even  in  the  old  days, 
when  the  Captain  was  yet  Field  Captain. 

"Tick-tack,  tick-tack!"  goes  the  clock.  To  the  Captain  it  is  no 
longer  a  clock,  but  Sergeant  Mironov  making  his  soldiers  mark  time, 
and  crying  exasperatingly : 

"One-two!    One-two!"    .    .    . 

As  for  the  metallic  echoes,  they  do  not  emanate  from  the  clock  at 
all;  they  are  the  sounds  that  come  with  the  clank  of  his  own  scabbard. 

Afterward  he  can  hear  the  rattle  of  arms,  the  discharge  of  muskets; 
— he  can  hear  cries,  groans,  the  neighing  of  horses.  .  .  .  Then  sud- 
denly he  feels  something  strike  him,  burn  him  sharply;  he  feels  him- 
self thrown  to  one  side.  .  .  .  Then  nothing  m  jre.  .  .  .  When  at 
last  he  has  opened  his  eyes  he  sees  people  throng  around  him,  busying 
themselves  with  him;  he  hears  them  whisper  among  themselves.  .  . 
And  here  from  among  these  unfamiliar  faces  there  emerges,  as  out  of 
a  mist,  a  fair  woman's  head  with  retro7isse  nose  and  blue  eyes. 

"Well,  if  it  isn't  Liuba's  little  head!" 

"Listen,  Volodia,  be  in  good  health  and  return  a  hero!"  says  the 
fair  little  head,  smiling  through  its  tears,  while  two  hands  place  on 
his  neck  a  small  gold  medallion  containing  a  portrait  and  a  lock  of 
light  blonde  hair. 

18 


THE  HERO 

The  Captain  trembles  at  this  importunate  recollection.  His  blood 
rises  to  his  head;  he  feels  a  clutching  at  his  throat. 

The  curly-furred  Ameeshka  still  stands  before  the  chair,  looksat 
the  hero  and  wags  its  tail.  .  .  .  Tears  trickle  slowly  down  the  hero's 
cheeks.    .    .    . 

"Your  excellency!    Your  excellency!" 

"Ah!  What!"  murmurs  the  hero,  giving  a  sudden  shudder  and 
opening  his  eyes,     "\\1iat  is  it,  Stepan?" 

"Let  us  forget!    We  are  not  women!" 

"You,  Stepan.    .    .    .   But,  I've  just  dozed  oflf  and  had  a  dream.'' 

"What  do  you  say  to  having  tea?  Just  for  a  little  cheer!  I,  too, 
am  feeling  a  bit  down-hearted  .  .  .  that  is  how  it  is,  your  excel- 
lency, the  heart  is  sick !    Since  that  day,  when  you  lost  your  legs.  ..." 

The  hero  turns  his  face  toward  the  window.  He  does  not  wish 
Stepan  to  see  his  tears.    .    .    .    But  Stepan  had  seen  them. 

"What's  the  good  of  weeping?  It  is  all  the  same — new  ones  won't 
grow  in  their  place  no  matter  how  much  you  cry!"  mumbles  the 
servant,  wiping  the  steam  off  the  windows  with  the  palm  of  his  hand. 

"I  saw  our  mistress  in  my  dream." 

"She'll  come  back  .  .  .  see,  if  she  don't  come  back.  I,  too,  had 
such  a  dream,  expecting  her  return.  .  .  .  Simply  because  this  lieu- 
tenant Temliakov,  though  he  is  in  the  artillery,  is  only  showing  off 
his  boot-legs.  .  .  .  Against  you,  he  is  a  good-for-nothing.  .  .  . 
'Pon  my  word!    You  are  a  hero,  your  excellency,  and  he    .    .    ." 

The  hero  is  silent.  He  knows  that  Liuba  will  never  return, 
just  as  well  as  he  knows  that  he  will  never  grow  new  legs. 

Ameeshka  continues  to  wag  her  tail.    She  whines. 

"Hungry  again  .  .  .  be  quiet!  One  feels  badly  enough  without 
you,"  grmnbles  Stepan. 

The  clock  continues  slowly: 

"Tick-tack!    Tick-tack!" 

"Your  lady,  your  excellency,  will  come  to  her  senses.  And  there's 
my  Avdotya.  She's  about  the  worst!  I  no  sooner  returned  home 
than  I  found  her  grown  somewhat  in  girth  .  .  .  well,  you  know. 
Because  of  them,  these  women,  there  is  much  sin  on  earth.  .  .  . 
Come  on  Ameeshka,  we'll  prepare  the  samovar!    .    .    ." 


19 


T 


THE   FRAGRANT    MARIE   JACQUIN. 


PEONIES,  THE 
SWEET  WITCHES 
OF  THE  GARDEN:  BY 
ELOISE   ROORBACH 

^HE  shouts  of  praise  to  the 
God  of  Beauty  that  once  rang 
through  the  classic  groves  of 
Macedonia,  as  men  and  women  gar- 
l.inded  with  flowers,  wound  their  way 
1()  Apollo's  shrine,  find  an  echo  in  our 
11  id  whenever  we  speak  the  name  of 
( >ur  garden  favorite — the  peony.  "Paeon, 
I'.von!"  they  ecstatically  shouted,  re- 
pc.iting  that  charmed  name  over  and 
over  again  as  they  called  upon  him 
to  imbue  them  with  his  own  fair  spirit, 
or  besought  him  to  abide  forever  on  earth.  As  we  look  at  our  beds 
of  full-blown  peonies,  the  fancy  comes  to  us  that  the  kindly  God  of 
Beauty  must  be  keeping  tryst  with  his  worshippers,  must  be  incar- 
nated in  some  miraculous  way  in  the  form  of  these  flowers  that  bear 
his  name.  These  resplendent  blossoms  that  perennially  grace  the 
earth,  seem  especially  designed  to  reveal  the  presence  of  Beauty, 
to  whomever  believes  in  it  and  watches  for  its  coming. 

Though  our  peonies  were  christened  with  Apollo's  name  Pseon 
according  to  some  writers,  others  assert  that  the  genus  Pseonia  was 
named  in  honor  of  a  mythological  physician  Pa^on  who  ministered 
to  the  gods  wounded  in  the  Trojan  War;  still  others  assure  us  that  it 
was  named  from  the  ancient  island  of  Pseonia,  where  it  was  first  dis- 
covered flaming  like  a  fire  across  the  mountain  valleys.  For  in  those 
days,  before  plant  specialists  gave  it  hybrid  form  and  color,  it  was  the 
color  of  sacrificial  fire. 

The  Chinese  call  it  Hoa  Ouang,  "King  of  Flowers,"  and  hold  it 
in  the  greatest  reverence,  as  symbol  of  the  God  of  Heaven,  exalting 
it  as  the  Japanese  and  the  Hindoos  exalt  the  many-petaled  lotus. 
The  Chinese  regard  its  pure  white  or  glowing  silken  petals  and  gold 
heart  as  divinely  beautiful  and  honor  it  in  their  poetry  and  in  religious 
ceremonies  as  fit  symbol  of  heavenly  grace.  They  have  brought  it 
to  a  high  state  of  cultivation,  doubled  its  size,  refined  the  texture  of 
its  petals,  given  it  the  exquisite  tints  of  the  rose. 

Spain  says  this  flower  is  the  "Rose  of  the  Mountains."  Germany, 
with  a  most  amazing,  inexcusable  lack  of  poetic  imagination,  calls  it 
"the 'Gouty  Rose!"  Our  New  Englanders  speak  of  it  lovingly  as  the 
"piny,"  and  can  pay  nodearer  compliment  to  their  fresh,  wholesome 


THE  WITCHES  OF  THE   GARDEN 

village  maidens  than  to  tell  them  they  are  as  "sweet  as  a  piny 
rose." 

The  old-fashioned  single  red  peony  has  been  in  cultivation  since 
the  time  of  Pliny,  but  the  peony  as  we  know  it  in  our  gardens  today 
is  of  modern  development.  The  species  known  as  officianalis,  in- 
digenous to  Europe,  is  the  flower  of  Greek  temple  gardens  and  was 
supposed  to  drive  away  evil  spirits,  avert  tempests  and  bring  good 
fortune  to  all  who  dwell  within  a  radius  of  its  perfume.  Wonderful 
healing  properties  have  been  attributed  to  the  acrid  watery  juice 
and  the  dried  and  powdered  roots.  The  Spanish  Californians  still 
consider  the  root  of  PoEonia  Brownii,  the  dark  red,  wild  peony,  a  sure 
cure  for  dyspepsia  when  eaten  raw.  The  Indians  ground  the  dried 
roots  into  a  powder  and  used  it  for  various  remedial  purposes.  Strange 
superstitions  hover  around  this  wild  peony  of  the  West,  perhaps  be- 
cause it  is  almost  black,  an  unusual,  supernatural  color  for  a  flower. 
Witches  might  have  touched  it,  they  say,  or  the  Evil  One  set  the  dark 
seal  upon  it.  Troubled  spirits  like  it  well  and  demons  obey  its  en- 
chantments. 

It  is  quite  interesting  to  trace  the  origin  of  the  popularity  of  our 
common  garden  flowers.    In  nearly  every  case  they  were  first  valued 


HOA  OUANG,   THE   CHINESE    SACRED  PEONY,    WITH    PURE    WHITE   PETALS   AND  GOLDEN    HEART. 

21 


THE  WITCHES  OF  THE   GARDEN 

for  their  usefulness  rather  than  their  beauty,  cultivated  in  gardens 
for  their  medical  rather  than  decorative  quahties.  Miraculous  as 
well  as  remedial  powers  have  been  attributed  to  the  blood-red  peony; 
demons  were  supposed  to  fly  to  the  spot  where  it  bloomed,  and  a  bit 
of  the  root  worn  around  the  neck  was  believed  to  avert  enchantment. 
"The  ancient  Greeks,"  so  writes  Dr.  Coit,  "when  digging  up  the 
plant,  were  careful  to  do  so  at  night  only,  as  it  was  said  that  if  any 
one  attempted  to  meddle  with  it  in  the  daytime  the  green  wood- 
pecker, assigned  by  the  gods  to  protect  the  plant,  would  dart  at  the 
eyes  of  the  intruder." 

Now  that  the  romantic  days  of  witchcraft  and  superstition  are  at 
an  end,  the  peony  is  being  valued  merely  for  its  beauty — and  is  that 
not  enough!  No  other  flower  takes  just  the  same  place  in  a  garden- 
lover's  affections.  There  is  something  so  loyal  in  the  way  it  blooms 
faithfully  in  long-neglected  or  deserted  gardens,  something  so  friendly 
in  the  way  it  rushes  into  its  niche  by  the  front  door  or  its  special 
comer  of  the  garden  at  the  first  touch  of  the  spring  sun,  something 
so  democratic  in  the  way  it  flourishes  in  the  humble  cottager's  garden 
or  a  king's  sumptuous  park.  It  asks  but  httle  and  gives  much,  making 
a  brave  yearly  showing  of  gorgeous  color  once  it  has  been  given 
permission. 

THE  original  form  is  quite  likely  the  ten-petaled,  white,  cup- 
shaped  peony  with  the  clustered  yellow  stamens,  that  spread 
from  China  throughout  all  Europe  and  was  brought  to  our 
shores  by  the  early  garden-loving  settlers.  The  present  diversity  of 
color  and  form  has  been  brought  about  by  the  crossing  of  Pceonia 
officianalis  and  P.  albiflora — a  sort  of  modem  scientific  version  of  the 
fairy  story  of  Rose  Red  and  Snow  White !  The  primary  red  and  white 
now  runs  through  every  possible  change  of  rose-pink,  flesh,  salmon, 
lemon,  cream  and  tawny  reds. 

Peonies  should  be  planted  in  the  fall  after  the  roots  have  ripened. 
By  mid-September,  the  foliage  is  dry  and  yellow,  showing  that  the 
roots  have  reached  their  time  of  rest.  The  plants  should  not  be  dis- 
turbed until  the  leaves  lose  their  greenness,  for  until  that  time  they 
are  actively  feeding  the  roots  and  developing  the  eyes  from  which 
the  next  season's  growth  begins.  If  the  roots  are  removed  from  the 
earth  while  the  leaves  are  green  or  the  weather  too  hot,  they  will  lack 
vigor  and  shrivel.  The  vitality  of  the  removed  root  can  be  determined 
by  an  examination  of  the  new  pinkish  buds  or  eyes  as  they  are  caUed 
which  show  among  the  roots  ready  to  spring  through  the  earth  as  the 
blossom-bearer  of  the  next  year.  The  best  root  is  not  one  with  many 
small  eyes  but  one  with  but  a  few  round,  plump,  wide-awake-looking 


THE  DUCHESSF  PE   NEMOCKS  AT  THE  RIGHT 
OPENS  FIRST  IN  THE  FORM  OF  AN  EXQUISITELY 
SHAPED  WHITE  CLP  WITH   A  LEMON-YELLOW 
center:   AS    IT  GRADUALLY-   EXPANDS   ITS 
LARGE  GUARD  PETALS  THE  YELLOW  CENTER 
PALES   UNTIL  AT   THE   PERFECT   HOUR   OF 
MATURITY    IT   IS    A    WONDERFUL   CHASTE 
WHITE  :   THIS   LOVELY  PEONY  OF  CHAMELEON 
HABIT   IS   DELICATELY    FRAGRANT,    BLOOMS 
EARLY   AND   PROFUSELY   AND   IS    MOST   SATIS- 
FACTORY  AS   A   CUTTING   FLOWER  :    IT   IS   ONE 
OF  THE    MOST   EXQUISITELY   BEAUTIFUL   OF 
ALL  THE  PEONIES,  LIKE  A  ROSE  IN  GRACE 
AND    COLORING. 


AN    EXCEEDINGLY  LOVELY  PEONY  IS  THE 
LA  ROSIEHE  AT  THE  RIGHT  :  LIKE  THE 
OTHER  TWO   SHOWN   ON   THIS   PAGE   IT  IS 
PURE   WHITE  WITH   A  YELLOW  CENTER, 
CUP    SHAPED.    FR.^GRANT,    EXQUISITE  : 
THE  FLOWER  IS  DELICATE  OF  FORM.  OF 
MEDIUM    SIZE.  CROWING   UPON   A  BUSH 
OF   MODER.\TE   HEIGHT:   ITS  CLEAR   GREEN 
FOLIAGE   .\ND    STOUT    STEM    TIPPED   WITH 
THE  CHARMINGLY   GR.^CEFUL  BLOSSOM 
MAKE  IT  A  G.'^RDEN   F.WORITE  .AS   WELL 
AS  A   SATISFACTORY   ONE  FOR   I.VTERIOR 
DECORATION. 


I'i 


rge   H.   Peterson. 


PEONIES  WHEN  (jKOWN  FOR  LONG-STEMMED  CUT  FLOWERS  SHOULD  BE  SET 
THREE  FEET  APART  IN  ROWS,  FOUR  OR  FIVE  FEET  BETWEEN  EACH  ROW  : 
PEONIES  IN  WELL  CHOSEN  VARIETY  MAKE  A  SUPERB  COLOR  DISPLAY,  ARE 
UNEQUALLED  FOR  WIDE  PLANTINGS  OF  PARKS  AND  ROADWAYS,  EFFECTIVE  IN 
LANDSCAPE  WORK,  IN  LARGE  BEDS,  AS  INDIVIDUAL  SPECIMENS  AT  THE  EDGE 
OF  A  LAWN  AND  INVALUABLE  FOR  CUTTING  AND  INTERIOR  DECORATIVE  PUR- 
POSES :  EVEN  THOUGH  THErR  BLOOMING  SEASON  IS  SHORT,  THEY  ARE  STILL 
USEFUL      AS       BACKGROUNDS       FOR       THE       SUMMER       FLOWERING       PLANTS. 


THE  BRILLIANT 
RED  PEONY   AT 
THE  RIGHT, 
FELIX  CROUSSE 
BY   NAME.   IS   A 
GOOD  BLOOMER 
AS  WELL  AS 
GROWER  :   ITS 
FULL,  GLOBE- 
SHAPED 
FLOWERS   ARE 
VALUED   FOR 
MASSED  COLON 
EFFECTS  :    NO 
PEONY  CAN 
EXCEL  IT  FOR 
GORGEOUS 
COLORING. 


MADAME  DE  GAHLAU  SHOWN 
BELOW   IS  A   SUPERB  LATE 
BLOOMING  PEONY  :   IN  COLOR 
IT   IS   GLOSSY   FLESH    PINK, 
SHADED  WITH  TRANSPARENT 
salmon:  THIS  SHOWY  PLANT 
IS  OF   MODERN   DEVELOPMENT 
AS   CAN   BE   SEE.N   BY  THE 
CLOSELY  PACKf;D  PETALS.  FOR 
THE  ORIGINAL  PEONY,  FROM 
WHICH   ALL  THE  GORGEOUS 
VARIETIES   NOW    SEEN   IN  OUR 
GARDENS   HAVE   DESCENDED, 
WAS   SINGLE   WITH   A   FEW 
LARGE  GUARD   PETALS  AND 
INNUMERABLE   YELLOW 
STAMENS    AT   IT?    HEART. 


ARMANDINE  MECHIN  AT  THE  LEFT  IS  A  LARGE, 
BRIGHT   PEONY,    PERHAPS   THE    MOST  BRIL- 
LIA.»JT  AND  SHOWY  PEONY  IN  CULTIVATION 
TODAY  :   IN   COLOR  IT   IS  A  TRUE  DESCENDANT 
OF  TH.\T  FIRST   WILD  FLOWER  TH.\T  FLAMED 
LIKE  A  FIRE  ACROSS  THE  ANCIENT  ISLAND 
OF  P.EONIA  :  IN  FORM  IT  SHOWS  THE  EXTREME 
OF    HYBRID  CULTURE   POSSIBILITIES. 


THE  GENERAL  BERTRAND  AT  THE  RIGHT  AND 
III  DUKE  OF  WELLINGTON  BELOW  ARE  BOTH 
IhoWY     FINELY   FORMED  FLOWERS   HELD   ALOFT 
^C  M  "iTARV   PERFECTION,  ON    LONG  FIRM 
\^L,<,  ■   THF   GENFRAL  BERTRAND   IS   A   DEEP, 
ROSE-PINK  FlSrwlTH    SMALL  SALMON   PINK 
PETALS   EDGED   WITH    LIGHTER  PINK:   THE 
OTHER  IS  PURE  WHITE. 


MARiCHAL  MAC   MAHON   A^^^"^^  ™^%Tr"k 
rLOsTv^TlL^AN^Ff^TEMS:   IT  PUTS 
FORTH   AN   UNUSUALLY  LARGE  FLOWER  OF  A 
pB^rHT  RICH   RED  :   ITS  OUTER  GUARD  PETALS   ARI 
VERY  LARGF    THE  CENTER  PETALS  NARROW   AND 
RAGGED    BULT  UP  HIGH   IN   THE  CENTER,  AN 
EXCEEDINGLY  BEAUTIFUL  PLANT,  QUITE  INDIS- 
PKNSABLe'fOR  BORDERS  AND  SHOWV  COLOR 
EFFECTS  •   PLANTED  IN    A   SOLID  BLD  IT   MAKE^   A 
GLOW  OF  COLOR  THAT  IS   UNSURPASSED  FOR 
GORGEOUSNESS. 


THE  WITCHES  OF  THE  GARDEN 

buds.  One-,  two-  or  even  three-year-old  plants  can  be  purchased 
which  will  make  a  satisfactory  showing  the  following  spring.  But 
if  the  purse  is  small  and  the  stock  of  patience  large,  a  package  of  seeds 
will  bring  equal  results. 

These  gorgeous  herbaceous  plants  will  good-naturedly  flourish  in 
almost  any  soil,  in  shade,  sun  or  partial  shade.  Like  every  other 
living  thing,  however,  they  will  only  reach  the  height  of  their  per- 
fection if  given  considerate  care.  They  will  more  than  repay  for  a 
proper  scientific  planting.  They  are  great  feeders,  for  they  put  forth 
a  strong  stem,  hea\'y  foliage  and  a  wealth  of  bloom  within  a  very 
short  time.  The  finest  flowers  are  obtained  by  digging  a  bed  two  or 
two  and  a  half  feet  deep,  filling  it  with  pulverized  loam  or  garden  soil 
mixed  with  well-rotted  manure,  the  proportion  being  about  one-fifth 
the  bulk  of  loam.  If  only  new  manure  is  obtainable,  it  must  be  made 
fine,  mixed  with  the  soil  with  a  flat-tined  fork  and  thrown  in  the 
bottom  of  the  bed.  The  best  way  is  to  start  a  new  bed  in  the  spring 
by  mixing  new  fertilizer  and  soil  together  and  turning  it  over  every 
two  or  three  weeks,  giving  the  heat  and  rains  of  summer  time  to  dis- 
integrate and  blend  the  bed.  Peonies  thrive  best  in  a  soil  which  is 
not  too  light  with  sand  or  heavy  with  clay,  and  in  a  well-drained 
position.  Each  root  should  be  set  so  that  the  upper  eyes  are  two  or 
three  inches  beneath  the  surface  of  the  bed,  about  two  and  a  half  or 
three  and  a  half  feet  apart,  or  even  more  if  space  permits.  Florists 
who  plant  for  long-stemmed  cut  flowers  set  them  three  feet  apart  in 
rows,  four  or  five  feet  between  each  row. 

No  water  is  needed  when  planted  in  the  very  late  fall,  for  the 
plant  must  remain  dormant  until  the  spring  rains  awaken  it.  Then 
much  water  will  help  greatly,  if  applied  to  the  roots  but  kept  away 
from  the  leaves.  Much  watering,  especially  if  an  occasional  feeding 
of  manure  water  be  given,  will  produce  strong,  vigorous  growth  of 
stalk,  full  glossy  foliage  and  large  richly  colored  flowers.  The  tops  of 
the  plants  must  be  cut  back  each  fall  and  thrown  back  over  the  roots 
to  make  a  mulch.  In  the  spring  remove  the  coarser  part,  add  fertilizer 
and  spade  into  the  soil,  being  careful  not  to  disturb  the  new  buds. 

This  beautiful  flower  with  its  blaze  of  gorgeous  color,  year  after 
year  is  almost  immune  from  disease.  Few  insects  disturb  it.  The 
tiny  ants  which  visit  its  buds  when  they  first  begin  to  swell  simply 
drink  the  sweet  sap  which  exudes  and  do  not  injure  the  blossom  in 
the  least.  The  plant  needs  no  winter  protection,  for  it  is  a  hardy, 
independent  garden  friend  well  able  to  take  care  of  itself. 

Hardly  a  garden  is  without  this  hardy,  dependable,  easily  grown 
and  brilliant  "herbaceous  rose."  Colors  to  satisfy  everyone  can  be 
chosen  from  any  reputable  grower.    Among  the  rarely  beautiful  ones 

27 


THE  WITCHES  OF  THE  GARDEN 

may  be  found  the  General  Bertrand  of  large  rose-pink  guard  petals 
well-filled  with  small  sahiion-pink  petals  tipped  with  lighter  pink,  the 
buds  finely  elongated,  foliage  full  and  rich.  The  Duchesse  de 
Nemours,  another  aristocratic  beauty,  has  large  white  outer  petals 
and  lemon-yellow  with  greenish  reflex,  slashed  centers.  As  the  bud 
with  its  delicate  heart  expands,  it  gradually  pales  to  purest  white.  It 
blooms  profusely  and  exhales  a  rare  perfume.  The  Duke  of  Welling- 
ton is  quite  Hke  it  as  to  form  and  habit  of  maturing  its  yellow  center 
to  a  pure  white.  The  stems  are  long  and  fine,  making  it  a  good  flower 
for  decorative  uses.  Glossy  white,  tinged  with  red  is  the  full  cup- 
shaped  Marie  Jacquin.  The  weak  growths  often  are  almost  single 
with  golden  stamens  in  the  center  that  remmd  one  of  our  native 
water-lily — as  lovely  in  this  form  as  in  the  more  vigorous  double 
growth.  The  Marechal  MacMahon,  a  strong  grower,  is  of  a  deep 
rich  red  upon  opening  and  blooms  until  late,  a  trait  that  makes  it 
a  universal  favorite.  Felix  Crousse  is  a  gorgeous  flower,  with  dazzling 
red  petals  guarding  a  ruby -flame  center.  The  Madame  de  Galhau,  a 
profuse  bloomer  of  late  habits,  is  valuable  for  border  effects.  Its 
color  is  soft,  glossy,  flesh-pink  shaded  with  transparent  sahnon.  La 
Rosiere  is  another  delicately  lovely  white  peony  with  small  yellow 
stamen  center  like  a  rose. 

These  are  but  a  few  of  many  marvelously  colored  American 
descendants  of  those  first  wild,  sturdy,  flame-red  and  snow-white 
peonies  whose  beauty  filled  the  Old  World  with  a  spirit  of  reverence 
or  of  superstition.  They  fill  our  gardens  with  incomparable  beauty, 
and  our  hearts  with  gladness.  If  color  were  translated  into  music,  a 
peony  bed  would  be  heard  shouting  paeons  of  praise  to  the  highest. 


28 


THE   MARIE  JACQUIN   IN   BLOOM. 


ARE  WE  TRAINING  FOR  WAR  OR  PEACE  ? 
BY  GUSTAV  STICKLEY 

jHE  war  germ  is  latent  in  every  nation.  Its  breaking 
out  into  malignant  activity  always  depends  upon  the 
national  state  of  mind.  As  a  matter  of  fact,  we  may 
be  unconsciously  sickening  for  war  when  we  seem  most 
intent  upon  the  profits  of  peace.  In  what  appear  the 
normal  pursuits  of  a  peaceful  land  we  may  be  at  any 
time  nourishing  the  baleful  spirit  of  destruction;  for 
that  which  in  its  extreme  manifestation  is  war,  is  also  alive  in  all 
forms  of  pleasures  and  business  in  which  the  competitive  spirit  rules. 
In  our  athletic  games,  in  our  commercial  conflicts,  in  our  battles  for 
social  and  political  supremacy,  the  war  germ  is  lurking.  And  when 
these  aggressive  forces  inherent  in  all  healthy  nations  get  out  of  hand, 
it  is  time  to  put  on  the  brakes  and  watch  the  danger  signals. 

It  is  well  always  to  keep  in  mind  that  the  war  germ  is  stirring 
in  all  combats  for  aggrandisement,  personal,  national  and  racial. 
Peace  conferences  cannot  destroy  it,  nor  can  the  capture  of  one 
weary  blood-stained  nation  by  another  ruthless  and  red,  lessen  its 
activity.  Only  the  people  of  the  whole  nation  can  insure  peace  by 
developing  within  themselves  the  interests  and  elements  that  make 
for  true  progress.  Trade  to  be  sure,  we  must  have.  Well  then  let 
it  be  trade  between  nations  of  neighbors.  Why  should  we  build  as 
Germany  has  done,  so  many  factories  that  it  has  become  in  her 
estimation  necessarj'^  to  fight  to  make  a  market  for  her  products? 
Why  should  any  nation  in  the  world  permit  her  merchants  to  make 
three  articles  where  one  only  is  needed,  and  then  find  it  necessary' 
to  go  to  war  to  sell  the  other  two,  resulting  in  a  demoralization  of 
the  buyer,  the  merchant  and,  of  course,  eventually,  the  nation? 

This  kind  of  commercial  struggle  is  fortunately  for  the  progress 
of  peace  in  this  country  beginning  to  be  crushed.  We  are  as  sus- 
picious of  the  merchant  who  can  control  humanity  through  com- 
merce as  we  are  of  the  ruler  who  can  control  it  through  fear.  Through 
our  recent  close  communication  with  Mexico  and  South  America,  we 
have  commenced  to  realize  how  very  close  to  actual  warfare  is  the 
commercial  battle  that  seeks  to  control,  if  not  nations,  enormous  land 
products  for  personal  aggrandisement. 

WTiile  "he  who  makes  two  blades  of  grass  grow  where  one  grew 
before "  is  a  benefactor,  he  who  floods  the  markets  with  superfluous 
goods  which  he  must  fight  to  sell  is  nourishing  the  war  germ  in  the 
most  virulent  fashion.  How  can  the  sane  men  of  the  nation  strive 
for  this  over-production  in  factories  when  the  finest  farms  prac- 
tically all  over  America  are  under-worked?  If  we  are  going  to  work 
for  peace  in  the  future  we  must  learn  to  produce  constructively  in- 

29 


ARE  WE  TRAINING  FOR  WAR  OR  PEACE? 

stead  of  destructively,  we  must  realize  that  it  is  a  mistake  to  regard 
all  production  as  progress;  growth  lies  only  where  the  articles  pro- 
duced are  of  benefit  to  the  world. 

The  poorest  farmer  in  the  world  is  in  line  with  this  sort  of  prog- 
ress. When  he  gathers  from  the  soil  at  harvest  time  what  was  not 
there  in  spring  time  he  has  enriched  the  world  substantially  and 
permanently,  he  has  increased  the  nation's  asset  as  no  forced  factory 
production,  not  needed  and  easily  destroyed,  has  ever  been  able  to. 
The  factory  when  over-producing  takes  from  human  life  a  toll  of 
health,  strength  and  enthusiasm,  which  it  converts  into  manufactured 
products;  these  when  not  needed  by  the  world  add  to  the  care  of 
life,  provoking  greed  and  envy.  Moreover,  these  products  made  only 
to  sell  are  often  so  poorly  constructed  that  they  cheat  the  people, 
and  consequently  represent  a  serious  economic  leak.  Only  what  is 
needed  is  worth  making.  In  our  greed  for  commerce,  we  are  some- 
times making  only  to  sell,  we  are  competing  with  hundreds  who  are 
doing  the  same  thing,  we  are  fighting  to  get  the  best  of  them,  we  are 
fighting  for  markets,  fighting  for  supremacy  and  trade.  And  as  we 
are  compelled  to  fight  we  cheapen  our  stock  in  trade  in  order  to  re- 
serve everything  for  the  battle.  In  the  long  run,  this  is  like  giving 
soldiers  poor  food  to  save  money  to  buy  better  ammunition. 

And  we  do  this  with  our  wide  beautiful  farms  all  about  us,  with 
the  farmer  crying  for  our  help,  with  markets  eager  to  be  filled.  Can 
we  not  forget  the  useless,  the  artificial,  the  unnecessary  in  our  civiliza- 
tion for  the  sake  of  future  peace,  can  we  not  give  our  thoughts  to 
producing  only  what  the  world  demands  and  so  create  the  atmosphere 
which  breathes  peace  as  inevitably  as  oxygen  breathes  health?  If  we 
thus  flood  the  national  system  with  red  corpuscles  the  vicious  war 
germs  must  of  necessity  remain  inert.  Otherwise  we  of  today  cannot 
escape  our  share  of  responsibility  for  the  wars  of  to-morrow.  Whether 
we  shall  progress  into  peace  or  whether  we  shall  in  the  future  find 
about  us  such  demoralization  as  Europe  is  now  suffering,  we  are 
deciding  today  in  our  market-places,  our  schools,  our  factories,  our 
politics.  So  much  for  the  future — for  the  present  is  only  the  future 
in  the  making. 

AS  a  result  of  Europe's  present  war,  we  are  today  facing  prob- 
lems which  have  not  heretofore  been  ours  since  the  republic 
was  first  estabUshed  and  at  peace.  We  are  once  more,  as  in 
the  early  days  of  the  colonies,  thrown  upon  our  own  resources.  If 
the  war  continues,  even  spreads  as  it  now  threatens  to,  we  shall  have 
to  become  absolutely  self  sufficient,  our  industries  one  and  all  must 
learn  to  stand  on  their  own  feet.    For  no  longer  can  we  turn  to  other 

30 


ARE  WE  TRAINING  FOR  WAR  OR  PEACE? 

nations  for  either  raw  materials  or  skilled  labor.  Whether  we  are 
making  silk,  wool,  pottery,  ceramics,  furniture  or  fabrics,  we  shall 
have  to  seek  our  varied  needed  suppHes  at  home.  This  is  not  taking 
advantage  of  a  heart-breaking  foreign  situation.  It  is  meeting  war's 
adversities  with  what  wisdom  we  must;  if  the  result  is  good  for  the 
nation  then  we  shall  realize  our  added  national  strength.  And  surely 
in  any  case  we  shall  see  clearly  the  value  and  beauty  of  peace  to 
America  in  contrast  with  the  utter  demorahzation  of  war  in  Europe. 

If,  for  instance,  we  find  that  the  import  of  the  Enghsh  clay,  for 
the  glazing  of  our  paper,  stops,  the  science  of  today,  coupled  with 
the  ingenuity  of  our  Yankee  inheritance,  will  certainly  show  us  how 
to  take  our  more  porous  product  and  find  a  way  to  refine  it  for  such 
needs  as  we  may  have.  If  Germany  will  no  longer  send  potash  for 
our  glass-making  and  ceramics,  American  capital  will  build  the  neces- 
sary factories  for  the  production  of  this  material  which  will  not  only 
help  us  through  our  present  struggle,  but  make  us  permanently  inde- 
pendent. In  olden  times,  after  peace  came  to  us  here,  we  learned 
how,  in  spite  of  all  prophecies  to  the  contrary^  to  design  our  homes, 
to  build  them,  to  weave  our  fabrics  and  rugs,  to  make  our  clothes, 
to  produce  our  furniture.  In  fact  these  very  difficulties,  such  as  we 
faced  in  large  proportion  over  a  century  ago,  and  as  we  must  face 
in  a  smaller  way  today,  all  contribute  in  time  to  our  power  to  gain 
commercial  independence.  Today  we  not  only  have  the  impulse 
to  sustain  the  republic  single-handed,  but  we  have  in  our  midst  the 
inventor,  the  artist,  the  scientist,  the  chemist  who  will  all  flock  to 
our  assistance,  and  through  this  temporary  struggle  for  readjustment 
we  shall  find  a  national  growth,  an  increased  stability. 

It  is  a  very  good  thing  for  a  nation  to  know  that  she  is  equal  to 
her  own  existence  just  as  it  is  for  a  man  to  know  that  within  himself 
lies  the  power  to  cope  with  life,  that  he  can  pay  his  own  debt  to 
existence  every  day. 

May  it  not  be  that  one  of  the  by-products  of  this  terrible  struggle 
in  Europe  will  be  America's  increased  knowledge  of  her  individual 
strength  and  resourcefulness.'*  Is  this  not,  as  a  matter  of  fact,  just 
what  a  democracy  really  means  if  it  is  a  success — the  development 
of  the  individual;  out  of  which  is  born  the  greater  industrial  progress, 
and  that  peace  in  the  future  which  we  must  work  for  today.'* 

I  HAVE  thought  since  we  have  heard  recently  of  France's  brave 
fight,  and  yet  at  times  inadequate  struggle  with  the  German  army, 
that  possibly  her  strength  as  a  democracy  had  rendered  her  in- 
capable of  fighting  with  the  cohesion  and  the  iury  of  the  soldiers 
trained  under  the  Kaiser.    France  has  been  working  for  the  last  half 

31 


ARE  WE  TRAINING  FOR  WAR  OR  PEACE? 

centurj'  for  peace,  she  has  been  working  for  industrial  success.  Each 
individual  has  had  his  own  opportunity  to  become  as  important  as 
his  own  strength  could  make  him,  each  man  in  France  has  looked 
to  a  future  of  health  and  prosperity  for  himself  and  his  family.  Such 
training  for  a  nation,  no  matter  how  large  the  standing  army,  does 
not  prepare  adequately  for  war.  Millions  of  people  cannot,  at  one 
and  the  same  time,  concentrate  on  the  sword  and  the  plowshare. 
Their  mind,  their  heart,  their  soul  are  working  either  for  war  or  for 
peace. 

If  here,  in  America,  a  person  of  importance  should  suddenly  say, 
to  myself,  for  instance:  "I  feel  that  for  you  to  commit  suicide  would 
be  a  great  lesson  in  courage  for  the  nation,"  I  should  be  unutterably 
shocked.  I  should  not  have  the  slightest  impulse  to  respond.  I 
should  say  to  this  man,  "My  life  has  been  used  in  preparing  for 
peace,  in  working  for  my  country,  for  my  family.  I  have  had  no 
training  to  commit  suicide,  I  have  no  interest  in  doing  it,  I  have  the 
courage  to  work,  to  die  when  my  time  comes."  This  is  how  my 
democracy  trains  us.  If  the  same  request  were  put  to  a  Japanese 
man  in  whatever  walk  of  life,  undoubtedly,  in  a  few  moments,  he 
would  be  dead.  He  has  had  the  training  for  generations  to  respond 
to  this  call — not  so  much  to  work  for  his  country,  as  to  die  for  it. 
This  is  the  monumental  difference  between  a  kingdom  of  one  man, 
and  of  a  government  of  the  people  by  the  people.  In  a  Democracy 
all  the  people  are  the  government,  hence  the  government  must  be  fair 
to  all  the  people. 

On  the  other  hand,  if  our  ideal  is  the  soldier  the  spirit  of  warfare 
must  be  trained  into  men  for  generations;  they  must  be  trained  to 
think  with  the  mind  of  one  man,  trained  to  have  the  courage  for 
death  only,  if  the  one  man  dictates  it.  It  is  thus  that  Germany's 
army  has  the  power  that  is  almost  unquenchable.  France  gives  her 
youth  as  gladly,  as  freely,  as  courageously,  but  her  men  are  trained 
to  use  the  plowshare.  As  we  have  said  at  the  verj^  beginning  of  this 
article,  war  is  a  state  of  mind;  "as  a  man  thinks  so  is  he."  If  he  is 
thinking  peace,  if  he  is  thinking  honesty,  if  he  is  thinking  the  best 
for  the  world,  for  his  neighbor  as  for  himself,  then  he  belongs  to  a 
democratic  civilization  which  demands  that  he  do  his  utmost  for 
permanent  peace. 

I  can  think  of  nothing  so  important  for  us  today  in  America  as 
to  end  all  the  little  strifes,  the  little  competitions,  all  the  little  war- 
fares and  make  our  nation  a  democracy  in  spirit  as  well  as  in  name, 
the  nation  that  believes  in  peace,  works  for  peace,  and  in  the  end 
triumphs  over  all  through  peace. 


32 


"j 

>. 


BEAUTY  HARVESTS  FROM  FIELD  AND  FOR- 
EST FOR  WINTER  DECORATION:  BY  AN- 
TOINETTE  REHMANN  PERRETT 

VERY  weed  of  thine,  pressed  rightly,  flows  in  aroma- 
tic wine,  and  every  little  hedge-row  flower  that  grows, 
and  every  little  brown  bird  that  doth  sing,  hath  some- 
thing greater  than  itself,"  said  some  fortunate  one 
who  could  see  the  luminous,  intangible  beauty  that 
hovers  like  an  aura  around  every  common  object  of 
earth.  Some  people  easily  see  the  fine  spirit  of 
beauty  that  enfolds  the  humblest  weed  as  well  as  the  highest  star, 
others  must  learn  to  see  it,  must  be  educated  to  see  it.  Some 
walking  through  October  woods  see  a  shimmering,  immaterial  beauty 
drifting  between  the  trees  and  hovering  over  the  distant  hills  that 
somehow  conveys  to  them  a  wordless  message  of  high  import.  They 
see  opal,  over-tone  colors  where  others  see  but  the  primary  reds, 
yellows  and  orange  that  flame  in  maple  and  sumac.  They  note  the 
decorative  angular  turn  of  a  weed  that  has  hung  its  ripened  berries 
above  a  soft  gray  rock,  take  it  home  with  them  and  give  it  a  setting 
in  accord  with  its  genuine  artistic  worth.  Immediately  others  ob- 
serve that  the  spray  thus  set  apart  in  an  honored  position  is  a  wonder- 
fully lovely  thing. 

A  berry  wand  of  the  ,4 

forest,  captured   on  an  ^' 

Indian  summer  day,  will 
transform  a  city  room.    A 
knotted   twisted    branch, 
whose  treasure  of  seed  is 
so  cleverly  guarded  with 
protective  thorns,  wields 
true  woodland  beauty. 
The  heaw    dull   atmos- 
phere  catches   the    jubi- 
lant spirit  that  emanates 
from  all  forest-  and  field-grown  things, 
and  becomes  vibrant  with  spontaneous 
light-heartedness.      Fortunate   is   the 
room  that  contains  the  wand  of  wild- 
wood  magic. 

Even  magic  wands  must  be  in  the 
hands  of  a  human  musician  before 
their  spell  is  released;  they  must  be 
swung  with  an  understanding  rhythm, 
as  it  were,  and  the  authoritative  com-  the  orange  haw. 

33 


BRILLIANT  DECORATIONS  FROM  FOREST  AND  FIELD 

mand  given.  This  is  accomplished  by  a  sympathetic  arrangement 
of  them  on  table,  shelf,  window  ledge,  in  jar,  vase,  or  basket.  Find 
out  what  manner  of  bush  the  berry  wand  comes  from  and  give  it 
similar  treatment  in  your  room.  For  instance,  the  inkberry,  or  ever- 
green winterberry,  is  from  a  compact,  well-rounded  bush — give  it 
place  in  an  open  Indian  basket.  The  Wichuraiana  needs  the  tall 
pitcher  shape  with  a  flaring  top  to  make  it  feel  at  home. 

Every  shrub  has  characteristics  that  go  to  make  up  its  personality. 
In  placing  branches  or  stems  of  it  in  a  vase  or  basket  for  decoration, 
it  is  the  part  of  a  true  appreciation  not  to  soften  its  peculiarities,  but 
to  sympathetically  interpret  them,  and  thus  retain  its  inherent  char- 
acter. Take,  for  instance,  the  silvery  Eleagnus.  The  dull  white 
drupes  that  hang  loosely  like  tassels  from  slender  silver^'  twigs  are 
pretty  enough  gathered  into  a  small  silver  basket,  but  to  be  really 
characteristic  and  original,  their  reddish  brown  branches,  their  long 
bare  budding-end  branchlcts  guarded  with  spines,  their  peculiar 
characteristic  curves  and  angles  should  all  be  retained.  Then  you  will 
have  something  irregular  and  unconventional,  something  beautiful  in 
its  own  unique  way,  something  that  has  a  fresh  and  salutary  effect 
upon  your  environment. 

IT  is  the  same  way  with  the  Hippophsea,  or  sea-buckthorn.  It  is 
not  only  the  conspicuous  berries  alone,  varying  from  pale  yellow 
to  deeper  orange  tints,  translucent  and  spotted  with  brown  dots, 
that  you  need  to  interpret  this  European  protector  of  the  sand  dunes, 
this  saver  of  the  alluvium  of  streams.  It  wouldn't  be  the  Hippophsea 
if  its  berries  didn't  cling  so  numerously  to  its  branches,  but  neither 
would  it  be  the  Hippophsea  without  its  silver  gray  bark  speckled  with 
brown  spots,  covered  with  golden  brown  buds,  guarded  at  intervals 
with  silver  spines,  or  without  its  every  twig  and  branch  ending  in 
a  thorn.  Compare  the  blunt  angles  of  the  Hippophsea  with  the  high- 
bush  cranberry  or  guelder  rose.  The  high-bush  cranberry  has  straight 
enough  stems  but  such  curving  and  drooping  twigs  that  it  has  together 
with  its  translucent  scarlet  berry  clusters  and  its  deep-ridged  maple- 
like leaves  an  aristocratic  grace.  Compare,  also,  the  two  dogwoods, 
the  red-stemmed  one,  the  Cornus  alba,  and  the  dogberry,  the  Cornus 
sanguinea.  The  one  right  early  loves  to  show  its  bare  and  thick  red 
stems.  The  other  keeps  its  foliage  on  from  top  to  toe  until  well  into 
November.  The  one  is  rugged,  the  other  has  garden  graces.  The  one 
has  straight  stems,  the  other  a  curved  and  twisted  mass  of  twigs  and 
branches.  All  this  gives  them  their  differences  in  characterization  and 
should  be  easily  distinguishable  even  when  they  are  used  in  room 
decoration. 

34 


SILVER  ELEAGNUS   IN  A  ROSE  RED  JAR 
ON   THE  left:   the  CHARMING  CHAR- 
ACTER OF  BRANCHES   CANNOT  BE  APPRE- 
CIATED UNTIL  THE  LEAVES  HAVE  FALLEN. 


THE     JAPANESE     TRAILING     ROSE,     THE     WICH  UKAI A  X  A,       MIJi-     A     TAI.I,     VASE     TO 
BRING  OUT   THE  FULL  BEAUTY   OF    ITS    CURVING    STKM    HUNG    WITH    SCARLET    HIPS. 


V 


THE  DOGBERRY  WITH  ITS  SMALL  CLUSTERS 
OK  BLACK  FRUIT,  LATE  STAR  FLOWERS  AND 
PARALLEL-VEINED  LEAVES  IN  A  TULIP  VASE 
OF  BLACKISH  BLUE.  AS  SHOWN  ON  THE  LEFT, 
MAKES  A  CHARMINGLY  ORIGINAL  NOTE  OF 
COLOR  IN   A   ROOM. 


ON   THE  RIGHT  IS   AN   ARRANGE- 
MENT OF   ENGLISH    HAWTHORN 
IN  AN  OLD  BRASS  WATER  BOTTLE  : 
THE  DARK  RED  HAWS  AND  LOBED 
LEAVES   WITH  THE  GLINT  OF 
BRASS  HOLD  THE  VERY  SPIRIT 
OF  OUTDOOR   AUTUMN   COLOR- 
INGS :   BRANCHES  AND  LEAVES 
WILL  DRY  WITH   A  PECULIARLY 
DECORATIVE  GRACE   IF  THE  JAR 
HOLDING  THEM   BE  FILLED  BUT 
ONCE    WITH    WATER    AND    NOT 
REPLENISHED:   SLOW   DRYING 
PRESERVES   INDIVIDUALITY   OF 
FORM. 


BEFORE  ARRANGING  BERRIES  IN  VASES  CONSIDER  THE  KIND 
OF  BUSH  THEY  COME  FROM  AND  GIVE  SIMILAR  TREATMENT  IN  THE 
HOUSE:  PLACE  THEM  IN  TALL  SLENDER  VASES  OR  ROUNDING, 
SQUAT    JARS    AS    THEIR    NATUR.\L    MANNER    OF   GROWTH    DICTATES. 


THE   RED-STEMMED   DOGWOOD. 
CORNUS  ALBA,   SHOWN  ON  THE 
LEFT,   FRUITED  WITH    WHITE 
BERRIES,  CAN  BE  ARRANGED  IN 
MANY  ATTRACTIVE  WAYS,   FOR 
ITS  LEAVES   HAVE  A  PECULIARLY 
DECORATIVE,   ACCOMMODATING. 
WAY  OF  ADAPTING  THEMSELVES 
TO  ANY  SITUATION  :  BERRIES 
BEGIN  TO  FORM  ON  THIS  BUSH 
IN    MAY  AND  CAN  BE  GATHERED 
AS  LATE  AS  NOVEMBER,  BUT  THE 
LEAVES  DO  NOT  REACH  THE  FULL 
INTEREST  OF  COLOR  UNTIL  THE 
FALL   FROSTS   ARRIVE. 


ON   THE  RIGHT   M.\Y  BE   SEEN   THE 
BEAUTIFUL   TRANSLUCENT    SC.'\RLET 
BERRIES    OF    THE    HIGH-BUSH    CRAN- 
BERRY AMONG  THEIR  DEEP-RIDGED 
MAPLE-LIKE  LEAVES.   ARRANGED  IN   A 
SOFT-TONED  BLUE  VASE  :  A  GRACEFUL  BIT 
OF   WILD-WOOD   GROWTH    THAT   WOULD 
TRANSFORM    THE    FORMAL    ATMOSPHERE 
OF  ANY  CITY  ROOM. 


THESE  PICTURES  ARE  ESPECIALLY  WORTH  STUDYING,  FOR  THEY  SHOW 
A  VERY  H.\RMONIOUS  ARRANGEMENT  OF  THE  BRANCHES  WITH  RELA- 
TION TO  THE  VASES  :  THE  CLUSTERED  BERRIES  AND  FOLIAGE  SEEM  TO  RE- 
PEAT IN   EACH   CASE  THE  LINES  OF  THE  POTTERY. 


<\ 


IN    THE   DEERFIELD    BASKET   OF 
HOME-DYED  BROWN    WILLOW   ON 
THE  RIGHT,  ARE  CLUSTERS  OF 
THE  LIGUSTRUM    MEDIa's   SHIN- 
ING BLACK   BKRRIES  :   BELOW   IS 
THE  BROAD  EVERGREEN   WINTER- 
BERRY  IN  AN  OLD  INDIAN  BASKET  : 
AUTUMN  BERRIES  IN  OLD  BASKETS, 
REMINISCENT  OF  WALKS  THROUGH 
FIELD  AND  GROVE,   FILL  A  ROOM 
WITH   THE  FRIENDLY.    WINNING 
CHARM    OF   BREEZY    HILLS   AND 
QUIET    DELLS  :    THEY    ARE    GOOD 
FOR  CITY    WORKERS   TO   HAVE 
WITHIN  CONTINUAL  SIGHT. 


BELOW   IS  THE 

JAPANESE 

PAGODA  TREE 

WITH    ITS 

GREEN, 

SAUSAGE-LIKE 

FRUIT. 


HOLLY  BRANCHES  ALWAYS  CARRY    A 
HAPPY,   FESTIVE  AIR  :   THEIR  GAY  RED 
BERRIES    HIDING   AMONG   THE  THICK 
PRICKLY    LEAVES    ARE    ASSOCIATED   IN 
OUR   MINDS   WITH   HOLIDAY   MAKING  : 
IT  WOULD  BE  IMPOSSIBLE  TO  ARRANGE 
THEM   IN  A  WAY  DEVOID  OF  CHARM, 
FOR   THEIR  BEAUTY   CONTROLS   ANY 
SITUATION  :    THEY   ARE    SHOWN    AT 
THE  RIGHT  IN   A   SMALL  GRAY-GREEN 
VASE   OF   BELGIAN    POTTERY. 


BRILLIANT  DECORATIONS  FROM  FOREST  AND  FIELD 

There  is  great  variety  in  the  structure  of  the  fruited  twigs  to  be 
gathered.  There  are  hips  on  the  roses  and  haws  on  the  thorns.  There 
are  dry  one-seeded  drupes  Uke  the  Eleagnus  or  the  spiked  sumacs, 
six-seeded  berry-Uke  drupes  Uke  the  inkberry,  juicy  drupes  Hke  the 
common  buckthorn  or  the  crimson  elderberry.  There  are  bright  red 
translucent  drupes  like  the  high-bush  cranberry,  nut-like  seeds  en- 
closed in  pulpy,  berry-like  cups  like  those  of  the  American  yew,  and 
real  berries  like  the  Hippophsea.  There  are  pomes  like  the  choke- 
berries,  capsides  like  these  of  the  Wahoo  or  burning  bush,  and  curious 
pods  like  those  on  the  Japanese  pagoda  tree.  All  these  various  fruits 
differ  not  only  in  structure  but  in  shape.  They  differ,  too,  in  the  way 
they  group.  The  berries  of  the  Indian  currant,  for  instance,  fairly 
hug  the  branches,  while  the  inkberries  hang  on  long  petioles  singlv 
or  in  twos  and  threes  from  the  axils  of  the  leaves.  The  high-bush 
cranberry,  the  Viburnum  opulus,  grows  in  convex  clusters,  the 
Viburnum  cassinoides  in  very  flat  clusters.  Some  clusters,  like  those 
of  the  common  barberry,  are  pendent,  some,  like  those  of  the  Lio'us- 
trum  media,  are  terminal  and  pyramidal  in  shape.  Some  clusters  are 
made  up  of  berries  all  the  same  size,  while  the  berries  of  the  snow- 
berry  vary  in  size  from  the  size  of  a  marble  to  the  size  of  a  pea.  Even 
among  hips  and  among  haws,  the  differences  are  very  noticeable. 
Compare  the  small  elongated  hips  of  the  Wichuraiana  and  their  char- 
acteristic grouping  with,  for  instance,  the  clusters  of  round  hips  of 
our  native  climbing  rose,  the  Rosa  setigera.  Compare,  too,  the 
clustered  hips  of  the  English  hawthorn  with  the  large  hips  of  our 
native  cockspur  thorn  or  with  the  roundish,  crowded  clusters  of  the 
evergreen  thorn. 

THERE  is,  too,  a  much  greater  variety  in  the  coloring  of  the 
berries  than  one  would  expect  to  find.  What  color  do  you  want 
for  your  decoration?  A  wonderful  lavender.''  Then  use  the 
jewel-like  clusters  of  the  Callicarpa.  Is  it  a  unique  steel  blue.''  You 
will  find  it  in  the  Symphoricarpos.  Is  it  a  rose  shading  to  crimson.'* 
You  will  find  it  in  many  of  the  coral-berries.  The  snowberries,  the 
red-stemmed  dogwoods,  and  the  panicled  dogwoods  have  white 
berries.  The  Kinnikinnik,  the  Cornus  amomum,  has  pale  blue  berries 
with  a  silvery  sheen.  The  Hippophaea  are  a  translucent  yellow,  the 
bittersweet  a  dull  yellow.  The  evergreen  thorn  is  a  beautiful  orange 
at  first  and  then  turns  red  later  in  the  season.  The  matrimony  vine 
has  large  scarlet  drop  pearls.  In  September,  the  inkberries  are  a  rose 
red,  changing  as  they  ripen  to  a  shining  black.  In  the  same  way,  the 
Viburnum  cassinoides,  before  the  berries  turn  dark  blue  and  wither, 
are  at  first  a  rose-tinged  cream  and  then  part  rose  and  blue.     There 

39 


BRILLIANT  DECORATIONS  FROM  FOREST  AND   FIELD 

are  all  sorts  of  red  berries.  The  chokeberries  are  especially  bright  and 
plentiful  in  October.  The  black  alder  is  one  of  our  native  hollies,  and 
lovely  for  Christmas  decoration.  It  is  the  Japanese  barberry,  how- 
ever, that  keeps  its  scarlet  berries  among  the  latest.  In  fact,  there  are 
a  good  many  berries  left  when  the  new  leaves  appear.  The  same  is 
true  of  the  brownish  black  berries  of  Regel's  and  the  common  privet. 
The  twelve  illustrations  of  this  article  are  from  photographs  taken 
from  berries  gathered  in  a  small  park  near  our  home  and  placed  in 
the  simple  pottery,  brasses,  coppers  and  baskets  that  we  had  in  our 
rooms.  They  were  all  used  against  a  grayish  gi*een  burlap  wall  and 
brown-stained  oak.  One  of  the  best  things  about  a  soft,  neutral  wall 
is  that  it  fairly  courts  decoration.  We  wish  we  could  tell  you,  some 
time,  of  how  we  have  used  flower  combinations  in  these  rooms,  but 
with  the  berries  we  only  experimented  this  year  with  one  kind  at  a 
time.  The  pale  green  pods  of  the  Japanese  pagoda  tree  seemed  to 
take  naturally  to  the  Japanese  fruit  basket,  and,  together  with  the 
late  panicles  of  butterfly  flowers  and  against  the  dark  green  of  the 
graceful,  many-leaved  foliage,  were  an  interesting  and  curious  sight. 
The  shining  black  clusters  of  the  privet,  Ligustrum  media, — they  are 
very  different  from  the  berries  of  the  common  privet — were  in  a 
basket  of  dull  brown-stained  willow  made  in  Deerfield  from  an  old 
colonial  model.  The  hawthorn  was  placed,  on  account  of  its  size,  in  a 
brass  kettle  we  picked  up  one  day  in  the  market-place  of  that  wonder- 
fully preserved  mediaeval  city,  Bruges,  while  the  bittersweet  was  in 
the  old  Dutch  turf  pot  made  of  dull  brown  copper  with  rings  of  shining 
brass.  The  Japanese  barberry  was  in  a  hammered  copper  pitcher 
from  the  Gewerhe  museum  in  Mimich.  The  holly  with  its  thick,  dark 
green  leaves  was  in  a  grayish  green  jar.  The  black  clusters  of  the 
dogberries,  with  their  parallel-veined  leaves  and  the  late  clusters  of 
four-pointed  star  flowers,  make  a  rich  dark  scheme  with  the  bluish 
black  glazed  tulip  vase.  The  scarlet  clusters  of  the  high-bush  cran- 
berry with  its  rich  deep  foliage  looks  strikingly  handsome  in  a  Japanese 
vase  of  soft  greenish  JdIuc.  The  reason  for  putting  the  Eleagnus  in  a 
jardiniere  of  hazy  rose  red  was  that  its  white  berries,  as  the  season 
advances,  have  a  faint  rose  brown  tinge  that  harmonizes  with  the 
coloring  of  the  pottery. 

PEOPLE  who  do  not  use  berries  frequently  in  their  decorations 
have  no  idea  how  large  a  variety  there  is  to  draw  from.     We 
were  greatly  surprised  this  fall  to  find  over  fifty  kinds  with 
only  a  single  park  as  a  source  of  supplies.    It  was,  to  be  sure,  a  park 
planted  by  the  Olnisteads,  and  one  which  sustains  its  interest  the 
whole  year  round  in  a  continuous  succession  of  flowers  and  fruits. 

40 


BRILLIANT  DECORATIONS  FROM  FOREST  AND   FIELD 

Many  are  the  berries  that  are  native  in  different  parts  of  our  country 
that  can  be  grown  in  our  gardens.  The  evergreen  thorn,  for  instance, 
is  a  very  useful  bush  for  garden  decoration.  It  has  not  only  lovely 
foliage,  a  bridal-like  bloom,  brilliant  haws  that  stay  on  all  winter, 
but  it  can  assume  almost  any  shape.  It  makes  a  fine  hedge  plant; 
it  can  be  trained  along  walls;  it  makes  a  compact  planting  about  the 
foundations  of  the  house;  it  can  be  made  to  stand,  a  tall  sentinel,  by 
the  doorway;  it  can  be  harmoniously  grouped  with  other  shrubs. 
The  inkberry,  too,  is  a  plant  to  be  considered  wherever  you  want  a 
medium-sized,  fine-leaved  evergreen  with  special  winter  attractions 
about  the  house  or  as  a  border.  Of  course,  holly  has  a  high  place 
among  evergreens.  The  Wichuraiana  is  lovely  for  trailing  over  walls 
or  terraces  or  when  it  is  merely  allowed  to  lie  upon  the  ground.  The 
dogberry  is  a  graceful  garden  bush  with  lovely  red  and  purple  colors 
in  its  winter  stems,  but  the  red-stemmed  dogwood  needs  a  larger 
place  where  it  can  be  grown  in  stretches  to  form  a  touch  of  vivid  red 
in  the  winter  landscape.  The  hawthorn  is  a  pretty  tree  for  the  front 
lawn  or  for  grouping  among  the  back  shrubbery.  The  Eleagnus  and 
Hippophsea  are  used  at  times,  in  the  latter  way,  with  much  success, 
but  they  are  more  especially  appropriate  when  grown  with  willows 
in  places  along  the  coast  or  on  sandy  banks,  or  in  parks  where  this 
character  is  simulated  along  the  waterways.  The  privet  and  high- 
bush  cranberry  are  good  wherever  tall,  hardy  shrubs  are  wanted. 
The  high-bush  cranberry"^  in  our  garden  did  valiantly  north  of  tall 
trees  caught  in  among  buildings,  and  the  privet  grows  well  even  in 
a  smoky  factor^'  atmosphere.  An  interest  in  berries  very  soon  forces 
you  to  an  interest  in  winter  gardens. 

Our  interest  in  berries  made  us  hunt  for  them  in  household  fabrics 
and  design.  We  looked,  for  instance,  through  hundreds  of  samples 
of  cretonnes  and  printed  linens  without  finding  one  that  had  used  the 
snowberry  for  its  inspiration.  Yet  what  could  be  more  appropriate 
for  a  young  girl's  room,  for  instance,  than  these  beautiful  white 
berries  of  varying  sizes  picturesquely  hugging  their  stems  and  tipped 
with  wee  pink  flowers.  We  found  hundreds  of  rose  designs,  trite  and 
unimaginative,  loosely  put  together,  uninspired,  with  only  the  crudest 
feeling  for  design,  but  among  them  not  a  single  hip.  Yet  wouldn't 
the  Wichuraiana,  with  its  decorative  hips  and  lovely  coloring,  adapt 
itself  easily  to  conventionalization?  Of  course,  we  are  given  such 
designs  because  we  have  so  little  knowledge  of  the  great  variety  of 
plants  about  us.  We  know  so  few  growing  things  intimately,  and 
when  we  do,  we  fail  to  characterize  them  and  to  select  those  that  are 
most  appropriate  for  our  purpose  and  most  congenial  to  our  per- 
sonalities. 

41 


THE  CITY  OF  LAUGHTER:    BY    CONINGSBY 
DAWSON 

IHERE  was  once  a  man  who  was  dissatisfied  with  him- 
self and  the  age  in  which  he  hved.  He  wanted  to 
describe  the  world  as  he  believed  God  had  intended 
it — as  he  hoped  it  would  become  one  day.  He  tried 
in  half-a-dozen  ways  to  describe  it.  At  last,  he  wrote: 
"It  shall  be  called  the  City  of  Truth — and  the  streets 
of  the  city  shall  be  full  of  boys  and  girls  playing." 
Rather  a  strange  combination  of  words,  truth  and  playing!  In 
this  strenuous  day,  we  shrug  our  shoulders.  We  know  that  the  only 
road  by  which  truth  may  be  obtained  is  the  road  of  labor.  An  un- 
pleasant road!  In  our  youth,  we  have  to  be  urged  along  it  and  lashed 
along  it,  like  the  soldiers  of  Xerxes,  unwilling  to  go  into  battle;  as  we 
grow  older,  we  get  the  habit  of  plodding  forward.  Some  of  us  are 
promoted  and,  in  our  turn,  become  whippers  for  the  Army  of  Progress, 
flogging  the  younger  generation  into  the  forward  march  toward  the 
invisible  Eldorado. 

Every  age  has  had  its  Better  Land,  for  which  it  has  gone  in  search. 
For  the  Jew,  it  was  the  land  of  truth;  for  the  Greek,  the  land  of  beauty; 
for  the  Dark  Ages,  the  land  of  emancipation  from  the  flesh;  for  the 
Renaissance,  wisdom  in  the  concrete  form  of  loveliness;  for  the 
eighteenth  century,  personal  and  political  liberty;  in  our  day,  it  is 
the  land  of  individual  material  success.  For  all  it  has  been  the  dream 
of  happiness,  or,  religiously  phrased,  the  behef  that  by  pressing  ever 
forward  some  sudden  bend  in  the  road  will  bring  Man  within  sight 
of  God's  face.  The  goal  of  the  journey  has  been  variously  called. 
As  William  Morris  puts  it,  "Men  fight  and  lose  the  battle,  and  the 
thing  that  they  fought  for  comes  about  in  spite  of  their  defeat,  and 
when  it  comes,  turns  out  to  be  not  what  they  meant,  and  other  men 
have  to  fight  for  what  they  meant  under  another  name."  The  name 
of  the  thing  that  is  sought  may  change,  but  the  method  of  its  search 
has  always  been  fighting.  Only  to  this  olden  Eastern  dreamer,  sitting 
among  his  vineyards,  looking  down  on  a  sun-bleached  Jewish  town, 
did  it  occur  that  the  Eldorado  might  be  a  City  of  Laughter,  the  ap- 
proaches to  which  were  not  roads  but  lanes  of  wild  flowers  and 
playing. 

Incredible!  An  unacceptable  gospel  to  our  way  of  thinking! 
Almost  as  unacceptable  as  that  advice  of  another  Eastern  philosopher 
that  we  should  take  no  thought  for  the  morrow  because  the  hand  that 
clothed  the  fields  and  fed  the  birds  would  clothe  and  feed  us.  "Gospels 
of  laziness!"  we  say  and  shrug  our  shoulders.  Or,  trying  to  be  rever- 
ent, we  hunt  for  excuses,  "Different  ages  have  different  conditions 
and  different  standards."    Playing,  indeed!    Take  no  thought  for  the 

42 


THE  CITY  OF  LAUGHTER 

morrow !  If  we  taught  our  children  the  value  of  idleness  where  would 
they  be  the  day  after  to-morrow?  So,  when  a  noted  scholar  dies  at 
forty,  who  had  boasted  that  he  could  work  sixteen  hours  a  day,  live 
without  exercise  and  exist  on  four  hours'  sleep,  we  rather  tend  to 
applaud  him  as  a  hero.  He  lived  in  a  city;  it  was  said  his  light  was 
always  burning  when  the  last  of  his  students  crept  into  bed;  his  blind 
was  always  up  when  the  earliest  of  them  got  back  to  his  studies.  This 
man  was  so  industrious  that,  when  he  went  on  journeys,  instead  of 
watching  the  country,  he  took  his  stenographer  with  him  and  dic- 
tated. He  was  an  exaggerated  example  of  the  indomitable  American 
toiler,  after  which  pattern  we  do  our  best  to  mold  our  children.  But 
how  much  did  he  see  of  the  marvel  of  the  world  which  had  been  given 
him  to  inhabit.'^  Always  beyond  the  horizon  there  was  a  fresh  land- 
scape and  beyond  that  another  and  another,  spreading  away  like 
woven  tapestries  of  magic  and  girdling  the  world.  He  worked — he 
died  worn-out  at  forty. 

The  city  is  to  be  called  the  City  of  Truth — its  streets  are  to  be 
full  of  boys  and  girls  playing.  Nothing  is  said  about  the  age  of  the 
boys  and  girls.  Perhaps  some  of  them  are  to  be  eighty;  at  all  events, 
they  are  all  to  be  young  in  spirit — they  are  to  be  playing. 

I  LIKE  to  think  of  the  man  who  painted  such  a  picture  of  existence. 
He  had  lived  within  walls,  been  the  counsellor  of  kings,  had  seen 

empires  rise,  float  away  and  burst  like  bubbles,  had  helped  to 
marshal  armies  and  had  watched  them  march  out  to  return  in  triumph 
or  defeat.  He  had  grown  tired  of  the  useless  glory  of  the  pageant. 
He  listened  for  laughter,  and  heard  only  the  droning  sound  of  work; 
he  looked  for  playing,  and  saw  only  men  building  and  destroying. 
He  went  away  to  his  vineyard  on  the  hill  and  thought.  This  hurry^ing 
to  and  fro,  this  selfish  capturing  and  snatching  couldn't  be  what  God 
had  meant.  It  was  then  that  he  had  the  vision  of  the  land  to  which 
the  world  was  going — a  City  of  Laughter,  where  men  and  women  had 
always  the  hearts  of  boys  and  girls — "the  streets  of  the  city  shall  be 
full  of  playing." 

All  knowledge,  all  achievement  which  is  worth  the  having,  is 
attained  in  the  spirit  of  playing,  and  not  of  work.  A  sweeping  state- 
ment! But  true  if  you  consider  it.  Every  work  of  art  is  a  work  of 
play.  Was  a  great  book  ever  written  which  was  not  undertaken  in 
the  child-spirit  of  adventure?  Compare  Boswell's  "Life  of  Johnson" 
with  the  hack  biographies  compiled  by  other  men.  Boswell  was  a 
naughty  child,  eavesdropping  when  he  ought  to  have  been  in  bed. 
He  hid  under  tables  to  hear  what  his  master  was  saying;  he  spied 
through  keyholes   to   catch   him  undisguised.     He  was  the  make- 

43 


THE  CITY  OF  LAUGHTER 

believe  explorer  of  a  continental  personality  which  was  determined 
not  to  be  explored. 

Which  was  determined  not  to  be  explored!  There  began  the  ad- 
venture. If  Boswell  had  waited  till  his  friend  was  dead  and  had  set 
about  writing  his  biography  in  a  solemn  atmosphere  of  duty,  com- 
piling memories  and  hearsay  facts,  like  a  laborious  ant — ^who  would 
care  to  read  what  he  has  written?  It  was  the  impertinence,  the 
excursionist  curiosity,  the  holiday  merriment  of  the  man  that  made 
him  write  a  Robinson  Crusoe  life  record  of  a  very  fat  lexicographer — a 
record  full  of  hairbreadth  escapes  for  the  biographer. 

Play  may  be  the  best  kind  of  work — the  difference  between  work 
and  play  is  a  difference  in  training  and  mental  attitude.  Teach  a 
child  to  play  sadly  and  call  his  play  work — ^you  make  him  a  laborer 
who  toils  even  when  he  is  playing. 

The  mistake  which  most  of  our  educators  are  making  is  to  stamp 
upon  play  the  brand  of  drudgery.  I  remember  a  preposterous  little 
book  that  used  to  be  found  with  the  Bible  beside  English  beds;  it 
was  entitled,  "Blessed  be  Drudgery."  Puritanical  cant!  Drudgery 
was  never  blessed  and  nothing  could  ever  make  it  blessed.  The  same 
kind  of  cant  that  found  blessedness  in  pain  and  ugliness  and  all  the 
other  penalties  of  man's  folly!  Go  to  Nature.  See  what  haste  she 
makes  to  cover  up  faults  and  barrenness — she  tries  to  make  greenness 
everywhere.  A  tree  dies.  Moss  and  creepers  climb  about  it.  A  river 
bursts  its  banks  and  scars  the  landscape.  Flowers  grow  up  to  hide 
the  havoc.  Ugliness  and  drudgery  are  no  part  of  God's  plan  for  his 
world.  If  Man  insists  on  inventing  them,  God  leaves  Man  to  do  the 
explaining.  Boys  and  girls  playing  in  a  green  City  of  Laughter — that 
was  what  God  meant. 

Contrast  this  with  the  kind  of  world  that  we  are  giving  to  our 
children.  Fields  are  rife  with  flowers  and  full  of  birds.  Do  we  give 
them  eyes  to  see  them?  Instead,  we  herd  them  in  a  walled-in  world. 
We  teach  them  about  Nature  with  withered  specimens  and  from 
text-books.  Their  learning  would  be  play  if  we  allowed  them  to 
pluck  the  flowers  themselves.  Every  child  loves  animals — we  make 
them  read  about  them  in  Natural  Histories  written  by  pedants.  We 
change  their  love  into  work. 

THERE  was  a  book  from  which,  as  a  child,  I  was  taught  to  read. 
It  was  called,  "Reading  Without  Tears."  I  shed  plenty  of 
tears  over  it  and  learned  very  Httle  in  the  stuffy  schoolroom, 
stooped  over  a  sunlit  desk  while  the  flies  drummed  against  the  shining 
window-panes.  But  by  myself,  sitting  cross-legged  with  Grimm's 
Fairy -Tales  in  the  nursery,  how  nmch  I  learned !    I  picked  up  reading 

44 


THE  CITY  OF  LAUGHTER 

without  knowing  it,  because  I  was  doing  it  of  my  own  choice.  The 
same  way  with  arithmetic.  I  hated  it  until  some  play-person  told 
me  that  it  was  nothing  more  than  an  endless  battle  between  King 
Addition  and  King  Subtraction — then  I  grew  interested.  Education 
should  be  a  directing  and  not  a  compelling. 

The  instincts  of  the  child  are  the  instincts  of  the  savage.  Every 
boy  and  girl  in  growing  up  lives  through,  in  his  or  herself,  the  entire 
process  of  evolution  that  forms  the  history  of  the  race.  There  is  the 
love  of  the  open,  the  kinship  with  the  animals,  the  desire  for  loveliness, 
the  herd-spirit  curiously  combined  with  a  fierce  sense  of  the  right  to 
independence.  Just  as  the  savage  lived  in  a  play-world  and  made  his 
great  discoveries,  which  advanced  the  world's  progress,  in  a  spirit 
of  playing,  so  does  the  child.  But  our  modern  educators  try  to  hurry 
the  child's  development  through  these  early  stages  by  hothouse 
processes.  Competitive  examinations  and  the  fear  of  failure  soon 
rob  the  child  of  its  confidence,  light-heartedness  and  originality. 

The  last  two  centuries  have  been  occupied  with  social  battles  for 
the  Rights  of  Man.  In  this  twentieth  century,  the  battle  has  only 
just  commenced  for  the  Rights  of  the  Child.  Its  right  to  green  places; 
its  right  to  select  what  it  loves  in  the  world;  above  all,  its  right  to 
exercise  its  imagination — to  learn  by  playing. 

Gray  faces  everywhere !  Men  and  women  who  know  nothing  but 
how  to  earn  bread!  In  the  crouching  tread  of  cities  the  sound  of  the 
fear  of  life  and  the  terror  of  death !  And  yet  always  between  the  stone 
cities  lies  the  green  City  of  Laughter,  where  work  is  play,  where  birds 
sing  as  they  build  their  nests  and  rivers  flow  silver  through  meadows, 
certain  of  the  sea  and  unhurrying. 

The  day  is  coming  when,  one  by  one,  our  wise  men  hke  the  old 
Eastern  dreamer  will  steal  out  from  the  walls  of  work  into  the  grassy 
Metropolis  of  Laughter.  There  the  work  will  still  go  on,  but  un- 
knowingly. No  one  will  be  old;  the  streets  of  that  city  will  be  full 
of  boys  and  girls  playing. 


45 


THE  ARTIST'S  WONDER-STONE:  HOW  BARON 
DE  MEYER  SEES  MODERN  SPAIN 

]HERE  was  once  a  man  who  ceaselessly  wandered 
through  the  quiet  lanes  and  busy  highways  of  the 
world  hunting  for  the  fabled  stone  that  endows  the 
finder  with  power  to  look  through  the  mask  of  ex- 
ternals, through  all  sophistries  of  the  mind  and  allure- 
ments of  the  flesh,  straight  into  the  transparent  heart 
of  things.  Eyes  touched  with  this  wonder-stone  see 
the  fadeless  beauty  that  hides  within  the  transient  form;  ears  hear 
the  intent  of  speech  and  not  the  words;  lips  lose  their  power  of  deceit 
before  it  and  speak  but  truth.  The  man  stumbled  upon  many  strange 
pebbles  hidden  among  wayside  flowers  or  buried  in  the  dust  of  high- 
ways, and  bought  many  a  glittering  gem  from  fantastically  garbed 
wizards  of  the  market-place.  But  the  magic  stone  was  not  among 
them.  One  day,  as  he  sat  talking  with  an  age-bent  peasant  as  they 
rested  together  by  the  road,  he  saw  the  fine  brave  spirit  of  a  true 
knight-errant  shining  through  the  tired  old  eyes,  heard  a  voice  of 
kingly  dignity  behind  the  uncouth  dialect,  felt  the  soft  touch  of  under- 
standing sympathy  in  the  clasp  of  the  toil-hardened  hands.  Looking 
about  him  he  was  surprised  to  find  that  he  could  see  a  divine  beauty 
in  all  common  things,  the  fine  essence  of  rough  exteriors.  Yet  he  had 
no  wonder-stone  in  his  hand !  By  constantly  peering  into  every  eye, 
listening  with  unbiased  mind  to  every  voice,  putting  the  pebbles  of 
earth  to  test  with  anxious  hope,  he  had  gradually  created  within  his 
own  mind  the  invisible  stone  or  clear  perception  that  gives  vision. 
Where  else  would  the  key  to  understanding  be  lodging  except  in  the 
experienced,  weighing  and  testing,  penetrating  human  mind ! 

The  talisman  of  true  insight  sometimes  becomes  the  possession 
of  artists  when  they  steadily  strive  to  portray  the  real  man  or  woman 
behind  the  social  mask  of  a  beautiful  or  ugly  face;  of  writers  who  con- 
tinually seek  the  significant  motive  behind  apparently  insignificant 
deeds;  of  travelers  who  with  the  "open  sesame"  of  a  friendly  heart 
become  able  to  penetrate  the  castes  and  customs  of  all  nations  to  the 
mysterious  thread  that  binds  the  many  into  one. 

Photographers  have,  for  the  most  part,  been  absorbed  in  repro- 
ducing the  beauty  of  external  forms  and  the  charm  that  lies  in  nicely 
related  lights  and  shades.  They  have  looked  for  the  graceful  com- 
position of  a  landscape  rather  than  for  the  atmosphere  that  makes  it 
sentient;  for  striking  attitudes  of  figures  and  intimate  details  of 
physical  life  rather  than  for  the  emotion  that  prompts  each  expression. 
They  have  focussed  the  lens  of  their  cameras  sharply  upon  the  texture 
of  a  rose  leaf,  the  velvet  quaUty  of  tree  shadow  upon  a  white  wall, 
the  glint  of  sunshine  on  still  waters,  the  swift  fluttering  of  a  himiming 

46 


A   TYPICAL   BEAUTY    OF    GRANADA  :    FROM    A 
PHOTOGRAPH    BY   BARON   RUDOLF  DE    MEYER. 


vT 


THE  SPANISH   DANCER  OF  TODAY,      FROM   A 
PHOTOGRAPH    BY    BARON    RUDOLF   DE    MEYER. 


"a     modern    CABALLERO    of    GRANADA,"     FROM 
A    PHOTOGRAPH    BY    BARON    RUDOLF    DE    MEYER. 


hH. 


"dreaming     of    victory,"     from     a     SPANISH 
PHOTOGRAPH     BY     BARON     RUDOLF     DE     MEYER. 


SPAIN  THROUGH  THE   ARTIST'S  CAMERA 

bird's  wing  as  it  hovers  above  a  nectar-filled  flower  cup.  They  have 
made  telescopes  of  their  cameras  and  photographed  the  mountains 
of  the  moon;  turned  their  lenses  with  microscopic  force  upon  tiny 
insects  of  the  grass,  and  revealed  them  as  ferocious  monsters  of  a 
trackless  jungle;  they  have  shown  us  with  X-ray  wizardry  the  beating 
of  our  hearts,  the  coursing  of  our  blood,  the  flight  of  a  cannon  ball, 
the  nervous  system  of  an  angle  worm.  Wonderful  things  indeed  they 
have  done  in  revealing  the  secrets,  the  inner  workings,  the  external 
beauties  of  objects  of  physical  life.  But  few  of  them  try  to  photo- 
graph the  soul  of  things — the  Dweller  beyond  the  Threshold. 

It  is  the  exceptional  photographer  who  uses  his  camera  with  the 
insight  of  an  artist,  who  strives  to  reveal  not  only  the  outward  beauties 
of  his  subject  but  that  inner  significance  of  which  the  external  is  but 
the  lovely  shell.  And  such  an  artist  is  Baron  de  Meyer,  some  of  whose 
studies  inspired  this  article.  He  deliberately  focuses  his  camera  not 
upon  the  sparkle  of  an  eye  but  upon  the  light  that  illumines  the  eye. 
He  has  somehow  become  possessed  of  the  immaterial  wonder-stone, 
the  talisman  of  insight,  and  uses  it  as  a  lens!  When  he  photographs 
a  man  the  face  is  shadowy  but  the  soul  is  clear;  when  he  photographs 
a  tree,  its  storm-resisting  spirit  shines  through  the  bark  of  the  twisted, 
staunchly  fighting  branches.  He  makes  portraits  of  flowers — (not 
just  pictures  of  them)  a  humanly  modest  or  flaunting  individuality 
showing  in  poise  of  stem,  lift  or  droop  of  petal.  A  field  of  his  photo- 
graphing shows  its  hope  or  pride  of  harvest;  a  lane,  its  prim  or  saunter- 
ing air  of  haste  or  leisure,  its  aristocratic  or  plebeian  way  of  marching 
proudly  up  a  hill  or  shrinking  shyly  through  a  pasture  lot  or  grove. 

Readers  of  The  Craftsman  are  already  familiar  with  the  work 
of  this  photographer  who  penetrates  the  shell  of  things  to  the  essential 
kernel,  for  they  have  seen,  from  time  to  time  in  this  magazine,  his 
inspired  interpretations  of  humanity,  his  portraits  of  trees  and 
flowers,  his  spiritual  treatment  of  the  usually  lifeless,  still  life  subjects. 

Pictures  of  Nature  are  great  or  indifferent  according  to  the  treat- 
ment given  them  by  the  artist.  He  is  the  translator,  as  it  were,  who 
destroys  or  justly  interprets  their  story  of  life.  "Not  all  the  mechan- 
ical or  gaseous  forces  of  the  world  or  all  the  laws  of  the  universe  will 
enable  you  either  to  see  a  color  or  draw  a  line  without  that  singular 
force  anciently  called  the  soul,"  says  Ruskin.  Baron  de  Meyer  pos- 
sesses that  force  "anciently  called  the  soul,"  that  essential  quality 
of  vision  without  which  a  picture  is  lifeless,  inert,  valueless  as  art. 
Unless  a  man  has  understanding,  vision,  insight,  he  sees  but  darkly. 
"Having  eyes  they  see  not." 

His  interpretations  of  Spanish  life  that  we  are  publishing  this 
month  might  easily  be  mistaken  for  reproductions  of  paintings  instead 

51 


SPAIN  THROUGH  THE  ARTIST'S  CAMERA 

of  photographs.  The  camera  does  not  usually  pierce  to  the  essential 
fact  of  a  subject  and  leave  the  rest  to  its  deserved  second  place.  In 
its  zeal  for  detail  it  generally  leaves  nothing  to  the  imagination— and 
without  imagination  there  is  no  art.  When  it  is  turned  toward  the 
face  of  a  friend  it  has  a  diabolical  way  of  recording  any  blemish  of 
the  flesh,  of  exaggerating  every  weakness  of  character.  Some  say 
that  "the  camera  never  lies."  The  truth  is  that  it  generally  bears 
false  witness;  it  reports  but  half  the  truth,  a  most  maUcious,  evil 
trick  indeed.  Only  in  the  hands  of  the  artist  does  the  camera  give 
things  their  true  value. 

How  wonderfully  it  has  portrayed  the  questioning,  balancing, 
half-laughing,  quizzical,  inviting  yet  defying  look  of  the  Spanish 
woman.  She  is  just  as  we  would  remember  having  once  seen  her. 
The  loose,  dark  hair,  sensuous  eyes,  smiling  lips,  soft  full  throat  and 
gracefid  upraised  hand  would  remain  in  our  memory,  while  the  folds 
of  the  dress  be  forgotten — if  observed  at  all.  This  is  true  art,  not 
commercial  photography — to  retain  the  things  that  should  be  retained 
and  to  lose  the  things  that  are  of  no  account.  And  the  thoughtfully 
peering  face  of  the  man  with  the  soft-lipped  profile!  His  is  the  face 
of  a  dreamer,  looking  within  his  own  soul  for  solution  of  that  which 
his  eyes  see.  How  sensitively  the  camera,  under  the  command  of 
de  Meyer,  has  portrayed  the  still,  intent  gaze.  That  look  of  the 
seer  as  the  significant  detail,  the  kerchiefed  head,  cap,  coat  and  chin 
as  unimportant  details  have  been  justly  balanced  and  truly  reported. 

The  treatment  of  Ught  in  the  full-length  study  of  the  dancer  lifts 
the  picture  beyond  the  field  of  the  usual.  It  is  handled  masterfully, 
also  in  the  other  two  photographs  reproduced.  In  the  one  of  the 
dashing  young  caballero,  the  artist  depends  upon  a  mass  of  shadows 
and  concentrated  spot  of  light  for  his  interest.  In  the  other  he  has 
dared  the  full  blaze  of  the  sun,  the  penetrating  light  that  permits 
no  shadow,  that  softens  lines  and  blurs  all  detail.  The  strong  light 
that  produces  strong  shadows  is  difficult  to  handle  in  photography, 
for  the  negative  is  apt  to  show  but  a  blank  flare  of  light  beside  a 
blurred  mass  of  darkness.  Diaphragming  for  detail  of  shadow,  the 
lights  become  deadened.  In  the  photograph  of  the  woman  sitting 
at  the  table  in  the  direct  light  of  a  window,  he  has  managed  with 
consummate  skill  to  get  softness  of  contours  and  detail  of  fold,  even 
the  glow  of  light  upon  the  face  glancing  from  the  white  cloth  on  the 
table.  The  outline  of  the  hand  on  the  bottle  is  nicely  lost — as  it 
naturally  would  be  against  the  transparent  bottle.  Focusing  the 
camera  with  an  artist's  insight,  he  has  gained  a  remarkable  balance 
of  those  powerful  contrasts — sunlight  and  shadow — the  intangible 
elements  from  which  the  infinite  subtleties  of  beauty  spring. 

52 


AMERICAN  WOMEN  AND  HOUSEWORK:  THE 
PROBLEM  PRESENTED  BY  THE  PROPHESIED 
DECLINE  IN  IMMIGRATION 

|UROPE'S  most  valuable  export  to  America,  if  we  are 
to  consider  the  daily  comfort  of  man,  is  undoubtedly 
the  million  or  so  stout  workers  which  we  have  been  in 
the  habit  of  receiving  from  the  continent  every  year. 
Regardless  of  the  commercial  or  social  prosperity  of 
any  foreign  land,  the  stream  of  immigrants  continued 
to  flow  to  this  countiy;  Russia,  Finland,  Sweden,  Den- 
mark, Germany,  the  Balkan  States,  Greece,  Hungarjs  Italy,  all  fur- 
nished their  share  of  the  annual  million.  Although  as  time  has  gone 
by  these  various  nations  have  felt  a  certain  depletion  in  their  working 
lines,  it  has  seemed  impossible  to  lessen  the  human  export.  And, 
while  much  of  this  enormous  influx  of  labor  was  unskilled,  it  never- 
theless furnished  us  some  fine  ideals  in  the  arts  and  crafts  and  agri- 
cultural pursuits.  Even  the  untrained  contingent  found  a  warm  wel- 
come; the  men,  in  our  vast  enterprises  requiring  much  labor  for  little 
money  and  the  women,  however  ignorant,  helping  to  furnish  leisure 
in  American  homes. 

The  present  terrific  and  devastating  war  in  Europe  has  brought 
about  conditions  that  will  put  this  source  of  supply  almost  out  of  our 
reach.  The  servant  question  will  face  us  in  America  during  the  coming 
years  as  never  before.  With  our  great  steamships  landing  in  America 
practically  without  steerage  booking,  the  cjuestion  of  domestic  labor 
in  this  country  develops  into  a  problem  so  serious  that  it  is  important 
to  consider  it  promptly  and  earnestly. 

No  longer  can  we  cull  our  servants  from  the  youth  of  our  immi- 
grants. The  enormous  foreign  influx  has  stopped  as  abruptly  as 
though  death  itself  had  intervened;  today  the  nations  which  have 
been  feeding  us  our  labor,  are  mobilizing  into  their  armies  our  farm- 
hands, our  house-builders,  our  road  makers,  our  ditch  diggers.  As 
for  our  cooks,  maids,  nurses,  factory  girls,  those  that  we  are  hoping 
for  in  the  future,  they  are  today  working  in  Europe's  fields,  in  the 
gardens  and  the  shops.  WTiile  our  enterprises  are  enlarging,  our 
standing  supply  of  labor  must  inevitably  decrease  through  sickness 
or  advancement  into  higher  fields  of  endeavor. 

It  is  confusing,  sociologically,  to  discover  that  in  this  most  demo- 
cratic of  all  nations,  the  great  mass  of  our  women  know  little  of  house- 
work, that  the  great  mass  of  our  young  men  know  little  of  farming. 
Back  in  the  reign  of  Queen  Victoria  a  strange  futile  "need  of  an 
aristocracy"  developed — we  trained  our  children  to  be  professional, 
we  divided  all  our  democratic  world  into  two  classes,  those  who  knew 
how  to  work  and  those  who  did  not.    Today  among  our  American 

53 


AMERICAN  WOMEN  AND  HOUSEWORK 

inhabitants  the  great  mass  do  not  know  how  to  work;  even  those  who 
have  no  money  do  not  know  how  to  take  care  of  themselves.  This 
situation  has  been  made  possible  only  because  we  have  fed  our  un- 
stable and  shaking  "aristocracy"  upon  the  strength  of  foreign  immi- 
gration. In  no  other  way  could  we,  as  a  nation,  have  ceased  to  use 
our  hands  for  our  own  benefit. 

It  has  seemed  in  the  past  as  though  the  supply  of  the  vigorous 
youth  from  over  the  waters  was  inexhaustible.  A  few  people  who 
have  thought,  have  realized  that  in  the  course  of  time  this  flood  of 
labor  must  cease,  especially  as  the  nations  from  which  we  are  receiving 
our  largest  supplies  are  beginning  to  take  every  precaution  to  keep 
their  useful  workers  at  home;  but  in  the  main  we  have  not  looked 
ahead  to  any  extent.  We  have  thought  it  would  be  pleasant  to  have 
"professional  servants,"  we  advanced  so  far  as  to  think  it  would  be 
a  good  idea  to  bring  up  our  daughters  to  know  how  to  work;  but,  on 
the  whole,  we  have  gone  on  being  comfortable,  trusting  to  luck,  and 
preferring  idleness  and  indolence  at  any  cost  with  our  increased  pros- 
perity and  increased  idleness.  Some  of  us  have  actually  grown 
ashamed  of  labor,  not  labor  inherently,  because  we  are  perfectly  will- 
ing that  others  should  work,  but  we  have  been  ashamed  to  do  it  our- 
selves. 

AT  last,  a  man,  powerful  enough  to  change  the  destinies  of  the 
world,  nods  his  head,  and  suddenly,  without  a  word  of  warning, 
this  seemingly  inexhaustible  stream  of  helpers  from  the  north 
and  south  of  Europe  dwindles  down  and  vanishes  away.  Today 
Europe  demands  the  health  and  strength  of  every  human  being; 
she  needs  every  pair  of  hands,  every  brain  the  continent  holds. 

"The  wheat,"  said  the  Premier  of  France,  in  his  appeal  to  the 
patriotism  of  the  peasant  women  of  his  nation,  at  the  beginning  of 
the  war,  "stands  unreaped  and  the  time  of  vintage  approaches.  I 
appeal  to  the  hardihood  of  the  women  of  this  land  and  to  that  of  your 
children,  whose  age  alone,  not  their  courage,  holds  them  from  the 
fighting  line.  I  ask  you  to  guard  the  life  of  our  fields,  to  gather  this 
year's  harvests  left  unfinished  because  our  farmers  have  become  sol- 
diers. I  ask  you  also  to  prepare  for  the  harvest  of  the  coming  year. 
You  cannot  render  a  greater  service  to  your  country." 

In  response  to  this  poignant  call,  we  see  today  the  blue  frocks  of 
the  peasant  women  in  the  fields,  in  the  vineyards,  in  the  gardens. 
Old  women  and  little  children  are  helping  to  garner  the  wheat,  to 
bind  the  fruit  vines  to  the  walls,  to  care  for  the  cattle.  The  gay 
flowers  will  not  be  gathered  this  year  for  the  Paris  market,  for  sous 
are  too  precious  to  be  transmuted  into  roses,  bluets  and  thistlebloom. 

54 


AMERICAN  WOMEN  AND  HOUSEWORK 

In  Paris,  as  in  many  other  French  cities,  women  have  been  com- 
mandeered for  the  men's  work;  they  are  selling  tickets  in  the  subways 
and  collecting  them,  they  are  tending  the  shops,  driving  the  wagons, 
cleaning  the  streets.  They  have  indeed  answered  their  "call  to  arms" 
with  splendid  enthusiasm,  and  if  they  have  not  stayed  the  battle, 
and  cannot  prevent  the  awful  inroads  of  poverty  and  disaster,  at 
least  they  are  giving  substantial  help  to  the  nation  and  added  to  the 
country's  roll  of  honor  in  this  time  of  disaster. 

Nowhere  in  France,  Germany,  Belgium,  Russia,  do  we  hear  of 
the  women  seeking  to  emigrate  to  avoid  the  war  perils  of  their 
country.  There  are  no  deserters  from  the  desolate  firesides;  the 
women  are  not  only  holding  their  homes  for  their  sick  and  wounded, 
but  doing  valiantly  the  work  which  has  been  left  to  them  as  a  legacy 
by  the  departing  soldiers.  The  only  homes  vacant  today  are  those 
ghostly  houses  in  Belgium  and  France  where  the  husbandmen  are 
still  in  the  trenches,  where  the  fields  are  red  beds  for  the  dying  in- 
vaders, and  where  the  women  and  the  children  and  the  old  men  have 
been  made  aUens  in  their  own  land. 

If  the  women,  young  and  old,  remain  loyal  to  their  country,  in 
all  this  agony  and  terror  and  suffering  of  war,  how  can  we  imagine 
that  in  the  somber  after  years,  when  they  have  grown  used  to  lifting 
the  country's  great  agricultural  and  commercial  burdens  they  will 
turn  traitor  to  their  own  country,  to  any  appeal  we  may  make  to 
greed?  However  much  we  may  need  these  hard  working,  capable, 
courageous  women  in  our  kitchens,  our  factories,  in  our  nurseries, 
their  own  worn  and  wounded  countries  will  need  them  far  more,  and 
will  have  a  far  greater  claim  upon  their  devotion  and  their  strength. 

AS  to  the  possibility  of  a  fresh  stream  of  emigration  flowing 
over  to  our  land  after  peace  has  come  to  these  sorrowing 
nations,  the  opinion  is  a  divided  one.  On  the  whole  the  immi- 
gration bureaus,  the  people  who  should  know  best  about  conditions 
here  and  in  Europe,  prophesy  that  we  shall  find  very  few  willing  to 
leave  their  native  land  for  many  years  to  come.  They  tell  us  that 
although  many  of  the  countries  of  Europe  will  be  greatly  devastated 
and  without  much  money  for  the  reestablishing  of  their  manu- 
factories, still  the  call  from  the  fields  and  the  httle  shops  and  the  small 
factories  will  be  widely  heeded  by  the  humble  folk.  The  men  who 
survive  the  awful  slaughter  of  war  will  be  asked  to  return  to  their 
old  trades;  the  old  people  will  work  in  the  shops  and  manage  the 
immediate  local  business  of  town  and  country.  In  the  great  fields 
of  France,  Russia  and  Germany,  the  stout,  hardy,  strong-muscled 
women  will  help  the  returning  farmers.    WTiat  hope  have  we  to  draw 

55 


AMERICAN  WOMEN  AND  HOUSEWORK 

these  people  away  from  their  opportunity  to  rebuild  the  strength  and 
the  beauty  of  their  own  land? 

The  Rev.  F.  O.  Evers,  of  the  German  Immigration  Mission  of 
New  York,  says  decidedly,  speaking  for  the  Germans:  "That  he  is 
confident  the  women  of  Germany  will  find  so  many  places  in  the 
manufactories  open  to  them  at  the  end  of  the  war  that  they  will  not 
be  wilUng  to  leave  their  own  country.  The  patriotism  of  the  women," 
he  says,  "will  surely  keep  them  at  home  to  repair  the  wounds  inflicted 
by  the  present  great  struggle." 

As  for  the  nations  which,  up  to  the  present  moment,  have  not 
been  drawn  into  this  fearful  conflict,  nations  which  in  the  past  have 
supplied  us  with  the  most  inteUigent  and  willing  workers,  Italy  and 
Sweden,  not  only  are  they  urging  their  people  not  to  emigrate,  but 
doing  all  that  is  possible  to  keep  the  strong  and  healthy  young  people 
in  their  own  country.  Should  they  fail,  however,  and  should  a  small 
stream  trickle  to  us  from  these  two  neutral  countries,  it  will  only 
furnish  us  with  such  a  limited  supply  of  foreign  labor  that  it  is  not 
worth  our  consideration  in  studying  the  servant  question  as  a  whole. 
The  Swedish  women  are,  perhaps,  the  most  developed  and  capable 
household  servants  that  we  get  from  Europe,  but  few  in  number;  the 
Italians,  although  their  steerage  record  has  been  great  in  the  last  few 
years,  are  not  apt  to  find  their  way  into  our  kitchens;  the  men  become 
independent  workers  and  the  women  seem  to  prefer  to  remain  in 
their  own  little  homes,  however  poor. 

Up  to  date,  we  have  only  been  able  to  secure  the  immigration 
statistics  for  the  first  three  weeks  in  August,  but  it  is  interesting  to 
contrast  them  with  the  entire  month  of  August,  nineteen  thirteen, 
when  the  number  which  came  to  our  shores  reached  one  hundred  and 
twenty-six  thousand,  one  hundred  and  eighty.  The  figures  we  have 
for  the  first  three  weeks  this  past  August  reached  only  eight  thousand 
nine  hundred,  and  these  were  largely  foreigners  who  took  passage 
before  war  was  announced  the  last  week  of  July.  The  present  ex- 
pectation is  that  immigration  will  drop  out  of  sight  in  the  coming 
months;  that  while  the  men  will  not  be  allowed  to  leave  the  fighting 
countries,  the  women  will  not  desire  to. 

THIS  brings  us  face  to  face  with  the  question  of  how  America 
shall  have  her  housework  done  in  the  future.  Many  vague 
remedies  have  been  suggested  from  time  to  time  as  groups  of 
men  and  women  desired  to  experiment  with  theories.  We  have  been 
told  that  the  only  hope  for  us  was  through  cooperative  living;  we 
have  been  assured  that  eventually  we  must  have  trained  servants 
who  would  come  to  us  for  a  certain  salary  a  certain  number  of  hours 

56 


AMERICAN  WOMEN   AND   HOUSEWORK 

a  day,  just  as  our  trained  nurses  do;  we  have  had  hotel  life  offered 
to  us  as  a  final  refuge.  But  strangely  enough  it  has  never  been  sug- 
gested that  the  American  woman  should  once  more,  as  in  the  early 
Colonial  days,  face  the  problem  of  managing  her  own  household;  by 
managing,  we  mean  that  she  should  be  capable  of  doing  her  own 
housework,  bringing  up  her  own  children  and  still  remain  an  in- 
telligent companionable  woman.  This  has  been  done  in  the  past, 
both  here  and  in  Europe,  why  not  today? 

The  old  ways  in  which  women  met  their  household  problems  prob- 
ably would  not  appeal  to  the  modern  woman.  Hence  the  situation 
as  we  find  it  must  develop  new  methods.  If  women  are  to  be  re- 
sponsible for  their  own  home-making  in  America,  as  it  is  very  likely 
the  mass  of  them  must  be  in  the  future,  then  we  must  prepare  a 
pathway  which  shall  not  be  too  rough  and  stony  for  the  modem  type 
of  woman  to  tread.  In  other  words,  we  must  bring  to  her  housework 
and  home-making  the  architectural  wisdom,  the  scientific  ingenuity 
that  we  have  brought  into  our  commercial  world,  where  men  Uve. 
We  have  for  the  sake  of  business  activities  improved  our  roads,  built 
more  convenient  and  interesting  buildings,  bettered  our  mechanical 
arrangements  everywhere  throughout  our  democracy.  Men  have 
insisted  that  if  we  are  to  be  a  nation  of  business  men,  by  this  we  mean 
of  the  businesses  of  agriculture  as  well  as  merchandising,  the 
inventive  capacity  of  the  race  should  be  brought  to  bear  upon  the 
comfortable  adjustment  and  progress  of  their  labor. 

If  women  are  once  more  to  become  home-makers,  if  we  are  to  find 
women  proud  of  their  cooking,  of  the  management  of  their  nurseries, 
of  the  simple  beauty  of  their  homes,  we  must  put  it  within  the 
strength  and  ability  of  the  average  woman  to  do  the  work  of  her 
home  happily  and  comfortably.  Probably  the  greatest  aid  which 
can  be  rendered  the  woman  of  the  future  as  a  housekeeper  will  be 
furnished  by  the  American  domestic  architect.  Whether  man  or 
woman,  the  builder  of  American  homes  in  the  future  will  make  a 
very  special  study  of  the  convenience  and  comfort  of  women  in  rela- 
tion to  their  household  problems.  This  does  not  mean  that  we  shall 
have  houses  that  are  only  practical,  and  dreary  as  the  practical  some- 
times is;  it  means  rather  that  as  houses  become  more  convenient, 
more  suited  to  the  needs  of  an  intelligent  age,  they  will  inevitably 
become  more  beautiful,  more  satisfactory  artistically  as  well  as  prac- 
tically; that  the  architect,  the  scientist,  will  study  all  kitchen  prob- 
lems; that  we  shall  find  clean,  wholesome,  expeditious  methods  of 
accomplishing  tasks  that  formerly  were  disgusting  drudgery.  The 
interior  of  the  house,  its  furnishing,  and  its  fitting  will  be  simple  as 
well  as  permanent.    The  minute  women  decide  to  face  the  difficulties 

57 


AMERICAN  WOMEN  AND  HOUSEWORK 

of  their  own  housekeeping  they  will  do  away  with  fashions  in  furniture 
and  furnishings.  They  will  decide  upon  a  type  of  beautiful  things 
such  as  homes  were  furnished  with  centuries  ago,  when  women  in- 
herited the  artistic  comforts  and  decorations  of  their  houses.  And 
once  more  let  me  say  that  this  will  not  lessen  the  beauty  of  American 
homes;  it  will  in  every  possible  way  add  to  it,  for  articles  that  are  made 
to  be  permanent  inevitably  receive  imagination  in  conception,  thought 
in  design,  and  sureness  in  construction.  One  does  not  make  or  buy 
a  poor  inartistic  article  to  hve  with  forever. 

It  is  possible  that  with  the  return  of  woman's  interest  in  her  home 
we  shall  once  more  develop  a  real  sense  of  craftsmanship,  and  that 
the  makers  of  the  home  will  become  the  original  craftsmen  as  they 
have  been  in  the  past,  wherever  the  industrial  arts  have  flourished. 

With  the  reconstruction  of  American  home  life  on  a  more  humane 
plane  of  balanced  happiness,  there  will  always  be  found  young  people 
willing  and  eager  to  give  help  where  they  are  sure  of  sympathy  and 
kindness  and  instruction;  there  always  will  be  too,  the  older  people, 
the  sad,  the  unsuccessful,  who  crave  the  opportunity  of  pleasant 
surroundings  in  return  for  service  to  others. 

FROM  the  beginning  of  her  estabUshment  as  a  separate  nation, 
America  has  held  a  beautiful  ideal  of  womanhood.  The  heroism 
and  wisdom  of  our  pioneer  mothers  superimposed  upon  a  desire 
for  freedom  and  progress  for  all,  flowered  out  into  a  conception  of  the 
American  woman  as  a  superior  person,  who  with  personal  charm 
possessed  also  domestic  virtues.  But  the  very  success  of  our  nation, 
its  wealth  and  ease  has  brought  about  a  reaction  from  the  more 
austere  ideal  of  a  century  ago;  our  women,  perhaps  all  unwittingly, 
are  wasting  their  prosperity — accepting  idleness  and  indolence,  not 
as  good  in  themselves,  but  as  a  badge  of  social  prestige. 

At  this  moment  of  heart-searching  sadness  and  suffering  in  the 
midst  of  the  collapse  of  civilizations,  is  it  not  worth  while  to  make 
a  new  inventory  of  life's  assets,  and  as  we  must  face  this  intricate 
problem  of  domestic  service,  why  not  decide  to  reestablish  a  demo- 
cratic ideal  of  home  industry?  Interest  is  essential  for  progress  in 
every  life — why  not  interest  in  and  responsibility  for  the  peace  and 
beauty  of  homes,  and  the  happiness  and  health  of  children? 

We  would  ask  the  American  woman  to  consider  the  value,  not 
of  returning  to  former  household  drudgery  and  isolation,  but  of  dis- 
covering and  making  permanent  a  new  ideal  of  democratic  home  life 
of  which  she  is  an  integral  part;  to  become  the  corner-stone  of  her 
own  home,  to  develop  a  finer  wisdom,  a  more  balanced  understanding 
of  the  essentials  of  progress. 


BELGIUM,   THE  HERO  AMONG   NATIONS! 

jHE  Hour  of  Happiness  has  Struck  for  Belgium!"  Thus 
wrote  her  great  poet,  Emile  Verhaeren,  in  a  brief, 
though  wonderful,  summing  up  of  his  country's  suc- 
cess, of  her  position  in  relation  to  the  world,  her  artistic 
triumphs  after  long  centuries  of  struggle,  her  heroism, 
her  magnificent  efiForts  in  the  dark  places  of  her  in- 
dustrial enterprises.  "At  last,"  says  this  famous  poet, 
"Belgium  has  found  happiness;  not  the  superficial,  the  gay,  the  purely 
subjective  happiness,  but  the  joy  of  having  overcome  insurmountable 
difiiculties,  the  joy  of  having  built  up  a  firmer  industrial  position 
among  the  nations,  of  having  won  the  respect  of  the  world,  and 
of  having  added  tremendously  to  the  world's  permanent  stock  of 
beauty." 

And  all  this  has  been  done  with  the  lances  of  powerful  nations 
pricking  her,  with  internal  conflict  almost  ceaseless  since  the  twelfth 
century.  If  any  nation  in  the  world  has  ever  grown  on  the  founda- 
tion of  its  own  ashes,  this  nation  is  Belgium;  and  not  only  has  she 
succeeded  in  gathering  up  a  splendid  industrial  army  but  she  has 
given  the  world  poets,  musicians,  painters,  who  rank  among  the 
greatest. 

This  was  true  of  Belgium  up  to  the  last  day  of  July  nineteen 
hundred  and  fourteen.  Today,  Mr.  Frank  Jewett  Mather,  the  most 
important  art  critic  in  America,  writes  that  "in  the  city  of  Louvain 
alone  have  been  destroyed  more  beautiful  works  of  art  than  the 
Prussian  nation  has  produced  in  its  entire  history.  Not  since  the 
Teuton,  Robert  Guiscerd,  at  the  end  of  the  dark  ages,  sacked  Rome," 
Mr.  Mather  tells  us,  "has  there  been  so  great  a  sacrifice  of  the  per- 
manent beauty  of  the  world  by  barbarians."  A  contrast  of  touching 
import  is  presented  in  the  words  of  Mr.  Verhaeren,  showing  Belgium 
having  achieved  her  happiest  hour,  and  of  Mr.  Mather,  showing  us 
the  destruction  of  much  that  Belgium  has  held  most  beautiful  and 
sacred. 

Although  many  of  the  smaller  cities  in  this  land  of  beauty  have 
been  sacrificed  by  the  passing  army,  the  deluge  of  devastation  seems 
to  have  poured  over  Louvain — the  most  famous,  the  most  beautiful, 
the  most  valuable  city  in  the  entire  nation,  if  not  for  its  size,  in  the 
whole  world. 

St.  Pierre,  the  Louvain  cathedral,  containing  greater  treasures 
than  any  other  of  like  proportion,  has  been  ruined.  Only  the  towers 
are  left  of  this  magnificent  Gothic  building  which  was  flanked  by 
beautiful  chapels  holding  reliquaries  of  the  saints  and  life-sized  carved 
wooden  figures.  The  Gothic  stone  and  wood  carving  in  the  interior 
of  St.  Pierre  ranked  as  among  the  finest  in  Europe.    In  addition  to 

59 


BELGIUM,  THE  HERO  AMONG  NATIONS! 

this,  paintings  by  Van  Papenhoven,  Roger  van  der  Weyden,  and 
Dierick  Bouts  were  destroyed.  The  latest  news  is  that  not  only  is 
St.  Pierre  in  ruins,  but  that  four  beautiful  churches  of  the  fourteenth 
and  fifteenth  centuries  have  also  been  obliterated — St.  Jacques,  St. 
Quentin,  St.  Michael  and  St.  Gertrude. 

The  Louvain  cathedral  was  erected  in  fourteen  hundred  and  forty- 
eight  by  Mathieu  de  Laynes.  Fortunately  for  the  joy  of  the  world, 
Louvain's  famous  Hotel  de  Ville,  also  erected  by  Mathieu  de  Laynes 
in  the  fifteenth  century,  has  not  been  destroyed.  It  has  been  injured 
and  many  of  the  wonderful  stained  glass  windows  have  been  broken, 
but  the  building  itself,  the  greatest  monument  of  Industrial  Gothic 
known,  remains  for  the  pride  of  the  Belgians,  as  well  as  for  the  lovers 
of  art  the  world  over.  There  were  many  famous  town  halls  built  in 
the  fifteenth  and  sixteenth  centuries  during  the  days  of  the  supremacy 
of  the  Guilds  in  Belgium,  but  none  so  perfect  as  Louvain's  Flemish 
Gothic  structure. 

UNLIKE  many  of  the  very  splendid  ecclesiastical  buildings  in 
France  and  Germany,  the  inside  of  Belgium's  churches  were 
as  beautifully  finished  as  the  exterior.  It  was  rare  indeed  in 
Belgium,  and  especially  in  Louvain,  to  find  the  empty  desolate  church 
interiors  that  are  so  generally  seen  in  the  heart  of  Europe,  where 
religion  has  so  often  been  associated  with  sadness,  and  where  the 
spirit  of  the  woe  of  the  people  seems  to  have  filled  the  long  aisles  and 
the  shadowy  corners  of  the  magnificent  buildings. 

As  the  immediate  sense  of  horror  over  the  disaster  of  Louvain 
sinks  back  into  history  and  one  looks  out  upon  the  destruction  of 
this  great  and  beautiful  city,  more  and  more  one  is  filled  with  astonish- 
ment. It  is  not  as  though  the  Germans  had  come  fresh  from  disaster 
at  the  hands  of  the  Belgians,  as  though  Germany  had  suffered  de- 
struction from  Louvain,  as  though  Teutonic  women  and  children  had 
been  hurt,  prompting  revenge  upon  this  old  and  great  beauty.  It 
all  seems,  even  in  cold  retrospect,  utterly  ruthless,  an  act  of  vandaHsm, 
performed  for  the  sake  of  joy  in  destruction. 

But  a  few  months  ago,  we  read  of  Belgium  as  "the  garden  of  the 
world,  her  fields  fertile  and  well-tilled,  her  roads  beautifully  paved 
from  north  to  south,  the  gentle  home  of  art  and  science,  her  money 
given  freely  to  preserve  her  halls  for  painting,  her  universities  dating 
back  to  the  twelfth  century  holding  wisdom  not  only  for  Belgium, 
but  for  France,  Germany,  Russia,  America;  her  gardens,  the  loveliest 
in  the  world,  her  children  trained  to  be  farmers,  gardeners,  scientists, 
poets,  painters.  Today  her  halls  of  learning  are  in  ashes,  her  cathe- 
drals filled  with  soldiers,  long  lines  of  her  homes  burnt  or  destroyed 

60 


A    RARE    EXAMPLE 
OF  FLEMISH-GOTHIC 
ARCHITECTURE. 
FORTUNATELY 
NOT  COMPLETELY 
DESTROYED    IN 
THE   SACKING    OF 
LOUVAIN. 


By  Courtesy  i,f  the  Metrufolitat,   Mu 


of  .-),(. 


HOTEL  DE  VILLE,  LOUVAIN,  BELGIUM  :  THIS  MOST  BEAUTIFUL  TOWN  HALL 
IN  THE  WORLD  WAS  ERECTED  BETWEEN  FOURTEEN  HUNDRED  AND  FORTY-EIGHT 
AND  FOURTEEN  HUNDRED  AND  FIFTY-NINE  BY  MATHIEU  DE  LAYENS, 
MASTER- WORK  MAN. 


fel 


ACCORDING  TO  THE  LATEST 
REPORTS    THIS    BEAUTIFUL 
OLD   FLEMISH-GOTHIC  CHURCH, 
ST.   PIERRE,   WAS  COMPLETELY 
DESTROYED    DURING   THE    SACK- 
ING OF  LOUVAIN  :  IT  WAS  ONE 
OF  THE   RAREST   EXAMPLES 
OF  FIFTEENTH  CENTURY  FLEMISH- 
GOTHIC  :   THE  BUILDING   WAS 
STARTED  IN  FOURTEEN  HUNDRED 
AND  TWENTY-FIVE  AND  WAS  FIN- 
ISHED EARLY   IN   THE   SIXTEENTH 
CENTURY  :    ON    THE    OPPOSITE 
PAGE  ARE  TWO  BEAUTIFUL  DE- 
TAILS IN  THE   STONE  AND  WOOD 
CARVING  OF   ST.    PIERRE. 


THE  CHURCH    AT   THE  RIGHT  IS    ST. 
MICHAEL  OF  LATER   DATE  THAN    ST. 
PIERRE  :  IT  WAS  A  PERFECT  EXAMPLE  OF 
FLEMISH-BAROQUE    ARCHITECTURE    ANH 
WAS   BUILT   FOR   THE   JESUITS   IN    SIX- 
TEEN  HUNDRED  AND   FIFTY  :    SO  FAR 
.\S   WE  HAVE  BEEN  ABLE  TO  ASCERTAIN 
NOT  A   STONE  OF  THIS   SPLENDID  OLD 
BUILDING  IS  LEFT,  A  LOSS  TO  LOUVAI.N 
AND   NORTHERN   ART,   AND  TO  THE 
WHOLE  WORLD  ;   FOR  NOT  ONLY  WAS 
ST.   MICHAEL  INTERESTING  IN   CON- 
STRUCTION   BUT   OF  RARE   BEAUTY   IN 
DETAIL,  INDEED  ONE  OF  THE  SIGHTS 
OF  BELGIUM  :   IT  IS   HARD  TO  REAL- 
IZE THAT  A  COURAGEOUS   NEUTRAL 
PEOPLE    WITHOUT   INTEREST   OR 
GREED   FOR   WAR   SHOULD   SUFFER 
SUCH   LOSS  AS  THE  COMPLETE  DE- 
STRUCTION  OF  THESE  TWO  BEAUTI- 
FUL EXAMPLES  OF  GOTHIC 
ECCLESIASTICAL  ARCHITECTURE. 


/  Art. 


THE  PICTURI-:  BKLOW 
SHOWS  THE  INNER 
KNTRANXE   TO   THE 
CHUKCH    OF    ST. 
PIERRE,    LOUVAIN, 
AND  WAS  PROBABLY 
ONE  OF  THE  FINEST 
EXAMPLES  OF 
WOOD   CARVING 
ANVWHERE   IN   THE 
NORTH   OF  EUROPE  : 
NOT  AN    INCH    OF 
THE   SPACE  OF  THIS 
ENTRANCE   WAS 
LKFT     UNADORNED  : 
CHURCH    HISTORY 
AND   LOCAL    HIS- 
TORY  WERE  CARVED 
ON    THESE   OAK 
PANELS    WITH 
AFFECTION,    GRACE 
AND   SKILL. 


ABOVE  IS  A   SAMPLE  OF  THE 
RICH     STONE    CARVING 
FOUND  EVERYWHERE  THROUGH- 
OUT  THE   INTERIOR   OF  THE 
WONDERFUL    OLD    GOTHIC 
CHURCH   OF   ST.    PIERRE:    WE 
UNDERSTAND  THAT    NOT   AN 
ARCH   OF  THIS  CHURCH   IS 
LEFT  INTACT  SINCE  THE  SACK- 
ING  OF  LOUVAIN  :    PROBABLY 
NO   MORE  BEAUTIFUL,   INTER- 
ESTING AND  SKILFUL  STONE 
CARVING  WAS  TO  BE  SEEN  IN 
EUROPE  THAN  THE   DETAILS 
SHOWN    here:    ALTHOUGH 
THE  OUTSIDE  OF  THE  CHURCH 
WAS  DEFINITELY  FLEMISH- 
GOTHIC   THE    INTERIOR    SO 
FAR  AS   THE    STONE   CARVING 
WAS  CONCERNED  WAS  VERY  PURL 
GOTHIC:    SUCH   A   FRAGMENT 
AS     WE    ARE     SHOWING 
IS  BUT  ONE  OF  MANY  WHICH 
ADORNED  THE  INSIDE  OF  THE 
CHURCH  :   INDEED  ST.   PIERRE 
WAS  A  TREASURE-HOUSE  OF 
UNUSUAL  AND   EXQUISITE 
CRAFTSMANSHIP  ANI  ITS 
LOSS  TO  THE   WORLD  IN  IN- 
SPIRATION  AS    WELL   AS  JOY 
IS   INCALCULABLE. 


fe     ") 


AS  WE  GO  TO  PRliSS  THK  BOMBS  OF  THK 
GERMAN   AIRSHIPS   ARE  BEING   DROPPED  INTO 
ANTWERP  THREATENING  THE  DESTRUCTION  OF 
THIS  RARE  AND   LOVELY   BUILDING:   ONE  OF 
THE  CHARMS  OF  THE  ANTWERP  CATHEDRAL  IS 
THE  WAY  IN    WHICH   THE  TOWN    HAS  GROWN 
UP  CLOSE  TO  ITS   WALLS  :  THE  VILLAGE  GREEN 
AS  WE  SHOW   IT  IN   THIS   PICTURE  BEING  JUST 
AT  THE  LEFT. 


INTERIOR  OF  THE   NEW  TOWN   HALL   OF   ANTWERP,    SHOWING   THAT   THE    JOY   OF   THE   PEOPLE 
IN    THEIR    ARCHITECTURE    AND    THEIR  SKILL  AS  CRAFTSMEN  HAS  NOT  DEPARTED  FROM  THEM. 


BELGIUM,  THE  HERO  AMONG  NATIONS! 

by  bombs;  her  green  fields  and  fertile  plains  have  been  trampled  into 
dust,  her  flowers  are  crimson  with  the  blood  of  her  own  people." 

England  says  "we  will  not  make  peace  until  Belgium  is  recom- 
pensed to  the  last  dollar."  But  how  can  we  pay  her  for  her  sacrifice, 
for  her  lost  people,  for  her  ruined  greatness?  What  medal  is  there 
splendid  enough  for  her  heroism,  what  song  great  enough  for  her 
mothers  and  widows.''  Her  youth  has  been  put  to  the  sword,  her 
beauty  lighted  by  the  torch.  We  may  today,  when  we  speak  of 
Belgium,  lift  our  heads,  our  hearts;  indeed,  for  all  time  we  shall  recog- 
nize her  as  the  most  splendid,  the  most  unselfish  of  all  people;  but  how 
can  we  quench  her  tears,  how  can  we  stop  her  wounds? 

THE  most  peaceful  of  all  European  people,  Belgium  has  been 
from  the  beginning  of  her  history,  back  in  the  ninth  and  tenth 
centuries,  a  battleground  for  distracted  nations.  She  has 
passed  through  successive  periods  of  culture  as  well  as  war  since 
Julius  Caesar  established  a  permanent  camp  there  during  his  cam- 
paign against  the  Belgians  and  the  Germans.  In  the  eleventh  century, 
Louvain  became  the  residence  of  the  long  line  of  Dukes  of  Brabant, 
and  was  the  capital  of  the  Duchy  of  Brabant,  until  Brussels  wrested 
this  distinction  from  her  during  an  uprising  of  weavers  against  their 
feudal  masters.  In  the  fourteenth  century,  Louvain  became  a  tre- 
mendous industrial  center,  with  a  population  of  nearly  one  hundred 
and  fifty  thousand  and  with  two  thousand  four  hundred  woolen  manu- 
factories. But  the  weavers  were  a  turbulent  lot,  and  when  they  rose 
against  the  Duke  of  Wencelaus,  he  conquered,  and  thousands  of  the 
workers  fled  to  Holland  and  England.  And  Louvain,  with  the  triumph 
of  her  capital  over  labor,  began  to  lose  prestige,  and  the  center  of  the 
woolen-making  industry  was  shifted  to  more  peaceful  countries. 

It  was  shortly  after  this  that  scholars  began  to  pour  into  the 
lovely  old  town  where  they  could  glean  from  the  parchments  and  the 
books  which  the  Louvain  castle  contained  facts  of  great  interest. 
It  was  John,  the  fourth  Duke  of  Brabant,  who  founded  for  these 
scholars  the  Louvain  University,  to  which  students  from  all  over  the 
world  flocked  in  the  sixteenth  century.  This  university  had  become 
one  of  the  most  famous  in  Europe,  fostering  four  thousand  students 
and  forty-three  minor  colleges.  Today  the  old  building  is  in  ashes, 
not  a  single  arch  remains. 

SO  dearly  did  the  people  of  Louvain  love  their  town,  their  uni- 
versity, their  cathedral,  so  valiantly  had  they  worked  in  the 
past  to  sustain  these  works  of  art  in  their  midst,  that  when  the 
sound  of  cannonading  from  the  German  artillery  was  heard  on  the  out- 

65 


BELGIUM,   THE    HERO   AMONG   NATIONS 


THE    FAMOUS    OLD    UNIVERSITY    AT    LOUVAIN,    DESTROYED    BY   THE    GERMAN    SOLDIlJfS 


skirts  of  the  town,  when  the  people  reaUzed  that  there  was  no  hope  for 
them,  that  the  Germans  must  pass  through  and  sack  their  city,  in  the 
midst  of  all  the  sadness,  the  sorrow,  the  terror,  these  gentle  people  of 
peaceful  ways  stopped  to  write  out  notices  and  to  put  them  on  the  doors 
of  their  homes,  on  the  gates  of  the  university,  on  the  entrances  to  the 
beautiful  churches,  begging  the  Germans  not  to  burn  their  town,  to 
take  what  they  must,  b^it  not  to  destroy  Louvain.  This  is,  in  a  way, 
one  of  the  most  touching  acts  of  sacrifice  of  all  the  many  which  these 
wonderful  Belgians  have  to  their  credit  during  the  heartrending 
weeks  and  months  of  torture  they  have  been  living  through.  There 
was  no  plea  for  any  person,  although  the  town  should  have  been 
immune  from  the  attack  of  the  Germans — an  unfortified  town,  a  town 
without  defenses,  a  town  to  which  refugees  had  fled;  but  the  one 
thought  in  the  face  of  absolute  personal  disaster  was  for  the  city,  to 
spare  the  city  for  the  world  wherever  beauty  lovers  should  be  for  all 
time.  And  the  answer  to  the  appeal  was  not  only  the  murder  of  the 
helpless  citizens  but  the  destruction  of  churches,  university  and  homes. 
But  little  is  left  at  Louvain  today  but  the  shining  spirit  of  the  great- 
ness of  the  destroyed  people,  a  thing  to  remember  as  long  as  history 
gives  space  to  splendid  spiritual  achievement. 

66 


BELGIUM,  THE  HERO  AMONG  NATIONS! 

One  of  the  interesting  and  rather  extraordinary  results  of  this 
sacking  and  burning  of  Louvain  is  the  community  of  sympathy  which 
has  developed  for  Belgium  throughout  the  entire  world.  The  London 
Daily  Chronicle  speaks  of  it  as  something  so  infinitely  more  terrible 
than  the  death  of  human  beings.  "It  is  tragic,"  says  the  writer, 
"for  individuals  to  die,  but  in  a  few  years  we  must  each  pass  away, 
and  others  will  come  who  will  replace  us  and  others  in  turn  to  take 
their  place;  but  these  trophies  and  stepping-stones  of  the  human  soul 
need  never  have  died."  It  is  indeed  a  wound  to  civilized  humanity 
that  can  never  be  healed. 

It  is  like  the  Belgians  that  out  of  this  great  suffering  and  loss 
already  they  are  looking  into  the  future.  Paul  Ottet,  who  is  president 
of  the  Union  of  International  Associations  at  Brussels,  has  already 
made  this  vital  suggestion  to  all  nations,  "that  there  should  be  some 
means,  some  truce  which  all  nations  will  hold  allegiance  to  for  the 
preservation  of  museums  and  treasure-houses  of  art  during  war." 
Monsieur  Ottet  points  out  that  the  United  States  is  in  a  position  to 
be  of  great  assistance  in  this  regard  by  securing  the  cooperation'  of 
all  neutral  nations,  and  proffering  to  the  belligerents  a  petition  that 
"all  parties  in  the  great  conflict  now  in  progress  should  respect  the 
wish  of  the  whole  intellectual  world  that  priceless  indicia  of  the 
world's  development  and  civilization's  growth  be  everywhere  pre- 
served." Again  one  lifts  the  hat  to  Belgium,  in  the  midst  of  her 
struggle,  the  fires  in  her  works  of  art  scarcely  cold,  seeking  to  benefit 
the  world  as  a  whole  through  her  desolating  experience. 

One  begins  to  understand  more  and  more  clearly  why  so  small 
a  nation  as  Belgium  has  achieved  so  great  a  standing,  why  she  ranks 
among  the  first  of  the  industrial  countries,  among  the  most  pro- 
gressive educationally,  among  the  most  vigorous  physically,  why  she 
decided  to  remain  neutral  to  foster  her  own  growth,  why  when  she 
was  attacked  suddenly  and  overwhelmingly  by  a  foreign  power  she 
insisted  upon  fighting  her  own  battles  alone  and  valiantly.  Her  spirit 
is  indestructible,  her  intelligence  unconquerable,  and  thus  a  future 
of  radiant  proportions  seems  assured  to  her.  We  feel  that  once  more, 
in  the  future  as  in  the  past,  Belgium's  Hour  of  Happiness  Will  Strike! 


THE    HARTS:    BY    GERTRUDE    R.    LEWIS 

I  HE  Harts  lived  in  an  old  place  at  the  outskirts  of  the 
tiny  town  nearest  the  County  seat,  where  the  Honor- 
able Josiah  was  the  leading  attorney.  It  was  a  semi- 
farm  home,  ample  and  interesting. 

Tom  Hart  brought  his  young  wife  back,  late  in  the 
summer,  to  spend  a  week.    Mother  Hart  received  them 
with  open  arms.    It  was  evident  that  the  time  for  some 
very  enticing  little  shopping  was  come;  but  no  small  handiwork  ap- 
peared in  evidence,  as  they  sat  about,  visiting,  through  the  long 
pleasant  afternoons.     Whereupon  Mother  Hart  announced  her  in- 
tention of  driving  to  town  and  taking  the  daughter  with  her.     As 
they  bustled  about  in  anticipation  of  the  trip.  Mother  Hart  noticed 
Laura's  heightened  color;  and  finally  heard  her  ask,  timidly,  "Can 
you  let  me  have  some  money  this  morning,  Tom?"    And  she  could 
hear  Tom's  deep,  good-himiored,  "WTiat  do  you  want  it  for,  Laura?" 
Then  it  was  that  Mother  Hart's  voice  called  from  the  other  room. 
"Tom,"  said  his  mother,  "come  out  here  a  minute,  I  want  a  little 
talk  with  you."     They  went  out  upon  the  porch.     "Tom,  I  heard 
you  ask  Laura  why  she  wanted  money."    Tom  looked  mystified. 

"Tom,  your  father  is  the  best  man  I  ever  knew— except  my  own — 
and,  if  I  had  it  to  do  over  again,  I'd  marry  him  to-morrow.  But,  I 
think  I  never  go  upstairs  when  he  is  in  the  house  without  telling  him 
what  I  go  up  for.  He  gives  me  money  whenever  I  ask  him  for  it — I 
have  sense  enough  not  to  worry  him  when  he  is  hard  up — but  for 
every  dollar  I  spend  I  return  two  dollars  worth  of  explanation." 

Mother  Hart  made  a  whimsical  little  mouth.  "Your  father  wins 
more  cases  than  any  other  lawyer  on  this  circuit,  and  I  am  mighty 
proud  of  him  as  a  cross-examiner.  But  he  forgets  that  I  am  not  on 
the  witness  stand.  And  much  as  I  miss  him  when  he  is  at  the  legis- 
lature, it  is  a  real  relief  when  I,  a  middle-aged  woman,  can  use  my 
judgment,  and  make  my  own  decisions  without  being  called  to 
account  like  a  child  of  ten.  And  I've  made  up  my  mind  it  should 
stop  with  this  generation.  Tom,  what  did  you  clear,  over  and  above 
your  expenses,  last  month?" 

"About  sixty  dollars,  I  should  think,  Mother." 
"Then  you  give  twenty  of  it  to  Laura,  and  don't  you  ask  her 
what  she  does  with  it.  It's  just  as  much  hers  now,  morally,  as  it 
ever  will  be  legally.  And  whenever  she  makes  a  mistake  in  buying, 
just  call  to  mind  one  of  your  own. .  Now,  go  in,  son,  and  get  her." 
Laura  whispered,  "Thank  you,  Tom,"  as  he  helped  her  into  the 
phaeton.  Mother  Hart  clucked  "Git-ap,  Whiskers."  And  they  drove 
away  down  the  town  line,  to  revel  in  lawns,  and  laces,  and  bobbinet. 

Tom  closed  the  gate,  and  stood  looking  after  them.  "And 
Mother's  had  that  up  her  sleeve  all  these  years.    Gee!" 

68 


THE  DEVELOPMENT 
OF  AN  AMERICAN 
STYLE  OF  HOME 
FURNISHING  FOUND- 
ED UPON  BEAUTY, 
COMFORT  AND  SIM- 
PLICITY 


AN  INTERESTING  GROUP  OF  FULPER 
POTTERY  IN   VARIED  TONES. 


HEN  Joseph  Pennell  was  in  Panama  he  stopped  to  ad- 
mire the  lock  at  Pedro  Miguel.  "How  is  it,"  he  asked 
the  engineer,  "that  you  make  your  arches  and  but- 
tresses as  fine  as  those  of  a  cathedral?"  "Oh,  that's 
done  to  save  concrete,"  was  the  reply. 

Economy  as  the  basis  of  beauty  is  not  so  strange  as 
it  may  seem.    It  was  through  elimination  of  the  super- 
fluous that  the  loveliness  as  well  as  strength  of  that  Panama  structure 
grew,  and  the  same  principle  may  be  found  at  the  root  of  every  suc- 
cessful work  whether  of  art  or  industry. 

Elimination  is  but  another  name  for  concentration,  for  the  self- 
control  that  holds  forces  in  command,  governing  and  directing,  pre- 
venting vacillation  and  insuring  advance.  Elimination  does  not 
weaken,  but  rather  strengthens,  wherever  it  is  used.  A  good  soldier 
discards  everything  but  the  essentials,  for  he  cannot  afford  the  least 
useless  encumbrance;  a  runner  trains  away  every  ounce  of  superfluous 
flesh;  a  wise  business  man  employs  only  vital  workmen,  permitting 
mediocrity — choking  excess — no  place.  Success  depends  ever  upon 
the  ability  to  choose  wisely — another  aspect  of  that  all-prevailing 
law  of  the  "survival  of  the  fittest." 

In  everj'  phase  of  life  in  America  we  are  coming  to  recognize  the 
importance  of  elimination,  and  especially  is  this  true  in  the  furnishing 

60 


AN  AMERICAN  STYLE  OF  HOME  FURNISHING 

and  decoration  of  our  homes  in  what  may  be  known  as  the  American 
style.  We  are  realizing  that  to  create  an  environment  of  convenience 
and  beauty,  we  must  select,  from  the  immense  variety  of  articles, 
materials,  colors  and  designs,  the  few  which  are  essential  to  comfort 
and  harmony.  As  a  lawj^er  discards  from  his  argument  all  minor 
facts  and  details,  as  a  painter  omits  from  his  canvas  every  needless 
tone  and  line,  so  we  must  eliminate  from  our  rooms  all  fittings  and 
colors  which  would  mar  the  unity  and  restfulness  of  the  whole. 

The  value  of  this  process  of  elimination  is  interestingly  shown  by 
the  following  incident.  A  wealthy  woman,  before  going  abroad, 
turned  over  the  remodelling  of  a  certain  room  to  a  man  whose  work 
in  life  was  to  create  beautiful  places  to  live  in.  "Make  the  room 
lovely,"  she  told  him.  "'I  do  not  care  what  color,  style  or  period  you 
choose.  Take  all  the  time  you  need,  spare  no  expense,  only  let  it  be 
restful — a  harmonious,  satisfying  place  that  looks  and  feels  like  a 
home."  Then  she  went  away  for  a  sojourn  among  the  villas  and 
palaces  of  the  Old  World,  and  often  as  she  looked  at  their  formal 
grandeur  she  thought  of  the  room  at  home  that  was  being  trans- 
formed by  a  master  workman  from  an  inharmonious  jumble  of  fur- 
nishings into  a  pleasant  haven  of  rest. 

She  was  almost  afraid  to  look  at  the  room  upon  her  return,  for 
fear  it  would  be  a  disappointment;  for  she  had  asked  and  was  ex- 
pecting much.  But  as  she  entered,  every  tense  nerve  relaxed  and 
anxiety  fell  away,  giving  place  to  a  most  refreshing  contentment.  It 
seemed  as  though  she  were  entering  a  still  httle  grove.  Everything 
was  harmoniously  related,  nothing  obtruded,  yet  each  detail  was  full 
of  a  beautiful  individual  interest,  as  are  the  mosses,  rocks,  trees  and 
paths  of  a  woodland  spot.  Lights  and  shadows  made  the  room  seem 
alive  with  a  quiet  sunshine.  She  could  not  make  a  single  criticism, 
could  not  desire  a  change;  the  place  was  absolutely  satisfying,  far 
beyond  her  hopes.  And  yet,  throughout,  the  atmosphere  was  one 
of  remarkable  simplicity. 

Wlien  the  bill  was  presented,  however,  she  looked  puzzled.  "Is 
it  larger  than  you  expected?"  asked  the  decorator.  ''No,  not  exactly," 
she  replied.  "I  would  have  expected  a  large  bill  if  you  had  used 
many  and  elaborate  furnishings;  but  it  seems  excessive  to  me  for  the 
few  articles  and  for  the  simple  effect."  The  decorator  shook  his  head. 
"I  have  charged  you,"  he  explained,  "not  only  for  what  I  put  into 
your  room,  but  also  for  what  I  left  out." 

This  sifting  process,  this  disentanghng  and  putting  in  order  of 
many  factors  is  what  the  modern  decorator  keeps  uppermost  in  mind 
when  planning  a  room.  Burbank  develops  thousands  of  plants  that 
a  perfect  one  may  be  found  and  brought  to  prominence.    His  whole 

70 


THE  CRAFTSMAN 
WILLOW  OFTODAV 
IS  A  LUXURIOUS 
ARTICLE  OF  FUR- 
NITURE :  IT  IS  NOT 
ONLY  GRACEFUL 
AND  WELL  PRO- 
PORTIONED BUT 
ITS  CONSTRUC- 
TION IS  SUCH 
THAT  IT  IS  FIRM 
YET  FLEXIBLE, 
INTERESTING  IN 
OUTLINE  YET 
MADE  FOR  DURA- 
BILITY :  IT  IS  UP- 
HOLSTERED IN 
RICH   VELOUR  OR 
TAPESTRY  IN 
SHADES  SUITABLE 
FUR  DRAWING- 
ROOM  EFFECT  : 
THE  TONES  OF 
THE  WILLOW, 
VIOLET.  SOFT 
GREEN.  WOOD 
BROWN.  ETC., 
FURNISH  AN  IN- 
TERESTING BACK- 
GROUND FOR  THE 
MATS  AND  CUSH- 
IONS AND  ARE 
ALWAYS  PLANNED 
IN  HARMONIOUS 
COLORS. 


■?/ 


AT  THK   LKFT   WIC  ARE 
SHOWING   TWO   INTERESTING 
PIECES  OF   MODERN   FURNI- 
TURE, JACOBEAN   IN    SUGGES- 
TION :   THE   DARK   OAK  IS   FIN- 
ISHED  IN   A    SOFT   DULL 
BROWN,  BEAUTIFUL  IN   COM- 
BINATION  WITH   THE  RICH 
TONES  OF  DRAWING-ROOM 
DRAPERIES,    SUCH    AS    ROSE, 
BLUE,  ORANGE  AND   WOOD 
GREEN  :   ALTHOUGH    A    NEW 
NOTE  IN  MODERN  AMERICAN 
FURNITURE,  THIS  IS   A   STYLE 
THAT  IS  HARMONIOUS   WITH 
COLONIAL,    CHINESE   CHIPPEN- 
DALE  AND  CRAFTSMAN. 


TWO   ADDITIONAL   EXAMPLES   OF 
THE   DARK   OAK   FURNITURE:   THE 
TABLE  IS  COVERED   WITH   A  CHI- 
NESE RUG  IN  BLUE  AND  YELLOW 
WHICH    MAKES  AN   EXQUISITE 
COLOR    HARMONY   WITH    THE 
WARM   GREEN  TONE  OF  THE  POT- 
TERY  LAMP  AND  THE  FLOWERS 
IN   THE   WILLOW   BASKET:   THIS 
FURNITURE  IS   ATTRACTIVE  FOR 
SUMMER  WITH  THE  CANE  SHOW- 
ING :    IT   IS   RICHER    AND   WARMER 
IN    WINTER   WITH    LOOSE  CUSH- 
IONS  IN   COLORS  TO  CORRESPOND 
WITH  THE  DECORATIONS  OF  THE 
DRAWING  ROOM  :   THIS  FURNI- 
TURE  IS    MORE  DELICATE   IN   LINE 
THAN  THE  OLD  JACOBEAN,  YET 
RETAINS   AN   EFFECT  OF  THE 
RICHNESS   AND   STRENGTH    SEEN 
IN    ANTIQUE    MODELS. 


•his  group  of  chinese 
:hippendale  furniture 
;1ves  but  a  faint  im- 
■ression  of  the  beaut y 
if  a  room  furnished 

VITH  THIS   NEW  AND 

iistincuished  adapta- 
ton  in  modern  fur- 
;ishing:  the  wood- 
work IS  BROWN  CUBAN 
lAHOGANY   WITH    THE 
;SUAL  CARVING  IN 
LIGHT  RELIEF,  AND 
HE  UPHOLSTERY  IS  IX 
lEAVY  MODERN  BROCADE 
F  CHINESE  BLUE,  SILVER 
ND  CRAY  :  A   NOVEL 
SEFUL  PIECE  OF  FURNI- 
URE  IS  THE  LAMP  OR 
LOWER   STAND  AT 
HE  HEAD  OF  THE  SOFA. 


>i 


THOSE   WHO    HAVF    FOLLOWED 
THE  DEVELOPMENT  OF  CRAFTS- 
MAN   FURNITURE   IN  THE 
I'AST  WILL  BE  INTERESTED  IN 
THESE   FEW   EXAMPLES  OF 
OUR   NEW  DINING-ROOM   SET: 
WHICH   IN   THEIR  LIGHTER 
PROPORTION    SHOW   GRACEFUL. 
CONSTRUCTION  AND  A  PLEAS- 
ING VARIATION   FROM    OUR 
EARI.^■    MODELS. 


THE  TWO  CHAIRS  OF  THIS   SET 
HAVE  BEEN   ESPECIALLY  CON- 
STRUCTED FOR  COMFORT  AT  THE 
DINING  table:  THEY  ARE  RICH- 
ly finished  and  interestingly 
inlaid:  the  armchair  is  an 
entirely  new  model,  with 
sinking  arms  in  order  that 
it  may  be  drawn  closely 
to  the    table  without 
crowding. 


AT  THE  RIGHT  IS   MR. 
STICKLEy's  LATEST  MODEL 
OF  A  FUMED  OAK  SIDE- 
BOARD :   IN  CONSTRUCTION 
AND  FINISH   IT  MATCHES 
THE  TABLE  AND  CHAIRS: 
THE  DRAWER  PULLS  ARE 
HAND   MADE  WITH   AN 
EFFECT  OF  ANTIQUE  BRASS  : 
IN   THESE  NEW   MODELS 
THE   DESIRE  IS    SHOWN   TO 
RETAIN  THE  OLD  IDEAL  OF 
SIMPLICITY,  WITH   AN 
ADDED  SUMPTUOUSNESS. 


AN  AMERICAN  STYLE  OF   HOME  FURNISHING 


method  of  work  is  along  the  Hnes  of 
eUmination,  wise  selecting.       People 
employ    a    decorator   to   help    in  the 
important  part  of  finishing  the   work 
the   builders   began,    because  by  long 
experience  he  has  devel- 
oped the  poAver  to  choose 
rightly — just  as  Burbank 
can   walk   through   large 
beds  of  flowers  and  see  at 
a  glance  the  ones  to  save 
and  the  ones  to  discard. 

A  knowledge  of  color 
harmonies  is  a  necessity 
in  furnishing  nowadays, 
for  the  reign  of  the  pink, 
blue  and  yellow  room  is 
a  thing  of  the  past.  True, 
an  impression  of  close 
harmony  is  the  result,  but 
it  is  brought  about  by  a  combination  of  colors.  The  fine  blue  sky 
painted  upon  canvas  is  not  made  by  an  application  of  a  single  shade 
of  blue,  else  it  would  look  heavy,  flat,  like  a  blue  porcelain  bowl. 
The  secret  of  painting  a  sky  that  is  vibrant,  alive,  quivering,  lies  in 
clever  touches  of  many  tones  of  dark  and  light  blues.  Nature  gives  us 
the  clue  to  the  harmonious  mingling  of  colors.  Indian  summer,  the 
season  when  the  world  is  glowing  with  the  richest  hues,  remains  in 
our  mind  as  a  season  of  soft  tender  lines  because  the  infinite  variety 
is  so  perfectly  blended  by  the  subtle  quality  of  atmosphere.  In  a 
room,  this  unifying  quahty  of  atmosphere  is  good  taste. 

A  good  decorator  knows  what  shades  to  gather,  and  puts  them 
side  by  side  with  a  sympathetic,  we  might  say  with  a  reverent  taste. 
There  must  be  some  expression  of  authority,  some  point  of.attack, 
else  the  room  will  be  weak,  uninteresting.  The  attack  or  the  first 
impression  must  be  suggestive,  a  vision,  as  it  were,  instead  of  a  bomb, 
for  a  vision  is  an  incentive  to  thought  and  a  bomb  is  destructive  to 
thought,  or  to  appreciation.  The  colors  must  have  soft  outlines. 
The  tones  of  a  many-hued  opal  cannot  be  defined,  yet  the  soft  fire 
transcends  them  all.  The  outline  of  a  vase  of  strong  color  needed 
to  give  tone  must  not  be  obtrusive;  it  must  be  softened  by  a  fall  of 
a  leaf  or  flower,  before  it  is  partially  lost  in  a  shadow. 

From  the  beginning  of  the  Craftsman  Movement,  the  object  has 
steadily  been  to  create  beauty  by  therelimination  of  the  superfluous. 
The    energy    behind   every    Craftsman    article    has   gone   into  the 

75 


AN  AMERICAN  STYLE   OF  HOME  FURNISHING 

perfecting  of  lines,  quality  of 
materials  and  expertness  of  work- 
manship, instead  of  the  elabora- 
tion of  ornament.  The  effort  of 
the  Craftsman  Furnishing  Depart- 
ment has  been  to  select  the  few 
absolutely  correct  objects  neces- 
sary to  the  comfort  of  a  room  and 
to  create  harmonious  atmosphere 
by  color  adjustment.  For  many 
objects  confuse  the  mind,  give  an 
impression  of  disorder,  or  the  sense 
of  a  show  place  rather  than  of  a 
living  room.  A  few  choice  things 
give  an  air  of  elegance,  of  classical 
perfection.  A  beautiful  object 
needs  no  ornament.  Applied  or- 
nament is  generally  resorted  to  as  a 

correction  of  poor  lines;   but  these  cannot  be  remedied  by  superim- 
posed ornament,  by  much  varnish  or  veneer. 

The  Japanese  show  their  appreciation  of  a  perfect  article  in  a 

manner  that  has  much  to  recommend  it.     They  place  but  a  single 

beautiful  object  in  the  niche  reserved  for  it.    The  objects  are  changed 

to  show  honor  to  a  guest,  upon  holidays,  with  the  change  of  seasons 

or  for  any  other  good  reason  that 

occurs  to  the  household.  The  room  ..,,.„; 

then   is  never  monotonous.     The 

involuntary  glance  is  toward  the 

niche  where  a  beautiful  object  is 

to  be  found.    It  may  be  a  flight  of 

wild  geese  on  a  kake- 
mono,  turning  the 

memory    to    pleasant 

days  spent  out  on  the 

moors,  or  a  carving  of 

a  god   which    gathers 

the  mind  within,  or  a 

flower   that  lifts  one 

from  sordid  unhappi- 

ness.     They  say  that 

the  idea  in  Japan  of 

showing  but  one  per- 
fect  thing  at  a  time 

originated  from   the 

76 


AN   AMERICAN   STYLE  OF  HOME  FURNISHING 


need  of  protecting  treasures  from  the  frequent  fires 
that  formerly  swept  the  paper-built  cities.  All  valuables 
were  kept  in  fireproof  buildings  called  "go-downs"  from 
which  one  or  two  were  brought 
out  at  a  time.  Whatever  the  origin 
of  the  custom,  the  result  is  a  world- 
famed  simplicity  that  puts  the  whole- 
sale exhibition  of  valueless  stuff  in  a 
most  ignominious  position.  Com- 
pare the  so-called  ornamental  monstrosities 
of  but  a  few  years  ago,  with  the  substantial, 
dignified  arrangements  of  rooms  shown  in  the 
illustrations  of  this  article.  The  lines  of  the 
willow  "day-bed"  for  instance,  are  simpleSin 
the  extreme,  yet  with  the  exquisite  hand- 
woven  withes  and  the  harmonious  tones  the 


result  is 
pillows 
are  of 
sically 
and  we 
zinerack 
as  hav 
to  serve 


luxurious  and  the 
upon  the  couch 
materials  i  n  t  r  i  n  - 
beautiful  in  color 
ave.  The  maga- 
must  also  be  noted 
ing  been  designed 
a  definite  demand- 


an  orderly  place  for  cur- 
rent literature.  It  is 
made  light  of  weight 
so  that  it  can  be  drawn 
within  easy  reach  of  an 
armchair  by  the  fire, 
couch  by  the  window, 
or  swing  seat  on  the 
porch.  There  has  been 
an  impression  that  if 
Craftsman  furniture  be 
used  in  a  house,  every 
other  kind  must  be  de- 
nied place,  as  not  ap- 
propriate. This  is  a 
mistaken  idea.  Articles  of  willow,  Chinese  Chippendale,  or  models 
of  Jacobean  suggestion  give  interest  to  a  room  and  make  for  the 
comfortable  sense  of  informality  always  brought  about  by  the  in- 
troduction of  harmonious  variety. 

The  danger  of  introducing,  in  the  same  interior,  articles  of  a  strik- 

77 


AN  AMERICAN  STYLE  OF   HOME  FURNISHING 


ingly  different  style 
is  that  more  care  is 
needed  in  their  se- 
lection and  group- 
ing. Thoughtfully 
chosen  and  well- 
placed  furnishings 
emphasize  the 
beauty  of  every 
separate  piece; 
each  is  comple- 
mentary to  the 
other.  An  infinite 
variety  of  fittings 
may  be  so  harmo- 
niously arranged  as 

to  give  the  charm  that  flowers,  ferns  and  paths  give  to  a  woodland  grove. 
Thus  we  see  that  in  order  to  achieve  real  distinction  and  beauty 

in  American  home  furnishings,  we  must  approach  the  undertaking 

from  the  standpoint  of  ehmination, 

or  judicious   selection    of   objects, 

textures    and   color   harmonies. 

Sometimes  the  articles  in  a  room 

will  be  perfect  as  to  style  and  color, 

yet  the  result  will  appear  awkward, 

coldly  repellant.  Or  the  interior  may 

be  too  perfect,  with  an  unpleasant  air 

of  aloof   superiority,   an   unlovable 

trait  in  rooms  as  well  as  in  people. 

These  difficulties  are  often  remedied 

by   re-arrangement,   the    couch    in 

better   light,   pillows  placed  more 

naturally,  chairs  in  sociable  rela- 
tion,   lamp    placed   on    a   different 

table,  books  with  bronze  book-end 

turned  at  more  graceful  angle,  pic- 
tures hung  in  closer  relation  to  the 

furniture.    Those  who  undertake  the 

work  in  this  interested  and  earnest 

spirit  will  feel  a  kinship  with  that 

old  Italian  craftsman  who,  when  asked  what  his 

ambition  was,  rephed:  "I  should  like  those  who  ^ 

examine  the  cupolas  of  St.  Mark's  five  hundred  years  hence,  ■ 

to  say  'This  was  the  work  of  a  conscientious  artist.'  "  ^ 

78 


PASSING  OF   THE  WAR  VIRTUES:   BY  JANE 
ADDAMS 

jF  all  the  winged  words  which  Tolstoy  wrote  during 
the  war  between  Russia  and  Japan,  perhaps  none  are 
more  significant  than  these:  'The  great  strife  of  our 
time  is  not  that  now  taking  place  between  the  Japanese 
and  the  Russians,  nor  that  which  may  blaze  up  between 
the  white  and  the  yellow  races,  nor  that  strife  which 
is  carried  on  by  mines,  bombs,  and  bullets,  but  that 
spiritual  strife  which,  without  ceasing,  has  gone  on  and  is  going  on 
between  the  enlightened  consciousness  of  mankind  now  awaiting  for 
manifestation  and  that  darkness  and  that  burden  which  surrounds 
and  oppresses  mankind.'   .    .    . 

"At  the  present  moment  the  war  spirit  attempts  to  justify  its  noisy 
demonstrations  by  quoting  its  great  achievements  in  the  past  and  by 
drawing  attention  to  the  courageous  life  which  it  has  evoked  and 
fostered.  It  is,  however,  perhaps  significant  that  the  adherents  of 
war  are  more  and  more  justifying  it  by  its  past  record  and  reminding 
us  of  its  ancient  origin.  They  tell  us  that  it  is  interwoven  with  every 
fiber  of  human  growth  and  is  at  the  root  of  all  that  is  noble  and 
courageous  in  human  life,  that  struggle  is  the  basis  of  all  progress, 
that  it  is  now  extended  from  individuals  and  tribes  to  nations  and 
races. 

"We  may  admire  much  that  is  admirable  in  this  past  life  of  coura- 
geous warfare,  while  at  the  same  time  we  accord  it  no  right  to  dominate 
the  present,  which  has  traveled  out  of  its  reach  into  a  land  of  new 
desires.  We  may  admit  that  the  experiences  of  w^ar  have  equipped 
the  men  of  the  present  with  pluck  and  energy,  but  to  insist  upon  the 
selfsame  expression  for  that  pluck  and  energj'  would  be  as  stupid  a 
mistake  as  if  we  would  relegate  the  full-grown  citizen,  responding  to 
many  claims  and  demands  upon  his  powers,  to  the  schoolyard  fights 
of  his  boyhood,  or  to  the  college  contests  of  his  cruder  youth.  The 
little  lad  who  stoutly  defends  himself  on  the  school-ground  may  be 
worthy  of  much  admiration,  but  if  we  find  him,  a  dozen  years  later, 
the  bullying  leader  of  a  street-gang  who  bases  his  prestige  on  the  fact 
that  "no  one  can  whip  him,"  our  admiration  cools  amazingly,  and  we 
say  that  the  carrj-ing  over  of  those  puerile  instincts  into  manhood 
shows  arrested  development  which  is  mainly  responsible  for  filling 
our  prisons.    .    .    . 

"Let  us  by  all  means  acknowledge  and  preserve  that  which  has 
been  good  in  warfare  and  in  the  spirit  of  warfare;  let  us  gather  it 
together  and  incorporate  it  in  our  national  fiber.  Let  us,  however, 
not  be  guilty  for  a  moment  of  shutting  our  eyes  to  that  which  for 
many  centuries  must  have  been  disquieting  to  the  moral  sense,  but 

79 


PASSING  OF  THE  WAR  VIRTUES 

which  is  gradually  becoming  impossible,  not  only  because  of  our  in- 
creasing sensibilities,  but  because  great  constructive  plans  and  human- 
ized interests  have  captured  our  hopes  and  we  are  finding  that  war 
is  an  implement  too  clumsy  and  barbaric  to  subserve  our  purpose. 
We  have  come  to  realize  that  the  great  task  of  pushing  forward  social 
justice  could  be  enormously  accelerated  if  primitive  methods  as  well 
as  primitive  weapons  were  once  for  all  abolished.    ... 

INDUSTRIAL  life  affords  ample  opportunity  for  endurance,  dis- 
cipline, and  a  sense  of  detachment,  if  the  struggle  is  really  put 

upon  the  highest  level,  of  industrial  efficiency.  But  because  our 
industrial  life  is  not  on  this  level,  we  constantly  tend  to  drop  the 
newer  and  less  developed  ideals  for  the  older  ones  of  warfare,  we 
ignore  the  fact  that  war  so  readily  throws  back  the  ideals  which  the 
young  are  nourishing  into  the  mold  of  those  which  the  old  should  be 
outgrowing.  It  lures  young  men  not  to  develop,  but  to  exploit;  it 
turns  them  from  the  courage  and  toil  of  industry  to  the  bravery  and 
endurance  of  war,  and  leads  them  to  forget  that  civihzation  is  the 
substitution  of  law  for  war.  It  incites  their  ambitions,  not  to  irrigate, 
to  make  fertile  and  sanitary,  the  barren  plain  of  the  savage,  but  to 
fill  it  with  military  posts  and  tax-gatherers,  to  cease  from  pushing 
forward  industrial  action  into  new  fields  and  to  fall  back  upon  military 
action.    .    .    . 

"It  is  the  military  idea,  resting  content  as  it  does  with  the  passive 
results  of  order  and  discipline,  which  confesses  a  totally  inadequate 
conception  of  the  value  and  power  of  human  life.  The  charge  of 
obtaining  negative  results  could  with  great  candor  be  brought  against 
militarism,  while  the  strenuous  task,  the  vigorous  and  difficult  under- 
taking, involving  the  use  of  the  most  highly  developed  human  powers, 
can  be  claimed  for  industrialism. 

"Militarism  undertakes  to  set  in  order,  to  suppress  and  to  govern, 
if  necessary  to  destroy,  while  industrialism  undertakes  to  liberate 
latent  forces,  to  reconcile  them  to  new  conditions,  to  demonstrate 
that  their  aroused  activities  can  no  longer  follow  caprice,  but  must 
fit  into  a  larger  order  of  life.    .    .    . 

"War,  on  the  one  hand — plain  destruction.  Von  Moltke  called  it — 
represents  the  hfe  of  the  garrison  and  the  tax-gatherer,  the  Roman 
emperor  and  his  degenerate  people,  living  upon  the  fruits  of  their 
conquest.  Labor,  on  the  other  hand,  represents  productive  effort, 
holding  carefully  what  has  been  garnered  by  the  output  of  brain  and 
muscle,  guarding  the  harvest  jealously  because  it  is  the  precious  bread 
men  live  by." 
From  ^^ Newer  Ideals  of  Peace:"  Published  by  The  Macmillan  Co. 

80 


CRAFTSMAN  STUCCO  HOUSE 
WLTU  UNIQUE  AND  INTER- 
ESTING PLAN  TO  SECURE 
SUNLIGHT,  AIR  AND  OUT- 
LOOK 

ONE  of  the  most  important  and  ab- 
sorbing problems  in  the  planning 
of  a  home  is  that  of  exposure.  "In 
which  direction  shall  the  house 
face?  How  can  I  get  the  greatest  possible 
amount  of  fresh  air  and  sunshine  into  all 
the  rooms?  How  can  I  take  advantage  of 
every  pleasant  view?"  These  are  some  of 
the  questions  that  confront  the  home- 
builder  in  addition  to  the  many  other  con- 
siderations of  arrangement,  construction 
and  design.  To  secure  a  maximum  of  ven- 
tilation, sunshine  and  cheerful  outlook  for 
one  room  without  undue  sacrifice 
of  these  features  for  others,  often 
requires  considerable  ingenuity. 
But  this  relation  of  the  home  to 
the  points  of  the  compass  is  so  es- 
sential to  comfort  that  it  is  well 
worth  the  extra  efifort  to  evolve  a 
satisfactory  plan. 

It  is  interesting  to  note  that 
the  more  attention  one  gives  to 
the  matter  of  exposure, 
the  more  original  the 
plan  is  likely  to  be- 
come. The  very  diffi- 
culties to  be  surmount- 
ed open  up  interesting 
possibilities  for  inte- 
rior arrangement  and 
exterior  development, 
suggest  fresh    ideas  as 


to  the  treatment  of  rooms  and  halls,  the 
placing  of  windows,  porches,  balconies  and 
other  features.  In  fact,  so  many  delightful 
opportunities  may  occur  as  a  result  of  one's 
efforts  to  overcome  obstructions  and  achieve 
the  desired  goal,  that  the  result  is  apt  to 
prove  not  only  practical  but  charming  in  its 
uniqueness.  And  so  the  house  planned  with 
unusual  arrangement  and  irregular  outline 
to  gain  a  useful  end,  succeeds  in  attaining 
through  that  irregularity  a  certain  pic- 
turesqueness  which  is  all  the  more  satisfy- 
ing because  it  is  the  by-product,  as  it  were, 
of  practical  conditions  rather  than  an  at- 
tempt at  originality  for  its  own  sake. 


8i 


PLANNING  FOR  SUNLIGHT,  AIR  AND  OUTLOOK 


THE  Craftsman  house  which  we  are 
presenting  here — No.  194 — should 
prove  of  value  to  many  home-builders, 
for  it  suggests  an  effectual  and  rather  un- 
common way  of  solving  one  problem  of  ex- 
posure. Incidentally,  by  arranging  the 
rooms  so  as  to  obtain  for  each  a  generous 
share  of  sunshine,  air  and  outlook,  we  have 
developed  an  interior  at  once  convenient, 
comfortable  and  full  of  possibilities  for  a 
decorative  handling  of  structural  woodwork 
and  furnishings.  At  the  same  time  the  ex- 
terior, with  its  various  angles,  its  window 
groups,  porches,  balcony  and  pergola,  holds 
decided  architectural  interest. 

The  house  is  intended  to  face  the  south. 
The  kitchen  and  dining  room  will  therefore 
have  the  morning  sun ;  the  noonday  sun- 
light will  brighten  the  dining  room,  front 
porch  and  sunroom,  while  the  western 
windows  of  the  sunroom  and  living  room 
will  have  the  later  rays.  In  like  manner  the 
bedrooms,  pergola  and  balcony  will  reap 
the  benefit  of  the  varied  exposures.  Need- 
less to  say,  such  a  plan  affords  ample  cross- 
ventilation.  Moreover,  the  angles  of  the 
walls  and  windows  will  afford  many  views 
of  the  garden  and  its  surroundings  that 
would  be  impossible  in  the  ordinary  rect- 
angular design. 

The  construction  is  stucco  on  brick,  with 
roof  of  flat  tile,  the  round  pillars  and  the 
cross-beams  of  front  porch  and  side  pergola 
being  of  wood.  This  affords 
not  only  variety  of  material  but 
also  an  opportunity  for  an  inter- 
esting color  scheme.  For  in- 
stance, if  the  stucco  is  left  in  its 
natural 
grayish 
tone  or 
tinted  a 
pale  buff, 
the  door 
and  win- 
dow trim 
may    be 


moss  green  with  white  sash,  and  the  pillars 
and  beams  of  porch  and  pergola  either 
white  or  green,  while  for  the  roof,  moss 
green- or  terra  cotta  would  be  most  in  keep- 
ing. An  effective  touch  of  red  brick  may 
be  added  in  the  steps  and  as  a  border 
around  the  porch  floors. 

The  approach  to  the  house  is  from  a  low 
terrace  which  fills  the  space  between  the 
front  wings  and  adds  to  the  air  of  seclusion. 
The  rear  of  this  terrace  is  roofed  by  the 
porch,  as  shown,  with  its  turned  columns 
and  long  beam  above  supporting  the  open 
balcony,  which  is  reached  by  a  glass  door 
from  the  upper  hall.  Double  windows  on 
each  side  of  the  front  door  add  to  the  hos- 
pitable air  of  the  entrance  and  light  the 
vestibule  within. 

This  vestibule  is  indicated  rather  than  de- 
fined by  the  staircase  and  the  ceiling  beams 
shown  by  dotted  lines.  The  arrangement 
of  the  staircase  is  as  unusual  as  it  is  inter- 
esting. Built  in  the  center  of  the  big  living 
room,  the  lower  steps  ascend  on  each  side, 
giving  ready  access  from  both  sides  of  the 
house,  and  from  the  landing  the  main  flight 
ascends  to  the  big,  light,  upper  hall.  In  the 
angles  formed  downstairs  seats  are  built, 
while  a  third  seat  is  placed  behind  the  grille 
that  separates  the  stairs  from  the  back  of 
the  room.  Directly  opposite  is  a  large  open 
fireplace  with  tiled  hearth,  which  can  be  en- 
joyed from  every  part  of  the  room,  and 
which  is  yet  sufficient- 
ly screened  from  the 
entrance  to  insure  se- 
clusion about  the  fire- 
side. The  living  room 
is  well  lighted  by  its 
windows  in  the  west 
and  north  walls  and 
indirectly  by  those  of 
the  vestibule,  sunroom 
and  dining  room.  The 
wide  staircase  well 
also  permits  light  to 
come  from  the  hall 
above. 

The  rooms  that  oc- 
cupy the  front  wings 
are  separated  from  the 
main  room  by  post- 
and  -  panel  construc- 
tion, allowing  a  certain 
amount  of  privacy 
and  at  the  same  time 
leaving  a  pleasant 
feeling     of      openness 


<Gustaz   Stickley,  Architect, 


THIS  CRAFTSMAN  STUCCO  HOUSE,  NO.  194,  WAS  PLANNED  ESPECIALLY  lu  SECURE  THE  UTMOST 
ADVANTAGE  OF  EXPOSURE:  THE  ANGLES  AT  WHICH  THE  WINGS  EXTEND  INSURE  VARIED  OUT- 
LOOKS AS  WELL  AS  A  GENEROUS  SUPPLY  OF  FRESH  AIR  AND  SUNLIGHT  FOR  THE  SUNROOM,  DIN- 
ING ROOM,  AND  BEDROOMS  ABOVE,  WHILE  THE  LARGE  LIVING  ROOM  HAS  THE  BENEFIT  OF  WIN- 
DOWS     ON      TI'REE      sides:      THE      HOUSE       IS       INTENDED       TO       BE       BUILT        FACING       SOUTH. 


i?3, 


Giistav  Stickler,  Architect 


SIDE  VIEW  OF  CRAFTSMAN  HOUSE  SHOWN  ON  THE  PRECEDING  PACE:  IN  ADDITION 
TO  THE  TERRACE,  PORCH  AND  BALCONY  AT  THE  FRONT  AND  MAIN  ENTRANCE, 
THERE  IS  ALSO  A  SLEEPING  BALCONY  WITH  PERGOLA  COVERING  ON  THE  EAST, 
IN  A  SHELTERING  ANGLE:  THIS  DETAIL  WHEN  DRAPED  WITH  VINES  WILL 
FORM       AN       ATTRACTIVE       FEATURE      OF      THE      SOMEWHAT      UNUSUAL      BUILDING. 


PLANNING   FOK   SUNLIGHT,   AIR    AND   OUTLOOK 


through  the  whole  interior.  The  sunroom 
is  fairly  walled  with  glass,  as  can  be  seen 
from  the  perspective  and  first  floor  plan, 
and  one  can  imagine  what  a  cheery  retreat 
this  will  prove  during  the  winter,  especially 
if  willow  furnishings  and  plenty  of  shrubs, 
ferns  and  flowers  are  used ;  indeed,  those 
who  like  growing  things  about  them  can 
turn  this  room  into  an  indoor  garden.  As 
a  place  for  the  children  to  play  in,  it  should 
prove  most  desirable,  and  if  cement  floor, 
grass  rugs  and  very  simple,  durable  furnish- 
mgs  are  used  it  will  have  almost  the  air  of 
a  porch. 

The  dining  room  is  also  supplied  w'ith 
generous  window  groups — full  length  on 
the  southeast  and  smaller  casements  set 
high  in  the  southwest  wall,  with  sufficient 
room  beneath  for  chairs  and  sideboard. 
The  china  cabinet  and  serving  table  will 
find  ample  space  on  each  side  of  the  pantry 
door. 

Although  irregular  in  shape,  the  pantrv 
is  compact  and  convenient,  with  the  dresser 
back  to  the  kitchen  chimney  and  the  ice- 
box and  sink  beneath  the  windows  on  the 
right.  The  kitchen,  also  provided  with 
dresser  and  sink  with  double  drainboard, 
should  prove  a  good  working  place,  for  it  is 
light  and  fairly  large,  can  be  easil_\-  ven- 
tilated, and  is  effectually  shut  oft'  from  the 
rest  of  the  house.  The  back  staircase  and 
cellar  stairs  beneath,  being  reached  directlv 
from  the  kitchen,  will  save  traffic  through 
the  rest  of  the  house,  and  the  recessed  ser- 
vice porch  will  form  a  sheltered  outdoor 
resting-place  for  the  maid.  Flower-boxes 
along  the  parapet  will  help  to  link  it  with 
the  garden. 

Upstairs  the  arrangement  is  such  as  to 
make  the  best  possible  use  of  every  avail- 
able corner.  In  the  center  is  the  hall, 
which  circles  the  staircase  well  and  com- 
municates also  with  the  back  stairs — the 
latter  lighted  by  a  window  overlooking  the 
pergola.  The  four  light,  airy  bedrooms  and 
two  bathrooms  give  sufficient  accommoda- 
tion for  a  family  of  five  or  six,  while  the 
[lergola  aft'ords  a  charming,  semi-sheltered 
place  for  outdoor  sleeping,  and  with  well- 
tilled  flower-boxes  between  the  pillars,  and 
vines  overhead,  will  add  a  picturesque  touch 
to  the  home. 

There  is  no  attic,  for  that  would  have 
necessitated  a  higher  roof  and  would  have 
destroyed  the  broad,  homelike  proportions 
of  the  building ;  but  the  bedrooms  are  pro- 
videfl  with  plentv  of  closets. 


IN  a  house  of  this  character,  where  the 
interior  presents  so  many  unusual  feat- 
ures in  lay-out  and  in  the  design  of  the 
structural  detail,  the  opportunities  afford- 
ed for  an  interesting  and  original  hand- 
ling of  color  schemes,  furnishings  and 
decorations  are  remarkably  varied.  For  the 
benefit  of  those  who  may  build  from  the 
design  shown  here,  either  just  as  presented 
or  with  modifications,  it  may  be  well  to 
make  a  few  suggestions  for  the  treatment 
of  the  interior. 

The  living  room,  being  practically  divided 
by  the  staircase  into  two  parts,  with  a  fire- 
place nook,  as  it  were,  between  them,  will 
naturally  be  furnished  in  separate  groups. 
The  most  satisfactory  arrangement  of  floor 
coverings  would  be  as  follows :  A  hearth- 
rug before  the  fireplace;  a  larger  rug  in  the 
center  of  the  space  on  each  side;  a  small 
rug  in  the  vestibule,  and  others  running 
diagonally  across  the  entrances  into  sun- 
room  and  dining  room  to  link  them  with  the 
main  room ;  grass  mats  in  the  sunroom, 
and  a  large  central  rug  in  the  dining  room. 

In  the  right-hand  portion  of  the  living 
room,  where  there  are  no  windows  to  break 
up  the  wall  space,  bookshelves  and  a  willow 
settle  may  be  used,  with  a  reading  table  and 
lamp  in  the  center  and  a  few  easy  chairs. 
A  lounging  chair  on  each  side  of  the  hearth 
will  add  to  the  general  comfort,  and  another 
beside  the  living-room  window  near  the 
sunroom.  The  piano,  preferably  a  "babv 
grand,"  may  be  placed  in  the  corner  between 
the  living-room  windows,  with  music  cabi- 
net nearby.  A  central  table  with  a  reading 
lamp,  and  possibly  a  small  writing  desk  near 
the  wide  left-hand  window  group  will  com- 
plete the  main  furnishings.  Willow  pieces 
will  be  most  suitable  for  the  sunroom,  with 
a  reading  lamp  on  a  central  table. 

The  living  room  and  vestibule,  being 
practically  one,  should  of  course  be  of  uni- 
form color  scheme,  and  the  same  wall  tint 
or  paper  should  be  continued  up  to  the  hall 
of  the  second  floor.  Interesting  effects  mav 
be  obtained  by  having  tan  walls  in  the  living 
room,  gray-green  for  the  sunroom.  and 
gray-blue  for  the  dining  room.  For  the 
curtains  of  the  living  room  we  would  sug- 
gest a  two-toned  Madras,  of  golden  brown, 
and  for  the  dining  room  a  touch  of  tan  and 
yellow  in  the  draperies. 

Those  who  wish  further  details  as  to  color 
schemes,  materials  and  fittings  may  obtain 
them  by  writing  to  the  Craftsman  Depart- 
ment of  Interior  Furnishing. 


HOW  TO   WEAVE   REED   BASKETS 


REED  BASKETS,  THEIR  MANY 
USES  AND  HOW  TO  WEAVE 
THEM:  BY  MERTICE  MAC- 
CREA  BUCK 

BASKETS  are,  and  have  been  from 
time  immemorial,  so  essential  in  the 
carrying  on  of  our  domestic  life, 
that  it  is  worth  considering  what 
styles  are  most  suitable  for  various  pur- 
poses, and  what  pleasure  may  be  derived 
from  making  them.  The  accompanying 
cuts  are  of  simple  reed  baskets  suitable  for 
country  use.  While  of  unpretentious  de- 
sign and  of  inexpensive  material,  they  offer 
suggestions  for  receptacles  for  flowers  and 
vegetables  which  may  be  elaborated  to  suit 
the  worker's  individual  taste. 

The  great  secrets  of  success  in 
basketry  are  careful  judgment  as 
to  form  (and  in  this  the  fitness  for 
purpose  must  be  considered)  and 
neatness  of  execution.  A  basket 
may  be  coarse,  done  with  large  ma- 
terial, and  yet  not  produce  a  rough 
effect ;  but  it  must  be  solid,  and 
tightly  woven  or  it  will  soon  begin 
to  yield  and  grow  "wobbly"  when 
it  is  used.  The  work  depends  so 
much  on  the  care  of  materials  and 
the  patience  of  the  worker,  and  so 
little  on  tools — all  that  are  needed 
being  a  pair  of  scissors,  a  rule,  and 
a  coarse  knitting  needle — that  it  is 
well  to  emphasize  the  importance 
of  a  little  time  being  spent  in  get- 

86 


CUT   VIII  :    TRAYS   AND    SHALLOW   COVEKtD  BASKETS. 

ting  the  reeds  just  right  before  starting  to 
weave. 

A  few  general  remarks  may  be  helpful 
in  regard  to  the  choice  and  preparation  of 
material.  Reed,  varying  in  size  from  No. 
GO,  which  is  about  as  thick  as  knitting 
cotton,  to  No.  6,  which  is  as  large  as  a  lead 
pencil,  may  be  procured  by  the  pound  from 
kindergarten  supply  stores.  In  selecting  it, 
care  should  be  taken  to  get  bundles  in 
which  the  strands  are  white  and  flexible. 
Nos.  2,  4  and  5  are  suitable  for  the  baskets 
shown  here.  If  it  is  desirable  to  introduce 
color,  the  completed  basket  may  be  dipped 
in  dye  or  painted,  but  it  is  well  to  limit  the 
color  schemes  to  greens  and  browns. 

In  working  in  a  pattern  in  color,  dyed 


CUT  VII  :  REED  BOUQUET  HOLDERS. 


HOW   TO   WEAVE   REED   BASKETS 


reed  may  be  used.  So-called  Easy  Dye,  of 
light  green,  affords  a  pleasing  shade,  and  if 
the  reed  is  boiled  about  ten  minutes  in  the 
dye,  the  color  will  be  fairly  permanent. 
Golden  brown  in  the  same  dye  is  satisfac- 
tory. For  those  who  are  so  fortunate  as 
to  know  the  old  methods  for  dyeing  with 
walnut  bark,  saffron,  logwood,  etc.,  artistic 
effects  may  be  promised  which  will  mor^ 
than  repay  the  labor  expended ;  but  color 
should  be  used  sparingly,  and  in  lines  and 
simple  bandings,  rather  than  in  elaborate 
])atterns. 

Perfection  of  execution  is  due  largely  to 
the  condition  of  the  material  when  the  work 
is  beinsf  done.     The  reeds  must  be   rolled 


55l»..,j    '  "NVENIENT 

bird's  nest 

on  BIRD-HOUSE 
WOVEN  OF 
KKEUS. 


two  or  three  at  a  time  into  coils,  and  soaked 
about  ten  minutes  in  hot  water  until  they 
become  pliable,  to  insure  a  fine  tight 
weave.  The  accompanying  pen-and-ink 
sketches  show  the  method  of  starting  the 
round  bottomed  baskets.  The  oval-bottomed 


CUT  IX  :   LARC.E  REED  B.ASKET. 

flower  baskets  are  more  difficult,  and 
should  not  be  attempted  until  some  skill 
has  been  attained.  The  drop-handled 
flower  basket  is  a  particularly  good  model, 
as  the  folding  handles  make  it  easy  to  pack 
in  a  trunk. 

In  working  at  any  basket  it  is  well  to  in- 
sert extra  spokes  where  the  basket  turns 
up,  sticking  in  each  almost  to  the  center  of 
the  bottom.  If  necessary  a  knitting  needle 
may  be  used  to  enlarge  the  space  before 
pushing  in  the  spokes.  If  it  is  desirable  to 
give  a  spiral  effect  in  the  natural  color  and 


HOW  TO  ^\'EAVE   REED  BASKETS 


CUT   III  ;    VEGETABLE   BASKET   AND    MELON    BASKET. 

brown  or  green,  an  uneven  number  of 
spokes  must  be  used,  with  one  weaver  of 
white  and  one  of  the  desired  color,  cross- 
ing between  the  spokes  (see  Fig.  3).  Up 
and  down  stripes  may  be  obtained  by  using 
ail  even  number  of  spokes,  and  weaving 
with  two  strands.  All  such  designs  should 
be  bordered  by  a  heavy  band  of  the  natural 
color  or  of  the  dark  color  or  the  pattern  will 
lack  character.  Beginners  should  be  chary 
in  the  use  of  color. 

Care  must  be  exercised  in  putting  in 
handles,  and  in  finish- 
ing the  upper  e'dge. 
A  glance  at  the  cuts 
shows  the  handles  as 
being  interwoven  into 
the  sides  of  the  bas- 
ket, and  a  close 
analysis  of  the  real 
articles  would  show 
the  ends  as  being  car- 
ried into  the  bottom, 
so  that  the  basket  will 
hold  a  considerable 
weight  without  the 
handles  pulling  loose.  In  the  melon-shaped . 
basket,  the  handle  is  part  of  a  circle  form- 
ing the  backbone,  so  to  speak,  of  the  whole 
Structure.  Another  circle  intersecting  this 
forms  the  top  of  the  sides.  Figs.  4  and  5 
show  method  of  starting  the  basket. 

While  all  these  baskets  are  for  country 
u.se,  they  are  quite  unlike  in  the  purposes 
for  which  they  are  intended,  and  the  reed 
bird's  nest  or  bird-house  might,  perhaps, 
be  excluded  as  not  being  a  real  basket.  It 
is,  however,  eminently  fitted  for  country 
use,  and  after  a  few  weeks'  exposure  to 
sun  and  rain,  the  reed  will,  take  on  the 
silvery  tones  of  weather-beaten  wood,  and 

88 


seem  a  part  of  the  landscape. 
Among  our  wild  birds,  blue- 
birds seem  particularly  willing 
to  adapt  to  their  own  use  a 
ready-made  domicile,  and 
even,  it  is  said,  to  return  to 
the  same  one  year  after  year. 
This  nest  need  not  be  very 
large,  and  may  be  fastened  to 
a  bough  within  sight  of  the 
house,  as  the  bluebirds  do  not 
fly  from  their  human  neigh- 
bors. In  Scandinavia  such 
nests  are  very  common,  and 
the  return  of  bird  couples 
among  the  smaller  feathered 
friends  is  counted  upon,  just  as  is  the  an- 
nual visit  of  the  storks,  who  find  their 
rooftree  homes  prepared  with  a  founda- 
tion of  a  cart  wheel  by  their  hosts,  ready 
to  be  added  to  with  each  successive 
spring. 

Not  only  birds,  but  their  natural  enemies, 
cats  and  dogs,  may  be  provided  with  home- 
made resting  places.  A  friend  of  the  author's 
accjuaintance  has  a  tortoise-shell  cat  which 
rejoices  in  a  hand-made  basket  of  brown 
and  bufif,  with  a  touch  of  turquoise  blue, 
which  looks  particularly  charming  with  his 


CUT  I  ;  UPRIGHT-HANDLE  FLOWER  BASKET  :  AND 
DROP-HANDLE  FLOWER  BASKET. 

tawny  coloring.  Finding  this  basket  by 
the  fireside,  he  proceeded  to  investigate  with 
eyes,  nose  and  claws,  and  the  result  being 
satisfactory,  he  at  once  took  possession  and 
has  used  it  over  two  years. 

The  first  requisites  of  baskets  to  hold 
potted  plants,  Cut  IV,  Figures  i  or  3,  should 
be  strength  and  simplicity  ;  coarse  materials. 
No.  5  for  spokes  and  Nos.  3  and  4  for 
weaving,  should  be  used.  A  wooden  bottom 
may  be  used  and  this  adds  to  the  strength 
of  the  basket.  Bass  wood  of  %  inch  thick- 
ness makes  a  good  base.     The  size  of  the 


HOW  TO   WEAVE  REED   BASKETS 


U,l 


l-IG.  1.  METHOD  OF  STARTlNli 

ROUND  BOTTOMED  BASKET. 

FIG.  2.  METHOD  OF  STARTING 

OVAL  BOTTOMED  BASKET 

(B.\SE). 

FIG.  3.  WORKING  WITH  TWO 

STRANDS  (one  COLORED). 

fig.  4.  melon  basket  (side 

view). 

fig.  5.  end  view. 


F.q-4. 


bouom  having  been  decided  on  (9  or  10 
inches  would  be  suitable  for  a  fern,  or  a 
small  palm),  a  circle  should  be  drawn  on 
the  wood  with  a  compass,  and  the  circular 
piece  sawed  out  with  a  keyhole  saw.  The 
edges  should  be  filed  smooth  and  sand- 
papered. Inside  this  circle  from  the  same 
center  another  circle  should  be  drawn  '/. 
inch  inside  this  one,  as  a  guide  line  along 
which  points  can  be  drawn  for  holes  to  be 
bored.  These  holes  should  be  not  more 
than  ^/\  inch  apart  to  insure  firm  weaving. 
The  holes  should  be  bored  on  the  points 
thus  indicated  with  a  bit  }(,  inch  in  diam- 
eter. If  it  proves  difficult  to  mark  the 
points  with  a  rule  the  compass  set  to  -^^ 
inch  may  be  used  to  "'step  off"  the  required 
])oints  on  the  guide  line.  To  cut  the  spokes 
for  a  wooden  bottomed  basket  it  is  necessary 
to  first  decide  on  the  height  desired,  then 
double  this  and  add  one  inch  for  the  space 
between  the  holes,  as  each  spoke  goes  from 
the  top  of  the  basket  down  through  a  hole, 
across  the  bottom  of  the  wood  to  the  next 
liole  and  then  up,  as  shown  in  Cut  \',  Fig.  i. 
Tn  a  basket  12  inches  high,  25  inch  spokes 
should  be  allowed,  for  the  actual  height, 
then  to  each  spoke  4  inches  more  should  be 
allowed  for  the  border,  thus  adding  8  inches 


to  the  25,  33  inches  in  all.  There  should 
of  course  be  half  as  many  spokes  as  there 
are  holes.  These  long  strips  should  be  cut 
and  rolled  and  soaked  in  hot  water  until 
pliable.  The  weavers  must  also  be  soft. 
The  weaving  may  be  done  with  double  or 
triple  weave,  and  a  row  of  openwork  adds 
to  the  effect,  as  the  dull  red  of  the  pottery 
showing  through  adds  a  nice  note  of  color. 
The  border  should  be  flat,  rather  than 
coiled.  The  pen  sketch.  Cut  V,  Fig.  2, 
shows  an  open  weave  strengthened  by 
carrying  down  extra  spokes  from  the  bor- 
der and  one  of  the  photographs  shows  the 
same  style  of  open  weave  ornamented  by 
adding  spokes  to  form  a  cross  in  each  open 
space.  The  borders  illustrated  are  all  madi- 
strong  by  insert- 
ing extra  spokes. 
Baskets  to  be 
used  as  j  a r- 
dinieres  may  be 
stiffened  by 
staining  with  oil 
paints  mixed 
with  much  tur- 
pentine to  pre- 
vent shininess.  A 
very  good  color 
com  bination  is 
that  of  burnt 
sienna  and  Prus- 
sian blue  mixed 
so  as  to  give  a  cloudy  effect  of  greenish 
brown.  This  coloring  harmonizes  with 
potted  ferns  as  well  as  flowering  plants. 
The  baskets  are  made  less  liable  to  warp  by 
protecting  the  surface  with  the  oil  paint, 
and  as  plant  baskets  are  often  used  on  a 
\-eranda,  this  seems  worth  consideration.  If 
it  is  desired  to  conceal  the  edge  of  the 
wooden  bottom  this  may  be  done  by  tack- 
ing a  braid  on,  over  the  edge  of  the  wood, 
or  by  putting  in  extra  spokes,  short  ones, 
from  the  back  of  the  basket  upward,  leav- 
ing ends  about  two  inches  long,  on  which 
a  few  rows  of  weaving  and  a  border  may 
be  put  as  shown  in  the  photographic  illus- 
trations in  Cut  IV. 

Jardinieres  of  all  reed  are  rather  difficult, 


FIVE  : 
NUMBER 


^^///y/^^A'^^^yA-^^^y^y/y^PTT-. 


80 


HOW  TO  WEAVE  REED  BASKETS 


CUT  V  :    NUMBER  TWO. 

on  account  of  the  great  length  of  the  spokes 
required,  but  this  difficulty  may  be  obviated 
by  weaving  the  bottom  first,  on  eight  spokes 
ID  inches  long,  exactly  like  the -bottom  of  a 
small  basket.  When  the  weaving  has  pro- 
ceeded nearly  to  the  end  of  the  spokes,  a 
strip  14  inches  long  may  be  inserted  beside 
each  spoke,  the  basket  turned  up  omitting 
these  ends,  which  may  be  cut  off  or  used  to 
form  a  woven  base  similar  to  that  already 
mentioned. 

When  cut  flowers  have  to  be  transported 
from  place  to  place  it  is  desirable   to    have 


CUT  V  :    NUMBER  THREE. 

them  protected  from  light  and  dust.  Two 
simple  baskets  are  illustrated,  Cut  VI  and 
Cut  IV,  Fig.  2.  which  may  be  used  for  this 
purpose.  ^  Cut  VI  represents  a  small  bas- 
ket, about  8  inches  across,  intended  espe- 
cially for  the  packing  of  a  bunch  of  violets, 
the  raised  cover  preventing  the  crushing  of 
the  topmost  blossoms.  One  florist  recently 
used  five  dozen  similar  to  this.  The  larger 
basket  allows  cut  flowers  to  lie  loosely 
without  bending  the  stems.  Two  upright 
holders  for  cut  flowers  are  also  illustrated. 

These  baskets  are  very  suitable  to  dec- 
orate with  color.  The  smaller  ones  are 
attractive  dipped  after  they  are  completed 
in  a  soft  toned  dye  bath — baby  blue  in  Dia- 
mond Dyes  gives  a  delicate  dull  blue,  and 
Easy  Dye  gives  tan,  dull  green  and  laven- 
der. The  latter  color  and  old  rose,  how- 
ever, are  hard  to  render  permanent  on  reed. 
Large  baskets  are  liable  to  lose  their  shape 
if  dipped  in  dye,  and  are  more  satisfactory 
stained  with  oil  paint  and  turpentine  as 
described  above. 

Trays  are  most  fascinating  examples  of 
the  basketniakers'  art.  The  woven  one  at 
the  left  of  Cut  VII  offers  but  little  diffi- 
culty, as  it  resembles  a  low  round  basket, 

90 


but  the  glass  bottomed  one.  Fig.  2,  is  quite 
complex.  A  wooden  bottom  must  be  used 
to  keep  the  gl?.ss  in  place,  and  the  weaving 
is  done  arniind  this.  To  accomplish  this, 
it  is  necessary  to  use  a  large  piece  of  card- 
board on  which  a  line  is  drawn  exactly  the 
size  of  the  v.'ooden  bottom,  to  hold  the 
weaving  in  place.  The  cardboard  is  pierced 
with  holes  one-half  inch  apart  through 
which  .small  spokes  are  run,  projecting  both 
above  and  below  the  cardboard  about  4 
inches.  The  top  may  then  be  woven  ij/i 
inches  high.  The  upright  ends  of  the 
spokes  should  then  be  worked  down  through 
as  far  as  the  wooden  bottom  and  pulled  out 
inside  to  make  a  border  as  illustrated  in  the 
photograph.  The  cardboard  may  then  be 
pulled  out,  the  glass,  cretonne  and  wooden 
bottom  put  in  place,  and  the  weaving  con- 
tinued to  form  the  lower  part  of  the  tray. 
A  very  good  finish  is  made  by  bending  the 
bottom  of  tiie  spokes  in  toward  the  center, 
and  weaving  a  border  on  the  bottom  of  the 
tray  to  hold  the  board  solid. 

Space  cannot  be  given  here  to  directions 
for  elaborate  borders,  handles  and  covers, 
as  only  the  most  elementary  principles  can 
be  taught  in  so  brief  a  paper.  But  the 
appended  illustrations  of  actual  baskets, 
most  of  which  were  made  in  a  home  for 
chronic  invalids,  will  offer  suggestion  as  to 
the  methods  of  working  out  the  more  diffi- 
cult problems  of  the  fitting  of  covers  and 
adjusting  of  suitable  handles.  The  large 
basket  shown  in  detail  in  Cut  IX  shows  an 
interesting  method  of  dealing  with  the 
cover ;  as  this  sinking  of  the  handle  allows 
the  basket  to  be  packed  in  a  trunk  without 
taking  up  undue  space.  The  handles  of  this 
basket  are  wotmd  with  heavv  chair  cane. 


CUT  V:    NUMBER  FOUR. 

It  is  also  strengthened  by  corded  of  No.  6 
weave  around  the  sides. 

The  most  interesting  feature  of  all  these 
baskets  is  the  original  manner  of  applying 
the  various  weaves,  and  it  is  hoped  that  the 
reader  will  devise  still  more  quaint  and 
practical  designs. 

All  the  baskets  which  illustrate  this  article 
were  woven  by  Miss  Buck  according  to  the 
instructions  given  here  and  the  result,  as  the 
jnctures  show,  is  not  only  practical  but  ex- 
tremely attractive. 


WRITE  TO   UNCLE   SAM  ABOUT  YOUR   CORN    CROP 


HOW  UNCLE  SAM  HELPS 
FARMERS  TO  GROW  BETTER 
CORN 

IN  the  "Weekly  News  Letter  to  Crop 
Correspondents,"  issued  by  the  U.  S. 
Department  of  Agriculture,  is  the  fol- 
lowing summary  of  the  work  which 
one  important  branch  is  doing  in  coopera- 
tion with  the  farmers  of  the  country : 

The  Office  of  Corn  Investigations,  a 
branch  of  the  Bureau  of  Plant  Industry,  is 
endeavoring  to  find  out  how  corn  growers 
may  produce  larger  yields  per  acre,  of  bet- 
ter quality  and  with  less  labor.  This  office 
investigates  the  fundamental  principles 
which  apply  wherever  corn  is  grown,  such 
as  the  principles  of  corn  breeding,  seed 
corn  preservation,  and  corn  culture. 

Members  of  this  office  cooperate  with  in- 
terested farmers  on  their  farms  in  endeav- 
oring to  get  better  yields.  Both  the  corn 
specialists  and  the  farmer  benefit  from  this 
arrangement.  These  specialists  first  take 
great  care  to  investigate  particular  condi- 
tions in  a  community  that  they  may  know 
exactly  what  methods  and  breeds  of  corn 
may  be  used  most  profitably  there. 

The  office  is  always  on  the  lookout  for 
foreign  varieties  of  corn  which  seem  to 
have  unusual  and  valuable  characteristics 
that  might  be  of  value  in  this  country. 
These  varieties  are  tested  with  well-select- 
ed and  local  varieties  to  determine  their 
relative  values.  Systematic  breeding  work 
is  then  taken  up  with  such  domestic  and 
foreign  varieties  as  seem  most  useful  to  the 
-American  farmer  to  improve  each  variety 
still  further.  Comparative  tests  are  repeat- 
ed from  time  to  time  to  determine  whether 
tile  variety  under  the  process  of  improve- 
ment is  actually  increasing  in  superiority. 

Some  high  yielding  varieties  have  been 
originated  by  cross-breeding ;  some  have 
descended  from  foreign  introductions  pos- 
sessing special  characters,  and  others  have 
resulted  from  ear-to-row  selection  work. 
Many  of  these  are  being  taken  up  by  seeds- 
men and  given  trade  names,  some  are 
known  by  local  names,  and  others  are  .gen- 
erally known  by  their  breeding  number. 
.Among  the  latter  are  United  .States  selec- 
tions '/~.  119,  120,  133,  136,  160,  i6v  and 
First  Generation  Cross  182.  Some  of  these 
have  been  made  sufficiently  productive  to 
outyield  local  strains  throughout  several 
States.  First  Generation  Cross  182  did 
this    throughout    Virginia    and     .Maryland. 


United  States  selection  133,  improved  in 
southern  Wisconsin,  has  won  favor  at 
points  in  Michigan  and  Pennsylvania. 

To  establish  the  practice  of  corn  im- 
provement is  of  much  more  value  to  a  com- 
munity than  the  mere  introduction  of  a  va- 
riety which  has  been  improved.  The  office 
by  systematic  research  has  endeavored  to 
work  out  practical  methods  for  growing 
corn  and  to  make  them  available  for  com- 
munities desiring  to  try  them.  For  e.xam- 
])lc,  it  has  demonstrated  the  profitableness 
of  the  construction  of  a  seed-corn  house, 
and  on  application  to  the  office  suggestions 
for  its  building  may  be  obtained. 

Seed  for  tests  or  for  corn  breeding  can 
frequently  be  supplied  to  farmers  if  re- 
quested in  the  summer  or  autumn,  so  that 
the  seed  may  be  properly  selected  and 
dried.  Requests  should  state  when  and 
where  the  corn  is  to  be  planted  and  the  date 
on  which  it  is  desired  to  have  it  ripen. 
Corn  planting  begins  during  February  in 
the  South  and  continues  through  Mav  in 
the  North.  During  this  time  the  special- 
ists familiar  with  hundreds  of  varieties  and 
how  they  grow  and  yield  under  different 
conditions  go  from  point  to  point  planting 
experimental  and  breeding  plats.  There- 
fore requests  for  cooperative  work  and 
seed  corn  should  be  sent  in  before  Febru- 
ary. 

In  the  Office  of  Corn  Investigations  the 
results  of  fifteen  years'  experiments  are 
classified  and  filed  and  the  information 
gained  is  available  for  any  farmer  who 
raises  corn.  The  boys  on  the  farm  who 
have  organized  into  corn  clubs  for  the  pro- 
duction of  superior  varieties  are  assisted 
in  their  corn-breeding  work  by  agents  of 
the  office.  The  tabulated  information  of 
the  office  is  also  at  their  disposal. 

The  office  aims  to  increase  the  acre  yield 
of  corn  in  the  United  -States.  The  present 
acre  yield  of  zj  bushels  must  be  improved 
to  meet  the  growing  demand  for  corn  on 
the  part  of  our  increasing  population.  Ac- 
tual results  obtained  by  boy  members  of 
corn  clubs  throughout  the  countrv  have 
demonstrated  that  by  using  improved  varie- 
ties and  methods  the  acre  yield  may  be 
greatly  increased  over  the  present  general 
average.  A  more  universal  use  of  the 
methods  employed  by  these  successful 
young  farmers  will  help  solve  at  least  one 
of  our  agricultural  problems,  viz.,  how  to 
increase  the  acre  vield  of  corn  with  our  in- 
crease of  ])opulation. 


TALACHINO:    A   HOME   FOR  RUSSIAN   FOLK  ART 


TALACHINO:  A  HOME  FOR 
RUSSIAN  FOLK  ART:  BY  K.  R. 
CAIN 

FEW  things  are  more  intimately  ex- 
pressive of  the  inner  life  and  ideals 
of  a  nation  than  the  art  of  its  peas- 
ant people.  It  is  they  who  shelter 
and  preserve  the  old  traditions  of  crafts- 
manship— in  their  hand-woven  garments, 
their  sturdy  home-made  furniture,  their 
simple  pottery,  carved  chests,  in  all  the 
primitive  yet  appealing  decorations  which 
stamp  with  individuality  the  humblest  ob- 
jects of  fireside,  workshop  and  farm. 

The  realization  of  this  fact  has  made 
many  a  country  turn  from  the 
elaborate,  over-polished  prod- 
ucts of  modern  civilization 
back  to  the  home  of  its  sim- 
pler country  and  village  folk 
as  the  guardians  of  a  beauty 
which  the  cities  in  their  com- 
mercialism have  lost.  And 
often  the  result  has  been  a  re- 
vival and  stimulation  of  peas- 
ant crafts  and  industries 
which  might  otherwise, 
through  lack  of  opportunity 
and  encouragement,  have  been 
gradually  lost. 

Among  the  art  revivals  of 
this  nature  which  have  oc- 
curred throughout  Europe 
during  the  last  few  years,  one 
of  the  most  interesting  is  in 
Russia.  At  Talachino,  the 
property  of  the  Princess  Ten- 
ichef,  a  remarkable  art  cen- 
ter has  been  established, 
where  Russian  folk  art,  in  old 
and  new  forms,  has  found  the 
inspiration  it  needed  for  fresh 
growth  and  blossoming.  In- 
deed, the  work  has  been  de- 
veloped along  such  radical 
lines  that  it  is  regarded  by 
connoisseurs  as  containing  the 
elements  of  a  new  national 
style. 

92 


FRIEZE    DESIGNED    BY    N.    ROERICH — AN     EXAMPLE    OF 
NORTHERN    FOLK    AKT    OF     UNUSUAL    INTEREST    AND 

nE.^UTY. 

In  this  unique  center  the  Princess  Teni- 
chef  has  collected  the  best  art  of  the  world 
for  the  instruction  and  inspiration  of 
every  peasant  on  her  estate,  and  every 
worker  in  her  studios.  The  whole  atmos- 
phere of  the  place  is  that  of  a  family  group, 
where  people  of  all  classes  meet  for  a  com- 
mon purpose.  Thousands  of  laborers  and 
students  come  to  Talachino,  which  has 
thus  become  a  place  of  considerable  impor- 
tance in  the  popularity  and  development  of 
the  surrounding  district.  All  who  bring 
the  mark  of  talent,  all  who  are  earnest  and 
eager  in  their  efforts  to  perfect  their  own 


THE  FACADE  OF  THE  Tcremok  WHICH  IIOUSl  .s  TAI.At  lIlMiV  I  ii 
THE  DESIGNER  IS  MALIOUTINE,  ART  DIRECTOR  OF  THE  .SCIIUOI. 
SIAN    FONDNESS   FOR  ORNAMENTATION   IS    HERE  EVIDENT. 


TALACHINO:    A   HOME  FOR  RUSSIAN   FOLK   ART 


particular  craft,  find  welcome  there — stu- 
dents, scientists,  workers  in  wood  and 
metal,  weavers  and  dyers,  artists  and 
craftsmen  of  every  kind.  At  their  service 
are  the  museum  and  the  library,  exhibits  of 
the  work  of  modern  painters,  the  newest 
artistic  and  technical  publications,  while  the 
contests  and  expositions  are  open  to  all. 
And  while  much  is  taught  by  the  example 
of  great  achievements  in  each  branch  of 
art  and  industry,  the  creative  rather  than 
the  imitative  spirit  is  fostered,  and  the  in- 
dividuality of  the  student  is  encouraged  to- 
ward self-expression  along  original  lines. 

To  organize  such  an  art  center  as  Tala- 
chino  requires  not  only  a  sincere  love  of 
the  work  but  also  a  wide  artistic  and  tech- 
nical knowledge,  initiative  and  creative 
ability,  and  infinite  patience  in  carrying  all 
the  details  to  completion.  Fortunately  for 
the  undertaking.  Princess  Tenichef  pos- 
sesses all  these  qualities  in  remarkable  de- 
gree, for  she  has  lived  many  years  in  the 
world  of  art  and  has  carried  to  successful 
issue  several   important   enterprises. 

In  the  Russian  Museum  at  St.  Peters- 
burg— or  rather  Petrograd,  as  we  must  call 
it  now — are  many  tributes  to  her  activity. 
A  certain  section  of  aquarelles  was  a  gift 
from  the  Princess.  It  was  through  her  ef- 
forts that  the  Museum  has  work  by  Vrou- 
bel,  Blomsted,  Ernfeld,  Enkel,  Purvitt, 
Mme.  Yakountchekof — a  fine  collection 
constantly  enriched  with  new  acquisitions. 
She  helped  to  cre- 
ate the  review  Mir 
Iskousstra,  and  en- 
couraged  many 
promis  i  n  g  artists, 
own    museum, 


ARMCHAIR   OF    MASSIVE   PROPORTIONS   AND  RICH    EXE- 
CUTION, AFTER  THE  DESIGN  BY  A.  ZINOVIEF. 


CHAIR  OF  CARVKD  AND  PAINTED  WOOD  BY  A.  ZINOVIEF. 

which  was  formerly  at  Talachino,  has 
been"  transferred  to  Smolensk,  and  with 
its  exhibitions  of  applied  arts  and  eth- 
nography is  the  joy  of  the  old  city.  Every- 
thing in  it — embroideries,  carvings,  ikons 
and  medals — is  rich  in  both  scientific  and 
artistic  value  Nor  is  the  collection  lim- 
ited to  ancient  objects,  for  it  includes 
much  incomparable  work  of  the  new 
masters,  such  as  Lalique,  Falize,  Gallay  and 
Colonna. 

The  Princess,  of  course,  has  many  able 
and  energetic  helpers  at  Talachino,  and 
foremost  among  them  stands  Malioutine, 
the  Master  Craftsman  and  Art  Director  of 
the  studios.  She  was  one  of  the  first  to 
appreciate  his  talent  and  to  see  the  disad- 
vantages under  which  the  artist  had  la- 
bored. Confiding  her  studios  to  his  direc- 
tion, she  gave  him  free  rein  to  realize  all 
the  caprices  of  his  rich  creative  fancy. 
That  of  which  Vasnetzof  dreamed  in  his 
architecture,  and  Mme.  Yakountchekof  in 
her  toy  structures,  is  here  realized,  yet 
nothing  borrowed  from  either.  All  is  Mal- 
ioutine— at  the  same  time  purely  rustic 
Russian,  new,  fantastic,  picturesque.  It  is 
impossible  to  assert  where  begins  the  indi- 
vidual imagination,  or  ends  the  grace  of 
the  old  Muscovite  spirit.  Malioutine,  by 
the  peculiar  nature  of  his  talent,  by  his 
clearly  expressed  personality,  reveals  only 
one  master  more  original  and  powerful 
than  himself — Gallen,  the  Finn,  the  son  of 
his    nation,    of    epic    legend.      Both    were 

93 


TALACHINO:    A   HOME   FOR  RUSSIAN   FOLK   ART 


HALL  BENCH  WITH  CURIOUS  FISH  MOTIF,  AFTER  THE 
DESIGN  OF  S.  MALIOUTINE:  A  PIECE  WHICH  REVEALS 
BOTH    SOLIDITY  AND  GRACE. 

among  the  first  to  show  forth  the  art  of  the 
future — northern  art  with  all  the  inex- 
haustible beauty  of  the  people,  their  cus- 
toms and  character,  their  laws  and  logic. 

It  was  Malioutine  who  designed  the  orig- 
inal structure  which  contains  the  library  of 
the  Talachino  school.  This  tcremok — old 
Russian  for  "little  castle" — is  a  spacious 
two-story  building,  with  brick  sub-struc- 
ture, situated  about  a  mile  and  a  half  from 
the  home  of  the  Princess,  and  surrounded 
by  a  palisade,  or  tall  fence,  of  artistic  de- 
sign, the  entrance  gate  strangely  cut,  sliow- 
ing  through  its  openwork  the  approach  to 
the  building,  from  perron  to  summit.  This 
gateway,  opening  into  the  forest,  merges 
into  the  pine  branches  against  the  dazzling 
background  of  deep  snow  or  sunlight  be- 
yond, according  to  the  season.  All  around 
are  scattering  pine  trees  and  interspersing 
birches,   witli    their   delicate   white   trunks ; 


below  extends  a  per- 
spective of  fields,  cut 
by  ravines. 

The  somber  beams 
of  the  tercmok  itself 
are  circled  with  fan- 
tastic girdles ;  multi- 
colored  ornaments 
flash  and  gleam,  bas- 
reliefs,  s  w  a  n  s  with 
wings  uplifted,  sun- 
bursts, undulating 
wavelike  lines,  bands, 
stars,  squares — designs 
reflecting  every  sort  of 
animate  and  inanimate 
life.  Certain  details  of 
the  building  astonish 
by  their  unexi)ectedness,  their  ])icturesc(ue 
simplicity,  the  boldness  of  their  composi- 
tion. One's  consciousness  is  saturated  with 
this   peculiar  beauty,   very   old,    Slav   to   a 


""" "^^ 

'm_ 

A  STURDY  TAIU.E  OF  REMARKABLE  DECORATIVE  CHARM. 
MADE  AFTER  THE  DESIGN  OF  J.   OVTCHINNI KOF. 


94 


IN  THIS  SIMPLE  DESK,  DESIGNED  BY  N.  ROERICH,  RE- 
STRAINED AND  CAREFULLY  PLACED  ORNAMENT  RE- 
LIEVES  THE    SOLID    WOOD. 

supreme  degree,  ingenious,  barbaric,  yet 
naive  and  homely.  Inside  is  a  curious 
porcelain  stove  made  after  Malioutine's 
design ;  wonderful  wooden  settees  and  a 
sculptured  stairway  baluster  of  curious 
pattern.  Equally  successful  and  of  very 
line  and  positive  decorative  taste  is  a 
doorway  executed  after  the  design  of  the 
Princess  Tenichef. 

The  theater  as  well  as  the  library  was 
designed  by  Malioutine,  and  is  a  long,  one- 
story  building  with  slanting  roof,  windows 
close  together  and  framed  in  sculpture! 
wood.  Every  free  space  on  the  walls  is 
covered  with  wood  carving  in  relief,  resem- 
bling the  ornaments  of  certain  boats  on  the 
\'olga  and  other  northern  rivers,  an  ageless 
art  which  survives  to  the  ]iresent  day.      In 


TALACHINO:  A  HOME  FOR  RUSSIAN  FOLK  ART 


SLEIGH  DECORATED  AFTER  THE  DESIGN  OF  THE  PRIN- 
CESS TENICHEF,  FOUNDER  OF  THE  RUSSIAN  ART-CEN- 
TER OF  TALACHINO. 

the  museum  of  the  Princess  is  an  admira- 
ble collection  of  these  prows,  some  dating 
from  the  early  seventeenth  century,  some 
from  the  time  of  Peter  the  Great  and  the 
renowned  Catherine. 

All  through  the  decorations  of  Talachino 
and  its  buildings — above  the  gateway  to  the 
tcrentok,  in  the  decorations  of  the  walls,  in 
the  old  Russian  ornaments,  the  ancient  bro- 
cades of  glittering  gold — one  sees  the  fa- 
mous "wonder-bird,"  Talachino's  tacit 
crest,  the  delight  of  the  Princess  and  the 
sign  manual  of  Malioutine.  The  decorative 
use  of  this  legendary  bird  seems  especially 
appropriate,  for  it  is  closely  interwoven 
with  the  traditions  of  the  people.  Worship- 
ing peasants  sang  of  its  flight,  its  golden 
plumage,  its  prophetic  voice.  It  was  a  sym- 
bol of  all  magical  and  longed-for  beauty^ — 
this  sun-bird  of  the  East  which  came  to 
hover  awhile  over  the  snowy  Northland, 
perhaps  the  embodiment  of  some  bright 
Oriental  memory  of  this  strangely  mingled 
race. 

Serge  Makowsky  declares,  "Never  has 
the  art  of  our  cities  more  nearly  ap- 
proached primitive  art" — writing  of  Tala- 
chino— "peasant  art,  which  for  so  many 
centuries  developed  in  peaceful  villages,  in 
the  forests,  in  the  calm  of  the  endless 
Step])es,  beside  impassable  Russian 
marshes.  For  the  first  time  the  Russian 
painter,  permeated  with  European  culture 
and  experience,  looks  upon  the  people  and 


the  far  .  past  without  false 
sentiment,  free  from  precon- 
ceived tendencies — looks  sim- 
ply with  the  eye  of  the  seeker 
and  diviner,  as  a  poet  who 
loves  the  mystery  of  popular 
beauty."  He  continues,  "It 
would  be  difficult  to  say  pre- 
cisely to  whom  is  due  the 
honor  of  priority  in  this  new 
way." 

Then  follow  names  scarce- 
ly heard  in  our  country — 
Swartz,-  with  his  series  of 
illustrations  and  pictures  bor- 
rowed from  the  sixteenth  and 
seventeenth  centuries,  giving 
proof  of  a  fine  comprehen- 
sion of  historic  truth,  and  a 
nice  discrimination  in  details ; 
Sourikof,  the  Titan  of  Rus- 
sian historic  painting  ;  Solntzof ,  Pleckanof ,. 
and  the  story  pictures  of  Vasnetzof.  The 
impulse  was  given.  Lost  magic  returned. 
From  old  churches  and  cities,  antique 
carved  wood,  quaintly  designed  embroid- 
eries, all  the  original  beauty  which  had  slept 
for  centuries  in  the  tranquil  immensity  of 
far  Russian  spaces,  every  old  treasure 
yielded   something  needful  to  our  modern 


CRADLE  WITH  BEAUTI- 
FULLY DECORATED 
WOOD  AND  DRAPERY, 
THE  DESIGN  OF  THE 
PRINCESS  TENICHEF. 


95 


TALACHINO:    A   HOME   FOR  RUSSIAN  FOLK  ART 


KXTKKME  GATE  OF  THK  Trrciliot,  DESIGNKII  BY  S. 
MM.IOUTINE  AND   SCULPTURED  IN    WOOD. 

masters ;  and  temple  decoration  and  the 
applied  arts  took  on  fresh  forms — neither 
entirely  new,  nor  yet  imitations.  The 
national  operas  were  staged  with  decora- 
tions and  costumes  in  harmony  with  the 
spirit  of  the  music,  instead  of  with  the 
obviously  unfit;  utensils  for  daily  use  were 
covered  with  designs,  reminders  of  ances- 
tral implements ;  fantastic  flowers,  turn- 
soles and  ferns  blossomed  on  the  pottery, 
furniture  and  stuffs ;  everywhere  national 
ornamentation  was  revived. 

Honor  is  especially  due  to  two  remark- 
able artists,  Helen  Polenof  and  Marie  Ya- 
kountchekof,  who,  sustained  by  Mme.  Ma- 
montof,  an  art  patron,  founded  several  stu- 
dios in  the  village  of  Abramtzevo.  Here 
were  executed  after  their  designs  and  an- 
cient models  all  sorts  of  objects  adapted  to 
the  comfort  of  modern  homes.  Unfortu- 
nately, their  valuable  activity  was  of  short 
duration.  Mme.  Polenof  died  in  i8q8,  and 
Mme.  Yakountchekof  in  1902.  Their  stu- 
dios, little  by  little,  gave  place  to  those  of 
Talachino.  The  intellectual  class  of  cities, 
uinised  to  the  art  of  the  i)eople,  awoke  to 
the  realization  of  its  vitality,  and  the  suc- 
cess of  the  productions  of  Talachino  has 
been  astonishing.  "Hopeful  breaks  in  the 
ranks  of  triviality,"  writes  Roerich,  who 
has  been  called  the  Viking  painter,  with 
bis  "exceptional  taste,  his  grave  twilight 
thought,  creator  of  somber  prehistoric 
men,"  a  special  admirer  anrl  friend  of  Tala- 
chino. 

Thus,  out  of  an  evident  s|)iritual  need, 
Talachino  has  drawn  together  the  best  art- 
ists— Vroubel,  Zjnovief,  Rechtof,  Michinof. 

96 


Samoussef,  Borotchersky  and 
many  others — to  give  birth  to 
new  forces  in  art.  The  school 
has  especially  developed  in 
woodworkers  the  sentiment  of 
ornament,  that  ancient  fond- 
ness that  still  lives  in  the  peas- 
ant of  today.  "This  sentiment 
cannot  be  aroused  artificially," 
says  Roerich.  "It  hides  in  the 
obscure  soul  of  the  people  like 
a  seed,  waiting  centuries  for  a 
propitious  soil  to  burgeon  forth 
in  generous  growth.  The  peo- 
ple keep  the  elemental  forms, 
embryos  of  beauty,  immutable 
and  eternal  as  destiny ;  symbols 
of  race  unity,  they  are  more  living  and 
lasting  than  the  temporary  superpositions 
of  history.  When  the  time  is  ripe  they 
bloom  out,  enduring,  in  splendid  designs." 

Even  so  brief  a  glimpse  must  prove  that 
the  Russian  people,  the  peasants,  are  not  a 
wretched  class,  doomed  to  misery  and  suf- 
fering, but  a  vast  world  concealing  in  its 
depths  the  wealth  of  centuries  of  knowl- 
edge, dreams,  traditions,  feelings,  with  the 
tangible  proof  of  the  crystallization  of  art 
life,  the  inheritance  of  a  thousand  years. 

A  nation  seldom  shines  with  all  the  arts 
at  once,  those  of  war  and  those  of  peace. 
Russia  held  germs  of  beauty  in  its  barbaric 
days  which  so  far  have  refused  to  bloom 
amidst  civilization — certainly  not  in  cities. 
Art,  mysterious  as  the  wind,  comes  not  at 
bidding;  and  it  often  passes  the  haughtiest 
door  to  smile  on  the  humblest  hovel.  So, 
out  of  the  homes  of  her  peasants,  the  folk- 
art  of  Russia  has  come,  expressing  in  its 
own  inimitable  way  the  soul  of  her  people. 

GARDEN   CITY   CHILDREN 

nPHE  Imperial  Health  Conference  at  a 
recent  exhibition  in  London  presented 
some  interesting  facts  concerning  child  wel- 
fare. Among  the  reports  which  showed 
the  value  of  healthy  environment  upon 
children,  was  that  of  the  Medical  Officer 
of  Health  for  Hendon.  He  has  found  that  in 
the  Garden  Suburb  school  of  Hampstead  the 
height  of  the  pupils  from  5  to  8  years  aver- 
ages from  '4  of  an  inch  to  I '4  inches  more 
than  that  of  children  living  under  less 
natural  conditions.  The  Marquis  of  Salis- 
bury has  demonstrated  his  interest  by  de- 
veloping on  his  estate  at  Liverpool  a  garden 
suburb  on  copartnership  principles. 


"  BEAUTY-LETTERS  " 


/ 

^ 

h 

fsl 

/ 

5orell._ 

"BEAUTY-LETTERS" 

DOWN  in  Mexico  City  is  a  modest 
little  studio  papered  with  hand- 
made paper,  hung  with  hand- 
woven  curtains  and  draperies  sten- 
ciled with  curiously  interesting  me- 
dallions, furnished  with  quaint  hand- 
made tables,  chairs  and  cabinets.  Torres 
Palomar,  a  designer  of  monograms,  made 
this  studio  and  all  the  things  in  it  after  his 
own  ideas  of  beauty  and  the  need  of  indi- 
vidual expression.  He  lives  there  in  the 
heart  of  that  excitable  city,  peacefully  ab- 
sorbed in  combining  letters  of  all  languages 
into  beautiful  monograms  or  kalogramas, 
as  he  calls  them,  a  word  of  his  invention 
meaning  "beauty-letters."  A  monogram  or 
kalogram  is  in  reality  but  a  little  enigma,  a 
rebus  made  up  of  the  interlaced  or  cleverly 
combined  initials  of  a  man's  name,  some- 
times of  the  full  name  itself.  To  be  good, 
says  this  enthusiast,  it  must  be  easy  to  guess 
else  it  fails  its  purpose ;  besides,  compli- 
cated things  are  never  beautiful.  Mono- 
grams must  be  beautiful  as  well  as  useful. 
There  is  a  satisfaction  in  deciphering  a 
good  monogram,  a  pleasant  sense  of  tri- 
umph. If  the  design  is  .confused  so  that 
the  letters  cannot  be  easily  perceived,  then 
it  is  unsuccessful,  for  it  carries  with  it  an 
unpleasant  impression  of  failure. 

The  work  of  Torres  Palomar  is  distin- 
guished for  its  originality  of  design,  its  har- 
monious coloring,  its  legibility  and  its  ex- 
treme simplicity.  Monograms  of  his  de- 
signing are  full  of  refreshing  individuality, 
for  he  is  a  bit  of  a  humorist,  a  kindly  sym- 
pathetic one  who  cannot  help  but  make  let- 
ters fittingly  suitable  to  dififerent  personali- 
ties. So  he  makes  them  gracious,  digni- 
fied, severe,  flippant,  aristocratic,  slender  or 
heavy,  as  varied  as  human  nature  itself.   To 


the  designing  of  these  small  intimate  em- 
blems of  character,  intended  for  use  on  sta- 
tionery and  household  napery,  as  book- 
plates, crests  and  seals,  he  applies  the  big 
general  principles  of  art. 

Color  and  music  harmonies  are  closely 
related  according  to  him,  and  exercise  a 
similar  fascination.  The  mere  repetition 
of  a  geometrical  pattern  or  of  a  color  note 
does  not  produce  beauty  or  quicken  the  im- 
agination any  more  than  the  repetition  of  a 
sound  produces  music  that  appeals  to  the 
emotions.  There  must  be  a  harmonious 
arrangement  or  combination  of  form  and 
of  color  to  prevent  monotony  and  bring 
about  beauty.  He  has  learned  to  improvise 
with  letters  and  colors,  developing  a  multi- 
tude of  harmonious  figures  as  a  musician 
improvising  with  notes  creates  new  and 
haunting  melodies.  His  improvisations 
spring  from  a  long  experience  as  an  en- 
graver, an  invaluable  experience  which 
gave  him  thorough  acquaintance  with  the 
chemistry  of  colors  and  the  technique  of 
printing.  He  has  played  with  the  letters 
of  many  ages,  studied  ancient  Egyptian, 
Arabic  and  Cufic  inscriptions,  examined  old 
missiles,  seals  and  devices  of  heraldry.  So 
beneath  his  impromptu  kalogramas  is  a 
wide  technical  knowledge  of  the  principles 
of  pure  form  and  symbolism,  as  beneath 
the  simplest  melodies  rest  the  complicated 
laws  of  counterpoint. 

Monograms  in  the  form  of  a  single  sign, 
representing  a  name,  have  been  in  use  from 
the  earliest  ages.  They  were  man's  first  ef- 
forts at  a  signature,  a  crude  attempt  to  im- 
print his  individuality  upon  objects,  or  to 
proclaim  his  ownership.  More  elaborate 
ones  composed  of  the  several  initials  of  a 
name  have  been  found  upon  very  ancient 
Greek  coins  and  upon  medals  and  seals  of 
Macedonia    and    Sicily.      Popes,    emperors 


97 


SANITARY  PROGRESS  IN  THE   EAST 


and  kings  of  the  Middle  Ages  used  them  in 
lieu  of  signatures.  In  Japan  even  today 
initial  monograms  or  those  involving  the 
full  name,  made  up  in  the  form  of  seals, 
are  in  general  use  for  signing  pictures,  let- 
ters, contracts,  bills,  receipts,  etc.  They 
are  used,  in  fact,  wherever  a  personal  sig- 
nature is  demanded,  and  most  decorative 
objects  they  are  indeed,  for  they  are  often 
purelv  emblematic  instead  of  kalographic. 
A  seal,  with  a  bit  of  red  wax,  in  cleverly 
contrived  plain  or  ornamental  cases,  hangs 
from  the  girdles  of  all  men,  whether  work- 
man, merchant  or  scholar. 

The  work  of  the  early  artists,  engravers 
and  craftsmen  of  Germany.  Flanders  and 
many  other  European  countries  was  signed 
solely  with  the  initials  of  their  makers, 
which  were  frequently  interwoven  with  fig- 
ures of  symbolic  character.  The  most  widely 
known  monogram  is  without  doubt  the  ec- 


clesiastic I.  H.  S.,  formed  of  the  first  three 
letters  of  the  Greek  name  of  Jesus,  or,  as 
it  is  sometimes  explained,  of  the  first  three 
letters  of  the  Latin  sentence  lesus  Homi- 
num  Salvatore  (Jesus  Savior  of  Men).  The 
most  common  form  of  monogram  is  the 
square,  which  represents  the  foundation 
principle  of  life,  or  the  circle,  the  line  of 
perfection,  which,  like  the  infinite,  is  with- 
out beginning  or  end  and  incloses  all.  Some 
of  the  simplest  ones  are  a  primitive  sort  of 
shorthand.  A  rebus  forming  a  pun  upon 
a  man's  surname  was  once  extremely  popu- 
lar in  England.  Pictorial  signatures  were 
also  once  in  common  use  in  England,  as, 
for  instance,  the  letter  N  between  crude 
sketches  of  an  ox  and  a  bridge,  which 
plainly  stands  for  Oxenbridge.  Many  old 
English  ideograms  persist  even  unto  today, 
such  as  lb.  for  pound  and  our  own  mark  S 
for  dollar. 


SANITARY   PROGRESS   IN 
INDIA  AND  EGYPT 

THE  press  of  India,  both  Anglo-Indian 
and  native,  is  championing  a  cause 
which  a  few  years  ago  would  have 
seemed  hopeless  in  a  country  where  prog- 
ress is  so  difficult.  To  convince  a  people, 
with  the  prejudices  of  centuries  behind 
them,  that  sanitation  is  of  the  utmost  im- 
portance to  them  physically  and  morally,  is 
no  easy  task.  But  in  the  last  thirty  years 
various  advancements  have  been  made  that 
make  more  rapid  progress  possible  now. 
During  this  period  princes  have  had  their 
sons  educated  in  foreign  countries :  high 
schools  have  been  established  by  mission- 
aries ;  and  various  commissions,  considering 
the  needs  of  the  country,  have  changed  the 
occupations  of  the  people  and  introduced 
Western  ideas  into  the  larger  towns.  What 
has  been  accomplished  along  the  one  line  of 

98 


sanitation,  with  the  intelligent  backing  of 
these  agencies,  may  be  inferred  from  the 
report  of  the  health  of  the  British  troops 
in  India,  which  is  duplicated  in  the  report 
of  the  native  troops.  The  death  rate  of  the 
I'ritish  troops  in  the  four  years  1875-79 
was  ^0.37  per  thousand,  and  in  191 1  and 
1912  the  figures  were  respectively  only 
4.89  and  4.62  per  thousand. 

Remarkable  sanitary  results  have  also 
been  attained  in  Egypt,  where  the  outcome 
of  the  British  occupation  a  generation  ago 
was  enigmatical.  Here  the  same  mental 
prejudices  to  cleanliness  of  body  and  dwell- 
ing had  to  be  overcome  as  in  India,  but 
Lord  Kitchener's  last  report  shows  how  the 
British  irrigation  schemes,  which  have 
changed  the  face  of  that  great  country, 
were  able,  during  a  shortage  of  water  last 
year,  to  prevent  the  famine  and  misery 
which  usually  follow  such  a  catastrophe. — 
From  The  American  City  for  August,  1914. 


HILDA'S  PILLOW 


HILDA'S  PILLOW:  HEALING 
THE  INSANE  THROUGH  WORK: 
BY  DR.  MARY  LAWSON  NESS 

MY  first  meeting  with  Hilda  was  in 
tliis  wise.  Passing  through  a  hos- 
pital ward,  a  forlorn  figure  was 
noticed  leaning  against  the  side  of 
a  window,  listlessly  gazing  out.  She  paid 
no  attention  to  me  or  to  my  companion,  who 
answered  inquiries  in  regard  to  her  by  say- 
ing that  she  was  a  problem  to  the  nurses  in 
the  ward,  sometimes  striking  them,  some- 
times breaking  a  window,  sometimes  tear- 
ing her  clothes  to  shreds.  It  was  almost 
impossible  to  keep  her  tidy,  while  her 
chronic  discontent,  which  was  written  on 
her  face,  made  her  an  influence  for  evil. 
Her  mental  deterioration  was  so  great  that 
she  could  not  work  in  any  of  the  regular 
departments. 

Under  Hilda's  arm  was  crumpled  a 
strange-looking  fabric.  Bits  of  lettering,  a 
quaint  figure,  a  flower,  aroused  my  desire 
to  examine  the  production.  "Will  you  let 
me  see  what  you  have  made?"  I  asked  as 
pleasantly  as  possible.  "No,  I  won't,"  was 
the  curt  reply.  We  passed  on,  but  a  day  or 
two  later  Hilda  abruptly  held  out  her  pre- 
cious possession,  and  said  to  the  physician 
making  his  rounds,  "The  lady  can  have 
this."  My  curiosity  was  generously  re- 
warded by  the  gift.  An  old  flour  sack,  bits 
of  cotton  thread  raveled  from  her  apron, 
her  gingham  dress  or  her  stocking  had  fur- 
nished her  equipment.  Chance  ravelings 
from  the  floor,  sewing  cotton,  a  bit  of  tambo 
red,  secured  no  one  knew  how,  were  added 
from  time  to  time.  The  work  was  done  at 
odd  moments,  in  lonely  corners,  without  at- 
tracting any  one's  attention,  and  lo !  the  pil- 


A  WOODEN  TOY  SKILFULLY  M.\DE  BY  .\X  IN'S.\NF. 
P.\T1ENT. 

low  pictured  in  the  illustration  was  the  re- 
sult of  laundering  the  soiled  and  crumpled 
bag.  This  pillow  was  placed  in  an  indus- 
trial exhibit,  to  Hilda's  pride  and  joy.  She 
was  immediately  transformed.  With  this 
clue  to  her  interest  the  nurses  and  physi- 
cians saw  that  she  was  supplied  with  ma- 
terials, and  such  a  procession  of  pillows  as 
flowed  from  her  magic  fingers  was  never 
seen ! — A  present  for  every  employee  shf 
knew — for  visitors  and  friends  of  other  pa- 
tients was  forthcoming.  At  Thanksgiving 
gorgeous  turkeys  strutted  out,  at  Christmas 
holly  wreaths  encircled  bells,  at  Easter 
lilies  and  daffodils  bloomed,  on  Independ- 
ence Day  flags  waved  on  Hilda's  pillows. 
No  two  were  ever  alike,  and  the  tribute 
of  praise  and  appreciation  were  as  the  wa- 
ter of  life  to  the  starved  artist  soul  that  lay 
buried  under  Hilda's  clouded  intellect. 
Hilda  is  still  demented,  still  incoherent  and 


HILDA  S   PILLOW. 

99 


HILDA'S  PILLOW 


HANDBAC  OF  CORD,  THl'.  MAKINC  OK  WHICH  SHOWS 
NO  SIGN   OF  A  DISORDERED   MIND. 

childish — but  a  smile  is  on  her  face.  Her 
gray  hair  is  smoothly  combed,  a  crocheted 
collar  adorns  her  fresh  calico  dress,  and  the 
thirty-five  pounds  she  has  gained  have  made 
her  drawn  and  lined  face  comely  and  dim- 
pled. No  better  illustration  of  what  occu- 
pation that  is  self-expression  means  to  the 
quite  incurable  insane  could  be  found,  yet 
doubtless  scores  of  just  such  histories  could 
be  written,  were  the  facts  available. 

To  help  Hilda's  sisters  in  the  various  in- 
sane hospitals  in  this  country,  a  majority  of 
institutions  for  the  insane  have  now  some 
regularly  organized  department  to  plan  and 
provide  suitable  occupations.  One  of  the 
most  progressive  has  a  highly  trained  wo- 
man, a  member  of  the  staff,  at  the  head  of 
this  department.  She  has  under  her  eight 
or  ten  paid  employees,  and  many  patient  as- 
sistants. On  this  staff  are  musicians,  libra- 
rians, trained  playground  instructors,  teach- 
ers of  the  arts  and  crafts  of  all  kinds,  of 
folk  dancing,  of  calisthenics,  of  book-bind- 
ing, of  painting  and  drawing,  and  of  horti- 
culture. A  school  under  a  capable  teacher 
is  maintained,  and  with  rare  good  judgment 
placed  where  it  is  at  once  noticed  by  the  in- 
coming patients  on  an  acute  ward,  thus 
making  them  aware  of  normal  human  activ- 


ities close  at  hand,  in  which  they  can  join 
as  soon  as  they  wish  or  become  able  to 
do  so. 

From  the  humane  point  of  view  no 
stronger  appeal  is  needed  than  that  made 
by  a  ward  filled  with  idle  and  unhappy  hu- 
man beings.  In  being  deprived  of  an  out- 
let for  their  energy  they  frecjuently  develop 
mischievous  habits,  taking  off  and  putting 
on  their  clothing,  hammering,  clapping  their 
hands,  screaming,  etc.  These  outbursts  of 
unutilized  nervous  energy  are  not  so  often 
symptoms  of  their  disease  as  the  fruit  of 
the  conditions  in  which  they  are  placed.  To 
restore  to  these  people  an  agreeable  and  nat- 
ural way  of  carrying  on  a  normal  amount 
of  activity  is  certainly  contributing  as  much 
to  lessen  the  sum  total  of  human  misery  as 
any  charity  that  we  could  mention.  Many 
cases  which  have  at  various  times  come  un- 
der my  personal  observation  have  been 
transformed  from  unhappy  creatures  to 
cheerful  and  contented  inmates  of  a  hospi- 
tal, which  they  then  come  to  consider  al- 
most in  the  light  of  a  home. 

It  would  seem  superfluous  to  emphasize 
the  injury  that  idleness  produces,  and  when 
this  injury  is  the  result  of  enforced  idleness 
it  is  even  more  extensive  and  irreparable. 

In  our  hospitals  for  the  insane  we  have 
the  problem  of  supplying  not  only  the  mate- 
rials and  equipment  for  occupation,  but  the 
motives.  The  question  "Why  do  we  work?" 
has  been  answered  by  a  great  philosopher, 


A  REALLY   ARTISTIC  RUG   WOVEN   BY   A   PATIENT  IN  AN 
INSANE   HOSPITAL. 


HILDA'S  PILLOW 


PILLOW  WOVEN  ON  A  SMALL  HAND  LOOM  BY  AN  IN- 
SANE  WOMAN. 

when  he  said,  "A  man  to  be  happy  must 
have  something  to  work  for,  something  to 
hope  for.  and  something  to  love."  The 
mainsprings  of  action  are  necessity,  ambi- 
tion and  affection.  Take  these  away,  and  a 
vacuum  is  created  in  which  we  cannot  func- 
tion. Institutional  life  frequently  cuts  the 
inmate  off  almost  entirely  from  these  mo- 
tives. The  minor  stimuli  of  life  must  be 
used  instead.  Of  these  the  most  potent  is 
the  play  motive — self-expression  in  all 
forms,  which  includes  invention,  the  desire 
to  create,  the  joy  of  seeing  the  work  of 
one's  fingers  grow  and  reach  completion. 
This  is  so  deeply  rooted  a  human  instinct 
that  it  can  be  trusted  to  survive  in  almost 
all  degrees  of  mental  aberration.  Other 
minor  motives  should  be  employed  as  fullv 
as  possible. 


Praise  will  influence  some,  competition 
will  reach  a  few,  an  appeal  to  the  aesthetic 
sense  will  be  effective  with  a  limited  num- 
ber. On  others,  simple  rewards  will  have  a 
constraining  influence.  Altruism  and  af- 
fection can  be  appealed  to  largely — as  large- 
ly as  with  children ;  and  many  patients  will 
embrace  an  opportvmity  to  make  small  gifts 
for  relatives  or  friends.  Some  will  enter 
into  preparations  for  an  entertainment — 
making  decorations  for  Christmas  trees 
calls  forth  almost  universal  interest.  Many 
will  gladly  do  charit}-  work,  which,  in  this 
case,  will  not  begin  at  home,  but  will  be  for 
dependents  of  some  other  class,  such  as  or- 
phaned or  crippled  children.  Some  will 
take  their  first  steps  toward  a  more  normal 
life  by  forming  the  audience  which  merely 
watches  the  activities  of  patients  already- 
able  to  respond  to  stimulation.     Later  some 


BASKET     IN 
INSANE. 


INDIAN     DESIGN,     CRAFTWORK     OF     THE 


ROSE  AND  VIOLET  BOWL  WOVEN  OVER  A  GLASS  FINGER 
BOWL  WHICH  THE  WEAVING  HOLDS  FIRMLY  INSIDE  : 
IT  IS  COLORED  WITH  THE  JUICE  OF  WILD  SMILAX 
BERRIES. 

of  these  spectators  will  develop  a  desire  to 
participate  in  the  work  they  have  watched. 

The  personal  note,  so  easily  lost  in  deal- 
ing with  large  groups  of  people,  should  be 
used  repeatedly  and  to  the  fullest  possible 
extent.  It  is  far  better  for  a  patient  to  be 
asked  to  hemstitch  a  particular  cover  for 
the  bureau  of  a  nurse  to  whom  she  is  at- 
tached than  merely  to  give  her  material  and 
tell  her  that  it  is  to  be  hemstitched.  If  we 
will  put  ourselves  in  the  place  of  the  pa- 
tient for  a  moment  the  force  of  this  distinc- 
tion will  be  very  clearly  seen. 

One  of  the  most  successful  experiences 
we  have  had  was  interesting  patients  in 
making  little  gingham  aprons  and  other 
small  articles  of  clothing  for  the  children  in 
an  orphan  asylum.  The  children  themselves 
came  occasionally  to  the  hospital  to  sing. 


HILDA'S  PILLOW 


RAKE-KNITTER  MADE  BY  A  PATIENT  IN  A  NEW  ENG- 
LAND  HOSPITAL. 

either  in  the  wards  or  in  the  amusement 
hall,  and  every  response  to  the  request  that 
some  small  garments  be  made  for  these  chil- 
dren was  as  unanimous  and  hearty  as  would 
have  come  from  a  group  of  people  any- 
where. Here  the  appeal  was  made  to  the 
deeply-rooted  feminine  instinct  of  caring 
for  children,  the  personal  note  was  used  in 
asking  them  to  work  for  some  one  they  had 
seen  and  already  felt  an  interest  in,  and  no 
doubt  the  longing  to  be  of  some  use  in  the 
world,  which  the  more  intelligent  inmates 
of  institutions  frequently  feel  keenly,  was 
somewhat  satisfied.  The  work  itself,  more- 
over, was  interesting,  was  more  or  less  fa- 
mihar,  was  easily  done,  soon  finished,  and 
of  obvious  use — all  most  desirable  features. 

The  last  of  these — its  obvious  use — is  an 
essential  element  in  all  occupation  work. 
Work  for  the  sake  of  work  appeals  to  ab- 
normal people  just  as  little  as  to  normal 
people.  Trumped-up  occupa- 
tions that  are  evidently  merely 
a  perfunctory  carrying  out  of 
the  idea  of  occupation,  will 
prove  valueless.  A  certain 
amount  of  institutional  work, 
however,  can  be  utilized,  es- 
pecially if  a  personal  note  is 
added. 

The  articles  to  be  made,  be- 
sides being  of  obvious  use, 
should  be  such  as  are  quickly  finished,  so 
that  results  are  not  too  long  delayed. 
They  should,  whenever  possible,  have  color 
and  form  to  give  them  some  aesthetic  value. 
They  should  not  require  very  fine  muscular 
co-ordination.  This  is  an  important  point, 
too  often  overlooked.  Very  simple  forms 
of  embroidery,  crocheting  and  feather- 
stitching  are  practical,  if  not  carried  on 
until  the  patient  has  lost  interest.  The 
signs  of  fatigue  should  be  watched  for  in 
all  work  with  great  care. 

Basketry  appeals  to  a  somewhat  limited 
number.     Those  who  are  satisfied  with  mo- 


notonous employment  will 
frequently  work  week  after 
week  at  basketry.  By  vary- 
ing colors  and  styles  and  by 
limiting  the  basket  work  to 
certain  days  in  the  week,  the 
great  objection  to  basketry, 
which  is  its  monotony,  can  be 
minimized.  Where  practi- 
cable, it  is  one  of  the  most 
useful  aids  in  furnishing  occupation. 

The  simple  splint  baskets  are  suitable  for 
the  confused  or  deteriorated  patients.  Men 
like  to  make  reed  baskets,  while  the  edu- 
cated and  skilful  members  of  the  varied 
community  will  learn  to  produce  really 
beautiful  pieces  of  work  like  the  one  illus- 
trated, which  reproduces  an  Indian  design. 
Sometimes  it  is  difficult  to  find  a  simple 
occupation  for  unskilled  patients.  One  of 
the  best  is  rake-knitting,  to  which  my  atten- 
tion was  first  called  by  Miss  Tracy's  charm- 
ing book,  "Invalid  Occupations."  This 
rake,  shown  in  operation  in  the  illustration, 
is  the  spool  knitter  of  our  childhood  with  a 
college  education.  A  patient  in  a  New  Eng- 
land hospital  who  was  interested  in  helping 
the  "Occupation  Supervisor"  made  a  sup- 
ply of  rakes  from  the  skewers  thrown  aside 
in  the  meat  shop,  with  odds  and  ends  of 
lumber,  and  the  industry  flourished  apace. 
The  bag  illustrated  is  made  from  oyster- 
white  linen  cable  cord,  and  is  designed  for 


A  CHEERFUL  LITTLE  CROCODILE  MADE  FOR  A  CHILD  TO 
PLAY   WITH. 

wear  with  a  white  linen  suit.  These  bags 
are  salable,  and  will  be  useful  where  pa- 
tients are  allowed  the  normal  incentive  of 
reaping  a  reward  from  their  work. 

An  excellent  occupation  for  wholesome- 
ness  and  human  interest  is  weaving.  A 
practical  way  to  introduce  this  is  to  begin 
with  the  small  hand  looms  used  in  schools, 
teaching  to  a  group  or  class  the  principles 
of  color  combinations,  the  technique  of  cut- 
ting and  sewing,  the  possibilities  of  bias  and 
twisted  rags  and  the  elements  of  designing. 


THE  PHILOSOPHY  OF  ZARATHLSTRA  SIMS 


Later  a  larger  hand  loom  will  furnish  sofa 
pillows,  such  as  the  one  illustrated,  in  which 
a  simple  "tapestry"  weave  is  used.  Then 
come  the  rugs  for  the  floor,  made  on  large 
looms,  but  still  using  the  hand  shuttle. 

The  rug  shown  gives  a  very  effective  de- 
sign in  dull  green  and  white,  with  small 
flecks  of  red,  pink  and  yellow  in  the  body. 
This  border  design  is  "laid  on."  After  these 
will  come  "sewed  in"  and  "tapestry"  de- 
signs. These  rugs  may  be  utilized  in  any 
institution  and  used  for  gifts  or  prizes. 
They  also  sell  readily  at  bazars  or  from  a 
showcase. 

The  making  of  wooden  toys  was  a  happy 
thought  on  the  part  of  one  superintendent. 
The  patients  soon  learned  to  design  for 
themselves,  and  some  of  their  favorite  crea- 
tions are  illustrated  herewith.  A  few  tools, 
bits  of  wood  and  wire,  and  some  paints  are 
all  that  are  required  for  this  industry. 

All  occupations  for  the  insane  should  af- 
ford some  opportunity  for  self-expression, 
if  worthy  to  be  ranked  as  therapeutic.  Mo- 
notonous drudgery  and  unremunerated  toil 
may  be  a  slight  improvement  on  ennui  and 
enforced  idleness,  but  they  certainly  are  not 
therapy. 

The  patient  who  fits  into  the  industrial 
departments  of  an  institution  is  provided 
for,  so  far  as  mere  employment  goes,  but 
should  be  carefully  included  in  all  plans  for 
amusement,  to  counteract  the  monotony  of 
routine  work.  Patients  who  are  already 
skilful,  and  but  slightly  deteriorated  men- 
tally, are,  of  course,  easy  to  find  employ- 
ment for,  and  many  of  them  have  enough 
initiative  to  occupy  themselves  if  materials 
are  supplied.  These  two  classes,  therefore, 
may  be  eliminated  from  the  number  of 
those  who  constitute  the  real  problem.  This 
consists  of  the  patients  unskilled  in  handi- 
crafts of  all  kinds,  absorbed  in  their  own 
troubles,  and  often  already  given  up  to  hab- 
its of  inaction  and  apathy.  There  is  a  wide 
gulf  between  the  patient  who  can  be  useful 
in  the  sewing  room  or  laundry  and  the  pa- 
tient who  is  absolutely  unable  to  do  any- 
thing ;  vet  those  who  fall  short  of  being  able 
to  work  several  hours  a  day  to  some  pur- 
pose will  too  often  have  no  other  resource, 
and  what  little  skill  they  have  will  ultimate- 
ly be  lost. 

Where  a  limited  amount  of  work  only 
can  be  done  it  is  often  necessary  to  choose 
bei'veen  the  attempt  to  rescue  chronic  cases 
of  long  standing,  and  to  spend  the  same 
time  and  effort  in  fitting  into  institutional 


life  the  patients  who  are  just  passing  over 
from  the  acute  to  the  chronic  stage,  so  as  to 
prevent  deterioration  as  much  as  possible. 
The  latter  seems  the  more  fruitful  and  com- 
pelling task,  yet  when  one  finds  in  a  chronic 
ward  a  patient  raveling  out  a  stocking  and 
knitting  up  the  threads  with  a  hairpin,  the 
appeal  is  almost  too  strong  to  resist. 

The  chronic  insane  with  some  skill,  the 
acute  patient  with  increasing  mental  grasp, 
the  disturbed  or  exhausted  case  who  can 
only  be  amused,  the  chronic  case  who  must 
be  patiently  led  to  take  up  very  simple  tasks, 
must  each  be  differently  environed  and  in- 
structed. Whatever  plan  or  classification  is 
followed,  a  regular  schedule  of  occupation, 
rest,  and  exercise,  which  provides  properly 
for  every  hour  of  the  patient's  time,  is  es- 
sential. 

In  devising  such  a  "curriculum"  the  vari- 
ous aptitudes  and  acquirements  of  different 
officers,  nurses,  attendants,  and  patients  can 
be  skilfully  utilized. 

FROM  THE  PHILOSOPHY  OF 
ZARATHUSTRA  SIMS 

"ITITHEN  a  lightning-rod  agent  or  a 
'  '  nursery  salesman  calls  I  always  let 
him  do  the  talking,  and  I  am  likelv  to  learn 
what  Martin  Beaman  really  paid  for  the 
near-Jersey  cow  he  said  he  got  for  $35. 

W'hy  is  it  that  a  man  will  swear  when 
his  wife  throws  away  the  dish  of  burnt 
matches  he  was  saving  to  light  his  pipe 
with,  and  yet  leave  his  side-hill  plow-  out  all 
winter  to  gather  rust? 

It  is  wonderful  what  the  clear  fall 
weather  will  do  for  the  rheumatism.  Caleb 
Belden  couldn't  do  a  stroke  of  work  during 
potato  digging  time,  but  he  was  much  bet- 
ter when  the  deer  season  opened. 

I  can't  understand  how  these  political 
grafters  fool  each  other  so  neatly.  It  must 
be  they  aren't  all  on  the  same  party  wire. 

Vanity  is  a  great  aid  to  religion.  Amanda 
Beaman  has  been  to  church  regular  since 
she  got  her  new  teeth. 

When  Peterson  asked  Martin  Beaman 
what  he  thought  about  Socialism,  INIartin 
said  he  had  a  calf  to  wean.  That's. about  as 
far  as  you  can  get  with  a  farmer  on  that 
subject. 

103 


A  NEW  VEGETABLE  FROM  JAPAN 


A  NEW  VEGETABLE  FROM 
JAPAN 

FOR  persons  who  like  novelty  in  their 
food  and  in  their  gardens,  an  inter- 
esting field  for  experiment  is  offered 
by  the  new  Japanese  vegetable,  udo. 
Nurserymen  have  grown  the  udo  under  the 
name  of  Aralia  Cordata  for  ornamental 
purposes,  for  twenty  years  or  more,  but  as 
a  vegetable  it  is  still  comparatively  un- 
known. On  rich  soil  it  grows  to  a  height 
of  lo  feet  or  more,  producing  a  very  orna- 
mental mass  of  large  green  leaves  and,  in 
the  late  summer,  long  loose  flower  clusters, 
sometimes  3  feet  in  length.  In  appearance 
it  is  much  like  a  larger  variety  of  the 
spikenard  or  petty  morel,  a  native  of  our 
woodlands. 

The  blanched  shoots  of  the  udo  have  a 
characteristic  flavor.  Properly  prepared 
they  are  delicious — or  so  at  least  they  have 
been  found  by  the  author  of  Bulletin  84, 
just  published  by  the  U.  S.  Department  of 
Agriculture  under  the  title  of  "Experi- 
ments with  Udo,  the  New  Japanese  Vege- 
table." The  plant  requires  little  care  and 
with  the  same  space  devoted  to  it,  yields 
approximately  the  same  amount  of  food  for 
the  table  as  asparagus  and  is  ready  for  use 
at  about  the  same  time  in  the  spring.  After 
the  first  frost  it  dies  down  each  autumn  to 
come  up  again  in  the  spring,  much  as  as- 
paragus and  rhubarb  do.  A  patch  of  it 
can  be  forced  each  spring  for  at  least  six 
years  and  probably  much  longer.  The 
flowers  attract  bees  and  flies  in  such  num- 
bers that  a  field  of  it  is  usually  humming 
with  insects.  As  a  honey  plant,  therefore, 
the  udo  deserves  the  attention  of  bee-keep- 
ers. 

Udo  is  adapted  to  a  wide  range  of  cli- 
mate, as  is  shown  by  the  fact  that  it  grows 
all  over  Japan ;  but  no  part  of  Japan  suf- 
fers from  drought.  In  this  country  the 
udo  has  done  best  in  moist  regions,  in  par- 
ticular in  New  England,  the  Atlantic  States 
as  far  south  as  the  Carolinas,  in  the  rainy 
region  of  Puget  Sound,  and  in  the  trucking 
sections  of  California. 

Where  greenhouses  or  cold  frames  are 
available,  the  seed  should  be  planted  in 
March  or  April — one-fourth  of  an  inch 
deep  in  soil  that  consists  of  equal  parts  of 
loam,  mold  and  sand.  As  soon  as  the 
plants  are  3  or  4  inches  high,  they  can  be 
planted  out  in  the  ground  or  potted  and 
set  out   later.       Thereafter  the  udo  needs 

104 


little  attention.  Its  roots  spread  with  ex- 
traordinary rapidity  through  loose  rich  soil 
• — udo  is  not  recommended  for  poor,  dry 
land — and  the  crowns  soon  become  at  least 
a  foot  across.  Three  and  a  half  or  four 
feet  is  therefore  not  too  great  a  distance  to 
allow  between  plants. 

Perhaps  the  greatest  difficulty  connected 
with  the  cultivation  of  the  udo  is  the 
blanching  of  the  shoots.  It  is  these  that 
are  regarded  as  the  real  delicacy,  for  the 
flavor  of  the  stems  when  green  has  a  cer- 
tain rankness  which  is  unpleasant  to  most 
palates.  Various  methods  of  blanching  the 
early  shoots  have  therefore  been  experi- 
mented with.  In  California  excellent  re- 
sults have  been  obtained  by  mounding  up 
the  earth  in  the  early  spring  over  each 
plant  much  as  is  done  with  asparagus. 
Elsewhere,  however,  the  late  frosts  make 
the  soil  too  cold  and  the  shoots  are  slow  in 
coming  through. 

Another  method  is  to  put  a  large  drain 
tile,  with  one  end  closed,  over  each  hill 
before  the  spring  growth  starts.  The 
shoots  which  come  up  inside  the  tile  are 
well  blanched,  but  they  show  a  tendency  to 
produce  a  number  of  unopened  leafstalks 
which  take  away  from  the  robust  growth 
of  the  shoots.  To  obviate  this,  casks  or 
boxes  filled  with  light  material  such  as 
sand  or  sifted  coal  ashes  have  been  tried 
with  considerable  success.  In  any  case 
great  care  must  be  taken  not  to  permit  the 
shoots  to  break  through  into  the  sunlight. 
They  can  be  cut  when  only  6  inches  long, 
but  it  is  better  to  let  them  grow  to  12  or  18 
inches. 

In  the  cooking  of  udo  there  is  still 
abundant  room  for  innovators.  In  all  ex- 
periments, however,  one  thing  must  be  re- 
membered. When  raw,  the  stems  contain 
a  resinous  substance  which  gives  them  a 
decided,  and  to  many  persons  unpleasant, 
taste  of  pine.  It  is,  however,  easy  to  elim- 
inate this  by  soaking  thin  slices  of  the 
stems  in  ice-cold  water  for  an  hour  or  two, 
or  by  boiling  them  in  two  or  three  waters, 
as  is  often  done  with  strong-flavored  vege- 
tables. The  author  of  the  Bulletin,  who 
has  been  experimenting  for  eight  years 
with  udo  on  his  Maryland  farm,  suggests 
three  recipes — udo  on  toast,  udo  salad,  and 
udo  soup — as  samples  of  what  can  be  done 
with  this  vegetable.  Undoubtedly  many 
other  interesting  and  delicious  dishes  will  be 
devised  as  more  is  known  of  this  new 
product. 


PIN  MONEY  FOR  THE  FARMER'S   DAUGHTER 


HOW  THE  FARMER'S  DAUGH- 
TER CAN  EARN  PIN  MONEY 

A  LADY  in  Richmond,  Va.,  has  made 
a  national  reputation  putting  up 
and  selHng  pin-money  pickles. 
She  began  a  few  years  ago  in  a 
very  modest  way,  but  now  her  products  are 
so  popular  that  they  can  be  found  nearly 
everywhere  in  the  United  States.  Another 
woman,  in  Washington,  D.  C,  has  built  up 
a  business  making  chowchow,  for  which  she 
gets  $3.00  a  gallon. 

These  are  only  samples  of  what  hundreds 
of  young  women  have  done  to  earn  pin 
money  by  putting  up  canned  goods  at  home. 
People  are  continually  demanding  a  better 
quality  of  canned  goods  and  are  willing  to 
pay  a  better  price  for  them.  The  farmer's 
daughter  who  desires  to  earn  pin  money 
may  avail  herself  of  this  demand  and  with 
care  and  perseverance  learn  to  put  up 
canned  goods  that  she  may  sell  at  a  profit. 
Those  who  are  interested  in  such  a  project 
may  obtain  detailed  instructions  on  canning 
in  Farmers'  Bulletin  521  of  the  United 
States  Department  of  Agriculture,  which 
will  be  sent  free  of  charge  to  the  applicant. 

The  bulletin,  while  encouraging  the 
young  woman  in  her  efforts  to  make  a 
business  proposition  of  putting  up  fruits 
and  vegetables,  cautions  against  over-en- 
thusiasm. It  advises  that  the  beginner  ex- 
periment with  a  few  cans  before  going  too 
heavily  into  the  project.  If  the  first  cans 
keep  well,  she  may  be  encouraged  to  pro- 
ceed. If  she  meets  with  a  few  failures, 
perhaps  she  has  overlooked  some  impor- 
tant detail  outlined  in  the  department's 
bulletin.  It  is  only  through  failures  that 
one  gets  good  experience,  and  with  a  little 
[iractice  and  care  in  following  the  directions 
any  farmer's  daughter  should  be  able  to 
put  up  a  satisfactory  can  of  fruit  or  vege- 
tables. 

When  a  young  woman  has  succeeded  in 
putting  up  a  product  satisfactorv  for  home 
use,  she  may  well  look  around  for  a  mar- 
ket outside  the  home.  The  girl  who  starts 
out  with  confidence  in  herself  will  be  more 
likelv  to  find  a  good  market  than  one  who 
is  diffident. 

Specialize  In   What    You  Do  Best. 

The  girl  with  experience  in  canning 
knows  the  products  with  which  she  has  the 
most  success,  and  should  endeavor  to  sell 
only  those  in  which  she  excels.      It  is  al- 


ways best  to  specialize  and  work  up  a  rep- 
utation for  some  particular  kind  of  goods, 
as  did  the  women  already  mentioned.  One 
girl  may  make  a  feature  of  catchup,  an- 
other may  find  her  best  product  is  pickles, 
while  another  may  put  up  a  specially  at- 
tractive can  of  peppers,  cauliflower, 
peaches,  apples,  or  tomatoes. 

People  of  means  are  most  likely  to  want 
"home-canned"  products,  and  these  are  the 
ones  to  see.  Many  housewives  living  in  the 
cities  who  leave  home  for  the  country  dur- 
ing the  summer  months  will  gladly  give  the 
farmer's  daughter  an  order  to  can  enough 
tomatoes  to  last  them  all  winter.  It  is  best 
to  take  orders  ahead  as  far  as  possible  in 
order  to  practise  real  economy. 

The  young  woman  who  starts  out  to  sell 
her  products  will,  of  course,  dress  neatly 
and  take  samples  of  her  products  put  up  in 
an  attractive  form.  Glass  jars  will  show 
products  much  better  than  tins,  but  if  tins 
are  found  to  be  less  expensive,  they  may 
be  used  for  all  except  the  show  products. 

The  managers  of  the  best  hotels  and  res- 
taurants in  the  neighborhood,  the  stewards 
of  social  clubs  in  the  cities,  the  managers 
of  railroad  dining  cars,  and  many  retail 
grocers  will  be  glad  to  use  the  products  of 
the  girl  who  does  her  canning  at  home. 
These  products  are  likely  to  show  individual 
care  and  to  be  prepared  neatly  of  good  ma- 
terials, and  on  the  shelves  of  a  retail  store 
are  likely  to  attract  attention  from  the  best 
customers. 

If  a  young  woman  knows  by  experience 
that  her  products  are  first  class,  she  need 
not  hesitate  to  put  a  good  price  on  them. 
Home-canned  goods,  canned  by  experienced 
people,  are  worth  more  than  ordinary 
goods,  and  one  need  not  compete  with  the 
other.  "Fancy  goods"  are  rarely  found 
upon  bargain  counters.  Even  if  the  first 
samples  of  home  canning  are  not  such  as 
may  be  readily  sold,  they  may  be  used 
at  home  and  from  her  experience  the 
farmer's  daughter  may  do  better  the  fol- 
lowing season.  When  she  actually  suc- 
ceeds in  getting  something  better  than  the 
ordinary  she  should  be  able  to  sell  it.  She 
may  well  ask  her  friends  to  recommend  her 
to  good  trade.  The  young  woman  sincerely 
determined  to  make  a  success  of  canning  as 
a  business  proposition  with  perseverance 
and  care  in  following  instructions  should  be 
sure  of  some  measure  of  success. — From 
"The  W'eekly  News  Letter"  published  by 
the  U.  S.  Department  of  Agriculture. 

105 


POTATOES  TO  MARKET  ON   TROLLEY  CARS 


HOW  THE  MAINE  FARMERS 
GET  POTATO  CROPS  TO 
MARKET  ON  THE  TROLLEY 
CARS 

THE  interurban  railways  have  come 
to  a  realization  that  their  duty  to 
the  community  does  not  consist  en- 
tirely in  operating  so  many  trains 
each  twenty-four  hours.  Throughout  the 
country  they  are  making  efforts  to  serve  the 
communities  in  larger,  better  ways.  They 
have  discovered  that  business,  if  it  exists, 
needs  to  be  stimulated,  at  times  at  least. 
If  it  does  not  exist,  it  is  their  duty  and  to 
their  interest  to  create  it. 

Big  opportunities  for  service  exist  in 
bringing  the  producer  and  consumer  to- 
gether on  an  equal  basis.  The  right  kind 
of  cooperation  with  the  parcel  post  will 
mean  substantial  reductions  in  prices  of  all 
commodities.  With  the  education  of  pro- 
ducer and  consumer  in  the  advantages  of- 
fered by  direct  exchange,  is  bound  to  come 
use  of  the  utilities  offered,  with  profit  to 
all.  A  Maine  interurban  road  has  only  to 
point  to  balance  sheets  to  show  how  busi- 
ness has  been  stimulated.  Several  years 
ago  it  advertised  that  carload  lots  of  pota- 
toes and  cord  wood,  the  most  important 
products  of  the  territory  it  served,  would 
be  transported  at  a  special  low  rate. 

The  president  of  the  road,  in  a  recent 
statement,  showed  how  the  plan  worked: 
"The  first  year  8i  carloads  were  shipped 
over  the  road.  Of  course,  the  price  was 
low,  but  it  does  not  take  much  to  advertise 
and  call  the  farmers'  attention  to  these 
things.  When  the  rate  was  cut  down  they 
took  to  raising  potatoes.  The  next  year, 
1908-09,  we  gained  from  81  cars  to  161 
cars,  91,864  bushels.  In  1909-10,  we 
gained  340  cars,  or  a  total  of  199,188  iDUsh- 
els.  For  the  season  of  1910-11  we  in- 
creased to  436  carloads,  261,303  bushels. 
The  season  of  1911-12  was  a  bad  year. 
There  was  but  a  very  little  crop  in  Maine, 
but  we  shipped  276  carloads,  173,325 
bushels.  In  the  year  1912-13,  that  is, 
last  year,  we  shipped  438  carloads,  298,773 
bushels,  and  this  year  we  estimate  with 
what  we  have  in  the  potato  houses  and 
elsewhere  that  we  will  increase  that  to 
about  600  cars.  Our  receipts  have  grown 
in  that  time  from  $32,000  to  $65,000.  A 
little  more  than  one-half  is  freight,  and  the 
other  half  is  passenger  business." 

106 


A  commission  appointed  by  the  City 
Council  of  Chicago  to  study  the  high  cost 
of  living  recommends  that  street  and  inter- 
urban railways  be  permitted  to  haul  freight 
through  the  streets  between  the  hours  of 
eleven  at  night  and  five  in  the  morning. 

"The  time  has  arrived,"  declared  the 
commission,  "when  our  urban  and  inter- 
urban railways  should  be  operated  for  the 
benefit  of  the  community  in  shortening  the 
route  between  the  producer  of  farm  prod- 
ucts and  the  consumer.  The  rapid  and 
easy  access  to  the  new  markets  achieved  by 
the  establishment  of  street  railway  service 
to  and  from  the  city  will  encourage  pro- 
duction, and  the  vast  amount  of  land  near 
the  City  of  Chicago  at  present  undeveloped 
will  be  divided  into  small  poultry,  dairy, 
and  fruit  farms." — From  The  Public  Serv- 
ice Magazine. 


HEALTH    AND 
FROM      IDLE 


HAP- 
CITY 


PROFIT, 

PINESS 

LAND 

THE  value  of  the  work  accomplished 
by  the  Philadelphia  Vacant  Lots 
Cultivation  Association  is  very  evi- 
dent from  the  report  just  published 
by  Superintendent  James  H.  Dix,  and  the 
title  of  the  little  pamphlet,  "$28,000  from 
Idle  City  Land,"  is  one  to  arrest  even  the 
most  casual  attention.  As  the  matter  is  of 
such  wide  interest  to  all  who  have  Amer- 
ican civic  progress  at  heart,  we  are  sure 
that  readers  of  The  Craftsman  will  be 
glad  to  learn  something  of  the  methods  by 
which  this  Association  has  achieved  such 
successful  results  during  the  past  year. 

The  vacant  lot  gardens  in  Philadel- 
phia cost,  during  1913,  less  than  $7,300, 
and  this,  subtracted  from  the  $28,000 
earned,  leaves  a  net  profit  of  over  $20,000 
in  garden  crops.  But,  as  Mr.  Dix  reminds 
us,  this  means  infinitely  more  than  the 
mere  money  value ;  it  has  resulted  in  bet- 
ter living  for  hundreds  of  families,  in- 
creased health,  education  and  recreation 
for  thousands  of  men,  women  and  chil- 
dren, and  a  wholesome  civic  influence 
wherever  news  of  the  enterprise  has 
reached. 

"The  first  purpose  for  which  our  work 
was  organized,"  writes  the  superintendent, 
"was  the  opening  of  an  opportunity,  dur- 
ing an  industrial  depression,  for  those  in 
need,  to  acquire  material  supplies  by  their 
own    efforts    in    cultivating   tracts    of    city 


HEALTH  AND  MONEY  FROM   IDLE  CITY  LAND 


land  which  were  lying  in  waste.  The  ma- 
terial improvement  in  the  lives  of  those  to 
whom  we  assign  gardens  has  continued  to 
be  our  main  purpose  during  the  seventeen 
years  of  our  work  in  Philadelphia.    .    .    . 

"In  judging  the  value  of  vacant  lot 
garden  work  we  should  never  overlook  the 
fact  that  the  results  depend  upon  the  work 
of  the  gardening  families  themselves.  The 
opportunity,  supervision  and  instruction 
which  we  oiter  to  these  people  cannot  be 
of  benefit  to  them  unless  they  put  their 
minds  and  bodies  to  work.  Just  to  the  ex- 
tent to  which  they  do  this,  they  receive 
their  reward.  For  this  reason,  our  work 
is  free  from  the  pauperizing  effect  of  most 
philanthropic  efforts.  Instead  of  pauper- 
izing, it  inspires  self-respect,  encourages 
self-dependence,  and  leads  to  greater  in- 
dustry. 

"We  have,  of  course,  no  definite  method 
of  ascertaining  the  number  of  independent 
gardens  started  in  various  sections  of  the 
city  during  the  past  season,  under  the  in- 
fluence of  our  work  in  such  localities ;  yet, 
judging  from  what  we  have  been  able  to 
see  and  learn,  there  is  evidence  of  a  great 
increase  in  the  number,  and  a  correspond- 
ing increase  in  the  material  benefits  re- 
ceived by  the  workers. 

"While  the  larger  number  of  those  ap- 
plying for  vacant  lot  gardens  seek  the  op- 
portunity in  order  to  add  to  their  insuffi- 
cient living  supplies,  there  are  some  who 
come  to  us  with  the  hope  of  the  improve- 
ment in  health  which  the  garden  work 
brings,  which  improvement  they  cannot  af- 
ford to  seek  in  other  ways.  Such  appli- 
cants, as  far  as  we  have  been  able  to  assign 
gardens  to  them,  have  not  been  disap- 
pointed. 

"Never  before  have  the  children  of  the 
gardening  families  entered  into  the  work 
with  greater  interest  and  enthusiasm.  In 
the  majority  of  cases,  the  parents  are  tak- 
ing a  great  pleasure  in  giving  the  children 
every  opportunity  to  enjoy  the  educational 
benefits  of  a  far-reaching  and  most  prac- 
tical kind  in  connection  with  the  garden- 
ing.   .   .    . 

"The  work  has  aroused  in  many  of  our 
gardeners  the  desire  for  rural  life  and 
work  on  the  land  as  a  regular  occupation. 
.  .  .  On  every  hand  we  hear  expressed  the 
desire  for  a  chance  to  work  a  little  place 
in  the  country.  Especially  do  we  hear  this 
from  those  who  have  had  a  few  seasons' 
experience  on  our  gardens,  and  who  there- 


fore know  something  of  what  can  be  ac- 
complished on  a  small  piece  of  land.  These 
gardeners,  having  learned  to  produce,  by 
proper  handling,  a  great  deal  on  a  very 
little  ground,  are  often  much  better  fitted 
to  make  a  success  when  they  are  fortunate 
enough  to  secure  the  coveted  opportunity 
in  the  country,  than  those  who  have  been 
used  to  cultivating  larger  areas  in  a  much 
less  intensive  way. 

"But  the  financial  condition  of  the  ma- 
jority of  the  families  to  whom  we  assign 
gardens  does  not  permit  them  to  make  a 
start,  under  existing  conditions,  in  rural 
districts  near  enough  to  the  consumers  of 
their  products  to  make  success  probable. 
The  very  large  areas  of  suburban  land  sur- 
rounding the  city,  which  are  totally  unused 
or  nearly  so,  and  which,  under  different 
conditions,  would  make  a  natural  outlet  for 
what  we  might  call  the  graduates  of  our 
city  garden  work,  are  held  at  such  a  high 
figure  that  they  are  entirely  beyond  the 
reach  of  our  people.  Aluch  of  this  land 
will  not  be  used  until  further  development 
is  made  after  a  lapse  of  several  years  at 
least.  And  if  arrangements  were  made 
whereby  it  could  be  had  upon  reasonable 
terms,  it  would  be  a  wonderful  opportu- 
nity for  the  betterment  of  the  lives  of  these 
])eople  and  the  development  by  them  of  a 
more  hardy  and  prosperous  citizenship.  It 
would  also  be  of  great  benefit  to  the  con- 
suming public  in  the  city,  by  improving  the 
supply  of  the  best  grade  of  food  products, 
and  at  the  same  time  eliminating  much  of 
the  wasteful  expense  of  marketing,  trans- 
portation, etc.,  with  which  we  are  burdened 
at  present. 

"There  is  another  side  to  the  vacant  lot 
work  which  is  entitled  to  the  favorable  at- 
tention of  all  public-spirited  persons.  We 
hear  much  in  these  times  of  clean-up  move- 
ments and  city  beautifying  campaigns. 
While  our  work  was  not  organized,  nor 
has  it  been  conducted,  with  that  as  its  aim, 
yet  the  results  it  has  accomplished  along 
this  line  place  us  in  a  position  to  claim  a 
share  of  praise.  The  great  economy  on 
the  one  hand,  and  the  permanency  and 
thoroughness  of  our  clean-up  work  on  the 
other,  have  made  it,  while  not  the  only 
essential,  yet  by  far  the  most  practical  of 
any  that  has  been  inaugurated. 

"A  striking  contrast  was  afforded  dur- 
ing this  past  season.  Within  a  short  dis- 
tance of  each  other  were  two  idle  tracts  of 
land,  each  adjoining  a  closely  built-up  sec- 

107 


HEALTH  AND   MONEY  FROM   IDLE   CITY  LAND 


tion.  One  tract  was  loaned  to  us  by  the 
owner,  the  other  was  not.  Both  tracts 
were  in  the  early  stages  of  being  used  as 
depositories  for  miscellaneous  rubbish  by 
the  surrounding  population.  The  ground 
which  we  did  not  have  was  temporarily 
placed  in  charge  of  some  enthusiastic  citi- 
zens, who  were  imbued  with  the  sincere  de- 
sire to  maintain  a  more  healthy  condition 
on  the  land  and  at  the  same  time  improve 
its  appearance.  A  small  fund  was  raised 
and  expended  in  clearing  the  ground.  This 
was  early  in  the  season.  I  saw  the  place 
after  the  work  was  completed,  and  while 
delighted  with  the  results,  nevertheless  I 
realized  from  experience  that  the  funds, 
energy  and  time  had  been  largely  wasted. 
Later  in  the  year,  before  our  garden  season 
had  drawn  to  a  close,  I  again  viewed  this 
tract  of  land,  and  with  much  regret  but 
without  any  surprise  found  that  my  early 
suspicions  were  well  grounded.  The  final 
state  was  worse  than  the  first! 

"On  the  other  hand,  the  land  which  the 
Vacant  Lots  Association  had  in  charge  was 
cleared  by  our  own  teams  and  workmen 
at  very  little  expense,  plowed  and  assigned 
as  usual  in  gardens.  It  was  but  a  few 
weeks  before  the  young  growing  plants 
and  cleanly  weeded  and  well-cultivated 
rows  made  the  spot  beautiful.  Throughout 
the  entire  season  this  condition  continued, 
and  at  the  close  of  the  season  the  gardens 
were  cleared  of  most  of  their  dried  plants 
and  stakes.  The  land  has  been  estab- 
lished as  a  garden  site,  and  will  remain  idle 
but  a  short  time  during  the  cold  weather, 
during  which  it  will  have  fertilizer  spread 
upon  it.  Then  again  in  the  spring  will 
start  the  work  of  cleanliness  and  beauty. 

"Aside  from  the  very  small  expense  of 
our  preparation,  supervision,  etc.,  this  suc- 
cessful clean-up  and  beautifying  work  was 
maintained  by  the  workers  without  cost  to 
us.  They  were  very  glad  to  give  the  sur- 
rounding neighborhood  all  the  benefit 
which  resulted  from  the  more  healthful 
and  attractive  condition  of  the  land,  as  it 
was  simply  a  natural  result  of  their  sea- 
son's work,  which  was  bringing  to  them  a 
very  practical  return.    .    .    . 

"In  addition  to  the  large  number  of 
Americans,  we  assigned  gardens  to  fami- 
lies of  various  other  nationalities  and 
races,  including  Italian,  Irish,  Russian, 
English,  German,  Swedish,  Hungarian, 
Swiss,  Armenian,  Canadian,  colored  and 
West  Indian.      Of  the  total  of  548  fami- 

108 


lies,  220  received  gardens  for  the  first 
time,  while  for  158  this  was  the  second 
season. 

"Among  those  who  have  cultivated  gar- 
dens with  us  for  eight  seasons  or  more 
are  a  number  of  older  men  and  women, 
some  of  them  having  passed  the  eighty- 
year  mark  by  several  years.  In  view  of 
our  system  of  graded  charges  to  the  gar- 
deners for  plowing,  fertilizer  and  seeds 
which  we  furnish,  these  old  gardeners  who 
continue  with  us  are  the  cause  of  no  addi- 
tional expense,  aside  from  our  general  su- 
pervision. On  the  other  hand,  they  are  of 
great  aid  to  us  by  way  of  giving  instruc- 
tion and  advice  to  the  younger  element 
coming  to  us  from  year  to  year,  and  have 
an  excellent  influence  by  way  of  example 
upon  the  less  experienced  in  our  absence. 
These  old  people,  who  have  reached  an  age 
at  which  they  cannot  look  forward  to  much 
improvement  in  their  condition,  neverthe- 
less can  largely  prevent  themselves  from 
becoming  a  burden  to  others  by  working 
for  their  own  support  as  long  as  we  permit 
them  to  have  their  gardens.  While  we  de- 
sire to  keep  them  on  the  gardens  as  long  as 
possible  for  their  own  benefit,  we  are 
doubly  glad  to  do  so  on  account  of  the  aid 
they  give  us.     .     .     . 

"It  is  greatly  to  be  regretted,"  continues 
Mr.  Dix,  "that  on  account  of  the  limited 
amount  of  land  loaned  to  us,  and  the  lim- 
ited funds  at  our  disposal,  we  were  com- 
pelled to  turn  away  hundreds  of  applicants. 
Many  of  these  had  come  to  us  with  great 
hope,  having  learned  what  an  important 
factor  the  gardens  have  become  in  the  lives 
of  those  who  have  had  them.  However,  it 
is  at  least  gratifying  to  know  that  there  is 
such  a  vast  number  who  realize  the  benefits 
our  work  has  for  them,  and  who  are  will- 
ing to  labor  hard  and  long  under  our  direc- 
tion to  secure  the  wealth,  health  and  hap- 
piness which  the  idle  lands  of  our  city  hold 
to  reward  their  earnest  efforts." 

Mr.  Dix  adds  that  the  Association  hopes 
to  have  both  the  land  and  money  necessary 
to  accommodate  a  large  portion  of  the 
worthy  applicants  on  the  waiting  list.  The 
work,  he  says,  ought  to  be  doubled  the 
coming  season,  for  there  is  still  a  large 
amount  of  suitable  land  lying  idle  in  the 
city,  which  could  be  turned  to  profitable 
use  without  inconvenience  or  expense  to 
the  owners.  This  is  a  matter  of  importance 
for  every  city  and  town,  both  from  the 
social  and  economic  point  of  view. 


MADE  IN  AMERICA!" 


ALS  IK  KAN 

'MADE   IN  AMERICA" 

IT  is  just  thirteen  years  this  fall  since 
the  Craftsman  Movement  started.  Since 
the  beginning,  it  has  never  varied  in  the 
smallest  degree  from  its  original  pur- 
pose, namely  to  make  American  goods  for 
American  people  and  to  make  them  simply, 
economically  and  beautifully.  Always  the 
foremost  purpose  of  the  Craftsman  Move- 
ment has  been  to  establish  a  standard  of 
excellence  in  American  productions,  to  have 
all  productions  fearlessly  American  and  the 
best  possible  specimens  of  art  and  craft. 

Since  the  industrial  complications  that 
have  arisen  here,  because  of  the  war  in 
Europe,  I  hear  all  about  me  the  expression 
"Alade  in  America."  I  find  the  talk  of 
period  furniture,  of  Beaux  Arts  architec- 
ture, of  Austrian  fittings  declining,  and  sud- 
denly the  force  of  circumstances  seems  to 
have  done  for  America  what  all  the  personal 
effort  and  determination  in  the  world  have 
not  been  able  to  accomplish.  In  a  month's 
time  the  word  "imported"  has  ceased  to 
have  magic  meaning,  and  the  slogan  of  the 
hour  is  "Made  in  America."  Naturally  I 
am  glad  to  see  this  point  of  view  established 
in  this  country,  whosoever  may  have 
brought  it  about.  But  I  do  feel  that  it 
would  be  of  interest  to  The  Craftsman 
readers  in  the  midst  of  this  very  sudden, 
and,  necessarily  superficial,  talk  about 
America  to  realize  how  sincerely  and  pro- 
foundly my  interest  and  work  has  been 
along  the  line  of  establishing  in  America  a 
national  standard  of  excellence. 

My  puqiose  in  designing  and  building 
American  homes  has  been  exclusively  for 
American  needs,  suited  to  the  taste  of  an 
intelligent  democratic  people.  In  the  same 
way  I  have  planned  and  executed  furniture 
distinctly  American  in  type,  so  far  as  I 
know,  the  only  furniture  since  Colonial 
days  made  in  this  country  that  has  had  no 
relation  to  the  French  periods,  to  the  deli- 
cate beauty  of  Adams,  to  the  richness  of 
Sheraton,  to  the  elaborate  evolution  of 
Jacobean  ideals.  Feeling  that  homes  defin- 
itely American  in  construction,  furnished 
with  furniture  essentially  suitable  to  the 
type  of  houses,  also  demanded  interior  fit- 
tings in  harmony,  I  have  within  the  last  year 
opened  a  department  of  home  furnishing  in 
the  Craftsman  Building  with  the  precise  in- 
tention of  aiding  in  the  development  of  a 
style  of  American  home  decoration,  in  which 


color  harmonies  were  carefully  and  imag- 
inatively studied,  in  which  draperies  were 
not  only  thought  of  ni  terms  of  weaving, 
but  as  to  grace  and  durability,  with  thought 
for  all  smaller  detail  of  constructive  house 
fitting,  and  this  with  so  wide  a  range  of 
variety  as  to  permit  each  person  the  ex- 
pression of  definite  personality. 

From  the  first  issue  of  The  Craftsman 
Magazine,  my  purpose  has  been  to  present 
in  its  pages  American  progress,  all  phases 
of  it  worth  putting  on  record.  I  remember 
just  eight  years  ago  publishing  the  first  ar- 
ticle on  a  "National  Art  in  America."  Sev- 
eral art  critics  answered  the  article,  some 
with  serious  disdain,  some  with  humorous 
appreciation  of  my  little  joke.  Today  there 
is  no  more  serious  development  in  Amer- 
ican life  than  the  enormous  strides  that  art 
has  made  along  lines  of  national  expres- 
sion. But  art  has  been  only  a  small  phase 
of  the  American  growth  presented  in  the 
magazine. 

Everything  that  gave  us  the  slightest 
hope  for  a  wise  and  beautiful  industrial  art 
movement  in  this  country  we  have  sought 
for.  In  addition  to  our  interest  in  the 
crafts,  the  subject  of  education  in  all  its 
phases  has  been  of  the  widest  interest  to  us ; 
in  fact,  if  I  am  not  mistaken,  the  first  sug- 
gestion that  our  public  school  system  in 
New  York  should  be  made  more  practical 
for  the  mass  of  the  people  came  from  The 
Craftsman.  We  have  given  the  widest 
hearing  to  American  architecture,  public 
and  domestic :  we  have  advocated  the 
definite  type  of  American  garden  and  have 
urged  people  to  study  color  harmony  in 
their  garden  efforts.  Politics  have  not  left 
us  unmoved,  wherever  questions  of  national 
importance  have  arisen.  Not  only  have  I 
been  eagerly  interested  in  expressing  my 
own  enthusiasms  for  America's  progress  in 
the  magazine,  but  I  have  been  more  than 
glad  to  have  the  pages  of  the  publication 
open  as  a  free  forum  for  all  the  progressive 
thought  of  the  day. 

At  last,  feeling  the  need  of  further  help 
if  we  were  to  realize  the  ideal  democratic 
home  which  I  have  spiritually  pledged  my- 
self to  help  establish,  I  opened  the  Crafts- 
man Building  in  New  York  City,  a  structure 
running  from  one  city  block  to  another, 
twelve  stories  high  and  every  floor  devoted 
to  the  develo])ment  of  a  standard  of  ex- 
cellence in  home  building  in  America.  In  a 
way,  this  building  has  been  the  culmination 
of  my  hope  of  the  standardization  of  Amer- 

109 


MADE  IN  AMERICA!" 


ican  products.  I  have  wanted  to  prove  to 
the  American  people  that  it  was  possible 
for  them  to  design  and  build  a  home  in  this 
country,  furnish  it  and  outfit  it,  plan  the 
garden,  make  it  beautiful  with  garden  fur- 
nishings without  the  help  of  foreign  art, 
craft  or  labor. 

Not  that  1  am  for  one  moment  opposed 
to  foreign  productions,  but  I  have  always 
longed  to  see  America  a  self-sustaining 
country  with  hopes,  ideals  and  accomplish- 
ment entirely  her  own.  How  much  we  have 
depended  upon  foreign  countries,  I  think 
has  never  quite  come  home  to  us  until  this 
terrible  outbreak  of  war  which  has  shut 
down  our  supplies  in  so  many  directions. 
How  the  people  are  coming  to  realize 
through  pressure  what  I  have  so  long  aimed 
to  help  them  to  realize  voluntarily,  that  the 
only  way  for  a  nation  to  establish  itself  on  a 
firm  and  enduring  foundation  is  to  become 
her  own  source  of  supplies,  to  produce  her 
own  beauty,  comfort  and  health.  Only  so 
can  she  develop  her  own  standards,  just  as 
the  individual  and  the  family  must  develop 
personal  standards  in  order  to  produce  a 
strong  community.  And  it  is  only  when  a 
community  is  struggling  to  express  its  own 
ideals  through  its  own  channels  that  the  ut- 
most social  development  is  possible.  Imita- 
tion cannot  produce  beyond  the  model  fur- 
nished, and  the  very  effort  of  adhering  to 
a  model  atrophies  creative  ability.  I  feel 
that  along  this  line  of  thought  my  own  ex- 
perience may  be  of  interest: 

In  planning  Craftsman  houses,  from  the 
very  start  I  desired  to  create  what  I  call  the 
open  house,  that  is  the  house  that  brings  in 
just  as  much  of  the  outdoors  as  possible — 
built  for  fresh  winds,  ample  sunlight,  out- 
look in  every  direction.  In  developing  this 
ideal  I  extended  all  my  houses  out  into 
living  porches  with  every  possible  practical 
opportunity  for  outdoor  living.  From  the 
living  porch  I  developed  the  sleeping  porch, 
the  first  use  of  such  a  thing  in  any  country, 
and  today  an  absolutely  essential  detail  of 
every  well-built,  country  house  in  America. 

Because  of  my  desire  that  a  Craftsman 
house  should  be  a  comfortable  house,  a  place 
for  people  loving  their  home,  for  intelligent 
people,  I  made  it  not  only  simple,  and  easy 
to  take  care  of,  but  I  planned  the  rooms 
with  ample  space,  for  space  is  essential  to 
peace.  Then  for  the  large  living  room  I 
found  a  need  of  some  meeting  place,  some 
center  about  which  the  family  would 
gather  and  I  realized  that  I  could  not  make 


the  Craftsman  house  complete  without  the 
fireplace.  And  so  from  the  beginning,  the 
most  important  detail  in  every  house  I  have 
designed  is  the  open  fire.  This  is  just  as 
inevitable  as  the  wind  or  sunlight  or  the 
porch  for  fresh  open  air  living.  I  feel  quite 
confident  that  this  bringing  back  of  the  fire- 
place to  the  American  home,  the  sleeping 
porch  development,  so  essential  today,  would 
never  have  come  to  me  if  I  had  given  all  my 
energies  to  imitating  Italian  villas,  Swiss 
chalets,  or  English  cottages.  The  old  saying 
"That  we  may  not  put  new  wines  in  old 
bottles"  is  just  as  important  today  as  in 
Bible  times.  It  really  means  nothing  more 
nor  less  than  that  any  kind  of  imitation  is 
a  waste  of  effort  and  that  in  new  enterprises 
we  should  put  new  thought. 

I  am  glad  and  proud  to  see  America  as- 
sert itself  as  capable  of  self  support  (rather 
of  self  sustaining),  and  I  want  in  every  way 
to  urge  the  importance  of  this  point  of 
view  and  to  help  its  growth.  I  cannot  but 
feel  that  the  Craftsman  Movement  of  today 
is  the  vanguard  of  this  development,  and  I 
want  not  only  to  contribute  to  it  in  every 
possible  way  myself,  but  I  want  to  ask  The 
Craftsman  readers  to  take  up  the  cry  of 
"Made  in  America."  I  want  them  to  investi- 
gate the  reasons  for  taking  it  up,  I  want  to 
ask  them  to  find  out  just  how  good  the  things 
are  that  we  are  making  for  ourselves,  how 
important  it  is  to  encourage  those  new  to 
the  field,  and  to  prove  how  much  comfort 
and  economy  can  be  had  by  a  sincere  par- 
ticipation in  this  movement.  Everything 
that  is  valuable  in  the  world  is  interdepend- 
ent, everything  that  is  progressive  in  Amer- 
ica must  be  cooperative,  and  if  America  at 
this  moment  of  suddenly  discovering  herself 
is  to  make  progress  in  her  industries,  in  her 
arts,  she  must  have  the  help  and  the  appre- 
ciation of  those  for  whom  she  is  working. 

I  have  more  than  once  felt  that  it  might 
be  advisable  to  form  a  club  of  Americans 
who  would  like  to  pledge  themselves  to 
work  for  and  devote  themselves  to  the  prog- 
ress and  prosperity  of  their  country.  It 
seems  to  me  that  this  is  the  moment  to  sug- 
gest such  a  club  and  I  would  like  to  hear 
from  Craftsman  readers  as  to  their  point  of 
view  in  regard  to  such  a  movement.  With 
our  space  and  equipment  we  could  easily 
arrange  to  have  its  headquarters  in  the 
Craftsman  Building.  We  feel  also  that  the 
building  itself  would  contain  much  that  was 
useful  and  valuable  to  those  interested;  not 
onlv  in  the  luxurious  comfort  it  would  offer 


THE   GREAT  AND   HONORABLE 


to  club  members,  but  in  the  opportunity  it 
furnishes  to  study  the  question  of  home 
makinof  and  home  fitting,  from  the  corner- 
stone to  the  fireplace. 

THE  DIGNITY  OF  LABOR 

It  was  a  matter  of  unusual  interest  to  The 
Craftsman  to  find  the  following  sermon  on  the 
dignity  of  labor,  as  a  leading  editorial  in  the  Nezv 
York  Herald  for  September  6th.  For  the  last 
thirteen  years  we  have  been  preaching  the  im- 
portance of  labor  as  a  means  of  physical  and 
spiritual  development,  and  it  is  with  the  greatest 
pleasure  that  we  see  the  Herald  lining  up  in  this 
movement — a  movement  which  probably  contains 
the  very  essence  of  democratic  progress.  We  are 
proud  to  have  the  privilege  of  reprinting  here  the 
editorial  in  full. 

jfot  tt)tsie  tDorbmcn  maintain  tte  fabric  of  tfie  tDocIb 
ans  in  .ftt  f)anbitooc&  of  tfttit  craft  is  tteJr  prapet.— 
(Cctlcsiasticus,  x>c.\tifii,  34. 

HERE  is  a  very  dififerent  idea  of  work 
from  that  contained  in  the  opening 
chapter  of  Genesis.  According  to 
this  prophet,  labor  is  not  a  curse  laid  upon 
man  for  his  sin,  but  a  service  so  holy  that 
the  very  doing  of  it  constitutes  a  "prayer." 
Therefore  does  he  sound  the  praises  of  the 
workingman  as  others  have  sounded  the 
praises  of  king  and  soldier.  The  plough- 
man, the  jewel  cutter,  the  blacksmith,  the 
potter — all  these,  "although  they  are  not 
sought  for  in  the  council  of  the  people  nor 
exalted  in  the  assembly,  though  they  sit  not 
in  the  seat  of  the  judges  nor  understand  the 
covenant  of  judgment,"  are  still  to  be  num- 
bered among  the  great  and  honorable  of 
mankind !    . 

In  order  to  understand  the  justice  of  this 
tribute  we  only  have  to  remind  otirselves 
that  it  is  work  which  has  made  the  world 
what  it  actually  is  at  the  present  moment. 
All  that  we  mean  by  civilization,  in  the  ma- 
terial sense,  is  the  result  of  toil  in  the  sweat 
of  men's  brows.  For  ages  past  the  men 
who  have  labored  with  their  hands — the 
farmers,  the  woodsmen,  the  blacksmiths,  the 
spinners,  the  builders — have  been  contemp- 
tuously regarded  as  an  inferior  grade  of 
humanity,  as  little  better,  indeed,  than  ani- 
mals !  And  yet  while  kings  have  fought 
and  noblemen  hunted,  while  gilded  cour- 
tiers have  twirled  their  scented  handker- 
chiefs and  toyed  with  their  jewelled  swords, 
while  so-called  superior  classes  of  all  ages 
and  countries  have  sported,  gambled  and  de- 
bauched, these  same  inferior  laborers  have 
made  the  world  what  we  see  it  today !  It  is 
their  toil  which  has  cleared  away  forests, 
cultivated  farm  lands,  opened  mines,  con- 
structed   railroads,    laid    out    and    builded 


cities.  It  is  their  work  which  has  created 
wealth,  founded  nations,  redeemed  the 
waste  places  of  the  earth,  reared  the  vast 
monuments  of  civilization.  Not  more 
surely  are  the  pyramids  of  Egypt  the  me- 
morial not  of  the  Pharaohs  but  of  their  driv- 
en slaves  than  are  the  huge  piles  of  stone 
and  steel  in  our  modern  cities  the  memorials 
of  the  unnamed  toilers  of  this  later  age. 

And  not  only  is  it  work  which  has  made 
the  world  what  it  is  today,  but  it  is  work 
also  which  keeps  the  world  going  from  hour 
to  hour.  I  have  food  upon  my  table,  cloth- 
mg  upon  my  back,  a  roof  over  my  head, 
books  upon  my  shelves  only  because  a  mil- 
lion hands  are  toiling  in  my  service.  Let 
this  labor  be  suspended  but  for  a  little  time 
and  death  and  destruction  would  stand  tow- 
ering at  my  threshold.  "Without  these," 
says  the  author  of  Ecclesiasticus,  "shall  not 
a  city  be  inhabited,  nor  shall  men  sojourn 
or  walk  up  and  down  therein ;  these  main- 
tain the  fabric  of  the  world." 

It  is  these  facts  which  are  slowly  teach- 
ing the  supreme  dignity  of  labor.  Carlyle 
had  these  in  mind  when  he  declared  that 
work  and  work  alone  is  truly  noble ;  Ras- 
kin, when  he  revealed  the  beauty  gained 
through  toil ;  Morris,  when  he  preached  and 
practised  the  gospel  of  skilled  craftmanship; 
Millet,  when  he  painted  the  "Sower,"  the 
"Reaper,"  the  "Gleaners ;"  Abbey,  when  he 
used  the  steel  worker  and  coal  miner  for  his 
symbolic  frescoes  in  the  Harrisburg  capitol. 
Idleness  is  doomed  as  a  badge  of  distinction. 
Work  must  henceforth  be  the  sole  title  to 
nobility.  Whitman  is  the  true  prophet 
when  in  his  "Song  of  Occupations"  he 
chants  the  Homeric  catalogue,  "housebuild- 
ing, blacksmithing,  glassblowing,  shipjoin- 
ing,  piledriving,  fishcuring,"  and  declares 
that  there  is  nothing  "which  leads  to  great- 
er than  these  lead  to." 

John  Haynes  Holmes. 
— From  the  Neiv  York  Herald  of  Sept. 
^ith,  1 9 14. 

FROM  THE  PHILOSOPHY  OF  ZARA- 
THUSTRA  SIMS 

■p*\'ERYBODY  cheers  when  Congressman 
■*^  Ik'llows  talks  about  excluding  the  un- 
welcome foreigner  from  our  shores,  but  I 
doubt  if  it  gets  him  any  votes.  'Cause 
everybody  knows  that  when  it  comes  to 
weeding  onions,  one  bare-footed  Polak 
woman,  with  a  figure  like  a  sack  of  feed,  is 
worth  more  than  a  carload  of  congressmen, 
with  a  few  college  professors  thrown  in  for 
good  nierlsure. 

Ill 


BOOK  REVIEWS 


CHILD    WELFARE    WORK    IN 
ENGLAND:  From  The  American  City 

THE  majority  of  the  cities  in  England 
have  well-estabHshed  municipal  in- 
fant clinics,  but  probably  one  of  the 
best  of  these  is  maintained  by  the 
city  of  Bradford.  Its  definite  aim  is  to  ex- 
tend systematic  medical  supervision  over  as 
large  a  number  of  infants  as  possible  during 
the  first  two  years  of  life. 

The  babies  are  thoroughly  examined,  and 
detailed  and  comprehensive  records  are  kept 
of  each.  Fresh  notes  are  made  on  the  cards 
at  every  visit,  and  this  information  has 
proved  to  be  valuable  statistical  material. 
The  problem  of  nutrition  is  especially  dealt 
with  in  this  clinic.  One  of  the  staff  nurses 
devotes  her  entire  time  to  giving  demonstra- 
tions to  mothers  of  artificially  fed  babies 
on  the  subject  of  the  preparation  of  food, 
and  each  baby  is  given  a  separate  formula 
according  to  its  distinct  needs.  The  infants' 
food  is  provided  free  in  all  necessitous 
cases,  and  a  careful  system  of  home  visit- 
ing gives  assurance  that  the  directions  given 
in  the  clinic  are  being  properly  carried  out. 

One  of  the  very  interesting  activities  of 
this  clinic  is  the  provision  of  model  gar- 
ments for  infants  at  cost  price  to  mothers. 
These  garments  are  made  from  patterns  de- 
signed by  the  clinic,  and  the  nurse  in  charge 
of  the  stock  has  many  opportunities  to  give 
talks  to  the  mothers  on  baby  hygiene  and 
the  proper  method  of  clothing  infants. 
There  is  a  well-stocked  dispensary,  where 
medicines  are  prescribed  and  lessons  in 
home  treatment  of  common  infantile  ail- 
ments are  given.  There  is  also  a  medical 
loan  system  whereby  various  sterilizable 
articles,  such  as  syringes,  etc.,  are  loaned  to 
mothers  who  could  not  procure  them. 

Bradford  has  been  the  first  city  in  Eng- 
land to  establish  an  out-of-door  school  dur- 
ing the  warm  months.  The  Education  Com- 
mittee is  about  to  carry  into  effect  a  plan 
which,  because  of  its  cheapness  and  obvious 
advantages,  offers  excellent  suggestions  to 
other  municipalities.  The  equipment  con- 
sists of  six  tents,  each  of  which  holds  forty 
children,  and  a  large  marquee  to  be  used 
as  a  dining  room  for  the  whole  school. 
Dinner  will  be  provided  at  the  cost  of  2 
cents  a  child,  and  tram  fares  are  paid  where 
necessary.  The  plan  at  present  is  to  have 
the  neighboring  schools  transfer  all  of  their 
scholars  to  the  outdoor  school  for  the 
period  of  a  week. 


"I 


BOOK  REVIEWS 
MIDSTREAM:    A    CHRONICLE    AT 
HALFWAY:    BY   WILL    LEVINGTON 
COMFORT 

N  every  man's  heart  there  is  a  story. 
This  is  mine.  I  do  not  tell  it  as  a 
writer,  but  as  a  man  who  has  found 
his  work."  These  are  the  opening 
words  in  "Midstream — A  Chronicle  at  Half- 
way," and  they  give  one  the  keynote  not 
only  to  the  volume  itself  but  to  the  author's 
whole  philosophy — the  philosophy  of  one 
who  has  found  his  zvork.  It  is  just  this 
understanding  of  Hfe,  drawn  from  his  own 
rich  experience  and  presented  in  forceful, 
convincing  and  original  style,  which  entitles 
the  book  to  be  ranked,  with  its  predecessors 
from  the  same  pen,  among  the  most  valuable 
and  human  literary  products  of  America  to- 
day. 

Beside  the  stature  of  this  book  the  or- 
dinary novel  and  biography  are  curiously 
dwarfed.  Indeed,  it  is  difficult  to  review 
adequately  an  achievement  of  this  sort. 
Praise  and  appreciation  seem  but  shadows 
before  such  virility  of  expression,  and  criti- 
cism seems  impertinent  in  the  face  of  such 
naked  earnestness. 

You  open  "Midstream"  with  a  feeling  of 
keen  expectation,  knowing  the  quality  of 
work  this  man  has  done.  You  read  it  with 
a  poignant  interest  and  close  it  with  won- 
der, reverence  and  gratitude.  There  is 
something  strangely  touching  about  words 
so  candid,  and  a  draught  of  philosophy 
that  has  been  pressed  from  such  wild  and 
bitter-sweet  fruit.  The  message  it  contains 
is  one  to  sink  deep,  penetrating  and  enrich- 
ing whatever  receptive  soul  it  touches. 

Moreover,  the  therne  of  "Midstream"  is 
universal.  It  is  essentially  the  story,  as  Mr. 
Comfort  says,  not  so  much  of  a  writer  as 
a  man.  The  first  vague  memories  of  child- 
hood, the  gropings  of  youth,  the  years  of 
work,  the  adventures  in  journalistic  fields, 
as  war  correspondent  and  soldier  in  foreign 
lands,  the  temptations  and  strivings  of  city 
life,  the  contact  with  men  and  women,  and 
the  constant  struggles  between  senses  and 
soul — these  are  all  told  with  a  curious  mix- 
ture of  bluntness  and  mysticism.  One  is  left 
with  a  graphic  impression  of  material  reali- 
ties, and  at  the  same  time  with  a  peculiar 
divination  of  their  spiritual  significance. 
This  man's  words  are  incandescent,  glowing 
with  the  sheer  vitality  of  the  thought  be- 


BOOK  REVIEWS 


hiini  lliem,  linninous  with  the  truth  they 
clothe. 

Some  may  quarrel  with  Mr.  Comfort's 
unusual  phrases,  or  quibble  at  his  diction, 
and  cite  classic  authorities  against  his 
revolutionary  molding  of  old  words  to  new- 
meanings.  But  all  must  admit  the  forceful- 
ness  of  his  style,  the  vigor  of  his  symbols. 
He  has  the  rare  gift  of  making  you  grasp 
his  vision.  And  is  not  that  art's  final  test  ? 
Indeed,  many  of  us  feel  that  his  books  are 
breathing  into  a  language  grown  trite  with 
hackneyed  usage  the  inspiration  of  a  quick- 
ened life. 

Perhaps  the  most  effectual  way  to  convey 
an  adequate  idea  of  "Midstream"  is  to  quote 
a  few  paragraphs  from  it  here.  Take  this, 
for  instance : 

"I  know  that  routine  is  deadly ;  that  los- 
ing the  dream,  even  from  physical  desire  is 
deadly ;  that  strong  physical  love,  reverting, 
after  the  novelty  of  possession  is  past,  to  a 
mere  magnetism  of  sex-polarity,  is  a  damn- 
able failure  on  the  part  of  human  beings, 
and  that  the  eyes  of  the  poor  little  people 
who  are  incident  to  this  low  gratification, 
must  look  down. 

"I  know  that  there  is  a  greater  than 
physical  love — a  love  between  man  and 
woman  so  electric  and  potential,  that  the 
physical  union  is  but  the  lowliest  of  its 
three  caskets,  and  that  immortals  are  eager 
to  be  born  of  this  beautiful  expression.   .   .  . 

"The  strangest  veils  of  illusion  are  hung 


A  FL.\T  CU.N'CRETE  KOOK,  TKANSFORMEIJ  INTU  AN  AT- 
TRACTIVE garden:  one  of  the  innumerable  uses 

TO   WHICH    THIS   ADAPTABLE    MATERIAL   MAY  BE  PUT. 

between  the  parent  and  child.  A  father  is 
needed  for  boys;  a  father  who  takes  time 
to  remember,  and  who  has  strong  enough 
vision  to  look  back,  in  order  to  reach  a 
present  adjustment  to  the  boy-mind.  The 
instant  the  man  and  boy  go  different  ways,^ 
lies  and  secretiveness  result.  There  is  no 
more  important  business  for  a  man  than  to- 
look  back  from  time  to  time — to  find  the 
boy's  point  of  view.  He  cannot  assume 
yours.  You  are  apt  to  lose  him,  if  you  do 
not." 

Speaking  of  his  first  impressions  of  the 
newspaper  world,  Mr.  Comfort  writes: 

"That  was  a  wintry  afternoon  of  early 
darkness.  I  heard  the  presses  throbbing 
below,  and  smelled  that  inimitable  warm  ink 
and  paper  atmospliere,  but  something  kept 
warning  me,  'It  is  not  yours  yet;  you  have 
not  yet  earned  the  right  to  these  delights.'  " 

Certain  word  pictures  of  his  army  ex- 
periences are  wonderful  in  the  simplicity  of 
their  well-chosen  words.  This :  "A  tent 
and  heavenly  coolness,  wooden  floor,  sight 
of  low  hills  under  the  reefed  walls,  water  in 
glass,  cots  with  sheets  and  pillows,  an  or- 
derly undressing  me,  and  gracious  God — a 
woman,  washing  my  face  and  neck  with 
cool  soapy  cloth.  She  had  all  the  loveliness 
of  this  heaven,  and  I  had  not  seen  a  white 
woman  in  so  long.     She  helped  them  bathe 


1 1. 1 


BOOK  REVIEWS 


THIS  WINDOW,  IN  THL  RLSIULNCE  OF  ALBERT  MOVER, 
SOUTH  ORANGE,  N.  J.,  SHOWS  A  STRIKINGLY  DECORA- 
TIVE USE  OF  CONCRETE  WITH  TILES  AND  MOSAICS  IN 
RELIEF:  TRACY  &  SWARTOUT,  ARCHITECTS. 

me  swiftly,  perfectly,  washed  my  mouth 
with  a  clean-tasting  solution.  The  touch  of 
clean  cloth  to  my  flesh  was  exquisite,  full- 
length.  She  brought  a  clinking  jar.  She 
was  beautiful,  and  moved  about  her  work 
with  the  faintest  dawn  of  a  smile." 

(Published    by    George    H.    Doran    Co., 
New  York.    314  pages.    Price  $1.25  net.) 

THE  CONCRETE  HOUSE  AND  ITS 
CONSTRUCTION:  BY  MAURICE  M. 
SLOAN 

We    show    four    illustrations    liere    from    "The 
Concrete  House." 

THIS  practical  book  is  likely  to  prove 
of  great  value  to  builders,  architec- 
tural students  and  prospective  home- 
makers,  for  it  is  clearly  written,  full  of  facts 
and  helpful  advice,  and  is  illustrated  with 
photographs  and  diagrams  showing  in- 
numerable types  of  concrete  construction. 
City  and  country  homes  are  shown,  of 
varying    character    and    style,    from    Cali- 

114 


fnrnia  bungalows  to  large  Eastern 
residences,  which  are  rich  in  sug- 
gestions as  to  structure  and  de- 
sign. In  fact,  the  pictures  give 
one  a  good  impression  of  the 
scope  of  concrete  architecture  in 
this  country,  and  in  studying  them 
one  finds  a  decided  tendency 
toward  a  sturdy  simplicity  of 
surface  and  outline,  with  any 
decoration  based  mainly  on  struc- 
tural principles. 

The  subject  is  treated  from 
both  a  practical  and  artistic 
aspect.  The  fire-resisting  quality 
of  concrete,  its  durability  and 
hygienic  advantages  are  pointed 
out,  and  its  possibilities  for 
beauty  of  texture,  form  and  col- 
oring are  also  discussed.  The 
chapters  take  up  also  the  succes- 
sive steps  in  concrete  building, 
calculations  for  determining  the 
strength  and  design  of  reinforced 
concrete,  and  other  important 
considerations  of  a  technical 
nature.  (Published  by  Associa- 
tion of  American  Portland  Ce- 
ment Manufacturers,  Philadel- 
phia. 220  pages.  Well  illus- 
trated.    Price  $1.00.) 


LETTERS  FROM  A  LIVING  DEAD 
MAN:  WRITTEN  DOWN  BY  ELSA 
BARKER 

E\'EN  the  most  confirmed  sceptic  must 
pause  before  this  extraordinary  book, 
which  has  aroused  so  much  argument 
and  admiration  during  the  last  few  months 
both  in  the  field  of  psychical  research  and 
among  a  wide  circle  of  general  readers. 
Whether  or  not  one  accepts  it  literally  as  a 
message  from  the  "next  world"  transcribed 
through  a  receptive  human  agent — and 
there  seems  considerable  ground  for  such 
acceptance — at  least  one  must  admit  that  the 
book  holds  much  that  is  both  true  and  beau- 
tiful. From  a  literary  as  well  as  philo- 
sophical standpoint  it  is  valuable,  and  in 
spite  of  several  gruesome  touches,  the 
chapters  are  pervaded  by  a  sweetness, 
wholesomeness  and  kindly  humor  that  are 
unusually  appealing.  No  one  who  is  even 
remotely  interested  in  theosophy  or  any 
branch  of  metaphysics  should  fail  to  read 
this  remarkable  contribution.     Its  sincerity 


BOOK  REVIEWS 


is  vouched  for  by  Elsa 
Barker,  and  additional 
weight  is  lent  by  the 
equally  sincere  person- 
ality of  the  late  Judge 
Hatch,  its  "spirit 
author."  (Published  by 
Mitchell  Ken  nerley, 
New  York.  291  pages. 
Price  $1.25  net.) 

SOMETHING  TO  DO 

THE  ambition  of 
the  editors  of 
this  very  worth 
while  new  magazine 
for  children  is  to  give 
active  boys  and  girls 
an  educative  as  well  as 
an  entertaining  outlet 
for  their  restless  ener- 
gies. Every  child  likes  to  ni  lUc  thing'^  as 
well  as  to  hear  stories  and  look  at  pictures. 
This  new  magazine  in  addition  to  publish- 
ing charming  little  stories,  contains  sugges- 
tions for  "things  to  do"  with  paper,  cloth, 
string  and  nails.  There  are  pictures  to 
color,  to  draw,  to  cut  out,  to  paste  together, 
to  write  about ;  directions  for  making 
boxes,  paper  mats,  Indian  beads,  paper 
dolls,  boats ;  things  to  make  with  old  tin 
cans.  etc.  This  fresh,  attractive  little  maga- 
zine will  be  welcome  to  parents  of  energetic 
children  needing  entertainment  as  well  as 
to  the  children  themselves.  (Published  by 
The  School  Arts  Publishing  Co.,  120  Boyl- 
ston  Street,  Boston,  Mass.  Price  $1.00  per 
year.     12  copies.) 

ANCIENT    AND    MEDIAEVAL   ART: 
BY  MARGARET  H.  BULLEY 

W/^HILDREN  had  to  be  helped  to 
V^  realize  that  art  is  a  result,  the  slow 
crystallization  into  form  of  man's 
thoughts  and  emotions."  So  Margaret  H. 
Bulley  gave  a  series  of  "picture  talks"  to 
her  classes  of  elementary  schoolchildren, 
showing  them  selected  photographs  of 
works  of  art  of  all  ages.  The  children 
took  such  an  interest  in  her  pleasant  meth- 
od of  instruction  and  developed  such  pow- 
ers of  observation  and  appreciation,  that  it 
seemed  advisable  to  put  the  lessons  in  book 
form,  for  the  help  of  other  teachers.  The 
story  of  the  picture  forms  the  first  part  of 
each  lesson,  then  the  children  repeat  the 
story,  ask  questions,  express  their  opinions 


DETAIL  OF  THb  MOVER  HOME,  IN  WHICH  BORDERS  OF 
MORAVIAN  TILE  ARE  USED  IN  THE  ROUGH  CONCRETE 
WALLS  WITH  UNUSUALLY  RICH  AND  INTERESTING 
EFFECT. 

and  enter  into  a  general  discussion  of  the 
subject.  This  book  begins  with  the  story 
of  the  first  artists,  the  savage  men  who 
drew  rough  sketches  of  animals  upon  the 
walls  of  their  caves  before  starting  out  on 
the  hunt  with  the  idea  of  thus  putting  the 
creature  drawn  under  his  spell  so  that  his 
arrows  would  drive  straight  and  true  to  its 
heart.  The  methods  advanced  by  the  au- 
thor have  been  so  successful  in  holding 
the  children's  interest  while  imparting  in- 
formation that  the  book  should  find  ready 
entrance  into  all  libraries,  schools  and 
homes  where  children  are  tutored.  (Pub- 
lished by  The  Alacmillan  Co.,  New  York. 
321   pages.     Illustrated.     Price  $1.75.) 

BOOKS  RECEIVED 

"The  Beginning  of  Grand  Opera  in 
Chicago,"  by  Karleton  Hackett.  (Published 
by  the  Laurentian  Publishers,  Chicago.  60 
pages.) 

"Architec-tonics — The  Tales  of  Tom 
Thumtack,  architect."  (Published  by  Wm. 
T.  Comstock  Co.,  New  York.  Illustrated. 
175  pages.    Price  $1.50  net.) 

"Burgess  Unabridged,"  by  Gelett  Bur- 
gess, illustrated  by  Herb  Rotli.  Mr.  Burgess 
ilescribes  his  own  book  on  the  cover  as  ".\ 
dictionary  of  words  you  have  always  need- 
ed." (Published  by  Frederick  A.  Stokes 
Co.,  New  York.    120  pages.    80  cents  net.) 


BOOK    REVIEWS:  CRAFTSMAN   GARDEN   SERVICE 


Copyright  by  Boston  Photo.   Co. 

CRAFTSMAN     GARDEN     SER- 
VICE 

A  LITTLE  path  that  winds  from  some 
well  loved  place  through  familiar 
grassy  lanes,  pasture  lots  and  quiet 
groves  holds  rare  opportunities, 
joyous  romance  and  knowledge  of  wonder- 
ful realms.  A  garden  book  is  about  as 
fascinating  a  little  path  to  pleasant  places 
as  this  world  has  to  offer.  It  not  only  leads 
the  reader  on  in  the  most  friendly  sort  of  a 
way,  but  actually  creates  enchanted  do- 
mains. Score  the  earth  as  it  directs,  scat- 
ter tiny  seeds  and  set  in  fat  bulbs,  and  those 
marvelous  chemists,  the  earth,  sun  and  rain, 
will  change  them  into  silken-petaled  blos- 
soms that  nod  and  bow  to  the  winds  as  they 
speed  away  with  night-distilled  perfumes. 

The  Craftsman  Garden  Service  depart- 
ment has  so  many  calls  for  aid  in  the  plan- 
ning of  gardens,  so  many  requests  for  in- 
formation as  to  the  best  hedges,  shrubs, 
perennials,  water  plants,  for  advice  upon  the 
matter  of  lawns,  winged  or  crawling  de- 
stroyers, pergolas,  and  fountain  making, 
that  a  score  of  experts  would  be  required 
to  give  full  satisfaction.     So  we  are  form- 

ii6 


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THE    SLAV   THINKER,      FROM    A    BUST   BY   THE 
GREAT    RUSSIAN    SCULPTOR,    NAOUM    ARONSON. 


THE  CRAFTSMAN^ 

PUBUSHED    BY    THE    CRAFTSMAN    PUBUSHING    CO. 


VOLUME   XXVII 


NOVEMBER,   1914 


NUMBER  2 


"BETWEEN  THE  POISON  AND  THE  WORM:" 
A  STUDY  OF  WAR  AND  THE  NEW  PEACE: 
BY   WILL  LEVINGTON  COMFORT 

ECENTLY  I  rode  by  a  field  of  oats  where  the  army 
worm  had  camped  for  loot  and  outrage.  The  owner 
was  making  an  effort  to  save  part  of  the  crop. 

"It's  not  much  use,"  he  said.    "To  be  a  killing  force, 
the  solution  must  be  strong  enough  to  check  the  oats, 
too.     Between  the  poison  and  the  worm,  there's  not 
much  chance  of  harvest.     I've  a  notion  that  I'd  have 
done  better  to  plow  under  the  whole  business." 

It  was  one  more  of  the  perfect  analogies  of  man's  relation  to  the 
source  of  things — analogies  that  literally  abound  in  vine  and  grass 
and  shore.  .  .  .  Riding  back,  I  thought  of  the  fires  and  deluges 
that  stand  traditional  in  the  dim  background  of  all  races  of  men. 
The  revelations  of  geology  show  that  there  has  been  shuffling  of  ele- 
ments and  utter  dishevelments  of  the  face  of  the  globe — an  eye  now 
where  a  tooth  once  lay,  a  nostril  where  an  ear  reposed.  I  thought, 
too,  of  the  first  and  most  significant  realization  which  the  reading 
of  astronomy  imposes;  that  of  the  exceeding  delicacy  of  the  earth's 
present  position;  how,  indeed,  we  are  dependent  for  life  and  all  that 
now  is,  upon  the  small  matter  of  the  tilt  of  the  poles;  that  we,  as  men, 
are  products,  as  it  were,  not  only  of  earth's  precarious  position,  but 
of  her  more  precarious  tilt. 

The  oldest  and  most  respectable  of  all  questions  now  recurred: 
WTiat  is  it  for?  ^Vhat  is  life  for.''  ^^^lat  grain — what  is  the  desired 
harvest? 

Man  can  only  answer  ma7i.  There  is  no  other  answer  within  his 
intellectual  rims.  It  can't  be  man's  body.  The  ultimate  significance 
certainly  cannot  be  the  flesh  of  man  which  dies  so  freely.  At  the 
same  time  it  is  clear  that  the  flesh  is  an  instrument  of  manifestation, 
a  stage  of  being,  as  the  worm  is  a  part  of  the  cycle  which  attains 
wings  in  the  butterfly.  The  desired  grain  of  the  tilted  earth  then, 
is  the  certain  power  behind  the  flesh;  in  fact,  that  power  and  not  the 
flesh,  is  man  himself.  In  short,  the  grain  is  the  soul  of  man  which 
puts  on  flesh  from  time  to  time,  possibly  as  a  traveler  takes  different 
vehicles  to  make  his  journey. 

119 


WAR   AND  THE   NEW   PEACE 

That  which  reaches  the  end  of  the  journey  is  the  grain;  and,  since 
the  flesh  helps  to  forward  the  immortal  home,  it  becomes  a  profound 
consideration.    .    .    . 

Sermonizing — but  not  in  a  religious  mood,  as  such  is  usually 
considered.  The  thundering  drive  of  every  thought  was  the  Great 
War;  yet  I  had  no"thought  nor  care  for  nations  and  their  boundaries, 
nor  for  kings,  politics,  dumas,  reichstags,  colonial  interests,  the 
almighty  markets — not  even  for  Rheims  and  Louvain. 

I  was  thinking  of  the  peasant. 

Two,  five,  seven  thousand  the  day  just  now,  they  are  slaying 
the  child-souled  peasantry.  They  are  herding  them  by  the  million 
in  the  midst  of  the  most  demorahzing  conditions  the  darkened  minds 
of  men  ever  invented.  Let  us  not  think  of  the  women  and  the  father- 
less— but  just  of  the  fathers. 

Yesterday,  today,  and  tomorrow,  these  peasant-men  are  slain 
until  we  have  lost  the  relation  of  numbers. 

And  this — the  darkest  winter  that  the  world  has  ever  known — will 
be  only  a  culminating  misery  of  the  peasantry.  They  have  been  wielded 
and  massed  and  manhandled  in  the  best  of  times  and  seasons.  Worse 
than  death  can  happen  to  the  peasantry.  The  ultimate  significance 
has  to  do  with  the  souls  of  these  children,  and  their  souls  have  been 
steadily  cruelly  smothered  through  the  fat  years  of  peace.  This 
smothering  of  souls  is  not  accomplished  by  death,  but  by  life. 

THERE  have  appeared  among  us  giants  of  desire— men  literally 
who  want  the  earth;  strong  men  of  baronial  appetites,  whose 
aspirations  at  their  highest  are  level-eyed,  never  uplifted, 
mainly  perverted.  These  are  the  soul-smotherers,  the  war-makers. 
These  are  the  masters  of  the  near  and  the  obvious  and  the  palpable; 
because  of  their  very  dexterity  in  the  manipulation  of  heavy  material 
affairs  they  are  tolerated  as  the  rulers  of  men.  They  and  their  agents 
are  everj'where — first  hand  they  move  among  the  peasantry,  and  the 
stupid  middle  world  calls  them  the  great  men,  within  the  hearing  of 
our  children.  What  can  the  peasant  do  but  believe;  and  in  his  terror 
and  havoc  formulate  such  an  ideal  for  himself  in  the  future.  It  is 
known  now,  even  in  the  public  schools,  that  the  formulation  of  any 
ideal  is  the  matrix  of  the  action  to  be. 

Sorrow  can  only  sweeten,  but  the  prolonged  effects  of  theft  and 
greed,  the  ever-tightening  coercion;  the  noise  and  the  shine  and  the 
meaning  of  coins,  the  loss  of  the  love  and  meaning  of  labor;  the 
trade-ideal  ever  before  the  fresh  impressionable  eye,  and  proclaimed 
by  all  voices  to  be  earth's  glory  in  the  highest — such  is  the  soul- 
smothering  of  our  children,  the  peasantry ;  a  kind  of  reptile  poisoning 


BY   WILL  LEVINGTON  COIVIFORT 

that  has  entered  and  done  its  work;  and  now  the  devouring  is  on,  a 
more  loathsome,  but  less  destructive  process,  for  only  the  bodies 
suffer  that.  The  low  poisonous  passions  of  the  world  stupefied 
first,  before  the  devouring  of  war. 

The  peasantry  of  any  race  is  its  soil  and  substance;  it  holds  the 
nature  and  the  future.  Hope  and  mysterj^  attaches  to  it,  and  all  the 
glowing  mystery  of  promise  that  ignites  the  ardor  of  real  parenthood. 
The  true  great  men  of  our  times,  having  put  on  a  larger  dimension  of 
consciousness  in  the  world,  turn  back  to  the  peasantry  for  their  ideal 
and  symbol  of  simplicity;  they  pray  for  the  simple  healing  of  faith 
that  so  often  is  the  very  conduct  of  the  life  of  the  peasantry.  If  the 
world  were  ruled  by  the  truly  great,  and  not  by  the  predatory, 
the  younger-souled  men  would  be  guided  and  guarded  with  a  passion 
and  purity  that  would  hallow  the  earth.  For  the  peasant  is  so  earnest 
to  be  led,  so  eager  and  ready  to  follow.  That  is  the  heart-rending 
pity  of  his  phght  today.  He  was  oppressed  and  he  loas  afflicted,  yet 
he  opened  not  his  mouth:  he  is  brought  as  a  lamb  to  the  slaughter,  and 
as  a  sheep  before  her  shearers  is  dumb,  so  he  openeth  not  his  mouth. 

There  are  men  in  Russia,  in  America,  who  would  die  for  him,  die 
daily  to  make  him  see;  men  who  love  and  understand  him,  who  would 
not  kill  him,  but  teach  him  the  paths  of  beauty  and  be  taught  by  his 
blessedness;  but  these  are  not  the  leaders  of  men;  rather  the  hunted 
and  the  hanged.  Still  they  and  their  peasantry  are  the  grace  of  the 
world — the  holy  ones  that  have  stayed  so  far  the  planetary  plowing. 

I  WHITE  in  the  midst  of  the  greatest  battle  the  earth  has  ever 
known — the  issue  as  yet  undecided.     Yet  with  all  the  intensity 

of  this  hour,  partisanship  does  not  enter.  In  fact  it  is  not  without 
a  shudder  that  one  thinks  of  what  a  conclusive  victory'  of  either  side 
would  mean  at  this  time.  Final  victory  at  this  hour  would  be  a 
triumph  of  militarism,  an  extension  and  revitalizing  of  the  Old,  the 
vile,  for  the  sime  destructive  forces  that  have  been  proven  and 
branded  for  every  seeing  eye;  a  victory  of  imperialistic  armaments, 
of  field  strategies,  of  diplomatic  sagacities,  and  these  no  less  than 
the  blood-letting  of  men,  are  of  the  old  hells  of  earth,  and  the  sources 
of  all  our  misery'- 

This  war  is  the  anointing  of  the  grain -field.  The  planting  must  not 
only  endure  the  devouring  of  the  parasite  but  the  withering  of  the 
poison.  Yet  if  there  is  a  harvest  to  come;  if  there  is  hope  of  harvest, 
of  any  grain  or  balm  or  future  hght — the  parasite,  at  least,  must  be 
destroyed. 

"\Vhom  the  Gods  would  destroy,  they  first  make  mad."  It  would 
seem  that  the  war  has  begun  that,  but  the  work  is  not  yet  advanced 


WAR  AND  THE  NEW  PEACE 

enough.  Victory  for  either  system  at  this  hour,  and  all  the  diplomatic 
asseverations,  evasions,  rejoinders,  surrejoinders,  and  attainders  to 
follow,  would  not  cleanse  the  field.  Rather  it  would  seem  to  me  to 
start  to  heaven  such  a  stench  and  open  to  the  sky  such  a  spectacle 
of  blasting,  as  would  send  the  Husbandman  right  quickly  for  the 
plow. 

There  is  a  line  of  cause  and  effect  running  truer  than  human  vision 
from  the  breaking-out  of  throne-taints  in  eighteen  seventy  to  the 
heart  of  the  present  conflict.  There  are  no  clean  hands  among  the 
principals  of  this  The  Great  War;  and  the  New  Era  (if  earth  be  spared 
the  plowing  under)  will  see  it,  and  its  heart  will  not  soon  cease  to 
bleed  for  those  who  have  paid  in  blood  and  famine.  If  the  Allies  or 
the  Germans  should  win  a  final  victory  now,  the  poor  of  the  tri- 
umphant connection  would  not  be  the  sooner  fed,  nor  more  decently 
fed  in  the  future.  Yet  they  are  being  slain  in  such  numbers  that  the 
press  of  the  world  cannot  give  space  to  the  names.    .    .    . 

THEY  call  them  serfs  in  Russia,  sometimes  moujiks.  It  is  true 
they  are  children;  that  they  require  to  be  led;  as  yet  they  are 
not  conscious  individual  forces,  but  talents  to  be  accounted 
for  by  their  fathers.  So  far  they  have  had  the  steel  and  the  leaded 
thong,  the  impregnation  of  every  crime. 

Nicholas  says:  *T  will  gain  my  ends  this  time,  if  I  have  to  sacrifice 
my  last  moujik,"  as  one  would  say  "my  last  copper." 

That  alone  should  be  enough  to  stop  war,  if  men  were  men;  yet 
it  is  not  more  vulgar  and  atrocious  than  the  prayers  of  the  German 
Caesar.  .  .  .  Less  then  ten  years  ago  the  peasants  came  in  to  see 
Nicholas;  from  the  far  country  and  the  near;  through  the  snow,  they 
came,  hungry,  afoot,  in  thousands,  big  thoughts  in  their  breasts. 
They  had  reached  the  ends  of  their  powers  and  endurance,  they 
thought,  and  they  had  come  quietly  to  ask  help  of  the  father.  They 
would  place  their  story  before  him  and  all  would  be  well,  for  the 
father  would  understand. 

You  recall  that  Nicholas  saw  them  coming  and  fled.  All  his  life 
he  had  fled  from  palace  to  palace.  It  was  all  he  knew.  Fleeing,  he 
called  to  Vladimir  to  treat  with  them,  and  Vladimir  turned  the  treat- 
ing over  to  his  Cossacks.  That  Sabbath,  you  remember,  the  red 
flower  bloomed  in  the  snow — covering  the  city  streets  it  burst  into 
bloom — the  red  flower  of  the  peasantry  which  is  redder  than  the 
blood  of  kings — the  lives  of  thousands  sprinkled  upon  the  snow  that 
Sabbath  day. 

Truly  they  had  been  taught  to  call  him  Little  Father;  and  he,  the 
flitting  ghost  of  the^palaces,  means  to  use  the  last  of  them  now.    He 


BY  WILL  LEVINGTON  COMFORT 

has  called  them  by  the  million — and  God  pity  the  wretched  miracle 
of  it — they  seem  to  obey. 

So  long  as  they  obey,  the  war  must  go  on,  and  the  moment  they 
cease  to  obey — there  can  be  no  war  again. 

THERE  is  no  spiritual  vitality  remaining  in  the  entities  known 
as  Russia  and  Prussia  and  the  Balkans;  what  remains  is  an 
obsession,  a  down -pulling  and  destroying  collection  of  entities 
which  have  galvanized  with  false  life  and  insanity  the  bodies  repre- 
sented by  these  boundaries.  The  Europe  of  such  names  is  a  house 
of  madness.  Germany,  England  and  France — each  is  a  story  in  itself 
of  the  struggle  of  good  and  evil,  a  struggle  far  from  finished,  and  if 
finished  in  this  hour  would  be  a  triumph  of  the  old  and  the  evil  and 
insane. 

The  passion  of  the  New  Era  must  triumph  from  this  war,  or  after 
it  will  come  effacement  and  the  deluge. 

For  the  ideals  of  the  world  at  this  hour  are  not  lifted  ideals,  and 
it  is  a  late  day  in  the  world  for  low  ideals,  even  for  the  level  eye. 
War  should  have  been  extinct  centuries  ago.  Our  only  hope  is  that 
the  carnage  from  which  we  now  avert  our  eyes  is  war's  self-destruction, 
and  the  final  rebuke  upon  the  several  peoples  who  have  been  found 
so  blind  as  to  allow  the  making  of  war  to  rest  in  the  hands  of  deca- 
dents. There  is  but  one  answer  to  this  rebuke — a  refusal  longer  to 
engage. 

The  New  Era — else  what  remains  for  a  little  time  longer  will 
not  be  worth  living  in,  for  those  who  have  held  the  dream.  For 
such — the  New  Era,  or  none  here.  I  believe  that  the  United  States 
of  America  is  as  deeply  concerned  in  this  war  as  France  or  England; 
I  believe  that  those  of  our  people  who  are  not  lifted  from  the  profound 
ruin  of  personal  intents  by  the  conditions  now  abroad  in  the  world, 
are  meaningless  in  this  crucial  and  terrible  hour  of  the  earth's  judg- 
ment as  a  spiritual  experiment.  And  you  who  moan  so  loudly  over 
Rheims  and  Lou  vain — I  ask  you,  what  do  you  think  of  the  destruction 
of  the  peasantry?  The  New  Era  does  not  need  ancient  relics  for  its 
ideals  of  beauty,  but  very  much  it  needs  the  souls  of  men. 

Either  a  brotherhood  or  a  chaos  is  to  come.  Every  Voice  out  of 
the  past  has  called  us  to  do  away  with  boundaries,  to  end  imperialism 
and  material  greed.  Every  invention  of  the  past  fifty  years  has 
laughed  at  separate  language,  and  distances  and  man-made  boun- 
daries and  every  estrangement  of  people  from  people.  The  planet  is 
one  in  wire  and  voice  and  meaning;  the  oneness  of  God  and  Nature 
ias  been  the  cry  of  every  seer. 

We  are  not  estranged  spiritually,  nor  in  ideal.     The  growth  of 

123 


RAIN-SONG 

our  individuality  is  monstrous  until  it  turns  from  self  to  service. 
From  Buddha,  from  Laotse,  from  Jesus  to  the  latest  voice  among  us, 
so  lost  now  in  the  pandemonium,  the  spirit  of  man  is  proclaimed  to 
be  the  grain  of  the  earth,  and  the  spirit  of  man  is  one. 

.  .  .  There  is  to  be  a  Fatherland  in  the  New  Era,  but  the  blas- 
phemous fatherlands  of  today  shall  not  enter.  Destroyers  of  children 
shall  not  enter.  Except  that  ye  become  as  little  children,  ye  may  not 
enter. 


A 


RAIN-SONG 

CROSS  the  plain 
See  the  blue  ranks  of  rain, 
Marching,  in  stern  accord. 
Hosts  of  the  Lord ! 


Hark  to  the  drum — 
Heaven's  battery:  See  them  come, 
Bright  blade  on  brighter  blade, 
God's  own  brigade! 

Their  helmets  shine 

In  many  a  liquid  line, 

As  from  the  heights  of  heaven 

Their  strength  is  driven. 

On  the  parched  world 
The  cavalcades  are  hurled; 
Blest  are  the  grass  and  grain, 
Blue  ranks  of  rain ! 

Charles  Hanson  Towne 


124 


w 


CHRYSANTHE- 

.  #  MUMS,       THE 

,'  .         CREST   OF   THE 

#  -:«in^«^    MIKADO     AND 

THE  FAVORITE 
OF  THE   LITTLE   GARDEN 

'HEN  the  chrj^santhemums  in  the 
Akasaka  palace  gardens  have 
fully  unfurled  their  marvelous 
petals,  the  Emperor,  whose  crest  is  the  sixteen- 
petaled  chrysanthemum,  sends  couriers  to  the 
lords  of  his  realm  and  to  a  few  visiting  folk  of 
other  lands  acquainting  them  with  the  momen- 
tous event  and  inviting  their  presence  at  a 
"viewing"  of  the  national  flower  as  it  stands  in 
the  height  of  its  perfection  within  latticed 
bowers.  Like  Ladies-in-Waiting  to  a  Queen 
they  look  as  they  stand  in  rows  beneath  heavy  silk 
curtains  embroidered  with  the  Royal  Crest  of  Japan,  arrayed  in 
the  most  gorgeous  colors  known  to  the  flower  world.  Each  blos- 
som, signed  with  the  grower's  name,  titled  like  pictures  in  a  gallery, 
hardly  needing  the  cabalistic  cards  with  which  to  identify  them 
as  "Sunset,"  "Ear  y  Snow,"  "Quiet  Mom,"  "Pensive,"  "Caprice." 
As  I  walked  from  one  flower  court  to  another,  on  my  way  to  the 
Audience  Hall  of  the  Emperor,  pausing  to  admire  the  superb  flowers, 
stepping  aside  to  give  a  Korean  Princess  or  a  Native  Prince  better 
view,  hstening  to  medaled  warriors  as  they  in  ceremonial  Enghsh 
courteously  translated  titles  for  me,  the  stranger  within  their  gates, 
I  remembered  another  chrysanthemum  fete  I  had  attended  several 
years  before  in  an  obscure  New  England  village  about  the  size  of  the 
Akasaka  gardens.  The  homespun  and  calico  informality  contrasted 
vividly  with  the  splendor  of  this  Emperor's  court,  yet  the  spirit  of 
the  two  "parties"  was  one — delighted  appreciation,  and  hearty  en- 
thusiasm over  a  truly  marvelous  flower. 

The  invitation  to  the  New  England  exhibit  was  modestly  given 
with  a  friendly  smile  over  a  white  picket  fence,  by  the  man  who  had, 
unaided,  brought  his  fifty  or  more  blossoms  to  perfection.  The  other 
was  left  with  a  flourish  of  gaily  appareled  court  runners  at  the  door 
of  my  tiny  paper  house  in  Fujimicho-Nichome  Street,  the  street  from 
which  Fuji  San  can  be  seen — a  heavy  white  card  with  parallel  lines 
of  cryptic  looking  symbols,  beneath  the  rich  gold  sixteen-petaled  crest 
and  above  the  red  seal  of  Japan. 

125 


CHRYSANTHEMUMS  FOR  EVERY  GARDEN 

The  first  Japanese  Royal  Chiysanthemum  party  was  held  in  the 
era  of  Heian  in  the  eighth  century,  to  pray  for  the  long  life  of  the 
Emperor,  in  celebration  of  the  myth  of  a  man  who  escaped  death  by 
drinking  wine  in  which  lay  a  fairy-charmed  chrysanthemum.  It  is 
even  today  regarded  as  the  symbol  of  longevity  and  called  Oginagusa, 
the  old  man's  plant.  After  the  restoration  of  Meiji,  the  chrysanthe- 
mum festival  was  suspended  for  a  while,  probably  owing  to  the 
troubles  which  marked  the  years  following  the  Restoration.  But,  at 
the  desire  of  the  late  Emperor,  who  took  a  great  interest  in  chrysan- 
themum cultivation,  the  festival  was  revived. 

After  the  garden  party  at  the  palace  is  over,  the  flowers,  at  the 
Emperor's  request,  are  taken  beyond  the  close-guarded  gates  into 
Hebeya  and  Uyeno  Parks  that  his  people  may  enjoy  them  also.  At 
this  same  season,  the  Red  Leaf  Month — the  curious  exhibition  of 
historical  and  mythological  figures  made  of  growing  chr^'santhemums, 
takes  place.  Few  there  are  who  call  them  beautiful,  but  all  must 
admit  their  cleverness  and  acknowledge  the  supreme  skill  of  a  culti- 
vation that  can  make  a  single  root  produce  enough  blossoms  to  form 
a  life-sized  figure,  or  a  series  of  diminishing  circles,  the  outer  one 
forty  feet  or  more  in  diameter  and  bearing  hundreds  of  perfect  flowers. 
This  flower  that  arouses  the  love  and  enthusiasm  of  high  and  low 
alike  is  doubtless  of  Chinese  origin.  It  was  introduced  into  Japan, 
so  say  some  authorities,  during  the  reign  of  the  Emperor  Kwanmu, 
(seven  hundred  eighty -two — eight  hundred  and  six),  through  Korea. 
It  immediately  sprang  into  favor,  was  adopted  as  crest  and  official 
seal  of  the  Mikado,  crept,  as  decorative  device  on  sword  hilts,  pottery, 
porcelains,  lacquer-ware,  bronzes  and  in  textiles.  "The  Order  of  the 
Chrysanthemum"  was  instituted;  its  emblem  a  star  in  the  form 
of  a  cross  with  thirty-two  rays  attached  to  red  ribbon  by  a  gold 
chrj'santhemum,  being  reserved  as  an  especial  honor,  for  crowned 
heads  and  the  highest  dignitaries. 

It  is  impossible  to  fix  the  date  of  the  introduction  of  the  chrysan- 
themum into  Europe,  for  authorities  differ  greatly,  or  to  give  a  com- 
plete chronology  of  varieties  or  records  of  its  development  from  single 
to  double,  from  yellow,  white  and  purple  to  the  multi-colored  wonders 
of  the  present  day.  As  an  exhibition  flower  it  has  no  equal,  for  it 
responds  amazingly  to  the  whims  of  experimenters.  They  have  ap- 
parently done  everything  with  it  that  interested  imagination  could 
suggest  except  to  create  a  blue  one.  Here  they  are  provokingly 
baffled,  Nature  being  chary  of  bestowing  the  color  of  the  midday 
sky,  and  the  hues  of  the  morning  and  the  evening,  even  to  this 
favorite  of  man. 

Varieties  succeed  varieties  so  rapidly  that  only  general  classifica- 

126 


THE  INCURVED  CHRYSANTHEMUMS,   LIKE  THE 
ONE  ON  THE  LEFT,   WITH   PETALS  FOLDKII  OVER 
THE  HEART  PROTECTINGLY,  ARE  AMON(;  THE 
MOST  SATISFACTORY  OF  THE  MODERN  HYRRIDS, 
FOR  THEY   CAN   BE  CROWN   IN    EVERY   SHADE 
OF  YELLOW,   PINK,   WHITE  AND  SHADED 
LAVENDERS  :   BESIDES  BEING  SHOWY   OF  COLOR 
THEY   EXPAND   TO   AN    IMMENSE   SIZE. 


THE    PICTURE    ABOVE    SHOWS    ONE 
OF  THE  FAVORITE   EXHIBITION 
CHRYSANTHEMUMS   OF   THE 
JAPANESE:    ITS  BRILLIANT   SCAR- 
LET,  RICH.  TAWNY  OR  PUREST 
OF  WHITE  PETALS  TREMBLE   WITH 
EVERY  BREATH  OF  WIND,  SO  THAT 
IT   SEEMS  A  CONSCIOUS  THING, 
LIKE   THE    WONDERFUL 
ANEMONES   OF  THE    SEA. 


Photuijiafhs  by  Nathan   R.  Graves. 

THE  PETALS  OF  THESE  FAVORITE  FLOWERS  ADAPT  THKMSKLVES  TO  EVERY  WHIM  OF  MA.V,  INCURVING, 
(lUTCURVING  DURING  A  PROCESS  OF  CHANGE,  SWIRLING  IN  EVERY  DIRECTION  LIKE  THE  RAPIDS  OF  A 
RIVER  WHEN  IT  TURNS  BACK  UPON  ITSELF:  THE  BEAUTIFUL  LAVENDER,  PINK  CATARACT  SHOWN 
ABOVE  IS   NAMED  THE    MRS.   CHAMBERLIN. 


AT  THK.  LEKT  IS   A   SMALL  POMPON, 
BELLE   L.    ISLOISE  :    THE    STRONG    YELLOW 
OR  VIVID  LAVENDER   AND   WHITE  VARIE- 
TIES THRIVE   WITH    LITTLE  OR   NO  CARE 
IN   THE  GARDENS   OF  EVERYONE   WHO 
LIKES  TO  SEE  A  FRIENDLY  PLANT  FLOWER 
YEAR  AFTER  YEAR  IN  THE  SAME  SPOT 
AS  BIRDS  IN  OLD   NESTS. 


ABOVE    IS   A   GROUP  OF  EASILY 
(iROVVN   CHRYSANTHEMUMS 
THAT    BLOOM    ABUNDANTLY, 
MAKING  A  FINE  SHOW  OF 
COLOR    IN   THE   GARDEN,    A  Nil 
ADAPTING  THEMSELVES  TO 
GRACEFUL   ARRANGEMENT   IN 
VASES  :   THE  FANCIFULLY 
SHAPED   BLOSSOMS  RESEMBLE 
MARGUERITES,   ASTERS   OR 
PINKS. 


ALL  THE  CHRYSANTHEMUMS  ON  THIS  PAGE  ARE  THE  HARDY  FAMILIAR  FA\()RITES  OF  THE  OLD- 
FASHIONED  GARDENS,  PUNGENT,  REMINISCENT  OF  INDIAN  SUMMER  DAYS:  ABOVE  IS  THE  POLLY 
ROSE,    PEONY-LIKE   OF   GROWTH. 


"1 


AT  THE  RIGHT  IS   SHOWN   A 
SMALL   ANEMONE  CHRYSANTHE- 
MUM :   THE  RAISED  DISC  IN   THE 
CENTER,   FORMED  BY    MANY 
QUILLED  FLORETS.  IS  SURROUNDED 
WITH    FLAT   PETALS   WHICH   ARE 
SOMETIMES   THE   SAME   SHADE 
AS  THE  CENTER,   SOMETIMES  OF 
A   WIDELY  DIFFERENT  TINT  :  BELOW 
IS  A   LOVELY   SINGLE  VARIETY, 
FREAKISH  AS  THE  SHIRLEY 
POPPY  IN   COLOR. 


THE  JAPANESE   ANEMONE    CHRYSANTHEMUM 
SHOWN  AT  THE  RIGHT  HAS  A  RAISED  CEN- 
TER OF   CLOSE-PACKED   TINY   FLORETS  : 
ITS   OUTER    PETALS   TWIST   AND  TURN 
IN   EVERY  DIRECTION.  ASSUMING   MANI- 
FOLD DIVERTING  FORMS  OF  FLAT  OR 
POINTED  TIPS.    WHICH   IN  THE   HANDS  OF 
EXPERTS   GROW   IN    A  LONG  GRACEFUL 
FEATHERY  FRINGE:   THERE  IS   NO  LIMIT 
TO  THE   VAGARIES   OF  THE   JAPANESE 
ANEMONE  CHRYSANTHEMUM.   FOR   WHICH 
REASON   IT   IS   A   FAVORITE   WITH    ALL 
EXPERIMENTAL   EXHIBITION    GROWERS. 


THKSE  TWO  PHOTOGRAPHS  SHOW  THE  JAPANESE  MANNER  OF  ARRANGING  THEIR  NATIONAL  FLOWER 
IN  SIMPLE  BAMBOO  BOOTHS  IN  THE  PUBLIC  PARKS  OF  TOKIO  :  THE  PYRAMIll  OF  CHRYSANTHEMUMS 
IN   THE   UPPER   PICTURE  IS   GROWN    FROM    A   SINGLE  ROOT. 


CHRYSANTHEMUMS  FOR  EVERY  GARDEN 

tion  is  possible — styles  in  chrysanthemums  being  set  by  China  and 
Japan  as  rapidly  and  arbitrarily  as  a  woman'?  gowns  are  by  Paris. 
How  could  their  whims  be  fixed  in  a  single  article?  But  all  develop- 
ments are  now  under  certain  main  divisions.  The  single  with  its 
flat  disc  and  ray-like  florets  which  might  almost  be  mistaken  for  a 
Marguerite  or  aster  are  made  to  show  regular  or  ragged,  pointed  or 
blunt-edged  petals  of  graded  tints,  with  hght  or  dark  centers  at  will, 
early  and  late  flowering,  suitable  for  indoors  and  out. 

The  large  anemone  chrysanthemum  has  a  raised  disc  in  the  center 
formed  by  quilled  florets  surrounded  by  flat  or  nearly  flat  ones.  The 
Japanese  anemone  chrysanthemum  has  a  similar  raised  center  but 
the  outer  rays  curl,  twist  or  droop  in  manifold  diverting  ways. 

Then  there  are  the  two  lovely  pompons,  the  chrysanthemum  and 
the  anemone;  the  wonderful  incurved  ones  with  quilled  petals  turned 
inward  covering  the  heart;  and  the  reflexed,  circular  blossom  with 
broad,  overlapping  florets,  turned  outward. 

Chrysanthemums  in  the  hands  of  growers  can  be  dwarfed  for 
edgings  and  pots,  or  expanded  until  the  stem  can  scarce  hold  the 
weight  of  their  blossoms.  Thread-thin  petals  droop  like  waterfalls 
or  flash  upward  Uke  bursting  rockets — wide  petals  unfurl  to  the  sun 
as  symmetrically  as  lilies  upon  a  quiet  pool,  or  bend  and  curl  and  turn 
and  twist  like  foaming  cataracts.  Flat,  quilled,  fluted  and  thread- 
like are  the  petals,  incurved  and  reflexed  in  an  infinite  variety  of 
ways.  From  less  than  an  inch  to  fully  a  foot  in  diameter  can  these 
remarkable,  adaptable  flowers  be  grown. 

Every  grower  has  his  own  distinguishing  names  and  rules  for 
growing,  but  certain  broad  laws  will  do  for  each,  for  they  are  hardy, 
accommodating  flower  friends  who  can  be  depended  upon  to  take  a 
hint,  who  are  not  easily  offended,  who,  if  slighted  a  very  trifle  from 
stress  of  circumstances  do  not  sulk  or  lose  their  brightness.  They 
are  easily  propagated — grown  from  seed  within  a  few  weeks  (hardy 
annuals),  from  cuttings  or  even  from  roots  stored  from  the  previous 
season.  They  are  not  particular  as  to  soil,  nor  do  pests  annoy  them 
much.  As  exhibition  plants  they  are  supreme,  because  of  their  possi- 
bilities for  freakish  size,  shape  and  color.  For  gardens  they  are 
indispensable,  for  their  season  of  blooming  is  a  long  one;  they 
are  the  last  to  hold  the  colors  of  summer  in  remembrance,  the  easiest 
to  cultivate,  the  most  useful  for  almost  every  need,  the  showiest,  and 
because  the  memory  of  their  fragrant  perfume'and  their  staunch  loyal 
way  of  standing  by  their  colors  even  after  the  frost%as  vanquished 
their  leaves  touches  a  chord  in  the  heart  of  every  one  who  ever  walked 
in  a  garden  on  a  bleak  November  day.  For  conservatories  and  for 
home  decoration  their  popularity  is  unquestioned  because^they  make 

131 


CHRYSANTHEMUMS  FOR  EVERY  GARDEN 


such  a  cheerful  color  and  lend  them- 
selves to  bowls  tall  or  squat,  gray, 
green  or  gold,  of  bronze,  pottery 
or  glass,  and  because  they  "last" 
a  long  tmie.  They  will  bloom 
profusely  in  town  or  country,  even 
come  up  year  after  year  in  aban- 
doned doorj^ards,  thrive  in  poor 
soil,  though  of  course  they  develop 

f-  — .^  'w-         much  more  wonderfully  when  sym- 

A^  pathetically  attended  to,  put  forth 

as  perfect  a  flower  in  a  Bowery 
lL%'lsZ^ir  '"■=        tin  can  as  in  a  royal_  garden 
CHRYSANTHEMUMS.  Thcy  liavc  luspircd  designers  and 

decorators  as  perhaps  has  no  other  plant,  unless  it 
"  be  the  rose.      Names  of  creators  of  new  varieties  are 

cherished  and 
honored  as  are 
victorious  gen- 
erals, poets  or 
explorers. 

In     both 
East  and  West, 

plants  should 

be  lifted  from  the  ground 
before  the  heavier  frosts  are 
expected.  Many  roots  will 
survive  a  winter,  but  the 
best  results  are  obtained  from 
a  more  careful  attention. 
Cuttings  taken  from  lifted 
plants  thrive  better,  seem  to 
be  more  vigorous.  By  the 
end  of  February,  cuttings 
should  be  started  in  boxes; 
when  well  rooted  set  in  three- 
inch  pots  and  transfer  to  cold 
frames.  Hardy  treatment 
being  good  for  them  from  be- 
ginning to  end,  a  little  cold 
air  will  not  prove  injurious. 
When  transferred  out  to  the 

THE  GOLDEN  YELLOW  POMPON  CHRYSAN- 
THEMUMS   LAST    EVEN    TILL    THE    FROST. 


132 


CHRYSANTHEMUMS  FOR  EVERY  GARDEN 


THREADLIKE    PETALS    OF    THE    JAPANESE    CHRYSANTHEMUMS     SOME- 
TIMES  ASSUME   THE   PENDANT   FORM    OF   A    WATERFALL. 


garden,  the  ground 

must  be  prepared 

by  deep  digging 

and  manuring.     If 

soil  be  too  light 

add  good  leaf  mold. 

Many  growers  set 

stakes  in  position 

when  plants   are 

transferred    to 

ground.     This 

seems   the  easier 

way,  for  then  the 

matter  is  off  one's 

mind  and    a  tie 

need  not  be  given 

again  for  a  month 

or  more.   A  little  hoeing  now  and  then  is  all  that  is  needed  for  the 

ordinary  garden  cultivation.    If  especially  large  blooms  are  wanted 

instead  of  a  show  of  color,  disbudding  must  be  attended  to,  even 

to  thin  the  shoots  somewhat. 

It  is  difficult  to  write  of  this  flower  honored  by  Emperors,  loved 

by  everybody,  without  drifting  into  a  rhapsody.    How  impossible  to 

record  all  the  va- 
garies of  a  plant 
^'hose  nature  is  as 
capricious  as  the 
mind  of  man  and 
as  steadfast  as  the 
course  of  stars — 
one  which  freak- 
ishly improvises 
even  upon  the 
madcap  motive  of 
an  enthusiastic 
breeder  when  re- 
leased from  laws, 
or  which  will  bloom 
true  to  type  year 

ONE    OF     THE     NEWEST     JAPANESE     HYBRIDS,     HARDY     YET     GRACEFUL.  P.  •  ■  1 

alter  year  in  the 
doorj^ard  of  those  who  like  its  golden  yellow  familiar  face  in  the 
old-fashioned  way.  A  flower  that  is  modest  in  royal  gardens  and 
proud  in  the  factory  yards,  though  ignominiously  covered  with  soot. 


133 


CHRYSANTHEMUMS  FOR  EVERY  GARDEN 


one  that  has  the  love  and 
admiration  of  every  flower 
grower  on  earth  is  surely 
worthy  the  admiring  eulo- 
gy of  poets,  as  well  as  calm 
statements  of  biographers. 
No  garden  is  truly  com- 
plete without  a  display  of 
such  dependable  beauty. 
From  August  to  No- 
vember chrysanthemums 
supply  both  home  and  gar- 
den with  feathery  blossoms 
of  all  the  shades  the  most 
romantic  or  critical-mind- 
ed enthusiast  could  desire. 
Indeed,  they  seem  to  have 
borrowed  nearly  every 
note  of  the  scale  of  color, 
from  the  faintest  to  the 
boldest  tones.  With  their 
brilliance  in  the  autumn, 
they  form  a  splendid 
climax  for  the  garden  symphony  that  began  with  the  snowdrops 
in  early  spring.  All  through  the  summer  the  different  flowers  have 
added  their  rich  notes  of  harmony,  until  with  the  advent  of  fall 
the  crescendo  reaches  its  greatest  height.  And  it  is  at  this  season 
of  the  year,  when  the  pageant  of  the  preceding  months  nears  com- 
pletion, that  the  chrysanthemums  achieve  their  triumphant  finale, 
which  finds  so  grateful  an  echo  in  the  garden-lover's  heart. 


FAMILIAR   BABY   BUTTONBALL   OF    NEW    ENGLAND   GARDENt 


134 


THE  SLAV:  HIS  SPLENDOR,  HIS  MISERY, 
AND  HIS  PLACE  AMONG  THE  NATIONS  OF 
TO-MORROW 

USSL4  is  moving  toward  us  today  with  one  hand  clasped 
by  England  and  one  by  France.  For  the  first  time  in 
historj^  the  Slav  is  welcomed  in  the  heart  of  Europe. 
But  after  this  great  battle  of  the  world  is  over  what 
will  this  stranger  among  European  nations  ask  of  her 
new  friends,  and  what  will  she  bring  them?  We  have 
heard  much  of  the  "Slav  Peril"  to  Europe — and  but 
very  httle  of  the  Slav  culture.  For  years,  centuries,  our  interest  in 
Russia  has  been  in  the  melodrama  of  her  fierce  internal  conflict,  her 
mines  in  frozen  lands  manned  by  political  prisoners,  her  swift  irre- 
vocable imprisonment  for  the  friends  of  the  people  and  the  enemies 
of  the  state.  Russia's  anarchists  have  sought  our  owti  shores  to  preach 
rebellion  in  safety.  Gorky,  in  his  plays,  has  told  us  truths  about  the 
Russian  peasants  that  burn  in  the  memors'.  Tolstoi  has  clanked  the 
chains  of  his  people  with  sinister  music  in  his  stories.  Always  Russia 
has  come  to  us  as  picturesque  and  terrible.  We  remember  long  snowy 
roads  through  desolate  lands  and  the  sound  of  wolves  at  night,  women 
with  bleeding  feet,  old  people  forgotten,  and  the  childlike  faith  of  the 
people  rewarded  so  often  with  massacre  and  exile. 

The  horror  of  all  this  no  one  doubts  or  questions — the  shadows  of 
Russia  are  deep,  mysterious  and  full  of  black  terror. 

But  what  of  her  art,  her  music  out  of  the  very  hearts  of  the  people, 
her  painting  that  is  national  and  vigorous,  her  architecture  in  splendid 
lines  and  color;  what  of  Chaliapine,  Tchaikowsky,  Orlenif,  Aronson.'^ 
And  what  of  that  strange  murmuring  sound  that  is  creeping  through 
the  length  and  breadth  of  Russia — the  sound  of  the  building  of  a  new 
democracy.'*  An  imperial  democracy,  if  you  will,  to  be  given  to  the 
young  of  the  land  for  an  increasing  intellectual  and  industrial  freedom. 
We  simply  do  not  know  these  things  of  Russia.  To  us  she  has  in 
the  past,  and  rightly,  been  the  weak  and  cruel  ruler,  the  weak  and 
tyrannical  aristocracy,  the  weak  and  grasping  pohtical  autocracy  and 
very  largely  the  weak,  restless,  powerless  people — a  great  morass, 
damp  and  dangerous,  yet  flowering  out  in  sunUt  spots  into  a  beauty 
both  splendid  and  startling.  The  Slavs  have  suffered  for  Russia,  her 
prophets  have  been  gigantic  and  memorable. 

CHALIAPINE,  Russia's  greatest  singer,  who  sang  in  New  York 
two    years    ago,    in    Moussorgsky's    gorgeous    opera,    Boris 
Godounow,  writes  of  the  genius  of  his  own  people  in  a  few  brief 
and  intensely  searching  words  which  he  has  called  "The  Flowers  of 
the  Genius  of  Russia." 

135 


RUSSIA'S   MEANING  TO  THE   NATIONS 

"Russia  is  rich,"  he  says,  "with  wine,  alas,  spilled;  with  sap  that 
has  leaked  away;  she  is  the  fecund  mother — who  will  give  her  chil- 
dren? Over  this  beavitiful  earth  of  ours  pass  terrible  feet,  her  snowy 
whiteness  is  befouled,  her  blossoms  crushed.  And  the  feet  are  the 
feet  of  the  Tartar,  the  Turk,  the  Feudal  Duke,  the  'policeman.' 

"I  love,"  he  continues,  "this  great  garden  of  Russia,  badly  culti- 
vated, but  nevertheless  at  times  bearing  flowers  of  indestructible 
beauty.  What  a  splendid  bloom  is  Moussorgsky  who  left  his  work 
to  fight  for  his  country  and  died  in  a  hospital;  and  Gorky,  the  great 
friend  of  mankind. 

"Once  when  I  was  singing  in  Nijni  early  in  the  morning,  I  looked 
out  and  saw  Gorky  standing  at  a  window  in  the  same  hotel,  and  gazing 
silently  over  the  city.  The  sun  was  shining  on  the  towers  of  the 
churches,  over  the  silver  river  and  turning  the  roofs  red.  'You  are 
up  early,'  I  said.  'Yes,'  he  answered.  'Come  in  my  room  for  a 
moment.'  When  I  reached  his  window  I  saw  that  he  had  tears  in 
his  eyes,  and  I  did  not  understand.  'Look,'  he  said  to  me,  'how 
beautiful  it  is.  Just  the  world  and  not  a  human  being  anywhere. 
The  humanity  which  has  made  its  gods  and  its  laws,  built  its  houses 
and  its  churches,  all  asleep  and  helpless  as  children,  powerless  to 
change  or  adjust  all  this  that  it  has  made.' 

"He  spoke  very  softly  and  very  sweetly,  and,  for  the  moment,  he 
seemed  to  me  the  most  perfect  human  being  in  the  world.  Truly  one 
of  Russia's  flowers  of  genius. 

"And  these  other  musical  flowers;  how  can  I  speak  of  them  ade- 
quately.'*— the  master  Glazounow,  followed  by  Rakhmaninow,  and 
Scriabine  and  Ladoff.  All  of  these  men  writing  music  for  the  whole 
world,  and  yet  producing  it  in  an  individual  manner.  This  is  indeed 
the  phenomena  of  Russia.  We  are  like  a  great  gulf  through  which 
pour  all  the  torrents  of  the  world,  but  when  the  stream  has  been 
boiled  together,  each  drop  of  water  which  separates  itself  and  floats 
upward  through  the  air  has  shining  through  it  clearly  the  sun  of 
Russia.  And  the  crystal  drop  must  be  pure  if  the  sun  is  to  shine 
through.  That  is  the  great  essential  for  all  the  art  of  my  world, 
possibly  for  all  worlds." 

POSSIBLY,  that  we  may  better  understand  all  that  is  meant  by 
the  Slav  culture,  we  should  stop  for  a  moment  and  study  the 
derivation  and  the  original  meaning  of  the  words  Slav  and 
Serb.  The  history  of  the  Slav  is  indeed  a  fascinating  study,  and  a 
part  of  it  is  written  in  the  etymology  of  the  race  name,  Slava,  originally 
meaning  "glorious,"  or  "The  Saint's  Day"  or  "Glorious  Day;"  yet 
because  at  one  time  the  Slavs  were  conquered  by  the  Goths  and 

136 


RUSSIA'S  MEANING  TO  THE   NATIONS 

Germans,  and  the  prisoners  became  slaves,  Slav  actually  became  the 
source  both  in  fact  and  in  etymology  of  the  word  slave.  Curiously  dif- 
ferent is  the  word  serb,  meaning  kinship,  and  the  European  spelling  of 
the  country  Servia  is  Serbia.  The  Serbs  are  said  to  resent  the  English 
spelling  of  the  word  as  suggesting  a  derivation  from  servus,  the  Latin 
word  for  slave,  from  which  serf,  the  Russian  name  for  a  qualified 
slave,  is  derived. 

On  the  geographical  side  most  persons  have  thought  of  the  Slavs 
as  inhabiting  almost  entirely  Russia  and  territory  to  her  south.  But, 
as  a  matter  of  fact,  Germany  has  been  Slavic  as  far  west  as  Berlin. 
The  very  site  of  BerUn  was  occupied  by  a  community  of  Wends,  the 
advance  guard  of  the  westward  flow  of  ancient  Slavs.  Wend  com- 
munities may  still  be  found  in  upper  and  lower  Lusatia. 

The  Wends  were  driven  back  eastward  by  the  Teutonic  knights, 
their  migration  having  followed  the  westward  line  that  every  great 
race  movement  has  taken.  But  Slav  and  Serb  once  occupied  the 
whole,  or  nearly  all,  of  the  Elbe  Basin. 

Perhaps  it  is  the  size  of  this  gigantic  complex  nation,  which 
touches  Europe  on  one  side  and  Asia  on  the  other,  that  has  in  the 
past  made  it  so  difficult  a  matter  for  her  to  insure  justice  and  pros- 
perity to  her  people,  that  has  made  the  government  of  this  land  one 
of  fear  and  the  sword.  But  the  time  is  coming  all  over  the  world 
when  the  individual  can  no  longer  be  blindly  herded  in  order  to  make 
such  a  government  easy.  This  present  war  will  help  all  the  simple 
folk  of  Europe  to  understand  that  their  chance  for  growth  must  lie 
in  their  refusal  to  be  counted  as  a  military  or  social  unit.  The  mass- 
ing of  intelligent  humanity  for  war  and  taxes  we  beheve  will  never 
again  be  possible.  For  the  aftermath  of  such  a  massing  must  in- 
evitably be  destructive.  Humanity  cannot  be  used  by  humanity 
for  selfish  reasons;  Germany  will  find  this  out  before  long;  Russia  has 
found  it  so  in  the  birth  of  the  Nihilist,  and  will  continue  to  find  it 
so  in  the  return  from  the  battlefield  of  the  Revolutionist.  Un- 
fortunately for  the  Russian  people  at  large,  the  Czar  has  been  willing 
to  share  with  the  world  a  low  opinion  of  his  people.  He  has  created 
a  blinded  and  wretched  agricultural  serf,  and  then  discovering  diffi- 
culty in  managing  him  through  fear,  he  has  employed  the  sword. 

To  the  millions  of  Americans  the  very  word  Czar  has  meant  semi- 
savage  government.  This  has  probably  been  justified  more  or  less 
in  the  past,  but  today  it  is  essential  that  Russia,  moving  into  new 
channels  in  close  fellowship  with  England  and  France,  should  be  better 
understood;  we  must  seek  to  do  her  justice,  or  at  the  worst  to  realize 
the  limitations  of  her  wrong-doing.  This  is  not  always  easy,  for  vir- 
tue has  ever  lacked  the  picturesqueness  of  crime. 

137 


RUSSIA'S  MEANING  TO  THE  NATIONS 

WITHIN  a  comparatively  few  years,  Russia  has  commenced 
to  stir  with  the  birth  pains  of  a  new  civilization.  When 
you  stop  to  realize  that  this  nation  numbers  one  hundred 
and  seventy  million  people  in  a  land  nine  million  square  miles  in 
extent,  and  that  the  population  has  increased  three  hundred  per  cent, 
in  the  last  fifty  years,  that  the  industrial  heart  of  Russia  has  increased 
nearly  five  hundred  per  cent,  in  the  same  time,  and  that  the  character 
of  its  industries  has  changed  from  the  small  shop  for  hand-workers 
to  modem  factories  employing  in  a  single  instance  ten  thousand 
people,  you  begin  to  understand  something  of  the  problem  the  govern- 
ment of  the  Slav  nation  has  to  face  in  order  to  achieve  peace,  justice 
and  a  moderate  degree  of  happiness  for  its  subjects. 

"In  no  phase  of  Russian  social  development,"  we  are  told  by  an 
authority  on  Russia,  Mr.  Whelpley,  in  The  Independent,  "have 
greater  changes  taken  place  than  in  matters  of  education.  There 
are,  at  present,  over  six  million  children  at  school  in  Russia,  and  the 
universities  have  been  thrown  open  to  women.  Nearly  six  thousand 
are  enrolled  in  Petrograd  alone,  while  it  is  reckoned  that  the  sum 
total,  which  the  general  government  expends  for  educational  pur- 
poses yearly,  is  nearly  one  hundred  million  dollars.  There  are  now 
in  existence  four  thousand  Russian  agricultural  societies,  fifteen 
thousand  pupils  in  the  agricultural  schools,  and  at  least  three  hundred 
thousand  farziiers  have  attended  lectures  given  for  the  benefit  of  those 
who  till  the  land.  Over  five  thousand  agricultural  specialists  are  em- 
ployed by  the  government  to  assist  the  farmer."  Undoubtedly  there 
would  be  found  defects  in  these  educational  facilities,  and  in  propor- 
tion to  the  population  they  are  Umited,  but  to  know  that  they  exist 
at  all  furnishes  a  sharp  contrast  to  our  former  impression  of  Russia 
as  an  uninformed,  uncultivated  waste. 

One  begins  to  understand  something  of  Russia's  problem  when 
one  reads  these  colossal  figures  and  finds  them,  as  Mr.  Whelpley  sug- 
gests, "inadequate  and  small,  but  an  improvement."  So  little  that 
has  been  creditable  to  Russia  has  been  published  at  any  time  that 
we  feel  it  will  be  of  interest  to  quote  further  from  this  article,  "The 
Rise  of  Russia."  We  find  Mr.  VVhelpley  saying,  that  for  five  years 
the  government  has  carried  on  a  great  work  in  the  settlement  of 
Siberia,  people  also  being  moved  from  congested  districts  in  western 
Russia  to  free  lands  farther  east;  that  communal  ownership  is  being 
done  away  with,  and  that  fifty-four  million  acres  of  farms  have  come 
under  government  workings;  that  over  sixty -five  million  dollars  have 
been  spent  in  the  last  five  years  in  assisting  Russian  immigration  into 
southern  Siberia,  which  district  today  stands  to  the  Russians  for 
what  western  America  did  to  the  alien  land  seekers  of  the  eighties. 

138 


I>1 


"a    question  ;"    by     m.    p. 
iwanofp,  russian   painter. 


PORTRAIT    OF    ANTON     RUBINSTEIN.    THZ    CR::AT    RUS- 
SIAN   pianist:    bv   iija    rkpin.   Russian    paintku 


i 


f--s!Kit.;S*.«rr  •• 


A    TYPICAL   RUSSIAN    LANDSCAPE  : 
BY    PURWITT,    RUSSIAN    PAINTER 


TOLSTOI     WITH     HIS     FAMILY     IN     THE     EVEN- 
ING :    BY    L.     PASTERNACK,    RUSSIAN     PAINTER. 


RUSSIA'S  MEANING  TO   THE  NATIONS 

It  seems  also  that  Russia  is  taking  up  the  question  of  irrigation 
for  her  vast  and  desolate  plains,  that  she  is  becoming  a  great  oil  pro- 
ducing center,  that  she  is  building  new  railroads  and  increasing  her 
river  navigations.  "And  all  this  progress  and  stirring  of  new  life," 
as  Mr.  Whelpley  points  out,  "could  not  come  about  in  any  country, 
no  matter  how  rich  its  natural  resources,  unless  it  arose  from  the 
awakening  of  the  people." 

Everj'where  throughout  Russia  there  seems  to  be  this  stirring  of 
life  through  the  mass  of  the  people.  There  is  a  greater  demand  for 
reading  matter,  and  many  books  and  magazines  are  being  published 
now  in  Russia  for  the  common  people.  Printing  is  cheap,  and  there 
is  an  immense  sale  for  all  literature  that  touches  the  life  of  the  Slav 
nation.  Books  on  music,  art,  philosophy  and  social  development  are 
being  especially  widely  read.  And  as  the  people  learn  to  think,  one 
finds  the  priesthood  and  the  bureaucracy  yielding  perforce  to  pro- 
gressive movements.  Superstition  is  always  in  the  vanguard  of  mental 
development;  not  as  a  herald,  but  in  the  process  of  being  swept 
away,  a  vanquished  force. 

OF  course  in  this  presentation  of  the  Slav,  all  we  have  said  of 
the  freshening  and  awakening  of  Russia,  naturally  relates  to 
that  part  of  the  country  that  has  opened  its  eyes  and  hfted 
up  its  voice.  There  are  still  dread  areas  of  people,  cowed,  submissive, 
sullen,  unsensitive.  Possibly  one  result  of  this  terrible  war  which  is 
devastating  all  of  Europe  may  be  the  lifting  of  the  dead  serf  into  a 
new  life  through  revolt,  through  contact  with  differing  civilizations, 
through  suffering,  through  hope  born  of  strange  and  bewildering  en- 
lightenment. The  serf  who  returns  from  battle  will  never  be  the 
sullen  man  of  the  field  again.  Possibly  a  bitter  man,  ripe  for  revolu- 
tion, possibly  a  useless  man,  sickened  and  despairing,  but  never  again 
the  merely  dull  man  with  eyes  forever  looking  down.  And  so  Russia's 
triumph,  if  that  is  what  comes  to  her  on  the  eastern  side  of  Prussia, 
may  bring  temporary  success,  or  may  bring  terrific  internal  struggles; 
but  if  she  is  to  rank  among  the  civihzed  ( !)  peoples,  she  must  either 
so  adjust  her  internal  government  that  she  precludes  the  possibility 
of  this  revolt,  or  she  must  welcome  struggle  as  the  birth  throe  of 
a  people  determined  and  eager  to  begin  a  new  hfe,  a  life  that  has  a 
mental  and  spiritual  as  well  as  a  material  side  to  it. 

It  has  been  suggested  that  in  the  aftermath  of  the  war  Russia's 
great  value  to  those  with  whom  she  has  been  alhed,  possibly  to  all 
of  Europe,  will  be  as  a  connecting  link  between  Europe,  practical, 
over-civilized,  and  Asia,  with  social  tendencies  at  once  primitive  and 
mystical.     There  can  be  no  doubt  that  there  is  a  close  mental  and 

143 


RUSSIA'S   MEANING   TO  THE   NATIONS 

spiritual  alliance  between  the  Slav  and  the  Oriental.  On  the  other 
hand  the  elaborateness  and  completeness  of  western  civilization  ap- 
peals to  the  Slav  imagination  and  also  to  the  progressives  and  the 
nation  who  reaUze  that  all  new  civilizations  must  be  based  on  in- 
dustrial efficiency.  As  yet  the  western  world  has  never  come  in  close 
relation  with  the  East.  The  Orient  has  appealed  to  us  as  strange, 
semi-barbarous,  wholly  picturesque,  and  we  have  never  'stopped  to 
think  that  the  time  might  come  when  all  civilizations  would  be  one, 
and  when  we  would  be  called  upon  for  a  finer  understanding  of  the 
Oriental  people,  and  a  fuller  and  completer  relationship  with  them. 
If  Russia  can  bridge  the  chasm  between  the  East  and  the  West,  then 
possibly  we  shall  have  a  clearer  comprehension  of  the  use  of  this  war. 
And  in  what  other  way  could  France  and  England  have  alhed  them- 
selves with  this  tremendous  force  known  as  Russia  except  through 
the  great  emergency  known  as  Battle.  If  this  dream  of  the  West 
meeting  the  East,  through  Slav  sympathy,  should  be  realized,  then 
perhaps  in  the  future  we  will  look  back  upon  it  as  a  spiritual  silver 
thread  running  through  the  red  weaving  of  the  war. 

IT  has  been  presented  to  us,  by  writers  of  authority,  that  on  a 
material  side  we  may  expect  Russia  to  play  an  important  part 

in  the  economic  historj^  of  the  future,  that  no  country  in  the 
world  has  such  a  food  producing  area  as  the  Slav's,  that  we  may 
eventually  turn  to  Russia  to  aid,  through  her  agricultural  power,  in 
keeping  down  the  high  price  of  living  for  those  highly  developed  coun- 
tries where  the  manufacturing  interests  overpower  agricultural  pur- 
suits. Also  we  are  promised  Russia  as  a  market  for  the  labor  of  all 
western  nations,  as  the  great  potential  buyer  of  the  future.  The 
reestabhshed  peasant  is  also  presented  to  us  as  a  hopeful  asset.  We 
are  told  that  as  an  individual  he  will  progress  far  beyond  the  mere 
unit  in  the  herd;  that  he  is  fundamentally  a  simple,  honest  and  in- 
dustrious man,  physically  virile,  emotionally  peaceful,  that  in  Russia 
even  today  ninety  per  cent  of  the  people  owe  their  living  to  the  land, 
that  this  ninety  per  cent  on  a  higher  social  and  spiritual  level  will  be 
a  people  to  reckon  with  in  the  progress  of  the  world. 

In  a  finer  estimate  of  Russia  we  are  asked  by  a  Russian  woman, 
who  has  been  lecturing  in  our  American  schools,  to  distinguish  be- 
tween Russia  and  the  government  of  Russia.  "Russia,"  she  says,  "is 
a  great  and  wonderful  country  inhabited  by  people  of  marvelous 
potentiahties,  but  until  very  lately  the  government  has  feared  the 
light,  and  has  kept  the  people  in  ignorance."  "In  spite  of  this,"  she 
continues,  "I  feel  that  a  tremendous  enUghtenment  is  coming  to 
(Continued  on  page  224) 

144 


WHAT  WILL  THE  WAR  BRING  TO  AMERICA? 
BY  FRANCIS  GRIERSON 

We   feel   tliat   our   readers  will  greatly  value  tlie  point  of  view  of  this  distinguished  English 
musician  and  man  of  letters  in  regard  to  the  effect  of  the  war  upon  American  social  life. 

|0W  is  the  terrible  strife  in  Europe  likely  to  effect 
<  reative  thought  in  America?  Will  the  reaction  lead 
to  a  new  renaissance?  Shall  American  writers,  ar- 
tists and  teachers  continue  to  copy  the  manner  and 
methods  of  the  French  and  English?  Shall  Ameri- 
cans continue  to  imitate  every  freak  demonstration 
in  literature,  art  and  music  thrown  off  by  irrespon- 
ble  innovators  in  the  leading  European  capitals? 

We  are  moving  through  grave  and  eventful  times.  Thousands 
of  people  bewail  the  experiences  they  are  forced  to  pass  through. 

In  Russia,  Germany,  Belgium,  Austria,  England  and  France 
young  artists,  writers,  poets,  philosophers,  musicians  are  passing 
through  ordeals  of  blood  side  by  side  with  peasants.  There  are  no 
distinctions.    Thousands  of  young  people  in  the  different  countries, 

men  who  go  ^^^^mgmmm^^^^m^^^^^^^^^^^^^^m  ^'^  ^^^  front 

and  women  ^^^^^^^^^^^^^H^^^^^^^^^^^^H  who  remain 

at  home,  are,  ^B  ■HHRI^^^^^^^^^^^^I  f<=>^' ^he  first 

time  in  their  ^K  I'  ^^^^^^^^^^^^^1  '^^^^>   ^^i^^g 

moved  and  ^B  *  ^^  l^^i^^^^^^^^^^^l  ^^^^^en  by 

profound  ^K  l^^^^^^^^^^^^^l  (^i^^otions. 

They  are  be  ^K  .    ..^^y^^^^^^^^^^^^l  ^"^  made  to 

feel,  when  ^^K       J^^'^^^^^^^^^^^^^^^^^^M  ^^^^'^^   short 

months  ago  ^^V^^^^^L[**''V^^^^^^H^^^^^|  they 

faintly  ^K^^^^^^^^^^^^^^^^^^^^^l  imagine.  The 

illus  ^H^^^^^^^^^^^^^^^^^^^^^H  ioi^  ^^^ 

torn  from  ^^^^^^^^^^^^^^^^^^^^^^^^|  their'eyes 

before  ^^^^^^^^^^^^^^^^^^^^^^^^H    ^^^^ 

^^^^^H^^^^^^^^H^^^^HII^^^H  was  happen- 
ing. This,  in    ^^^^^^^^^^^^^^^^^^v^  ^JP^H   d^^d>       ^^^^ 

^^^^^^^^^^^^^^^^^^m-  ^^^H  not  the  thing 
the  so-called  ^^^^^^^^^^^^^^^^^^f-  :.Ji^^^^  realists  have 
depicted  in  ^^^^^^^^^^^^^^^^Vx  i  I i^^H  novels.  No- 
thingis  lack    ^^^^^^^^^^^^^^^EP|B  I  J^H|H    ii^g  ^^  ^^^  ^o 

^^^^^^^^^^^^^^^^m  ^^MJ^^^^M   cup        hor- 
Emo    ^^^^^^^^^^^^^^^Bk    ^l^^^^H   ^^^^        ^^^^ 
basis  ^^^^^^^^^^^VP^^^^^!^!^^^^^!   great 

And    now    ^^^^^^^^^^V/  . ^i- .-■■^^^^^M  thousands 


of  people 
and  old  in 
tries   will 


MR.   FRANCIS   GRIERSON,   FKOM   A   PHOTOGRAPH    BV   CLARKNCK 
VHITE  TAKEN   IN   NEW   YORK,   1914. 


l)oth  young 
many  coun- 
know  the 

145 


WHAT  WILL  THE  WAR  BRING  TO  AMERICA? 

full  [meaning    of    that    word    as    never    before    in    this    century. 

In  art,  imagination  alone  is  futile.  Imagination  is  only  effective 
when  it  is  coupled  with  profound  feeling.  Horace  declared  the  most 
effective  way  to  make  others  weep  is  to  begin  by  weeping  yourself. 
In  the  space  of  forty-four  years  France  has  undergone  two  periods 
of  mourning,  while  England  is  now  for  the  first  time  feeling  the 
rude  stroke  of  fate  at  her  very  door.  What  will  the  lessons  be  for 
Paris  and  London?  What  will  be  the  reaction?  After  the  defeat  of 
Napoleon  at  Waterloo  it  required  a  period  of  fifteen  years  before  the 
advent  of  a  new  genius.  Victor  Hugo  appeared  on  the  scene  in 
eighteen  hundred  and  thirty,  ushering  in  the  great  romantic  revival 
in  art,  literature,  music  and  the  drama.  The  war  between  France  and 
Prussia  in  eighteen  hundred  and  seventy  lasted  only  six  weeks  and 
the  number  of  slain  did  not  materiality  affect  the  ranks  of  talent  in 
either  country.  The  only  difference  I  noticed  at  the  time  was  that 
it  turned  the  optimists  into  pessimists.  It  did  not  produce  a  re- 
naissance of  art  and  literature  in  France.  The  war  was  not  long 
enough,  not  terrible  enough,  to  produce  fundamental  results. 

After  this  war  a  wave  of  reaction  will  sweep  over  Europe.  In 
Russia  it  is  likely  to  bring  to  a  close  the  period  of  brutal  realism 
inaugurated  by  the  young  authors  of  twenty  years  ago.  In  Gennany 
it  will  produce  a  new  drama,  a  new  outlook  on  life  and  art;  but  in 
France  and  England  the  changes  will  be  far-reaching.  Paris  has 
for  a  long  time  been  the  Mecca  toward  which  young  American 
art  students  turn  their  gaze.  Thousands  have  been  converted  into 
weak  imitators  and  impersonal  copyists,  and  especially  American 
art  students  have  imbibed  in  Paris  in  recent  years  the  notion  that 
everything  American  is  inferior  to  everything  French  and  European. 
But  for  this  superstition  America  today  would  be  the  leading  art 
country  of  the  world. 

Whence  comes  this  difference  to  the  surpassing  opportunities 
for  the  development  of  native  talent  in  America?  For  one  thing, 
American  children  are  taught  to  look  toward  Paris  as  the  center  of 
the  intellectual  universe.  That  vain,  vague  word,  technique,  is  used 
as  if  it  were  the  fundamental  basis  of  all  art  instead  of  one  of  the 
adjuncts  of  art.  I  have  heard  this  word  used  by  hundreds  of  people 
without  the  slightest  conception  of  what  it  means  or  what  relation 
it  has  to  sentiment  and  the  far  higher  art  of  expression.  The  notion 
that  technique  is  the  all-important  thing  in  creative  work  is  super- 
ficial and  provincial,  not  in  keejiing  with  the  genius  of  France.  The 
great  masters  have  always  based  their  work  on  deep  emotion,  senti- 
ment and  imagination;  but  in  recent  years  lesser  minds,  faiUng  to 
create,  have  set  their  wits  to  devise  new  and  outre  forms  in  all  phases 

146 


WHAT  WILL  THE  WAR   BRING  TO   AMERICA? 

of  art.  Eccentric  whims  are  mistaken  for  an  expression  of  power 
and  originality,  and  if  the  war  does  not  purge  Paris  of  what  I  call 
the  "blue  china  period"  in  poetrj-,  art,  literature  and  music,  then 
indeed  the  ordeals  of  the  war  will  have  been  in  vain.  For  there  is 
no  denying  the  fact  that  the  moods  and  caprices  of  the  Parisians 
have  set  the  tone  for  all  Europe  and  America  for  many  years  past. 

Three  years  ago,  in  a  London  magazine,  I  pointed  out  the  weakness 
of  writers  like  Anatole  France,  and  he  is  regarded  everywhere  as  the 
most  gifted  of  living  French  writers.  Nothing  could  be  more  opposed 
to  the  spirit  of  democracy  than  the  subtle  irony  of  Anatole  France, 
the  romantic  remoteness  of  Pierre  Loti,  and  the  quintessential 
refinement  of  Maurice  Barres.  The  great  writers  of  the  second 
Empire  had  positive  convictions.  Those  of  the  present  take  refuge 
in  an  atmosphere  of  aristocratic  refinement  and  intellectual  exclu- 
siveness,  quite  remote  from  republican  tastes  and  democratic  grooves 
of  thought.  They  have  much  feeling,  brilliant  thought  on  a  surface 
level,  plenty  of  fancy,  as  distinguished  from  imagination,  charming 
graces  of  style,  and  entertaining  notions  of  French  social  life,  and 
a  superficial  Voltairian  quality  which  leaves  the  human  spirit  thirsting 
for  psychic  knowledge  and  spiritual  wisdom.  For  such  writers  are 
without  ideas.  No  good  has  ever  come  to  anyone  from  the  teachings 
of  Voltaire.  This  flippant,  superficial  spirit  has  been  the  curse  of 
Modern  France.  It  produces  wit  that  is  dry  and  brittle.  Anatole 
France  has  been  called  a  second  Voltaire,  and  now  after  a  lifetime 
of  literary  fame  and  material  success  what  is  the  outcome  in  the 
hour  of  national  peril  and  change.'* 

Here  is  what  Anatole  France  has  just  written  to  the  Minister 
of  War:  "Many  people  say  my  literary  style  is  worthless  in  time 
of  war.  As  this  may  be  the  truth  I  have  ceased  to  write  and  am 
without  work.  I  am  no  longer  young,  but  my  health  is  good.  Make 
me  a  soldier." 

In  art  and  literature  the  decadent  period  and  the  transitional 
period  arrive  together.  The  first  necessarily  implies  the  second. 
In  England  decadence  set  in  soon  after  the  passing  of  Dickens  in 
eighteen  hundred  and  seventy.  Ten  years  later  George  Eliot  passed 
away.  Victor  Hugo  was  the  one  authoritative  voice  in  France  in 
his  time,  and  all  France  had  to  offer  in  his  place  was  the  materiahsm 
of  Zola  out  of  which  was  developed  most  of  the  crude  writing  the 
world  has  had  during  the  past  thirty  years. 

There  are  but  three  kinds  of  artists  and  writers:  the  positive, 
the  neutral  and  the  negative.  No  imagination,  no  skill  will  ever 
suffice,  for  the  lack  of  spiritual  vision.  London  like  Paris,  has  long 
been  in  the  shifting  throes  of  a  new  and  negative  paganism,  a  mere 

147 


WHAT   WILL  THE   WAR  BRING  TO  AMERICA? 

makeshift  for  the  creative  power  of  the  Greeks.  Observation  has 
no  Aristotle,  intuition  no  Socrates,  literature  no  Plato.  The  greatest 
pagans  were  on  the  positive  side,  but  our  pantheistic  revival  is  neg- 
ative, empty,  ephemeral.  Writers  can  do  no  more  than  give  utterance 
to  what  they  know  and  what  they  feel.  A  man's  vision  is  his  own, 
like  his  manner  of  writing;  but  while  one  man's  vision  may  arise 
from  fundamental  principles,  that  of  another  may  be  the  result  of 
mere  impressionistic  guesswork. 

The  neutral  writers  fail  because  they  have  nothing  to  offer  to 
the  world  but  a  series  of  transitory  impressions  in  the  guise  of  the 
drama,  the  novel  or  essay.  They  fail  to  see  that  impressions  count 
for  nothing  in  a  world  where  fancies  and  whims  have  no  vital  dur- 
ation. Waiters  who  voice  the  fads  and  fashions  of  a  particular  time, 
or  who  play  paradoxical  tricks  with  the  public,  are  headed  for  ob- 
livion. The  neutral  and  the  negative  writers  are  Uke  people  revolving 
on  an  immense  wheel,  ignorant  of  the  power  which  causes  the  wheel 
to  revolve.  Their  wheel  of  life  revolves  without  ceasing  but  what 
they  take  for  novelty  is  only  new  combinations  of  wind,  temper- 
ature, barometric  pressure,  sunshine  and  shadow,  all  fleeting  as  the 
winds  and  the  clouds. 

The  fault  of  London  is  the  fault  of  Paris.  Twenty -five  years 
ago  the  witty  author  of  "Lady  Windermere's  Fan"  made  paradox 
and  persiflage  fashionable,  iirtists,  poets,  musicians,  critics,  dra- 
matists began  to  hide  their  lack  of  wisdom  by  a  veil  of  paradoxical 
humor  and  witty  illusion.  As  if  the  soul  of  man  could  thrive  on 
paradox!  To  offset  all  this  contradiction  and  persiflage  the  scientific 
novelist  appeared  with  a  scientific  mission. 

As  if  science  could  impose  moral  discipline  on  any  people  or 
nation ! 

No  amount  of  scientific  knowledge  will  ever  make  great  artists, 
great  poets,  great  preachers  or  great  moralists.  Goethe  was  first  a 
poet  and  thinker,  a  scientist  last  of  all.  The  creative  writers  and 
artists  have  all  reasoned  and  labored  from  a  fundamental,  spiritual 
basis.  It  is  the  adamantine  foundation  of  all  enduring  work.  The 
supreme  emotions  are  positive  because  they  are  spiritual.  It  is  the 
fundamental  feehng  which  gives  the  immortal  feeling.  Our  popular 
scientific  writers  cannot  create.  They  can  only  explain  what  they 
have  learned  mechanically.  Our  age  is  suffering  from  a  new  disease 
caused  by  undigested  facts.  Sensation  has  for  years  usurped  the 
place  of  common  sense  and  culture.  The  neurotic  has  reigned  in 
all  the  leading  European  cities,  from  Rome  to  Petrograd  and  from 
Vienna  to  London.    Irresponsibility  has  been  the  fashion. 

For  some  millions  of  people  the  only  reality  they  have  ever  faced  is 

148 


WHAT  WILL  THE    WAR   BRING  TO  AMERICA? 

the  reality  of  the  present  war.  For  years  authority  and  diseipUne 
have  had  no  meaning  in  Paris  and  London.  License  and  persiflage, 
cheap  wit  and  impossible  paradox  have  been  fed  out  to  the  pubhc 
in  newspapers  and  magazines  until  the  reasoning  mind  wonders 
how  long  such  conditions  can  exist  without  the  total  destruction  of 
society.  But  God  is  not  mocked.  Authority  and  discipline,  so  long 
flouted  in  this  world  of  art  and  literature,  are  now  being  imposed 
on  fields  of  carnage  in  five  nations  far  more  bitter  than  any  discipline 
ever  imposed  by  any  religion  or  any  moral  law. 

As  for  new  "isms"  and  schools — if  America  continues  to  imitate 
decadent  Europe  then  the  same  ordeals  await  the  youth  of  this  coun- 
try later  on.  It  is  time  to  throw  off  the  European  yoke.  The  longer 
America  delays,  the  worse  will  be  the  day  of  reckoning.  This  country 
offers  more  than  ample  opportunities  for  students  in  every  sphere 
of  art  and  thought.  Its  riches  and  advantages  are  beyond  anything 
ever  known  in  the  history  of  the  world.  The  artist  can  find  here  all 
kinds  of  "atmosphere,"  the  finest  scenery  on  the  globe  and  the 
greatest  variety,  the  best  social  privileges,  the  greatest  freedom 
for  individual  development,  climate  to  suit  all  temperaments.  In 
America  nothing  is  lacking.  As  a  matter  of  fact  some  of  the  most 
gifted  people.  I  have  ever  met  anywhere  have  never  been  to  Europe 
and  do  not  expect  to  go  there.  I  have  never  found  it  true  that  cul- 
tured Europeans  possess  more  culture  than  cultured  Americans. 
If  I  had  to  make  a  fixed  choice  I  should  plump  for  the  critical,  in- 
tellectual American  who  never  saw  Europe. 


149 


THE  COMMAND  OF  THE  EARTH-FOR  PROS- 
PERITY WE  LOOK  TO  THE  FARMER,  NOT 
THE  WARRIOR 

J)  HEN  the  sword  is  rusty  and  the  plow  bright,  then 
the  Empire  is  well  governed,"  is  an  old  Chinese 
proverb  which  is  well  to  bring  again  to  the  attention 
of  this  war-mad  world.  The  ancient  philosopher  who 
fixed  his  knowledge  of  mankind  in  the  form  of  this 
proverb  realized  that  nations  rise  into  power  by  the 
art  of  agriculture  and  fall  by  its  opposite  force  of 
militarism.  Warriors  polish  their  swords  and  sweep  over  the  land 
with  great  flourish  of  braggart  power,  leaving  it  depleted  of  life  and 
substance.  The  plow  of  the  farmer  grows  bright  as  he  follows  in 
their  desolate  wake  sweetening  the  earth,  reinstating  nations  to 
strength  and  power. 

Farmers  are  the  peacemakers  of  humanity.  They  are  the  great 
physicians  who  heal  the  scars  of  war,  restore  victor  and  vanquished 
impartially  to  health  and  hope;  the  very  existence  of  mankind  is  in 
their  keeping.  They  began  the  art  of  civilization  when  they  gathered 
the  seeds  of  the  earth,  guarded  them  through  the  long  cold  winter 
season,  cleared  fields  for  the  planting  and  harvested  again.  Future 
civilization  is  also  in  their  hands.  "The  most  valuable  of  all  arts," 
Abraham  Lincoln  says,  "is  the  art  of  deriving  a  comfortable  sub- 
stance from  the  smallest  area  of  soil."  The  knowledge  of  this  art 
of  agriculture  is  not  only  the  most  valuable  possession  for  the  future 
as  it  was  for  the  past,  but  is  undoubtedly  so  for  the  present.  The 
men  who  command  the  earth  will  in  time  be  honored  equally  with 
the  men  who  command  the  seas,  for  one  gives  Ufe  and  the  other 
death;  one  deals  with  plows,  harrows,  seeds,  the  other  with  dread- 
noughts, cannon  and  gunpowder,  in  an  effort  to  gain  supremacy 
of  the  world. 

One  man  of  our  country  has  so  tremendously  increased  the  pro- 
ductivity of  our  acres  and  added  such  sums  to  the  wealth  of  our 
people  that  his  name  has  become  a  household  word.  No  warrior  is 
more  renowned  than  this  quiet  man  who  by  his  keen  foresight,  accu- 
rate judgment  and  peculiar  genius  has  benefited  man  beyond  the 
possibility  of  calculation.  Hardly  a  farmer  but  uses  his  method  of 
seed  selection,  grows  his  potatoes,  small  fruits  or  nuts,  not  a  school 
child  but  knows  the  name  of  Luther  Burbank,  along  with  those  of 
Columbus,  Washington,  Lincoln  and  the  rest  of  our  revered  country- 
men. To  them  he  is  a  benefactor  who  wears  the  romantic  garb  of 
a  wizard,  a  marvelous  person  knowing  magic  secrets  they  would  give 
so  much  to  know.  Gardeners  rely  on  his  creations  for  beauty,  house- 
keepers for  nourishing  products,  and  scientists  give  him  honors. 

150 


THE   PICTURE  AT 
THE  LEFT  SHOWS 
A   STEM   OF  THE 
BURBANK  BLACK- 
BERRY  FREE  OF 
THORNS,  WHICH 
DIMINISHES  THE 
COST  OF  HARVEST 
TO   AN    INCAL- 
CULABLE 
AMOUNT:  THE 
BERRIES  ARE 
LARGE,    DELI- 
CIOUS  IN   TASTi; 
AND  RICH    IN 
COLOR. 


THE    PHENOM- 
ENAL  BERRY 
SHOWN   AT  THE 
RIGHT   WAS 
SECURED  BY 
UNITING  THE 
CALIFORNIA 
WILD   DEWBERRY 
AND  THE  CUTH- 
BERT  RASPBERRY  : 
A   SINGLE  ACRE 
OF  YOUNG  PLANTS 
HAS  PRODUCED 
OVER  ONE  THOU- 
SAND DOLLARS 
IN   A   SEASON. 


Photos  lllustratiiu/   This  Article 
Loaned     by     Luther     Biirbank. 


THE   PRICKLY 
PEAR  AS  A  FOOD 
HAS   BEEN 
KNOWN    FOR 
CENTURIES  :   IN 
CERTAIN   POR- 
TIONS OF  LATIN 
AMERICA  IT 
PLAYS  AN   IM- 
PORTANT  PART 
IN   THE   DAILY 
MENU  :   THE 
FRUIT  IS 
CUCUMBER- 
SHAPED  WITH 
FLATTENED  ENDS. 
VARYING   IN 
COLOR    FROM    A 
BEAUTIFUL 
YEI.I.nW   TO 


VARIOUS  SHADES 
OF  CRIMSON  : 
IT    IS    DELICIOUS 
IN    FLAVOR,   MAY 
BE  EATEN  RAW, 
COOKED  IN  MANY 
APPETIZING 
WAYS  AND  PRE- 
SERVED :   IT  IS 
UNUSUALLY 
RICH    IN   SUGAR. 
AND  THIS  QUAL- 
nv   HAS  BEEN 
UTILIZED  BY  THE 
MEXICANS   IN 
THE  PREPARATION 
OF   APPETIZING 
CANDY  OF  DIF- 
FERENT  KINDS. 


THE  GOLDRIDGE  APPLE  FAR  SURP.\SSES  ITS  PARENT.  THE  NEWTON  PIPPIN,  IN  GROWING,  SIRE.N'GTH 
AND  BEARING  QUALITIES:  THE  FRUIT  IS  PALE  YELLOW  WITH  THE  CRIMSON  BLUSH  ON  THE  SUNNY 
SIDE. 


iS"^ 


THE  NEW  STAXDARU  PRUNE  SHUVVN  BELOW  IS  ONE  OF  THE 
MOST  IMPORTANT  SMALL  FRUITS  GIVEN  TO  THE  WORLD: 
TWENTY  YEARS  AGO  THIRTY-FIVE  MILLION  POUNDS  OF 
PRUNES  WERE  IMPORTED:  BUT  NOW  THE  IMPORTATIONS  ARE 
LITTLE  MORE  THAN  FIVE  HUNDRED  THOUSAND  POUNDS  : 
THIS  FRUIT  IS  OF  GREAT  SIZE  AS  SHOW'N  BY  THE  MEASURED 
RULE  :  ABOUT  NINE  OF  THESE  WILL  MAKE  A  POUND,  WHILE 
IT  TAKES  NINETEEN  OF  THE  AVERAGE  FRENCH  PRUNES  TO 
MAKE  AN  EQUAL  WEIGHT. 


THE  PLUMCOT  IS  A  COMBINATION  OF  A  WILD  AMERICAN  PLUM,  A  JAPANESE  PLUM  AND  AN  APRI- 
COT: IT  DIFFERS  ENTIRELY  IN  TEXTURE,  COLOR  AND  TASTE  FROM  ANY  OTHER  FRUIT:  IT  WILL  BEAR 
A   FULL  CROP  EVEN   IN   PLACES   WHERE    NEITHER   THE   PLUM    NOR   APRICOT  COULD   EXIST. 


THE  GIANT  PLUM   AT  THE  LEFT  IS  THE 
LARGEST  VARIETY  IN  THE  WORLD  :  ITS 
PECULIAR  VALUE  OUTSIDE  OF  ITS   SIZE 
LIES  IN  THE  FACT  THAT  IT  IS  AN 
EXCELLENT   SHIPPER,   AND  IN   CAN- 
NING  ITS   SKIN    SEPARATES   EASILY 
FROM    THE   FRUIT    WHEN    PLACED   IN 
HOILING  WATER. 


THE  PREEMINENT  QUALITV  OF  THE  ABUNDANCE  CHERRY  IS  ITS  HABIT  OF  PROLIFIC  BEAR- 
ING :  THE  FRUIT  ITSELF  IS  UNUSUALLY  LARGE:  IT  WAS  CREATED  BY  A  CROSS  OF  THE 
ROYAL  ANN  AND  PRODUCES    TWICE  AS   MUCH    PER  ACRE  AS   ITS   PARENTS. 


THE   NEW  AGRICULTURE 

HE  himself  says  that  the  art  of  plant  breeding,  the  new 
agriculture,  is  but  in  its  infancy,  and  that  no  one  can  foretell 
what  wonderful  evolutions  of  plant  life  will  be  developed  in 
the  future  for  the  good  of  mankind.  His  so-called  secrets  he  scatters 
broadcast,  urging  others  to  use  them  and  carry  on  his  work  of  com- 
manding the  soil  to  give  generously  and  withhold  none  of  its  possible 
benefits.  He  says  that  plant  breeding  is  simply  the  intelligent  appli- 
cation of  a  human  mind  in  guiding  the  inherent  life  forces  into  useful 
directions  by  radically  improved  environment,  and  newly  combined 
factors  in  advantageous  circumstances. 

Every  plant  strives  to  adapt  itself  to  environment  with  as  little 
demand  upon  its  force  as  possible  and  still  keep  up  in  the  race. 
Constantly  varying  external  pressure  to  which  all  life  is  eveiywhere 
subjected,  he  points  out,  demands  that  the  internal  force  shall 
always  be  ready  to  adapt  itself  or  perish.  Understanding  the  funda- 
mental principle  that  every  plant,  animal  and  planet  occupies  its 
place  in  the  order  of  nature  by  the  action  of  two  forces — the  inherent 
constitutional  life  force  with  all  its  good  habits,  the  sum  of  which  is 
heredity,  and  the  numerous  complicated  external  forces  or  environ- 
ment— to  guide  the  interaction  of  these  two  forces,  both  of  which 
are  only  different  expressions  of  the  one  eternal  force,  is  and  must  be 
the  sole  object  of  breeders,  whether  of  plants  or  animals. 

Through  his  efforts  to  increase  the  comfort,  health,  and  wealth 
of  the  world  by  growing  better  food  plants,  making  the  earth  yield 
more  abundantly  without  exhausting  its  vitality,  making  the  desert 
a  fertile  field,  he  has  created  many  varieties  that  have  added  annually 
so  say  statisticians,  seventeen  millions  to  the  world's  wealth.  He 
has  increased  the  possibilities  of  the  lumber  yield  through  his  great 
forest  walnut;  ninety -five  per  cent  of  plums  shipped  out  of  California 
are  varieties  of  his  originating,  practically  all  the  potatoes  marketed 
in  the  United  States  have  been  raised  from  his  improved  stock. 

His  experiments  have  touched  almost  the  entire  fruit  field  with 
remarkable  results.  Several  absolutely  new  fruits  have  thus  been 
created,  perhaps  the  best  known  of  which  is  the  Primus  berry,  devel- 
oped from  the  native  California  dewberry  and  the  Siberian  raspberry. 
The  fruit  is  large  and  ripens  its  main  crop  with  the  strawberries,  long 
before  the  standard  raspberries  and  blackberries  are  ready  for  the 
table.  The  phenomenal  Himalaya  and  Patagonia  berries  created 
by  him  are  well  established  among  the  profitable  marketable  small 
fruits  of  the  West.  One  most  amazing  paradox  he  is  responsible  for, 
the  white  blackberry,  a  waxy,  almost  transparent  fruit  of  delicious 
flavor  and  great  beauty,  an  exceedingly  productive  bush,  the  fruit 
of  which  however  is  too  delicate  for  market  shipping.    The  thorn- 

155 


THE    COMMAND   OF  THE    EARTH 

less  blackberry  has  long  been  commented  upon  by  all  growers  and 
scientists  as  one  of  the  most  surprising  contradictions  known  to  the 
plant  world.  By  some  sudden  upheaval  of  what  were  supposed  to 
be  unalterable  laws  of  nature,  he  has  given  agriculturists  a  blackberry 
of  perfect  taste  and  color  that  can  be  picked  with  great  economy  of 
time  and  labor,  because  now  that  the  thorns  have  been  eliminated 
there  is  no  danger  of  brushing  the  fruit  against  them  while  harvesting, 
so  the  speed  of  the  pickers  can  be  increased. 

ANEW  cherry  called  "Abundance,"  a  seedling  of  "Napoleon" 
(Royal  Ann)  bears  an  earlier  and  heavier  crop  of  fruit  which 
is  larger,  richer  of  color,  firmer  and  better  in  all  respects  than 
its  parents.  To  a  commercial  grower  this  means  that  the  "Abundance" 
cherry  will  provide  just  twice  as  much  fruit  as  the  Royal  Ann,  in  other 
words  a  half  acre  of  ground  has  been  made  as  valuable  to  the  owner 
as  a  full  acre  was  a  few  years  ago.  His  "Giant"  is  the  largest  cherry 
known  in  the  world,  four  cherries  weighing  one  ounce,  eleven  cherries 
in  a  row  measuring  twelve  inches.  It  is  also  distinguished  for  having 
a  very  small  pit,  thus  giving  a  maximum  amount  of  flesh.  It  is  glossy 
black,  rich  and  sweet. 

He  has  also  put  a  new  giant  plum  on  the  market,  the  largest  plum 
in  the  world.  Its  especial  value,  outside  of  its  size,  lies  in  the  fact 
that  it  is  an  excellent  shipper  and  that  its  skin  separates  easily  from 
the  fruit  when  placed  in  boiling  water  in  canning.  The  fruit  itself 
is  nearly  a  free  stone  of  a  golden  color  and  the  flesh  sweet  and  delicious. 

The  Apex  plumcot  is  a  combination  of  a  wild  American  plum, 
a  Japanese  plum  and  an  apricot.  It  differs  entirely  in  texture,  color 
and  taste  from  any  other  fruit.  Sometimes  the  flesh  is  yellow,  again 
it  is  pink,  or  white  or  ci*imson.  In  looks  it  is  Uke  the  apricot  and 
ripens  with  the  earliest  of  the  plums,  carrying  a  full  crop  even  in 
localities  where  neither  the  plum  nor  the  apricot  can  flourish.  He 
has  introduced  over  twenty  different  varieties  of  plums  and  prunes 
and  has  continually  under  test  many  thousand  prospective  combi- 
nations. Sometimes  six  or  more  species  were  combined  to  secure 
some  desired  characteristic.  It  is  of  great  size  as  shown  by  the 
measured  rule.  About  nine  of  these  will  make  a  pound  and  it  takes 
nineteen  of  the  average  French  prunes  to  make  an  equal  weight.  It 
is  sweeter  also  and  is  regarded  by  Mr.  Burbank  himself  as  the  best 
prune  that  has  ever  been  produced.  The  Goldridge  apple  is  another 
of  his  remarkable  productions,  surpassing  its  parent  the  Newton 
pippin  at  every  point.  The  flesh  is  pale  yellow  with  a  crimson  blush 
on  the  sunny  side,  has  a  delicious  fragrance,  and  ripens  earlier. 

Perhaps  the  most  valuable  of  all  the  gifts  he  has  for  the  world  is 

156 


THE  COMMAND   OF  THE   EARTH 

his  fniiting  cactus.  The  fruit  changes  in  color  from  a  beautiful  yellow 
through  various  shades  of  crimson.  In  flavor  it  is  reminiscent  of 
strawberries,  pineapples  and  nutmeg  melon,  the  meat  is  rich  and  juicy 
and  can  be  prepared  for  the  table  in  many  appetizing  ways.  A  few 
of  these  plants  which  will  grow  almost  anywhere  in  the  great  South- 
west, will  supply  the  table  with  an  enormous  amount  of  deUcious 
jams,  jellies  and  syrups. 

Among  walnuts  he  has  produced  one  with  a  shell  thin  as  paper 
which  can  be  readily  crushed  in  the  hand.  When  it  was  found  the 
shell  was  so  thin  that  the  nuts  were  destroyed  by  the  birds  he  retraced 
his  steps,  increased  the  thickness  of  his  walnut  and  put  it  on  the  mar- 
ket in  perfectly  balanced  shape.  He  has  also  taken  the  tannin  from 
nut  meat  which  previously  gave  it  a  bitter  flavor.  The  Royal  and 
the  Paradox  varieties  are  both  rapid  growing  walnuts,  very  valuable 
commercially  for  timber  purposes.  They  attain  a  great  size  arriving 
at  maturity  in  about  fifteen  years.  The  wood  is  of  superior  qualities 
takes  a  fine  finish  and  commands  a  large  price  in  the  lumber  market. 

This  wizard  of  the  soil  has  produced  a  quince  that  can  be  eaten 
raw  hke  an  apple  and  that  can  be  cooked  tender  in  five  minutes. 
In  taste  it  is  the  delicate  quince  with  the  old  disagreeable  stringent 
taste  eliminated,  plus  a  delightful  pineapple  flavor.  Jelly  made 
from  it  is  much  like  the  old-time  housewives'  favorite  blend  of  apple, 
quince  and  pineapple.  In  weight  it  averages  about  three-quarters 
of  a  pound.  Besides  the  stoneless  prune,  that  remarkable  product 
developed  from  the  wild  thorny  scrub  tree  bearing  but  a  small  and 
bitter  fruit  with  a  very  insignificant  stone,  he  has  improved  nearly 
all  the  old  standard  varieties.  With  the  prunes  his  efforts  have  been 
toward  creating  a  fruit  that  would  both  ship  and  dry  to  perfection, 
yet  be  fine,  fresh  and  rich  in  sugar.  The  standard  prune  is  a  large, 
never  failing  bearer  whose  fruit  can  be  shipped  when  dead  ripe,  a 
big  point  with  market  men. 

One  hybrid  strawberry  of  his,  the  Patagonia,  begins  to  ripen  be- 
fore all  others  and  bears  the  longest.  The  fruit  grows  on  stiff  stalks 
which  hold  them  free  from  the  ground,  yet  they  are  kept  protected 
from  the  sun  by  a  dense  shade  of  leaves  easy  to  raise,  with  large 
firm  berries.  It  bids  fair  to  reach  an  exceedingly  popular  place  among 
growers  who  try  to  make  the  most  of  their  land. 

To  enumerate  all  the  qualities  and  virtues  of  each  of  the  small 
fruits  he  has  improved  or  transferred  or  even  created  would  be  per- 
haps of  no  particular  benefit  other  than  to  acquaint  growers  with 
the  best  of  their  kinds.  What  he  has  done  that  is  of  the  utmost  far 
reaching  importance  is  to  interest  all  growers  in  carrying  on  experi- 
ments along  the  line  he  has  begun,  that  of  better  fruit  and  greater 
productiveness  of  the  land. 

157 


HEPPLEWHITE,     THE      ARTIST     AND      HIS 
STYLE:  BY  JAMES  THOMSON 

|()W  expressive  of  the  habit  of  thought  and  social 
customs  of  the  time  in  which  it  was  builded  is  an 
article  of  furniture  such  as  a  chair.  This  is  true  at 
all  events  as  apphed  to  the  past,  whatever  be  the 
facts  as  aflfecting  the  present.  The  English  chair  of 
the  Cromwellian  period  carries  betrayal  of  the  austere 
folk  who  were  wont  to  sit  in  it.  The  French  chair 
of  the  time  of  Louis  Quinze  is  expressive  of  a  period  when  the  pursuit 
of  pleasure  was  of  paramount  interest. 

Chippendale  nurtured  in  the  school  of  Queen  Anne,  Christopher 
Wren  and  Grinling  Gibbons  wrought  into  his  product  the  thought 
of  his  time.  His  style  was  but  an  outgrowth  of  social  conditions  ob- 
taining in  the  England  of  the  early  eighteenth  century  of  which  the 
"Hogarthian  plates"  and  the  "Tom  Jones"  of  Fielding  are  exemplar. 
Men  who  were  deep  drinkers  and  hence  tarried  long  at  the  wine, 
winning  or  losing  money  at  cards  until  day-dawn,  needed  just  such 
capacious  chairs  as  Chippendale  designed  for  them.  Being,  moreover, 
men  of  education,  it  also  was  needful  that  the  chairs  should  be  pleasing 
to  the  eye,  and  Chippendale  in  vigorous  manner  met  the  need  as  no 
other  cabinetmaker  of  his  generation  was  able  to  do. 

Hepplewhite  may  be  said  to  have  made  his  appeal  at  a  fortunate 
time.  He  came  on  the  scene  in  the  presence  of  a  desire  for  greater 
refinement,  not  alone  in  social  relations  but  in  architecture  and  decora- 
tion. The  semi-classical  style  that  came  into  fashion  in  France  with 
the  advent  of  Marie  Antoinette  had  its  influence  with  English  design- 
ing talent.     The  brothers  Adam  had  completed  some  notable  build- 


FIG.   ONE  :    THREE   AUTHENTIC    HEPPLEWHITE   CHAIRS. 


HEPPLEWHITE,  THE  ARTIST 

A  B 


FIG  TWO :   A   IS   A   SHERATON   CHAIR   BACK  :    B    AND   C    ARE    HEPPLEWHITE. 


ings  in  London,  including  the  chaste  and  refined  Adelphi  Terrace  and 
adjacent  streets.  The  influence  of  the  work  of  these  Scotch  architects 
was  soon  apparent  even  in  America.  WTienever  the  Adam  residence 
was  erected  there  was  demand  for  furnishings  reasonably  fit  for  it. 
While  the  Hepplewhite  emanation  was  far  from 
conforming  with  Greek  and  Roman  architec- 
tural orders,  it  somehow  did  not  seem  out  of 
place  in  the  Adam  interior  any  more  so  than 
in  our  own  Georgian  houses. 

Here,  indeed,  was  a  cabinetmaker  who  pared 
away  clumsiness  to  a  remarkable  degree;  the 
style  of  Louis  Fourteenth  is 
considered  light,  but  is  really 
hea\';v'  in  comparison.  Hep- 
plewhite's  shaping  of  chair 
backs,  his  curving  of  arms  and 
the  like  assuredly  pleased  the 
eye.  To  work  out  such  results 
with  spokeshave,  gouge,  file  ] 
and  sandpaper,  required  an  armchair. 
eye  sensitive  to  beauty  of  line.  The  Cabinet- 
makers and  Upholsterers  Guide,  by  A.  Hepplewhite 
and  Company,  was  published  in  seventeen  eighty- 
nine,  just  thirty-five  years  after  the  Chippendale 
"Director"  appeared.  Chippendale  had  died  in 
seventeen  seventy-nine,  hence  it  follows  that  for  a 
quarter  of  a  century  he  had  had  it  pretty  much 
all  his  own  way.     WTiile  in  favor,  he  had  rung  the 

159 


HEPPLEWHITE 


fig.  four  :  prince  of 
wales'  feather  de- 
sign IN  HEPPLEWHITE 
CHAIR. 


HEPPLEWHITE,   THE   ARTIST 


FIG.  FIVE  :    HEPPLEWHITE  SETTLE. 


changes  of  novelty  after  his 
kind,  but  his  day  in  any  event 
was  done. 

Hepplewhite  designed  all 
manner  of  furniture,  but  is 
chiefly  remembered  by  chairs 
and  sideboards.  In  chair  backs, 
he  affected  the  shield  shape,  but 
to  this  practice  there  were  many 
exceptions  as  reference  to  figure 
seven  makes  plain.  Here  we 
have  a  chair  that  is  sensible, 
beautiful  and  from  the  utilita- 
rian point  of  view,  excellent. 
The  structural  weakness  to  be  found  in  so  many  chairs  of  this  maker's 
design  is  in  this  case  absent,  the  connection  between  the  seat  and 
middle  of  back  having  been  provided  for. 

Claim  has  been  made  of  all  the  old  shield-backed  chairs  for 
Hepplewhite,  but  in  the  presence  of  evidence  I  am  about  to  prove 
that  the  claim  cannot  stand.  In  figure  two  are 
shown  three  chair  backs  in  which  the  shield 
motive  is  utilized.  Now  Hepplewhite  was  re- 
sponsible for  but  two,  B  and  C,  while  Sheraton 
designed  the  one  marked  A.  So  similar  in  char- 
acter are  they  one  might  well  imagine  them  to 
be  from  a  common  source,  a  single  hand. 

In  the  presence  of  such  similarity  how  is 
the  average  man  to  differentiate.'*  There  is 
difficulty  it  must  be  confessed  both  here  and  in 
other  directions.  It  is  fair  to  say,  however,  that 
in  but  two  instances  in  published  designs  did 
Sheraton  employ  the  shield  motive.  His  general  constructional 
practice  was  to  use  straight  lines. 

The  Hepplewhite  chair  arm  including  the  support  is  always  curve- 
linear,  being  similar  to  forms  used  in  the  style  of  Louis  Quinze,  but 
much  more  slender.  The  Dutch  chairs 
that  became  fashionable  in  England  on 
the  advent  of  Wilham  and  Mary  had 
wonderfully  flamboyant  arms,  and  from  ! 
these  perhaps  more  than  the  other  did 
this  designer  derive  his  ideas.    He,  at 

any  rate,  whittled  away  at  a  great  rate,  hepplewhite  drawer  pull  head,  and 
much  to  the  satisfaction  of   the    eye,  drawer  handle. 

i6o 


FIG.  SIX :  slender  hepple- 
white table. 


HEPPLEWHITE,  THE  ARTIST 


though  at  a  sacrifice  of  strength.  But  for 
the  fact  that  the  chairs  were  built  of  Span- 
ish mahogany,  a  heavy  close-grained,  tough 
■material,  they  could  not  have  stood  ordi- 
usage.  Made  in  the  Mexican  wood 
of  today  they  could  not  at  all  have  re- 
sponded to  practical  purpose.  Chairs  made 
after  designs  here  shown  should  be  made  of 
a  tough  material  such  as  Cuban  mahogany 
or  cherry,  which  when  appropriately  stained 
makes  an  excellent  i  imitation  of  the  other 
more  expensive  wood. 

The  old-time  chair-maker  selected 
( his  wood  with  the  same  care  as  does 
the  violin-maker.  For  the  sweeps  and 
curves,  he  chose  such  as  had  the  grain 
following  the  direction  of  the  pattern. 
His  selection  of  material  was  always 
with  an  eye  to  the  special  purpose 
to  which  he  intended  it  to  be  put . 
Hepplewhite  very  seldom 
upholstered  the  chair  back, 
and  when  in  the  case  of  the 
arm  he  did  so,  the  pad  was  so 
ridiculously  small  as  to  be  re- 
mindful of  a  pin  cushion.  In  some  such  directions  he  could  _be  at 
times  extremely  amateurish.  In  general  he  built  in  mahogany, 
varj^ing  on  occasion  with  rosewood,  both 
strong  and  close  grained,  admirably  adapted 
to  his  design  and  mode  of  construction. 
Satinwood  in  veneer  was  employed  for 
paneling,  darker  woods 
for  crossbanding,  while 
ebony  and  holly  were 
reserved  fpr  division 
and  boundary  lines. 
Carving,  inlay  and 
painting  were  usual 
modes  of  embelhsh- 
ment.  AngehcaKauff-" 
mann  and  Cipriana 
were  artists  called 
upon  to  lend  their  skill 
in   decorating.      The 


FIG.    SEVEN  :    HEPPLEWHITE    HIGHBOY   AND   CHAIR. 


HEPPLEWHITE 
SIDi-BOARD 


HEPPLEWHITE,  THE  ARTIST 


FIG.    NINE  : 


table  shown  in  figure  six,  as  well 
as  the  chair  back  designated  by  the 
letter  P  in  figure  eleven,  are  of  the 
manner  of  patterns  decoratively 
painted. 

In  figure  one  are  shown  three 

standard  patterns  that  have  stood 

*^the  test  of  time  in  their  various 

modifications.    Pubhshed  designs 

^many  of  them  doubtless  never  got 

beyond    the    paper    stage. 

Freak  designs  if  ever  carried 

£  -•>  -^fef^  out  in  the  wood  have  all  of 

BUREAU  IN  SIMPLE  HEPPLEWHITE  DESIGN  t]jem  gonc  thc   Way  of  such 

things   long   ago.     The   best   alone   has   stood   the    test    of    time. 

In  figure  three,  we  have  a  chair  in  the  best  Hepplewhite  manner. 

Here  he  joins  seat  and  splat,  which   immensely  strengthens  where 

weakest.    Most  suitable  for  dining  room  or  library  is  this  pattern. 

To  curry  favor  with  the  then  so-called  "first  gentleman  of  Europe," 
but  who,  in  truth,  was  far  from  being  entitled  to  the  distinction, 
Hepplewhite  was  wont  to  work  into  chair  backs  the  Prince  of  Wales 
feather.  Here  in  figure  four  we  have  example  of  such  connection, 
though  seldom  did  he  make  the  feather  so  prominent. 

A  handsome 
and  decidedly 
Parisian  divan 
is  delineated  in 
figure  five.  In 
attempt  to  "gild 
the  lily,"  the  de- 
signer had  intro- 
duced some  soft 
textile  caught 
up  into  festoons 
along  and  be- 
neath the  front 
rail.  In  the  in- 
terest of  simplic- 
ity I  have  omit- 
ted this  feature, 
and  consider 
that  as  it  is  here 
shown  the  article 


^x'pN 


'^W'JV^KV\\.■^  (K^S^  ^OlX 


V.ovA>^ANI.  cVckvT    ttvms. 


FIG.  ten:  explanatory  detail. 


162 


HEPPLEWHITE,  THE  ARTIST 


could  not  be  im- 
proved. Hepple- 
white  casework 
was  admirable ; 
in  figure  seven 
we  have  an  ex- 
ample of  it.  The 
upper  drawer  I 
presume  was  in- 
tended for  writing 
purposes,  the 
front  being  let 
down,  a  slide 
drawing  out,  while 
the  usual  pigeon 
holes ,  small  draw- 
ers and  the  like 
were  thus  exposed 
to  view.  Articles 
of  similar  design 


VM^i^\e>«Vx\«i  CVo,vr  Baat 


FIG.   ELEVEN  :   EXQUISITE   STUDIES  OF   HEPPLEWHITE  DESIGNS. 

though  perhaps  not  quite  so  fanciful — are  to  be  met  with  from 
time  to  time  in  the  New  England  States.  Made  in  mahogany,  the 
customary  and  only  attempt  at  embellishment  is  through  the  use 
of  satinwood  veneer,  hair  lines  of  ebony,  thuya,  and  similar  costly 
woods  marking  the  divisions. 

Figure  eight  shows  a  typical  Hepplewhite  sideboard,  and  here 
I  may  add  that  all  sideboards  of  the  concave-end  variety  to  be  found 
in  the  mother  country  are  by  this  maker.  In  this  feature  they  are 
apt  to  differ  from  the  Sheraton  examples  which  have  convex  ends. 

The  sideboard  of  the  Chippendale  period,  of  which  example  is 
shown  in  figure  ten,  was  in  reality  but  a  table.    In  fact,  the  piece  of 

furniture  was  first  called  "Sideboard 
Table."  Hepplewhite,  in  his  first  period, 
followed  the  customary  practice  of  his 
predecessors.  There  were  in  his  first 
sideboards  therefore  an  absence  of  closets, 
these  being  made  after  the  manner  of  that 
shown  in  figure  ten,  a  good  example  of  the 
designer's  ornate  mood. 

The  cupboard ed  sideboard,  which 
FIG.  twelve:  THE  SHERATON  MANNER  fouud  Its  fullcst  cxpressiou  lu  Shcratou's 
Zo^"^^  nfpPifwTiTE™  iNNEroF  pedestal-tcrminatcd  designs,  had,  in  a  few 
JOINING  THE  SHIELD  TO  THE  BACK  LEGS,  ycars,  by  proccss  of  cvolutlou,  dcvelopcd 

163 


HEPPLEWHITE,  THE  ARTIST 

from  the  simple  side  table.  To  T.  Shearer,  contemporary  with 
Hepplewhite,  whose  "Designs  of  Household  Furniture"  was  pub- 
lished in  seventeen  eighty-one,  the  credit  for  the  closeted  sideboard 
must  be  accorded.  In  adopting  the  closet  idea  in  this  connection, 
Hepplewhite  and  Sheraton  simply  borrowed  a  leaf  from  the  Shearer 
book. 

While  Hepplewhite  added  closets  to  his  sideboard  he  at  first  used 
them  only  at  the  ends,  to  the  center  space  being  allotted  a  drawer, 
beneath  which  was  a  clear  space  in  which,  resting  upon  the  floor, 
awaiting  the  advent  of  the  hot  bird,  stood  the  zinc-lined  and  ice- 
packed  cellarette  in  which  was  the  cold  bottle. 

The  sideboard  designs  of  Hepplewhite  and  Sheraton  to  my  mind 
were  very  much  improved  by  our  Colonial  craftsmen.  English  ex- 
amples in  comparison  with  ours  look  "squatty,"  being  but  three  feet 
high,  while  ours  are  at  least  three  feet  four  inches,  and  in  one  instance 
at  least  four  feet  from  the  floor.  In  other  ways  our  Colonial  examples 
show  improvement  over  the  Old  Country  model,  diversity  in  the 
arrangement  of  drawers  being  one  of  them.  Hepplewhite  bureaus 
such  as  that  pictured  in  figure  nine  were  made  extensively  in  this 
country.  Formed  either  with  swell,  serpentine,  or  straight  fronts, 
they  were  common  in  old  New  England  households.  The  feet  are 
not  always  in  the  precise  form  shown  here.  In  straight-fronted  pieces, 
the  feet  do  not  flare  out  at  the  toe. 

Bureaus  of  this  class — of  which  there  are  many  at  present  to  be 
found  —were  usually  made  in  mahogany,  the  drawer  fronts  veneered 
with  satinwood  or,  in  lieu  of  that,  some  less  expensive  wood  of  native 
growth,  maple,  curly  birch,  or  root  of  willow.  The  light  wood  had 
around  it  an  inch  wide  border  of  mahogany  or  other  dark  wood,  a 
neat  beading  surrounding  the  whole.  Narrow  strips  of  ebony  marked 
the  division  lines  between  the  light  and  dark  woods.  A  little  home- 
made inlay  sometimes  ran  around  the  edge  of  the  top.  To  all  Hepple- 
white casework  of  Colonial  inception,  the  foregoing  description  is 
applicable. 

We  find  instances  where  the  likeness  between  the  Hepplewhite 
and  Sheraton  product  is  so  close  as  to  be  puzzling.  Errors  are  un- 
doubtedly made  in  distinguishing  the  one  from  the  other.  Both 
designers  used  inlay  and  painted  decorations.  In  many  instances, 
the  festoons,  running  ornaments,  patera,  and  the  like  are  identical, 
which  may  be  readily  understood  when  it  is  known  that  they  both 
went  to  the  same  source  for  them.  Sheraton  affected  the  turned  and 
reeded  leg  in  a  great  many  cases,  but  he  also  employed  the  square 
leg  in  the  identical  manner  that  Hepplewhite  did.  The  arrangement 
in  paneling  by  veneer  of  a  lighter  tone  than  the  ground  is  the  same 

164 


HEPPLEWHITE,  THE  ARTIST 

with  both.  As  regards  the  shield- backed  chairg  in  which  there  is  so 
much  of  Hkeness,  I  would  refer  readers  to  figure  twelve,  where  certain 
differences  in  connecting  the  back  legs  with  the  seat  are  observable. 
Another  subtle  distinction  may  be  referred  to.  Where  Sheraton 
affected  the  shield  motive  in  his  chairs — and  there  are  but  two  known 
instances  where  he  did^we  shall  find  the  top  line  not  continuous, 
there  being  an  interception  in  the  flow  of  curve.  Where  Hepplewhite 
is  concerned,  this  is  not  the  case. 

There  is  also  a  difference  in  the  drawer  handles  employed  by  each. 
In  the  accompanying  designs  are  two  handles  typical  of  Hepplewhite 
practice.  Of  elliptical  drop  handles  there  are  a  great  many  patterns, 
all  very  chaste  and  beautiful  both  in  conception  and  execution. 

While  Hepplewhite  left  his  mark,  he  cannot,  in  my  opinion,  (from 
the  designing  point  of  view),  be  classed  with  Chippendale.  He 
belonged  to  the  mechanical  rather  than  the  free  hand  order  of  designer. 
Chippendale  could  do  with  ease  what  his  compeers  failed  to  accom- 
plish even  with  painstaking  effort.  There  is  ease,  vigor,  largeness  of 
conception,  certainty  of  touch,  and  prolificness  of  idea  as  regards 
detail,  in  the  work  of  Chippendale,  which  there  is  not  in  that  of  Hepple- 
white. The  chair  backs  of  the  latter  furnish  evidence  in  abundance 
of  the  use  by  the  designer  of  the  thin  wooden  curves,  ellipses,  pa- 
rabolas, hyperbolas  and  the  like,  all  conforming  with  certain  geo- 
metrical formulae. 

JOHN   RUSKIN  SAID: 

"For  observe  what  the  real  fact  is,  respecting  loans  to  foreign 
military  governments,  and  how  strange  it  is.  If  your  little  boy  came 
to  you  to  ask  for  money  to  spend  in  squibs  and  crackers,  you  would 
think  twice  before  you  gave  it  him;  and  you  would  have  some  idea 
that  it  was  wasted,  when  you  saw  it  fly  off  in  fireworks,  even  though 
he  did  no  mischief  with  it.  But  the  Russian  children,  and  Austrian 
children,  come  to  you,  borrowing  money,  not  to  spend  in  innocent 
squibs,  but  in  cartridges  and  bayonets  to  attack  you  in  India  with, 
and  to  keep  down  all  noble  life  in  Italy  with,  and  to  murder  Polish 
women  and  children  with;  and  that  you  will  give  at  once,  because 
they  pay  you  interest  for  it.  Now,  in  order  to  pay  you  that  interest, 
they  must  tax  every  working  peasant  in  their  dominions;  and  on 
that  work  you  live.  You  therefore  at  once  rob  the  Austrian  peasant, 
assassinate  or  banish  the  Polish  peasant,  and  you  live  on  the  pro- 
duce of  the  theft,  and  the  bribe  for  the  assassination!  That  is  the 
broad  fact — that  is  the  practical  meaning  of  your  foreign  loans,  and 
of  most  large  interest  of  money." 

i6s 


THE  SINGING  RUSSIANS:  SLAV  MUSIC  BORN 
OF  FOLK  SONG 

|ROM  the  very  dawn  of  their  history,  the  Russians  have 
been  a  singing  people.  They  have  worked  and  danced 
and  played  to  the  accompaniment  of  music.  Tour- 
genief,  the  Russian  master  of  fiction,  says  of  his  own 
people:  "The  aching  melancholy  song  which  wanders 
from  sea  to  sea  throughout  the  length  and  breadth  of 
Russia  will  once  having  been  heard,  forever  echo  in  your 
heart  and  haunt  the  recesses  of  your  memory."  Of  all  the  books  in 
the  peddler's  pack  (and  the  peddler  is  a  great  institution  in  Russia), 
the  song  book  has  the  best  sale  among  the  simple  people.  During 
the  hay -making  time,  songs  flood  through  the  field.  The  women  sing 
as  they  gather  and  pack  the  fruit,  and  the  children  sing  as  they  dig 
potatoes ;  on  Sundays  and  high  holidays  the  village  gii'ls  walk  through 
the  streets  or  the  fields  singing,  and  the  youths  in  picturesque  dress 
follow  the  maidens,  playing  the  balalaika.  These  songs  of  the  people 
have  been  their  songs  for  centuries,  and  the  melodies  which  the  young 
men  play  on  the  balalaika  have  been  played  by  young  lovers  for  a 
thousand  years;  for  the  Slavs  more  than  any  other  people  in  the 
world  hold  to  their  folk  music  in  their  love  songs,  their  war  cries, 
their  dances  and  in  their  funeral  marches  and  chants — melodies 
as  old  as  the  memory  of  the  people.  Slav  is  probably  the  most  emo- 
tional music  in  the  world,  and  the  older  the  melody,  the  greater  the 
spirit  of  romance  in  it. 

Quite  recently  the  Czar  has  given  special  orders  to  have  the  Russian 
folk  songs  collected  and  preserved.  The  most  competent  musicians 
of  the  nation  have  been  set  to  this  task,  and  in  order  to  get  the  oldest 
and  the  most  beautiful  of  the  music  they  will  go  far  back  into  the 
Steppes,  where  the  wooden  plow  is  still  used  and  where  the  men  sing 
as  they  turn  over  the  earth,  and  the  women  and  children  as  they 
reap  the  harvests. 

It  is  out  of  the  old  Slav  music  of  Russia,  that  the  Moguchaia 
Koutschka  or  the  "Mighty  Clique"  of  Russian  musicians  estabhshed 
what  is  generally  known  throughout  the  world  as  the  Russian  National 
Music.  When  the  Moguchaia  first  began  to  write  this  music  they 
were  five  in  number  and  very  brilliant  young  musicians,  so  brilliant 
that  the  word  of  their  achievement  soon  reached  France  where  they 
were  known  as  Les  Cinq,  just  as  we  speak  of  the  "Ten" — meaning 
certain  great  painters  of  America.  These  five  inspired  musicians  were 
Balakiref ;  Rimsky-Korsakow,  whose  music  has  been  much  heard^in 
America;  Borodine,  whom  we  also  know;  Caesar  Cui  who  is  still  hving, 
and  Moussorgsky  whose  wonderful  Slav  opera,  Boris  Godounow,  was 
presented  so  beautifully  at  the  Metropolitan  Opera  House  winter 

i66 


It' 


M.  MUUSSORUSKY,  THE  COMPOSER  OF  THE  GREAT  RUSSIAN  OPERA.  Boris 
GodoUIWW.  WHICH  WAS  PRODUCED  IN  NEW  YORK  WINTER  BEFORE  LAST:  THIS 
ARTIST  WAS  ONE  OF  THF.  FIRST  MEMBERS  OF  THE  FIVE  RUSSIAN  MUSICIANS  WHO 
ORGANIZED   A    NATIONAL   SCHOOL   OF    MUSIC:    FROM    A    PAINTING    BY    J.    REPINE. 


N.  RIMSKY-KORSAKOW,  A  MEMBER  OF  THE  FIVE  GREAT 
RUSSIAN  MUSICIANS,  PAINTED  ALSO  BY  J.  REPINE:  THIS 
musician's  work  is  familiar  to  new  YORK  THROUGH 
THE    CONCERTS    OF    THE    RUSSIAN     SYMPHONY     SOCIETY. 


C.     CUI,     A      MEMBER     OF     THE     FIVE     FAMOUS 
RUSSIAN     musicians:    drawn    by    J.    REPINE. 


M.  CLINKA,  THE  RUSSIAN'  MUSICIAN  WHO  FIRST  INTRODUCED 
NATIONAL  RUSSIAN  MUSIC  TO  PARIS:  ONE  OF  THE  _  MOST 
HONOREI)     OF     RUSSIAN     COMPOSERS;     PAINTED     nV     J.     REPINE. 


p.   TCHAIKOWSKY,    WHO    IS    POS.SIIil.V   THE   BEST    KNOWN    AMONG    RUS- 
SIAN   MUSICIANS    TO   US    IN    AMERICA:    PAINTED   BY    N.    KOUZNETZOW. 


.71 


A.    GLAZOUNOW,   ONE   OF   RUSSIA  S    MUSICIANS    WHO   IS    WIDELY 
KiNOWN      IN      AMERICA  :      FROM      A      I1KAWING      BY      T.      SEROW. 


L&AK'sr 


S.  LIAPOUNOW,  A  RUSSIAN  MUSICIAN  OF  NOTE:  FROM  A  DRAW- 
ING BY  LEON  BAKST,  WHOSE  INTERESTING  WORK  HAS  WON 
GREAT   APPLAUSE   IN   AMERICA. 


A.  SCRIABINE,  A  RUSSIAN  MUSICIAN  WHO  HAS  PRAC- 
TICALLY REVOLUTIONIZED  THE  MUSICAL  SCALE  AND 
WHO  CONTENDS  THAT  MUSIC  AND  COLOR  ARE  BORN  OF 
THE   SAME  IMPULSE  IN    NATURE  :   DRAWN    BY   E.   ZAK. 


THE  SINGING  RUSSIANS 

before  last.  The  Kouischka  had  a  long  battle  to  win  recognition  in 
Russia,  as  the  court  circles  held  with  the  older  and  more  formal  music, 
which  had  been  dominated  by  the  Italian  school  and  influence  from 
Germany.  The  Russian  court  was  permitting  itself  to  experience  the 
atrophying  effect  of  accepting  foreign  ideals,  just  as  we  have  done 
in  America. 

These  younger  men  who  insisted  upon  working  from  native  in- 
spiration, who  wanted  the  force  and  power  and  beauty  of  the  Slav 
folk  music  to  pour  through  their  compositions,  naturally  had  to  have 
great  patience.  All  modern  nations  who  have  come  slowly  into  their 
art  heritage  have  had  to  battle  against  the  accepted  classic  dominance 
of  the  Continent;  and  although  each  new  art  development  must  owe 
much  to  the  prestige  of  accomplished  beauty  in  Europe,  also  there 
must  be  eventually  the  struggle  to  throw  ofT  all  influence  and  to  seek 
a  national  source  in  order  to  express  the  real  wonder  and  beauty  of 
national  ideals. 

ALTHOUGH  we  think  of  Russia  as  a  very  old  nation,  it  is  only 
within  a  very  few  years  that  we  have  grown  to  realize  the 
strength  and  the  splendid  beauty  of  the  Slav  genius,  especially 
in  her  music,  which  at  its  best  is  dominated  by  folk  influences,  an 
expression  of  emotional  fire  and  color  that  stands  unique  in  the 
musical  world.  The  Slav  people  are  a  very  complex  nation  of  many 
traditions  older  than  written  poetry,  touched  at  times  with  the  rare 
beauty  of  Greece  and  again  with  the  sumptuousness  of  the  Orient. 
Near  the  Continent,  yet  cut  away  by  reticence  and  prejudice,  still 
Russia  has  much  to  stimulate  her  genius — a  thousand  years  of  national 
life,  a  thousand  years  of  song,  of  the  development  of  musical  form, 
of  an  expression  of  vivid  individuality  in  art  and  craft,  resulting  in 
an  achievement  at  once  magnificent  and  individual — an  individualism 
which  flowers  out  most  fragrantly  in  her  song. 

The  music  of  the  Kontschka  has  been  called  the  angelus  melody 
of  Europe,  the  melody  of  the  humble  folk,  of  the  agricultural  coun- 
tries, of  the  people  at  work,  of  the  people  at  twihght  listening  to  the 
bells  calling  them  to  prayer,  of  people  who  create  their  own  art  as 
they  do  their  own  joy,  who  know  no  art  except  their  own,  no  happi- 
ness except  that  dyed  in  national  colors. 

As  far  back  as  eighteen  hundred  and  twenty-nine.  Glinka  wrote 
his  first  Russian  opera  called  "Life  for  the  Czar."  This  was  definitely 
an  expression  of  the  music  of  the  Russian  people  founded  on  Russian 
history  and  interspersed  with  ancient  and  beautiful  Slav  melodies. 
Glinka  actually  anticipated  Wagner  in  his  use  of  the  leit  motif.  Berlioz 
recognized  the  greatness  of  Glinka  and  had  his  opera  presented  in 

175 


THE  SINGING   RUSSIANS 

Paris  in  eighteen  hundred  and  forty-four.  Today  there  is  a  street 
in  Petrograd  named  for  this  great  musician,  and  his  statue  may 
be  seen  where  for  years  he  sought  in  vain  for  a  hearing. 

It  was  not  until  nineteen  hundred  and  seven  that  the  Continent 
really  responded  definitely  to  Russian  music,  national  in  character. 
And  then  there  was  a  great  Russian  concert  in  Paris  with  Russian 
singers  and  actors  and  dancers,  people  so  notable  in  achievement  that 
this  concert  marked  a  musical  epoch  in  France.  Today  Russian  music 
is  recognized  and  accepted  as  among  the  greatest  not  only  in  Paris 
and  London,  but  in  America.  Mainly  through  the  efforts  of  the 
Russian  Symphony  Society,  we  have  grown  to  vmderstand  and  to 
love  the  music  born  of  the  folk  song  of  this  nation  of  musicians. 

As  for  Russia  herself,  she  has  accepted  the  point  of  view  of  the 
five  men  of  the  Kouschka,  and  today  the  Russian  National  Music 
dominates  the  Empire.  And  there  are  many  followers  of  Les  Cinq. 
These  more  modern  men  are  also  building  up  rich  mmsic  for  this 
land  out  of  the  ageless  traditions  of  the  past,  the  folk  music  of  the 
inarticulate  serf,  music  which  was  born  in  the  heart,  in  the  passions, 
in  the  pain  of  these  millions  of  people,  and  which  has  through  the 
genius  of  the  nation  come  to  us  in  strains  either  entrancingly  sweet 
or  of  wild  madness — the  cry  of  the  people,  of  their  joy,  of  their  sorrow. 

THE  history  of  the  music  of  Russia  brings  us  many  stories  of 
the  hayen,  the  Russian  bard,  who  sang  the  heroic  songs  in  the 
courts  of  the  early  Russian  Princes  and  also  of  the  guslar,  the 
player  of  the  Russian  instrument  (the  lyre),  who  was  always  present 
at  the  feasts  of  the  lawyers  or  the  great  merchants  of  the  nation. 
The  Russian  jesters,  the  Skormorokhy,  amused  the  people  of  their 
day  in  song,  and  were  much  beloved  by  the  courtiers.  In  spite  of 
the  ecclesiastical  prohibition  of  what  was  then  known  as  the  "devil's 
music,"  the  music  which  expressed  the  sheer  delight  of  living,  the 
church  found  it  impossible  to  take  these  songs  of  the  jesters  away 
from  the  people  and  they  were  handed  down  from  generation  to 
generation,  words  and  melodies,  linked  in  characteristic  simple  beauty. 
Dr.  Williams,  in  his  recent  book  "Russia  of  the  Russians,"  says 
of  the  Russian  church:  "This  music  is  also  very  national  and  distinc- 
tive. The  tang  of  the  folk  song  is  in  it.  It  also  shows  distinct  traces 
of  foreign  influences."  One  feels  in  the  church  music  as  in  the  social, 
military  and  funeral  music  that  the  Russian  people  are  made  up  of 
many  varying  political  and  national  elements,  that  the  mass  of  the 
people  have  lived  a  life  of  great  struggle  against  the  rigor  and  asperity 
of  the  climate  and  against  often  torturing  political  experiences,  so 
it  is  not  only  of  great  interest  that  the  verj'  quality  of  the  people  pours 

176 


THE  SINGING  RUSSIANS 

through  their  music  (as  through  their  Hterature),  but  that  in  spite 
of  their  sadness  and  the  grinmess  of  their  Uves  the  dehght  of  singing 
has  never  left  them.  Undoubtedly  it  is  to  the  long  snowy  winters 
in  Russia  that  we  owe  the  splendid  Epic  Slav  songs,  the  bylings,  in 
which  are  related  the  exploits  of  the  people — first  of  the  semi-mythical 
personages,  then  the  historical  characters  and  incidents  and  always 
the  love  stories. 

In  studying  the  history  of  various  lands,  we  must  feel  that  the 
country^  whose  national  quality  has  saturated  its  art,  is  inevitably 
the  country  with  the  greatest  literature,  painting  and  poetry.  And 
so  in  Russia,  it  is  because  the  verj^  heart  of  the  nation  has  welled  up 
in  song  that  we  have  the  music,  not  only  of  the  Great  Five,  but  of 
such  men  as  Scriabine  who  has  practically  developed  a  new  musical 
method  in  Russia,  of  Tchaikowsky  who  has  won  the  heart  of  his  own 
people,  and  of  many  others  who  have  not  only  fed  upon  the  traditions 
of  their  people  but  who  have  made  such  a  study  of  music,  so  given 
their  lives  to  it,  that  they  have  developed  musical  methods  which 
are  free  mediums  for  the  beauty  of  their  own  land,  and  which  have 
added  to  the  richness  and  variety  of  music  in  all  countries.  For- 
tunately Russia,  as  well  as  the  world,  has  opened  her  eyes  to  the  value 
of  her  traditional  music,  and  we  find  the  men  who  are  strongest  in 
their  devotion  to  Slav  inspiration  at  the  heads  of  the  colleges  and 
the  inspiration  of  the  great  musical  centers. 

One  of  the  most  interesting  phases  of  the  national  Russian  music 
has  been  the  melody  written  for  dancing.  This  you  find  true 
back  as  far  as  you  can  pierce  into  the  past.  Always  the  Slavs  have 
danced  as  well  as  sung,  danced  in  a  spirited  beautiful  way,  and  spirited 
wonderful  intimate  music  has  been  written  for  the  dancers.  And 
although  today  the  dance  has  been  formalized  and  has  found  its 
place  on  the  stage,  Russian  dance  music  still  carries  a  flame  from 
the  heart  of  musical  genius  out  into  graceful  poetical  motion. 

No  more  remarkable  showing  of  nationalism  in  art  has  been  seen 
in  modem  times  than  the  staging  of  the  Russian  operas  and  the 
Russian  drama  and  the  costuming  of  the  Russian  dancers.  It  is  all 
Slav,  all  close  to  the  feehng  of  the  people,  courageous,  alive,  poignant 
in  its  appeal  to  the  emotions. 

A  splendid  vivid  national  quality  certainly  is  the  impression  we 
gain  from  the  Slav  music,  and  although  there  is  this  great  national 
characteristic,  on  the  other  hand  there  is  an  equally  strong  varied 
individuality  in  the  work  of  the  different  musicians.  Each  in  his  own 
way  tells  the  stories  of  the  people,  whether  through  actual  history  or 
through  legend  and  tradition. 

Russian  art  is  sometimes  permeated  with  the  lavish  richness  of 

177 


BEAUTY 

the  Orient,  again  with  the  old  classic  beauty  of  Greece;  influences 
that  may  have  come  direct  through  war  or  commerce,  or  more  subtly 
through  immigrant  or  refugee.  Most  often,  however,  we  feel  the 
spell  of  the  mysterious  inheritance  that  each  nation  has  of  the  world's 
original  myths  and  legends  in  poetry  and  song.  But  important  and 
varied  as  the  foreign  heritage  may  be,  surely  of  all  contributions  to 
the  modern  spirit  of  music,  none  has  been  greater,  fresher,  more  vital, 
more  surely  born  in  the  very  soul  of  a  nation  than  that  given  to  us 
lavishly  and  eagerly  by  the  Slavs. 


BEAUTY 

I  MOULD  the  poet's  soul;  I  form  the  sculptor's  dreams; 
I  shape  the  eagle's  wing;  I  grace  the  woodland  streams; 
I  teach  the  lark  his  song;  I  ride  the  mighty  sea; 

I  smile  and  all  the  world  beholds  and  worships  me. 
I  dwell  among  the  stars;  I  am  the  fount  of  things; 

Men  teach  their  souls  to  walk,  I  give  to  them  their  wings. 
I  come  and  love  is  bom  and  cherry  trees  are  white 

And  men  go  seeking  God,  and  wrong  gives  place  to  right. 
I  come  and  swords  hang  sheathed  and  nations  plow  and  sow, 

Where  conflict  led  to  death  men  watch  the  lilies  blow. 
I  speak  and  men  forget  how  toilsome  is  the  way 

That  leads  to  where  I  guide  beyond  earth  and  decay. 
I  speak  and  knowledge  comes  to  teach  men  how  to  climb ; 

I  speak  and  time  is  not,  the  universe  is  mine. 
Some  call  me  winged  ambition,  and  some  say  I  am  art; 

Some  even  call  me  genius  and  cease  to  do  their  part. 
Behold  me!    I  am  Beauty,  abiding  in  each  clod. 

I  sing  where  far  worlds  cycle  and  hide  in  grass-grown  sod. 
I  live  in  frailest  blossom,  I'm  mightier  than  death; 

I  am  the  soul  of  builders,  I  am  the  harebell's  breath. 
I  am  of  life  the  dayspring  and  only  those  can  know 

My  purifying  fires  who  follow  here  below. 
Mine  are  the  brave  and  noble  from  deserts,  plains  and  marts, 

Ambition  claims  its  monarchs,  mine  are  the  kingly  hearts. 

Phtllis  Ward. 


178 


"MY  PEOPLE:"  THE  INDIANS'  CONTRIBU- 
TION TO  THE  ART  OF  AMERICA:  BY 
CHARLES  A.  EASTMAN  (OHIYESA) 

|N  his  sense  of  the  {esthetic,  which  is  closely  akin  to 
religious  feeling,  the  American  Indian  stands  alone. 
In  accord  with  his  nature  and  beliefs,  he  does  not  pre- 
tend to  imitate  the  inimitable,  or  to  reproduce  exactly 
the  work  of  the  Great  Artist.  That  which  is  beautiful 
must  not  be  trafficked  with,  but  must  be  reverenced 
and  adored  only.  It  must  appear  in  speech  and  action. 
The  symmetrical  and  graceful  body  must  express  something  of  it. 
Beauty,  in  our  eyes,  is  always  fresh  and  living,  even  as  God  Himself 
dresses  the  world  anew  at  each  season  of  the  year. 

It  may  be  ''artistic"  to  imitate  Nature  and  even  try  to  improve 
upon  her,  but  we  Indians  think  it  very  tiresome,  especially  as  one 
considers  the  material  side  of  the  work — the  pigment,  the  brush,  the 
canvas!  There  is  no  mystery  left;  all  is  presented.  Still  worse  is  the 
commerciaUzation  of  art.  The  rudely  carved  totem  pole  may  appear 
grotesque  to  the  white  man,  but  it  is  the  sincere  expression  of  the 
faith  and  personality  of  the  Indian  craftsman,  and  has  never  been 
sold  or  bartered  until  it  reached  civihzation. 

The  Indian's  View-Point. 

Here  we  see  the  root  of  the  red  man's  failure  to  approach  even 
distantly  the  artistic  standard  of  the  civilized  world.  It  lies  not  in 
the  lack  of  creative  imagination — for  in  this  quality  he  is  truly  the 
artist — it  lies  rather  in  his  point  of  view.  I  once  showed  a  party  of 
Sioux  chiefs  the  sights  of  Washington,  and  endeavored  to  impress 
them  with  the  wonderful  achievements  of  civilization.  After  visiting 
the  Capitol  and  other  famous  buildings,  we  passed  through  the  Cor- 
coran art  gallery,  where  I  tried  to  explain  how  the  white  man  valued 
this  or  that  painting  as  a  work  of  genius,  and  a  masterpiece  of  art. 

"Ah!"  exclaimed  an  old  man,  "such  is  the  strange  philosophy  of 
the  white  man !  He  hews  down  the  forest  that  has  stood  for  centuries 
in  its  pride  and  grandeur,  tears  up  the  bosom  of  mother  earth,  and 
causes  the  silvery  water-courses  to  waste  and  vanish  away.  He  ruth- 
lessly disfigures  God's  own  pictures  and  monuments,  and  then  daubs 
a  flat  surface  with  many  colors,  and  praises  his  work  as  a  master- 


piece 


This  is  the  spirit  of  the  original  American.  He  holds  Nature  to 
be  the  measure  of  consummate  beauty,  and  its  destruction,  sacrilege. 
I  have  seen,  in  our  midsummer  celebrations,  cool  arbors  built  of 
fresh-cut  branches  for  council  and  dance  halls,  while  those  who 
attended  decked  themselves  with  leafy  boughs,  carrying  shields  and 

179 


•MY  PEOPLE" 

fans  of  the  same,  and  even  making 
wreaths  for  their  horses'  necks.  But, 
strange  to  say,  they  seldom  made  a 
free  use  of  flowers.  I  once  asked  the 
reason  of  this. 

"\Miy,"  said  one,  "the  flowers  are 
for  our  souls  to  enjoy;  not  for  our 
bodies  to  wear.  Leave  them  alone 
and  they  will  live  out  their  lives  and 
reproduce  themselves  as  the  Great 
Gardener  intended.  He  planted 
them;  we  must  not  pluck  them." 

Lidian  bead-work  in  leaf  and 
flower  designs  is  generally  modern. 
The  old  patterns  are  mainly  geomet- 
rical figures,  which  are  decorative  and 
emblematic  rather  than  imitative. 
Shafts  of  light  and  shadow,  alternat- 
DR.  CHARLES  A.  EASTMAN  IN  INDIAN  DRESS,  jng  QT  dovc-tailcd,  represcut  life, 
its  joys  and  sorrows.  The  world  is  conceived  of  as  rectangular  and 
flat,  and  is  represented  by  a  square.  The  sky  is  concave — a  hollow 
sphere.  A  drawing  of  the  horizon  line  colored  pale  yellow  stands  for 
dawn;  colored  red,  for  sunset.  Day  is  blue,  and  night  black  spangled 
with  stars.  Lightning,  rain,  wind,  water,  mountains  and  many  other 
natural  features  or  elements  are  symbolized,  rather  than  copied  liter- 
ally upon  many  sorts  of  Indian  handiwork.  Animal  figures  are  drawn 
in  such  a  manner  as  to  give  expression  to  the  type  or  spirit  of  the 
animal  rather  than  its  body,  emphasizing  the  head  with  the  horns, 
or  any  distinguishing  feature.  These  designs  have  a  religious  sig- 
nificance and  furnish  the  individual  with  his  personal  and  clan  em- 
blem, or  coat  of  arms. 

Symbolic  decorations  are  used  on  blankets,  baskets,  pottery,  and 
garments  of  ceremony  to  be  worn  at  rituals  and  public  functions. 
Sometimes  a  man's  teepee  is  decorated  in  accordance  with  the  stand- 
ing of  the  owner.  Weapons  of  war,  pipes  and  calumets  are  adorned 
with  emblems;  but  not  the  everyday  weapons  used  in  hunting.  The 
war  steed  is  decorated  equally  with  his  rider,  and  sometimes  wears 
the  feathers  that  signify  degrees  of  honor. 

Woman  and  Her  Craftsmanship. 

N  his  weaving,  painting,  and  embroidery  of  beads  and  quills,  the 
red  man  has  shown  a  marked  color  sense,  and  his  blending  of 
brilliant  hues  is  subtle  and  Oriental  in  effect.     The  women  did 


I 


i8o 


"MY  PEOPLE" 


IRENE      EASTMAN,      INTERPRETATIVE      INDIAN 
SINGER  :   A  GRADUATE  OF  HAMPTON. 


most  of  this  work,  and  displayed 
rare  ingenuity  in  the  selection  of 
native  materials  and  dyes.  A  var- 
iety of  beautiful  grasses,  roots,  and 
barks  was  used  for  basket  weaving 
by  the  different  tribes,  and  some 
used  gorgeous  feathers  for  ornamen- 
tation. Each  article  was  perfectly 
adapted  in  style,  size  and  form  to 
its  intended  use. 

Pottery  was  made  by  the  women 
of  the  Southwest  for  household 
furniture  and  utensils,  and  their 
vessels,  burned  in  crude  furnaces, 
were  often  gracefully  shaped  and 
exquisitely  decorated.  The  designs 
were  both  imprinted  on  the  soft 
clay,  and  modeled  in  relief.  The  nomadic  tribes  of  the  plains  could 
not  well  carry  these  fragile  wares  with  them  on  their  wanderings, 
and,  accordingly,  their  dishes  were  mainly  of  bark  and  wood,  the 
latter  sometimes  carved.  Spoons  were  prettily  made  of  translucent 
horn.  They  were  fond  of  painting  their  rawhide  cases  in  brilliant 
colors.  The  most  famous  blankets  are  made  by  the  Navajos  upon 
rude  hand-looms,  and  are  wonderfully  fine  in  weave,  color,  and  design. 

This  native  skill,  combined  with  love  of  the  work  and  perfect  sin- 
cerity— the  qualities  which  still  make  the  Indian  woman's  blanket,  or 
basket,  or  bowl,  or  moccasins,  of  the  old  type,  so  highly  prized — are 
among  the  precious  things  lost  or  sacrificed  to  the  advance  of  an  alien 
civilization.  Cheap  machine-made  garments  and  utensils,  without 
beauty  or  durability,  have  crowded  out  the  old;  and  where  the  women 
still  ply  their  ancient  crafts,  they  do  it  now  for  money,  not  for  love,  and 
in  most  cases  use  modern  materials  and  patterns,  even  imported  yarns 
and  poor  dyes!  Genuine  curios  or  antiques  are  already  becoming  very 
rare,  except  in  museums,  and  sometimes  command  fabulous  prices. 
As  the  older  generation  passes,  there  is  danger  of  losing  altogether 
the  secret  of  Indian  art  and  craftsmanship. 

Modern  Indian  Art. 

STRUCK  by  this  danger,  and  realizing  the  innate  charm  of  the 
work  and  its  adaptability  to  modern  demands,  a  few  enthusiasts 
have  made  of  late  years  an  effort  to  preserve  and  extend  it,  both 
in  order  that  a  distinctive  and  vitally  American  art  form  may  not 
disappear,  and  also  to  preserve  so  excellent  a  means  of  self-support 


"MY  PEOPLE" 


for  Indian  women.  Depots  or  stores  have  been  established  for  the 
purpose  of  encouraging  such  manufactures  and  of  finding  a  market 
for  them,  not  so  much  from  commercial  as  from  artistic  and  philan- 
thropic motives.  The  best  known,  perhaps,  is  the  Mohonk  Lodge, 
Colony,  Oklahoma,  founded  under  the  auspices  of  the  Mohonk  Indian 
Conference,  where  all  work  is  guaranteed  of  genuine  Indian  make,  and, 
as  far  as  possible,  of  native  material  and  design.  Such  articles  as  bags, 
belts,  and  moccasins  are,  however,  made  in  modern  form  so  as  to  be 
appropriate  for  wear  by  the  modern  woman.  Miss  Josephine  Foard 
assisted  the  women  of  the  Laguna  pueblo  to  glaze  their  wares,  thereby 
rendering  them  more  salable;  and  the  Indian  Industries  League,  with 
headquarters  in  Boston,  works  along  similar  lines. 

The  Indian  Bureau  reports  that  over  six  hundred  thousand  dollars' 
worth  of  Navajo  blankets  were  made  during  the  last  year,  and  that 
prizes  will  be  awarded  this  fall  for  the  best  blankets  made  of  native 
wool.  At  Pina,  fifteen  thousand  dollars'  worth  of  baskets  and  five 
thousand  dollars'  worth  of  pottery  were  made  and  sold,  and  a  less 
amount  was  produced  at  several  other  agencies. 

Another  modern  development,  significant  of  the  growing  appre- 
ciation of  what  is  real  and  valuable  in  primitive  culture,  is  the  in- 
struction of  the  younger  genera- 
tion in  the  Government  schools 
in  the  traditional  arts  and  crafts 
of  their  people.  As  schooling  is 
compulsory  between  the  ages  of 
six  and  sixteen  years,  and  as  from 
the  more  distant  boarding-schools 
the  pupils  are  not  even  allowed 
to  go  home  for  the  summer  va- 
cation, most  of  them  would 
without  this  instruction  grow  up 
in  ignorance  of  their  natural  heri- 
tage, in  legend,  music,  and  art 
forms  as  well  as  practical  handi- 
crafts. The  greatest  difiiculty  in 
the  way  is  finding  competent  and 
sympathetic  teachers. 

At  Carlisle  there  are  and  have 

been  for  some  years  two  striking 

exemplars  of  the  native  talent 

_^_^^____^ and  modern  culture  of  their  race, 

ANGEL    m    CORA    DIET2,    COLLEGE    GRADUATE    AND     in     jolnt      chargC      of      thC      dcpaTt- 

woRKER  AMONG  HER  PEOPLE.  mcnt  of  Indian  art.     Angel  JJe 


182 


"MY  PEOPLE" 


WILUAM    H.    DIETZ    (lONE    STAR),    A    PIONEER    FOR 
HIS  RACE. 


Cora,  a  Winnebago  girl,  who  was 
graduated  from  the  Hampton 
school  and  from  the  art  depart- 
ment of  Smith  College,  was  a 
pupil  of  Howard  Pyle,  and  herself 
made  a  distinctive  success,  having 
illustrated  several  books  and  ar- 
ticles on  Indian  subjects.  Some 
of  her  work  appeared  in  Harper's 
Magazine  and  other  prominent 
periodicals.  She  had  a  studio  in 
New  York  City  for  several  years, 
until  invited  to  teach  art  at  the 
Carlisle  school,  where  she  has 
been  ever  since. 

A  few  years  ago,  she  married 
William  Dietz,  Lone  Star,  who  is 
half  Sioux.  He  is  a  fine  manly 
fellow,  who  was  for  years  a  great 
football  player,  as  well  as  an  ac- 
complished artist.  The  couple 
have  not  only  the  artistic  and  poetic  temperament  in  full  measure, 
but  they  have  the  pioneer  spirit,  and  aspire  to  do  nuich  for  their  race. 
The  effective  cover  designs  and  other  art  work  of  the  Carlisle  school 
magazine.  The  Red  Man,  are  the  w'ork  of  Mr.  and  Mrs.  Dietz,  who 
are  successfully  developing  native  talent  in  the  production  of  at- 
tractive and  salable  rugs,  blankets  and  silver  jewelry.  Besides  this, 
they  are  seeking  to  discover  latent  artistic  gifts  among  the  Indian 
students,  in  order  that  they  may  be  fully  trained  and  utilized  in  the 
direction  of  pure  or  applied  art.  It  is  admitted  that  the  average 
Indian  child  far  surpasses  the  average  white  child  in  this  direction. 
The  Indian  did  not  paint  Nature,  not  because  he  did  not  feel  it,  but 
because  it  was  sacred  to  him.  He  so  loved  the  reality  that  he  could 
not  venture  upon  the  imitation.  It  is  now  time  to  unfold  the  re- 
sources of  his  genius,  locked  up  for  untold  ages  by  the  usages  and 
philosophy  of  his  people.  They  held  it  sacrilege  to  reproduce  the 
exact  likeness  of  the  human  form  or  face.  This  is  the  reason  that 
early  attempts  to  paint  the  natives  were  attended  with  difficulty. 

Music,  Dancing,  Dramatic  Art. 

A  FORM  of  self-expression  which  has  always  been  characteristic 
of  my  race  is  found  in  their  music.  In  music  is  the  very  soul 
of  the  Indian;  yet  the  civilized  nations  have  but  recently  dis- 

183 


"MY  PEOPLE" 

covered  that  such  a  thing  exists!  His  chants  are  simple,  expressive 
and  haunting  in  quahty,  and  voice  his  inmost  feeUngs,  grave  or 
gay,  in  every  emotion  and  situation  in  Hfe.  They  vary  with  tribes 
and  even  with  individuals.  A  man  often  composes  his  own  song, 
which  lielongs  to  him  and  is  deeply  imbued  with  his  personality. 
These  songs  are  frequently  without  words,  the  meaning  being  too 
profound  for  words;  they  are  direct  emanations  of  the  human  spirit. 
If  words  are  used,  they  are  few  and  symbolic  in  character.  There 
is  no  definite  harmony  in  the  songs — only  rhythm  and  melody;  and 
there  are  striking  variations  of  time  and  intonation  which  render 
them  difficult  to  I  he  "civilized"  ear. 

Nevertheless,  within  the  last  few  years,  there  has  been  a  serious 
effort  to  collect  these  folk-songs  of  the  woods  and  plains,  by  means  of 
notation  and  the  phonograph,  and  in  some  cases  there  has  also  been  an 
attempt  to  harmonize  and  popularize  them.  Miss  Alice  C.  Fletcher, 
the  distinguished  ethnologist  and  student  of  early  American  culture, 
was  a  pioneer  in  this  field,  in  which  she  was  assisted  by  Prof.  J.  C. 
Filmore,  who  is  no  longer  living.  Frederick  Burton  died  several  years 
ago,  immediately  after  the  publication  of  his  interesting  work  on  the 
music  of  the  Ojibways,  which  is  fully  illustrated  with  songs  collected, 
and  in  some  instances  harmonized,  by  himself.  Miss  Natalie  Curtis 
has  devoted  much  intelligent,  patient  study  to  the  songs  of  the  tribes, 
especially  of  the  Pueblos,  and  later  comers  in  this  field  are  Farwell, 
Troyer,  Lieurance  and  Cadman,  the  last  of  whom  uses  the  native  airs 
as  a  motive  for  more  elaborated  songs.  His  "Land  of  the  Sky  Blue 
Water"  is  charming,  and  already  very  popular.  Harold  A.  Loring, 
of  North  Dakota,  has  recently  harmonized  some  of  the  songs  of  the 
Sioux. 

Several  singers  of  Indian  blood  are  giving  public  recitals  of  this 
appealing  and  mysterious  music  of  their  race.  There  has  even  been 
an  attempt  to  teach  it  to  our  schoolchildren,  and  Geoffrey  O'Hara, 
a  young  composer  of  New  York  City,  made  a  beginning  in  this  direc- 
tion under  the  auspices  of  the  Indian  Bureau.  Native  melodies  have 
also  been  adapted  and  popularized  for  band  and  orchestra  by  native 
musicians,  of  whom  the  best  known  are  Dennison  Wheelock  and  his 
brother  James  Wheelock,  Oneidas,  and  graduates  of  Carlisle.  When 
we  recall  that,  as  recently  as  twenty  years  ago,  all  native  art  was 
severely  discountenanced  and  discouraged,  if  not  actually  forbidden 
in  Government  schools  and  often  by  missionaries  as  well,  the  present 
awakening  is  matter  for  mutual  congratulations. 

Many  Americans  have  derived  their  only  personal  knowledge  of 
Indians  from  the  circus  tent  and  the  sawdust  arena.  The  Red  Man 
is  a  born  actor,  a  dancer  and  rider  of  surpassing  agility,  but  he  needs 

184 


"MY  PEOPLE" 

the  great  out-of-doors  for  his  stage.  In  pageantry,  and  especially 
equestrian  pageantiy,  he  is  most  effective.  His  extraordinarily  pic- 
turesque costume,  and  the  realistic  manner  in  which  he  illustrates 
and  reproduces  the  life  of  the  early  frontier,  have  made  of  him  a  great 
romantic  and  popular  attraction,  not  only  here  but  in  Europe.  Several 
white  men  have  taken  advantage  of  this  fact  to  make  their  fortunes, 
of  whom  the  most  enteiprising  and  successful  was  Colonel  William 
Cody,  better  known  as  "Buffalo  Bill." 

The  Indians  engaged  to  appear  in  his  and  other  shows  have  been 
paid  moderate  salaries  and  usually  well  treated,  though  cases  have 
arisen  in  which  they  have  been  stranded  at  long  distances  from  home. 
As  they  cannot  be  taken  from  the  reservation  without  the  consent 
of  the  authorities,  repeated  efforts  have  been  made  by  missionaries 
and  others  to  have  such  permission  refused  on  the  ground  of  moral 
harm  to  the  participants  in  these  sham  battles  and  dances.  Un- 
doubtedly, they  see  a  good  deal  of  the  seamy  side  of  civilization;  but 
on  the  other  hand,  their  travels  have  proved  of  educational  value, 
and  in  some  instances  opened  their  eyes  to  good  effect  to  the  superior 
power  of  the  Wliite  Man.  Sitting  Bull  and  other  noted  chiefs  have, 
at  one  time  or  another,  been  connected  with  Indian  shows. 

A  pageant-play,  adapted  by  Frederick  Burton  from  Longfellow's 
poem  of  "Hiawatha"  was  given  successfully  for  several  years  by 
native  Ojibway  actors;  and  individuals  of  Indian  blood  have  appeared 
on  the  stage  in  minor  parts,  and  more  prominently  in  motion  pictures, 
where  they  are  often  engaged  to  represent  tribal  customs  and  his- 
torical events. 

Useful  Arts  and  Inventions. 

AMONG  native  inventions  which  have  been  of  conspicuous  use 
and  value  to  the  dispossessors  of  the  Indian,  we  recall  at  once 
the  bark  canoe,  the  snowshoe,  the  moccasin,  (called  the  most 
perfect  footwear  ever  invented),  the  game  of  lacrosse  and  pi'obably 
other  games,  and  the  conical  teepee  which  served  as  a  model  for  the 
Sibley  army  tent.  Pemmican,  a  condensed  food  made  of  pounded 
dried  meat  combined  with  melted  fat  and  dried  fruits,  has  been  largely 
utilized  by  recent  polar  explorers. 

The  art  of  sugar  making  from  the  sap  of  the  hard  or  sugar  maple 
was  first  taught  by  the  aborigines  to  the  white  settlers.  In  my  day, 
the  Sioux  used  also  the  box  elder  for  sugar  making,  and  from  the 
birch  and  ash  they  made  a  dark-colored  sugar  that  was  used  by  them 
as  a  carrier  in  medicine.  However,  none  of  these  yield  as  freely  as 
the  maple.  The  Ojibways  of  Minnesota  still  make  and  sell  delicious 
maple  sugar,  put  up  in  "mococks,"  or  birch  bark  packages.    Their 

185 


"MY  PEOPLE" 

wild  rice,  a  native  grain  of  remarkably  fine  flavor  and  nutritious 
qualities,  is  also  in  a  small  way  an  article  of  commerce.  It  really 
ought  to  be  grown  on  a  large  scale  and  popularized  as  a  package 
cereal,  and  a  large  fortune  doubtless  awaits  the  lucky  exploiter  of 
this  distinctive  "breakfast  food." 

In  agriculture,  the  achievements  of  the  Indian  have  probably  been 
underestimated,  although  it  is  well  known  that  the  Indian  corn  was 
the  mother  of  all  the  choice  varieties  which  today  form  an  important 
source  of  food  supply  for  the  civihzed  world.  Indian  women  culti- 
vated maize  with  primitive  implements,  and  prepared  it  for  food  in 
many  attractive  forms,  including  hominy  and  succotash,  of  which  the 
names,  as  well  as  the  dishes  themselves,  are  borrowed  from  the  Red 
Man,  who  has  not  always  been  rewarded  in  kind  for  his  goodly  gifts. 
In  eighteen  hundred  and  thirty,  the  American  Fur  Company  estab- 
lished a  distillery  at  the  mouth  of  the  Yellowstone  River,  and  made 
alcohol  from  the  corn  raised  by  the  Gros  Ventre  women,  with  which 
they  demoralized  the  men  of  the  Dakotas,  Montana  and  British 
Columbia.  Besides  maize  and  tobacco,  some  tribes,  especially  in  the 
South,  grew  native  cotton  and  a  variety  of  fruits  and  vegetables. 
The  buckskin  clothing  of  my  race  was  exceedingly  practical  as  well 
as  handsome,  and  has  been  adapted  to  the  use  of  hunters,  explorers 
and  frontiersmen,  down  to  the  present  day. 


186 


LIVING  WITHOUT  OUR  IMPORTS:  WHAT 
THEY  ARE- HOW  WE  CAN  DO  IT:  BY 
JOSEPH  FRENCH  JOHNSON,  DEAN  OF  THE 
SCHOOL  OF  COMMERCE,  NEW  YORK  UNI- 
VERSITY 

EW  men  realize  what  this  country  imports  or  where 
these  imports  are  made.  Americans  are  apt  to  over- 
estimate the  economic  independence  of  this  great 
country  and,  without  a  situation  such  as  exists  in 
Europe  at  the  present  time,  are  hkely  to  feel  that  no 
event  could  deprive  them  of  the  little  conveniences 
of  every-day  life.  The  United  States,  equipped  with 
millions  of  acres  of  unused  land,  with  an  abundant  supply  of  raw 
materials,  with  men  of  energy,  foresight  and  daring,  in  less  than  a 
century  and  a  half,  has  developed  into  the  nation  richest  in  wealth, 
supreme  in  resources  and  more  independent  economically  than  any 
other.  But  we  are  not  entirely  independent,  as  a  glance  at  the 
accompanying  table  proves: 

Goods  which  the  United  States  purchased  abroad  in  1913. 

Sugar    $103,640,000      Potash    $10,465,000 


Chemicals  and  Drugs loi  ,538,000 


Linen   Goods 

Laces  and   Embroideries. 

Woolen  Goods   

Fruits  and  Nuts   

Iron  and  Steel  Goods.... 
Paper  and  Wood  Pulp... 

Cotton   Cloth    

Silk  Goods   

Fish    

Dairy   Products    

Hats  and  Caps    

Clothing   


58,514,000 
53,277,000 
44,484,000 
41,827,000 
33,636,000 
25,698,000 
22,913,000 
19,658,000 
15,330,000 
10,693,000 
10,610,000 
10,554,000 


Wines   10.079,000 

China   9,658,000 

Toys,  Dolls  and  Games 7,936,000 

Gloves    7,692,000 

Machinery   7,479,000 

Glass  6.553,000 

Canned  Goods  and  Preserves..  6,185.000 

Brooms  and  Brushes  5.595,000 

Carpets  and  Rugs 4,896,000 

Clocks  and  Watches 3,425,000 

Hosiery  and  Knit  Goods 3,089,000 

Total  listed   635,451,000 

Total  Imports   1913 1,813,008,000 


Up  to  the  beginning  of  the  European  war  we  cared  but  little  who 
made  our  goods.  Today  people  are  wondering  whether  they  must 
do  without  their  prettily  dyed  gowns  and  colored  shirtings,  whether 
their  children  can  have  their  usual  allotment  of  German-made  toys 
for  Christmas,  whether  they  can  secure  French  wines,  German  lager, 
Belgian  glass,  Austrian  china,  Russian  furs,  English  hats  and  caps, 
German  medicines  for  winter  colds  and  the  thousand  and  one  other 
things  which  enter  so  closely  and  so  vitally  into  our  daily  life.  Yester- 
day we  had  these  things.  Today  they  cannot  be  secured,  regardless 
of  our  ability  to  buy  or  our  craving  for  goods  made  in  any  country 
except  the  United  States. 

The  grim  reality  of  the  war  for  which  the  European  nations  have 
been  preparing  for  years,  is  now  upon  us.  Our  imports  of  manu- 
factured goods  have  been  largely  suspended.  Salesmen  of  imported 
goods  will  soon  be  without  stocks,  as  the  government  warehouse  re- 

187 


LIVING  WITHOUT  OUR  IMPORTS 

ports  show,  and,  unless  we  go  without,  American  manufacturers 
must  supply  many  of  the  millions  of  dollars'  worth  of  goods  which 
we  formerly  bought  abroad. 

In  this  era  of  rising  prices  and  partial  curtailment  of  income  we 
shall  not  worry  about  the  loss  of  certain  luxuries.  But  we  cannot 
easily  do  without  the  necessities  of  life  which  have  been  coming  from 
Europe,  the  clothing,  chemicals,  food-stuffs,  light  hardware  and 
most  of  the  other  products  listed.  Nor  will  we.  Unable  to  purchase 
in  Europe,  we  must  look  for  new  sources  of  supply  and  most  of  these 
things  can  be  found  here  at  home.  Give  us  time  enough  and  we  will 
raise  and  manufacture  right  here  everything  that  is  really  needed. 

We  must  get  out  of  this  habit,  for  the  present  at  least,  of  using 
imported  goods.  There  is  no  reason  why  "Made  in  America"  should 
not  inspire  as  much  confidence  and  a  great  deal  more  patriotism  than 
"Made  in  Europe."  Today  many  an  American  business  man  is 
awakened  in  the  morning  by  a  German  clock;  slips  out  of  his  English 
pajamas;  bathes  with  French  soap  and  a  German  brush;  dries  him- 
self on  an  English  towel;  shaves  with  an  English  razor  honed  on  a 
German  strop,  with  French  or  Italian  shaving  cream  and  a  German 
dauber,  combs  his  hair  with  a  German  comb  and  brush;  puts  on  a 
French  shirt  and  tie,  an  English  suit  and  American  shoes  with  Ger- 
man laces  and  other  findings.  Perhaps  his  hose  are  American;  but 
they  may  be  woven  with  a  foreign  yarn.  He  eats  his  breakfast  of 
foreign  fruit,  Irish  bacon,  Brazilian  coffee  and  Cuban  sugar  while 
reading  a  paper  printed  with  German  ink,  the  wood  pulp  of  which 
was  prepared  with  German  chemicals.  He  lights  a  Cuban  cigar,  calls 
his  Swedish  chauffeur  and  is  carried  to  work  in  a  French  automobile 
to  spend  the  day  marketing  foreign  goods  over  Belgian  glass  show 
cases. 

This  can  no  longer  be  our  national  policy.  Already  New  York 
has  assumed  the  role  of  financial  capital  of  the  world  and  it  will  not 
be  long  before  America  assumes  a  similar  role  in  many  industries, 
for  which  we  have  an  abundance  of  raw  materials. 

Constructive  activity  designed  to  meet  and  offset  the  effects  of 
the  war  is  extremely  dangerous.  No  one  can  foretell  the  duration 
of  the  present  period  of  financial  stress  during  which  capital  expendi- 
tures are  practically  impossible.  During  the  Napoleonic  wars  the 
United  States  passed  through  a  somewhat  similar  experience.  Our 
ports  were  not  more  effectively  blockaded  during  our  second  war 
with  England  than  they  are  today.  From  eighteen  hundred  and 
eight  to  eighteen  hundred  and  fifteen  we  established  a  large  number 
of  new  industries  because  we  could  not  get  European  goods.  But 
after  eighteen  hundred  and  fifteen  the  industries  of  Europe  were  not 


LIVING  WITHOUT  OUR  IMPORTS 

depleted  and  their  goods  poured  into  our  markets  with  such  rapidity 
that  a  protective  tariff  was  needed  and  our  first  tariff  act  of  eighteen 
hundred  and  sixteen  was  passed. 

This  war  may  not  be  of  such  long  duration,  but  its  results  will  be 
more  disastrous.  However,  if  we  do  not  want  to  go  through  a  similar 
experience,  it  is  necessary  for  us  to  proceed  with  caution,  carefully 
analyzing  our  own  and  other  businesses.  We  must  adopt  a  war 
policy  which  will  leave  our  industries  in  sound  financial  condition 
even  though  the  war  should  be  of  very  short  duration. 

Because  of  the  wonderful  opportunities  offered  us — for  nature 
has  been  most  bountiful — we  have  neglected  many  lines  of  industry 
and  have  purchased  our  requirements  abroad.  In  many  of  these 
lines,  because  the  products  are  those  requiring  a  large  outlay  of  both 
skilled  and  unskilled  labor,  we  have  found  it  more  economical  to 
buy  from  Europe. 

IN  order  that  we  may  fill  this  gap  left  by  the  shutting  off  of  our 
imports,    American    manufacturers    have    begun    a    nation-wide 

campaign  of  education,  to  ascertain  what  foreign  goods  were 
used,  in  what  quantity,  and  the  possibility  of  making  suitable  sub- 
stitutes. Data  already  in  hand  shows  that  in  many  lines  which 
we  have  been  getting  from  abroad,  beginnings  have  already  been 
made  here.  These  small  American  factories,  mostly  owned  and 
manned  by  foreigners,  possessing  all  the  skill  and  technique  of  their 
more  prosperous  European  brothers,  need  only  to  be  fostered  with 
liberal  patronage. 

For  example,  there  are  many  German  toy  manufacturers  in  this 
country.  They  have  brought  with  them  their  skilled  mechanics 
and  special  machinery.  But  up  to  the  present  time,  Americans  have 
demanded  German  toys  made  not  only  by  Germans,  but  in  Ger- 
many. Our  buyers  had  formed  a  habit  of  going  abroad  for  them. 
While  we  may  have  German  toys  for  this  year,  we  shall  not  be  able 
to  import  eight  million  dollars'  worth. 

American  toy  manufacturers  will  experience  their  greatest  dif- 
ficulty in  providing  substitutes  for  German  dolls,  but  there  are  many 
kinds  made  here,  such  as  the  natural  baby  or  "character"  dolls, 
which  will  be  supplied  in  larger  quantities.  Other  toys  can  be  re- 
placed more  easily,  as  it  is  merely  a  matter  of  substituting  other 
kinds.  Domestic  orders  are  about  double  any  previous  j^ears,  and 
our  manufacturers  are  running  their  factories  night  and  day  to  fill 
orders.  One  large  Brooklyn  plant  has  recently  started  constructing 
a  new  building  which  will  enable  it  to  more  than  double  the  present 
capacity.      But    Winchendon,    Massachusetts,    in    reality    is    the 


LIVING  WITHOUT  OUR  IMPORTS 

Nuremberg  of  the  United  States.  There  Mason  and  Parker  have 
increased  their  output  fifty  per  cent,  during  the  past  few  weeks. 
Atherton  D.  Converse,  acting  head  of  the  house  of  Morton  E.  Con- 
verse and  Son,  the  most  extensive  toy  factory  in  the  world,  said 
recently : 

"Except  in  mechanical  toys  of  the  cheapest  sort,  we  shall  have 
no  real  shortage  in  the  quantity  of  our  Christmas  toys.  If  we  cannot 
get  the  materials  to  make  the  Noah's  ark  roof  blue  we  can  make 
it  brown." 

Much  has  been  said  recently  about  the  shortage  of  manganese 
ore  and  its  effect  upon  the  iron  and  steel  industry.  While  it  is  true 
that  most  of  our  ferro-manganese  comes  from  Europe,  there  are  ex- 
tensive deposits  in  North  Carolina  and  Tennessee  which  have  been 
neglected  because  of  the  cheaper  imported  product.  Importations 
are  no  longer  cheap,  and  action  has  already  been  taken  to  develop 
a  domestic  supply. 

Secretary  Lane,  who  has  charge  of  Uncle  Sam's  minerals,  said 
recently : 

"We  have  a  great  store  of  manganese  in  this  country  which 
has  been  largely  untouched  because  it  is  somewhat  inferior  in 
quality.  To  bring  this  home  supply  into  use  means  merely  the 
adoption  of  methods  for  its  purification  which  are  known  and  can 
be  successfully  used,  and  then  we  can  continue  making  manganese 
steel  without  regard  to  foreign  wars  or  sources  of  material." 

The  United  States  has  long  been  a  large  importer  of  glass  and 
glassware  from  Belgium  and  Germany.  The  effect  of  the  war  and 
the  opportunity  offered  our  own  industry  are  well  illustrated  by  a 
recent  dispatch  from  Kane,  Pennsylvania,  headquarters  for  our 
domestic  industry.     It  is  as  follows: 

"The  window  and  plate  glass  manufacturers  are  receiving  an 
increased  volume  of  business.  In  this  city  ....  every  plant 
is  operating  at  full  capacity,  this  being  the  first  time  in  history  that 
all  the  plants  have  operated  so  late  in  the  season." 

There  is  some  difference  of  opinion  as  to  whether  the  glass  manu- 
facturers will  be  affected  by  the  absence  of  certain  raw  materials. 
Domestic  potash  and  manganese  may  be  needed. 

^"TE  TE  need  have  no  fear  concerning  manganese  and,  if  Secretary 
Y  Y  Lane's  prediction  comes  true,  we  shall  have  a  domestic  sup- 
ply of  potash  before  the  close  of  the  present  year.  The  Geo- 
logical Survey  has  been  spending  thousands  of  dollars  annually  in 
a  search  for  American  potash.  It  has  found  that  the  ash  produced 
from  the  burning  of  kelp,  a  sea  plant  that  is  found  in  abundance 

190 


LIVING  WITHOUT  OUR  IMPORTS 

from  California  to  Alaska,  five  or  six  feet  below  the  surface  of  the 
water,  is  extremely  rich  in  potash.  A  plant  is  being  erected  at  Searles 
Lake,  California,  which  will  have  an  initial  capacity  of  five  tons  a 
day,  but  when  larger  producing  appliances  now  being  constructed 
are  completed,  it  is  expected  that  it  will  be  one  hundred  and  twenty 
tons  a  day.  The  potash  salts  in  Searles  Lake  were  discovered  some 
ten  years  ago  by  C.  E.  Dolbear,  a  chemical  engineer  of  Berkeley, 
California.  Mr.  Dolbear  estimates  that  the  bottom  of  the  lake  con- 
tains enough  potassium  chloride  to  supply  the  United  States  for 
sixteen  years.  In  addition  to  these  sources  there  are  countless  saw- 
dust burners  scattered  throughout  the  United  States,  wasting  the 
ashes  which  are  said  to  contain  a  large  amount  of  potash. 

We  can  grant  the  ability  of  American  glass  manufacturers  to 
secure  both  potash  and  manganese.  They,  therefore,  have  a  wonder- 
ful opportunity  not  only  in  plate  and  window  glass,  but  in  the  opti- 
cal glass  field  as  well.  The  cheapness  of  European  blanks  for  lenses 
will  not  be  a  handicap,  and  the  war  may  cause  the  creation  of  a  new 
industry  here. 

Since  the  war  began  it  was  learned  that  several  of  the  glass  manu- 
facturers in  this  country  have  adopted  the  suggestion  of  the  opticians 
and  have  actually  started  meltings  in  the  hope  of  producing  optical 
glass  that  will  come  up  to  the  required  standards,  and  thus  meet 
the  present  demand.  Making  due  allowance  for  delays  in  experi- 
mentations, our  opticians  expect  to  see  within  a  few  weeks  some 
samples  of  American-made  optical  glass.  The  chief  technical  dif- 
ficulty is  in  getting  the  glass  entirely  clear,  without  color,  of  uniform 
density,  and  free  from  the  silk-like  threads  known  as  striae.  These 
striae  are  seen  on  expert  scrutiny  in  all  ordinary  glassware,  and  there 
is  no  objection  to  them  except  in  optical  glass. 

One  of  the  chief  difficulties  confronting  the  domestic  manufac- 
turers of  high  grade  china  and  fine  stationery  has  been  the  scarcity 
of  kaohn,  a  mineral  substance,  snow  white  in  its  pure  state.  Vast 
deposits  have  recently  been  opened  up  in  Texas,  however,  which 
may  revolutionize  these  industries.  The  clay  has  been  tested  by 
Ohio  china  makers,  and  pronounced  equal  to,  if  not  better  than,  the 
foreign  product.  While  much  of  the  clay  used  in  the  production  of 
pottery  in  this  country  is  imported,  it  is  said  that  local  manufacturers 
have  a  sufficient  supply  to  last  them  for  many  months.  At  the  end 
of  that  period,  providing  it  is  impossible  to  make  importations  from 
abroad,  it  may  be  that  a  sufficient  quantity  can  be  secured  from 
Tennessee,  Florida,  North  Carolina,  and  Delaware  to  make  possible 
a  continuation  of  manufacture. 

Sulphite  pulp  book  and  writing  papers  have  been  imported  from 

191 


LIVING  WITHOUT  OUR  IMPORTS 

Germany,  Russia  and  Norway.  The  recent  development  of  the 
American  sulphur  industry  and  the  opening  of  the  Texas  kaolin  de- 
posits should  enable  our  paper  manufacturers  to  supply  this  short- 
age.    As  yet  no  definite  steps  have  been  announced. 

In  the  arts  and  crafts  papers  which  are  used  for  fancy  booklet 
covers,  however,  a  substitution  of  domestic  natural  colored  wood 
fibers  for  the  German  dyed  stocks  is  taking  place.  We  have  an  abun- 
dance of  suitable  woods  possessing  sufficient  natural  color  to  supply 
our  needs. 

In  the  field  of  drugs  and  chemicals,  Germany  is  supreme.  For 
example,  virtually  all  of  our  carbolic  acid  comes  from  that  country. 
I  have  it  upon  good  authority  that  there  never  was  a  ton  of  it  manu- 
factured in  the  United  States.  About  twenty-five  per  cent,  of  our 
quinine  comes  from  Germany,  although  we  manufacture  it  here  in 
large  quantities.  However,  the  bark  can  be  imported  direct  from 
South  America  and  the  Dutch  possessions,  and  there  should  be  no 
scarcity  felt  for  the  manufactured  product. 

Glycerine  is  a  contraband  of  war  and  cannot  be  shipped  under 
any  circumstances.  For  some  of  its  uses,  such  as  the  manufacture 
of  printers'  rollers,  syrup  of  molasses  may  be  used  as  a  suitable  though 
inferior  substitute. 

Germany  supplies  the  world  with  such  drugs  as  "Veronal," 
"Irional,"  etc.,  and  there  will  certainly  be  a  shortage  if  the  war  con- 
tinues any  great  length  of  time.  She  also  supplies  us  with  a  great 
part  of  our  coal  tar  preparations  which  are  the  base  of  thousands  of 
medicines,  and  which  occupy  an  important  place  in  the  field  of  chem- 
istry. E.  W.  Parker,  Chief  of  the  Division  of  Mineral  Resources, 
United  States  Geological  Survey,  says  that  the  imports  of  coal  tar 
products  from  Germany  last  year  amounted  to  more  than  eighteen 
million  dollars,  although  we  produce  forty  per  cent,  of  the  world's 
coal.  Our  annual  production  of  coal  tar  products  amounts  to  ap- 
proximately four  million  dollars.     Continuing,  Mr.  Parker  says: 

"There  is  no  reason  why  we  should  not  keep  this  money  at  home 
because,  if  proper  utilization  were  made  of  the  chemical  products 
derived  from  coal,  we  could  secure  from  the  coal  tar  obtained  in  the 
manufacture  of  coal  gas  and  of  coke — and  which  we  now  permit  to 
go  to  waste — all  the  aniline  dyes  and  colors,  the  drugs  and  dozens 
of  chemical  products  which  we  now  obtain  from  Germany." 

Rare  drugs  derived  from  organic  chemicals  and  produced  by 
synthesis  are  manufactured  in  many  places  in  the  United  States  and 
others  could  be  easily  produced  provided  the  industry  could  be  or- 
ganized on  a  scale  sufficiently  large  to  compete  with  the  German 
{Continued  on  Page  221.) 

192 


HOME-MAKING  IN  AMERICA 


3-m.m 


|OME-BUILDING,  in  its  deepest  sense,  is  an  art —  the 
most  important  form  of  individual  human  express- 
ion. Like  every  other  art,  to  achieve  a  satisfying  re- 
sult it  needs  not  only  the  inspiration  of  an  ideal,  but 
also  the  skill  and  patience  to  mold  it  into  concrete 
shape. 

But  many  people,  although  they  look  forward  to 
this  undertaking  with  great  enthusiasm,  neglect  to  prepare  for  it  suf- 
ficiently in  advance.  They  are  apt  to  forget  that  such  an  enterprise 
— one  of  the  most  significant  in  their  lives — should  not  be  postponed 
until  the  eleventh  hour,  or  left  wholly  to  architect  and  builder.  If 
the  ambition  is  not  merely  to  build  a  house,  but  to  create  a  home,  it 
should  be  a  subject  for  practical  consideration  long  beforehand. 
Whether  a  house  is  to  be  built  next  spring  or  years  ahead,  the  time 
to  begin  studying  and  planning  is  now.  Indeed,  even  those  who  have 
no  hope  or  prospect  of  building,  will  find  it  worth  while  at  least  to 
study  the  possibilities  of  this  delightful  subject.  Moreover,  when 
they  once  discover  how  absorbing  is  the  problem,  when  once  their 
deepest  interest  is  awakened  and  they  realize  all  the  comfort  and 
beauty  that  can  be  attained  through  the  building  of  their  own  home, 
they  are  likely  to  feel  that  it  is  really  essential  to  their  life  happiness 
and  development,  and  that  sooner  or  later  they  must  find  some  way 
of  achieving  it.    And  so  the  dream  becomes  a  reality  after  all. 

In  spare  hours  and  moments  lies  the  opportunity  to  store  up  all 
the  information  that  will  help  when  the  time  for  planning  and  build- 
ing is  at  hand.  Future  home-makers  should  start  at  once  to  familiar- 
ize themselves  w^ith  the  first  principles  of  home-building,  and  gather 
ideas  and  suggestions  for  the  arrangement,  design,  construction  and 
interior  finishing  of  their  future  home.  In  this  way  not  only  the 
general  scheme  but  each  little  detail  will  receive  careful  thought; 
every  corner  of  the  house  will  be  planned  for  the  utmost  convenience 
and  permanent  comfort;  every  feature  will  be  designed  from  the 
triple  standpoint  of  utility,  economy  and  beauty.  Only  in  this  way 
can  mistakes  and  disappointments  be  avoided  and  obstacles  over- 
come. 

While  the  subject  is  one  that  can  be  studied  at  any  convenient 
time,  fall  and  winter  seem  essentially  the  seasons  when  spare  hours 
can  be  devoted  with  most  profit  to  this  interesting  task.  With  the 
lengthening  days  comes  the  opportunity  for  these  long-cherished 
dreams  to  take  more  definite  shape.  Around  the  lighted  lamp  on 
long  winter  evenings,  the  future  home-builders  will  find  leisure  to 
work  their  first  vague  plans  into  tangible  form.  Architectural  books 
and  magazines,  building  catalogues  and  house  plans  will  supplement 
(Continued  on  Page  225.) 

193 


lb 


RETURN  OF  THE  MARKET  BASKET:  HOW 
FARMERS  AND  HOUSEWIVES  MAY  REDUCE 
THE  COST  OF  LIVING  BY  THE  SPREAD  OF 
FREE   MARKETS  IN   AMERICA 

jT  is  a  matter  of  national  interest  that  the  present 
high  cost  of  Uving  may  be  lowered  by  the  opening  of 
free  markets  throughout  the  country — markets  that 
will  bring  farmer  and  housekeeper  into  direct  relation. 
The  plan  has  already  been  tested  in  a  number  of  places, 
the  most  notable  of  these  experiments  being  the 
recently  established  open  markets  of  New  York.  So 
enthusiastically  have  they  been  received,  that  not  only  is  their 
own  local  success  assured,  but  they  have  already  inspired  similar 
achievements  in  neighboring  towns,  and  have  set  an  example  by 
which  the  whole  country  may  profit. 

Each  day  brings  to  light  some  striking  instance  of  the  actual 
saving  the  free  market  has  brought.  One  man  and  his  wife  have 
been  able  to  take  their  two  children  from  a  city  institution  and 
support  them  at  home — thanks  to  the  Fort  Lee  Ferry  market  and  its 
low-priced  foods.  Another  significant  statement  comes  from  a  house- 
wife who  has  patronized  the  same  market  ever  since  it  began.  "I 
find,"  she  says,  "that  I  have  been  filling  the  larder  with  better  vege- 
tables and  fruits,  and  saving  on  an  average  six  dollars  and  a  half  a 
week!" 

A  visit  to  Fort  Lee  Ferry  market  in  New  York  showed  that 
farmers  and  housewives  had  entered  the  campaign  with  zeal.  In 
the  crisp  morning  air,  under  a  sunny  September  sky,  this  market- 
place beside  the  Hudson  was  a  picturesque  and  satisfying  sight, 
and  for  an  enterprise  that  had  been  started  only  a  few  weeks  before, 
its  activity  was  most  encouraging.  Lined  up  along  the  cobblestones 
stood  the  farmers'  wagons,  from  Westchester  County,  from  Long 
Island,  from  New  Jersey,  loaded  with  the  freshest  produce  of  or- 
chard, garden  and  field.  And  although  the  inevitable  peddlers  and 
hucksters  were  also  there,  with  well-laden  pushcarts  and  stalls,  the 
farmers  and  their  produce  had  the  center  of  the  stage  for  once. 

The  freshly  gathered  fruit  and  vegetables  looked  so  wholesome 
and  inviting  that  the  owners  did  not  need  to  proclaim  their  luscious 
quality.  Placards  were  everywhere  setting  forth  the  reasonable 
and  often  amazingly  low  price.  Fresh  green  corn,  plump  round 
cabbages  and  cauliflowers,  dark  green,  shining  peppers  and  rich 
purple  grapes,  all  at  farmers'  prices,  fairly  coaxed  one  to  purchase. 
The  fine  ripe  peaches,  big  red  apples  and  crimson  tomatoes  also 
formed  a  colorful  and  tempting  array.  Butter  and  eggs,  too,  were 
at  figures  that  caught  the  thrifty  housewife's  interest,  while  meat, 
194 


THE  MARKET  BASKET   AND  CHEAPER  LIVING 

fish  and  poultry,  thirty  or  forty  per  cent,  below  store  prices,  showed 
the  advantage  of  bringing  producer  and  consumer  into  this  close 
contact. 

Evidently  the  people  of  the  neighborhood  appreciated  the  oppor- 
tunity for  there  was  a  continuous  stream  of  purchasers.  House- 
wives of  all  ages  and  nationalities  were  there,  eager  to  take  advantage 
of  this  chance  for  fresh,  low-priced  food.  Bare-headed,  check- 
aproned  marketers  mingled  with  smartly  dressed  women  from  the 
nearby  Drive.  And  those  who  stepped  from  their  carriages  and 
automobiles  were  just  as  eager  as  the  busy  women  who  had  come 
by  street  car,  subway  and  "L."  Some  had  market  baskets  on  their 
arms;  others  carried  leather  bags,  string  bags,  even  suitcases!  One 
enterprising  man  did  a  thriving  business  selling  bags  to  those  who 
had  come  inadequately  armed. 

One  of  the  farmers  apologized  for  the  lack  of  a  great  crowd  so 
early  in  the  morning.  "It's  a  bit  early  for  them  yet,"  he  explained. 
"The  women  have  to  get  breakfast,  send  their  husbands  off  to  work 
and  the  children  to  school,  so  most  of  them  can't  get  here  much  be- 
fore nine  o'clock.  Saturday's  the  best  day,  of  course.  Last  Saturday 
I  guess  there  was  two  thousand  people  here  when  the  market  opened ! 
Another  thing,"  he  added,  "the  men  all  seem  to  take  a  pride  in 
keeping  the  place  tidy.  They  clean  up  their  stands  when  they  leave, 
and  they're  always  ready  to  help  each  other.  Ah — here  comes  a 
lady  who  bought  of  me  the  first  day  the  market  opened!"  And  he 
turned  to  wait  on  her  with  a  friendly  smile. 

The  customers,  too,  were  enthusiastic.  One  stout  old  lady,  puff- 
ing toward  a  crosstown  car,  laden  with  bulging  bags  of  poultry, 
apples  and  corn,  remarked,  "Yes,  I  know  there's  the  carfare,  but  I 
consider  I  save  that  and  a  good  deal  more.  Wliy,  I  bought  a  leg 
of  lamb  the  other  day  for  eighty  cents  that  would  have  cost  me  a 
dollar  or  more  at  the  store!" 

Friendly  policemen  were  there  to  keep  a  fatherly  eye  on  the  pro- 
ceedings; foodstuffs  were  inspected  by  the  Department  of  Health, 
and  scales  by  the  Bureau  of  Weights  and  Measures,  so  that  the  public 
was  pretty  sure  of  getting  fair  play. 

A  visit  to  the  Harlem  Bridge  market  also  proved  very  interesting. 
Here,  however,  the  main  purpose  had  not  yet  been  reahzed,  for 
peddlers  and  hucksters  predominated  and  only  a  few  farmers'  wagons 
were  to  be  seen.  Pushcarts  with  fruits  and  vegetables  appetizing 
in  appearance  and  moderate  in  price  were  lined  up  along  the  curb, 
beneath  the  shadow  of  the  thundering  "L,"  out  in  the  open,  sunlit 
spaces,  and  under  the  spacious  shelter  of  the  bridge.  In  the  latter 
place,  stands,  stalls  and  counters  of  various  kinds  had  been  erected 

195 


THE   MARKET   BASKET   AND   CHEAPER  LIVING 

for  the  display  and  sale  of  produce,  and  provision  had  been  made 
for  storing  meat,  fish,  butter  and  eggs.  Here  again  the  string-bag 
man  was  in  evidence,  and  another  individual  with  a  good  eye  for 
business  had  erected  a  lunch  counter  that  was  well  patronized. 

One  of  the  most  striking  features  of  the  Harlem  market  was 
the  home-made  bread  stand.  Here  a  big,  jovial  man  and  his  tiny, 
pleasant-voiced  helpmate  were  wrapping  large  delicious-looking 
loaves  for  the  eager  customers  who  clustered  round  the  stall.  And 
no  wonder  the  supply,  "fresh  twice  a  day,"  found  ready  market! 
What  housewife  would  not  be  glad  to  buy  a  twenty -three  ounce  loaf 
for  the  small  sum  of  six  pennies,  or  one  half  that  size  for  three? 
"WTby,  we  have  people  come  in  'way  from  Westchester,  with  big 
pillow  slips  to  take  home  all  they  can  get!"  said  the  httle  woman 
behind  the  counter.  "They  come  from  Yonkers  and  PeUiam  and 
even  Long  Island,  and  when  the  hot  bread  gets  here  at  two  o'clock 
we  can  hardly  take  it  off  the  pushcart  onto  the  counter,  there's  so 
many  want  to  buy!" 

On  the  whole,  the  spirit  of  the  free  markets  was  one  of  friendly 
interest  and  cooperation.  Mixing  with  the  busy  crowds  among  the 
stalls  and  wagons,  chatting  with  friendly  housewives  and  good- 
natured  farmers,  one  felt  that  aside  from  its  practical  value,  there 
was  a  certain  picturesque  and  human  quality  about  the  scene. 
How  much  more  satisfactory,  too,  to  start  out,  basket  on  arm,  and 
buy  beans  or  onions,  celery  or  tomatoes,  right  off  the  farmer's 
wagon,  than  to  get  them  at  some  conventional  store  or  order  them 
coldly  and  impersonally  over  the  telephone!  There  is  something 
fresh  and  inspiring  about  a  marketplace.  Potatoes  bought  from  the 
man  who  grew  them  seem  to  hold  more  of  the  flavor  of  the  soil.  A 
talk  with  the  farmer  as  he  wraps  up  the  radishes  and  beets  seems 
to  bring  one  into  closer  contact  with  the  country  and  all  its  good, 
earth-grown  things.  One  feels,  even  while  returning  to  the  city 
apartment,  not  quite  so  remote  from  the  great  Nature-source  upon 
which  even  the  most  self-sufficient  city-dweller  ultimately  depends. 

The  return  of  the  market  basket  to  its  rightful  place  among 
American  housewives  will  bring  back  something  of  their  lost  heritage, 
and  quicken  their  interest  in  wholesome,  democratic  things.  Surely 
they  will  better  appreciate  the  importance  of  the  farmer  as  the 
nation's  great  producer,  and  try  to  cooperate  with  him  in  securing 
a  more  friendly,  profitable  and  efficient  distribution  of  his  produce. 
The  farmer,  too,  may  gain  much  from  such  contact  with  the  city 
and  its  people.  To  discuss  the  effect  of  last  month's  drought  or 
rain,  the  prospects  of  crops  or  the  price  of  poultry,  with  customers 
(  Continued  on  Page  203.) 

196 


THOMAS     CARLISLE    AND    THE    THIRTY 
SOLDIERS  OF  DUMDRUDGE 

j^HAT  tremendous  glowing  subject  War  has  at  one 
time  or  another  inspired  most  of  the  world's  great 
writers.  Its  devastating  horror  has  been  often  ex- 
pressed— the  tragic  irony  that  lies  behind  its  seeming 
splendors,  and  the  sad  futihty  of  arguments  that  seek 
to  justify  its  existence  in  a  so-called  civilized  age. 
Perhaps  few  have  registered  their  conviction  with 
more  forcible  simphcity  than  Thomas  Carhsle.  In  three  blunt, 
vigorous  paragraphs  in  his  "Sartor  Resartus"  this  clear-sighted 
thinker  has  told  us  what  he  thinks  of  the  religion  of  the  sword.  He 
has  shown  us  the  utter  inconsistency  of  its  principles,  the  terrible 
absurdity  of  its  methods,  and  the  hideous  brutahty  of  its  results. 

These  words  of  Carlisle's  are  quoted  below.  We  have  omitted 
his  reference  to  specific  nationalities,  because  at  the  present  moment 
the  countries  he  mentioned  are  fighting  side  by  side.  But  as  a 
general  indictment  of  war  and  its  methods,  his  message  rings  at  this 
moment  with  the  same  clarion  truth  as  when  it  was  first  uttered. 

"What,"  he  says,  "speaking  in  quite  unofficial  language,  is  the 
net  purport  and  upshot  of  war?  To  my  knowledge,  for  example, 
there  dwell  and  toil,  in  the  village  of  Dumdrudge,  usually  some 
five  hundred  souls.  From  these  there  are  successively  selected, 
during  the  war,  say  thirty  able-bodied  men.  Dumdrudge,  at  her 
own  expense,  has  suckled  and  nursed  them;  she  has,  not  without 
difficulty  and  sorrow,  fed  them  up  to  manhood,  and  even  trained 
them  to  crafts,  so  that  one  can  weave,  another  build,  another  hammer, 
and  the  weakest  can  stand  under  thirty  stone  avoirdupois.  Never- 
theless, amid  much  weeping  and  swearing,  they  are  selected;  dressed 
in  red;  shipped  away,  at  the  pubUc  charges,  some  two  thousand  miles 
or  say  only  to  the  south  of  Europe;  and  fed  there  till  wanted. 

"And  now  to  that  same  spot  are  thirty  similar  foreign  artisans, 
from  a  foreign  Dumdrudge,  in  like  manner  wending;  till  at  length, 
after  infinite  effort,  the  two  parties  come  into  actual  juxtaposition; 
and  Thirty  stands  fronting  Thirty,  each  with  a  gun  in  his  hand. 

"Straightway  the  word  'Fire!'  is  given,  and  they  blow  the  souls 
out  of  one  another,  and  in  place  of  sixty  brisk  useful  craftsmen, 
the  world  has  sixty  dead  carcases,  which  it  must  bury,  and  anon 
shed  tears  for.  Had  these  men  any  quarrel?  Busy  as  the  devil 
is,  not  the  smallest !  They  lived  far  enough  apart;  were  the  entirest 
strangers;  nay,  in  so  wide  a  universe,  there  was  even,  unconsciously, 
by  commerce,  some  mutual  helpfulness  between  them.  How  then? 
Simpleton!  their  governors  had  fallen  out;  and  instead  of  shooting 
one  another  had  the  cunning  to  make  these  poor  blockheads  shoot." 

197 


A  CRAFTSMAN  BUNGALOW 
WITH  GLASS-ROOFED  GAR- 
DEN ROOM 

THE  bungalow  has  been  so  effectually 
adopted  in  this  country  as  a  type  of 
American  architecture,  that  its  Asi- 
atic origin  seems  a  long  way  off.  It 
is  interesting,  however,  to  trace  in  both  the 
building  and  its  name  the  Eastern  ancestry. 
In  India,  and  generally  throughout  the  Ori- 
ent, a  bungalow  was  a  detached  house  or 
cottage,  usually  one  story  high,  built  of  un- 
baked bricks,  covered  with  a  roof  of  tile  or 
thatch,  arranged  with  the  rooms  opening 
out  of  a  central  hall  or  court,  and  having  a 
veranda  on  one  or  more  sides — frequently 
all  around.  It  might  be  a  private  dwelling, 
military  quarters,  or  a  government  rest 
house  for  travelers ;  it  was  large  or  small, 
simple  or  pretentious,  according  to  its  pur- 
pose. And  the  Anglo-Indian  name  came 
from  the  Hindu  bangla,  literally  "of  Banga 
(Bengal)." 

We  find  this  low-roofed,  homelike  type 
of  building  in  many  other  lands,  and  in  its 
adaptation  to  the  varying  climates,  the  local 
needs  and  customs  of  the  people,  it  has 
passed  through  many  stages  of  development 
and  found  expression  in  countless  forms. 
Especially  is  this  true  in  our  own  country. 
Most  of  our  modern  architects  have  felt 
comparatively  free  from  the  traditions  of  an 
older  civilization,  and  thus  have  allowed 
their  fancies  freer  rein.  Under  their  in- 
genious hands  the  bungalow  plan  has  proved 
delightfully  elastic,  capable  of  many  varia- 
tions to  meet  individual  and  local  needs.  A 
wide  range  has  been  achieved  in  structural 
materials,  interior  arrangement  and  exterior 
design.  Living  porches  and  patios,  out- 
door dining  rooms,  sleeping  balconies,  sun- 
rooms  and  pergola-covered  shelters  have 
added  to  the  semi-outdoor  living  space ; 
great  open  fireplaces  and  cozy  inglenooks, 
built-in  seats  and   furnishings  and  various 


practical  and  decorative  forms  of  structur- 
al woodwork  have  given  the  rooms  an  at- 
mosphere of  genial  comfort  and  charm. 
And  with  the  absence,  in  many  instances,  of 
staircase  and  second  story,  the  housework 
has  been  simplified  to  a  remarkable  degree. 

In  fact,  the  possibilities  for  originality 
seem  endless  when  one  is  dealing  with  the 
bungalow  style,  especially  in  the  provision 
for  open  or  sheltered  outdoor  retreats — 
those  friendly  "architectural  hyphens"  that 
link  garden  and  house  into  a  pleasant 
whole. 

In  planning  Craftsman  bungalows,  we 
have  tried  to  take  advantage,  as  much  as 
possible,  of  this  chance  for  unique  arrange- 
ments, without  sacrificing  the  comfort  and 
practicality  of  the  plans.  Indeed,  we  have 
found  that  as  a  rule  it  is  by  laying  out  the 
rooms  with  very  practical  aims,  and  contriv- 
ing to  adjust  each  detail  with  a  view  to  the 
utmost  convenience  and  comfort,  that  un- 
usual and  interesting  results  are  most  likely 
to  be  forthcoming. 

For  instance,  in  the  present  bungalow 
(No.  195)  the  main  idea  was  to  provide  a 
central,  glassed-in  living  place  that  would 
be  sufficiently  protected  for  use  all  the  year 
round,  and  would  have  windows  all  along 
one  side  which  could  be  thrown  open  during 
warm  weather.  Around  this,  the  living 
rooms,  kitchen  and  servant's  quarters  and 
the  family  sleeping  rooms  were  to  be 
grouped  in  such  a  fashion  that  each  section 
would  be  separated  from  the  others.  This 
arrangement  has  so  many  attractive  points 
that  a  little  study  of  the  floor  plan  and  two 
perspective  views  is  likely  to  repay  the  pros- 
pective home-builder  to  whom  this  type  of 
dwelling  appeals. 

THE  bungalow,  which  is  shown  here  of 
stone  with  slate    or    shingle    roof,    is 
intended  to  face  the  east,  as  this  will 
insure   morning   sunlight    for   kitchen    and 
dining  room  as  well  as  library  and  Hving 


Gnslav  Stickiey,  Architect. 


CRAFTSMAN  FIELD-STONE  BUNGALOW,  NO.  19-5:  A  SPACIOUS,  COMFORTABLY  PLANNED 
AND  WELL-EQUIPPED  HOME,  ESPECIALLY  SUITABLE  FOR  COUNTRY  SURROUNDINGS  : 
THE  MOST  ATTRACTIVE  AND  UNUSUAL  FEATURE  IS  THE  CENTRAL  GLASS-COVERED 
COURT  OR  GARDEN  AROUND  WHICH  THE  OTHER  ROOMS  ARE  PLANNED,  AND  WHICH 
PROVIDES  A  DELIGHTFUL  PLACE  FOR  SEMI-SHELTERED  LIVING  IN  SUMMER:  IN 
WINTER    IT   CAN    BE    USED   AS   A    SUNROOM. 


Giista7'  StiL-kley.  Architect. 


THE  REAR  VIEW  OF  CRAFTSMAN  BUNGALOW  NO.  195  IS  SHOWN  HERE:  IN  THE 
CENTER  IS  THE  BIG  WINDOW  GROUP  AND  GLASS  ROOF  OF  THE  COVERED  GARDEN,  AND 
IN  THE  WINGS  ON  EITHER  SIDE  ARE  THE  SERVICE  AND  SLEEPING  QUARTERS:  THE 
FLOOR  PLAN  ON  THE  OPPOSITE  PAGE  INDICATES  HOW  PRACTICAL  THIS  ARRANGE- 
MENT  OF   THE   INTERIOR    WILL   PROVE. 


CRAFTSMAN  HOUSE  WITH   WINTER  GARDEN-ROOM 


room,  and  the  latter  will  also  receive  sun- 
shine later  in  the  day  through  the  glass 
doors  and  roof  of  the  covered  garden  at 
the  rear.  The  bay  windows  of  the  dining 
room  and  library  also  provide  variety  of 
exposure  as  well  as  outlook,  at  the  same 
time  recessing  the  entrance  somewhat — a 
device  that  always  gives  an  inviting  touch 
to  the  building  as  one  approaches.  The 
space  between  the  bay  windows  has  been 
utilized  for  a  terrace,  which  forms  a 
gradual  transition  from  garden  to  house 
and  erbphasizes  the  entrance  in  a  simple 
way,  while  the  roof  projecting  as  a  hood 


this  is  planted  with  flowers,  shrubs  and 
vines,  and  provided  with  a  few  simple,  ser- 
viceable willow  furnishings  and  grass  rugs, 
on  a  floor  of  cement,  brick  or  tile,  it  will  not 
only  form  a  delightful  garden-living-room, 
but  will  also  provide  pleasant  glimpses  and 
vistas  for  almost  every  room  in  the  house. 
The  dining  room  will  be  exceptionally 
cheerful  with  its  three  window  groups  and 
the  wide  opening  into  the  large  central 
room,  while  the  library  on  the  other  hand 
is  made  hospitable  by  an  open  fireplace  on 
each  side  of  which  bookcases  are  built  into 
the   wall.       As    this   fireplace   can   be   seen 


FLOOR   PLAN   OF   CRAFTSMAN   FIELD-STONE   BUNGALOW,    NO.    195. 


above  the  front  door  gives  shelter  from  the 
weather. 

The  plan  of  the  interior  results  in  a  some- 
what irregular  contour  for  the  outer  walls, 
a  point  especially  desirable  in  a  building 
that  covers  so  large  an  area — and  the  roof 
lines  also  are  pleasing  to  the  eye.  The  glass 
windows  and  top  of  the  covered  garden  at 
the  back  make  an  interesting  break  in  the 
exterior. 

From  the  front  terrace  one  enters  direct 
into  the  big  light  living  room,  at  the  rear 
of  which  are  three  pairs  of  glass  doors 
opening  out  into  the  glassed-in  court.      If 


from  the  other  two  rooms,  it  really  adds  a 
note  of  friendliness  and  good  cheer  to  the 
whole  front  part  of  the  bungalow. 

If  the  plan  were  used  for  a  larger  fam- 
ily than  the  one  in  mind  here,  and  another 
bedroom  were  needed,  the  space  now  de- 
voted to  the  library  might  be  utilized  for 
that  purpose  and  arranged  to  open  out  of 
the  hall.  In  this  case,  the  chimneypiece 
and  bookcases  now  indicated  in  the  library 
might  be  built  instead  in  the  left-hand  wall 
of  the  living  room. 

The  placing  of  the  sleeping  and  service 
quarters  on  opposite  sides  of  the  house,  each 


PROTECTING   HARDY  PLANTS 


shut  away  from  the  rest  of  the  rooms,  is 
one  of  the  most  satisfactory  features  of  the 
plan.  On  the  right  is  the  large  kitchen  with 
its  two  built-in  dressers  and  the  sink  and 
table  by  the  windows  where  they  will  get 
plenty  of  light,  while  the  pantry,  equipped 
with  sink,  ice-box  and  generous  cupboards, 
forms  a  means  of  access  to  both  dining 
room  and  covered  garden.  (The  latter  will 
no  doubt  be  often  used  as  a  place  for 
meals.)  Behind  the  kitchen  is  a  small 
service  porch  which  afifords  a  convenient 
entrance  for  tradespeople,  and  nearby  is  a 
good-sized  closet  and  the  cellar  stairs.  The 
maid's  room  and  bath  are  at  the  rear,  so 
that  she  will  have  her  own  little  private 
apartment. 

In  the  left  wing  are  the  three  bedrooms 
and  bath  for  the  family,  with  plenty  of  clos- 
ets, including  one  for  linen  in  the  hall.  Each 
bedroom  has  windows  on  two  sides,  so  that 
ample  ventilation  is  provided,  and  the  hall 
likewise  has  a  double  window  opening  onto 
the  covered  garden.  The  bathroom,  it  will 
be  noticed,  communicates  with  both  the  hall 
and  the  front  bedroom,  but  if  this  extra 
door  is  not  desired  the  space  can  be  added 
to  the  closet. 

In  planning  the  layout  of  the  grounds, 
very  picturesque  effects  can  be  gained  by  a 
repetition  of  the  field  stone  in  a  low  wall 
around  the  garden,  along  the  edges  of  the 
paths  or  in  a  terrace  bank.  It  would  be  a 
delightful  plan,  moreover,  to  build  a  stone 
fountain  in  the  center  of  the  covered  gar- 
den, or  possibly  a  rockery  where  ferns 
transplanted  from  some  neighboring  wood 
might  add  their  note  of  rustic  charm  to  the 
place.  In  fact,  there  are  many  ways  in 
which  a  home  of  this  sort  can  be  brought 
into  harmonious  relation  with  its  surround- 
ings, and  given  those  little  intimate  touches 
that  make  both  interior  and  exterior  a 
source  of  perpetual  joy  to  the  owners. 

HOW  AND  WHEN  TO  PROTECT 
HARDY  PLANTS,  SHRUBS  AND 
VINES  FOR  WINTER:  BY  ADE- 
LINE THAYER  THOMSON 

JUST  ho7v  and  zvhen  to  cover  the  peren- 
nial plants,  shrubs  and  vines  that  they 
may  be  safe  from  the  ravages  of  win- 
ter, troubles  many  a  worshiper  of  the 
garden  at  the  approach  of  fall.     There  is, 
indeed,  reason  for  anxiety  on  this  question, 
for  a  large  per  cent,  of  valuable  hardy  stock 


is  sacrificed  needlessly  each  season  because 
of  ignorance  on  the  part  of  the  grower. 

That  perennials  need  protection  in  the 
fall  is  a  fact  pretty  generally  understood, 
such  information  being  touched  upon  in  al- 
most all  of  the  seed  catalogues.  On  account 
of  this  very  bit  of  wisdom,  however,  more 
plants  perish  under  a  thick  covering  of 
manure  or  litter  than  actually  succumb 
from  too  scanty  shelter.  Now,  to  use  ma- 
nure as  a  mulch  is  all  right,  but  there  is  a 
right  and  a  wrong  way  of  employing  it ;  the 
time  it  is  spread  and  the  state  of  the  ma- 
nure, constituting  all  the  difference  in  the 
world  as  to  whether  the  eiifect  on  the  plants 
will  be  good  or  bad. 

It  is  never  safe  to  mulch  hardy  stock  with 
manure  until  after  the  ground  freezes. 
Even  then,  it  should  be  well  rotted,  rest 
upon  a  foundation  of  dry  leaves  and  either 
be  raked  ofif  in  early  spring  or  at  that 
time  dug  well  into  the  soil  about  the 
plants.  Most  hardy  varieties  possess  top 
growth  until  after  freezing  weather.  To 
cut  ofif  all  air  and  sunshine,  therefore,  with 
any  kind  of  an  impervious  coating  before 
growth  becomes  dormant  either  smothers 
life  entirely,  as  has  already  been  said,  or 
induces  rapid  and  sure  decay  of  root  devel- 
opment. When  life  in  the  stalk,  on  the 
other  hand,  has  been  checked  by  a  hard 
freeze,  manure  may  be  used  to  great  advan- 
tage, for  it  not  only  provides  a  warm  and 
safe  covering,  keeping  the  plants  secure 
from  thawing  upheavals  throughout  the 
winter,  but  the  fertilizing  qualities  of  the 
manure  soaked  into  the  soil  by  the  melting 
snow,  ice  and  rain  of  early  spring,  stimu- 
late the  plants  to  a  stronger  and  thriftier 
growth  the  following  season.  There  are 
two  or  three  varieties  among  the  hardy 
garden  plants  which  resent  the  manure 
mulch — the  foxglove,  canterbury-bell,  hol- 
lyhock and  the  iris  family  thriving  only  un- 
der a  covering  of  leaves  or  dry  litter,  their 
crowns  exposed  to  the  air. 

A  three  or  four  inch  covering  of  leaves 
raked  from  the  lawn  will  also  furnish  a 
safe  shelter  for  all  hardy  stock.  Indeed, 
many  gardeners  prefer  this  mulch  to  any 
other,  using  a  dry  commercial  fertilizer  or 
the  rotted  manure  for  enriching  purposes 
in  the  spring.  The  leaf  mulch  may  be 
started  earlier  in  the  fall,  as  this  is  a  shelter 
perfectly  porous  in  nature.  The  first  frost 
is  a  good  warning.  Yet,  much  the  safest 
plan  to  follow  is  to  start  operations  when 
Dame    Nature    commences    in    earnest    to 


THE   MARKET  BASKET  AND   CHEAPER  LIVINjG 


spread  over  the  earth  her  thick  brown  cov- 
erlet of  leaves,  as  frost  ofttimes  is  belated 
and  severe  weather  sets  in  immediately  af- 
terward. As  early  as  mid-October  and  not 
later  than  the  second  week  in  November 
should  find  the  perennials  tucked  away  for 
their  long  winter's  sleep. 

Regarding  the  protection  of  vines,  a  close 
warm  mulch  about  their  roots  (preferably 
of  manure)  generally  is  all  that  is  needed. 
The  long  branches  of  the  tender  climbing 
roses,  however,  winter  in  better  condition 
if  they  are  released  from  their  supports, 
laid  flat  on  the  ground  and  covered  well 
with  leaves  or  coarse  litter.  The  hinged 
supports  now  on  the  market  for  hardy 
vines  will  be  found  very  convenient  for 
tender  varieties  that  need  ground  covering. 

To  be  sure,  it  takes  time  and  forethought 
to  care  for  the  perennials  in  the  fall.  But, 
after  all,  what  is  there  in  life  worth  having 
that  does  not  require  both  ?  To  plant  and 
to  be  happily  successful  for  one  season  is 
joy  indeed  to  the  flower  lover.  But  to  be 
able  to  greet  the  same  old  favorites  year 
after  year  at  the  return  of  spring  is  a  sweet 
privilege  that  repays  a  thousandfold  for  all 
of  the  paltry  time  and  work  that  were  ex- 
pended in  bringing  such  beauty  to  pass. 


RETURN  OF  THE  MARKET 
BASKET 

{Continued  jiom  page  196.) 

to  whom  he  sells  his  produce  in  person — 
this  lends  an  interest  to  the  day's  trip  that 
would  be  lacking  in  a  lump  disposal  of  his 
load  to  a  wholesale  firm.  By  bringing  his 
produce  to  the  market  and  selling  it  at 
retail  to  the  housew'ife  herself,  he  has  not 
only  saved  money  for  them  both,  and  in- 
sured a  delivery  of  fresh  food  to  the  very 
kitchen  where  it  will  be  prepared,  but  he 
has  also  helped  to  establish  a  closer  bond 
of  sympathy  and  understanding  between 
city  and  country.  He  has  paved  the  way 
for  a  more  efficient  adjustment  of  the  laws 
of  production  and  distribution,  demand  and 
supply. 

After  all,  it  is  only  natural  that  such 
contact  should  be  established  through  the 
marketplace.  Ever  since  men  and  women 
first  came  together  for  barter  and  exchange 
of  wares,  this  was  the  place  of  meeting — a 
social  and  political  as  well  as  commercial 
center.  Legends,  customs  and  traditions 
climg  about  it ;  th"  pavements  and  cobble- 
stones, stalls  and  bazars,  merchants  and 
merchandise    were    all    invested     with    an 


CITY   HOUSEWIVES   AT  THE   NEW   YORK   FREE   MARKETS. 

203 


THE  MARKET  BASKET  AND   CHEAPER  LIVING 


HIS  FIRST  DAY 


atmosphere  of  prestige  and  romance.  It 
was  an  integral  and  vital  part  of  the  lives 
and  thoughts  and  activities  of  the  people. 
In  its  well-worn  stones  the  very  pulse  of 
the  city  beat. 

Those  who  believe  in  closer  cooperation 
between  city  and  country,  housewife  and 
farmer,  have  therefore  welcomed  New 
York's  recent  innovation  of  the  open 
market  system,  and  are  watching  its  growth 
with  keen  interest.  There  are  four  of  these 
markets  at  present — at  Fort  Lee  Ferry,  and 
at  the  Harlem,  Manhattan  and  Queensboro 
bridges.  And  in  spite  of  the  short  time 
they  have  been  installed,  and  the  dif^culties 
their  organizers  have  had  to  contend  with, 
the  results  have  been  so  successful  that 
Jersey  City  and  Tompkinsville,  Staten 
Island,  have  followed  suit,  while  Brooklyn 
and  the  Bronx  are  contemplating  a  similar 
adventure. 

New  York's  four  free  markets  were 
opened   Tuesday,    September    first.     They 

204 


were  the  combined  result  of 
the  efforts  of  the  Housewives' 
League  and  various  city  of- 
ficials, including  Mayor  Mitchel 
and  Borough  President  Marks. 
The  idea  was  to  establish,  at 
convenient  points,  open  mar- 
kets for  foodstuffs  where  all 
who  wished  to  display  their 
wares  could  do  so  without  the 
expense  and  red-tape  of  ob- 
taining licenses.  The  main  ob- 
ject was  to  provide  a  place 
where  farmers,  vegetable  gar- 
deners, poultrymen  and  dairy- 
men could  bring  their  produce 
from  the  country  and  sell  it  di- 
rect to  the  public.  This  would 
eliminate  both  intermediate 
profits  and  needless  handling 
of  food.  And  as  the  farmer 
would  be  able  to  sell  his  prod- 
uce below  the  average  retail 
price,  while  still  making  a 
greater  profit  for  himself  than 
formerly,  both  producer  and 
consumer  would  be  benefited 
and  the  high  cost  of  living  re- 
duced. 

To  interest  local  farmers  in 
the  undertaking,  two  hundred 
telegrams  were  sent  out,  urg- 
ing them  to  join  the  movement 
and  bring  their  produce  to  the 
free  markets  on  the  opening  day.  Many 
replies  and  promises  were  received,  and 
although  the  number  of  farmers  who  ap- 
peared was  not  so  large  as  the  organizers 
had  hoped,  the  succeeding  days  and  weeks 
revealed  decided  improvement.  At  the  time 
of  writing,  the  last  week  showed  an  in- 
crease of  33^%  in  the  volume  of  business 
over  the  week  before. 

Housewives,  too,  were  notified  and  urged 
to  cooperate  for  their  personal  advantage 
as  well  as  for  the  general  good.  Over  four 
hundred  of  them  appeared  at  Fort  Lee 
Ferry  the  second  day.  Recent  Saturdays 
have  brought  them  in  several  thousand 
strong,  armed  with  the  good  old  democratic 
market  basket  (or  its  equivalent),  which 
seems  to  be  coming  into  its  own  again. 
For  those  who  come  a  long  distance,  or 
purchase  more  than  one  pair  of  arms  can 
carry  home,  a  moderate-priced  delivery 
system  is  provided. 

On  several  occasions  farmers  sold  out 
their  wagon  loads  so  early  that  they  were 


THE   MARKET  BASKET  AND  CHEAPER  LIVING 


able  to  return  with  a  second 
load  the  same  day.  At  the  Fort 
Lee  Ferry  market  one  farmer 
sold  sixteen  hundred  ears  of 
corn  at  retail ;  another  disposed 
of  six  hundred  bunches  of 
celery  ;  still  another  sold  eleven 
hundred  chickens  in  one  day 
and  took  orders  for  five  hun- 
dred more;  and  a  fisherman 
from  Port  Monmouth,  New 
Jersey,  sold  eighteen  hundred 
pounds  of  fish  one  Friday,  with 
an  average  of  eight  hundred 
pounds  on  other  days.  At 
Tompkinsville  many  farmers 
made  from  $25.00  to  $30.00 
more  on  each  truckload  than  if 
they  had  sold  to  commission 
men  or  market  stands  in  Man- 
hattan and  went  home  at  noon 
with  the  cash  in  their  pockets. 
At  the  same  time  the  buyers 
also  profited  by  the  lower 
prices. 

There  are  still  several  prob- 
lems that  demand  attention — 
such  as  the  provision  of  winter 
shelter  for  the  Fort  Lee  Ferry 
market,  and  the  building  of  refrigerators 
for  those  who  wish  to  sell  fish,  meat  and 
butter  permanently.  More  "missionary 
work"  is  needed  among  the  farmers  of  sur- 
rounding districts,  that  the  open  markets 
may  be  as  efficient  as  originally  planned. 
But  with  the  steady  growth  of  public  inter- 
est, with  the  realization  of  the  immense 
opportunities  that  the  free  markets  hold 
for  both  farmers  and  housewives,  there  is 
every  reason  to  believe  that  the  under- 
taking will  not  only  prove  of  lasting  value 
locally,  but  will  serve  as  a  model  for  the 
nation  at  large. 

Already  many  stores  near  the  markets 
have  lowered  their  prices  to  compete — now 
that  the  farmers  are  selling  broilers  and 
loin  chops  at  20  cents  a  pound,  cauliflowers 
at  7  cents  a  head,  potatoes  and  tomatoes  at 
50  cents  a  half-bushel  basket,  and  big  crisp 
bundles  of  celery  at  only  5  cents — far  below 
the  former  prevailing  prices.  And  the  New 
York,  Jersey  City  or  Statcn  Island  house- 
wife who  buys  her  Thanksgiving  turkey, 
cranberries  and  pumpkin  from  one  of  the 
free  market  farmers,  will  find  not  only  a 
great  saving  in  cash,  but  a  wholesome  satis- 
faction in  the  thought  that  she  is  getting  as 
close  as  possible  to  the  "source  of  supply," 


SEVEN     A.     M.     AT     FORT     LEE     FERRY     FREE     MARKET. 

and  encouraging  a  movement  that  benefits 
the  workers  of  both  city  and  farm. 

It  is  interesting  to  note  that  the  success 
of  the  free  markets  has  not  only  made  ])ossi- 
ble  direct  cooperation  between  producer  and 
consumer,  and  consequent  reduction  in  the 
cost  of  food ;  it  has  also  been  the  means  of 
giving  needed  publicity  to  other  important 
matters.  For  instance,  the  Mayor's  Food 
Supply  Committee  is  considering  the  neces- 
sity for  active  and  progressive  measures  for 
securing  more  efficient  distribution  of  the 
city's  food  supplies.  At  a  recent  meeting  in 
the  City  Hall,  Mr.  George  W.  Perkins 
voiced  the  general  sentiment  as  follows : 

"The  committee  feels,"  he  said,  "that  the 
public  attention  attracted  to  the  new  mar- 
kets clearly  shows  the  broad  interest  in  plans 
looking  toward  a  simplification  of  the  pres- 
ent antiquated  and  inadequate  system  by 
which  foods  are  brought  to  the  city  and  dis- 
tributed. 

"These  open  markets  also  show  that  there 
is  an  enormous  waste  in  every  direction  un- 
der the  system  now  in  vogue  in  the  city. 
Now  is  the  time  to  move  forward  plans  of 
a  practical  nature  that  will  at  least  help 
solve  the  great  question  of  transportation." 

205 


A   BUNGALOW  WITH  INTERESTING  FITTINGS 


mWS^i^i 

t^Hisif^t'^S^iEy^iiM. ,    i-M^^-jii 

mKtttBtlF^^   ^'"^^^P^ 

^^^^^^^■^^■■■■WMBiaBteiis^^-..: ,.. 

A  CALIFORNIA  BUNGALOW- 
UNIQUE,  PRACTICAL  AND 
PICTURESQUE:  BY  CHARLES 
ALMA  BYERS 

Photographs  by  H.  H.   Livingston 

ALTHOUGH    bungalows    have    be- 
come plentiful  in  this  country,  and 
most     of     them     make     delightful 
homes,  it  is  not  often  that  one  finds 
this  style  of  architecture  combining  so  many 
attractive  features,  in  both  plan  and  design, 
as  the  one  shown  here. 

Seen  from  the  street,  the  rambling,  low- 
roofed  dwelling  presents  an  unusually 
homelike  air,  and  indeed,  from  whatever 
angle  one  views 
it,  the  building 
possesses  that 
quality  of  pic- 
t  u  r  esquenes-; 
which  is  so  apt 
to  result  from 
a  n  irregular 
plan.  Con- 
forming to  the 
usual  charac- 
teristics of  the 
style,  the  roofs 
are  compara- 
tively flat,  and 
very  wide  in 
their  overhang 
at  eaves  and 
gables.  There  is 
a  n  extensive 
sweep  to  their 
lines  that  is 
p  a  rt  icularly 
graceful  and 
dignified,  and 
the  white  cov- 

206 


A  CHARMING  BUNGALOW  IN  PASADENA,  CALIFORNIA, 
THE  HOME  OF  JOSEPH  M.  MAIDENBERG  :  COBBLE- 
STONES, BOULDERS,  BRICK  AND  WOOD  HAVE  BEEN  COM- 
BINED IN  THIS  PICTURESQUE  E.XTERIOR  :  EDWARD  E. 
SWEET,   ARCHITECT. 

ering — an  asbestos-like  composition — re- 
peats the  tones  of  the  white  cobblestones 
and  boulders  used  in  the  masonry  work. 
The  latter,  in  turn,  forms  an  effective  archi- 
tectural link  between  the  house  and  ground. 
The  bungalow  rests  on  an  unexposed 
foundation  of  concrete.  The  lower  parts  of 
the  front  and  part  of  the  side  walls,  up  to 
the  bottom  of  the  windows,  are  built  of 
cobblestones,  boulders  and  clinker  brick, 
with  a  coping  of  concrete.  The  outside 
chimney  and  all  the  entrance  and  porte  co- 


LlWi\o  RlAJM  IN  THE  PASADENA  BUNGALOW,  WITH  A  <,11\II~I  m  THE  MUSIC  ROOM 
BEYOND  :  THE  FIREPLACE  OF  PAVING  BRICK  IS  QUITE  IN  KEEPING  WITH  THE  SIMPLE, 
HOMELIKE    FURNISHINGS  AND   WOODWORK. 


A   BUNGALOW  WITH  INTERESTING  FITTINGS 


chere  pedestals 
are  of  similar 
c  on  s  t  r  uction, 
rugged  and  mas- 
sive in  form.  The 
brie  k-e  dge  d 
walks,  the  porch 
flooring  and  steps, 
and  the  mortar 
used  in  the  mas- 
onry, are  all  of 
black  cement — 
which  likewise 
harmonizes  in 
color  with  the 
coping  of  the 
wall. 

With  the  ex- 
ception of  the 
window  sashes, 
which  are  painted  white,  the  extenur  wuud- 
work  is  stained  a  dark  brown.  The  siding 
is  of  cedar  shingles,  evenly  laid,  and  the 
framing  and  finishing  timbers,  which  are 
square  sawed  and  undressed,  are  of  Oregon 
pine.  A  rather  decorative  panel  effect  re- 
sults from  the  use  of  perpendicular  boards 
in  the  gables,  relieving  any  plainness,  and 
the  walls  are  lightened  with  windows  of 
various  types. 

A  hospitable  and  charming  entrance  is 
created  by  the  front  porch.  This  extends 
also  a  distance  of  over  thirteen  feet  along 
one  side,  forming  a  sort  of  "L."  In  addi- 
tion to  this  porch,  there  is  a  little  sheltered 
court  or  patio  at  the  right,  with  cement  walk 
passing  through  the  porte  cochere  seen  in 
the  illustration. 

At  the  rear  of  the  little  breakfast  room 
on  the  opposite  side  of  the  house  there  is  a 
small  piazza  with  wood  floor,  from  which 
leads  a  pergola- covered  path  into  the  gar- 
den. While  the  grounds  in  front  are  sim- 
ple and  dignified,  to  conform  to  the  usual 
city  custom,  the  garden  in  the  rear  is  rich 
in  flowers  and  shrubbery,  and  the  pergola 
with  graceful  tracerv  of  vines  adds  espe- 
cially to  the  charm  of  the  place. 

Too  often  one  finds  homes  in  which  the 
interior  has  been  sacrificed  in  favor  of  the 
exterior,  or  vice  versa.  Such,  however,  is 
not  the  case  with  this  bungalow,  which  has 
been  developed  with  equal  consideration  in 
both  construction  and  layout.  The  floor 
plan  deserves  careful  study,  for  it  shows  an 
arrangement  of  rooms  and  fittings  that  is 
especially  convenient.  In  fact,  compact- 
ness, economy,  convenience    and    homelike 


UIX1.no  KOOM  l.V  THE  MAIDENBERG  BUN'C.\LO\V,  SHOW- 
ING A  DECORATIVE  AND  MASSIVE  USE  OF  WOODWORK 
IN  CEILING,  ARCH  AND  WALLS,  AND  INTERESTING 
BUILT-IN    FITTINGS. 

atmosphere  have  all  been  achieved,  and  a 
great  deal  of  comfort  has  been  provided  at 
a  very  reasonable  expenditure. 

The  main  front  entrance  is  from  the 
porch  directly  into  the  living  room,  but  glass 
doors  are  also  provided  into  the  dining  room 
at  the  left.  These  two  rooms  are  connected 
by  a  broad  open  arch  with  built-in  book- 


FLOOR  PLAN 

55,000 

BUXG.4L0W 
IN  PASADENA, 
CALIFORNIA  : 
EDWARD  E. 
SWEET, 
ARCHITECT. 


A  PLAN 
THAT  IS 
WELL 
WORTH 
STUDYING. 


207 


A  BUNGALOW  WITH   INTERESTING  FITTINGS 


cases  on  either  side.  Off  the  living  room 
there  is  a  small  music  room,  with  a  similar 
arch.  These  three  rooms  are  finished  and 
decorated  in  the  same  style,  which  adds  to 
the  spacious  air  of  tliis  part  of  the  house. 
The  woodwork  is  of  vertical-graincl  Ore- 
gon pine,  finished  the  color  of  fumed  oak, 
and  the  walls  are  papered.  In  the  dining 
room,  however,  they  are  paneled  to  a  height 
of  about  four  feet,  above  which  runs  the 
plate  rail.  The  ceilings  in  this  room  and 
the  living  room  are  beamed  in  a  very  simple 
but  effective  style,  and  the  overhead  beam 
of  each  of  the  connecting  arches  is  made  to 
curve  upward,  as  may  be  seen  by  referring 
to  the  illustrations. 

.A.side  from  the  built-in  bookcases  be- 
tween the  three  front  rooms,  there  are  also 
several  other  permanent  features  which  de- 
serve mention.  The  living  room  contains 
a  very  attractive  fireplace  with  mantel  of 
paving  brick,  which  is  quite  in  keeping  with 
the  simple  sturdy  woodwork  and  furnish- 
ings. On  each  side  is  a  small  window  seat, 
with  a  hinged  top.  The  music  room  also 
has  a  built-in  seat  at  one  side  of  the  en- 
trance, and  the  dining  room  possesses  a 
buffet  which,  with  the  china  closets,  ex- 
tends entirely  across  one  end  of  the  room. 
Above  the  counter  shelf  of  the  buffet  is  a 
long  narrow  mirror,  and  five  pairs  of  small 
high  casement  windows  are  placed  across 
the  wall  above. 

Opening  from  the  dining  room  is  a  small 
breakfast  room  from  which  doors  lead  to 
the  rear  end  of  the  front  porch.  Two 
other  glass  doors  open  onto  the  piazza  or 
terrace  in  the  rear.  This  breakfast  room 
also  contains  a  simple  but  decorative  little 
buffet.  The  woodwork  is  enameled  white 
and  the  plastered  walls  are  painted  the  same 
tone,  while  the  table  and  chairs  are  of  white 
wicker.  This  is  an  unusually  cheerful 
room,  and  on  account  of  its  windows  and 
glass  doors  it  receives  much  of  the  morn- 
ing sunlight. 

The  rooms  in  the  rear  of  the  house  are 
all  connected  by  a  hall,  which  contains,  be- 
sides the  usual  linen  closet,  a  sort  of  alcove 
with  a  small  seat.  Doors  lead  from  this 
alcove  into  the  side  patio,  which  also  com- 
municates by  glass  doors  with  the  music 
room. 

Each  of  the  two  bedrooms  has  a  closet 
and  clothes  press ;  the  bathroom  fittings  in- 
clude a  shower,  and  the  kitchen  is  equally 
modern  in  its  equipment. 

Throughout  the  bungalow  the  flooring  is 

208 


of  hardwood.  Polished  oak  is  used  in  all 
the  rooms  except  the  bedrooms,  where 
white  maple  is  employed.  The  house  is 
heated  from  a  hot-air  furnace,  located  in  a 
roomy  basement,  the  stairway  to  which 
leads  from  the  pergola  just  outside  the 
screened  porch.  This  basement  has  con- 
crete walls  and  cement  flooring,  and  is 
twelve  by  fourteen  feet  in  size. 

The  bungalow  is  the  home  of  Joseph  M. 
Maidenberg,  of  Pasadena,  California.  It 
was  designed  and  built  by  Edward  E. 
Sweet,  an  architect  of  Los  Angeles,  and 
represents  a  total  cost  of  exactly  $5,000,  its 
contract  price. 


Statement  of  the  Ownership,  Manage- 
ment, Etc.,  of  "The  Craftsman,"  Pub- 
lished Monthly  at  New  York,  N.  Y., 
Required  by  the  Act  of  Congress, 
.\uGUST  24,  1912. 

Name  of  Post-office  address. 

Editor,  Gustav  Stickley, 

Morris  Plains,  N.  J. 
Mng.  Editor,  Mary  Fanton  Roberts, 

6  East  39th  St.,  New  York  City. 
P)Usiness  Manager,  Gustav  Stickley, 

Morris  Plains,  N.  J. 
Publisher,  Craftsman  Publishing  Co., 

6  East  39th  St.,  New  York  City. 
Owner,  Craftsman  Publishing  Co., 

6  East  39th  St.,  New  York  City. 

Names    and    addresses    of    stockholders 
holding   1%   or  more  of   total  amount  of 
stock : 
Gustav   Stickley,   The  Craftsman, 

Inc 6  East  39th  St.,  New  York  City 

Gustav  Stickley Morris  Plains,  N.  J. 

Barbara  Wiles Syracuse,  N.  Y. 

Mildred  Stickley Morris  Plains,  N.  J- 

Known  bondholders,  mortgagees  and  other 
security  holders,  holding  1%  or  more  of 
total  amount  of  bonds,  mortgages  or  other 
securities:  NONE. 

Gustav  Stickley,  Editor. 

Sworn  to  and   subscribed   before   me   this 

28th  day  of  September,  1914. 

Fred  A.  Arwine, 

(Seal) 

Notary  Public,  No.  69, 
New  York  County. 
My  commission  expires 
March  30th,  191 6. 


THE  COTTAGE-BUNGALOW 


COTTAGE-BUNGALOW:  A  NEW 
DEVELOPMENT  IN  INTIMATE 
HOjNIE  ARCHITECTURE:  PHO- 
TOGRAPHS BY  HELEN  LUK- 
ENS  GAUT 

THE  cottage-bungalow  is  the  newest 
development  in  the  small  American 
home.  We  are  presenting  in  this 
article  two  designs  for  this  most  in- 
teresting and  intimate  variety  of  domestic 
architecture.  As  is  the  case  in  many  very 
practical  ideas  in  modern  building,  these 
houses  have  been  built  in  California,  yet  in 
spite  of  their  perfect  adaptability  to  the  cli- 
mate there,  they  furnish  us  throughout  the 
eastern  section  of  America  a  most  valuable 
inspiration  for  home-making.  The  Califor- 
nia architect,  Sylvanus  B.  Marston,  has,  as 
examination  of  these  floor  plans  shows, 
been  able  to  combine  the  best  points  of  the 
simple,  old-fashioned  cottage  and  the  more 
elaborate  and  modern  bungalow  idea. 

In  working  out  this  interesting  and  suc- 
cessful experiment — which  may  have  been 
quite  an  unconscious  one  on  the  part  of  its 
originator — Mr.  Marston  has  chosen  from 
each  style  those  characteristics  which  are 
most  in  keeping  with  modern  American 
ideas  of  home  comfort,  health  and  beauty. 
He  has  retained  the  simple,  sturdy,  demo- 
cratic air  of  the  cottage,  with  its  suggestion 


of  solid  indoor  comfort  and  wholesome  liv- 
ing ;  at  the  same  time  he  has  combined  with 
it  the  airy  porches,  the  ample  living  rooms, 
friendly  firesides  and  craftsmanlike  wood- 
work and  fittings  of  the  bungalow.  And 
while  placing  most  of  the  rooms  on  the 
ground  floor  to  save  unnecessary  house- 
work and  stair-climbing,  he  has  also  utilized 
the  space  beneath  the  roof  for  sheltered 
open-air  sleeping. 

The  result  is  a  new  type  of  intimate  home 
architecture  which  is  likely  to  prove  wide 
in  its  appeal.  And  as  it  is  capable  of  end- 
less modification  to  meet  the  diverse  tastes 
and  requirements  of  different  families,  and 
the  demands  of  varying  climates  and  en- 
vironments, the  cottage-bungalow  should 
prove  a  fresh  inspiration  for  the  home- 
builders  of  our  land. 

Two  examples  of  this  style  of  dwelling 
are  illustrated  here,  both  of  them  revealing 
a  practical  and  sympathetic  treatment  of 
design  and  plan.  They  bring  together,  in 
an  original  and  delightful  way,  the  most 
desirable  traits  of  the  cottage  and  the  bun- 
galow. Neither  word  alone  would  accu- 
rately describe  them ;  their  qualities  can 
only  be  expressed  by  employing  both.  The 
low  long  roof  lines,  the  wide  eaves,  the 
placing  of  the  main  rooms  on  the  ground 
floor,  would  seem  to  assign  the  buildings 
to  the  bungalow  category.  Yet  the  con- 
struction   of    the    walls,    porch  pillars  and 


COTTAGF.-BUXf-.AI.UW  IN'  PASADENA,  CALIFORNIA:  A  NEW  TYPE  OF  DOMESTIC  ARCHITECTURE  WHICH  COMBINES 
MANY  PRACTICAL  AND  CHARMING  FEATURES:  COST  OF  CONSTRUCTION  ^,000:  SYLVANUS  B.  MARSTON, 
THE   ARCHITECT,    HAS    ACHIEVED    HERE   AN    UNUSUALLY    SATISFYING   EXTERIOR   AS    WELL  AS   PLAN. 


THE   COTTAGE-BUNGALOW 


pergola  are  suggestive  of  Colonial  cottages. 
But  whichever  influence  predominates,  they 
are  certainly  satisfactory  "hybrids,"  and 
will  be  found  worth  studying,  for  they  have 
been  arranged  and  built  for  real  comfort, 
pleasure  and  durability.  Their  compact 
simple  layout,  moreover,  will  appeal  to 
housewives  who  wish  to  dispense  with  the 
services  of  a  maid. 

THE  cost  of  construction  of  the  first  cot- 
tage-bungalow was  $4,000.  Its  walls 
are  of  pearl-gray  siding  with  white 
trim ;  the  chimneys  are  dark  red  brick,  and 
the  roof  is  covered  with  moss-green  shin- 
gles. The  ventilators  in  the  roof,  the  heavy 
barge-board  molding  at  the  eaves,  the 
curved  group  of  small-paned  windows  at  the 
front,  and  the  inviting  recess  of  the  porch 


room  is  especially  attractive  with  its  open 
fireplace  and  small  windows  on  either  side, 
while  a  seat  fills  the  curve  of  the  bow  win- 
dow, flanked  by  built-in  bookcases.  In  the 
dining  room,  bufifet  and  china  closets  ex- 
tend across  one  wall  with  windows  above. 

The  arrangement  of  pantry,  kitchen  and 
screen  porch  is  unusually  practical,  for  the 
space  is  utilized  to  the  best  possible  advan- 
tage, and  is  shut  off  from  the  rest  of  the 
plan.  A  small  hall  off  the  pass  pantry  gives 
access  to  cellar  and  attic  stairs,  and  in  this 
hall  a  coat  and  a  broom  closet  are  provided. 
The  long  hall  at  the  left  communicates  with 
the  three  bedrooms  and  bath,  which  are  thus 
separated  from  the  remainder  of  the  house. 
One  of  these  bedrooms  has  a  door  onto  the 
screen  porch,  however,  so  that  it  may  be 
used  for  a  maid,  if  necessary. 


CHAjnSfR  ■£■  ' 


OWAABfR  'A'  ■ 


LiYiMS  •  "Koort  ' 


are  all  interesting  structural  items.  A  dec- 
orative note  is  added  by  the  wooden  frame 
for  vines  on  each  side  of  the  window 
group. 

The  building  is  45  by  46  feet  in  area. 
The  plan  shows  a  very  convenient  arrange- 
ment of  living  and  dining  rooms,  which 
open  from  the  front  porch.      The  former 


Although  one  would  hardly  guess  it  from 
the  front  view,  there  is  considerable  space 
beneath  the  roof  of  this  cottage-bungalow, 
which  is  lighted  by  windows  in  the  gables 
and  in  the  rear  roof.  In  the  latter,  more- 
over, is  an  extension  which  makes  full  head 
room  possible.  This  gives  space  for  a 
large  screen  porch  and  dressing  room  up- 


THE   COTTAGE-BUNGALOW 


SIMPLE  YET  DECORATIVE  1  XTKRIOR,  ANH  COMPAi  I,  HuMII.lKK  AKKANGEMENT  WITHIN,  MAKE  THIS  COTTAGE- 
BUNGALOW  IN  PASADENA  WORTH  STUDYING:  COST  OF  CONSTRUCTION  $3,500:  SYLVANUS  B.  MARSTON,  ARCHI- 
TECT:   THE    ARCHED    ENTRANCE    AND    PERGOLA-ROOFED   PORCH   ARE  PARTICULARLY  INTERF.STING. 


Stairs,  increasing  considerably  the  sleeping 
accommodations  and  value  of  the  house 
without  adding  much  to  its  cost. 

THE  second  house  required  even  less 
outlay — $3,500 — for  it  is  somewhat 
smaller,  having  only  two  bedrooms  on 
the  ground  floor.  And  while  the  style  of 
the  building  reminds  one  of  the  first,  it  is 
quite  different  in  plan.  The  exterior  is 
provided  in  this  case  with  a  long  porch 
across  the  front,  the  central  part  roofed  and 
arched  gracefully  to  shelter  and  emphasize 
the  entrance,  and  the  space  on  each  side  be- 
ing of  open  pergola  construction. 

This  cottage  is  43  by  40  feet,  with  14  by 
16  cellar  and  concrete  foundation.  Heat 
is  furnished  by  fireplace  and  furnace.  The 
outside  walls  are  of  resawed  redwood  sid- 
ing, painted  dove  gray,  and  the  trim  is 
white.  Out-swinging  lattice  windows  are 
used,  and  the  entrance  door,  with  its  long 
narrow  windows,  is  heavily  cased,  with 
curving  bracketed  top  following  the  lines  of 
the  hood.  The  interior  woodwork  is  of 
straight-grain  Oregon  pine,  kitchen  and 
bath  being  all  in  white  with  hard  plastered 
walls  and  enameled  woodwork. 


The  living  room  is  large,  with  pleasant 
window  groups  and  open  fireplace,  and  the 
dining  room  with  its  built-in  buffet  and 
china  cabinets  is  separated  from  the  other 
room  merely  by  bookcases  and  posts.  In 
this  cottage-bungalow  no  pass  pantry  is 
provided,  but  a  small  hall  separates  the 
kitchen  from  the  front  of  the  house.  A 
screen  porch  with  laundry  tubs  is  built  be- 
yond. The  two  bedrooms  and  bathroom 
are  also  shut  off  from  the  other  rooms  by  a 
hallway  from  which  the  cellar  and  attic 
stairs  ascend.  Upstairs  are  two  sleeping 
porches  and  a  dressing  room,  all  built  under 
the  rear  raised  roof. 

These  cottage-bungalows  furnish,  more- 
over, interesting  examples  of  that  signifi- 
cant feature  of  modern  home-making — the 
architectural  solution  of  the  servant  prob- 
lem. For  many  years  we  have  been  grow- 
ing more  democratic  in  our  ways  of  build- 
ing as  well  as  in  our  manner  of  living. 
American  women  have  been  coming  to  feel 
that  a  large  house  and  several  servants  are 
luxuries  that  have  a  superficial  rather  than 
a  genuine  value.  Many  have  begun  to  dis- 
card elaboration  for  simplicity,  to  prefer  a 
small,  comfortable  home  to  a  large  preten- 


PHILOSOPHY  OF  ZARATHUSTRA   SIMS 


GROUND  FLOOR  PLAN   OF 
Sl'XOND  COTTAGE- 
BUNGALOW. 


BEX)  KOOM 


B0 


\5 


y 


tious  one,  and  to  plan  their  hospitality  on  an 
informal  instead  of  a  formal  scale.  This 
change  of  attitude  toward  essential  things 
has  naturally  brought  about  a  simplification 
in  household  management,  a  more  personal 


interest  in  the  details  of  the  home.  Some 
women  actually  prefer  to  do  much  of  their 
own  housework  and  cooking.  The  diffi- 
culty, too,  of  procuring 
competent  helpers  and 
the  higher  cost  of 
living  has  brought  in- 
creased interest  in  do- 
mestic channels. 

These  things,  natu- 
rally, are  gradually 
being  reflected  in  our 
architecture.  Homes 
are  being  planned  to 
meet  the  new  condi- 
tions. The  wide  popu- 
larity of  the  bungalow 
and  cottage  types  is 
evidence  of  the  grow- 
ing desire  for  the 
small,  intimate,  com- 
pactly planned  home. 
Elimination  of  all 
needless  halls,  passages 
and  stairways,  to  save 
the  housewife's  steps ; 
the  simplifying  of  all 
the  woodwork  and  fit- 
tings to  make  dusting 
and  cleaning  as  light 
as  possible ;  the  build- 
ing of  many  furnish- 
ings, such  as  side- 
boards, china  closets,  bookcases  and  seats, 
as  integral  parts  of  the  interior  to  reduce 
sweeping  and  moving  to  a  minimum — all 
these  features  are  part  of  the  general  and 
wisely  democratic  trend. 


FROM    THE   PHILOSOPHY    OF 
ZARATHUSTRA  SIMS 

PARSON  HUBBARD  says  that  the 
most  immoral  thing  he  saw  in  Boston 
was  the  wife  of  a  traveling  shoe  sales- 
man. She  spent  her  days  at  bridge  parties, 
country  clubs  and  matinees,  and  her  even- 
ings goodness  knows  how.  She  served  no 
useful  i^urpose,  and  Parson  says  she  was 
an  economic  parasite  because  she  never  did 
a  stroke  of  work,  but  was  just  supported 
by  a  man. 

If  work  is  a  virtue,  then  Hannah  Beldcn 
must  be  an  angel  of  light.  Sunday  night 
she  cleaned  up  after  a  houseful  of  company 
and  went  to  bed  at  eleven.  .She  got  up  at 
2:30  and   got  all   the   washing  out  before 


breakfast.  Then  she  got  four  different 
breakfasts,  put  up  seven  lunches,  got  the 
children  off  to  school,  made  a  firkin  of 
butter,  baked  eight  loaves  of  bread  and 
four  pies,  swept  two  rooms,  and  then  got 
dinner.  After  washing  the  dishes  she 
drove  down  to  the  village  for  a  hundred  of 
oats,  because  Caleb's  rheumatism  was  bad 
and  the  boys  were  off  fishing.  Then  she 
got  supper,  and  after  supper  did  all  the 
ironing. 

.A^nd  yet  I  heard  Hannah  swear  like  a 
trooper  at  little  Jim  for  mixing  sand  with 
the  paste  she'd  made  for  papering  the  front 
hall. 

We  all  have  our  failings,  Parson  says, 
and  even  the  drummer's  wife  may  have 
some  hidden  virtues. 


AUDUBON  SOCIETY   WELCOMES   CHILDREN'S   AID 


THE  GUN,  THE  WILD  BIRD 
AND  THE  BOY:  THE  WORK 
OF  THE  JUNIOR  AUDUBON 
SOCIETIES:  BY  T.  GILBERT 
PEARSON 

"^"^NE  day  last  summer  a  twelve-year- 

I       ■    old  boy  was  out  in  our  street  with 

V^^    an    air    gun    shooting    eagerly    at 

every  bird  he  could  see.    Recently 

the  same  boy  came  to  me  with  a  bird  which 

had  been  hurt,  and  in  the  most  sympathetic 

tone  said :    'Who  do  you  suppose  could  have 

been  mean  enough  to  hurt  this  dear  little 

bird  ?'     Our  study  of  birds  in  the  Junior 

Audubon  Class  brought  about  this  change 

in  the  boy." 

So  writes  Miss  Edna  Stafford,  a  teacher 
in  the  public  schools  of  Albany,  Indiana.  In 
similar  strain  many  of  the  six  thousand  two 
hundred  and  two  teachers  who  formed  and 
conducted  Junior  Audubon  Society  Clubs 
the  past  year  have  registered  their  approval 
of  this  nation-wide  organization  among  the 
children,  for  everywhere  these  children  are 
being  taught  to  be  kind  to  the  wild  life 
about  them. 

Quite  aside  from  the  humanitarian  spirit 
which  runs  through  this  Audubon  move- 
ment the  awakening  of  the  minds  of  young 
people  to  the  fact  that  live  birds  are  of 
aesthetic  interest  and  also  are  enormously 
valuable  as  aids  to  the  growing  crops  most 


A    N'tWLV    FORMED   AUDUBON    SOCIETY. 


certainly  renders  the  task  quite  worth  while. 
It  is  comforting  to  reflect  also  that  if  the 
present  generation  can  be  taught  to  love  the 
wild  birds  there  need  be  no  apprehension  as 
to  what  legislatures  in  the  future  will  do  in 
reference  to  game  laws.  In  establishing 
this  work  in  bird  study  in  the  schools,  the 
National  Association  of  Audubon  Societies 
has  based  its  efforts  upon  the  principle  that 
all  printed  material  supplied  to  children 
should  be  of  simple  but  sane  and  scientific 
character.  Hence,  the  leaflets  given  these 
young  folks  are  all  prepared  by  ornitholo- 
gists capable  of  presenting  the  subject  on  a 
luminous  and  convincing  plan.  No  senti- 
mental matter  is  ever  printed  by  this  organi- 
zation. With  every  four-page  leaflet  there 
is  also  one  of  the  best  colored  pictures 
which  art  and  science  can  produce.  The 
colors  of  the  bird  are  as  accurate  as  it  is 
possible  to  achieve  in  this  country.  In  or- 
der to  impress  on  the  mind  of  the  pupil  the 
correct  coloring  of  every  bird  studied,  an 
outline  drawing  of  each  species  is  furnished 
and  this  the  pupil  fills  out  with  crayons, 
using  the  colored  picture  as  a  model.  The 
Audubon  button  which  is  worn  is  often  re- 
garded as  a  warden's  badge,  for  thousands 
of  their  Audubon  boys  are  serving  as  vol- 
unteer game  wardens  in  their  communities. 
In  order  that  full  opportunity  for  accom- 
plishments with  these  young  enthusiasts 
may  be  afforded  teachers,  the  Association 

213 


AUDUBON  SOCIETY   WELCOMES   CHILDREN'S  AID 


supplies  them  with  detailed  advice  for  pre- 
senting all  branches  of  bird  work ;  among 
other  things,  how  to  teach  children  to  make 
and  place  nesting-boxes  for  the  wild  feath- 
ered creatures  in  spring,  how  to  place  wa- 
ter where  it  can  easily  be  found  in  the  hot 
days  of  summer,  and  what  kind  of  food  the 
birds  like  in  winter,  and  just  how  it  should 
be  put  out  for  them.  These  things  all  give 
definite  point  to  their  work  and  provide  the 
children  with  something  which  they  can  do 
to  advance  their  work  outside  of  school 
hours. 

Without  doubt  the  greatest  problem  to 
be  solved  by  those  actively  engaged  in  meas- 


KIFTH  GRAUF.  AUUUBUN  LLUb  OF  CHAGRIN  FALLS 
PUBLIC   SCHOOLS. 

ures  which  make  for  civic  righteousness  is 
how  to  rescue  the  children  of  the  country 
from  evil  influences  and  to  divert  their  curi- 
osity and  restless  energy  into  safe  and  pro- 
ductive channels.  The  teacher  occupies  a 
strategic  position  in  this  matter,  and  one  of 
her  problems  is  how  to  excite  the  interest  of 
the  child  in  subjects  which  are  both  enter- 
taining and  beneficial. 

Simple  lessons  in  nature  study  seem  to  be 
the  best  method  by  which  to  accomplish  this 
end,  and  a  study  of  all  out-of-door  life 
should  begin  with  birds. 


THE  JU.NIUK   ALUUUU.S 


CiLl\-   AT   TIIL   WILLIAM    MC  GUFFEY   SCHOOL  IN   THE   MIAMI   UNIVERSITY. 


214 


AUDUBOxN    SOCIETY  WELCOMES   CHILDREN'S   AID 


Birds  have  bright  feathers  and  striking 
voices.  In  their  emotions  they  show  love, 
fear,  anger,  all  the  symptoms  of  which  the 
children  can  readily  understand.  Birds 
select  mates ;  they  build  nests  and  have  bird 
babies.  Few  things  are  regarded  by  the 
child  as  more  appealing  than  a  little  bird. 
Then,  too,  birds  may  be  found  everywhere. 
At  all  seasons  of  the  year  they  may  be  seen 
about  the  home  or  the  schoolhouse,  and 
wherever  the  child  goes  in  after  life  birds 
are  continually  observed  as  they  flit  before 
his  vision  whether  he  journeys  by  land  or 
sea.  Birds  are  thus  a  branch  of  nature 
study  of  unfailing  and  universal  interest. 

Bearing  in  mind,  therefore,  that  much 
pleasure  and  good  are  to  be  derived  from  a 
study  of  the  habits  and  activities  of  wild 
birds,  there  is  small  reason  to  wonder  at  the 
remarkable  success  and  popularity  of  the 
Junior  Audubon  work,  which,  although  be- 
gun only  four  years  ago,  has  grown  to  such 
proportions  during  the  past  year  that  clubs 
were  organized  among  schoolchildren  of 
every  State  in  the  Union  and  most  of  the 
Provinces  of  Canada.  Over  fifteen  thou- 
sand pupils  during  the  past  school  year  were 
enrolled  in  these  clubs,  and  all  of  these 
thousands  of  children  were  taught  that  the 
wild  birds  are  their  friends. 

This  work  will  continue  to  grow,  for  the 
Audubon  Association  expects  each  year  to 
increase  its  expenditures  to  support  this  im- 
portant phase  of  its  activities.  While  the 
children  each  pay  a  fee  of  ten  cents,  this 
is  only  a  small  part  of  the  actual  cost  of  the 
material  with  which  they  are  provided.  The 
Junior  work  for  the  past  year  entailed  an 


MISS    M.    L.    BURENS     JUNIOR    AUDUBON    SOCIETY. 

e.xpenditure  of  over  nineteen  thousand  dol- 
lars more  than  the  children's  fees  amounted 
to;  and  for  the  coming  year  pledges  have 
been  received  from  members  of  the  Asso- 
ciation who  have  agreed  to  support  this 
work  to  the  extent  of,  at  least,  twenty-five 
thousand  dollars. 

This  undertaking  is  meeting  with  the 
most  hearty  approval  of  principals  and  su- 
perintendents of  schools  everywhere.  In 
reference  to  it,  Hon.  P.  P.  Claxton,  United 
States  Commissioner  of  Education,  has 
written : 

"I  consider  the  work  of  the  Junior  Audu- 
bon Classes  very  important  for  both  educa- 
tional and  economic  results,  and  I  congratu- 
late you  upon  the  opportunity  of  extending 
it.  The  bird  clause  in  the  Mosaic  Law  ends 
with  the  words :  'That  it  may  be  well  with 
these,  and  that  thou  mayest  prolong  thy 
days.'  The  principle  still  holds.  I  hope 
that  through  your  efforts  the  American  peo- 
ple may  soon  be  better  informed  in  regard 
to  our  wild  birds  and  their  value." 

Editor's  Note  :  Those  who  have  read  the 
foregoing  article  by  Mr.  Pearson,  and 
whose  sympathies  are  with  the  bird  protec- 
tion movement,  will  be  interested  also  in  the 
article  on  the  following  pages,  by  Ned 
Dearborn,  Assistant  Biologist  in  the  U.  S. 
Department  of  Agriculture.  Most  of  the 
bird  houses,  nests  and  shelters  described 
and  illustrated  by  Mr.  Dearborn  are  so 
simple  that  they  can  be  made  by  children 
either  at  home,  or  under  the  teacher's  super- 
vision at  school. 

215 


DO   YOU   WANT   BIRDS  AROUND   YOUR  HOUSE? 


BIRD  HOUSES  AND  HOW  TO 
BUILD  THEM:  BY  NED  DEAR- 
BORN, ASSISTANT  BIOLOGIST, 
UNITED  STATES  DEPART- 
MENT OF  AGRICULTURE 

BIRDS  may  be  gathered  about  us  in 
all  seasons  of  the  year  with  ease  and 
certainty  merely  by  offering  what 
they  desire.  In  winter  they  are 
often  pushed  for  food,  and  if  we  supply 
this  need  they  will  report  daily  at  the  "lunch 
counter"  and  help  to  relieve  the  tedium  of 
our  indoor  life.  In  summer  they  care  less 
for  food  provided  by  their  human  friends, 
and  other  means  must  be  sought  to  attract 
them  about  the  home.  They  appreciate 
fresh  water  for  bathing  and  drinking.  A 
shallow  pool  of  varying  depth,  even  if  only 
a  foot  across,  becomes  on  hot  days  a  center 
of  attraction  for  all  the  birds  in  the  vicinity, 
and  it  may  be  made  with  little  effort  and  ma- 
terial ;  only  a  small  amount  of  cement  is  re- 
quired, or  if  that  be  lacking,  a  pan  with 
stones  in  it  set  in  the  ground  will  be  equally 
serviceable.  Trees,  shrubs  and  vines  bear- 
ing fruit  relished  by  birds  are  great  attrac- 
tions in  their  season. 

Birds  are  desirable  about  one's  grounds 
not  only  on  account  of  their  beauty  and 
song,  but  because  of  their  economic  worth. 
They  are  especially  useful  as  insect  destroy- 
ers during  the  breeding  period,  when  they 
have  to  work  early  and  late  to  obtain  suffi- 
cient food  for  their  nestlings,  and  their 
movements  at  this  time  are  more  interesting 
than  during  any  other  season.  There  is, 
therefore,  a  double  purpose  in  offering 
them  special  nesting  facilities.  If  mud  is 
available,  swallows,  robins  and  phoebes  will 
found  and  wall  their  nests  with  it.  If  we 
put  out  feathers,  bits  of  wool  or  twine,  a 
dozen   different   kinds  of   birds   will  make 


FIGURE  one: 

HOLLOWED 
GOURDS  STRUNG 
ON  A  POLE  MAKE 
A  SATISFACTORY 
"TENEMENT 
house"  FOR  A 
COLONY  OF 
MARTINS. 

use   of    them. 
If  we  furnish] 
safe     retreats 
in  which  they 
can  rear  their 
young    comfortably,    most 
of    these    shelters    will    be 
occupied.     In    fact,   no  at- 
traction  for  summer  birds 
is    more    effectual    than    a 
series  of   houses   suited   to 
the  needs  and  habits  of  the 
various     kinds     of     house 
birds. 

A  few  years  ago  only 
four  species  were  common- 
ly regarded  as  house  birds 
— the  house  wren,  the  blue- 
bird, the  tree  swallow  and 
the  martin.  Since  the  move- 
ment to  protect  birds  and 
make  neighbors  of  them 
began,  however,  their  na- 
tures and  needs  have  be- 
come better  understood, 
and  it  is  now  known  that 
many  other  species  will 
avail  themselves  of 
houses  constructed 
for  them.  The  practice  of  erecting  bird 
houses  in  this  country,  while  now  nation- 
wide, is  not  so  common  and  uniformly  dis- 
tributed as  it  should  be,  and  more  extended 
provisions  of  this  nature  cannot  fail  to  re- 
sult in  a  largely  increased  nimiber  of  house 
birds. 


FIGURE  two:   WRENS  AND 
BLUEBIRDS  WILL  PATRONIZE 
THESE  GOURD   HOUSES. 


2l6 


DO  YOU   WANT   BIRDS  AROUND   YOUR   HOUSE? 


The  habit  of  nesting  in  bird  houses  has 
been  adopted  by  individuals  of  many  spe- 
cies which  would  not  ordinarily  be  expected 
to  make  use  of  such  homes,  and  this  may 
be  taken  as  indicating  that  it  will  become 
more  general  from  year  to  year,  as  facilities 
are  afforded  and  as  the  number  of  birds 
hatched  in  houses  increases. 

That  Western  wrens  and  bluebirds 
should  take  as  naturally  to  artificial  shelters 
as  did  their  Eastern  relatives  was  to  be  ex- 
pected. On  the  other  hand,  the  use  of 
houses  by  birds  which  until  recently  had 
persistently  ignored  them  is  surprising  and 
must  be  considered  a  victory  for  those  who 
have  studiously  attempted  to  enlarge  their 
circle  of  feathered  neighbors. 

Woodpeckers,  nuthatches  and  titmice  ex- 
cavate their  own  houses,  usually  new  ones 
each  year,  leaving  the  old  homes  to  less 
capable  architects.  Builders  of  artificial 
houses  generally  go  to  the  woodpecker  for 
designs,  and  by  varying  styles  to  suit  the 
tastes  of  different  kinds  of  birds,  have  been 
rewarded  by  such  tenants  as  chickadees, 
tufted  titmice,  white-breasted  nuthatches, 
Bewick  and  Carolina  wrens,  violet-green 
swallows,  crested  flycatchers,  screech  owls, 
sparrow  hawks,  and  even  some  of  the 
■woodpeckers,    the    master    builders    them- 


FIGURE    THREE;    A 


FIGURE  FOUR  :   STAGES  IN  THE   MAKING  OF  A  LOG  BIRD 
HOUSE  :    THE    HALVES    ARE    GOUGED    OUT    TO    FORM    A 

•CAVITY,  THEN   SCREWED  TOGETHER  AND  THE  TOP  COV- 

.ERED   WITH   TIN   OR   ZINC. 


selves.      Flickers    readily 
accept    houses    built    ac- 
cording to  their  standards. 
Red-headed    and    golden- 
fronted    woodpeckers   are 
willing  occupants  of  artificial 
houses,  and  even  the  downy 
woodpecker,  that  sturdy  little 
carpenter,    has,    in    one    in- 
stance at  least,  deemed  such 
a  home  a  satisfactory  abode 
in  which  to  raise  a   family. 
Shelters  having  one  or  more 
sides  open  are  used  by  birds 
which  would  never  venture 
into    dark    houses    suited    to 
woodpeckers.      They    have 
been  occupied  by  robins  and 
brown    thrashers,    and    in 
one    instance    by    a    song 
sparrow. 

The    number    of    house   hollow  log  makes 

U:^A^    „,  I,         4--11    r       iU  AN  ALLURING  HOME 

birds  may  be  stdl  further  ^^^  ^^^  tenants, 
augmented  as  tune  goes  especially  in  rus- 
on.  All  of  the  commoner  tic  surroundings. 
woodpeckers  are  likely  to  be  included,  as 
are  several  of  the  small  owls  and  wrens, 
and  a  few  of  the  wild  ducks,  such  as  the 
golden-eye.  The  wood  duck  is  already 
known  to  use  nesting  boxes.  Houses  set 
close  to  streams  in  the  Western  mountains 
will  probably  be  occupied  by  ousels  or 
dippers.  Florida  grackles  sometimes  breed 
in  flicker  holes  and  may  be  expected  to  oc- 
cupy houses  now  and  then.  In  every  locality 
having  trees  there  is  a  group  of  birds  readv 
to  appropriate  houses  when  they  have  the 
opportunity. 

House  birds  differ  decidedly  in  their 
requirements.  For  those  which  usually  ex- 
cavate homes  for  themselves,  the  diameter 
of  the  entrance  and  the  depth  and  diameter 
of  the  cavity  must  be  in  accord  with  their 
specific  standards.  Some  birds  are  satisfied 
with  almost  any  sort  of  lodging.  Bluebirds 
and  wrens,  for  example,  are  content  to 
build  in  tomato  cans,  although  chickadees 
and  nuthatches  disdain  them.  Wood  is  a 
better  building  material  than  metal  or 
earthenware.  Entrance  holes  should  be 
countersunk  from  the  outside  to  exclude 
rain.  Heads  of  nails  and  screws  should  be 
set  rather  deeply  and  covered  with  putty. 
•All  houses  should  be  easy  to  open  for  clean- 
ing. A  perch  at  the  entrance  is  unnecessary 
and  may  even  be  an  objection,  as  it  is  fre- 
quently used  by  English  sparrows  while 
they  twitter  exasperatingly  to  more  desir- 

217 


DO  YOU   WANT   BIRDS  AROUND  YOUR  HOUSE? 


FIGURE  FIVE  :  FOUNDA- 
TION FOR  HOUSE 
SHOWN  IN  FIGURE 
EIGHT. 


FIGURE  SIX  :  FLOOR  AND 
POSTS  ADDED  TO  FOUND- 
ATION SHOWN  IN 
FIGURE    FIVE. 


*F 


CL-I. 


C.-A- 


FIGURE  SEVEN  :  SWALLOW 
OR  BLUEBIRD  HOUSE  READY 
TO  PLACE  OVER  FLOOR  AND 
POSTS  SHOWN  IN  FIGURE 
SI.\. 


FIGURE  EIGHT  :  A  LITTLE 
HOUSE  FOR  SWALLOWS 
AND  BLUEBIRDS,  SHOWING 
CROSS  SECTION  AND  IN- 
TERIOR   OF    FRONT    HALF. 


-»■/:- 


FIGURE  NINE  :  LUMBER  DIAGRAMS  FOR  BUILDING  BIRD 
HOUSE  SHOWN  IN  FIGURES  FIVE  TO  EIGHT:  THICK- 
NESS  OF   BOARDS    54    INCH. 

Species. 

Bluebird 

Robin 

Chickadee 

Tufted  titmouse 

White-breasted  nuthatch 

House  wren 

Bewick  wren 

Carolina  wren 

Dipper 

Violet-green  swallow 

Tree  swallow •• 

Barn  swallow 

Martin 

Song  sparrow 

House  finch 

Phoebe 

Crested  flycatcher 

Flicker 

Red-headed  woodpecker 

Golden-fronted   woodpecker 

Hairy  woodpecker 

Downy  woodpecker 

Screech  owl 

Sparrow  hawk 

Barn  owl lo  by  i8 

Wood  duck 

'One   or  more  sides  open.     ^All  sides  open. 
2l8 


able  occupants.  To  provide  for  proper 
ventilation  a  row  of  small  holes  is  some- 
times bored  just  below  the  eaves,  but  there 
should  never  be  a  ventilating  hole  lower 
than  the  entrance,  and  joints  should  be 
made  tight,  as  drafts  of  air  are  dangerous. 
In  case  there  is  danger  that  rain  may  be 
driven  through  the  door,  a  small  drainage 
hole,  which  will  be  covered  by  the  nest,  may 
be  made  in  the  middle  of  the  floor. 

The  appearance  and  durability  of  houses 
are  improved  by  a  coat  of  paint.  A  neutral 
shade  of  green  or  gray  is  suitable  for 
houses  mounted  in  trees ;  others  may  be 
painted  white. 

The  dimensions  of  nesting  boxes  shown 
in  the  following  table  are  based  on  the 
experience  of  successful  builders  and  meas- 
urements of  woodpecker  holes. 


Flour 

Deptli 

Entrance 

ni 

amete 

Height 

of 

of 

above 

ot 

above 

cavity. 

cavity. 

f^oor. 

en 

trance 

.  ground. 

Inches. 

Inches. 

, 

•u-hes 

Feet. 

.Sby    5 

8 

6 

iV, 

Stoio 

6  by    8 

8 

(') 

CM 

6  to  IS 

4  by    4 

8  to  10 

8 

IV« 

6  to  15 

4  by   4 

8  to  10 

8 

I '4 

6  to  IS 

4  by   4 

8  to  10 

8 

I '4 

12  to  20 

4  by   4 

6  to   8 

I  to   6 

% 

6  to  10 

4  by   4 

6  to   8 

I  to   6 

I 

6  to  ID 

4  by    4 

6  to   8 

I  to   6 

!■/« 

6  to  ID 

6  by   6 

6 

I 

.s 

I  to   3 

5  by   5 

6 

I  to   6 

1'/^ 

10  to  15 

5  by    5 

6 

I  to   6 

IV7 

10  to  IS 

6by   6 

6 

C) 

(') 

8  to  12 

6  by   6 

6 

I 

2V2 

IS  to  20 

6  by   6 

6 

(') 

(') 

I  to   3 

6  by   6 

6 

4 

2 

8  to  12 

6  by   6 

6 

(') 

(') 

8  to  12 

6by   6 

8  to  10 

8 

0 

8  to  20 

7  by    7 

i6toi8 

16 

2'A 

6  to  20 

6by   6 

12  to  IS 

12 

2 

12  to  20 

6by   6 

12  to  15 

12 

2 

12  to  20 

6by   6 

12  to  15 

12 

I'/, 

12  to  20 

4  by   4 

8  to  10 

8 

I '4 

6  to  20 

8  by   8 

12  to  15 

12 

,1 

10  to  30 

8  by   8 

12  to  15 

12 

•? 

101030 

10  by  i8 

IS  to  18 

4 

6 

12  to  18 

10  by  i8 

10  to  15 

3 

6 

4  to  20 

DO  YOU  WANT  BIRDS  AROUND   YOUR  HOUSE? 


A  tomato  can  with  a  circular  board  fitted 
in  one  end  will  make  an  excellent  house  to 
attract  bluebirds  or  wrens.  The  board 
should  have  a  hole  in  its  upper  half  as  an 
entrance.  The  cans  may  be  hung  by  wires 
to  the  limb  of  a  tree,  and  ought  always  to 
be  placed  in  shaded  places,  as  the  metal  be- 
comes very  hot  in  the  sun. 

Bird  houses  in  the  Southern  States  have 
long  been  made  from  gourds.  The  en- 
trance is  in  the  side  and  there  is  a  drain 
hole  in  the  bottom  as  shown  in  figure  2. 
A  piece  of  wire  through  the  neck  for 
mounting  it  completes  the  house.  A  num- 
ber of  gourds  thus  prepared,  and  strung  on 
a  pole  seems  to  make  a  satisfactory  tene- 
ment house  for  a  colony  of  martins.  Used 
singly  they  are  equally  well  adapted  to 
wrens  and  bluebirds.  While  gourds  are 
not  durable  when  exposed  to  the  weather, 
they  are  easily  replaced. 

Ordinary  wooden  boxes,  if  clean,  can  be 
made  into  bird  houses  by  merely  nailing  on 
a  cover  and  cutting  out  an  entrance  hole. 


FIGURE 
TWELVE  : 
HOU.SE  SUIT- 
ABLE FOR 
SPARROW 
HAWKS, 
SCREECH 
OWLS,  BLUE- 
BIRDS  AND 
WRENS  :   DE- 
SIGNED TO  BE 
PLACED    IN 
TREES  :  BOT- 
TOM CAN   BE 
REMOVED  BY 
TURNING 
BUTTON. 


r 


t-z 


c-z 


&I 


-T- 


FIGURE 
TEN  :   DIA- 
GRAMS OF 
A  BLUE- 
BIRD 
HOUSE 
THAT  CAN 
BE  RE- 
MOVED 
FROM  ITS 
FLOOR  BY 
UNF.^ST- 
ENING 
TWO  WIRE 
HOOKS. 


FIGURE  ELEVEN  :  LUMBER  DIAGRAMS  OF  HOUSE 
SHOWN   IN   FIGURE  TEN  :   BOARDS   Yn    INCH   THICK. 

Such  makeshifts,  however,  are  rarely 
weatherproof  and  are  never  pleasing  to  the 
eye.  Branches  containing  real  woodpecker 
holes,  when  obtainable,  are  perhaps  the  best 
attraction  that  can  be  offered  most  house 
birds  in  the  breeding  season.  By  carefully 
fitting  such  a  branch  to  a  fruit  or  shade 
tree,  its  foreign  origin  will  scarcely  be 
noticed. 

The  house  shown  in  figure  3  is  suitable 
for  use  in  trees.  It  is  made  from  a  log  or 
large  branch,  hollowed  by  decay,  and  fitted 
with  a  top  and  bottom  as  illustrated.  The 
cover  is  to  go  on  after  the  log  is  fastened 
in  place.  Either  the  top  or  bottom  should 
be  removable,  so  that  the  interior  can  be 
readily  cleaned. 

Another  way  of  making  a  log  house  is  to 
split  through  the  middle  a  straight-grained 
log.  2  feet  or  more  in  length,  and 
then  to  cut  out  a  cavity  with 
gouge.  The  excavations 
in  the  two  halves  can  be, 

FIGURE  THIRTEEN  :  SECTION 
OF  HOUSE  SHOWN  IN  FIGURE 
TWELVE. 

FIGURE  FOURTEEN  :    LUMBER 
DIAGRAMS   OF   HOUSE   FOR 
SPARROW    HAWKS    AND 
SCREECH    OWLS,    SHOWN    IN 
FIGURE  TWELVE  :   BOARDS   i/\ 
l.VCH    THICK. 


D  1 

C  1 

Al 

L ,3- 4^ ,5- -^ ,e- >< 

\. nVz- 


El 

\        .. 

219 


DO   YOU   WANT  BIRDS  AROUND    YOUR  HOUSE? 


-W    h-5"->1 


si 

>!i-® 

I 

<i-l 

C-l 

^-1 

FIGURF.  FIFTEEN  :  DIAGRAMS  OF  HOUSE  FOR  RLUEBIRUS. 
SHOWN  IN   FIGURE  TWELVE:  BOARUS   ^   INCH   THICK. 

made  to  match  exactly  by  means  of  a  pat- 
tern or  template  having  the  size  and  shape 
desired  for  the  proposed  cavity  through  the 
plane  of  cleavage.  Figure  4  shows  the  ap- 
pearance of  such  a  house  and  how  to  place 
the  template  symmetrically  on  each  half  of 
the  stick.  The  top  of  this  iiouse  should  be 
covered  with  tin  or  zinc  to  keep  out  mois- 
ture, and  the  halves  should  be  fastened  to- 
gether with  screws  to  allow  the  house  to 
be  taken  apart  and  cleaned. 

Phoebes  like  to  nest  about  buildings,  and 
a  simple  shelf  under  the  roof  of  a  porch  or 
shed  is  all  they  require.  If,  however,  it  is 
desirable  to  have  them  stay  outside,  the 
shelf  must  be  shielded  from  the  weather  by 
one  wall  and  a  roof.  Such  a  shelf  if 
placed  high  under  the  eaves  of  a  two-story 
building  may  attract  barn  swallows  ;  phoebes 
and  robins  also  are  likely  to  build  upon  it 
if  it  is  not  less  than  8  feet  from  the  ground.: 
In  some  cases  it  will  be  advisable  to  leave 
only  one  side  open. 

Nest  shelters  may  likewise  be  placed  in 
shrubbery  for  catbirds,  brown  thrashers 
and  song  sparrows.  As  a  shelter  of  this 
type  requires  little  lumber  or  labor,  one 
may  well  be  placed  in  every  patch  of  weeds 
or  brush  frequented  by  these  birds.  Fas- 
tened to  a  large  horizontal  branch  or  in  the 
crotch  of  a  tree  it  is  likely  to  be  used  by 
robins. 

The  house  shown  in  figures  5  to  8  is 
designed  to  be  set  on  a  pole  or  a  tree  stub 
for  the  use  of  swallows  especially.  It  can 
be  cleaned  by  simply  lifting  the  box  from 
its  base.  Bluebirds  and  wrens,  as  well  as 
swallows,  nest  in  this  style  of  house,  though 
they  prefer  a  deeper  cavity.  Another  pole 
house  is  shown  in  figure  10.  This  is  essen- 
tially after  the  woodpecker  model  and  is 
suitable  for  bluebinls.  By  releasing  the 
hooks  which  fasten  the  box  to  the  base, 
cleaning  is  made  easy. 


Figure  12  illustrates  a  house  attached  to 
a  tree.  It  can  be  opened  for  cleaning  by 
turning  a  button  and  removing  the  bottom. 
This  house  is  easy  to  build  and  if  suitably 
proportioned  is  adapted  to  a  great  variety 
of  birds.  Plans  are  furnished  for  two  sizes 
— one  for  bluebirds  and  the  other  for 
screech  owls  and  sparrow  hawks. 

The  flicker  house  shown  in  figure  16  is 
designed  to  be  placed  on  a  post  or  the  stub 
of  a  tree.  The  roof  can  be  lifted  in  the 
same  way  that  a  stopper  is  removed  from 
a  bottle. 

Editor's  Note:  Additional  information 
regarding  the  construction,  care  and  loca- 
tion of  various  kinds  of  bird  houses  and 
food  shelters,  as  well  as  a  note  on  the  ene- 
mies of  house  birds,  will  be  found  in 
Farmers'  Bulletin  No.  609,  from  which  the 
foregoing  article  and  many  of  the  illustra- 
tions are  reprinted.  This  bulletin  can  be 
obtained  from  the 
U.  S.  Department 
of  Agriculture. 
Washington,  D.  C. 

FIGURE    SIXTEEN  :    A 
POST   OR   THE    STUB   OF 
A   TREE   IS   THE  BEST 
SITE   FOR  THIS   FUCKER 
HOUSE. 


FIGURE    SEVENTEEN  : 
LUMBER  DIAGRAMS   FOR 
FLICKER  HOUSE  SHOWN 
IN    FICUKE    SIXTEEN  : 
BOARDS  ii  INCH  THICK. 


L 


LIVING  WITHOUT  OUR   IMPORTS 


LIVING  WITHOUT  OUR  IM- 
PORTS 

(Continued  from  page  /yj.) 

makers  after  the  war.  It  has  been  reported 
that  the  Standard  Oil  Company,  which  pro- 
duces many  of  the  basic  products,  is  contem- 
plating the  erection  of  a  large  chemical  and 
dye  plant.  Mr.  I.  F.  Stone,  President  of  the 
National  Aniline  and  Chemical  Company, 
said  recently  that  his  company  stood  ready 
to  invest  more  than  one  million  dollars  im- 
mediately, and  be  ready  to  supply  customers 
within  six  months'  time  if  the  Government 
would  guarantee  sufficient  protection  to  the 
industry.  He  says  that  his  plant  is  ready 
to  supply  the  general  line  of  dyes  for  the 
textile  mills  at  prices  somewhat  higher  than 
formerly  because  of  the  increased  cost  due 
to  using  domestic  raw  materials. 

We  have  been  relying  upon  Europe  for 
antimony,  a  low  grade  metal  used  in  the 
manufacture  of  type  metal.  As  was  re- 
cently pointed  out  by  Secretary  Lane,  it 
can  easily  be  extracted  from  many  low 
grade  ores,  which  we  have  in  great  quan- 
tities in  at  least  seven  States,  and  there  is 
no  reason  why  we  should  not  make  this  ex- 
traction and  be  independent  of  other  coun- 
tries both  as  to  supply  and  prices.  Similar 
conditions  hold  in  the  case  of  arsenic,  and 
it  is  only  within  ten  years  that  we  have 
freed  ourselves  from  Sicily's  monopolistic 
control  of  the  sulphur  supply. 

The  National  Association  of  Finishers 
of  Cotton  Fabrics  appointed  a  committee  a 
few  days  after  the  war  started  to  learn 
what  could  be  done  toward  producing  dyes 
in  this  country.  It  is  generally  admitted 
that  we  have  the  raw  products  here,  if  we 
consider  coal  tar  and  the  benzoate  derived 
from  it,  which  is  the  real  basis,  as  the  raw 
product.  Many  of  our  leading  chemists 
believe  that,  if  our  manufacturers  once  take 
up  the  question  of  competing  seriously 
with  German-made  dyes  and  other  coal 
tar  products,  chemicals  and  drugs,  the  ad- 
vantage of  the  cheap  foreign  labor  can  be 
overcome  through  more  efficient  manage- 
ment and  a  greater  abundance  of  raw  ma- 
terials. 

Domestic  textile  mills  should  prosper 
from  the  present  situation.  The  only  seri- 
ous difficulty  confronting  them  is  the  scar- 
city of  dye  stuffs,  and  this  I  believe  will 
not  prove  lasting,  for  American  manufac- 
turers will  not  sit  idle  and  wait  until  Ger- 
many can  again  supply  us.      We  have  our 


own  cotton.  Our  domestic  supply  of  wool 
can  be  supplemented  by  imports  from 
South  America  and  Oceanica.  Some  raw 
silk  can  be  secured  from  France,  while 
large  amounts  are  available  in  Japan  and 
China.  The  textile  mills  of  Europe  have 
long  been  successful  competitors  and  have 
been  able  to  undersell  the  domestic  mills 
both  here  and  in  foreign  markets.  This 
condition  is  more  than  likely  to  be  reme- 
died, and  a  long  period  of  prosperity  is 
bound  to  result. 

In  linens,  laces  and  embroideries  the  sit- 
uation is  somewhat  more  difficult.  We 
have  been  almost  entirely  dependent  upon 
Europe  for  both  our  raw  and  finished  prod- 
ucts. Recently,  however,  a  Canadian  ag- 
ricultural implement  company  succeeded 
in  inventing  a  machine  for  fulling  flax 
from  the  ground,  thus  enabling  us  to  ac- 
complish by  machinery  what  Russia  has 
done  by  hand.  We  should  soon  be  in  a 
position  to  compete  with  Europe  in  the 
raising  of  flax,  and  there  is  no  complaint 
concerning  the  quality  of  the  flax  which 
we  can  produce.  Our  direct  labor  costs 
have  been  too  high.  To  some  extent  we 
may  be  able  to  substitute  cottons  and  cot- 
ton and  linen  mixtures  for  the  higher 
priced  European  goods. 

The  war  has  stimulated  the  hosiery  and 
underwear  industries,  in  which  America  is 
supreme.  Large  export  orders  have  been 
received  by  a  number  of  mills,  and  it  seems 
likely  that  the  little  competition  which  we 
have  had  from  Europe  in  our  domestic 
markets  is  a  thing  of  the  past. 

The  United  States  has  been  importing 
cabinet  woods  in  large  quantities  from 
England,  where  they  have  been  shipped 
from  Central  and  South  America  and  other 
countries  to  be  dyed  and  partially  finished. 
Manufacturers  of  musical  instruments  are, 
however,  finding  very  satisfactory  substi- 
tutes here  for  many  of  the  woods  used  in 
making  piano  and  organ  cases,  and  other 
cabinets.  For  example,  red  gum,  of  which 
we  have  large  quantities,  is  being  used  in- 
stead of  Circassian  walnut.  Other  domes- 
tic woods  can  be  utilized  in  their  natural 
colors  or  dyed  with  American  dyes. 

Hides  and  leather  are  imported  into  the 
United  States  in  large  amounts.  So  are 
leather  manufactures.  While  it  is  true  that 
our  American  tanneries  are  in  a  serious 
condition  at  the  present  time  owing  to  the 
lack  of  materials  with  which  to  work,  the 
condition  is  not  likely  to  continue.     Instead 


LIVING  WITHOUT  OUR  IMPORTS 


of  coming  from  Europe,  hides  and  skins 
will  be  imported  in  an  unfinished  state  from 
producing  countries  rather  than  in  the  fin- 
ished state  indirectly  from  these  countries 
through  Europe.  The  demand  for  beef  to 
feed  the  armies  will  induce  a  resumption 
of  activity  in  South  America.  Large  stocks 
of  hides  are  now  accumulating  in  some  of 
the  foreign  shipping  centers,  particularly  in 
Latin  America,  and  stocks  are  beginning  to 
pile  up  in  the  domestic  market  owing  to 
the  continued  inactivity  of  the  tanneries. 
With  supplies  of  the  raw  material  fairly 
liberal,  it  is  not  likely  that  the  heavier 
grades  of  leather  will  advance  materially 
in  price.  Fifty  per  cent,  of  our  calf-skin 
supjily  is  now  cut  of?,  coming  as  it  does 
from  Russia,  Germany  and  France.  Skins 
from  China  and  India — the  latter  the  larg- 
est market  for  supplies  in  the  world — can 
be  secured  just  as  soon  as  our  bankers  make 
arrangements  to  finance  the  shipments 
which  have  been  handled  heretofore  with 
London  exchange.  We  can  reasonably  ex- 
pect that  this  will  soon  take  place  under 
our  new  banking  law,  and  when  it  does,  the 
domestic  tanneries  should  profit. 

During  191 3,  the  United  States  imported 
seven  million  dollars'  worth  of  leather 
gloves,  mostly  for  women.  Our  glove  in- 
dustry will  not  need  to  meet  this  competi- 
tion this  year,  and  an'  expansion  is  prob- 
able. The  fine  glace  goods  from  Europe 
probably  cannot  be  made  in  this  country 
because  of  the  absence  of  skilled  workmen. 
The  scarcity  of  the  finer  grades  of  kid 
gloves,  together  with  the  strike  among 
American  glove  cutters,  will  have  a  strong 
tendency  to  cause  the  substitution  of  silk 
gloves,  in  the  manufacture  of  which  Amer- 
ica stands  supreme. 

In  food  stuffs  of  almost  every  kind,  we 
have  been  offenders  against  American  in- 
dustry. Instead  of  growing  sugar  beets 
occasionally  in  order  to  loosen  the  soil,  we 
buy  dynamite  and  jar  it  loose.  The  Ger- 
mans plant  beets,  benefit  the  soil,  and  make 
a  large  per  cent,  of  all  the  sugar  produced, 
but  not  so  with  us.  We  must  have  cane 
sugar  and  go  to  Cuba  for  the  cane.  The 
dyed  French  peas  are  already  under  the 
pure  food  ban,  because  the  sulphate  of  cop- 
per used  to  color  them  is  a  deadly  poison. 
Why  should  they  be  preferred  to  ours?  In 
the  making  of  dairy  products  we  are  in- 
fants, yet  we  gave  the  world  the  milk  and 
cream  separator.  The  cheeses  of  Herki- 
mer Countv  and  New  York  State  are  made 


in  plants  much  more  sanitary  than  those  of 
Europe.  We  have  not  been  successful  imi- 
tators of  the  imported  grades,  but  the  qual- 
ity of  our  own  product  is  high.  The  pro- 
tein and  heat  caloric  content  of  American 
cheese  is  greater  than  that  of  beef — a  fact 
which  comparatively  few  housewives  are 
aware  of,  and  which,  if  better  known,  might 
lead  to  more  frequent  use  of  this  cheese  in 
our  home  menus. 

For  years  we  exported  cotton  seed  oil  to 
Italy  only  to  buy  it  back  refined  and  labeled 
"olive."  We  paid  the  freight  both  ways, 
paid  for  a  Belgian  bottle  and  a  German  la- 
bel, and  lost  the  profit  in  refining.  Ameri- 
can cotton  seed  oil  is  used  extensively  in 
the  manufacture  of  soaps  and  cooking  oils. 
But  Euro]:)e  has  taught  us  how  to  use  it 
and  has  furnished  us  with  much  of  the 
product.  It  has  been  in  disrepute  in  our 
markets  solely  because  it  was  sold  as  olive 
oil  for  so  many  years. 

European  lentils,  perhaps  the  most  nour- 
ishing and  oldest  of  foods,  have  not  been 
successfully  produced  in  this  country.  Our 
Southern  coalfield  or  "cow"  peas,  of 
which  we  have  an  abundance,  are  nearly 
as  nutritious  and  very  cheap.  The  pearl 
onions  from  Germany  are  a  luxury,  but 
none  are  superior  to  our  own  "Texas  Ber- 
mudas." The  Strangenspargel  (asparagus) 
from  Germany  finds  a  ready  substitute  in 
the  California  white  or  Long  Island  green 
products.  The  Southdown  mutton  from 
England  is  no  better  than  our  own,  when 
raised  with  equal  care.  Red  German  sauer- 
kraut is  largely  an  American  product,  being 
manufactured  here  successfully.  Servian 
prunes  are  better  than  the  Calif ornian  prod- 
uct only  because  the  domestic  article  is 
bleached  with  sulphur.  The  Servian  prod- 
uct comes  unbleached. 

These  are  only  a  few  of  the  many  things 
which  we  have  been  importing  from  the 
war  zone  and  which  can  be  got  in  America 
or  for  which  a  satisfactory  domestic  sub- 
stitute can  be  found. 

But  we  must  not  forget  that  in  the  long 
run  it  is  quality  that  wins.  "Made  in 
America"  will  be  a  conquering  trademark 
if  American  goods  are  the  best  that  can  be 
got  at  the  price.  The  law  of  the  survival 
of  the  fittest  will  continue  to  operate. 

Editor's  Note:  Additional  weight  is  lent 
to  the  foregoing  authoritative  article  by  the 
fact  that  the  School  of  Commerce  has  been 
appointed  by  the  Government  to  investigate 
and  report  on  this  important  subject. 


TEACHING   MOTHERS  AND   CHILDREN  TO   MARKET 


"H 


TEACHING      MOTHERS      AND 

CHILDREN  HOW  TO  MARKET 

"OW  to  Buy"  is  the  title  of  a  cir- 
cular which  is  arousing  con- 
siderable interest  among  the 
teachers,  schoolchildren  and 
housewives  of  New  York.  It  is  addressed 
"To  the  Purchasing  Public,"  and  is  issued 
by  the  Mayor's  Food  Supply  Committee 
which  has  been  so  active  in  the  free  mar- 
ket campaign — described  in  another  article. 
Copies  of  the  circular  have  been  sent  to 
public  and  parochial  schools  and  children's 
aid  societies,  and  Borough  President  Marks 
hopes  through  this  means  to  revive  en- 
thusiasm in  marketing,  which  he  has  in- 
timated is  a  lost  art  so  far  as  the  house- 
wives of  the  city  are  concerned. 

As  the  information  set  forth  in  this  brief 
but  important  document  is  not  merely  of 
local  but  of  universal  interest,  we  quote  it 
in  full  as  follows  : 

"Go  to  the  store  yourself. 

"Select  for  yourself  the  article  you  desire 
to  purchase. 

"Inquire  its  price. 

"If  the  quality  and  price  please  you,  be 
sure  that  you  get  in  weight  or  measure  the 
amount  you  buy.  Watch  the  scale.  Watch 
the  measure. 

'If  the  meat  you  purchase  is  weighed  in 
a  piece  of  paper  or  anything  else,  be  sure 
you  are  not  charged  for  the  weight  of  the 
paper. 

"You  are  entitled  to  all  the  bone  and  the 
trimmings  of  the  piece  of  meat  that  you  buy. 
You  should  take  home  and  make  use  of  such 
bone  and  trimmings.  The  fat  can  be  ren- 
dered and  used  for  cooking  purposes ;  the 
bone  and  trimmings  used  for  soup  or  stew. 
When  the  trimmings  are  not  taken  home  the 
butcher  throws  them  into  a  box  under  the 
counter  and  sells  them  to  some  one  else  for 
about  6  cents  a  pound.  They  belong  to  you 
and  you  should  have  them. 

"In  buying  meat,  don't  go  in  and  ask  for 
25  cents  worth  of  meat  and  leave  it  to  the 
butcher  to  decide  how  much  meat  you 
should  have  for  a  quarter.  Select  your 
piece  of  meat ;  ask  the  price  per  pound  ;  sav 
how  many  pounds  you  want ;  have  it 
weighed :  see  that  you  get  your  weight  and 
that  the  butcher's  calculation  as  to  how 
much  meat  you  have,  at  a  certain  price  per 
pound,  is  correct.  Many  a  penny  is  lost  to 
the  customer  by  neglecting  the  above  simple 
precautions. 


"Don't  allow  your  dealer  to  weigh  the 
wooden  butter  dish  in  weighing  your  butter 
unless  he  deducts  the  weight. 

"Don't  buy  in  small  quantities  if  you  can 
possibly  avoid  it.  IMake  every  efifort  to  get 
together  $2  or  $3.    This  will  enable  you  to  : 

"Buy  for  cash,  buy  in  larger  quantities, 
buy  where  you  can  do  the  best.  In  this  way 
you  can  save  $2  or  $3  in  a  very  short  time. 

"Under  the  laws  and  regulations  of  the 
city  you  have  definite  rights  in  the  matter 
of  getting  full  measure  and  full  weight  for 
everything  you  buy,  and  the  City's  Bureau 
of  Weights  and  Measures  stands  ready  to 
help  you  get  your  rights.  This  is  a  protec- 
tion that  is  due  the  honest  dealer  as  well  as 
yourself. 

"Cheapness  does  not  always  mean  quality 
or  full  weight.    Be  sure  you  get  both. 

"A  pamphlet  entitled  'What  the  Purchas- 
ing Public  Should  Know,'  covering  this  en- 
tire subject,  will  be  mailed  to  any  one  on 
application  to  The  Mayor's  Food  Supply 
Committee  (George  W.  Perkins),  City  Hall, 
New  York." 

This  circular  has  been  followed  by 
another,  "What  to  Buy,"  which  is  headed 
by  the  diagram  of  a  cow,  showing  from 
what  part  of  the  animal  the  various  cuts  are 
taken.  The  less  expensive  cuts,  it  is  ex- 
plained, such  as  flank,  chuck  or  round,  are 
really  more  nourishing  than  porterhouse  or 
sirloin. 

"We  must  begin  at  the  beginning,"  says 
Mr.  Marks,  the  head  of  the  open  market 
campaign,  "if  we  are  to  teach  the  people 
how  and  where  to  buy  their  food  so  as  to 
get  the  most  for  their  money.  Among  the 
very  poor,  who  are  the  chief  suflFerers  from 
high  market  prices,  this  education  is  es- 
pecially needed.  The  poor  pay  more  in  pro- 
portion to  what  they  get,  and  they  have  been 
getting  a  poorer  article.  If  they  are  taught 
how  to  buy  and  how  they  may  avoid  wast- 
age, they  will  have  better  food  at  lower 
prices. 

"I  would  suggest  as  a  supplement  to  the 
circular  a  system  of  prizes  for  the  school- 
children. Let  each  child  be  given  a  small 
sum  of  money — 25  cents,  50  cents,  $1 — and 
then  let  him  or  her  go  to  the  market  accom- 
panied by  the  teacher  and  select  supplies  for 
the  family.  Then  let  the  purchases  be 
brought  to  school  and  the  prize  awarded  to 
the  one  who  can  secure  the  best  'value'  for 
the  money,  the  greatest  quantity  of  tasty  and 
nutritious  food.  Out  of  this  competition 
would  come  the  true  marketing  spirit." 


RUSSIA'S   MEANING   TO  THE  NATIONS 


THE  SLAV:  HIS  SPLENDOR, 
HIS  MISERY 

(.Cvnlinued  frvm  page   144) 

Russia,  whether  through  this  present  war 
or  through  the  revolution  that  may  follow. 
Intelligent  Russian  men  and  women  are 
everywhere  working  together  for  an  har- 
monious government  and  for  complete 
equality  in  the  development  of  such  a 
government." 

Naturally  all  progress  toward  a  higher 
civilization  among  the  Slavs  must  come 
from  wider  education,  there  as  everywhere. 
But  it  is  essential,  in  the  meantime,  that  we 
should  realize  what  is  already  being  done 
along  educational  lines,  what  progress  is 
being  made  industrially  and  agriculturally, 
and  also  that  we  should  give  full  credit  to 
the  Russian  culture  which  has  existed  for 
many  generations  and  which  has  practi- 
cally always  been  born  out  of  the  heart  of 
the  simple  people.  We  find  the  Russian 
painters  today  vitally  sympathetic  to  the 
Russian  country,  their  greatest  portraits  of 
Fiussians ;  their  development,  their  tech- 
nique along  national  lines ;  their  most  bril- 
liant and  vivid  landscapes  are  of  the 
Russian  rivers  and  fields  and  towns.  The 
Russian  drama,  both  in  subject  and  in 
presentation,  is  vitally  Slav. 

The  Russian  dancing,  in  spite  of  the  en- 
croachment of  the  Italian  ballet,  is  still 
essentially  and  beautifully  Slavic.  We 
hear,  in  America,  most  often  of  the  Russian 
Imperial  Ballet  which  dances  in  the  theater 
of  the  Czar.  But  this  really  is  an  exotic 
in  Russia  and  not  the  dancing  that  you  see 
in  ninety-nine  per  cent,  of  the  villages  and 
the  theaters.  The  Russian  dancers  as  a 
whole  are  still  keeping  time  to  the  old 
czardas,  and  the  costume  is  still  the  warlike 
dress  with  boots  and  spurs  and  cossack  hat. 

Of  the  Russian  literature  one  scarcely 
needs  to  speak,  so  well  known  is  it  as  the 
embodiment  of  the  Russian  progressive 
spirit  of  the  day.  .It  is  difficult  at  the 
moment  to  recall  a  great  Russian  writer 
whose  subject  and  presentation  have  not 
been  entirely  "home  spun."  And  not  only 
do  the  Russian  writers  present  the  lives  of 
their  own  people,  the  environment  in  which 
they  themselves  have  been  born,  but  prac- 
tically always  the  stories  are  written  for 
the  purpose  of  bettering  the  lives  of  the 
people,  of  in  some  way  righting  wrong, 
encouraging  enterprise,  or  bringing  the  sor- 
rows   and    calamities    of    the    liumblc    folk 

224 


before  the  eyes  of  the  mighty.  And  this 
is  not  done  in  a  perfunctory  manner,  it  is 
never  the  moralist  writing — it  is  the  prophet. 
Gorky  has  practically  always  told  his  stories 
with  a  white  light  shining  through  them. 
Tolstoi's  fiction,  essays,  his  everyday  speech 
were  all  for  the  people.  And  this  has  not 
prevented  either  of  these  men  from  ranking 
among  the  great  novelists  of  their  age. 
Turgenief,  whose  purpose  is  perhaps  more 
veiled  to  the  outlander,  is  an  open  page  of 
pleading  for  Russia  to  those  who  know  the 
Slav  country  and  people. 

The  same  intensity,  the  same  thrilling  na- 
tional spirit  |)ours  through  the  sculpture  of 
the  land.  We  are  showing  as  a  frontispiece 
this  month  the  head  of  a  "Russian  thinker," 
a  great  impersonal  masterpiece ;  yet  with  all 
its  interest  for  the  world,  as  Chaliapine  says 
of  the  art  of  his  people,  "The  sun  of  Russia 
has  poured  through  the  work.  It  is  not  a 
P"rench  thinker  or  a  statesman  of  England 
or  a  thoughtful  man  of  America,  it  is  the 
serious,  spiritual  Russian  contemplating  the 
life  of  his  people,  conscious  of  the  tragedy 
of  it,  looking  into  the  future  with  the  eves 
of  hope." 

AN  OPPORTUNITY  FOR  THE 
UNEMPLOYED? 

Those  who  are  interested  in  solving  the 
unemployment  problem  and  in  reducing  the 
cost  of  living,  may  consider  the  practical 
suggestions  of  a  New  York  newspaper. 

"On  the  one  hand,"  it  is  stated,  "we  have 
the  city  with  its  thousands  of  families  com- 
pelled to  live  economically,  and  therefore 
unable  to  afiford  the  fresh  fruits  and  vege- 
tables that  health  demands.  On  the  other 
hand  we  have  the  country,  where  enormous 
quantities  of  food  rot  in  or  on  the  ground 
for  want  of  picking.  No  statistician  has  yet 
estimated  the  wastage  of  this  nation.  It 
would  be  hard  to  find  anywhere  a  garden 
patch  that  is  picked  clean  or  an  orchard  in 
which  a  large  part  of  the  fruit  is  not  allowed 
to  decay.  Our  seas  and  estuaries,  our  rivers, 
streams  and  ponds  would,  under  scientific 
propagation  and  care,  yield  enough  fish  and 
crustacean  food  to  bring  down  the  price  of 
beef  to  a  reasonable  figure. 

"There  are  also  a  sufficient  number  of  the 
unemployed  to  perform  the  work  of  collect- 
ing and  distributing  these  supplies.  The 
proper  direction  of  their  energies  is  a  prob- 
lem that  should  engage  the  attention  of  prac- 
tical philanthropy." 


HELPING  THE   HOME-MAKERS  OF   AMERICA 


HELPING  THE  HOME-MAKERS 


OF  AMERICA 

(Continued  from  page  /«.) 

amateur  knowledge  with  technical  facts, 
figures  and  advice.  Chats  with  friends  and 
neighbors  who  have  evolved  successful 
dwellings  of  their  own  will  warn  them  of 
many  architectural  pitfalls  to  be  avoided 
and  suggest  countless  benefits  to  be  gained. 
And  thus,  without  imitation,  without  loss 
of  originality,  they  may  profit  by  the  expe- 
rience of  others  and  gather  hints  that  will 
guide  them  in  their  own  home-making 
adventure. 

The  average  person,  however,  cannot 
alone  do  more  than  map  out  in  a  general 
way  the  design  and  arrangement  of  the 
new  home.  The  difficulty  is  to  find  some 
reasonable  source  of  authentic  information 
and  practical  help  in  the  solving  of  the 
various  problems  of  layout,  construction 
and  design,  before  taking  up  the  matter 
with  the  architect  or  builder  who  is  to 
supervise  the  work. 
Craftsman  Home-Builders'  Exposition. 

It  was  to  fill  this  need,  to  give  prospective 
home-makers  a  chance  to  study  and  investi- 
gate materials  and  methods  at  first  hand, 
that  the  Craftsman  Home-Builders'  Exposi- 
tion was  established.  Readers  of  The 
Craftsman  already  know  of  this  organiza- 
tion, its  aims  and  scope ;  we  have  described 
and  illustrated  it  in  previous  articles,  ex- 
plaining   its    systematic    arrangement,    the 


HOUSE  AT  OYSTER  BAY,  LONG  ISLAND,  N.  \ 
WHICH  FISKE  TAPESTRY  BRICK  HAS  BEEN  USED  WITH 
REMARKABLY  PICTURESQUE  RESULT  :  CARRERE  &  HAST- 
INGS, ARCHITECTS  :  EXAMPLES  OF  THIS  STYLE  OF 
BRICKWORK  ARE  SHOWN  IN  THE  CRAFTSMAN  HOME- 
BUILDERS'  EXPOSITION. 

wide  range  of  products  displayed,  and  the 
active  service  that  is  being  rendered  through 
this  means  to  the  home-loving  public. 
Many  of  our  friends,  however,  do  not  know 
how  this  Exposition  has  been  constantly 
growing  and  improving,  and  it  seems  worth 
while,  therefore,  to  mention  here  a  few  of 
the  recent  developments  which  are  making 
it  more  and  more  helpful  to  all  who  seek 
its  aid. 

One  of  the  most  important  of  these 
changes  is  the  moving  of  the  Craftsman 
Architectural  Department  from  the  tenth  to 
the  eighth  floor,  in  order  that  it  may  be  in 
close  touch  with  the  building  material  ex- 
hibit. This,  we  believe,  will  prove  a  great 
convenience,  for  prospective  builders  who 
wish  expert  advice  in  connection  with  the 
products  displayed,  can  now  readily  consult 
one  of  our  architects  and  receive  reliable  in- 
formation that  will  help  them  to  decide 
upon  the  most  appropriate,  durable  and 
economical  material  for  the  particular  pur- 
pose in  mind. 

For  those  who  expect  to  build  in  the  near 
future  and  who  desire  all  the  authentic  in- 
formation possible  on  this  important  prob- 
lem, a  member  of  our  architectural  staff  will 
act  as  guide  through  the  entire  Building, 
explaining  each  exhibit  and  discussing  every 

225 


HELPING  THE  HOME-MAKERS  OF  AMERICA 


LHIMNKVPIELH  OF  ROUGH -TKXTURKD  BkK  K  I.AIli  IX 
GEOMETRIC  DESIGNS:  THE  WORK  OF  THE  COLONIAL 
FIREPLACE  CO.,  ONE  OF  THE  CRAFTSMAN    EXHIBITORS. 

feature  of  design,  arrangement,  materials, 
methods  of  construction,  equipment  and 
furnishing  of  the  future  home. 

In  developing  this  Exposition,  and  in 
striving  to  make  it  as  widely  helpful  as 
possible,  we  have  brought  together  not  only 
the  materials  and  articles  themselves,  but 
also  a  large  collection  of  the  most  authori- 
tative books  and  cata- 
logues available  on 
every  phase  of  home- 
building — including  a 
reference  library  in 
one  of  the  Club 
Rooms  on  the 
eleventh  floor,  whicli 
is  at  the  service  of 
our  visitors.  Illustra- 
tions and  descriptions 
of  the  best  modern 
b  u  i  Iding  materials, 
exterior  and  interior 
finishes,  furnishings, 
fittings,  household  de- 
vices, etc.,  are  to  be 
found  in  the  cata- 
logues, and  we  are  al 
ways  glad  to  suppl\ 
copies  free  to  those  who  arc  interested,  or 
to  send  them  by  mail  to  those  who  live  too 
far  from  New  York  to  visit  us. 

226 


Model    Kitchen 
.'KND  Laundry. 

Another  valu- 
al)le  innovation  is 
the  establishment, 
now  under  way, 
of  a  Model  Kitch- 
en and  Laundry, 
furnished  with 
the  most  efficient 
and  hygienic  of 
m  o  d  e  r  n  equip- 
ments. This  de- 
partment, which 
is  on  the  sixth 
floor,  will  be  un- 
der the  super- 
vision of  Miss 
Helen  M.  Logan, 
who  outfitted  the 
Columbia  Univer- 
sity and  the  Bar- 
nard  College 
kitchens,  and  whose  twenty  years'  ex- 
perience as  a  specialist  in  this  important 
branch  of  domestic  science  gives  her  un- 
usual qualifications  for  the  present  under- 
taking. Miss  Logan  will  be  at  hand  to 
answer  questions,  to  offer  suggestions  to 
visitors  in  regard  to  kitchen  equipment  and 
methods  of  working,  and  to  plan,  without 
charge,  kitchen  outfits  for  those  who  are 
building  new  homes  or  refitting  old  ones. 
This    department   of    the    Exposition    must 


THIS  CHARMING  BRICK  FIREPLACE  IS  EQUIPPED  WITH 
A  "covert"  iron  throat  and  DAMPER — A  MODF.RN 
INVENTION  THAT  CAN  BE  SEEN  IN  THE  EXPOSITION 
AT   THE  CRAFTSMAN    BUILDING. 


HELPING  THE  HOME-MAKERS  OF  AMERICA 


CHILDREN  S  PLAYROOM   IN  THE  CRAFTSMAN  BUILDING,    IN    CHARGE    V!      Ml;-.     II 
THESE    UNIQUE   AND   FRIENDLY   TOYS    AND    FURNISHINGS:    THIS    DEPAKl  MEiNl 


-PEER,    THE    DESIGNER    OF 
THE    ELEVENTH    FLOOR. 


inevitably  prove  of  great  service  to  every  - 
housewife  who  visits  it. 

A  Variety  of  Building  Materials. 

On  each  of  the  four  floors  occupied  by 
the  Exposition,  similar  additions  and  im- 
provements have  been  made.  For  instance, 
the  varied  display  of  building  materials  on 
the  eighth  floor  now  includes  an  exhibition 
of  modern  brick  work  which  claims  the  ad- 
miration of  every  visitor.  The  rough- 
textured,  richly  toned  units  have  been  used 
with  remarkably  decorative  eiTect,  giving 
the  home-builder  a  chance  to  study  the  ar- 
tistic as  well  as  practical  possibilities  of 
different  bonds,  joints,  patterns  and  color 
schemes.  A  number  of  brick  fireplace 
models  have  been  constructed  which  are  full 
of  inspiration  and  suggestion  for  the  lover 
of  the  open  hearth. 

Another  popular  feature  of  the  eighth 
floor  is  the  collection  of  architectural 
models — houses,  cottages  and  bungalows 
which  illustrate  in  unique,  charming  and 
practical  fashion  several  interesting  types 
of  homes.  These  miniature  dwellings  sug- 
gest an  effective  means  by  which  both  archi- 
tect and  owner  may  see,  before  the  building 
is  begun,  just  how  the  house  is  going  to  look- 
when  completed — a  form  of  experiment 
which  afl^ords  a  chance  for  modification  in 
plan  and  design  before  it  is  too  late  to  make 
such  changes,  and  thus  often  avoids  many 
future  disappointments. 


Interior  Home  Equipment. 

Equally  interesting  has  been  the  develop- 
ment of  the  seventh  floor.  Here  may  be 
seen  examples  of  interior  finishes  and  fit- 
tings, such  as  paints  and  stains,  ornamental 
mantels,  and  floorings  of  linoleum  and 
cork  in  which  both  durability  and  beauty 
are  combined.  Fabrics  for  wall  coverings 
are  also  shown,  serviceable,  sanitary,  and 
artistic  in  color  and  design.  There  are  in- 
numerable fittings,  too,  as  useful  as  they  are 
lovely^articles  of  pottery,  copper,  brass 
and  other  metals — flower  holders,  desk  sets, 
lamps  and  candlesticks  that  recall,  by  their 
simple,  decorative  handling  of  materials, 
the  craftsmanship  of  olden  days.  Interest- 
ing uses  of  wood  are  shown  in  walls,  book- 
cases, doors  and  other  interior  features, 
while  model  rooms  with  simple,  artistic  fur- 
nishings offer  the  visitor  many  a  hint  for 
the  arrangement  and  decoration  of  a  home 
interior.  A  collection  of  Copley  prints, 
with  their  reproductions  of  the  best  art  of 
modern  and  old-time  masters,  suggests  a 
charming  and  inexpensive  way  of  adding  to 
the  beauty  of  the  walls. 

Many  new  household  equipments  and 
labor-saving  devices  have  been  added  to  the 
exhibition  on  the  sixth  floor.  There  are  re- 
frigerators that  are  models  of  compactness, 
convenience  and  sanitation  ;  fireless  cookers 
that  eliminate  much  of  the  discomfort  and 
labor  of   old-fashioned   methods;   furnaces 

227 


HELPING  THE   HOME-MAKERS   OF  AMERICA 


AN  INTERESTING  EXAMPLE  OF  MODERN  ROOFING  IS  S 
THE   JOHNS-MANVILLE  CO.,    FORM    THE    FIREPROOF   COV 

and  hot  water  heaters  that  are  as  efficient 
and  economical  as  twentieth  century  inven- 
tion can  make  them ;  and  gas  radiators, 
plate  warmers,  kitchen  ranges  and  cabinets 
that  prove  how  effectively  modern  science 
can  aid  the  housewife  in  every  department 
of  her  work.  Electric-light  bath-cabinets, 
tool  chests,  wall  safes,  window  screens,  ven- 
tilators and  adjusters,  weather  strips,  dust- 
ers— these  are  also  among  the  exhibits,  and 
the  home-builder  who  is  interested  in  elec- 
trical appliances  will  find  a  collection  of  the 
latest  devices  in  this  line  for  lightening  the 
household  labor.  Here,  too,  we  are  estab- 
lishing the  model  kitchen  and  laundry  re- 
ferred to  before. 

Our  G.\rden  Department. 

The  Garden  Department  is  likewise  prov- 
ing more  and  more  helpful  to  prospective 
home-makers,  and  indeed  to  all  who  live  or 
arc  planning  to  live  in  the  suburbs  or  coun- 
trv  where  there  is  opportunity  for  outdoor 
life.  The  fifth  floor,  where  this  department 
is  located,  has  been  rearranged  to  include 
many  new  and  charming  features,  so  that 
one  now  finds  there  a  veritable  garden  at- 
mosphere. There  are  pergolas  and  arbors, 
with  rustic  seats  and  tables  that  suggest 
many  ways  of  securing  shelter  and  comfort 
around  the  home.  .Sundials,  fern  jars  and 
other  forms  of  garden  pottery  are  to  be 
seen,  while  concrete  bird  basins  for  porch 
and  lawn,  and  tiny  bird  houses,  perched  in- 
vitinglv    on    post    and    branch,    remind    the 

228 


nOWN    HKRE  :    TRANSITE    ASBESTOS    SHINGLES,    MADE    BY 
ERINC. 

visitor  that  there  are  many  charming  means 
of  attracting  these  little  feathered  neighbors 
and  coaxing  them  to  become  regular  garden 
tenants.  Portable  houses  for  the  summer 
camper  and  greenhouses  for  those  who 
have  room  to  grow  things  under  glass  are 
also  among  the  attractions,  while  flower 
baskets,  watering  pots  and  outfits  of  garden 
tools  are  likewise  at  hand.  A  collection  of 
illustrated  volumes  on  garden  lore  affords 
a  reference  library  for  the  wisdom-seeking 
amateur,  and  to  this  is  being  constantly 
added  newly  published  books  on  gardening, 
farming,  fruit  and  vegetable  growing  and 
kindred  occupations. 

Readers  may  also  be  interested  to  learn 
that  this  department  has  been  placed  in 
charge  of  Mrs.  Eloise  Roorbach,  whose 
name  is  already  known  to  Craftsman 
subscribers  as  an  authority  on  garden  topics. 
Mrs.  Roorbach  is  always  glad  to  talk  with 
garden-loving  callers,  to  advise  them  about 
the  laying  out,  planting  and  care  of  their 
grounds,  to  give  them,  in  short,  the  benefit 
of  her  own  experience.  .\nd  as  she  has 
only  recently  returned  from  the  Orient, 
where  she  studied  the  homes  and  gardens 
of  Japan,  a  chat  with  her  on  these  and 
similar  subjects  adds  to  the  pleasure  as  well 
as  the  information  of  the  Exposition  visitor. 

Another  point  of  interest  on  the  fifth 
floor  is  the  "Eye-Comfort  Eighting  Shop," 
where  tlie  home-maker  can  study  at  leisure 
innumerable  styles  of  lighting  fixtures  for 
table,  desk,  wall  and  ceiling,  artistic  in  de- 


HELPING  THE   HOME-MAKEKS   OF  AMERICA 


BUNGALOW  OF  HOLLOW  WALL  CON'CKETE,  BUILT  BY  W.  H.  RILEY  AT  RIVERSIDE,  CALIFORNIA:  A  DEMONSTRATION 
OF  THIS  TYPE  OF  CONSTRUCTION,  KNOWN  AS  THE  VAN  GUILDER  SYSTEM,  IS  AMONG  THE  INTERESTING  FEA- 
TURES   OF   OUR    EXPOSITION. 


sign,  and  arranged  with  thought  not  only 
for  the  utmost  beauty  of  effect,  but  also  for 
the  greatest  possible  eye-comfort  and  rest- 
fulness. 

The  "Children's  Playroom." 
A  recent  innovation  among  our  exhibits 
is  the  Children's  Playroom,  under  the  direc- 
tion of  Mrs.  Helen  Speer,  whose  experience 
as  a  designer  of  nursery  furnishings  and 
toys  has  won  her  wide  appreciative  recogni- 
tion among  both  the  little  people  and  their 
parents.  The  photograph  on  page  227 
gives  some  impression  of  the  charm  of  her 
unique  playthings  and  fittings.  The  tiny 
chairs  and  tables,  painted  and  enameled,  are 
stenciled  with  geometric  or  conventionalized 
animal,  bird  and  tree  designs.  The  painted 
canvas  screens  display  equally  attractive 
decorations,  while  the  see-saws,  Noah's 
Arks,  rocking  horses  and  friezes  for  the 
nursery  walls  are  all  resplendent  with  the 
Mother  Goose  characters  so  dear  to  child- 
hood's imaginative  heart.  Owls  and  squir- 
rels, chickens,  elephants,  cats  and  other 
furred  and  feathered  friends  of  the  children 
appear  in  various  guises  and  colors  on  fur- 
niture, draperies  and  walls.  Even  the  rug 
has  a  border  of  small  Dutch  figures,  and 
the  doorstops  take  the  form  of  wooden 
birds  and  animals  painted  in  alluring  tones. 
There  is  a  "Boy  Scout"  tent,  too,  especially 
designed  by  Mrs.  Speer  for  nursery  or 
garden,  of  a  size  that  is  easy  to  handle  and 
iust  large  enough  for  the  little  folks.     Ani\ 


all  these  furnishings  are  made  in  the  sim- 
plest, sturdiest  fashion,  with  the  fewest 
possible  crevices  for  dust  to  gather,  and 
with  the  corners  thoughtfully  rounded  so 
that  their  small  owners  may  encounter  as 
few  bumps  as  possible  during  even  the  most 
boisterous  games. 

This  delightful  Playroom  is  proving  al- 
most as  fascinating  to  the  grown-up  visitors 
as  to  the  children.  Mrs.  Speer  is  always 
ready  to  design  new  furnishings  and  toys 
for  those  who  desire  them,  or  to  help  plan 
the  arrangement,  furnishing,  color  scheme 
and  decorations  for  nursery  or  playroom ; 
mothers,  kindergarten  teachers  and  others 
who  need  help  along  such  lines  will  find  this 
branch  of  Craftsman  activities  ver>'  useful. 

A  Welcome  for  Visitors. 
Space  does  not  permit  the  use  of  many 
illustrations,  although  we  might  fill  volumes 
with  photographs  of  the  various  materials 
shown  in  our  Exposition,  and  the  different 
uses  to  which  they  are  put.  But  more  con- 
vincing than  photographs  is  a  study  of  the 
products  themselves.  We  are  always  glad, 
therefore,  to  welcome  to  our  Building  all 
who  are  interested  in  seeing  what  we  have 
brought  together  for  the  benefit  of  Amer- 
ican home-makers.  And  we  feel  sure  that 
those  who  avail  themselves  of  this  oppor- 
tunity to  become  familiar  with  the  actual 
materials  and  methods  of  building,  fur- 
lu'shing  and  household  equipment,  will  find 
the  time  well  spent. 

229 


A  NEW  TYPE  OF  FIREPROOF  GARAGE 


A  NEW  TYPE  OF  FIREPROOF 
GARAGE 

THE  garage  illustrated  here  will  be  of 
interest,  we  believe,  to  every  builder 
and  automobile  owner  who  wishes  to 
combine  durability  and  pleasing  design  with 
an  absolutely  fireproof  structure.  The 
materials  and  method  of  construction  are 
particularly  worth  examining,  for  they  are 
as  practical  and  scientific  as  they  are 
unitjue.  At  the  same  time,  the  building  is 
so  simple  that  the  owner  can  erect  it  him- 
self if  he  desires,  with  or  without  help. 

The  garage  is  intended  for  a  single  car. 
and  as  the  plan  and  elevations  show,  it  is 
light,  airy  and  convenient.  There  is  a  large 
double  (ioor  at  the  front  for  the  car  en- 
trance, and  a  single  door  at  the  side  near 
the  work  bench  at  the  rear.  Six  double- 
hung  windows  are  also  provided,  and  the 
front  doors  are  made  with  glass  in  the 
upper  portion, 

The  foundation  and  lower  part  of  the 
wall,  up  to  the  window  sills,  are  of  con- 


FIGURE  ONE  :  SIDE  ELEVATION  OF  FIREPROOF  G.\RAGE, 
BUILT  OF  CONCRETE,  STEEL  AND  ASBESTOS  :  THE 
FRAMEWORK  OF  "mETAL  LUMBER"  IS  MADE  BY  THE 
BERGER  MFG.  CO.,  AND  THE  "tRANSITE  ASBESTOS 
lumber"  siding  AND  CORRUGATED  ASBESTOS  ROOFING 
ARE  MADE  BY  THE  H.   W.  JOHNS-MANVILLE  CO. 

Crete,  for  this  not  only  provides  a  solid  base 
for  the  building  and  presents  a  surface  that 
will  not  be  injured  by  accidental  bumping 
of  the  car,  but  it  is  also  satisfactory  from 
the  standpoint  of  design.  This  concrete 
wall  is  6  inches  thick,  with  an  i8  inch  foot- 
ing. 

The  up])cr  ])ortion  of  the  wall  consists  of 
"metal  lumber"  covered  inside  and  out 
with  "transite  asbestos  lumber,"  and  the 
framework  of  the  roof  is  also  of  "metal 
lumber"  with  a  covering  of  corrugated 
asbestos  roofing.  The  doors  have  a  wood 
core  over  which  is  sheet  metal  (painted  tin 
is  the  most  economical) ,  and  the  window 


I'LOOR 
PLAN  OF 
FIREPROOF 
GARAGE. 


frames  may  be  either  of  wood  or  metal,  as 
preferred.  The  floor  is  of  cement,  with  the 
usual  pit  in  the  center. 

The  "metal  lumber"  consists  of  light- 
weight pressed  steel  made  in  sheet  form 
with  the  edges  bent  to  make  channel  irons 
and  I-beams — a  style  of  framework  which 
is  both  strong  and  cheap.  These  irons, 
which  are  made  by  the  Berger  Mfg.  Co.  of 
New  York,  may  be  ordered  in  any  lengths 
required,  the  best  plan  being  to  send  the 
manufacturers  the  working  drawings  of 
one's  garage,  so  that  they  may  know  the 
exact  amount  and  sizes  of  "metal  lum- 
')er"  needed.  The  channel  irons  and 
I-beams  shown  here  are  1J/2  by  4  inches, 
and  are  made  with  holes  at  convenient  in- 
tervals so  that  they  may  be  easily  fastened 
to  each  other,  to  the  concrete,  "asbestos 
wood"  and  asbestos  roofing. 


FIGURE   two: 
ENLARGED  DETAIL 
SHOWING   IN- 
SIDE OF  GARAGE 
WITH    "metal 

lumber"  frame- 
work EXPO.SED  : 
THE  BOTTOM 
LINES  REPRE- 
SENT THE  CHAN- 
NEL IRON  THAT 
RESTS  ON  THE 
CONCRETE  WALL. 


T]        \T 


230 


AMERICA'S  THANKSGIVING 


In  building 
the  framework, 
one  of  these 
channel  irons 
is  bolted  to  the 
top  of  the  con-r 
Crete  wall  as* 


FIGURE  THREE  :  VERTICAL  CROSS- 
SECTION  THROUGH    GARAGE. 
SHOWING  CONCRETE  FOOTING 
D   FOUNDATION 
lLL  up  to  WINDOW 
SILL  :  ABOVi;  THIS 
ARE  SEEN  THE 
CHANNEL  IRONS 

OF  "metal  lum- 
ber" TO  WHICH  THE 

"transite  asbestos 
lumber"  wall  panels 
are  attached  :  similar 
metal  framework 
supports  the  cor- 
rugated ASBESTOS 
roofing. 


seen  in  figure  3,  and  upright  pieces  are 
fastened  to  this  at  the  proper  distances. 
In  the  same  manner  the  rest  of  the  frame- 
work of  roof  and  walls  is  put  together. 

After  the  metal  frame  is  in  place,  the 
walls  are  covered  with  the  "transite  asbes- 
tos lumber."  This  is  a  form  of  strong 
sheeting  made  from  asbestos  fiber  and  bind- 
ing cement,  and  is  not  only  proof  against 
fire  but  is  unaffected  by  moisture  or 
changes  of  temperature.  It  is  manufac- 
tured by  the  H.  W.   Johns-Manville  Co. 

This  "transite  asbestos  lumber"  is  readily 
screwed  or  bolted  in  panel  form  to  the  steel 
frame,  as  shown,  and  strips  of  the  same 
materials  are  fastened  over  the  joints.  The 
panels  are  fastened  to  both  sides  of  the 
wall,  making  a  neat  finish  for  exterior  and 
interior,  if  a  cheaper  construction  is  de- 
sired, the  inside  panels  may  be  omitted. 

The  corrugated  asbestos  roofing  is  also 

figure  four  : 
front  eleva- 
tion OF  garage 
showing  metal 
con'ered  doors, 
concrete 
foundation 
wall,  and 
panels  of 
"transite 

ASBESTOS  lum- 
ber" ABOVE  WITH 
BATTEN  STRIPS 
OVER  JOINTS. 

made  by  the  H.  W.  Johns-Manville  Co.  It 
is  a  composition  consisting  of  several  layers 
of  pure  asbestos  felt,  thoroughly  impreg- 
nated with  non-volatile,  long-lived  asphalt, 
reinforced  in  the  center  with  heavy  perfo- 
rated sheet  metal.  Being  solid,  fireproof 
and  weatherproof,  this  roofing  is  practically 
indestructible.  It  can  be  had  in  various 
convenient  lengths,  from  6  to  10  feet,  28 
inches  wide,  and  can  be  easily  overlapped 
and  fastened  to  the  metal  roof  frame. 


The  "metal  lumber,"  "transite  asbestos 
lumber"  and  asbestos  roofing  can  all  be 
adapted  to  garages  of  any  size  and  style. 
Those  who  contemplate  the  building  of  a 
garage  by  this  simple  and  effective  method 
will  find  it  advisable  to  send  their  drawings 
not  only  to  the  Berger  Mfg.  Co.,  but  also 
to  the  H.  W.  Johns-Manville  Co.,  who  will 
inform  them  how  much  siding  and  roofing 
will  be  needed  and  how  much  it  will  cost. 

ALS  IK  KAN 

AMERICA'S  THANKSGIVING 

ALTHOUGH  here  in  America  we  are 
three  thousand  miles  away  from  the 
hideous  conflict  that  is  .going  on 
between  friend  and  friend,  brother 
and  brother  on  the  other  side  of  the  water, 
nevertheless  a  veil  of  sadness  seems  to  have 
fallen  over  our  own  land.  It  is  not  only 
that  so  many  of  us  individually  love  France, 
or  England,  or  Germany,  not  only  that  we 
have  many  friends,  and  some  of  us  rela- 
tives, in  the  heat  of  the  battle;  it  is  rather 
as  though  the  very  vibrations  of  the  air 
were  bringing  us  waves  of  sorrow  from  the 
bleeding  hearts  of  the  wounded  and  strick- 
en. The  more  courageous  of  us  have,  from 
the  start,  refused  to  accept  this  burden 
which  is  not  our  own.  which  we  cannot 
lessen  by  our  tears,  and  yet  in  spite  of  this 
there  seems  to  be  everywhere  the  need  of 
foregoing  pleasure,  the  talk  only  of  the  war, 
a  tendency  to  think  only  of  the  difficulties  it 
has  brought  us — permitting  ourselves  to 
mourn  where  we  cannot  mend. 

I  should  be  the  last  person  in  the  world 
to  advocate  any  exhibition  of  heartlessness 
toward  the  unescapable  sorrow  of  all 
Europe.  I  in  my  birth  heritage  am  too 
close  to  the  heart  of  the  struggle  to  feel 
anything  but  profoundest  sympathy  and 
understanding, — that  far  I  think  it  is  safe 
to  go.  It  is  only  the  heartless  and  selfish 
in  this  country  who  can  ignore  Europe's 
suffering  today. 

But  what  I  want,  what  I  feel  we  must 
have  in  America  is  courage  to  face  life  as  it 
exists  for  us  during  the  struggle  and  in  the 
aftermath  of  the  war.  For  practically  all 
the  rest  of  the  world  to  be  in  the  midst  of 
carnage  must  affect  this  country ;  not  only 
our  sympathies  but  our  prosperity.  It  need 
not  of  necessity  lessen  our  prosperity,  but 
it  must  somewhat  change  its  course.  The 
wise  people  amongst  us  will  look  at  this 
condition   as   it   is.  not  through   tears,  but 

231 


AMERICA'S  THANKSGIVING 


with  a  level,  well  directed  gaze  in  order  to 
understand  where  we  lose,  where  we  gain, 
where  we  must  adjust. 

In  an  article  wiiich  we  have  succeeded 
in  getting  for  this  issue  of  the  magazine, 
"Living  without  Our  Imijorts,"  which  was 
especially  pre])ared  for  us  by  the  research 
workers  in  the  Chamber  of  Commerce  of 
the  Alexander  Hamilton  Institute,  we  set 
forth  very  clearly  some  of  the  essential 
changes  which  must  come  about  in  our 
businesses.  And  almost  without  exception 
do  we  find  that  what  we  had  felt  an  irrep- 
arable loss  in  certain  business  lines  may  be 
adjusted  without  too  great  efifort  in  this 
country,  working  in  the  long  run  even  a 
wider  prosperity. 

All  changes  of  industry  naturally  must  be 
undertaken  calmly  and  pressed  forward 
judicially  and  patiently.  And  we  must 
accept  and  be  prepared  for  intervals  of 
work  without  immediate  result.  In  other 
words  a  result  cannot  precede  a  reorganiza- 
tion, as  one  would  like  it  in  this  country. 
We  have  got  to  have  new  manufacturing 
interests,  new  factories,  able  investigations 
made  for  glazes  and  dyes  and  many  other 
products  ;  all  of  which  means  an  investment 
of  capital  and  a  certain  cheerful  optimism 
until  we  find  ourselves  pressed  into  a  wider 
self-sustaining  field  than  we  have  ever 
known  before. 

If  we  cannot  have  so  much  wool  for 
manufacturing  uses  from  abroad,  we  will 
do  more  wonderful  things  with  cotton;  if 
we  cannot  have  imported  decalcomania 
prints  to  put  on  our  pottery,  we  may  be- 
come better  craftsmen  and  seek  more  beau- 
tiful and  more  interesting  designs  for  our 
work.  In  other  words  if  we  face  intelli- 
gently the  immediate  deprivation  through 
the  cutting  ofi'  of  our  foreign  supplies,  we 
will  on  this  very  account  develop  as  artists 
and  industrial  workers.  We  will  have  a 
bigger  field  of  usefulness  in  this  country, 
our  scientists  will  have  fresh  opportunities, 
and  business  openings  will  in  the  course  of 
a  number  of  months  be  greater  than  ever, 
especially  for  tlie  man  with  keen  brain  and 
some  imagination. 

All  of  this  brings  me  to  the  point  I 
wanted  to  make,  that  we  have  no  right  to 
destroy  our  capacity  for  activity  through 
futile  mourning.  Let  us  get  together 
and  do  the  utmost  that  wc  can  for  all 
of  Eurojie,  for  her  Red  Cross  workers, 
for  her  hospitals,  for  her  children.  Then 
let  us  turn   fiur   faces  eagerly  toward  the 

232 


needs  of  our  own  country,  the  increasing 
of  our  business  enterprises,  the  meeting 
of  fresh  opportunity  as  well  as  unex- 
pected difficulties.  No  business  ever  suf- 
fered in  any  country  through  a  demand 
for  enlargement,  for  greater  wisdom,  inves- 
tigation and  activity.  A  fresh  need  for 
struggle  in  the  American  business  world 
will  be  productive  of  far-reaching  and  puri- 
fying as  well  as  stimulating  conditions.  We 
should  not  express  anxiety  about  it,  we 
should  not  wince  over  the  moment's  depri- 
vation ;  we  should  turn  our  faces  as  our 
pioneer  ancestors  did  toward  the  field  that 
needs  our  plowing. 

From  this  point  of  view,  I  find  myself 
thinking  almost  unexpectedly  of  Thanks- 
giving Day,  and  at  the  first  thought,  the 
word  seems  an  irony.  How  can  we  give 
thanks?  It  seems  so  selfish  to  be  glad  that 
we  are  better  ofif  than  others.  We  are  still 
Puritans  enough  to  feel  that  we  should  not 
be  grateful  if  there  is  suffering  anywhere, 
and  yet  we  must  be.  We  must  face  our 
Thanksgiving  Day  this  year  with  perhaps  a 
prouder  spirit  than  ever  before  in  our  his- 
tory, for  in  the  midst  of  today's  universal 
sorrow  we  have  proved  the  strength  and 
solidarity  of  our  own  land.  In  the  past  we 
have  fought  for  our  democracy  and  worked 
peacefully  for  it,  talked  of  it  and  written 
of  it ;  but  just  now,  in  the  last  few  months, 
the  strength  of  it,  its  integrity  has  been 
put  to  the  test  as  never  before,  and  in  the 
midst  of  the  greatest  conflict  the  world  has 
ever  known  America  has  stood  forth  as  the 
great  peace-nation.  We  have  extended  our 
sympathy  and  our  handclasp  to  every  coun- 
try, we  have  offered  partisanship  to  none ; 
we  have  given  our  money  to  aid  the  suffer- 
ing, and  our  Red  Cross  Societies  are  for 
all  the  struggling,  fighting,  dying  nations. 

Surely  if  we  have  achieved  such  a  pro- 
digious national  success  as  this,  then  we 
should  be  capable  of  the  greatest  imper- 
sonal Thanksgiving  we  have  ever  offered 
up.  Let  us  in  this  particular  year,  close  to 
so  much  that  is  terrible  and  heart-rending, 
be  very  grateful  indeed  for  our  nation's 
triumph.  Let  us  for  once  forget  our  indi- 
vidual reasons  for  happiness  or  sorrow,  our 
own  distress  over  foreign  conditions,  our 
own  personal  suffering ;  or  perhaps  through 
them,  let  us  as  one  voice  utter  a  great  hymn 
of  praise  for  the  peace  that  remains  within 
us,  and  which  we  feel  is  born  out  of  the 
soul  of  the  greatest  Democracy  civilization 
has  yet  developed. 


^•3'3 


Courtesy  of  Art  et  Decorat 


MOTHER    AND    CHILD,    FROM    A 
BAS-RELIEF    BY    ANNING    BELL. 


iT 


ITHE  CRAFTSMAN 

PUBUSHED  BY  THE  CRAFTSMAN  PUBUSHSVG  CO. 
VOLUME  XXVU        DECEMBER.  1914         NUMBER  3 


?x 


^ 


THE    MIRACLE    OF    CHRISTMAS:    A 
GREETING:    BY   CONINGSBY   DAWSON 

^'S  odd  that  this  madness  for  giving  only  conies  upon 
us  in  its  full  sincerity  at  Christmas.  Most  of  the 
year  we  spend  in  getting — xce  must.  Only  by  getting 
can  we  get  on,  and  only  by  getting  on  we  get  more  on— 
and  getting  more  and  more  on  is  one  of  the  first 
principles  of  modern  life.  The  man  who  doesn't  get 
on,  gets  left. 

Behold  the  miracle.  About  the  fourth  week  in  December,  for  one 
day  out  of  so  many,  the  world  turns  its  back  on  its  necessarj^  selfish- 
ness and  deliberately  retraces  its  steps  to  the  first  generosities  of 
childhood.     And  why.'' 

That  question  can  be  asked  of  most  of  our  finest  moments.  Wliy 
does  a  man  hamper  his  pleasures  and  give  to  old  affections  a  secondary 
place  for  the  sake  of  a  girl  chance-met.'*  ^^^ly  does  the  landscape 
alter  for  her  sake,  so  that  where  yesterday  he  saw  rutted  roads  of 
prose  today  he  sees  field-tracks  and  mist-mountains  of  romance? 
The  same  transformation  may  be  attained  by  witnessing  the  mysteries 
of  birth  and  death.  More  momentarily  a  stampede  of  music  and  the 
beauty  in  some  flash  of  phrase  may  shatter  the  delusion  that  life  is 
commonplace. 

The  truth  is  we  are  mystics  and  as  secret  in  our  faith  as  anarchists 
— so  secret  that  sometimes  we  forget.  In  a  society  which  seeks  ma- 
terial ends  the  mystic  is  a  heretic  and  has  to  travel  in  disguise.  Often 
he  disguises  so  well  that  he  deceives  himself.  But  the  soul  is  full  of 
revolts  and  surprises. 

We  have  suffered  defeat  and  are  tired  of  the  long  struggle  for 
unworthy  prizes.  Life,  from  the  first  wide  vision  we  had  of  it  like  a 
sky  spacious  with  sunrise,  has  narrowed  and  narrowed  until  at  last  it 
seems  a  walled-in  pathw^ay  leading  from  one  locked  door  to  the  next. 
A  morning  comes  when  we  waken  to  a  day  full  of  liberty — a  liberty 

235 


THE  MIRACLE  OF   CHRISTMAS 


^ 


i 


which  was  in 
all  the  other 
<^lays  and  of 
\Nliichwehave 
mown  una- 
ware. We  set 
out  as  prison- 
ers to  our 
self-seeking, 
guarded  by  the  fears 
which  we  ourselves 
have  created.  We  go 
down  into  the  city  when 
bread  has  to  be  earned. 
Traffic  roars  by,  imperial  in 
volume;  if  we  notice  it  at 
all,  we  see  only  the  drearj' 
threat  which  is  entailed  by 
so  many  encroaching  per- 
sonalities. The  blai'e  of 
J  trumpets  and  thud  of  drums ! 
Suddenly  round  a  corner 
swings  a  regiment  of  soldiers, 
heads  erect,  lips  smiling. 
They  are  going  laughing  to 
some  distant  place,  perhaps 
to  die.  Our  imprisoning  suc- 
cesses and  failures  sink  out 
of  sight.  We  have  gazed  on 
expanse.  Scarlet  heroism 
has  marched  before  our  eyes. 
The  memory  breaks  down 
barriers  which  selfishness 
has  raised — for  that  day,  while  the  thud  of  drums  is  remembered, 
life  seems  dignified. 

But  why.''  Having  found  that  men  are  nobler  than  we  fancied, 
we  are  led  to  hope  that  our  individual  destiny  may  be  larger  than 
we  suspect.  The  effect  of  any  glimpse  of  splendor — whether  the 
splendor  of  courage  or  of  tenderness — is  the  same;  it  makes  us  want 
to  share.     The  sharing  spirit  is  the  Christmas  spirit. 

Most  of  the  clamors  which  arise  in  the  soul  are  unpremedi- 
tated. With  Christmas  it  is  different — it  can  happen  only  on 
the    one    day.      Have    you    ever    tried    to    hold    a    Christmas    on 

236 


THE   MIRACLE   OF   CHRISTMAS 

any  other  date  than  the  twenty-fifth  of  December?  I  have,  and  it 
was  a  dismal  failure.  As  children,  I  and  my  sister  would  desperately 
feign  that  certain  days  in  spring  and  summer  were  additional  Christ- 
mases.  We  would  bring  all  our  imagination  to  bear  on  the  pretense. 
Going  to  bed  early,  we  would  hang  up  our  stockings  and  try  to  conjure 
up  the  strangling  sense  of  happiness  and  expectation.  Presently  a 
little  white  figure  Avould  creep  in  at  the  doorway  and  there  would  be 
a  rustling  of  paper,  ^\^len  the  figure  had  disappeared,  it  would  be 
my  turn  to  slip  out  of  bed  and  put  my  gift  into  my  sister's  stocking. 
By  strict  agreement  examination  of  stockings  must  not  take  place 
until  the  exchange  of  presents  had  been  effected.  For  this  there  was 
a  reason,  born  of  experience:  usually  the  presents  were  of  unequal 
value  and  quarrels  followed,  the  more  generous  person  making  a 
determined  effort  to  recover  his  or  her  gift  from  the  meaner  party. 
We  often  cheated — a  thing  we  should  never  have  done  on  the  real 
Christmas.  I  can  remember  an  occasion  when  I  received  a  ball  of 
paper  in  return  for  my  best  pen-knife:  my  sister  can  remember 
occasions  when  I  was  equally  unworthy.  Our  faked  Christmases 
rarely  ended  happily;  generosity  was  usually  supplanted  by  anger 
and  embitterment. 

But  the  real  Christmas,  that  visited  us  on  the  one  and  only  date! 
It  seems  to  me  that  always,  as  the  day  of  the  twenty -fourth  com- 
menced to  shorten,  the  white  fleecy  snow  began  to  fall.  WTien  the 
street  lamps  flickered  up  like  candles  on  an  altar,  they  gazed  on  a 
world  that  was  white.  The  strife  of  the  city  was  muffled.  Carts 
went  by,  but  you  had  to  peer  out  through  the  blinds  to  know  that 
they  were  passing — they  made  no  sound.  An  atmosphere  of  gentle- 
ness had  descended.  Everj'one  in  the  house  went  about  with  stealth, 
as  though  planning  some  secret  kindness.  And  then  the  night  and 
the  trying  to  keep  awake  till  Santa  Claus  should  come.     And  the 


237 


THE   MIRACLE  OF  CHRISTMAS 

waking  up,  with  the  frost  weaving  patterns  on  the  panes.  Somewhere 
far  away  a  harp  was  being  played  and  a  cornet  was  challenging  the 
silence.  The  tune  they  played  was  an  accompaniment  to  the  most 
beautiful  legend  in  the  world.  At  first  dreamily  you  tried  to  remem- 
ber why  for  once  the  darkness  was  not  frightening,  and  then,  'Ah,  it's 
Christmas !'  As  you  turned  your  feet  made  the  paper  crack,  and  at 
the  end  of  the  bed  you  were  too  content  and  happy  even  to  look  at 
your  presents.  Why  was  it  that  next  day  everybody  and  everj'thing 
was  different.'*  The  air  was  full  of  bells  singing  riotously.  Everj^one, 
for  this  one  day,  ceased  to  think  of  his  own  happiness  and  found 
happiness  in  bringing  cheerfulness  to  others.  The  stern  gulf  which  is 
fixed  between  children  and  grown-ups  had  vanished — there  weren't 
any  grown-ups.  Somewhere  in  your  childish  heart  you  wondered 
why  every  day  couldn't  be  made  a  day  of  kindness. 

And  that  wonder  of  a  child's  heart  is  the  Christmas  message. 
Once  a  year,  by  a  divine  conspiracy,  all  the  ships  of  our  hopes  and 
fears  turn  back  from  their  voy agings  to  the  harbor  of  tenderness. 
They  are  borne  back  on  the  crest  of  a  white  tide  of  mysticism  that 
sweeps  round  the  world.  A  truce  of  God  is  declared  to  all  fightings, 
and  men  and  women  walk  as  children  through  a  world  that  is  kind. 
They  commence  to  give  and  cease  to  annex;  they  act  in  the  belief  that 
God  is  in  His  Heaven.  The  result  is  one  tremulous  white  day  of 
unselfishness — a  day  which  gradually  all  the  other  days  in  the  year 
are  learning  to  envy  and  imitate. 

In  a  story  of  the  Gesta  Romanorum  the  wisdom  of  Christmas  is 
written  above  the  dead:  'What  I  kept  I  lost;  what  I  spent  I  had; 
what  I  gave  I  have.' 


238 


1HERE  is  a  rose  that  loves  the  snow  of  winter  as  other 
roses  do  the  suns  of  summer,  a  wild  thing  that  daunt- 
lessly  pitches  a  green  shelter-tent  of  leaves  beside  a 
rift  of  ice  and  unfolds  pink,  white-lined  blossoms 
therein  in  safety.  This  flower  recluse,  Uke  a  fair 
novitiate,  delights  in  austerities,  in  pale  sunshine  and 
a  gray  world,  in  a  solitary  contemplative  hfe,  in  the 
nave  of  cloister-chilled  groves,  living  its  lovely  sweet  life  apart  from 
all  its  kind;  with  its  pure  white  face  upturned  to  the  light,  it  seems  a 
holy  thing.  As  its  five  petals,  rayed  like  a  star,  open  at  a  season  when 
any  other  flower  would  perish,  when  the  sacred  festival  of  the  Nativity 
is  fresh  in  the  remembrance  of  mankind,  it  seems  to  bear  some  half- 
perceived  symbolic  connection  with  the  star  of  Bethlehem,  perhaps 
bearing  a  flower  promise  of  imperishable  life. 

Should  one  unacquainted  with  this  white  Christmas  rose  chance 
upon  it  in  a  walk  through  wintry  leafless  woods,  blooming  serenely 
by  a  path  of  snow,  he  might  be  excused  for  pausing,  lost  in  astonish- 
ment, thinking  he  had  happened  upon  some  lovely  Michaelmas 
miracle  or  pretty  trick  of  the  Jack  Frost  fairies.  That  fabled  creature 
the  fire  salamander,  reported  to  live  in  the  heart  of  a  flame,  seems  to 


239 


THE   CHRISTMAS  ROSE 

be  no  more  marvelous  an  invention  of  man's  unagination  than  this 
sweet  rose  that  lives  beneath  a  coverlet  of  snow. 

This  Christmas  rose  as  it  is  called,  whose  existence  is  such  a 
strangely  contradictor^'  one,  is  really  not  a  rose  at  all  but  a  hellebore, 
that  queer  family  with  the  unenviable  reputation  for  deceptive 
wickedness.  The  hellebores  have  not  a  ver>'  exalted  name,  in  fact 
they  are  said  by  some  to  possess  quite  deadly  qualities.  From  the 
leaves  and  the  roots  a  poisonous  draught  may  be  brewed  of  the  herbe 
enragee,  but  since  no  one  nowadays  ever  brews  such  a  drink  for  a 
hated  rival  and  since  there  is  no  berry  for  little  children  to  find  and 
eat,  there  is  no  possible  danger  in  growing  this  rare,  little  appreciated, 
winter  blooming  flower.  Its  unenviable  reputation  has  come  about 
from  a  confusion  in  the  minds  of  many  who  associate  it  with  a  really 
poisonous  plant,  the  veratum  album,  erroneously  called  the  white 
hellebore.  The  hellebore,  known  familiarly  as  the  Christmas  rose 
{helleborus  nigcr)  is  pink  in  reality  though  the  open  petals  are  white 
within.  Even  here  we  stumble  upon  another  contradiction, for  those 
five  pink  petals  lined  with  white  are  in  reality  not  petals  at  all,  but 
sepals,  the  true  petals  being  curled  into  small  two-lipped  tubes  full 
to  the  brim  wath  nectar.  In  this  regard  of  showy  sepals  it  resembles 
another  Christmas  flower,  the  poinsettia,  whose  scarlet  bracks  de- 
signed by  nature  to  attract  attention  to  the  almost  colorless  tiny 
flowers  that  are  mistaken  for  its  stamens,  are  generally  supposed  to 
be  the  petals. 

THERE  are  two  varieties  of  this  lovely  flower,  augustifolius  (St. 
Bridget's  Christmas  rose)  a  pure  white  strong  grower  and  the 
Madame  Fourcade.  Both  of  these  bloom  early,  sometimes 
even  before  the  holidays.  The  helleborus  orieutalus  sometimes  called 
the  Lenten  rose  which,  as  its  name  imphes,  blooms  much  later  in  the 
season,  is  a  native  of  Greece  and  not  of  Austria  as  is  the  Christmas 
rose.  It  and  its  hybrids  planted  with  the  helleborus  niger  give  a  suc- 
cession of  surprising  flowers  during  the  long  months  when  no  flowers 
are  expected.  Among  the  pretty  hybrids  of  helleborus  oi-ientalus  is 
the  purple  spotted  Frau  Irene  Heinemann,  and  the  Gretchen  Heine- 
mann,  which  is  purple  with  red  streaks;  Persimmon,  a  white  spotted 
with  red,  and  the  Apotheker  Bogren,  another  splotched  purple  one. 
Several  green  helleborus  may  be  grown  but  they  cannot  be 
compared  with  the  Christmas  or  Lenten  rose  for  beauty.  Yet 
according  to  Gerard  it  is  "good  for  mad  and  furious  persons,  for 
melancholy,  dull  and  heavy  men.  for  those  that  are  troubled  with 
the  falling  sickness,  for  lepers,  for  them  that  are  sicke  of  a  quartane 
ague  and  for  all  them  that  are  troubled  with  black  choler." 

240 


THE   CHRISTMAS   ROSK,    RKJOKING    IN    THK    STII.I.    CI.OISTKK    COLD    OF    WINTKR.    BLOS- 
SOMS-SERENELY  BF.XKATH    A   roVF.KLF.T  OF  SNOW  LIKF  AN   UNKARTHLY  FAIRY  THING. 


■5.«»t 


THE  TRUE 
FLOWER  OF  THE 
CHRISTMAS  ROSE 
IS  THE  INCON- 
SPICUOUS 
TENTER  IN 
THE  FIVE 
SEPALS  THAT 
ARE  GENERAL- 
LY MISTAKEN 
FOR  THE 
I'ETALS  :    A 
^•ASE  OF  THESE 
KARE  FLOWERS, 
WHICH  COULD 
BE  GATHERED 
FROM   THE 
(iARDEN   ON 
CHRISTMAS 
DAY  WOULD 
ADD  FRESH 
OUTDOOR 
CHARM  TO  THE 
HOUSE,   ONE 
OF  nature's 
CHRISTMAS 
GIFTS. 


IF  THE  CHRISTMAS  HOSE  IS  PROTECTFn  AMI  (  ARKFULLY  CULTIVATED.  THF  STEMS  WILL 
GROW  LONG  AND  THE  BLOSSOMS  BE  LARGER:  UNLESS  SOME  CARE  BE  GIVEN  THE  SEVERE 
WINTER    STORMS    WILL    BEAT    THE    PLANT    DOWN    AND    SPLASH    THE    FAIRY    BLOSSOMS. 


THE  FIVE- 
PET  ALED 
CHRISTMAS 
ROSE  IS  TRULY 
ONE  OF  THE 
SURPRISES  ANIl 
BLESSINGS  OF 
THE  NORTHERN 
winter:  BLOS- 
SOMING WHEN 
THE  FESTIVAL 
OF  THE  NATIV- 
ITY IS  BEING 
CELEBRATED, 
IT  SEEMS  TO 
HAVE   SOME 
RELATION 
TO  THE 
STAR  OF 
BETHLEHEM, 
PERHAPS 
BEARING  A 
FLOWER- 
PROMISE  OF 
ETERNAL  LIFE. 


QUITE  LIKE  THE  NEW  ENGLAND  WILD  ROSE  IS  THIS  WINTER 
BLOSSOMING  PLANT,  THOUGH  IT  DOES  NOT  BELONG  TO  THE 
FAMILY     OF     ROSES,     BUT     TO     THE     RACE     OF     HELLEBORES. 


.SHKLIEKKI)   BY    A    GREEN    TENT  OF    LEAVES,    THE   CHRISTMAb 
FORTH      WHITE     BLOSSOMS     AS     CONTENTEDLY     BENEATH 
SNOW  AS  OTHER  ROSES  DO  BENEATH   SUNNY  JUNE  SKIES. 


ROSE   PUTS 
A     RIFT     OF 


THE    CHRISTMAS   ROSE 


OUR  beautiful  Christmas  rose,  which  looks  so  like  our  New 
England  wald  or  sweetbrier  rose,  should  be  planted  in 
September,  for  even  this  hardy  plant  needs  warm  days  in 
which  to  establish  roots  in  a  new  home.  Like  everything  else  in 
nature  it  will  do  better  if  given  a  sheltered  position.  In  a  little  grove 
is  best  or  at  the  side  of  a  house  or  scattered  among  the  winter  ferns. 
Buffeting  winds,  though  they  cannot  destroy  it,  yet  give  it  more  to 
fight  against,  and  blossoms  will  not  be  so  large  or  perfect,  nor  the 
stems  so  tall.  People  who  wish  to  force  them  for  the  holidays  give 
them  the  help  of  a  cold  frame,  but  even  when  thus  forced  they  must 
not  be  deprived  of  bracing  cold  air.  If  planted  alone  in  a  bed,  fern 
fronds  spread  over  them  help  a  bit  if  the  season  is  exceptionally 
trying,  and  keep  the  fair  white  blossoms  from  being  splashed  with  the 
soil  spattered  upon  them  by  heavy  rains.  Any  soil  will  do  for  them 
so  it  is  well  drained.  In  the  spring  they  put  forth  new  beautiful 
palmately-lobed  leaves,  the  flower  stem  is  simple  or  but  once  branch- 
ed, flowers  fifteen  to  eighteen  fines  across.  They  are  propagated  by 
division,  fall  and  spring.     Seedlings  will  bloom  the  third  year. 

The  snow  plant  of  the  West,  a  flaming  parasite,  does  not  blossom 
under  the  snow,  but  so  immediately  follows  after  the  spring  has 
melted  the  winter  snows  that  it  sometimes  gets  caught  in  a  little 
flurry.  The  trailing  arbutus  also  comes  so  early  in  the  spring  that  it 
is  sometimes  picked  beneath  a  late  snowstorm.  But  the  Christmas 
rose  that  develops  in  stillness,  blooming  in  peace  on  Nativity  night 
is  the  only  flower  that  keeps  alive  the  yearly  procession  of  garden 
flowers.  Berries  there  are  and  beautiful  leaves,  but  this  flower  is  the 
only  one  that  blooms  on  bravely  in  spite  of  wintry  blasts.  It  should 
be  better  known,  for  it  is  a  lovely  thing. 


A  BALLAD  OF  THE  THREE  WISE  MEN:    BY 
MARGARET  WIDDEMER 

\HE  Christ-Child  lay  in  Bethlehem, 

And  the  Wise  Men  gave  Him  gold, 
And  Mary-Mother  she  hearkened  them 

As  they  prayed  in    the  cattle-fold; 
"Smile,  then  smile,  little  Prince  of  Earth, 

Smile  in  Thy  holy  sleep, 
Now  Thou  art  come,  for  want  and  dearth 
There  shall  be  plenty  and  light  and  mirth 

Through  lands  where  the  poor  folk  weep." 
But  Mary-Mother  was  still  and  pale. 

And  she  raised  her  gold-ringed  head, 
"Then  why  have  I  heard  the  children  wail 
All  night  long  on  the  far-blown  gale 

^Miile  my  own  Child  slept?"  she  said. 
{But  far  overhead  the  angels  sang: 
"'There  shall  be  joy!"  the  clear  notes  rang.) 

The  Christ-Child  lay  in  Bethlehem, 

And  the  incense  burned  for  Him 
That  the  Wise  Men  swung  on  its  silver  stem. 

And  prayed  while  the  smoke  burned  dim: 
"Sleep,  then  sleep,  little  Son  of  God, 

Sleep  while  the  whole  world  prays; 
All  of  the  world  shall  fear  Thy  nod, 
Following  close  Thy  staff  and  rod 

Praising  this  Day  of  days." 
But  Mary-Mother  turned  whispering. 

There  by  the  manger-bed: 
"Then  why  do  I  hear  the  mocking  ring 
Of  voices  crying  and  questioning 

Through  the  scented  smoke?"  she  said. 

246 


A   BALLAD   OF   THE  THREE   WISE    MEN 

(But  high  overhead  the  angels  sang: 
''There  shall  he  faithV  the  -pure  notes  rang.) 

The  Christ-Child  lay  in  Bethlehem, 

And  the  Wise  Men  gave  Him  myrrh, 
And  Mary-Mother  she  hearkened  them 

As  they  prayed  by  the  heart  of  her. 
"Sleep,  then  sleep,  little  Prince  of  Peace, 

Sleep,  take  Thy  holy  rest: 
Now  Thou  art  come  all  wars  shall  cease, 
Thou  who  hast  brought  all  strife  release 

Even  from  East  to  West!" 
But  Mary-Mother  she  veiled  her  head 

As  if  her  great  joys  were  lost, 
And  "Here  is  only  a  manger-bed, 
Then  why  do  I  hear  clashed  swords?"  she  said, 
"And  why  do  I  see  the  tide  of  red 

Over  the  whole  world  tossed?" 
{But  still  overhead  the  angels  sang: 
''There  shall  be  peace!"  the  high  notes  rang!) 


247 


THE  VALUE  OF  FAIRIES:  WHAT  ARTHUR 
RACKHAM  HAS  DONE  TO  SAVE  THEM  FOR 
THE  CHILDREN  OF  THE  W^HOLE  W^ORLD: 
BY  CLARA  T.  MAC  CHESNEY 

AN  any  people  afford  to  sacrifice  the  fairies?  Quite 
apart  from  the  great  use  which  fairy  folk  are  in  making 
child-life  rich  with  romance,  do  we  not  need  the  fairy 
spirit  to  stimulate  all  progress  in  the  really  living  arts? 
Among  the  more  elemental  people  of  the  world,  the 
Welshmen,  the  Irish,  the  Icelanders,  we  find  these 
little  folks  revered  in  not  only  the  reUgion,  but  in  the 
ver^'  essence  of  the  art  of  the  country.  Yeats  writes 
of  them  so  that  we  know  they  are  living  creatures  in  that  wonderful 
golden  imagination  of  his.  And  surely  with  all  our  interest  in  purely 
commercial  civili- 
zation today,  we 
can  spare  a  little 
room  for  them  in 
our  poetry,  painting 
and  music,  a  little 
shelter  for  their 
playtime  in  our 
gardens  and  a  wel- 
come for  them  at 
twilight  on  our 
hearths. 

Happily  we  do 
not  need  to  plead 
with  our  children 
to  make  room  for 
the  fairies  in  their  day-dreams  and  tw^ilight  hours.  For  little  folks 
still  have  the  vivid  imagination  that  fills  the  so-called  inanimate 
world  with  mysterious  life.  That  is  why  a  perfectly  natural  little 
child  is  never  lonely.  The  woods,  the  fields,  the  sands  of  the  sea  shore, 
the  winds  blown  from  far  countries,  even  the  stars  and  always  the 
gardens  are  trembling  with  life,  with  infinite  romance  for  really 
simple  normal  childhood. 

Surely  we  can  all  remember  when  we  found  friends  in  the  flowers 
and  enemies  in  the  shadows;  when  we  did  not  need  stories  to  make 
us  dream  and  live  with  these  tiny  kindred  folk.  Rather  we  listened 
to  their  voices  and  were  patient  and  quiet  enough  to  be  allowed  their 
merrj'  companionship.  Today  we  forget,  and  the  fairies  are  easily 
disturbed  by  the  blundering  ways  of  grown-up  people.     It  has  always 

248 


HUSH-A-BYE    BABY,    ON    THE    TREE    TOP. 


THE  VALUE  OF  FAIRIES 


seerued  to  me  that  no  child 
had  been  quite  fairly  treat- 
ed who  had  not  lived  with 
the  fairies  in  an  enchanted 
garden.  There  must  be 
walls  about  such  a  garden 
to  hold  in  memories  and 
tall  trees  for  mysterj%  and 
much  fragrance — and  shad- 
ows, and  the  child  must 
sometimes  play  alone  that 
his  dehcate  joy  may  not  be 
marred.  \Miat  peace  this 
garden  will  bring  in  the  old, 
dry  years  to  come,  what 
ineffable  tears,  what  long- 
ing! 

Pierre  Loti  found  his 
first  touch  of  romance  in  a 
sweet  French  garden  where 
there  were  friendly  old 
aunts,  much  color,  perfume 
and  long  idle  still  days.  g<!-^, 

Coningsbv    Dawson    has 


written 


"pussy  cat,  pussy  cat,  where  have  you  been?" 


HERE  AM   I,   LITTLE  JUMPING  JOAN. 

tenderly  in  The  Craftsman 
about  the  "Haunted  Wood" 
of  his  boyhood.  This  was  in 
Duneird,  Scotland,  where  he 
spent  three  months  of  everj- 
year.  There,  too,  the 
wonderful  spirit  of  childhood 
had  a  chance  for  freest  de- 
velopment, and  in  this  place 
he  found  all  the  enchantment 
that  the  fairj'  world  ever 
brings  to  the  eager,  believing, 
childish  heart. 

Barrie,  I  am  sure,  could 
tell  us  exquisite  stories  of 
youthful  days  in  gardens 
somewhere  in  the  old  Thrums 
country.  Where  else  indeed 
could  he  have  found  Peter 


249 


THE   VALUE  OF   FAIRIES 

Pan  and  those  other  lovely  friends  of  youth?  I  cannot  imagine  what 
would  happen  to  little  children  if  we  were  to  take  away  the  fairies 
out  of  our  books  and  pictures  and  lock  up  or  destroy  the  elfin 
haunts  in  shy  gardens  and  solemn  woods. 

I  remember  a  wonderful  haunted  wood  in  Holland  which  rested 
at  the  edge  of  a  Queen's  garden,  and  was  alia  soft  translucent  green. 
The  trees  met  overhead  and  sent  down  pale  green  shade,  and  the 
little  stream  that  moved  so  slowly  through  the  woods  was  like  a 
narrow  strip  of  jade.  Even  the  air  was  green,  and  heavy  with  stories, 
and  I  knew  that  there  were  fairies  everywhere,  hiding  under  the 
leaves,  peering  at  me  from  the  thick  fern  beds  and  sailing  silver  boats 
down  the  jade  river. 

I  WAS  told  in  a  recent  talk  with  Arthur  Raekham,  the  greatest 
living  painter  of  child  romance,  that,  strangely  enough,  he  was  a 

city  boy,  but  being  a  city  boy  in  London  is  not  the  same  as  being 
a  city  boy  in  New  York  or  Chicago,  and  one  can  readily  imagine 
how  Arthur  Raekham  must  have  been  led,  when  he  was  a  child, 
through  the  parks,  down  the  shady  streets,  into  some  of  the  strange 
old  living  spots  of  this  wonderful  city.  Possibly  he  played  along  the 
bank  of  the  Thames  or  in  some  mysterious  corner  of  Hyde  Park. 
In  some  garden  place  he  must  surely  have  found  the  inspiration  that 
must  easily  touch  the  soul  of  man  if  it  is  to  be  reborn  into  permanent 
beauty. 

This  wonderful,  naive  imagination  which  dominates  Rackham's 
art  today  surely  found  stimulus  in  some  spiritual  flowering  spot 
when  he  was  too  young  to  question  and  just  young  enough  to  believe. 
In  facing  Rackliam's  marvelous,  fanciful  art  you  feel  always  that  he 
is  reproducing  the  quivering,  tender  beauty  that  dominates  only 
youth.  His  is  not  the  mature  art  save  in  exquisite  technique;  it  is 
rather  the  fine  whimsical  exuberance  of  unquenchable  youth  that  is 
not  atrophied  because  it  was  never  suppressed. 

First  of  all,  he  told  me  that  he  loved  to  draw  animals.  This  we 
can  readily  understand,  for  children  are  really  in  their  sympathies 
much  nearer  to  animals  than  to  people.  There  are  fewer  barriers 
between  childhood  and  those  real  friends  of  childhood  known  as  pets. 
Later  Mr.  Raekham  went  to  night  school  to  study  drawing  and  in  an 
amazingly  short  time  he  began  to  exhibit  at  the  Royal  Academy, 
the  Royal  Institute  of  Painting  and  in  various  other  large  London 
exhibitions. 

I  liked  finding  Mr.  Raekham  gay  and  humorous.  All  people 
who  know  the  hearts  of  little  folks  should  have  brightness  and  rich 
humor.     Life  is  giving  these  people  so  much  more  than  to  most 

■250 


'.^^l^i^S^^ 


Reduced  from  a  full  page   in  color   from  the  Arthur  Rackham   Mother 
Goose:  By  permission  of  the  Century  Co.,  Publishers.      Copyright  1913. 


"the  fair  maid  who  thk  first  of  may:" 
from  a  drawing  by  arthur  rackham. 


U'i 


frnm    the    .lilhur    Rackham    Mather 
rv   Co.,  Puhlishers.      Copyright    1913. 


"bye,  baby  bunting:"  from   a 
drawing  by  arthur  rackham. 


THERE    WAS    AN     OLD     WOMAN     LIVED     UNDER     A 
HILL:"   FROM    A   DRAWING    BY   ARTHUR   RACKHAM. 


Z.>"5- 


"little  miss  muffett,  sat  on  a  tufikt  : 
from    a    drawing    by    arthur    rackham. 


THE  VALUE  OF  FAIRIES 

mortals  that  surely  a  very  real  and  permanent  joy  is  theirs.  Real 
modesty  I  should  have  expected  from  this  painter  of  the  fairj'  world. 
It  is  the  inalienable  possession  of  the  great;  only  the  fearful  and  in- 
complete are  pretentious.  Talk  for  a  twilight  hour  with  John  Bur- 
roughs, or  sit  for  a  few  minutes  in  Rodin's  studio  while  he  tells  you 
the  philosophy  of  his  life,  listen  to  Robert  Henri  when  he  is  talking 
to  his  students  and  you  feel  at  once  that  you  are  close  to  the  big  funda- 
mentals of  humanity. 

The  world  over,  Arthur  Rackham  really  stands  alone.  His 
imagination  seems  to  know  no  bounds.  His  sense  of  humor  is  unique, 
not  only  for  children  but  in  the  animal  world,  and  often  he  displays  a 
delightful  tenderness  and  a  sjTnpathy  with  the  weaker  forms  of  life, 
as  in  "The  Rescue,"  where  some  tiny  elves  are  helping  a  fly  to  escape 
from  the  clutches  of  a  fearsome  spider.  In  summing  up  Mr.  Rack- 
ham's  work  you  realize  that  in  dealing  with  human  nature,  he  is  a 
gentle  satirist.  Ingenuity,  great  sensitiveness  and  refinement  are 
inherent  in  all  his  work  as  in  all  the  fairy'  reaches  of  his  personality. 
In  seeing  him  in  a  workshop,  he  is  essentially  a  man  whose  work 
gives  one  vividly  the  impression  of  spontaneity,  yet  one  also  with 
careful  attention  for  detail  in  work.  Here  in  America  we  know  his 
illustrations  better  possibly  than  those  of  any  other  EngUsh  draughts- 
man, we  know  well  his  "Undine,"  his  "Alice  in  Wonderland,"  "Rip  van 
Winkle,"  "Grimm's  Fairy  Tales,"  "Gulliver's  Travels."  The 
Craftsman  readers  will  recall  a  presentation  of  some  of  Mr.  Rack- 
ham's  illustrations  for  the  Wagner  operas,  showing  a  very  splendid 
understanding  of  the  philosophy  of  this  great  musician  and  the 
symbolism  of  the  great  gods  of  the  Valhalla,  an  extraordinary  contrast 
with  the  Midsunmier  Night's  Dream  pictures  which  are  so  fantastic, 
so  the  product  of  delicate  whimsicahty. 

THE  latest  work  of  Mr.  Rackham  that  has  come  to  America 
is  his  illustration  of  "Mother  Goose,"  which  we  are  showing  in 
this  article.  It  is  hard  to  imagine  any  but  a  child  presenting 
Mother  Goose  with  such  sympathy  and  understanding.  It  is  the 
Mother  Goose  of  our  baby  days,  dramatic,  fearsome,  amusing  and 
wonderfully  stimulating.  Mr.  Rackham's  art  is  difficult  to  compare 
with  any  work  in  America.  Howard  Pyle  possibly  has  most  nearly 
suggested  him,  and  yet  Howard  Pyle  is  really  not  an  American 
Rackham  because  first  of  all  we  think  of  him  as  a  colorist.  He  had 
the  iairy  imagination,  but  lacking  the  naive  quahty  which  is  so 
essential  in  Rackham's  work.  In  the  French  illustrators  who  rank 
highest  today,  Forain,  Steinlein,  Caran  d'ache,  Huard,  there  is  not 
a  trace  of  the  fantastic  genius  of  Rackham. 

255 


THE   VALUE  OF  FAIRIES 


^It  is  hard 
to  find  a  hint 
of  it  among 
the  men  whose 
work  we  knoA\ 
best  here. 
Some  of  John 
Sloan's  ilhis- 
trations,  those 
w  o  n  d  e  r  f  u  1 
drawings  for 
his  pirate  sto- 
ries, possess  a 
vivid  whim- 
sical note,  but 
'  of  a   mature 

"COCK-A-DOODLE,    DOO !    MY   DAME   HAS   LOST    HER    SHOE."  OUalitVWhich 

older  people  dehght  in,  which  might  however  bewilder  children.  The 
genius  of  Glackens  goes  out  into  a  larger  and  fuller  presentation  of 
Ufe  as  it  really  is,  and  this  demands  imagination  of  the  highest  order, 
but  not  of  the  fantastic  variety.  Jerome  Myers  has  painted  children 
who  have  appealed  to  all  lovers  of  childhood,  gay  and  sad,  but 
the  appeal  is  given  to  the  grown-up  mind,  not  to  the  children 
themselves.  The  art  of  these  important  Americans  belongs  to  our 
civilization,  not  to  the  land  still  havmted 
by  memories  of  earth  romance.  The  "one  a  penny, 
older  people,  the  people  whose  civiUza-T^^°  ^  penny, 

,.  1  1       ,1  1  ,  •  HOT-CROSS 

tion  goes  back  through  many  centuries,  buns." 
must  carry  in  their  mind  today,  no 
matter  how  sophisticated,  the  legends 
of  the  early  fairy  lore;  Greek  mythol- 
ogy still  hauxits  the  architecture,  the 
art,  the  poetry  of  the  southern  land, 
and  the  Celtic  spirit  flows  out  through 
England,  just  as  the  magic  and  the 
marvel  of  the  Valhalla  has  permeated 
the  heart  of  Germany  in  her  most 
vital  poetical   expression. 

I  WAS  greatly  interested  in  Rack- 
ham's  studio.     It  was  of  the  ordi- 
nary size,  with  both  side  and  top 
windows.    Its  walls    were    stained    a 

256 


LITTLE    Bo-PLKP     HAS    LOST    HKR    SHEEP : 
FROM    A    DRAWIXC    BY    ARTHUR    RACKHAM. 


xyl 


»ili^l£UJ[^ 


C^usc:  By  pe 


la,jc    in    color   from   the   .■hllnir    Factham    Mnthc 
1   of  the  Century   Co.,  Pubtusheis.      Lofyn^jht    ;y/. 


"ring    a    ring    o'    roses:"    from 
a  drawing  by  arthur  rackham. 


THE   VALUE   OF  FAIRIES 

light  brown  and  it  contained  a  few  good  rugs  and  pieces  of 
furniture,  among  them  a  bookcase  filled  mostly  with  illustrations, 
of  which  he  has  an  interesting  collection,  all  so  exquisitely  fresh  and 
in  good  order.  A  bar  ran  across  the  room  from  which  hung  a  trapeze. 
He  looked  at  it  smilingly.  *'I  do  not  use  it  as  much  as  I  used  to.  It's 
really  for  my  little  daughter  now." 

There  were  fine  drawings  on  the  walls,  one  or  two  of  his  wife's 
pictures,  but  no  special  studio  furniture,  such  as  one  finds  in  the 
workshop  of  the  unknown.  The  center  of  interest  in  this  room  is 
the  work-table.  Here  are  being  conceived  and  brought  into  existence 
the  innumerable  fantasies  which  delight  and  amuse  Mr.  Rackham's 
admirers.  The  table  is  adjustable  in  height  and  angle,  unusually 
small  for  a  work-table.  Over  it  hung,  on  a  level  with  the  eye,  an 
electric  light. 

"But  you  do  not  work  at  night?"  I  said. 

"Not  much,"  he  answered  dubiously.  "Altogether  too  much," 
his  wife  answered  quickly. 

I  was  interested  in  his  method  of  work.  As  one  would  imagine, 
he  does  not  work  with  labored  preliminary  studies.  "I  dash  off  an 
idea,"  he  said,  "which  comes  to  me  and  often  very  vaguely.  I  build 
as  I  go  on,  and  the  idea  develops  as  I  work.  I  always,  however,  plan 
beforehand  and  always  use  models." 

In  talking  with  Mr.  Rackham,  I  felt  him  to  be  a  man  of  the  richest 
interest  in  life,  with  a  great  love  of  good  music  and  a  wide-reaching 
understanding  of  the  art  of  his  day.  "Strangely  enough  Uccello's 
'Battlepiece'  and  Francesca's  'Baptism'  and  'Adoration'  are  my 
favorites  among  old  paintings,"  he  told  me.  "Fra  Lippo  Lippi, 
yes,  all  the  Italian  School,  and  the  Flemish.  I  often  study  Michael 
Angelo's  'Entombment,'  and  all  the  Holbeins  and  Albert  Durer's 
wood  engravings."  These  old  friends  he  spoke  of  with  great  enthusi- 
asm, as  he  did  of  the  big  modern  men  of  power— a  most  charming 
personality  indeed,  eager,  kind,  not  unlike  some  of  the  humorous 
gnomes  he  is  so  fond  of  producing— a  man  whom  children  must  of 
necessity  love  as  they  have  loved  and  thriven  by  his  most  valuable 
and  stimulating  contribution  to  the  art  of  his  day. 

The  illustrations  shown  in  the  text,  from  the  "Mother  Goose 
Book,"  by  Arthur  Rackham,  give  some  idea  of  the  charm  of  this 
wonderful  volume.  The  "tree-top"  baby,  swinging  happily  in  Its 
cradle — airy  little  Juvifing  Joan  with  her  flying  locks — the  famous 
Pussy  Cat — the  inimitable  Cock-a-doodle  and  the  dame  who  lost  her 
shoe — the  funny  old  woman  with  the  hot -cross  buns — all  are  drawn 
with  that  whimsical  fairy  quality  that  is  so  delightful  an  element  of 
Mr.  Rackham's  work. 

259 


"MILT'S"  WISDOM: 
A  WORD  TO  THE 
NATIONS:  BY  WILL 
LEVINGTON  COMFORT 


WENT  out  to  find  a  happy  man,  named  Milt;  came 
at  length  to  an  eight  or  ten  acre  piece  under  glass — 
the  gusty  shine  of  late  October  upon  it — a  day  that 
didn't  know  just  what  to  do  next.     Milt  came  toward 
me,  a  collie  pup  in  his  arm  and  a  little  girl  tugging 
at  his  free  hand.    This  is  a  glimpse  of  the  story: 
"We  came  out  here  five  years  ago,  a  bit  whipped 
in  health  and  otherwise  from  the  city,"  Milt  said.     "We  dared  to  be 
poor— had  our  faces  fixed  for  that.     The  second  fall  I  found  a  tomato- 
seedling  sprouting  out  of  due  time  in  the  doorj^ard,  and  transplanted 
it  under  our  small  bit  of  glass.     I  couldn't  have  been  very  busy  that 
morning.     .     .     .     Well,  that  turned  out  to  be  the  legacy — " 
"I  heard  you  were  making  a  vulgar  lot  of  money,"  said  I. 
"No,  I  almost  fell  for  that,  but  thought  better  of  it.     I'm  making 
enough.     The  seedhng  came  along  fine  and  husky.     About  Christmas 
I  saw  where  to  begin  for  next  year — to  market  a  fine  tomato  just  long 
enough  after  the  northern  season  so  that  people  have  a  relish  for 
them,  and  before  the  southern  producers  begin  to  ship  north  in  quan- 
tity.    But  a  man  could  do  it  with  berries  or  melons  or  asparagus." 
"You  say  you  almost  fell  for  making  a  lot  of  money?"  I  asked 
curiously. 

"Well,  you  see  it  opened  big.  I  found  myself  in  a  tension  for 
more,  more.  I  planned  vast  acreage,  even  a  glass  works.  Then  I 
began  to  feel  lame  in  the  head  along  the  same  old  routes  that  the 
town  had  worn  so  deep.  Finally  it  dawned  on  us — what  had  we 
come  out  here  for.''     We  talked  it  over,  decided  to  call  in  all  the  wild 

260 


"MILT'S   WISDOM" 

expansion  stuff;  allowed  that  we  had  better  leave  some  of  the  country 
for  other  men  to  play  in,  and  slowly  the  fever  subsided." 

I  was  thinking  that  the  city  must  have  bitten  Milt  rather  deep. 
Then  it  occured  to  me  that  he  would  never  have  noticed  that  tomato- 
seedling  if  his  brain  had  been  full  of  fortune  dreams  that  morning. 
He  had  come  close  to  smashing  the  jewel  afterward,  by  his  own  word. 
.  .  .  Now  his  holdings  were  proportioned  generously  to  the  needs 
of  his  house;  he  had  them  gratefully  in  hand,  also  well  in  hand  his 
squirrel  and  beaver  instincts,  and  the  barn  madness.  Milt's  eyes  were 
not  held  to  the  ground;  he  was  not  dependent  upon  others;  his  lines 
of  interest  were  not  stretched  out  unduly ;  in  fact,  he  was  in  a  safe  and 
sane  relation  with  mundane  things.  Not  in  a  single  detail,  so  far  as  I 
could  see,  did  the  analogy  break  between  Milt's  establishment  and  a 
happy  nation. 

Milt  was  bringing  up  his  own  children. 

"I  don't  care  for  the  schools,"  he  said.  "They  didn't  do  a  good 
job  for  me;  and  while  they  may  be  a  lot  better  now,  they're  not  right. 
At  least,  I  don't  think  they  are  right.  Thinking  that  way  I  certainly 
ought  to  gamble  on  the  education  of  my  own  children.  A  man 
doesn't  want  to  use  too  much  glass  for  this  kind  of  seedling,  however." 

Milt  wouldn't  have  time  for  this,  had  he  been  caught  in  the  great 
fortune  dreaming.  ...  A  nation  should  bring  up  its  own  children. 
No  individual  would  dare  to  risk  himself  as  a  teacher  in  a  true  Father- 
land. 

JUST  so  surely  as  Milt  would  have  ruined  the  unique  vitaUty  of 
his  house  by  falling  into  the  dream  of  great  expansion,  just  so 
surely  does  an  intrinsically  small  power  with  a  passion  for  wealth 
and  colonization,  threaten,  in  its  most  amicable  moments,  the  very 
principles  of  peace;  and  in  the  end  destroy  itself  and  all  suspected 
tissue  surrounding. 

Milt  has  land  proportioned  to  the  needs  of  his  establishment,  a 
free  highway  to  the  market,  also  time  and  disposition  to  develop  the 
particular  values  and  potencies  of  the  entire  scheme;  having  these 
he  is  a  successful  and  happy  man,  who  can  laugh,  if  he  were  of  that 
temper,  at  all  ulterior  insanities.  A  successful  and  happy  nation 
must  have  these.  But  that  nation  which  in  its  proper  self  is  but  a 
capitol  and  suburbs,  which  becomes  a  formidable  power  through  an 
aggressive  policy  and  mastering  the  destinies  of  alien  peoples;  its 
interest  sprawled  over  the  several  seas;  one  of  the  necessities  of  its 
mastery  an  enforcement  of  the  conviction  upon  the  alien  peoples  of 
their  own  inferiority;  the  processes  of  its  mastery  being  frequent 
displays  of  power  and  a  steady  system  of  artful  diplomacy; — such  a 

261 


-MILTS'    \nSPOM 

is  Bok  iBi&aq;  of  kseK  a  fK&olaiMl,  but  soaKtbing  Ytsy  xbboA 
&e  «  ^piderJuad,  aetcfilaJile  oaljr  to  sack  gods  of  the  oniTeise  as 
defig^t  at  pfBve  ^pider&e  teadeacies. 

K  Milt  vere  to  nde  foiA  oa  a  coaqaest  of  t)ie  country,  he  would 
first  be  cnipf  Ird  to  Make  las  hoase  aito  a  atadd.  Aorooghly  to  barb 
kis  hads»  set  mfah-dogs  aad  ana  aB  the  hands.  Rhrafay  o/matenal 
irtaest  abroad  caiarees  df II.  Ik.  deJeace.  Tenuoos  fines  of  conquest, 
the  eoaccabtatioa  of  riches  at  hiHni. — tiiese  caD  for  }aws  and  davs  and 
%h*'''C  ■■ "  '■■■  *»i  "SiW—t  vlacli  BO  spider  can  keep  up  a  prosperous 
hir*  iilfi»at^r  haag  and  stievn  with  drained  carcasses. 

"IW  T~EVEIB  was  there  sodi  a  time  for  a  statement  of  sim|^  tmths. 

r^J     ArrrfTica  stands  with  senses  ^mpened  by  iDness;  yet  ^le  is 

bearknfiiag   dtiip  imi  Ij    to   the  Prussia  of  Amenca — that 

BStaiy  party  wUck  woald  like  to  become  an  autocracy.     Its  voice 

is  raised: 

"Let  us  sesae  the  aa»-befigereBt  wodd-tzade  now.  Let  us  bufld, 
bay  and  kase  sfc^s  for  tiiis  trade.  Let  us  ^>eiid  the  next  few  years 
m  a  foroed  giovlh  of  onar  navy;  by  every  sacrifice  to  accumulate  such 
a  navy  as  wfl  stand  wi&  Europe  in  strength,  and  protect  our  new 
worid-tradei,  wkea  danuiged  Europe  returns  for  her  markets." 

What  a  Toice  from  Prussian  AmeriBa, — w^  nea^bodng  £ur(^>e 
ga^edopes — thesteaAanwad  Aeworidfroaahti  aauimed  dead— 
aad  ercoy  scream  of  the  Enopean  tragedy  now  and  in  the  more  teni- 
fale  aanarths  to  eoaae — Ae  rtnk  of  t^t  identical  predatory  instinct 
and  BO  o&ex-. 

There  is  afeo  an  A-wMwm-  jjot  Prusaan,  which  is  acquixing  a  new 
mmd  and  heart  from  the  moaning  and  mis»y  of  the  neighboring 
coataKBt,  aad  is  stziTing  to  pat  away  forever  the  tarantula  from  its 
hteast.  This  Amfrira  has  aeca  that  the  affairs  of  an  upd^it  man 
amoBg  his  nej^bocs  do  Bot  waiqpH  Uon  to  Kve  in  a  fortress;  and  that 
this  is  a  Batinwl  verity  abo.  NeiAer  man  ncx-  natioD  can  honestly 
or  deeently  on^exTule  anotho-  and  coBliwie  to  be  a  power;  for  the  fie 
which  makes  me  s&y.  "I  am  superior  to  you,^  wQl  destroy  me  in  due 
tane  before  yocrr  eyes,  thnngh  I  drive  you  daihr  with  goads,  and  take 
4e  Bift  fram  your  babes. 

F^IimIj  GenBany,  France,  Italy  and  Spain  represent  difTerent 
stages  of  decay  in  structures  not  fa^uoned  to  endure.  From  the  ripe 
decadence  of  Spam  to  the  ^larpaiing  of  wits'  ends  in  England,  eadi 
wmmt  tdOs  the  stocy  <d  the  rise  of  imperial  pasaon,  the  ^tulence  of 
pnedatoiy  strength,  and  jast  as  sureiy  will  tell  the  story  of  misezabfe 
CH|rty  LBdmg. 

^lam  Binr  is  a  dan  red  dot  in  the  weston  sky ;  Italy  not  so  low  nor 

aGa 


BY  WILL  LEVINGTOX  COMFORT 

red,  though  her  people  are  scattered,  without  especial  dominanc-e 
anywhere,  without  coherence  of  pirinciple  or  coordination  of  action, 
a  sapped  and  ridden  Rome,  very  far  from  an  "eternal  city,"'  a  smile 
instead  of  that.  France  has  not  the  vitality  of  her  enemy,  nor  of  her 
allies.  She  will  be  able  to  cope  with  neither  at  the  end  of  this  war. 
One  need  look  no  further  than  her  o^^n  phiysical  sterihty  to  tiim  to 
the  low  west  for  France.  She  Is  there — ^part  of  the  waning  con- 
stellation which  might  be  called  Mediterrania.  Even  though  her  all 
is  at  stake,  her  fighting  during  the  first  fall  days  in  her  own  x-ineyards 
will  be  her  greatest  fighting,  for  the  stamina  has  been  drained  from  the 
French  spine. 

CARLYLE  believed  that  Germany  would  some  time  be  Europe, 
but  he  judged  from  the  Germany  before  eighteen  hundred  and 
seventy, the  Germany  of  Goethe,  Schiller,  Schopenhauer,  possi- 
bly in  part  from  the  Germany  of  Bismarck.  The  Germany  Carlyle 
loved  had  not  ceased  to  build  its  empire  in  the  sky;  but  the  Germany 
of  the  last  fifty  years  has  sadly  forgotten  the  stars,  and  will  become 
the  example  for  future  ages  of  all  that  a  Fatherland  must  not  be.  For 
it  has  been  a  Fatherland  that  turned  the  eyes  of  its  children  to  the 
ground.  Men  of  Cain's  breed  come  from  looking  down — slayers  and 
madmen,  frenziedly  getting,  for  that  is  the  meaning  of  Cain — not 
pastors. 

The  gods  of  matter  are  the  devils  of  men.  These  gods  are  mani- 
festing now  afield,  because  the  Fatherland  did  not  teach  its  children 
to  subdue  matter,  rather  to  become  machine-men,  slaves  to  matter, 
men  of  disgusting  eflBciency  in  small  things  and  blinking  deaf  as  the 
h)andar-log  to  immortal  things. 

With  all  its  mighty  engines  and  perfected  detail  the  German 
war-machine  will  break  of  its  own  weight.  It  is  that  high  mystery-, 
roughly  named  morale  which  wins  wars. 

The  nation  that  looks  down  finds  first  of  all  its  stomach.  You 
can  estimate  the  value  of  a  soldier  by  the  size  of  his  girth;  the  larger 
the  belt-line  the  poorer  the  soldier.  The  men  who  will  win  this  war 
will  win  through  famine.  Enlarged  stomachs  and  fatty  hearts  are 
not  formed  for  that.  Spirit,  the  white  fire,  is  the  stuff  of  morale,  not 
sentiment.  Sentiment  is  purely  a  red  flesh  matter  which  dies  with 
each  body,  and  does  not  lend  itself  to  augment  the  heroism  of  sursn- 
vors. 

England  is  not  a  sentiment,  but  an  institution.  She  is  in  at  every 
case  of  obstetrics  within  her  dominion,  and  by  some  subtle  prowess 
becomes  identified  with  the  personality  of  her  subjects.  She  is  not 
a  part  of  the  white  fire  of  her  people;  in  fact  she  maims  her  genius  by 

263 


"MILT'S"   WISDOM 

enslaving  him  to  England  and  blinding  him  to  the  world.  There  is 
always  her  adhesion  in  the  soul  of  a  British  genius  which  keeps  it 
an  Englishman  instead  of  a  cosmic  force.  Her  commonest  subject 
treated  to  every  abomination  at  home,  is  no  sooner  abroad  than  he 
lifts  his  head  in  serene  contempt  for  all  who  are  not  English — a 
divine-right  sort  of  self-conviction  now  denoted  because  it  is  a  kind  of 
morale  afield,  and  a  better  thing  to  fight  with  than  sentiment;  also  the 
British  ranker  in  many  cases  has  been  inured  to  famine  at  home. 

England,  at  this  moment,  has  three  fears.  I  believe  in  the  breasts 
of  those  who  see  farthest,  the  least  of  these  three  fears  has  to  do  with 
Germany.  There  is  devouring  terror  in  the  British  heart  as  to  what 
may  be  taking  place  under  the  yoke  in  India.  The  key  to  the  length 
of  the  British  future  is  India;  and  London  which  rules  the  English 
press  of  the  world  today,  as  she  did  ten  years  ago  for  Japan  against 
Russia,  has  so  far  been  able  to  keep  us  from  hearing  India's  voice.  If 
the  spirit  of  India  remains  crushed  through  the  war,  her  physical 
tributes  together  with  the  solid  British  adherence,  will  reckon  with 
Russia  long  after  France  and  Germany  are  silent. 

Russia,  her  present  ally,  but  ancient  and  structural  foe,  is  Eng- 
land's third  and  possibly  her  greatest  fear. 

SHE  does  well  to  fear  Russia,  who  holds  the  whip  hand  of  the 
whole  argument  according  to  this  outlook.  Russia  has  com- 
mensurate land  for  her  population.  She  needs  sea-doors  and 
she  will  get  them.  Petrograd  isn't  the  only  city  that  will  lose  "burg" 
from  its  name.  Russia  is  the  vast  new  surface  upon  which  the  future 
of  Europe  is  to  be  written.  Nature  is  sick  of  writing  history  upon  the 
defiled  surfaces  of  small  predatory  powers.  .  .  .  Not  the  Russia 
of  Nicholas — but  the  peasant  millions  of  Russia,  holding  in  its  great 
mass  the  finest  genius  of  today,  as  a  clustered  beeswarm  shelters  its 
queen-mother,  the  future — these  are  the  men  of  Europe's  to-morrow. 
They  are  not  yet  defiled  because  they  are  still  children.  These  vast 
throngs  move  slowly. 

They  come  from  the  north  like  all  invaders;  they  come  from  the 
cold  broad  lands  of  poverty;  they  have  been  kept  clean  by  the  rigors 
of  Nature,  and  moderate  in  their  appetites  by  the  thievery  of  their 
masters.  These  red-blooded  millions  have  not  yet  had  their  voice 
in  the  world,  and  Mother  Nature  gives  a  voice  to  every  people  before 
it  passes.  They  represent  the  spirit  of  youth  which  must  be  served. 
This  that  we  hear  is  not  Russia's  swan-song,  but  the  anthem  for  the 
birth  of  her  new  soul. 

The  leavening  of  the  mass  and  the  spirit  of  the  future  (which  will 
be  pure  at  least  in  its  conception,)  is  represented  by  the  genius  of 

a64 


THE  HAPPY   DEAD 

Russia  today — not  all  of  which  has  been  shot  and  hanged.  These  are 
men  who  have  heard  the  mighty  music  of  humanity.  They  will 
sing  their  dream  and  grave  their  message  upon  the  peasant  soul. 

Not  the  Russia  of  Nicholas  Romanoff.  Red  Sunday  was  the 
beginning  of  the  end  forever  of  Little  Father.  His  passing  and  all 
the  princes  of  his  tainted  blood  will  be  but  an  incident  of  the  Great 
War.  Very  low  in  the  west  among  the  red  blinking  points  of  Medi- 
terrania  is  Nicholas  and  that  Russia.  In  the  east  is  the  Russian  novae, 
before  the  sun,  commanding  the  dark  before  the  dawn. 


THE   HAPPY   DEAD 

THE  Place  of  the  dead  is  fair  and  still, 
The  grave-stones  gleam  like  doors  in  the  hill, 
When  the  sun  goes  red, 
And  the  moon  comes  white. 

The  trees  on  the  hill  are  kingly  high. 

Their  plumes  swing  proudly  against  the  sky 

In  the  blaze  of  noon. 

In  the  ghostly  night. 

Why  moan  you  there  by  the  peaceful  dead. 
And  cry  on  the  earth  and  hide  your  head. 

On  the  stormless  hill. 

By  the  tearless  bed? 

Oh,  rest,  sweet  rest  for  the  quiet  dead, 
Beneath  the  grass  in  their  lovely  bed — 

Not  a  twinge  of  pain, 

Not  a  hunger  pang! 

I  weep  for  those  in  the  place  of  life 

WTiose  hearts  have  died  of  the  bitter  strife — 

Not  the  sleeping  dead, 

Not  the  happy  dead. 

Marjorie  Sutherland. 


26s 


MISTLETOE, 
THE    QUEEN 
OF  THE 
CHRISTMAS 

nARDEN. 


THE  CHRISTMAS 
GARDEN:  PLANTS 
ANDSHRUBSTHAT 
GIVE  COLOR  TO 
THE  WHITE  LAND- 
SCAPE 

kN  the  night  before 
Christmas  when  Kris 
Kringle  comes  dashing 
over  the  snow  and  brings  his 
prancing  reindeer  to  a  halt  at 
our  chimney -tops,  he  finds 
but  little  color  in  the  landscape,  except  that  furnished 
by  the  toys  piled  high  in  his  sleigh  destined  for  all 
good  children  and  in  the  lights  from  our  windows  left 
burning  to  guide  his  way.  The  flowers  that  give  such 
wealth  of  beauty  in  the  summer  are  sleeping,  gardens 
are  like  deserted  villages.  But  out  in  the  wild  places 
things  are  a  little  better;  true,  there  are  no  flowers  there  either,  but 
many  plants  have  left  little  lanterns  burning  to  let  the  world  know 
they  are  within  their  houses,  just  napping  a  bit  until  their  morning 
of  spring  comes  again.  These  lanterns  are  the  bright  berries  that 
sparkle  the  whole  winter  through,  keeping  alive  the  promise  of  an- 
other summer. 

Berries  may  not  rank  with  flowers  for  beauty  of  color  in  the 
summertime,  but  on  gray  winter  days  or  against  sun-bright  snow- 
banks, they  scintillate  like  jewels.  We  who  make  gardens  have  been 
verj'  thoughtless  about  their  winter  effects.  ^Ye  have  allowed  them 
to  be  sorry  looking  places,  all  tied  up  in  sacks  or  covered  over  with 

266 


THE  CHRISTMAS   GARDEN 

straw.  But  we  are  making  a  mistake  about  this.  We  should  plan 
for  winter  effects  as  the  Japanese  do.  They_  plant  a  pine  tree  or  a 
graceful  branch  that  will  cross  a  stone  lantern  so  that  when  the  snow 
falls  they  will  have  a  beautiful  picture,  or  they  place  some  bush  that 
bears  bright  berries  where  the  low  winter  sun  will  touch  them,  or  set  a 
shrub  with  colored  branches  where  it  will  make  a  fine  lacey  tracerj' 
against  a  dark  evergreen  tree.  There  are  many  ways  to  get  cheerful 
color  in  winter  gardens  other  than  by  flowers  and  leaves. 

The  red  dogwood,  cardinal  willow,  golden  ozier,  have  respectively 
red,  orange  and  yellow  bark  of  rare  beauty.  Several  other  willows 
have  bright  purple  or  scarlet  stems  that  can  be  grouped  to  advantage 
for  winter  effects.  The  spindle  tree  and  whortleberry  show  bright 
spring-green  branches  throughout  the  winter.  There  are  many  bull- 
rushes  and  flowers  with  conspicuously  formed  seed  pods  that  should 
be  planted  for  decorative  effect  against  snow  evergreen  hedges  or  ice 
ponds.  Many  of  the  pines,  junipers  and  cedars  bloom  in  the  winter, 
but  folk  do  not  go  out  to  notice  their  orchid-like  beauty.  The  large- 
leaved  evergreens,  rhododendrons,  laurels,  also  can  be  depended 
upon  for  the  enlivening  green. 

((T  ET  holly  have  the  maystrj^  as  the  manner  ys,"  among  the 
I  J  plants  which  should  be  found  in  our  winter  gardens.  Its 
berries,  red  as  any  rose,  must  be  taken  into  the  house,  so 
says  tradition,  before  Christmas  Eve  as  protection  from  witches  and 
gnomes;  but  must  be  removed  before  Candlemas  Eve  else  misfortune 
will  follow.  A  bush  of  holly  was  planted  by  the  ancient  Celts  near 
their  homes  to  ward  off  evil,  for  its  sharp  leaves  afforded  welcome 
cover  and  safe  retreat  for  kindly  elves  and  fairies. 

Though  we  buy  English  holly  wreaths  to  festoon  our  churches  and 
hang  at  our  windows,  and  feel  that  the  feast  of  Christmas  is  not 
celebrated  without  some  berried  spray  of  this  beautiful  bush  in  evi- 
dence on  our  table,  yet  we  do  not  fully  appreciate  the  holly  as  it 
deserves.  We  admire  it  heartily  enough  when  it  fills  the  florists' 
windows  and  we  make  everj-  effort  to  obtain  a  generous  amount  of 
its  cheeiy  beauty  for  our  homes,  but  we  could  have  an  abundance 
of  it  in  our  own  gardens  if  we  had  been  provident  enough  to  plant  it. 

The  true  English  holly  is  not  dependable  north  of  Philadelphia, 
but  we  have  the  American  holly.  Hex  opaca,  which  is  frequently 
sold  as  English  holly,  which  thrives  well  as  far  north  as  Boston. 
There  is  a  Japanese  variety  that  can  be  trained  into  delight- 
fully stiff,  prim,  decorative  Uttle  foi*ms  that  will  even  stand 
the  severe  winds  that  blow  across  our  sea-coast  gardens.  This  "tree 
that  is  green  upon  Christmas  day,  the  bush  with  the  bleeding  heart" 
is  grown  in   England  as  a  hedge.     Several  noted  historical  holly 

267 


THE   CHRISTMAS  GARDEN 

hedges,  cared  for  almost  as  national  treasures,  have  come  to  be  many 
years  of  age.  Indeed,  a  holly  hedge  is  slow  of  growth,  which  is  one 
of  the  chief  reasons  for  its  rare  use  in  this  delightful  form. 

But  the  holly  family  is  a  large  one  and  varieties  can  be  had  that 
will  readily  adapt  themselves  to  our  impatient  demands  and  to  our 
varying  climates.  The  black  alder,  Ilex  verticillata,  is  an  imposing 
shrub  which  will  flourish  from  Florida  to  Nova  Scotia,  from  the 
Atlantic  Ocean  to  the  Mississippi  Valley.  This  native  holly,  which 
generously  hangs  its  branches  with  strings  of  coral  beads,  almost 
equals  its  English  cousin  in  beauty  of  leaf  and  surpasses  it  in  the 
number  of  berries  that  cling  well  into  the  winter. 

The  leaves  of  the  smooth  winterberry,  Ilex  laevigata,  a  graceful 
little  shrub  which  takes  kindly  to  a  life  in  our  gardens,  have  a  pretty 
trick  of  turning  bright  yellow  in  the  autumn  just  before  they  fall  and 
leave  the  berries  alone.  The  evergreen  winterberry.  Ilex  glabra,  a 
more  slender,  delicate  bush,  though  cultivated  and  valued  in  English 
gardens  for  more  than  a  hundred  years,  has  not  yet  received  proper 
appreciation  in  its  own  land.  Its  leaves  remain  glossy  throughout 
the  winter,  and  the  shining  black  berries  cUnging  in  thick  clusters, 
like  jet  ornaments  among  them,  add  distinct  charm.  The  familiar 
mountain  holly  is  not  strictly  a  holly,  but  its  bright  red  drupe  seems 
to  give  it  a  right  to  bear  the  name. 

THE  guelder-rose  has  three  strong  claims  to  our  attention  as 
a  garden  plant.  First,  its  white  flowers,  which  make  showy 
clusters  at  the  apex  of  almost  every  stem,  are  as  much  to  be 
desired  as  its  relative  the  old-time  snowball.  The  leaves  turn  metallic 
lustered  browns,  purple  and  dull  red  in  the  autumn.  Its  berries 
begin  to  turn  yellow  with  suggestions  of  red  soon  after  the  flowers 
drop,  and  continue  to  deepen  in  intensity  and  brightness,  until  by 
the  time  the  leaves  have  turned  the  whole  bush  is  a  flame  of  color.  As 
one  appreciative  writer  says  "if  the  tree  be  caught  by  the  level  rays 
of  a  crimson  sunset  you  will  behold  a  shrub  that  seems  to  have  come 
from  the  garden  of  Aladdin,  where  the  fruits  of  the  trees  were  jewels." 

The  Viburnum  lantana,  better  known  as  the  Wayfaring  tree,  also 
shows  beautiful  scarlet  berries  against  a  background  of  reddening 
leaves.  It  is  the  first  of  the  viburnums  to  bloom.  The  Viburnum 
dentatum  is  now  extensively  used  in  large  estates  and  parks  because 
of  the  effectiveness  of  its  flat  clusters  of  white  flowers  in  the  early 
spring  and  of  its  rich  dark  blue  berries  in  the  fall.  All  the  viburnums 
are  coming  into  the  favor  they  so  well  deserve,  ranking  with  the 
already  popular  cassinoides  or  white-rod. 

The  wintergreen  needs  no  introduction  to  most  people,  for  who 

268 


THE   TOYON    IS 
THE  RECOGNIZED 
l-HRISTMAS 

berry  of  the 
west;  whole 

HILLSIDES  FLAME 
WITH  THIS  BUSH 
WHICH   BURNS 
WITH  HARMLESS 
FIRE  :  BRANCHES 
OF  TOYON,   LIKE 
FLASHING  TORCHES, 
DECORATE  CHUKCH 
ALTARS,  WREATHS 
OF  IT   HANG  AT 
ALL  DOORS  AND 
WINDOWS  ;  PEOPLE 
OF  THE   WEST  GO 
TO  THEIR  OWN 

GARDENS  INSTEAD 

OF  TO  THE  FLOR- 
ISTS FOR  THEIR 

CHRISTMAS  DEC- 
ORATIONS,  FOR 

THERE  THE  TOYON 

IS  A  FAMILIAR 

SHRUB. 


^(,1 


„s   PARASITIC   H-^«"^;.™^  TO  KILI. 

THAT  l^^'^^^'^j^s  CROP  OF 

TO  GAIN   A  C«Bl^;"        SOME  GNARLY. 

iropTERrHTMASASACBIPICE 
^OR  THE  WONnERFUL  GLOWING 

««"-^'ToSSOM      OF    COURSE" 
^''"""^rwArs  BE  HAD  FROM  THE 
"n»,S^BUT  TN  CERTAIN   WILD 
P^CES   OF   TH;   south    and    WEST 

THF   WF.STERN    MISTLl-.lUE.   '- 

THL   wr.=  .  ,.  ,c    ;vpT  TO  SELECT 

TREE  FOR  ITS   SUPPORT. 


,;KAV  GREEN  BLANCHE.  OF 
MISTLETOE  STUDDED  WfH 
,.,AR,.  WHITE  BERRIES  ILA^ 
..V  PART  IN   MOST  CHWST 

M\s  festivities:  in  the 

WEST   AND   IN  THE   SOUTH 
IT    MAY   BE  FOUND  IN 

RE^T  PARASITIC  CLUSTERS 
CLINGING  HIGH  ON  THE 
BRANCHES  OF  OAK  TREES. 
THE  ENGLISH   BERRIES 
^RE  LARGER.  BUT  DO  NOT 
MASS  THICKLY  UPON  THE 
DRANCHES,   AS   DO  THE 
XATIVE  AMERICAN  bECIE.. 
MISTLETOE  WANDS  IN    THL 
HANDS  OF  THE  LORD  OF 
MISRULE  AND  THE    ABBOT 

or  UNREASON   HAVE  DE- 
CIDED THE  FATE  OF  MAN^ 

A  DAINTY   MAID  CAUGHT 
UNAWARE  BENEATH   ITS 
HIDING  PLACE  IN  THE 
CHANDELIER. 


THE    PARTRIDGE    BERRY. 
SHOWN   AT  THE   RIGHT,   A 
CREEPING  EVERGREEN  WHOSE 
PERRIES  LOOK   LIKE  TWIN 
GLOW-WORMS,    SHOULD   BE 
USED  AS  A  BORDER  PLANT 
OR  ALLOWED  TO  CARPET  A 
PORTION  OF  LAWN  :  THE  RED 
BEARBERRY  OR   WHITE 
SNOWBERRY  COULD   BE 
PLANTED   WITH   IT  TO   AD- 
VANTAGE, FOR  WITH  THESE 
THREE  TRAILING  PLANTS 
BEARING    WINTER  BERRIES 
THE  BIRDS   WILL  GLADLY  BE 
INDUCED  TO  STAY   IN  THE 
GARDEN. 


AT  THE  RIGHT  IS   A 
BRANCH    OF  BLACK 
ALDER,  A   NATIVE 
HOLLY  WHICH   WILL 
FLOURISH   AS  FAR 
NORTH   AS    NOVA 
SCOTIA  :  IT  STRINGS 
ITS  BRANCHES  WITH 
CORAL  BEADS  WHICH 
GLOW  AGAINST  THE 
SNOW-LIKE   SPARKS 
OF  fire:  IT  ALMOST 
EQUALS  ITS  ENGLISH 
COUSIN  IN  BEAUTY  OF 
LEAF  AND  SURPASSES 
IT  IN  THE  AliUNDANCl 
OF  ITS  BERRIES. 


THE   EOLI.VGE  OF  THE  BITTER- 
SWEET SHOWN  AT  THE  LEFT, 
SHOULD   WIN   IT  A   PLACE  IN 
OUR   WINTER  GARDENS  EVEN 
THOUGH    ITS   CHIEF  BEAUTY 
LIES  IN  THE  CURIOUS  SCARLET 
I;EKRIES  WITH  THE  ORANGE 
rODS  THAT  BURST  OPEN   AND 
STAY  UPON  THE  VINES  ALL  WIN- 
TER :  THIS  VINE  WILL  CROW  WELL 
IN    SHADED   PLACES   AND   REACH 
A    HEIGHT  OF  TWENTY  FEET  OR 
MORE,  MAKING  IT  INVALUABLE 
FOR  BIRD  BASINS  AND  PERGOLAS. 


^1   ( 


■M 

I  IN    MOUN  LIGHT 

^^^ 

NIGHTS.  SLENDER 

^V>Ai# 

SPIKES  OF  THE 

Br  V'', 

DESERT  HOLLY 

^^ 

FLASH    LIKE 
BRIGHT  SPEARS 
OUT  ON  THE 
GREAT   SOUTH- 

^^^B!w 1.       ^^Eri 

f      >1 

WESTERN   DES- 

H^'i-w 

ERTS  :   WHEN 
GATHERED  AND 

BROUGHT   HOME 

THEY   LOOK 
LIKE  FROSTED 
SILVER   ORNA- 
MENTS DESIGNED 

UY  SOME  CLEVER 
JEWELER, 

■ik^  iw 

'A 

,  1 

^^ma&Cm^ 

^^^^H 

Hvf    4,    HS'   '*~''^^^^^| 

^1 

^^^^^^w^'^''      Ih^^I 

^^H 

■V/-#f^^| 

B^Im 

w 

^^^Bi^T'*:;  ^^^^^^H 

\    §M^ 

?**»  i49>          ^^^^^^1 

^■W/^^^H 

m^l^^ 

■ 

^^k 

I'^^te^^^H 

THE    SHURT    STEMMKll 

^^^^^^^H 

I^I^^^^^^^H 

THICK    HOLLY-SHAPED 

^^1 

^^^^^^^H 

F^^^^^^^^^^H 

LEAVES  CLUSTERING 

^^1 

^^^^^^^H 

1 ^^^^^^^^^^H 

TIGHTLY   ALONG   THE 

^^1 

^^^^^^^H 

I^^^^^^^^^^H 

VELVETY  GRAY  STEMS 

^^1 

^^^^^^^H 

r ^^^^^^^^^^^H 

OF  THE  DESERT   HOLLY 

^^1 

^^^^^^^P 

r  ^^^^^^^^^^^^^^^^^^^^^^^^^^^H 

KEEP  FRESH  A  LONG 

^^1 

^^^^^^^ft 

TIME   AFTER    GATHER- 

^^1 

^^^^^^^P 

ING:  THEY   ALSO 

^^1 

^^^^^^V 

MAKE   CHARMING 

^^1 

^^^^^^^ 

BOUQUF.TS  OR  WREATHS 

^H 

^^^^  J 

TO  HANG  AT  THE 

^^1 

^^^^^^^^ 

DOOR 

■ 

^H 

^^^^H 

THE   CHRISTMAS  GARDEN 

has  not  noticed  this  evergreen  carpet  studded  with  scarlet  berries 
thickly  laid  upon  the  floor  of  our  Eastern  groves?  From  Newfound- 
land to  the  Gulf  its  aromatic  leaves  and  spicy  twin  berries  have 
furnished  woodland  memories  to  most  of  us  who  have  stopped  to 
gather  a  sweet-tasting  spray  of  this  creeping  evergreen.  It  should 
be  used  as  border  plants  in  the  winter  garden  if  a  woodland  slope 
cannot  be  given  over  to  it.  Some  people  call  it  partridge  berry  or 
checkerberry,  but  botanists  have  named  it  Gaultheria  procumbens 
in  honor  of  the  Canadian  physician,  Gaulthier. 

Kninikinic  or  red  bearberry  is  another  creeping  evergreen  which 
will  trail  its  scarlet  berries  in  thick  mats  through  our  winter  garden. 
Indians  smoke  the  leaves  and  bears  love  the  berries  as  much  as  they 
do  the  sweet  wild  strawberries.  The  creeping  snowberry,  Chiogenes, 
meaning  snowborn,  might  be  grown  with  it,  for  it  is  another  evergreen 
creeper  and  its  snowflake  berries  contrast  finely  with  the  scarlet  ones. 
You  can  do  much  to  attract  the  birds  to  your  home  if  these  three 
low-growing  evergreens  are  given  chance  to  furnish  them  with  berries 
during  the  season  when  food  is  scarce. 

THE  foliage  of  the  bittersweet  should  win  it  a  place  in  home 
gardens,  even  though  its  chief  beauty  lies  in  the  scarlet  berries 
that  burst  open  after  the  leaves  have  fallen.  The  outer 
brilliant  orange-yellow  covering  of  the  berries,  curve  back  from  the 
scarlet  fruit,  but  cling  to  it  in  gay  clusters  of  color  that  hang  in 
knotted  tangles  on  the  stems  attracting  the  birds  all  winter.  This 
vine  will  grow  well  in  shady  places,  a  most  valuable  characteristic, 
reaching  a  height  of  twenty  feet  or  more.  The  leaves  are  dark  rich 
green  with  a  scarlet  rim.  It  should  be  pruned  in  the  early  spring  if 
good  berries  are  wanted.  This  Celestrus  scandens  is  a  native  vine 
that  could,  however,  be  purchased  from  most  nurserymen,  by  those 
denied  the  pleasure  of  going  to  the  woods  for  their  own  plant.  Celes- 
trus articulatus,  is  a  vigorous  Japanese  variety  of  great  beauty. 

The  Mahonia  or  Oregon  grape,  a  native  of  the  Pacific  Coast  looks 
a  little  like  holly  only  the  leaves  turn  a  rich  bronze  as  winter  comes  on. 
In  the  West  it  is  an  evergreen,  but  in  the  East  it  must  be  protected 
a  little  or  the  leaves  will  turn  brown.  They  keep  well  a  long  time 
after  picking  and  are  wonderfully  effective  as  decorations  for  all 
winter  festivities. 

The  graceful  Barberry  has  been  so  long  established  among  the 
wild  shrubs  of  New  England  that  it  is  commonly  supposed  to  be  a 
native,  though  there  is  no  certainty  about  the  matter.  Its  bright 
berries,  hanging  in  long  drooping  racimes  long  after  the  leaves  fall, 
make  it  a  valuable  feature  of  the  winter  landscape  both  when  in  its 

273 


THE   CHRISTMAS   GARDEN 

natural  haunts  or  when  transplanted  in  borders  along  our  garden 
walks  or  drives  or  against  our  houses.  It  is  easily  cultivated,  adapting 
itself  gracefully  to  low  hedges  or  terrace  edges. 

For  trees  there  is  the  beautiful  Mountain  sumac,  which  grows  as  a 
shrub  when  in  unfavorable  wild  position.  WTien  given  good  soil 
and  proper  care,  however,  it  will  achieve  a  notable  size.  Great 
clusters  of  red  berries  tempt  the  birds  to  spend  the  winter  within 
easy  reach  of  its  bounty.  Long  panicles  of  late  blooming  flowers 
add  to  the  interest  of  this  glossy-leaved  tree. 

In  the  West  the  Toyon  is  the  recognized  Christmas  berry.  Whole 
hillsides  flame  with  this  bush  which  burns  with  harmless  fire. 
Branches  of  Toyon,  like  burning  torches  decorate  the  altars  of  churches ; 
wreaths  of  it  hang  at  all  windows  and  doors  in  the  homes  of  West- 
erners, as  holly  does  in  the  East.  And  best  of  all,  nearly  everyone 
in  the  West  can  go  to  the  hills  instead  of  to  the  florists  for  their 
Christmas  decorations,  or  even  to  their  own  dooryards  where  it  is 
an  honored  garden  shrub. 

To  gather  Christmas  decorations  from  one's  own  garden  would 
indeed  be  an  added  joy  to  the  beauty  of  the  Christmas  season.  Of 
course  in  many  sections  of  this  country  it  is  possible  to  bring  in 
lovely  winter  ornaments  from  the  wild  gardens  which  are  still  un- 
destroyed.  Mistletoe  can  be  found  in  the  South,  creeping  pine 
through  all  the  New  England  woods  and  holly  on  many  unexpec- 
ted hillsides;  but  alas,  most  of  Nature's  wonderful  American  gardens 
have  been  destroyed  heedlessly,  so  that  most  of  us  who  want  our 
winter  decorations  outside  of  a  shop  must  plan  for  our  own  garden. 
The  Christmas  garden  really  can  be  made  a  very  great  comfort  to 
the  lover  of  winter  color,  for  practically  all  of  the  shrubs  and  flow- 
ers continue  their  growth  from  year  to  year  and  bloom  through  every 
white  season  with  but  little  care. 


•i^tSji 


274 


BRINGING  OLD-FASHIONED  CHARM  INTO 
MODERN  SUBURBAN  HOMES,  SOME  INTER- 
ESTING  MODELS:    BY  F.    G.    LIPPERT. 

^HEN  one  recalls  the  air  of  homelike  friendliness  that 
lingers  about  so  many  Enghsh  cottages  and  manors, 
or  the  gracious  dignity  that  radiates  from  our  own 
Colonial  mansions  and  farms,  one  can  hardly  wonder 
that  the  modern  American  architect,  in  spite  of  his 
desire  to  break  away  from  old  traditions,  finds  himself 
turning  often,  for  inspiration  and  suggestions,  to  both 
of  these  old-fashioned  styles.  Each  holds  its  own  quiet,  convincing 
lessons  in  graceful  symmetry  or  informahty  of  outline,  in  sturdy 
simplicity  of  construction,  and  wisdom  of  plan.  And  without  imi- 
tating a  single  line,  without  copying  a  detail,  one  can  still  draw  from  a 


A  SUBURBAN  COTTAGE  OF  STUCCO  AND  SHINGLES  WHICH  SHOWS  COLONIAL  INSPIRATION  :  THE 
HOODED  DOORWAY  AND  INVITING  SEAT,  THE  PLEASANT  WINDOW  GROUPS  AND  GRACEFUL  PERGOLA 
ARE    INTERESTING    FEATURES    OF   THE  CONSTRUCTION. 

study  of  such  examjjles  an  understanding  of  architectural  beauty  and 
real  home  comfort  that  may  serve  as  guide  in  the  designing  of  many 
a  modern  home. 

It  was  in  such  a  spirit  of  appreciation  that  I  planned  the  houses 
here  presented.  Two  of  them  show  the  influence  of  old  English 
dwellings,  with  their  massive  stone  work  and  heavy  timbers,  their 
big  chimneys  and   generous  fireplaces,   leaded  casements,   beamed 


275 


AN  OLD  CHARM  IN  NEW  SUBURBAN  HOMES 


ceilings  and  solid  trim.  In  the  others,  the  Colonial  feeling  is  domin- 
ant. Stately  yet  friendly  entrances,  sheltering  pergolas  and  pleasant 
windows,  break  the  severity  of  the  simple  roof  and  walls.  And  in  all 
of  them  I  have  striven  to  combine  the  old-time  characteristics  with 
practical  modern  construction  and  arrangement.  I  have  aimed  to 
sacrifice  nothing  in  my  effort  to  gain  picturesqueness,  and  I  feel  that 
if  the  interiors  are  hannoniously  finished  and  comfortably  furnished 
they  will  fulfil  the  promise  of  the  exterior  design. 

A  small  suburban  cottage,  somewhat  Colonial  in  style,  is  shown 
in  the  first  illustration.  Red  brick  is  used  for  the  foundation,  and 
stucco  over  wooden  frame  construction  for  the  walls  above.  The 
roof  and  gables  are  covered  with  white  cedar  shingles,  which  will  be 
particularly  pleasing  if  they  are  left  unstained,  to  weather  to  a  beauti- 
ful silver  gray.  The  piazza  columns  are  of  cast  concrete,  recalling 
by  their  substantial  lines  those  one  finds  among  the  vineyards  of 
Italy,  where  this  type  of  column  was  used  all  through  the  Middle  Ages. 

These  materials  naturally  result  in  a  soft  and  attractive  color 
scheme — cream  stucco  in  walls  and  chimney  above  the  low  line  of 
brick,  with  silvery  gray  shingles  above — and  this  may  be  brightened 
by  a  touch  of  green  in  the  blinds  and  in  the  seat  beside  the  front  door. 

The  first  floor  plan,  with  its  cheery  rooms,  corner  fireplaces  of 
brick,  built-in  seats  and  desk  and  pleasant  windows,  is  worth  noting. 
The  living  room  will  be  most  effective  if  trimmed  in  weathered  oak, 
with  the  head  trim  of  doors  and  windows  carried  like  a  band  around 
the  room.  Any  kind  of  wall  paper  or  fabric  may  be  used  between 
the  base  and  this  line,  but  above  it  the  ceiling  should  be  continued 


v> 


v^ 


KIll.Il-STONE    BUNGALOW    ESPECIALLY  SUITABLE  FOR  A   HILLY   SITE:   THE  DESIGN   IS   SO   SIMPLE  THAT 
IT   CAN    BE   BUILT   BY   A   LOCAL  CARPENTER  OR   MASON  :   F.   G.  LIPPERT,   ARCHITECT. 

276 


AN  OLD  CHARM  IN  NEW  SUBURBAN  HOMES 


SUBURBAN  RESIDENCE  OF  STUCCO  AND  SHINGLES  DESIGNED  ALONG  COLONIAL  LINES  :  THE  ROOMY 
PORCHES    AND    BALCONIES    PROVIDE   AMPLE  SPACE  FOR  OUTDOOR  LIVING  AND  SLEEPING. 

right  down,  thus  giving  a  rather  low  appearance  to  the  room,  and  at 
the  same  time  producing  an  effect  of  increased  spaciousness.  The 
dining  room  may  be  treated  along  the  same  lines. 

There  are  four  bedrooms  and  bath  in  the  second  story,  located  so 
that  each  room  can  be  well  ventilated,  and  very  little  space  is  given 
to  the  hall.     The  attic  room  might  be  used  for  the  servant's  bedroom. 

The  second  sketch  shows  a  small  bungalow  best  adapted  for  hilly 
or  mountainous  country,  and  designed  so  that  it  can  be  constructed 
by  any  local  carpenter  or  mason  with  a  little  building  experience. 

The  whole  first  story  is  built  of  local  field  stone,  such  as  might 
be  found  in  the  woods  or  fields,  or  bought  from  farmers  who  no 
longer  needed  it  in  their  pasture  walls.  The  same  material  is  used 
for  the  chimney  and  big  open  fireplace  in  the  living  room,  while 
shingles  are  used  in  both  gables  and  roof.  The  inside  partitions 
are  constructed  in  the  usual  way,  with  wooden  studding  plastered 
over.  An  interesting  plan  would  be  to  leave  the  floor  joists  of  the 
second  story  exposed  in  the  ceilings  of  the  lower  rooms,  and  stain 
them  a  dark  brown.  This  would  give  a  very  homelike  appearance 
to  the  interior.  The  paneling  of  the  wall  shown  in  the  sketch  might 
be  of  cypress,  stained  dark  brown,  and  the  hood  of  the  fireplace  would 
be  most  effective  in  copper. 

277 


AN   OLD   CHARM   IN   NEW  SUBURBAN   HOMES 


\^\\\   „^,- 


A  SPACIOUS  SUBURBAN  HOME  OF  STONE,  STUCCO  AND  HALF-TIMBER,  THAT  REMINDS  ONE,  IN 
MATERIALS  AND  DESIGN,  OF  AN  OLD  ENGLISH  MANOR  HOUSE  OF  ELIZABETHAN  TIMES  :  THE  WING 
AT  THE  LEFT  IS  A  PARTICULARLY  ATTRACTIVE  FEATURE  :   F.  G.   LIPPERT,   ARCHITECT. 

This  chimneypiece  is  the  central  feature  of  the  bungalow,  and  with 
the  big  bow  windows  and  inviting  seat  opposite  makes  the  living 
room  a  delightful  place. 

The  staircase  is  placed  so  as  to  open  from  a  passage  next  to  the 
living  room,  and  is  only  partly  screened  from  view.  The  rest  of  the 
floor  is  taken  up  with  a  small,  compact  kitchen  with  closets  and  space 
for  storing  wood.  Besides  this  there  are  two  small  bedrooms  with 
built-in  bunks.       A  big  veranda  extends  on  two  sides  of  the  building 

and  adds  considerably 
to  the  living  area,  while 
upstairs  are  two  spacious 
sleeping  rooms  with  an 
open  balcony  over  the 
kitchen  porch. 

The  next  illustration 
shows  a  suburban  resi- 
dence designed  along  Col- 
onial lines,  but  modified 
somewhat  to  comply 
with  the  modern  demand 
for  outdoor  living  and 
sleeoinff       H  olio  w 

FIREPLACE   CORNER    WITH    INTERESTING    USE    OF    WOODWORK,        -    _  K  J    '        r>  OOP     \ 

IN  FIELD-STONE  BUNGALOW  SHOWN  ON  PAGE  276.  (Conttnued  oTi  "age  335.} 

278 


YOUR  OWN  HOME:  TWELVE  LESSONS  IN 
PRACTICAL  HOUSE  CONSTRUCTION:  NUM- 
BER ONE :  THE  HOUSE  AND  ITS  SITE 

I  HE  most  vital  things  in  life  are  those  that  have  both 
a  practical  and  sentimental  value — that  grip  our 
affections  as  well  as  our  common  sense.  And  few 
imdertakings  combine  these  qualities  more  strongly 
than  the  making  of  a  home. 
A  well-built  house  is  a  wise  investment,  just  as  a 
diamond  is,  and  as  the  perfected  automobile  will 
eventually  be.  In  fact,  it  is  even  more  satisfactory'  than  either  of 
these.  One  has  a  feeling  of  peculiar  permanency  and  reliability 
about  it.  It  represents  a  solid,  tangible  return  for  the  money  expend- 
ed. Nothing,  one  feels,  short  of  earthquake,  flood  or  fire,  can  erase 
its  value — and  in  these  days  of  durable,  weatherproof,  waterproof 
and  fireproof  materials,  even  those  elements  of  risk  are  reduced  to  a 
minimum.  Indeed,  the  modern  house  of  stone,  brick  or  concrete, 
if  properly  built  and  wisely  located,  is  likely  to  increase  rather  than 
decrease  in  worth,  and  to  grow  more  beautiful  as  well  as  more  desirable 
as  the  years  go  by. 

At  the  same  time,  apart  from  its  intrinsic,  marketable  and  security 
value,  one's  home  has  another  quality  which  cannot  be  measured  in 
financial  terms — namely,  the  subtle  individuality,  the  human  interest, 
that  comes  with  daily  usage,  intimacy  and  affection,  with  associations 
of  a  local,  personal  or  historic  nature.  G.  K.  Chesterton,  writing 
about  the  fireplace,  expresses  just  this  picturesque  and  spiritual 
phase. 

"A  queer  fancy  seems  to  be  current,"  he  says,  "that  a  fire  exists 
to  warm  people.  It  exists  to  warm  people,  to  light  their  darkness, 
to  raise  their  spirits,  to  toast  their  mufiins,  to  air  their  rooms,  to  cook 
their  chestnuts,  to  tell  stories  to  their  children,  to  make  checkered 
shadows  on  their  walls,  to  boil  their  hurried  kettles,  and  to  be  the  red 
heart  of  a  man's  house  and  hearth,  for  which,  as  the  great  heathens 
said,  a  man  should  die." 

The  same  sort  of  thing  applies  to  the  homestead — to  use  the 
quaint  old  English  term  which  is  so  full  of  meaning.  It  is  more  than 
a  mere  shelter,  "a  place  of  permanent  family  abode,"  as  it  has  been 
legally  defined.  It  is  a  part  of  ourselves,  an  expression  of  our  personal 
taste  and  convictions,  a  place  where  children  may  grow  and  learn  and 
play,  where  men  and  women  may  find  work  and  rest  and  happiness, 
and  where  old  age  may  come  with  understanding,  comfort  and  peace. 
This  is  the  ideal  toward  which  America  today  is  looking.  We 
are  regaining  our  architectural  sanity,  building  for  utility,  comfort 
and  lasting  beauty,  and  leaving  behind  as  useless  and  encumbering 

279 


THE   HOUSE  AND  ITS  SITE 

details  all  those  ornamental  frills  that  were  once  considered  so  essential 
to  every  house.  Indoors  and  out,  we  are  making  our  dweUings  as 
simple  and  durable,  as  hygienic  and  restful  as  modern  science,  skill 
and  care  can  make  them.  And  in  evolving  and  perfecting  our  archi- 
tectural standards,  our  houses  are  becoming  not  only  more  comfortable 
places  to  live  in,  but  also  more  satisfactory  and  substantial  invest- 
ments for  the  present  and  succeeding  generations. 

THE  building  of  a  successful  home,  however,  is  no  small  under- 
taking. Most  people,  face  to  face  with  this  important  task, 
find  themselves  unprepared.  They  have  a  lot  of  enthusiasm, 
but  no  experience.  They  have  an  ideal,  but  lack  the  knowledge 
necessary  for  carrying  it  out.  Unless  they  can  turn  to  some  authentic 
source  for  advice  and  information,  they  find  their  home-building  a 
rather  experimental  affair. 

It  is  to  furnish  such  readers  with  practical  help  that  we  are 
preparing  the  present  series  of  twelve  articles — of  which  this  is  the 
first.  And  we  believe  that  our  experience  as  architects,  builders  and 
furniture  makers  as  well  as  our  recent  work  in  bringing  together  the 
exhibits  in  the  Craftsman  Home-Builders'  Exposition,  quaUfy  us 
to  offer  such  advice. 

We  have  gained  our  knowledge  through  the  planning  and  designing 
of  hundreds  of  houses  of  many  types,  and  through  much  actual  work 
of  construction.  We  have  experimented  with  various  kinds  of 
building  materials,  and  tested  different  methods.  We  have  investi- 
gated the  most  scientific  and  efficient  modern  products  for  exterior 
and  interior  that  are  used  in  home-building  today — all  of  which  wide 
and  practical  experience  enables  us  to  speak  with  authority  upon 
these  important  matters. 

The  object  of  these  articles  is  to  help  others  to  build  in  the  most 
economical  and  beautiful  fashion;  to  show  them  how  to  get  the  best 
results  for  the  money  expended;  to  save  them  the  delay  and  dis- 
appointment of  experiments  and  mistakes.  At  the  same  time,  we 
do  not  want  to  force  our  own  opinion,  theories  or  tastes  upon  our 
readers.  We  prefer  to  suggest,  not  to  dictate — to  point  out  the  best 
way  of  expressing  their  own  ideals  along  original,  not  imitative  lines. 
And  if  there  is  any  point  not  mentioned  in  the  articles  on  which  they 
wish  advice  or  information,  we  hope  they  will  feel  free  to  consult  us 
through  personal  correspondence,  so  that  we  may  be  as  helpful  as 
possible  in  every  phase  of  their  enterprise. 

In  considering  this  matter  of  home-building,  we  wish  to  emphasize 
especially  the  need  of  thorough  study,  of  long  and  careful  planning. 
The  chief  reason  that  American  architecture  has  been  lacking,  as  a 

280 


liVF.RY  LINK  OF  THIS  IIOMF-I.IKli  DWELLING  SHOWS  THAT  IT  WAS 
PLANNKll  KSl'iaiALI.Y  TO  CROWN  ITS  HILLTOP  SITE,  WITH  SLOPING 
kOOF  ECHOINc;  THE  CURVES  OF  THE  LAND:  THE  HOUSE  IS  OWNEll  BY 
MR.  R0BF;RT  C.   bridge,    NANAPASHAMET,    MASSACHUSETTS. 

AN  UNUSUALLY  EFFECTIVE  DESIGN  FOR  A  HILLSIDE  SITE  IS  SHOWN 
here:  THE  HOUSE  SETS  SNUGLY  AGAINST  ITS  ENCIRCLING  BACK- 
GROUND, AND  THE  BROAD  EAVES  REPEAT  THE  SLOPING  LINES  OF  THE 
HILL. 


ft^/ 


IN  ITS  PLACING  AND  PHOPOKTIONS.  AND  IN  THK  LONG  LOW  LINES  OF 
ITS  BROODING  ROOF,  THIS  BUNGALOW  IS  ESSENTIALLY  SUITED  TO  SEA- 
SHORE surroundings:  it  is  the  home  of  MRS.  BARKER  AT  ANNIS- 
QUAM,    MASSACHUSETTS. 

THE  LOWER  HOUSE,  BUILT  ON  A  ROCKY  SHORE  AMONG  THE  THOUSAND 
ISLANDS,  IS  AN  EQUALLY  CHARMING  ILLUSTRATION  OF  HARMONY 
BETWEEN   A   HOME  AND  ITS   ENVIRONMENT. 


Photographs  by 


■  le  Tarbox  Beats. 


THIS  RUSTIC  BUNGALOW,  SET  AMONG  THE  WOODS,  IS  AN  INTEREST- 
ING EXAMPLE  OF  THE  ADAPTATION  OF  A   HOME  TO  ITS   SITE. 

THE  BOWMAN  HOUSE  AND  GROUNDS  AT  KATONAH,  NEW  YORK,  SHOW 
DELIGHTFULLY  SYMPATHETIC  ADJUSTMENT  OF  HOUSE  AND  GROUNDS 
TO  A  ROLLING  COUNTRY  AGAINST  A   WOODLAND  BACKGROUND. 


%S' 


THIS  SIMPLE  STUCCO  DWELLING,  SET  IN  ITS  QUIET  GARDEN.  SEEMS  ESPECIALLY 
IN  KEEPING  WITH  THE  WOODED  ENVIRONMENT:  WITH  ITS  ENTRANCE  IN  THE 
GARDEN  IT  SUGGESTS  A  STYLE  THAT  WOULD  BE  EQUALLY  APPROPRIATE  FOR  A 
VILLAGE  OR  SUDUKIIAN    STREET. 


THE  HOUSE  AND  ITS   SITE 

rule,  in  both  comfort  and  beauty,  is  that  we  have  planned  and  built 
too  hastily.  We  have  not  given  our  homes  the  thoughtful  attention 
they  deserve.  Most  of  us,  besides,  have  had  the  mistaken  impression 
that  we  could  buy  our  homes — ready-made.  That  is  impossible. 
You  cannot  pay  people  to  build  you  a  home  any  more  than  you  can 
pay  them  to  build  you  a  character.  You  can,  however,  pay  an 
architect  to  help  you  carry  out  your  own  ideas,  to  express  your  in- 
dividual ideals  and  wishes  in  practical  form.  And  it  is  only  through 
such  intelligent  and  sympathetic  cooperation  that  really  successful 
homes  can  be  achieved. 

The  house  and  its  environment,  however,  must  be  considered  as 
a  whole.  Exterior  and  interior,  design  and  plan,  must  be  harmonious 
not  only  with  respect  to  each  other  but  with  relation  to  the  garden, 
the  surrounding  landscape  and  neighboring  buildings.  For  perma- 
nent and  individual  beauty  can  result  only  from  a  wise  adaptation  of 
a  house  to  its  site. 

IN  these  articles  we  shall  discuss  the  different  steps  of  home- 
making  in  logical  succession,  taking  up  first  the  question  of  the 

choice  of  a  site  and  the  relation  of  a  house  to  its  environment. 
Then  will  come  the  planning  of  the  home  itself — whether  bungalow, 
one-  or  two-story  house  or  cottage,  for  country  or  town,  mountain  or 
shore — including  the  arrangement,  size  and  exposure  of  the  rooms  and 
porches.  Floor  plans  and  photographs  showing  a  variety  of  practical 
and  charming  interiors  will  be  presented — the  best  we  can  obtain. 

The  selection  of  materials  will  be  considered  next — brick,  concrete, 
stucco,  hollow  tile,  wood  and  shingle.  Interesting  examples  will  be 
reproduced,  so  that  the  home-builder  may  judge  of  the  effect  of  each 
material  both  in  detail  and  in  relation  to  different  types  of  houses. 
The  most  durable  and  economical  modern  methods  of  construction 
will  also  be  reviewed,  and  suggestions  will  be  oflFered  to  the  reader 
that  will  help  him  when  the  tune  comes  to  cooperate  with  architect 
and  builder  and  supervise  the  actual  erection  of  the  home. 

Attention  will  likewise  be  given  to  the  numerous  architectural 
details — roofs,  chimneys,  doors  and  windows — which  are  so  important 
from  both  a  practical  and  artistic  standpoint.  The  homelike  charm 
and  permanent  beauty  that  can  be  attained  through  the  wise  designing 
of  these  interesting  features  will  be  shown  in  many  lovely  illustrations 
that  will  furnish  both  practical  hints  and  real  inspiration  to  the  beauty- 
seeking  home-maker. 

The  interior  of  the  house  will  be  considered  with  equal  care.  The 
designing  and  finishing  of  the  woodwork  and  various  structural 
{Continued  on  Page  331.) 

28s 


THE     MAKE-BELIEVE     WORLD     OF     TOYS: 
HUMOROUS  DOLLIES  AND  MERRY  ANIMALS 

SHIP  of  dreams,  of  little  children's  dreams  come 
true,  with  toy  soldiers  and  sailors  l)imked  in  boxes 
before  the  mast,  rocking  horses  champing  impatient 
painted  bits  down  in  the  hold,  wooden  elephants  the 
size  of  squirrels,  yellow  ducklings  as  big  as  dogs, 
square  cats,  swinging  parrots,  beautiful  dolls,  gay 
rubber  balls,  skates  and  kites  and  many  other  amazing 
and  delightful  toys,  sail  the  Atlantic  Ocean  this  Christmas  season 
bound  for  the  European  children  whose  fathers  are  far  away  from 
home  hiding  in  trenches,  unable  to  smuggle  funny  things  in  their 
little  ones'  stockings  or  wooden  shoes  simulating  the  jolly  Santa  Claus. 
This  marvelous  ship,  freighted  as  never  a  ship  was  freighted  before 
unless  it  was  the  real  Noah's  Ark  laden  with  real  elephants,  ducks, 
lions  and  kittens,  carries  invisible  wealth  of  love  and  kindness  and 
sympathy  packed  in  with  excelsior  and  tissue  paper,  ready  the  instant 
lids  are  lifted  to  spring  out,  bearing  joy  for  unknown  lonely  little 
ones  and  comfort  for  anxious  mothers  who  had  thought  their  babies 
would  have  to  go  without  their  usual  Christmas  cheer. 

Santa  Claus'  magic  pack  could  not  begin  to  hold  all  the  delightful 
toys  that  are  packed  into  this  big  Christmas  ship,  nor  did  his  kindly 
loving  heart  beat  with  greater  love  for  all  little  children  than  that 
which  animated  the  hearts  of  the  women  of  America  who  have  set 
this  ship  afloat.  Mothers  are  thus  cheerily  speaking  to  mothers 
across  the  seas  with  a  tender  language  of  jolly  toys.  The  dove  of 
peace  that  was  loosed  from  the  ark  bearing  an  olive  branch,  carried 
no  finer  symbol  of  universal  good  will  than  these  merry,  funny  toys. 
Some  easily  troubled  people  have  thought  that  there  might  be  a 
toy  famine  in  our  land  since  Germany  was  not  making  its  usual 
quota    of    ^  ^^^       toys  this  year, but  they 

overlooked    ^^^^^  .4R3l^  ^^^^  ingenuity  and 

adaptabi    ^^KISSt^  ^MMKt    ^'^^"^  ^^  ^^^^^'^  ^^"^  ^^^' 

pie.    Am  ^K^^S^J^  ^^m^r^L  ericans  were  quick 

tofore     ^^Sc^^M^^^^^m^^Kw       m^^    ^^^  ^^^  unusual 
shorta  ^^B^^W^^^HHRSr  ^^^  ^^  "^  toys, 

for  no  ^^HJ^xSIW^fe^S^SS^^  ^^^^i_l     matter  what 

comes  and 
goes  in  this 
world  of 
ours,  chil- 
dren must 
somehow  be 
I  given    their 

286 


THE   CHILDREN'S  SHIP  OF  DREAMS 


toys,  so  little  back  bedrooms,  basements 

and  attics  of  New  York,  and  whole  vil- 
lages of  New  England  have  been  turned 

into  impromptu  toy  factories.    They  for- 
got   also    that    the    very    greatest    toy, 

factoiy  in  the  whole  world  is  at  Winch- 

endon,  Massachusetts,  in  fact,  the  sign 

of  this  village  is  a  huge  rocking  horse, 

the  first  thing  seen  by   visitors  as  they 

step  from  the  depot.     And  perhaps  also 

they  did  not  know  that  when  the   war 

broke  out  more  than  one-fourth  of  the 

usual  consignment  of  toys  had  already 

been  received   from  Germany,   and  the 

other    three-fourths    of    the   Christmas 

supply  was  sent  out  before  the  end  of  July,  and  they  didn't  know 

either  that  .^^P^TN  the  toy  dealer  doesn't  sell  all  his  stock  in  one 
The  coming  of  the  next  Christmas  rush  always 
him  with  a  huge  stock  of  toys  left  over  from 
Christmas  before. 
The  new  toy  industry  that  has  sprung  to  life  so  sud- 
denly the  last  few  years  is  making  many  changes  in 
the  class  of  toys  planned  for  children.     In  nineteen 
hundred  and  thirteen,  the  entire   importation    of  toys 
from  Germany  was  valued  at  wholesale  rates  at  almost 
nine  million  dollars.     The  factories  of  the  United  States 
produced   toys   worth  almost  the  same  amount.     The 
output  of  what  are  called  real  toys,  which  did  not  in- 
clude such  articles  as  sleighs  and   velocipedes,  skates, 
etc.,  reached  a  figure  amounting  almost  to  four  million 


dollars, — so  America  has  been  man 

toys  than  its  people  had  any  idea 

the  children  and  edu 

ways  their  taste,  and 

uity.     The  line  betwe 

amusement  toys    is 

one  indeed.     People 

children  love  to 

given  them  a  list  of 

gether,   cut   out, 

cal  ways  so  that  the 

is  finished,  find 

of  some  really  useful 


uiacturing  more 
of,  toys  that  delight 
cate  '  also  in    subtle 
develop  their  ingen- 
en   education  and 
now  an   invisible 
have  found  out  that 
make  things,  so  have 
toys  that  can  be  put  to- 
built  up  in  many  practi- 
children,  when  the  game 
themselves  in  possession 
article,  and  their  pride  in 

287 


THE    CHILDREN'S  SHIP  OF   DREAMS 

their  own  skill  leads  their  minds  into  other  inventive  channels. 
Perhaps  the  greatest  change  that  has  come  into  the  toy  world 
in  recent  years  is  in  the  matter  of  dolls  for  the  little  girls.  The 
modern  doll  has  a  happy  quality  which  its  predecessor  lamentably 
lacked, — it  possesses  a  sense  of  humor.  This  magic  gift  bestowed 
upon  it  by  its  maker  is  one  of  the  chief  tributes  that  distinguishes  it 
essentially  from  the  dolls  of  the  past.  Unlike  its  phlegmatic  ancestors 
it  does  not  merely  acquiesce  in  its  fate,  it  seems  to  actually  enjoy 
being  a  doll,  it  enters  into  the  spirit  of  the  thing  regarding  its  sur- 
roundings, its  owners  and  its  fellow-dolls  with  an  air  of  half  sup- 
pressed amusement,  as  though  it  appreciated  the  humor  of  the 
situation.  But  the  facial  expression  of  the  modern  doll  is  not  limited 
to  a  smile.  On  the  contrary  they  have  a  wide  range  of  emotion  and 
varying  ways  of  betraying  it.  Some  are  eager  and  vivacious,  veri- 
table little  chatterboxes  and  gossips  you  feel  assured;  others  are 
pensive,  even  melancholy,  and  others  still  are  petulant,  pouting  a 
trifle  like  little  children  whose  faces  will  brighten  the  next  moment 
into  smiles. 

The  dolls  that  are  made  for  the  delight  of  Germany's  children 
are  especially  worthy  of  respect,  for  they  possess  a  remarkable  degree 
of  human  likeness  and  are  almost  as  fascinating  to  grown-ups  as  to 
little  folk.  Some  recent  productions  along  this  line  are  shown  here, 
the  pictures  being  reproduced  from  the  pages  of  the  German  publica- 
tions Die  Kunst  and  Deutsche  Kunst  und  Decoration.  The  most 
striking  feature  of  these  illustrations  is  the  costuming.  The  fas- 
tidiously gowned  ladies  in  their  voluminous  skirts  and  high  perched 
bonnets  bring  us  remembrance  of  our  grandmothers  in  their  pic- 
turesque attire.  Note  the  baggy  trousers,  checked  aprons  and  big 
caps  of  the  peasants,  and  the  characteristic  garb  of  the  coachman, 
porter,  squire  and  dame.  What  interest  and  care  each  detail  denotes 
on  the  part  of  the  designers  and  what  an  atmosphere  of  marked 
reality  is  imparted  to  each  group. 

The  modern  child  would  surely  have  been  envied  by  its  an- 
cestors, for  not  only  has  it  the  utmost  loving  care,  but  actual 
wisdom  enters  into  the  development  of  mind  and  soul.  And 
with  this  there  is  liberty  for  all  kinds  of  individual  growth. 
Also  it  is  given  fascinating  wonder-tale  rooms  to  sleep  and 
to  play  in.  One  reason  for  the  originality  and  great  beauty  of 
American  toys  is  that  they  are  being  designed  by  women,  by 
mothers  who  know  what  their  little  ones  like.  Some  original  work 
has  lately  been  designed  by  Helen  Speer,  who  has  devoted  her 
talents  to  planning  children's  playrooms  and  nurseries.  She  has 
mnde    playrooms    whose    color    scheme    is    soft    ivory,    gray    and 

288 


i^i!^  fl 


9  i  s Si iS £■•''•■• 


IINIIIIII 
"■■lllllll 

!l!!!!!Pii 

nil    Oil 


EXAMPLES  OF  NEW  AMERICAN  TOYS  DESIGNED  FOR  THE  FUR- 
NISHING OF  NURSERIES  AND  ROOF  GARDENS  FOR  CHILDREN: 
THEY  ARE  EMINENTLY  PRACTICAL  AS  WELL  AS  PICTURESQUE 
IN  COLOR  AND  DESIGN  :  EXAMPLES  OF  THEM  CAN  BE  SEEN 
IN    MRS.  SPEEK's  DEPARTMENT  IN  THE   CRAFTSMAN    liUILDING. 


x^f 


TWO  (UOUl'S  (IF  THK    Ni:W    t.KRMAX    DOLLS.  OLIITK   DIKFKRENT    FROM    T  H  K 
OLI)     CONVKNTIONAL      IDFA     OF     THE      KF.D-CHKKKFU),      FLAXEN-H  AIRKF) 

noLL  nABY :   these   express   a   certain   genuine   human   inter- 
est    AND     ARF.     OFTEN     DELIGHTFULLY      HUMOROUS     IN     EXPRESSION. 


THK  UPPKR  I'KTURK  SHOWS  DOLLS'  FURNITURE  DESIGNEU  IX  l.KKMA.NV  AND  IS 
FULL  OF  THK  TEUTONIC  TENDERNESS  FOR  BAnYHOOI)  AND  ALL  ITS  JOVS  :  THE 
LOWER  PICTURE  IS  A  GROUP  OF  DOLLIES  PLAYING  GAILY  AROUND  A  WREATH  OF 
MAGNOLIA  nl.OSSOMS:  THERE  IS  A  SUGGESTION  OF  REAL  BABY  LIFE  IN  THE 
MOVEMENT    AND    COSTUMING    OF  THESE   CHARMINc;   LITTLE  TOYS. 


^h 


\ 


A  CORNER  OF  A  NURSERY  DESIGNED  BY  HELEN  SPEER  :  THE  FURNITURE  IS 
STURDY,  PICTURESQUE,  AND  PAINTED  IN  VIVID  COLORS  FROM  MERRY  DESIGNS: 
THE  BACKGROUND  FOR  MOST  OF  MRS.  SPEER's  WORK  IS  WHITE:  THE  TOY  ROOM 
IN  THE  CRAFTSMAN  BUILDING  IS  PARTLY  FURNISHED  AND  WHOLLY  DECORATED 
FROM    IDEAS   OF    MRS.    SPEEr's. 


THE   CHILDREN'S   SHIP   OF   DREAMS 


blue  or  bright  yellow,  white  and  green, 
with  a  painted  river  of  dreams  flowing 
through  shady,  gnome-haunted  groves 
and  green  outland  meadows.  In  her 
rooms  are  daisy  fields  where  white  rab- 
bits live,  and  Three  Bears'  houses,  King 
Arthur's  courts  and  boy  scout  camps. 
The  quite  contrary  Mary,  Mary,  and 
the  other  Mary,  who  has  a  little  lamb.  Red 
Riding  Hood  with  her  basket  of  goodies.  Little 
Bo-Peep  with  her  white  woolly  sheep  and  Cin- 
derella in  her  pumpkin  coach,  all  live  again  in 
artistic  humorous  form  on  the  walls  of  rooms 
filled  with  tables  and  chairs,  beds  and  bureaus,  bookshelves  and 
chests  of  drawers,  decorated  with  funny  roosters,  with  parrots, 
squirrels,  pouter  pigeons  and  owls  all  in  a  row. 

There  are  arks  where  toys  may  be  put  at  night  and  stay  until 
marched  out  again  in  the  morning;  thus  tidiness  is  learned  unaware. 
Butter-tubs  painted  white,  decorated  with  flowers  and  trees,  lined 
with  bright  colors,  where  little  shoes  may  be  kept,  lovely  green  trees 
with  branches  in  which  caps  and  coats  may  be  hung,  picture  trays 
bearing  bread-and-milk  bowls  with  funny  things  inside  that  can  only 
be  seen  after  the  bowls  are  empty.     There  are  sand  boxes  and  sand 


i 


trick  elephant  helps  to 
and  another  bell  with  his 


toys  without  end,  see-saws  that  a 
rock,  ringing  a  bell  with  his  trunk 
tail.  And  there  is  a  comical  horse 
that  would  make  anyone  want  to 
ride  to  Banbury  Cross. 

Perhaps  one  of  the  very  best 
things  that  is  being  done  for  the 
children  is  the  beautiful  books, — 
books  from  A.  B.  C.'s  to  fairy  tale 
land  into  history  and  the  dehghtful 
world  of  poetry,  a.  t  and  drama.  Josephine  Emerson  has  created  a 
new  profession  by  selecting  childlore  libraries  for  children  of  all  ages, 
for  boys  or  girls  or  schools,  hospitals,  playrooms.  The  best  artists  of 
our  land  have  devoted  their  talents  to  illustrating  our  Mother 
Goose,  Aladdin's  lamp,  Shakespeare's  rehgious  history. 

In  practically  all  the  toys  seen  this  year  there  seems  to  be  a  'new 
spirit,  and  one  very  important  in  the  development  of  childhood — a 
combination  of  simplicity,  friendliness  and  humor;  one  feels  that 
children  themselves  might  have  designed  just  such  toj^s— they  are 
so  real,  so  fresh,  so  vivid. 


293 


CREATIVE   WAR:   BY  JOHN   RUSKIN 

HEN  I  tell  you  that  war  is  the  foundation  of  all  the 
arts,  I  mean  also  that  it  is  the  foundation  of  all  the 
high  virtues  and  faculties  of  men. 

"It  was  very  strange  to  me  to  discover  this;  and 
very  dreadful — but  I  saw  it  to  be  quite  an  undeniable 
fact.  The  common  notion  that  peace  and  the  virtues 
of  civil  life  flourished  together,  I  found  to  be  wholly 
untenable.  Peace  and  the  vices  of  civil  life  only  flourish  together. 
We  talk  of  peace  and  learning,  and  of  peace  and  plenty,  and  of  peace 
and  civilization;  but  I  found  that  those  were  not  the  words  which 
the  Muse  of  History  coupled  together:  that  on  her  lips,  the  words 
were — peace  and  sensuality,  peace  and  selfishness,  peace  and  cor- 
ruption, peace  and  death. 

"Yet  now  note  carefully,  in  the  second  place,  it  is  not  all  war  of 
which  this  can  be  said — nor  all  dragons'  teeth,  which,  sown,  will  start 
up  in  men.  It  is  not  the  ravage  of  a  barbarian  wolf-flock,  as  under 
Genseric  or  Suwarrow;  nor  the  habitual  restlessness  and  rapine  of 
mountaineers,  as  on  the  old  borders  of  Scotland;  nor  the  occasional 
struggle  of  a  strong  peaceful  nation  for  its  life,  as  in  the  wars  of  the 
Swiss  with  Austria;  nor  the  contest  of  merely  ambitious  nations  for 
extent  of  power,  as  in  the  wars  of  France  under  Napoleon. 
None  of  these  forms  of  war  build  anything  but  tombs.  But  the  creative 
or  foundational  war  is  that  in  which  the  natural  restlessness  and  love 
of  contest  among  men  are  disciplined,  by  consent,  into  modes  of 
beautiful — though  it  may  be  fatal — play:  in  which  the  natural  am- 
bition and  love  of  power  of  men  are  disciplined  into  aggressive  con- 
quest of  surrounding  evil:  and  in  which  the  natural  instincts  of  self- 
defense  are  sanctified  by  the  nobleness  of  the  institutions,  and  purity 
of  the  households,  which  they  are  appointed  to  defend.  .  .  .  No 
king  whose  mind  was  fully  occupied  with  the  development  of  the 
inner  resources  of  his  kingdom  .  .  .  ever  entered  into  war  but 
on  compulsion.  No  youth  who  was  earnestly  busy  with  any  peace- 
ful subject  of  study,  or  set  on  any  serviceable  course  of  action,  ever 
voluntarily  became  a  soldier.  Occupy  him  early,  and  wisely,  in  agri- 
culture or  business,  in  science  or  in  literature,  and  he  will  never 
think  of  war  otherwise  than  as  a  calamity.  .  .  .  Now,  remember, 
whatever  virtue  or  goodliness  there  may  be  in  this  game  of  war, 
rightly  played,  there  is  none  when  you  thus  play  it  with  a  multitude 
of  small  human  pawns.  If  you,  the  gentlemen  of  this  or  any  other 
kingdom,  choose  to  make  your  pastime  of  contest,  do  so,  and  wel- 
come; but  set  not  up  these  unhappy  peasant -pieces  upon  the  green 
fielded  board.  If  the  wager  is  to  be  of  death,  lay  it  on  your  own 
heads,  not  theirs." — From  "The  Crown  of  Wild  Olives." 

294 


^—r^y^^-  ■-  N 


THE  POTTERS  OF  AMER- 
ICA: EXAMPLES  OF  THE 
BEST  CRAFTSMEN'S  WORK 
FOR  INTERIOR  DECORA- 
TIONS:   NUMBER  ONE 


N  the  beginning,"  said  WTiistler  in  his  famous  "Ten 
o'clock"  lecture,  "man  went  forth  each  day — some  to 
do  battle,  some  to  the  chase;  others,  again,  to  dig  and 
delve  in  the  field — all  that  they  might  gain  and  live, 
or  lose  and  die.  Until  there  was  found  among  them 
one,  differing  from  the  rest,  who  stayed  by  the  tents 
with  the  women,  and  traced  strange  devices  with  a 
burnt  stick  over  a  gourd. 

"This  man,  who  took  no  joy  in  the  ways  of  his  brothers — who 
cared  not  for  the  conquest,  and  fretted  in  the  field — this  designer  of 
quaint  patterns — this  deviser  of  the  beautiful — who  perceived  in 
Nature  about  him  curious  curvings,  as  faces  are  seen  in  the  fire — 
this  dreamer  apart,  was  the  first  artist. 

"And  when,  from  the  field  and  from  afar,  there  came  back  the 
people,  they  took  the  gourd — and  drank  from  out  of  it. 

"And  presently  there  came  to  this  man  another — and,  in  time, 
others — of  like  nature,  chosen  by  the  gods — and  so  they  worked 
together;  and  soon  they  fashioned  from  the  moistened  earth,  forms 
resembling  the  gourd.     And  with  the  power  of  creation,  the  heirloom 


295 


THE   POTTERS   OF  AMERICA 

of  the  artist,  presently  they  went  beyond  the  slovenly  suggestion  of 
Nature,  and  the  first  vase  was  born,  in  beautiful  proportion. 

"And  the  toilers  toiled,  and  were  athirst,  and  the  heroes  returned 
from  fresh  victories,  to  rejoice  and  feast;  and  all  drank  alike  from  the 
artist's  goblets,  fashioned  cunningly,  taking  no  note  the  while  of  the 
craftsman's  pride,  and  understanding  not  his  glory  in  his  work; 
drinking  at  the  cup,  not  from  choice,  not  from  a  consciousness  that 
it  was  beautiful,  but  because,  forsooth,  there  was  none  other.     .     .     . 

"And  history  wrote  on,  and  conquest  accompanied  civilization, 
and  Art  spread,  or  rather  its  products  were  carried  by  the  victors 
from  one  country  to  another.  And  the  customs  of  culture  covered 
the  face  of  the  earth,  so  that  all  peoples  continued  to  use  what  the 
artist  alone  produced. 

"And  centuries  passed  in  this  using,  and  the  world  saw  arise  a  new 
class,  who  discovered  the  cheap  and  foresaw  a  fortune  in  the  facture 
of  the  sham. 

"Then  sprang  into  existence  the  tawdry,  the  common,  the  gew- 
gaw. .  .  .  And  what  was  born  of  the  million  went  back  to  them, 
and  charmed  them,  for  it  was  after  their  own  heart;  and  the  great 
and  the  small,  the  statesman  and  the  slave,  took  to  themselves  the 
abomination  that  was  tendered  and  preferred  it — and  have  lived 
with  it  ever  since." 

Thus,  according  to  the  master-painter,  rose,  flourished  and  fell 
the  craftsman's  art.  And  at  the  time  the  words  were  spoken,  there 
seemed  little  hope  of  its  permanent  resurrection,  either  in  England  or 
America.  Here  and  there  efforts  were  being  made  to  revive  the 
methods  and  quality  of  workmanship  that  characterized  the  old- 
time  products,  to  awaken  public  interest,  and  "educate"  people  to 
an  appreciation  of  beautiful  things.  But  as  a  rule  such  attempts 
were  of  a  dilettante  nature,  a  mere  fad  among  the  would-be  cultured 
and  the  so-called  artistic,  with  no  real  root  in  inborn  taste  and  daily 
needs.  Moreover,  the  craft  work  produced  by  those  who  tried  to 
spread  the  movement  was  generally  priced  at  so  high  a  figure  that  it 
could  be  purchased  only  by  people  of  ample  means.  And  so  long  as  a 
movement  depends  upon  such  limited  patronage,  it  can  never  make 
a  wide  appeal  or  real  progress. 

In  the  past  the  artist  and  the  craftsman  worked,  not  for  profit, 
but  for  the  joy  of  expression,  the  love  of  fashioning  a  beautiful  thing. 
A  Chinese  potter  of  the  sixteenth  century,  for  instance,  wanted  to 
make  an  exquisitely  shaped  and  colored  vase  as  a  gift  for  a  friend. 
He  made  first  one  vase,  then  another,  and  still  another,  each  a  little 
closer  to  his  ideal.  At  last,  after  a  dozen  or  more  attempts,  he 
achieved  the  perfect  vase  he  had  imagined,  and  throwing  all  the  rest 

296 


the  interesting  tile  design  at 
the  right  is  from  the  grueby 
faience  and  tile  company  and 
is  a  panel  in  the  bathroom  of 
mrs.  searls  in  san  francisco  : 
in  color,  arrangement  and 
decoration  this  is  probably  the 
most  elaborate  and  beautiful 
bathroom  in  america  ;  it  is  en- 
tirely fitted  up  with  grueby 
tiles:  the  floor  is  in  dull  green 
tile  with  a  border  in  a  pond 
lily  decoration  :  the  design 
about  the  walls  is  of  grovvinli 
fleurs-de-lis  in  rich  natural 
colors:  the  background  of  this 
varied  and  beautiful  decora- 
tion is  in  harmonious  soft 
tones  :  so  well  is  this  fleur-de- 
lis  pattern  designed  that  the 
very  sense  of  the  plant  crowing 
up  from  pools  of  water  is  mani- 
fest :  a  moke  appropriate  design 
for  an  elaborate  bathroom 
could  hardly  be  imagined  and 
if  extravagance  is  to  be  shown 
in  house  fittings  what  more 
deughtful  than  to  bathe  in  a 
room  surrounded  by  rich-hued 
flowers  in  the  midst  of  verdure. 


THIS  CONSERVATORY  WAS  PLANNED  BY  THE  GRUEBY  FAIENCE  AND  TILE  COMPANY  FOR  AN  INTER- 
ESTING HOME  IN  MONTREAL:  THE  FLOORS  ARE  COVERED  IN  SMALL  RICH  GREEN  TILES,  THE  BODY 
OF  THE  FOUNTAIN  IS  IN  DULL  GREEN  AND  BLUE,  AND  EVEN  THE  HEATING  PIPES  ARE  COVERED  WITH 
GREEN   tile:   A  RARELY   FINE  BACKGROUND  FOR  GROWING  PLANTS   AND  BRILLIANT  FLOWERS. 


^J 


THIS   GROUP  OF   FLOWER 
HOLDERS   FROM    THE 
LENOX    POTTERY   IS   OF 
EXCEPTIONAL  GRACE 

AND  originality: 

THEY  ARE  IN   RICH 
SHADES    OF   BLUE, 
ORANGE   AND  GREEN 
AND  IN  THE   MORE 
DELICATE   BLUES   AND 
PINKS  :   IN  THEIR 
MANIFOLD  OUTLINE 
AND  COLOR  THEY 
MAKE   AN   INTEREST- 
ING COLLECTION  FOR 
HOTHOUSE  FLOWERS 
THROUGHOUT    THE 
HOME. 


^ 


A  THIRD  COLLEC- 
TION OF  LENOX   IN 
RICH    DARK   TONES, 
KQUALLY    INTER- 
ESTING  FOR 
FLOWER    HOLDERS 
OR  AS  A  BASIS 
FOR  LAMP  CON- 
STRUCTION. 


rXInUK  COLLECTION  OF 
\I  W  liliSIGNS  IN  LENOX 
I'llTTKRY    IN    WHICH 
THE  VIENNESE  INSPIRA- 
TION IS  FELT  IN  THE  USE 
OF    BLACK    AND    WHITE: 
SINCE  THE  DAYS  OF  THE 
OLD  GREEK  POTTERY  THIS 
COMBINATION  OF  BLACK 
AND   WHITE   HAS   NOT 
BEEN   IN  VOGUE  :   IN  THIS 
INSTANCE  THE  DESIGNS 
SEEM  ESPECIALLY  SUITED 
TO   THE   OUTLINE   OF 
THE    POTTKRY. 


THE  COLLECTION   OF  FULPER 
POTTERY  SHOWN  BELOW  IS 
QUITE   REPRESENTATIVE   OF   THE 
VARIETY   AND   RICH    INTERESTS 
OF  THIS   ware:   THE  CUCUMBER- 
GREEN  JARDINIERE  AT  THE  LEFT 
IS  LINED  WITH  YELLOW  AND  IS 
A    SINGULARLY    INTERESTING 
BACKGROUND  FOR  WILD  FLOWERS  : 
THE  TALL  FLOWER  HOLDER  IN 
DULL  GREEN   IS    SUITED  TO   ANY 
LONG   STEMMED   VARIETY   OF 
TABLE  DECORATION  AND  THE 
TURTLE  FLOWER   HOLDER  IN  THE 
FOREGROUND   IS    USEFUL   EITHER 
IN  THE  GREEN  JARDINIERE  OR  IN 
ANY  LOW  OPEN   VASE  FOR  A  CEN 
TERPIECE   IN    THE   DINING   ROOM. 


I   .vs 


p, 


K. 


THIS   COLLECTION 
OF  POTTERY  SHOWS. 
TO  THE   MOST  DE- 
LIGHTFUL  DEGREE, 
THE    MAT   FINISH 
FOR    WHICH    THE 
FULPER  PEOPLE  ARE 
FAMOUS  :  THIS  RICH 
SOFT   FINISH   IS 
SHOWN    HERE  IN 
BROWN,   GREEN   AND 
YELLOW,  ALL  THE 
PIECES  BEING  APPRO- 
PRIATELY AND   HAR- 
MONIOUSLY   LINED. 


\ 


THK  Till-  OK  A  FIRFPLACK  DESIGNED  HY  THE  ROOKWUOD  POTTERY  COMPANY  WITH  SEA  MOTIVES  IN 
BOTH  PANELS-  THK  UPPER  DESIGN  IS  RATHER  A  REMARKABLE  KEAT  KOR  A  POTTER  TO  ACCOMPLISH, 
FOR   WE   SEE  A   WONDERFUL  DESIGN   OF   WATER    BABIES    PLAYING    GAILY    THROUGH    CIRCLING^^WAVES 

ONE   CAN    IMAGINE    WHAT   THE   BEAUTY    OF    THIS    MUST  BE  IN   RICH   COLOR 

SEA-WKKD,    SWIMMING    FISHES    AND   TINY    FLOWERS    MAKE    A    LOVKLY 


IN   THE   LOWER   PANEL 
rOMPLIMKNTARY    DESIGN. 


THESE  TWO  ROOKWOOD  JARS  ARE  REPRESENTATIVE  OE  THIS  ARTISTIC  MAKE  OF  POTTERY:  THE  COLORS 
ARE  IN  THE  RICH  DARK  TONES  FOR  WHICH  THE  RdOKWOOD  WARE  IS  FAMOUS:  THEY  ARE  INTER- 
ESTING   AS   ORNAMENTS    AND    PRACTICALLY    BEAUTIFUL   AS   FLOWER    HOLDERS   OR   LAMP  JARS. 


THE  POTTERS  OF  AMERICA 

away,  gave  the  final,  finished  piece  of  workmanship  to  his  friend. 
Today,  that  vase  is  valued  at  seven  hundred  dollars — and  yet,  when 
it  was  made,  there  was  no  thought  of  its  commercial  worth. 

Such  cases,  however,  are  exceptions.  Objects  of  art  are  becoming 
largely  a  thing  of  the  past.  Fictitious  values  and  arbitrary  prices 
are  inconsistent  with  our  practical  commercial  age.  But  that  does 
not  mean  that  we  can  no  longer  have  the  beautiful.  Beauty  is  not 
necessarily  expensive.  It  needs  no  more  clay,  no  more  color,  no  more 
time  or  energy  to  make  an  attractive  vase  than  an  ugly  one.  It  is 
simply  a  question  of  using  the  materials  in  the  right  or  the  wrong  way. 
When  once  our  potters  cultivate  their  sense  of  proportion,  when  they 
understand  the  requisites  of  good  design,  and  the  laws  of  harmonious 
coloring,  it  will  be  just  as  easy  for  them  to  produce  pleasing  shapes 
and  colors  as  it  was  for  them  to  produce  mediocre  ones.  And  when 
our  home-makers  awaken  to  a  clearer  and  more  sympathetic  under- 
standing of  the  principles  that  underlie  good  workmanship  and 
harmonious  design,  they  will  refuse  to  accept  anything  that  falls 
short  of  their  ideals  of  utility  and  beauty. 

That  both  of  these  improvements  are  taking  place  in  America 
today  is  convincingly  shown  by  the  examples  of  workmanship 
illustrated  here,  and  by  the  fact  that  these  new  developments  in 
pottery  are  being  widely  welcomed  and  appreciated  throughout  the 
homes  and  gardens  of  our  land. 

It  is  significant,  too,  that  in  these  tall,  slim  flower-holders  and  low- 
spreading  bowls,  these  gracefully  turned  vases  and  sturdily  made 
jars,  the  dominant  note  is  always  simplicity.  There  is  no  attempt 
at  ornamentation.  The  texture  of  the  clay  or  cement,  the  contour 
of  the  object,  the  smoothness  or  irregularity  of  its  finish,  or  the  mellow 
richness  of  its  coloring — these  are  the  elements  out  of  which  its 
decorative  worth  is  born.  One  feels  in  each  piece  that  quiet  charm, 
that  curiously  appealing  frankness,  that  invariably  seems  to  grow 
from  an  unaffected  use  of  the  materials.  Each  object  conjures  up 
a  picture  of  the  potter's  wheel,  and  the  rough  lump  of  clay.  One 
can  almost  watch  it  taking  form  under  the  hand  and  tool,  and  evolving 
from  the  raw  material  into  the  finished  bowl  or  vase.  And  it  is  this 
very  closeness  to  its  origin,  this  freedom  from  all  that  is  pretentious 
or  ornate,  which  gives  it  such  genuine  interest. 

At  the  same  time  there  is  a  certain  air  of  dignity  in  the  rounded 
surfaces  and  flowing  lines,  that  gives  them  distinction  in  almost  any 
environment.  They  would  be  as  appropriate,  one  feels,  in  the  richly 
upholstered  interior  as  in  one  of  simple  furnishings.  At  the  same 
time,  one  realizes  that  the  simpler  the  background,  the  more  at  home 
this  pottery  will  appear.  An  orange  bowl,  for  instance,  placed  on  shelf 

301 


THE  POTTERS   OF  AMERICA 

or  bookcase  against  a  wall  of  deep,  restful  blue,  would  lend  a  note  of 
warm,  vivid  color  contrast  to  one's  living  room.  A  tall  vase  of  soft 
green  or  brown,  holding  a  spray  of  rich  crimson  berries,  would  grace 
the  plainest  desk  or  mantel  with  a  touch  of  autumn  loveliness  that 
would  be  a  continual  pleasure  during  months  of  snow,  and  richly 
colored  tiles  inlaid  in  the  stucco  walls  of  the  exterior,  set  in  panel 
form  above  the  chimneypiece,  or  used  in  the  hearth,  would  give  one's 
home  a  touch  of  picturesqueness  that  would  be  a  source  of  lasting  joy. 

It  is  interesting  to  note  the  development  of  American  potteries. 
Among  the  earliest  were  the  Fulper  kilns,  at  Flemington,  New  Jersey, 
founded  in  eighteen  hundred  and  five.  Beauty  and  simplicity  of 
design,  combined  with  mellow  finish  and  coloring,  give  their  products 
a  distinction  and  individual  charm  that  have  contributed  much  to 
the  growth  of  the  craft  in  this  country. 

The  name  of  Rookwood  has  also  become  widely  known  within  the 
last  few  decades.  This  pottery  was  founded  in  eighteen  hundred 
and  eighty  by  Mrs.  Maria  Longworth  Storer,  a  Cincinnati  woman, 
who  called  it  by  the  name  of  her  father's  place.  Her  idea  was  to 
produce  with  native  clay  an  original  type  of  pottery  in  which  the 
color  decoration  was  applied  in  the  material  itself  before  firing.  The 
product  was  then  enriched  with  appropriate  glazes.  The  enterprise 
was  of  a  distinctly  pioneer  nature;  new  processes  and  styles  were 
worked  out,  and  instead  of  importing  foreign  decorators  with  fixed 
methods,  a  staff  of  American  artists  were  brought  together  to  solve 
the  various  problems  of  technique  and  design.  Indeed,  the  beginning 
of  Rookwood  pottery  may  be  considered  as  marking  a  new  era  for 
the  craft  in  America. 

Another  important  development  in  this  field  began  in  eighteen 
hundred  and  ninety-eight,  when  William  H.  Grueby  discovered  the 
glaze  which  bears  his  name  and  which  has  made  the  work  of  his  kilns 
justly  famous.  As  Mary  WTiite  says  in  her  interesting  book,  "How 
to  Make  Pottery,"  "Although  for  many  years,  dull-finished  pottery 
has  been  produced  by  sand-blasting  ware  with  a  glossy  finish,  or  by  tak- 
ing a  piece  of  glazed  pottery  and  treating  it  with  acid  to  make  it  dull, 
the  Grueby  potteries  were  the  first  in  the  history  of  ceramics  to  make 
a  dull-finish  pottery  in  their  kilns.  The  surface  thus  obtained  has  a 
deep,  velvety  look,  unlike  any  other  finish  made — such  as  that  which 
was  possessed  by  old  Corean  pottery.  The  ware  was  first  exhibited 
in  Paris,  in  nineteen  hundred,  where  it  made  quite  a  sensation,  and 
the  French  Government  awarded  the  Grueby  Potteries  a  gold  medal 
for  enamels  and  glazes,  as  well  as  a  silver  medal  for  design,  and  gave 
Mr.  Grueby  personally  a  gold  medal  for  the  work  he  had  accomplished 
in  dull-finished  enamels." 

302 


THE   POTTERS  OF  AMERICA 

To  the  Lenox  potteries,  at  Trenton,  must  also  be  given  credit 
for  beautiful  and  interesting  work,  as  the  examples  reproduced  in  this 
article  show.  The  Paul  Revere  products,  of  Boston,  with  their 
sturdy  shapes  and  mellow  finishes,  their  rich  colorings  and  quaintly 
humorous  animal  and  bird  designs,  appeal  especially  to  the  little 
folk.  The  Glen  Tor  Studio,  at  Grand  View-on-Hudson,  Nyack, 
New  York,  is  another  pottery  that  has  produced  exceptionally 
beautiful  designs — decorative  tiles  for  walls  and  fireplaces,  lamps, 
flower-pots  and  other  ceramic  fittings.  The  Gates  potteries,  near 
Chicago,  the  home  of  the  well-known  Teco  ware;  two  New  England 
kilns ,  the  Dedham,  where  such  artistic  tableware  is  made,  and  the 
Merrimac,  in  Newburyport,  noted  for  the  charming  fonn  and  color 
of  its  products,  most  of  which  are  thrown  on  the  potter's  wheel;  the 
Volkmar  kilns,  in  Metuchen,  New  Jersey,  where  gracefully  designed, 
richly  colored,  mat-glazed  potterj^  is  produced;  Newcomb  College, 
New  Orleans,  where  artistic  pottery  is  made  by  the  students — these 
are  some  of  the  most  important  of  our  American  industries  in  this 
branch  of  craft  work. 

For  pottery  of  this  simple,  decorative  character,  there  is  in  our 
countrj^  today  an  almost  unlimited  field.  And  with  the  growing 
interest  in  well-made,  beautiful  and  serviceable  home  fittings,  there 
is  every'  reason  to  believe  that  the  time  will  eventually  come  when 
"the  tawdry,  the  common  and  the  gew-gaw"  will  be  a  thing  of  the 
past,  and  the  pottery  that  graces  our  homes  will  be  as  beautiful, 
in  its  way,  as  the  handiwork  of  those  early  Old  World  craftsmen  whose 
art  has  long  survived  them. 


303 


!i-Ttiiill::''t:'~u'iMm,Jli'Tfj 


WORKING      FOR      PLAY:      THE     COUNTRY 

SCHOOL      DEVELOPED      INTO      A      SOCIAL 

CENTER:   BY  WALTER  A.  DYER 

|ANNAH  BELDEN  is  an  ardent  church-goer.  The 
little  white  meeting-house  on  the  hill  is  seldom  opened 
to  a  gathering  of  any  sort  that  does  not  include 
Hannah.  She  contributes  her  cake  or  chicken,  her 
pan  of  scalloped  oysters  or  baked  beans  to  every 
church  supper,  and  is  invariably  on  hand  to  help  eat 
them.  The  church  furnishes  Hannah  with  all  the 
social  life  she  gets  outside  of  the  half  dozen  houses  along  our  valley 

But  church  socials  have  lost  their  charm  for  Hannah's  children. 
They  are  mostly  "young  folks"  now,  and  they  have  their  own  parties 
and  other  affairs.  As  for  Caleb  Belden,  he  drives  Hannah  up  to 
church,  ties  Fanny  in  the  shed,  and  drops  around  for  a  game  of  whist 
(and  maybe  a  glass  of  something)  with  Joe  Barker  and  Sam  Ward. 
Music  and  intellectual  entertainment  is  conspicuous  for  its  absence 
in  the  social  life  of  all  the  Beldens.  ,        ,.  i. 

The  same  lack  of  common  interest  that  more  or  less  disrupts  the 
family  life  of  the  Beldens  is  at  the 
bottom  of  our  whole  town's  disin- 
tegration. We  really  aren't  a  town ; 
we're  a  group  of  hamlets  and  school 
districts,  and  the  old  deserted  town 
hall  on  the  hill  stands  as  a  monu- 
ment to  a  once  vigorous  but  now 
departed  community  spirit. 

Ours  is  not  the  only  disorganized 
rural  community  in  the  United 
States.  In  fact,  our  condition  is 
typical.  And  something  has  got  to 
be  done  about  it  if  America  is  to 
breed  a  race  of  stalwart  yeomen  and 
keep  ahve  the  fires  of  democracy. 

The  difficulty  is  fundamental  m 
our  rural  American  life.  Most  of 
the  forces  of  progress  have  tended 
toward  the  disintegration  of  the 
country  community  as  a  social  and 
political  entity,  and  this  has  seri- 
ously reacted  on  the  character  of: 
the  members  of  those  communities. 
Isolation  has   stunted  them;   they 

304 


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Do»MITCTtY 

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SOCUkl.    COIftl  PV-AN   I>Y    iMl  AufMOl 


WORKING    FOR   I'LAY 

have  not  kept  abreast  of  the  times.  Our  rural  districts  are  '  'back- 
ward." Our  rural  citizens  have  gotten  out  of  touch  with  the  world 
and  with  each  other;  and  as  John  Stuart  Mill  has  said,  "A  neighbor 
not  being  an  ally  or  an  associate,  since  he  is  never  engaged  in  any 
common  undertaking  for  joint  benefit,  is  therefore  only  a  rival." 
Hence  the  disorganization  of  rural  society. 

City  life  is  by  nature  organized;  country  life,  under  the  conditions 
of  modern  civilization,  is  not.  The  city's  natural  force  is  centripetal; 
that  of  the  country,  centrifugal.  The  rural  community's  first  need, 
therefore,  is  organization  and  centralization  of  interests. 

INEVITABLY  one  must  recognize  the  need  in  our  rural  districts 
of  some  sort  of  center  for  cooperative  community  life — a  definite 

place  where  that  life  may  find  and  express  itself.  Professor 
George  H.  Betts,  of  Cornell  College,  Iowa,  says,  "One  of  the  most 
pressing  needs  of  country^  districts  is  a  common  neighborhood  center 
for  both  young  and  old,  which  shall  stand  as  an  organizing,  welding, 
vitalizing  force,  uniting  the  community  on  a  basis  of  common  interests 
and  activities."  Four  things,  he  says,  are  essential  in  the  upbuilding 
of  the  rural  community:  ''First,  educational  facilities  must  be  im- 
proved for  rural  children,  and  their  education  be  better  adapted  to 
farm  life;  second,  greater  opportunities  must  be  provided  for  recrea- 
tion and  social  intercourse  for  both  young  and  old;  third,  the  program 
of  farm  work  must  be  rearranged  to  allow  reasonable  time  for  rest 
and  recreation;  fourth,  books,  pictures,  lectures,  concerts,  and  enter- 
tainments must  be  as  accessible  to  the  farm  as  to  the  town."  These 
things  constitute  a  fundamental  demand  of  human  nature.  The 
town  is  already  organized  to  provide  them;  our  national  task  is  to 
organize  the  country  to  provide  them.  The  need  is  for  a  community- 
supported  institution  to  focus  the  life  of  the  community  and  break 
up  the  isolation  and  provincialism  of  farm  life. 

The  effort  to  supply  this  need  has  already  become  a  nation-wide 
movement,  vigorous  today  in  such  widely  separated  States  as  Cali- 
fornia, Texas,  Wisconsin,  Tennessee,  and  New  York.  It  was  started 
in  Rochester,  New  York,  as  a  city  movement  in  nineteen  hundred 
and  seven,  its  promoter  being  Mr.  Edward  J.  Ward,  now  adviser  in 
civic  and  social  center  development  to  the  extension  department  of 
the  University  of  Wisconsin.  Since  then  civic  and  social  center  work 
has  been  undertaken  in  two  hundred  and  seven  American  cities,  of 
which  forty  employ  paid  workers. 

The  rural  aspects  of  the  problem  soon  claimed  attention,  and 
were  discussed  at  the  first  social  center  conference,  held  at  Dallas, 
Texas,  in  February,  nineteen  hundred  and  eleven.     Texas  at  once 

305 


WORKING  FOR   PLAY 

became  active  in  the  movement.  Dallas  started  a  Playground  and 
Social  Center  Association.  San  Antonio  and  Fort  Worth  soon  fol- 
lowed, and  Houston  in  that  year  spent  half  a  million  dollars  socializing 
her  schools. 

The  following  October,  the  first  national  social  and  civic  center 
conference  was  held  at  Madison,  Wisconsin.  Delegates  were  present 
from  all  parts  of  the  United  States,  and  the  Social  Center  Association 
of  America  was  organized  "to  promote  the  development  of  intelligent 
public  spirit  through  community  use  of  the  common  schoolhouse  for 
free  discussion  of  public  cjuestions  and  all  wholesome  civic,  educa- 
tional, and  recreational  activities."  In  this  association,  Miss  Mar- 
garet Woodrow  Wilson  is  an  active  leader,  and  a  magazine,  "The 
Social  Center,"  is  published  at  Madison,  with  Mr.  Ward  as  editor. 

The  Playground  and  Recreation  Association  of  America  and  the 
Russell  Sage  Foundation  enlisted  in  the  movement,  the  Roosevelt 
Country  Life  Commission  and  the  National  Education  Association 
endorsed  it,  and  other  organizations  have  taken  part  in  it,  as  well 
as  National  and  State  agricultural  and  educational  departments. 

ATTEMPTS  to  make  the  country  church  a  genuine  social  center 
have  not  been  widely  successful.  The  church  api)ears  to  have 
lost  something  of  its  hold  on  the  life  of  the  people  through 
sectarian  narrowness,  and  the  rural  church  seldom  has  a  constructive 
social  program,  though  there  are  notable  exceptions,  such  as  at  Plain- 
field,  DuPage  County,  Illinois,  and  at  Proctor,  Vermont.  The  county 
work  divisions  of  the  Y.  M.  C.  A.  and  Y.  W.  C.  A.  have  solved  the 
problem  in  some  localities,  and  the  grange  and  other  societies  else- 
where. But  these  are  isolated  instances,  and  the  social  center  workers 
have  come  to  accept  the  country  school  as  the  logical  nucleus  of  the 
movement. 

The  school  is  purely  a  public  institution.  It  has  no  hint  of  charity, 
paternalism,  or  sectarianism.  The  proudest  and  most  independent 
citizen  can  accept  with  a  clear  conscience  whatever  the  school  may 
have  to  offer.  More  than  that,  he  has  a  right  to  demand  service  from 
this  institution — greater  service  than  it  now  offers.  The  present  con- 
duct of  the  country  school  is  an  offense  against  the  laws  of  economics. 
Here  is  the  one  genuinely  free,  public  institution,  owned  by  the  whole 
people,  but  seldom  operated  to  the  advantage  of  the  people.  Have 
we  become  careless  of  our  democracy.'' 

"Why,"  asks  Professor  Betts,  "should  not  the  public  school  build- 
ing, now  in  use  but  six  hours  a  day  for  little  more  than  half  the  year, 
be  open  at  all  times  when  it  can  be  helpful  to  any  portion  of  the 
community?" 

306 


WORKING  FOR  PLAY 

Two  generations  ago  the  district  school  building  was  often  used 
for  spelling  bees,  singing  school,  farmers'  meetings,  socials,  and  meet- 
ings of  the  lyceum,  literary  or  debating  society.  But  with  the 
development  of  American  civilization,  the  organization  of  the  cities, 
the  changes  in  agriculture  and  in  politics,  there  came  a  shifting  of 
the  centers  of  rural  life  and  a  breaking  up  of  its  social  organization. 

With  this  loss  of  comnumity  consciousness  and  the  spirit  of  demo- 
cratic participation,  the  schoolhouse  has  become  merely  the  half -used 
education  place  of  the  children.  To  restore  its  function  as  a  civic 
and  social  center  will  be  a  work  of  patriotic  service. 

AT  the  Madison  conference,  in  October,  nineteen  hundred  and 
eleven,  Woodrow  Wilson,  then  governor  of  New  Jersey,  threw 
much  light  upon  '"The  Social  Center,  a  Means  of  Common 
Understanding."  It  fits  in  admirably  with  the  Wilson  theory  of 
democracy:  "The  study  of  the  civic  center,"  he  said,  "is  the  study  of 
the  spontaneous  life  of  communities.  .  .  .  There  can  be  no  life  in 
a  community  so  long  as  its  parts  are  segregated  and  separated.  .  .  . 
That  is  the  problem  of  modern  life  which  is  so  specialized  that  it  is 
almost  devitalized,  so  disconnected  that  the  tides  of  life  will  not  flow. 
My  interest  in  this  movement  has  been  touched  with  enthusiasm 
because  I  see  in  it  a  channel  for  the  restoration  of  the  unity  of  com- 
munities. 

"^Miat  I  see  in  this  movement  is  a  recoveiy  of  the  constructive 
and  creative  genius  of  the  American  people.  .  .  .  And  it  seems  to 
me  that  the  schoolhouses  dotted  here,  there,  and  everywhere,  over 
the  great  expanse  of  this  Nation,  will  some  day  prove  to  be  the  roots 
of  that  great  tree  of  liberty  which  shall  spread  for  the  sustenance 
and  protection  of  all  mankind." 

All  eyes  are  looking  to  the  countiy  school  to  rise  to  the  occasion 
and  meet  the  national  need.  Already  the  consolidated  schools  have 
been  upsetting  rural  equilibrium  and  breaking  up  rural  isolation. 
Two  courses  are  open:  to  equip  the  schoolliouse  as  a  more  or  less  com- 
plete social  center,  or  to  develop  it  as  the  nucleus  of  a  community 
center  group. 

Most  country  schoolhouses  are  quite  inadequate  to  serve  as  social 
centers,  though  the  movement  may  well  have  its  beginnings  there. 
Sooner  or  later,  if  the  movement  makes  anything  like  healthy  prog- 
ress, a  new  plant  will  be  required,  more  or  less  elaborate  according  to 
the  needs  and  means  of  the  connnimity. 

In  no  case  should  the  school  itself  be  slighted  in  this  development; 
rather  it  should  gain  materially  and  spiritually  by  the  drawing  toward 
it  of  all  the  conmiunity  interests.    Having  fulfilled  this  prime  duty, 

307 


WORKING  FOR  PLAY 

attention  may  be  paid  to  the  demands  of  the  intellectual,  political, 
and  social  life  of  the  community.  On  the  recreational  side  there  should 
be  well  equipped  playgrounds  and,  if  possible,  gymnasium,  baths,  and 
provision  for  games.  "When  every  schoolhouse,"  says  Mr.  Ward, 
"is  equipped  with  gymnasium  and  baths,  with  bowling  alley  and 
games,  with  music  and  other  forms  of  entertainment  for  the  evening, 
the  property  of  the  neighboring  dissipation  places  will  be  'for  sale 
cheap.'  " 

The  Farragut  School,  at  Concord,  Tennessee,  is  a  good  example 
of  this  sort  of  school  center.  Situated  in  a  farming  community,  it 
provides  the  best  place  available  for  lectures  and  entertainments. 
For  five  years,  monthly  meetings,  called  "Moonlight  Socials,"  have 
been  held  at  the  schoolhouse,  at  which  music,  discussions,  addresses 
and  social  gatherings  are  enjoyed.  Refreshments  are  prepared  in  the 
domestic  science  kitchen.  An  auditorium,  piano  and  stage  furnish 
facilities  for  concerts  and  theatricals,  and  there  is  a  school  library 
and  periodical  table.  Farmers'  institutes  are  held  at  the  school,  and 
the  annual  commencement  is  made  the  occasion  for  a  big  community 
outing  and  field  day.  During  the  vacations,  the  school  playgrounds, 
tennis  and  basket  ball  courts,  and  baseball  field  are  freely  used  by 
the  people  of  the  community,  and  the  shower  baths  are  open  to  the 
public  two  days  a  week  during  the  summer. 

In  Wisconsin,  the  school  boards  are  required  by  law  to  open  the 
schoolhouses  to  community  uses,  and  Wisconsin,  consequently,  has 
many  effective  social  center  schools.  One  of  the  best  of  these  is  the 
village  high  school  at  Sauk  City,  where  a  hundred  dollar  playground, 
a  cooking  school,  and  lecture  course  are  open  to  all  the  people,  and 
where  society  meetings,  etc.,  are  held.  A  community  institute  is 
held  for  four  days  each  year,  to  discuss  such  problems  as  public 
health,  recreation  and  farm  homes. 

Another  good  civic  center  school  is  at  Lexington,  Kentucky,  where 
a  model  building  has  been  erected,  equipped  with  auditorium,  class 
rooms,  library  and  reading  room,  gymnasium,  kitchen,  laundry,  car- 
penter shop,  swimming  pool  and  showers,  all  used  by  the  pubhc. 

The  requirements  of  the  country  school  as  a  social  center  have 
been  briefly  summarized  by  Mr.  W.  H.  Smith,  rural  school  super- 
visor, Jackson,  Mississippi.  This  excellent  outline  has  been  pub- 
lished by  the  National  Bureau  of  Education  as  "Rural  School  Letter 
Number  Six,"  and  may  be  obtained  on  request. 

It  is  verj'  easy  to  expand  the  one-building  idea.     A  good  site  of 
several  acres  is  first  suggested,  to  include  a  picnic  grove,  ornamental 
planting,  school  gardens,  playground,  athletic  field  and  agricultural 
{Continued  on  Page  316.) 

308 


"PROPERLY  APPOINTED  AND  BECOMING 
DWELLINGS:"  THE  INTRODUCTION  TO  A 
SERIES  OF  ARTICLES  ON  HOME  DECOR- 
ATION 

HAVE  always  felt  that  the  best  security  for  civilization 
is  the  dwelling,"  said  Disraeli,  "and  that  upon  properly 
appointed  and  becoming  dwellings  depends  more  than 
anything  else,  the  improvement  of  mankind."  Dis- 
raeli's use  of  the  word  dwelling  in  this  instance  is 
peculiarly  fine,  for  it  emphasizes  the  true  meaning 
of  the  word  home — a  vantage  groimd  for  security, 
a  trusted  place  where  one  rests  after  labors,  a  refuge  in  time  of  stress, 
a  rallying  point  for  depleted  spiritual,  mental  and  physical  forces, 
a  beautiful  place  where  one  abides  with  satisfaction  and  delight, 
ceasing  from  restless,  dissatisfied  wanderings.  Upon  the  security 
and  beauty  of  this  place  of  refuge  man  has  not  only  spent  the  best 
part  of  his  energies,  but  will  continue  to  do  so  until  the  end  of  time, 
for  the  home  feeling  is  the  greatest,  the  most  fundamental  force  of  life. 
The  instinct  for  a  beautiful  home  cannot  be  crushed  out  of  any 
of  us.  If  storms  cast  us  upon  a  desert  island  our  first  thought  is  to 
find  a  safe  place  to  call  a  home.  The  next  is  to  beautify  it  by  a 
border  of  shells  about  the  path  or  by  the  transplanting  of  a  vine  at 
the  entrance.  If  life  casts  us  upon  the  mercy  of  a  hotel  or  furnished 
apartment  we  cannot  endure  it  until  some  article  of  dear  association 
is  set  about  the  dreary  place  to  give  anchor  to  our  hungry  desire  for 
a  home. 

The  assurance  of  our  happiness  and  comfort,  of  a  more  far-reaching 
improvement  and  growth  for  ourself  and  children  than  we  can  pos- 
sibly foresee,  depends  as  Disraeli  says,  upon  the  proper  appointing 
of  our  dwelling  houses,  after,  with  the  help  of  architect  and  builder, 
we  have  made  them  reliably  safe.  The  uplifting  influence  of  beauty 
is  a  necessity  of  all  lives.  If  we  could  daily  see  the  sun  rise  and  set 
or  occasionally  walk  over  flower-bright  hills  or  through  quiet  groves 
we  could  perhaps  get  along  fairly  well  with  an  ugly  square  box  of  a 
house  for  an  abiding  place.  But  since  we  have  elected  to  live  shut 
away  from  these  natural  beauties,  we  are  forced  to  surround  our- 
selves with  beauty  of  our  own  making,  for  without  vision,  which 
means  without  uplifted  thought,  we  perish. 

The  Craftsman,  recognizing  that  in  ever>'one's  life  there  must  be 
some  positive  expression  of  beauty  within  continual  reach  that  the 
best  development  of  the  race  may  be  assured,  has  always  sought 
to  direct  efforts  to  secure  it  along  the  surest  path,  that  of  simplicity. 
The  experience  of  years  in  designing,  building,  furniture  making, 

309 


"PROPERLY  APPOINTED   DWELLINGS" 

the  production  of  all  the  details  of  house  furnishings,  we  are  preparing 
to  put  in  detail  at  the  service  of  our  readers  in  a  series  of  articles. 
These  articles  will  consist  of  suggestions  for  tlie  finishing  of  woods, 
the  floors,  the  walls,  plumbing,  heating,  lighting  and  all  that  goes  to 
make  a  practical  and  enjoyable  home. 

THE  January  number  will  deal  with  interior  use  of  woodwork 
for  walls  and  floors.  Walls  are  not  only  a  necessary^  means 
to  secure  privacy  to  enclosed  space;  doors  are  not  only  essen- 
tial in  affording  security;  windows  to  give  light  and  air;  but  all  are 
important  notes  in  bringing  about  harmonious  beauty  in  a  home. 
This  first  article  will  deal  with  their  placing,  balance  and  proportion. 
Also  with  the  characteristics  of  different  woods,  their  appropriate 
uses  in  the  home,  their  finishings,  whether  of  stain  or  paint,  how  to 
bring  out  the  beauty  of  natural  grain  and  take  advantage  of  natural 
color.  Under  the  heading  of  floors  will  be  included  various  kinds 
of  serviceable  floorings  for  porches,  sun  rooms,  etc.,  as  well  as  of 
rooms,  such  as  tile,  brick,  cement,  wood  and  their  coverings,  rugs, 
carpets,  grass  mats,  etc.  The  keynote  of  many  modern  decorators 
is  taken  from  the  floor  coverings,  noticeably  the  rug.  From  this 
important  start  the  key  to  the  fittings  of  the  whole  room  may  develop, 
plain  tint  of  wall  chosen,  decorative  ornament  introduced  in  the 
curtains,  chair  coverings,  sofa  pillows,  etc.  This  article  will  cover 
some  of  the  important  principles  of  color  harmonies  and  importance 
of  suitable  textures. 

IN  February  we  will  take  up  the  introduction  of  suitable  furniture. 
We  will  make  clear  that  since  any  beautiful  thing  is  an  expres- 
sion of  truth,  beautiful  things  from  many  ages  can  be  gathered 
together  by  proper  selection  with  artistic  result.  Rooms  should  not 
be  historical  collections  of  period  furniture,  for  then  they  would  be 
too  formal,  too  much  like  a  show  room  instead  of  an  inviting  place 
to  live.  Neither  should  they  be  simply  flat  blue,  red,  or  yellow  rooms 
for  then  they  are  monotonous  and  lack  that  intangible  charm  known 
as  variety.  The  selection  of  furniture  for  a  home  is  of  the  utmost 
importance.  Many  things  must  be  considered ;  it  must  be  in  keeping 
with  the  house,  thoroughly  made,  of  good  design  and  finish,  furniture 
which  one  would  want  to  preserve  in  the  family  for  the  enjoyment 
and  use  of  future  generations  because  of  its  beauty  and  the  honesty 
of  its  making,  articles  that  are  of  lasting  worth,  not  those  that  are 
the  fad  of  the  hour,  and  novelties  that  have  no  permanent  value. 

The   universal  move  toward  standardizing    affects  furniture  as 
well  as  almost  anything  else  that  must  of  necessity  be  in  constant 

310 


"PROPERLY  APPOINTED   DWELLINGS" 

use.  Experience  gradually  determines  the  worth  of  sizes,  propor- 
tions and  line,  holds  on  to  what  is  good  and  discards  that  which  is 
proven  worthless  and  unfit.  Certain  chairs,  tables,  desks,  beds,  etc., 
made  at  various  periods  found  to  be  good  then  are  good  today  and 
have  never  been  improved  upon.  The  form  of  a  curved  leaf  may  have 
been  changed  perhaps,  but  the  style  of  the  article  has  become  fixed, 
standardized,  so  that  for  all  time  it  is  known  as  Jacobean,  Chippen- 
dale, Empire,  Early  English,  etc.  A  ^Yindsor  chair,  beautiful  in 
itself,  would  look  out  of  keeping  in  a  strict  period  room,  say  an  early 
French  period,  but  carefully  selected  pieces  from  many  periods  could 
be  grouped  to  advantage  in  one  room.  One  foreign  object  of  a  period 
is  out  of  place,  but  a  room  made  up  of  selected  periods  can  be  made 
unusually  harmonious. 

Why  is  it  that  an  experienced  decorator  can  go  into  a  house  that 
is  distressingly  stiff  and  unhomelike  and  by  simply  rearranging  the 
furniture,  re-grouping  corners,  transferring  articles  from  one  room  to 
another,  changing  the  position  of  potterj^  of  emphatic  notes  of  color, 
transform  it  into  a  hospitable,  informal,  homelike  place?  Why  is  it 
that  charm  radiates  from  the  decorative  work  of  some  people  and  not 
from  others.''  By  what  net  of  selection  or  rearrangement  of  objects 
is  beauty  caught  .f* 

THE  finishings  of  the  room,  the  draperies,  pillows,  pictures, 
potteries,  etc.,  will  form  the  subject  of  the  March  number- 
At  this  time  the  subject  of  lighting  will  be  elaborated  upon, — 
the  lighting  of  the  room,  that  final  touch  of  coziness  and  home- 
likeness,  will  receive  especial  attention.  The  success  or  failure  of 
any  room  depends  in  great  part  upon  the  way  the  lighting  is  handled. 
The  chandeliers,  hanging  lamps,  those  for  table  or  wall  are  questions 
of  the  utmost  importance  in  the  final  finish  of  a  room;  choice  of 
pottery  or  metal  base  must  be  considered  and  the  size  and  shape 
of  shade,  whether  it  shall  be  of  silk,  or  figured  cretonne. 

All  of  these  articles  will  be  illustrated  by  beautiful  photographs, 
photographs  so  explanatory  that  but  small  text  would  be  necessary. 
These  articles  may  perhaps  be  followed  by  others  upon  the  furnishings 
of  the  summer  homes.  These  will  depend  upon  the  interest  and 
suggestions  we  receive  after  the  publication  of  this  first  series,  for 
the  purpose  of  these  articles  is  to  further  the  home  spirit,  helping 
people  to  develop  homes  along  economical  lines  of  beauty  as  well  as 
durability.  We  hope  these  articles  may  give  rise  to  many  inquiries 
on  the  part  of  our  readers  that  will  lead  to  a  more  personal  helpfulness. 


311 


NEW  RUSTIC   CABINS 


RUSTIC  CABINS:  A  NEW 
METHOD  OF  SLAB  CONSTRUC- 
TION DESIGNED  BY  GUSTAV 
STICKLEY 

READERS  of  The  Craftsman  may 
recall  an  article  by  Julian  Bur- 
roughs which  we  published  in 
March,  1911,  and  in  which  he  de- 
scribed the  construction  of  his  rustic  bun- 
galow up  the  Hudson.  "For  the  summer 
home  in  the  woods  or  mountains,"  said  Mr. 
Burroughs,  "slabs  make  an  ideal  house 
covering,  cheap,  easily  obtained  at  any  saw- 
mill, and  harmonizing  with  both  the  sur- 
roundings and  the  purpose  of  the  building. 
.  Chestnut  makes  the  best  slabs,  oak 
and  butternut  next,  hemlock  is  excellent." 
We  have  always  shared  with  Mr.  Bur- 
roughs and  other  Nature-lovers  this  fond- 
ness for  rustic  construction,  and  our  de- 
signs for  Craftsman  houses  include  a  num- 
ber of  log  and  slab  dwellings.  The  little 
cabin  illustrated  here,  however,  is  different 


from  any  previously  designed,  and  the  con- 
struction is  so  simple  that  any  one  who  is 
used  to  handling  tools  can  put  it  up,  either 
alone  or  with  the  help  of  a  carpenter.  And 
as  it  is  so  well  built  and  so  easily  heated, 
it  can  be  used  through  every  season  of  the 
year  if  desired. 

The  cabin  is  of  course  especially  suitable 
for  summer  or  week-end  use  among  the 
woods  or  mountains,  but  it  might  also  be 
used  as  a  temporary  home  preparatory  to 
the  building  of  a  larger  house.  For  in- 
stance, if  one  had  a  half -acre  or  so  in  the 
country — where  there  were  no  building  re- 
strictions to  interfere  with  the  erection  of 
a  cabin  of  this  simple  type — one  could  put 
up  this  little  shelter  and  live  there  until  the 
time  came  to  build  the  permanent  home. 
The  laying  out  and  planting  of  the  grounds, 
the  designing  and  planning  of  the  future 
house,  could  all  be  done  at  leisure,  and  one 
would  have  a  comfortable  place  to  stay, 
right  on  the  spot,  when  the  actual  work  of 
building  began. 

Moreover,    if    the   cabin    were   built    on 


CRAFTSMAN  RUSTIC  CABIN  WITH  SLAB  WALLS  AND  SHINGLED  ROOF,  ESPECIALLY  SUITABLE  FOR  THE  WOODS  OR 
mountains:  the  construction  is  so  simple  that  THE  BUILDING  CAN  BE  PUT  UP,  ALONE  OR  WITH  THE 
HELP  OF  A  CARPENTER,  BY  ANY  ONE  WHO  IS  USED  TO  HANDLING  TOOLS. 


312 


NEW  RUSTIC  1  CABINS 


some  part  of  the  land 
where  it  would  look 
picturesque — at  the  edge 
of  the  woods  or  at  the 
far  end  of  the  garden — 
one  could  leave  it  there 
after  the  larger  house 
was  finished,  and  use  it 
as  a  sort  of  summer- 
house,  as  a  garage,  or 
as  extra  accommodation 
when  week-end  parties 
or  unexpected  guests 
made  additional  quar- 
ters desirable.  Or  if  it 
were  not  needed  for  any 
of  these  purposes,  it 
could  be  rented  as  an 
all  -  year  or  summer 
home. 

Meantime,      however, 
there      would     be     the 
pleasure  and  interest  of 
building  the  cabin,  and  a  rustic  playhouse  for  the  children:  the  slab  walls  and  roof,  the 
the  satisfaction  of  hav-  latticed  porch  and  casement  windows  make  this  little  building  very 

1         ■      .,  attractive. 

ing  a  place  in  the  coun- 
try to  which  one  could  come  for  a  few  days 


or  weeks  whenever  the  opportunity  arose. 
And   a    very    comfortable,   attractive    little 
home  it  could  be  made,  both  inside  and  out, 
with  only  a  very  modest  expenditure. 
Building  the  Rustic  Cabin 

WE  are  showing  the  rustic  cabin  built 
on  a  foundation  of  field  stone,  with 
a  chimney  of  the  same  material — 


floor  plan  of  the  rustic  cabin. 


for  this  would  be  the  most  appropriate  if 
it  were  built  where  stone  could  be  found. 
In  other  localities,  however,  brick  or  con- 
crete or  wooden  piles  might  be  used,  and 
the  cabin  could  of  course  be  set  either  on 
piers  or  on  a  continuous  foundation.  Such 
piers  should  be  about  8  feet  apart,  and  in 
any  case  an  air  space  should  be  left  under 
the  floor. 

As  the  drawings  show,  the  walls  are 
made  of  upright  slabs,  and  since  the  con- 
struction is  somewhat  unusual  it  may  be 
well  to  describe  it  in  detail. 

First  the  sill  is     ,  ,.  ._.  i 

laid  on  the  foun-  ** 
dation,  and  then 
come  the  2x6 
floor  joists,  laid 
i6  inches  apart 
on  centers,  and 
nailed  to  the  sill 
in  the  usual  man- 
ner. Over  these 
double  flooring 
should  be  used. 
Before  putting  up 
the  slab  walls, 
the  outside  angle 
formed  by  the 
sill  and  founda- 
tion (or  plate) 
is     flashed     with  plan  of  playhouse. 


313 


NEW  RUSTIC   CABINS 


ilSI 


J-m>  IP 


ni 


^^i\^^ 


^%|£.^ 


DOG   KENNEL   OF   LOGS   AND   SLABS  THAT   WOULD   BE   ESPECIALLY   IN 
KEEPING   WITH   THE   RUSTIC  CABIN   SHOWN  ON  PACE  312. 

waterproof  paper,  which  is  afterwards 
given  a  coat  of  tar.  This  makes  a  water- 
proof joint. 

Tlie  upright  slabs — cut  from  logs,  and 
trimmed  slightly  at  the  edges  to  give  a 
better  joint — are  then  set  upon  the  foun- 
dation (or  upon  the  plate,  if  wooden  piles 
are  used),  and  fastened  to  the  sill,  nailing 
from  the  inside.  Horizontal  boards,  8 
inches  wide  and  Js  inch  thick  are  nailed  to 
the  inner  surface  of  the  slab  wall — around 
the  top  and  bottom,  and  just  above  and 
below  the  window  openings.  Over  the  in- 
side of  each  joint  of  the  slabs  is  nailed  a 
narrow  lath  which  serves  to  keep  out  the 
draught  and  to  prevent  the  oakum  with 
which  the  joints  are  afterwards  chinked 
from  coming  through. 

To  the  horizontal  boards  are  nailed  pan- 
els of  "compo-board."  This  forms  a 
smooth,  neat  finish  for  the  interior,  and 
may  be  treated  in  any  way  the  owner  de- 
sires— painted,  or  covered  with  paper  or 
fabric,  either  plain  or  marked  off  into 
panels  by  strips  over  the  joints. 

Along  the  top  of  the  slab  wall,  beneath 
the  roof,  is  spiked  a  2  X4  plate,  which  pro- 
jects a  trifle  on  the  outside  to  afford  a  flat 
surface  against  which  the  sheathing  of  the 
eave  rafters  may  be  nailed. 

At  the  window  and  door  openings,  the 
heads  of  the  frames  are  nailed  to  the  slabs 
as  shown,  and  the  joints  are  flashed  with 
waterproof  paper  in  the  same  manner  as  at 
the   foundation.     These  precautions,   how- 

314 


ever,  are  necessary 
only  where  there  is 
no  porch  protec- 
tion. All  nailing 
should  be  done 
from  the  inside,  so 
that  the  heads  of 
the  nails  are  not  •" —  ^'^'  — ^ 
exposed  to  the  plan  of  the 
weather.  dog  kennel. 

In  the  door  and  window  con- 
struction, it  will  be  noticed,  the 
jambs  are  wider  than  the  wall — 
or  rather  their  inside  surfaces 
Ijroject  a  trifle  beyond  that  of 
the  "compo-board."  These  jambs 
are  left  exposed  on  the  interior, 
producing  a  rather  interesting 
structural  effect  that  is  particu- 
larly in  keeping  with  a  building 
of  this  rustic  character. 

The   rafters   are   shown    with 

the  ends  boxed  in.     This  is  an 

economical    form    of    construction,    as    it 

allows  the  use  of  comparatively  thin  rafters, 

which  do  not  have  to  be  planed. 

The  roof  is  shingled,  over  strips  or  laths 
as  shown,  and  if  a  rich  golden  brown  or 
moss  green  stain  is  used  it  will  harmonize 
admirably  with  the  slab  walls,  which  can 
be  stained  brown  or  left  to  weather,  as  pre- 
ferred. 

Rough-hewn  logs  with  the  bark  stripped 
off  are  used  for  the  porch  posts,  and  the 
porch  ceilings  are  sheathed  or  ceiled  with 
matchboarding.  The  flooring  of  the  porches 
is  of  wood. 

The  chimney  is  of  stone,  laid  up  with 
cement  in  the  usual  manner,  and  having 
flashing  of  zinc  or  tin  where  it  emerges  at 
the  roof.  If  the  cabin  is  built  without  a 
fireplace,  the  chimney  for  the  kitchen  stove 
may  be  cheaply  and  easily  constructed  of 
sections  of  tile  pipe,  with  sheet-iron  piping 
inside. 

Cost  of  Lumber 

THE    cost    of    the    materials,    without 
counting  stone  work,  paint  or  labor, 
which  would  vary  in  different  local- 
ities and  cases — would  be  about  $400. 

For  those  who  are  interested  in  this  type 
of  cabin  and  who  wish  to  build  one  for 
themselves,  we  have  prepared  complete 
working  drawings,  details  and  specifica- 
tions, as  well  as  a  lumber  bill,  which  can  be 
obtained  from  our  Architectural  Depart- 
ment. These  instructions  are  so  complete 
that  any  one  who  has  a  knowledge  of  car- 


NEW  RUSTIC  CABINS 


TERRA    COTTA 


"izkSvVKI 


pentry  will  be  able  to  build  the  cabin,  either 
alone  or  with  a  little  help. 

Moreover,  as  we  have  more  timber  than 
we  can  use  on  Craftsman  Farms — chestnut 
and  other  trees  scattered  through  the 
woods,  all  ready  for  cutting — our  plan  is  to 
utilize  it  for  the  building  of  rustic  cabins 
like  the  one  shown  here.  We  will  there- 
fore ship,  to  any  one  who  wishes  to  build 
from  this  design,  the  requisite  number  of 
slabs  for  the  walls  and  logs  for  the  porch 
posts,  cut  and  trimmed  the  right  lengths, 
all  ready  for  building.  The  other  materials 
for  the  cabin  can  be  procured  in  the  locality 
where  it  is  built. 

Children's  Rustic  Playroom 

WE  are  also  showing  here  the  plan  and 
perspective  view  of  a  children's 
playroom,  which  could  be  easily 
built  in  any  garden,  and  which  would  be 
particularly  in  keeping  with  the  rustic  cabin 
just  described.  There  are  few  things  that 
afford  greater  delight  to  children  than  a 
tiny  house  of  their  own,  where  they  can  in- 


stall a  family  of  dolls,  play  school  or  house- 
keeping, or  any  of  those  romantic  and  ad- 
venturous games  that  they  are  so  fond  of 
inventing.  And  there  are  few  forms  of 
construction  that  appeal  to  their  active  im- 
aginations more  keenly  than  the  rustic 
cabin.  It  suggests  pioneers,  Indians,  and 
deep  shadowy  woodlands ;  about  its  logs 
still  clings  the  mystery  of  the  forest  in 
which  they  grew. 

For  these  reasons,  we  think  the  little 
playhouse  with  its  slab  walls  and  roof  and 
latticed  porch  will  appeal  to  many  children. 
It  can  be  easily  and  cheaply  put  together, 
and  will  speedily  repay,  in  the  pleasure  it 
affords,  the  little  time  and  energj'  spent  in 
its  construction.    The  simplest  way  to  build 


ON  THE  LEFT  IS  A 
VERTICAL  SECTION 
THROUGH  ONE  END 
OF  THE  RUSTIC 
C.\BIN,  SHOWING 
CONSTRUCTION  OF 
WALL  AND  ROOF. 

BELOW  IS  A  VERTI- 
CAL SECTION 
THROUGH  WALL  AND 
PORCH    OF  RUSTIC 
CABIN,  INCLUDING 
WINDOW  OPENING. 


315 


WORKING  FOR  PLAY 


it  would  be  to  set  the  slabs  upright  about 
an  inch  apart  with  tar  paper  and  sheath- 
ing inside.  The  playroom  is  6  x  8  feet,  and 
would  really  be  large  enough  to  hold  a  cot 
and  use  as  an  extra  sleeping  room  if  one 
needed  another  bedroom  at  any  time. 
The   Dog   Kennel 

THE    dog    kennel,    which    is    included 
among  the  drawings,  is  also  of  log 
construction,  and  for  this  either  slabs 
or  solid  logs  might  be  used. 

As  suggested  before,  a  letter  to  our  Ar- 
chitectural Department  will  bring  further 
details  as  to  construction,  cost  of  plans  and 
materials,  etc.,  and  we  shall  be  glad  to 
write  personally  to  any  one  who  wishes  our 
advice  on  any  other  point  in  the  erection  of 
these  little  rustic  buildings. 

WORKING  FOR  PLAY 

(Continued  from  page  308.) 
demonstrations.      Other    buildings    become 
desirable.     At  Farragut,   for  example,  the 
school  barn  and  sheds  and  the  principal's 
cottage  are  on  the  school  grounds. 

As  the  idea  develops,  we  find  the  school- 
house  no  longer  adequate  to  contain  it,  and 
the  school  becomes  the  nucleus  of  a  com- 
munity center  group,  in  which  are  focused 
all  of  the  social  and  intellectual  interests  of 
the  community.  Such  a  group  should 
include  the  library,  reading-room  and  his- 
torical museum;  a  Y.  M.  C.  A.  or  men's 
and  boys'  club ;  a  Y.  W.  C.  A.  or  girls'  and 
women's  club ;  a  general  auditorium  and 
theater.  In  connection  with  the  group  of 
buildings  there  should  be  playgrounds, 
park,  school  gardens,  athletic  field,  picnic 
grove  (with  bathing  and  boating  facilities 
if  it  is  near  a  lake),  and  possibly  the  cattle 
show  and  fair  grounds.  The  rural  hospital 
or  headquarters  of  the  district  nurse  might 
well  be  located  here.  If  the  group  is  locat- 
ed in  a  village,  it  would  be  well  to  take  into 
consideration  the  location  of  existing  cen- 
ters, such  as  town  hall,  post  office,  fire  de- 
partment headquarters,  court  house  and 
churches,  and  arrange  the  group,  if  possible, 
to  include  or  be  adjacent  to  some  of  these. 

This  social  center  group  idea  is  so  new 
that  there  is  scarcely  a  good  example  of  it 
yet  in  existence,  though  a  number  of  them 
are  planned.  The  nearest  approach  to  it 
that  I  know  of  is  at  Deerfield,  Massa- 
chusetts, and  La  Salle,  Illinois,  where  active 
work  along  this  line  is  being  accomplished. 

Plans  for  three  types  of  social  center 
groupings  are  mentioned  herewith.  The  first 
is   prepared   by   the   Department   of    Agri- 

316 


cultural  Extension  of  Cornell  University, 
and  is  designed  for  a  rural,  farming  com- 
munity. The  plan  is  fully  described  in  Ex- 
tension Circular  Number  One,  of  the  New 
York  State  College  of  Agriculture.  The 
second  plan,  prepared  by  the  U.  S.  Depart- 
ment of  Agriculture,  is  suited  to  a  similar 
environment  but  does  not  include  the  fair 
grounds.  It  is  to  be  found  in  Experiment 
Station  Circular  Number  Eighty-four. 

The  third  plan  is  one  which  I  have  based 
on  the  Deerfield  idea,  giving  the  group  of 
buildings  a  quadrangular  arrangement.  It 
does  not  include  agricultural  demonstration 
plats  within  the  social  center  grounds. 
They  and  the  fair  grounds,  race  track, 
cattle  show  buildings  and  grand-stands, 
might  be  placed  beyond  the  athletic  field. 
Picnic  grove,  boat  house  and  bathing 
pavilion  might  be  located  as  near  as  cir- 
cumstances permit.  The  group  should  face 
on  the  main  village  street,  where  post  office, 
stores,  town  hall,  churches,  etc.,  are  most 
likely  to  stand.  Along  the  side  street,  op- 
posite the  group,  might  be  located  the  par- 
sonage, homes  of  the  principal  and  teachers 
of  the  school  and  Y.  M.  C.  A.  director. 

The  auditorium,  a  roomy,  one-story 
structure,  should  have  a  good  stage  and 
scenery  and  movable  seats,  so  that  it  may 
be  used  for  plays,  dances,  concerts  and 
flower  shows.  In  the  men's  club  building 
I  would  place  the  manual  training,  and  in 
the  women's  club  the  domestic  science 
equipment.  Both  buildings  should  have 
g)'mnasiums  and  baths.  The  center  of  the 
quadrangle  I  would  keep  open,  with  shrub- 
bery close  to  the  buildings,  and  use  it  as  an 
outdoor  theater  and  meeting  place.  It 
should  be  provided  with  a  stage  and  facili- 
ties for  outdoor  lighting. 

Justice  Charles  E.  Hughes,  of  the  Su- 
preme Court,  says,  "I  am  more  interested 
in  what  you  are  doing  and  what  it  stands 
for  than  in  anything  else  in  the  world.  You 
are  buttressing  the  foundations  of  democ- 
racy." Said  Judge  Ben  B.  Lindsey,  "We 
have  been  fighting  the  beast;  you  (social- 
center  promoters)  are  making  the  dirty 
animal  impossible."  Mr.  Edward  J.  Ward, 
of  the  University  of  Wisconsin,  has 
summed  it  up  thus :  "The  modern  social- 
center  movement  is  the  conscious  building 
up  of  the  characteristic  institution  of  Amer- 
ica which  the  pioneers  spontaneously  began 
when  they  established  the  public  school- 
house  and  made  it  the  common  place  of  the 
whole  neighborhood  group,  as  the  home  is 
the  common  place  of  the  whole  household." 


THE  BUNGALOW  COURT  AND    COOPERATIVE  LIVING 


THE  BUNGALOW  COURT  IDEA 
SHOWN  IN  PRACTICAL  OPER- 
ATION: BY  CHARLES  ALMA 
BYERS 

THE  bungalow  court  idea,  which  had 
its  inception  in  California  about 
five  years  ago,  has  met  with  con- 
siderable favor  throughout  the 
country.  Its  object,  primarily,  is 
to  furnish  for  the  same  money 
greater  comfort  and  independence 
than  is  possible  in  an  apartment, 
and  it  has,  if  we  may  judge  from 
the  court  shown  here,  manifestly 
filled  a  real  need  in  home-building. 
There  is  no  doubt  that  the  bungalow 
court,  sometimes  called  "community 
court,"  possesses  many  advantages 
over  the  ordinary  apartment  house, 
and  these  advantages  will  unques- 
tionably assure  for  it  lasting  pop- 
ularity. It  has  also  proved  a  good 
investment  for  the  builders,  es- 
pecially in  residential  districts,  and 
most  particularly  in  resort  cities. 

Such  a  court  is  composed  of  a 
group  of  small  bungalows,  each  en- 
tirely separate  from  the  others,  but 
associated  in  a  sort  of  common 
parking  scheme.  The  one  here  il- 
lustrated is  an  excellent  example  of 
the  practical  aspects  of  the  idea.  It 
is  located  in  South  Pasadena,  Cali- 
fornia, occupying  a  plot  of  ground 
145  by  185  feet,  and  comprising 
eight  bungalows.  There  is  also  a 
garage — not  included  in  this  plot — 
large  enough  to  house  one  auto- 
mobile for  each  bungalow  occupant. 
A  single  driveway  leads  thereto 
from  the  street  along  one  side 
of  the  park.  A  cement  walk  borders  the 
court  upon  the  three  remaining  sides,  and 
two    similar    walks,    running    parallel,   lead 


BUNGALOW  COURT  IN  SOUTH  P.\SADENA,  CALIFORNIA, 
DESIGNED  BY  EDWARD  E.  SWEET:  AN  EXAMPLE  OF 
COMMUNITY  OR  GROUP  BUILDING  THAT  IS  RICH  IN 
SUGGESTIONS    FOR    HOME-BUILDERS    AND    ARCHITECTS. 

from  the  street  down  the  center  toward  the 
rear,  where  they  are  joined  together  with  a 
circle.  Individual  walks  connect  the  vari- 
ous bungalows  with  these  parallel  walks. 

The  architecture  of  each  bungalow  varies 
somewhat,  but  all  adhere  to  a  certain  gen- 


GROUND  PLAN  OF  BUNGALOW  COURT,  SHOWING  INTER- 
ESTING GROUPING  OF  THE  INDIVIDUAL  HOMES  AND 
ARRANGEMENT  OF  THE  COMMUNITY  GARDEN. 


THE   BUNGALOW   COURT  AND    COOPERATIVE    LIVING 


eral  style  which  seems  to  bind  them  togeth- 
er in  one  harmonious  scheme.  This  con- 
necting Hnk  is  noticeable  in  the  roof  lines ; 
also  in  the  fact  that  the  outside  walls  of  all 
the  bungalows  are  shingled.  In  structural 
lines,  however,  they  differ  considerably,  and 
in  the  masonry  work  they  are  widely  varied. 
Concrete  is  employed  in  four  of  them, 
brick  in  three,  and  cobblestones  in  the  re- 
maining one.  Cobblestones  are  also  intro- 
duced, in  hit-and-miss  fashion,  into  two  of 
those  in  which  brick  is  used.  The  styles 
are  characteristic  of  the  true  bungalow,  and 
these  charming  little  houses  constitute  cozy 
and  comfortable  homes,  entirely  independ- 
ent of  one  another  except  that  they  have 
a  claim  in  common  upon  the  court  space. 

Each  bungalow  possesses  three  rooms — a 
combination  living  room  and  dining  room, 
one  bedroom  and  the  kitchen — besides  the 
bathroom  and  a  rear  screened  porch.  The 
living  room  contains  either  a  fireplace  or  a 
gas  grate,  and  a  built-in  wall  bed  ;  the  bed- 
room has  a  large  closet,  and  the  kitchen,  the 
customary  conveniences.  The  interior  fin- 
ish is  in  good  taste,  and  the  equipment  is 
modern  and  complete.  In  the  living  room 
the  walls  are  papered,  and  in  most  instances 
there  are  built-in  bookcases  and  a  window- 
seat. 

Economy  of  the  Bungalow  Court 

The  bungalows  are  completely  furnished 
in  an  appropriate  manner,  and  the  tenants 
are  entitled  to  the  use  of  the  garage.  The 
court  is  kept  in  order  by  the  owner's 
attendant,  who  mows  the  lawn,  cultivates 

318 


ONK  UV  THh  ilMI  NT  AMi  ^HIN'.I.i  HOMES  IN  THE 
BUNGALOW  COURT  ;  NEITHER  COMFORT  NOR  BEAUTY 
HAS  BEEN  SACRIFICED  TO  THE  EFFICIENCY  OF  THIS 
UNIQUE  COOPERATIVE   BUILDING   SCHEME. 

and  prunes  the  shrubbery  and  trees,  irri- 
gates and  otherwise  renders  the  same  serv- 
ice that  is  guaranteed  to  the  occupants  of 
an  apartment  house.  This  means  that  the 
court  is  always  kept  in  an  attractive  condi- 
tion, and  at  night  it  is  illuminated  by  an 
ornamental  electrolier  stationed  in  the 
center. 

Exclusive  of  the  furniture,  each  bunga- 
low represents  an  average  cost  of  $1,500, 
which  includes  its  proportion  of  the  park- 


fi=g — pp:Q,-_------.--.----g--:. 

FLOOR    FLAN    OF    THE    BUNGALOW    SHOWN    ABOVE. 


THE   BUNGALOW  COURT  AND   COOPERATIVE   LIVING 


ing  and  landscape  work  and  the  construc- 
tion of  the  garage.  In  other  words,  the 
total  contract  price  for  this  work  was  ex- 
actly $12,000.  The  furniture  of  each 
bungalow  cost  approximately  $300,  or  a 
total  of  $2,400.  The  price  of  the  land  is 
not  included,  for  the  reason  that  this  is  a 
matter  in  which  the  cost  would  vary 
according  to  the  locality,  and  would  conse- 
quently be  of  no  benefit  to  the  prospective 
builder  elsewhere.  It  is  easy  to  realize  that 
such  an  investment  should  be  very  profit- 
able under  proper  conditions,  for  bunga- 
lows are  always  in  demand. 

Of  course,  "close-in"  property,  because 
of  its  high  price,  could  not  be  considered 
for  an  investment  of  this  kind,  except  pos- 
sibly in  a  small  resort  town,  where  the  cost 
of  lots  is  not  great  and  where  a  higher 
rental  charge  could  be  made.  In  the  larger 
cities  a  location  in  the  residence  districts 
would  have  to  be  selected  instead,  to  insure 
a  satisfactory  revenue  to  the  builder. 

The  court  here  described  was  designed 
and  constructed  by  Edward  E.  Sweet,  an 
architect  of  Los  Angeles,  California,  whose 
work  is  already  familiar  to  readers  of  The 
Craftsman.  Although  this  particular 
court  is  located  in  a  suburban  city  several 
miles  from  the  business  district  of  Los 
Angeles,  the  little  bvmgalows  are  nearly 
always  occupied,  yielding  to  the  owner  a 
gross  income  of  $280  per  month. 
Cooperative  Building 

As  one  studies  this  interesting  develop- 
ment in  group  building,  and  sees  what  defi- 
nite advantages  it  holds  for  owner,  tenants 
and  comnuinity,  another  suggestion  occurs 
to  one.  Why  not  carry  out  the  same  idea 
along  cooperative  lines  ?  Suppose,  for  in- 
stance, that  a  number  of  congenial  families 
wish  to  build  in  some  pleasant  suburban 
spot  where  they  will  be  sure  of  having  de- 
sirable neighbors,  plenty  of  garden  space 
and  attractive  surroundings.  Let  them  join 
forces,  select  their  site,  plan  with  the  help 
of  their  architect  the  location,  design  and 
arrangement  of  the  several  bungalows  or 
cottages,  and  the  laying  out  of  the  grounds. 
Then,  after  selecting  the  materials  for  the 
different  buildings  and  planning  all  the  de- 
tails, let  them  supervise  the  actual  construc- 
tion, employing  preferably  the  same  builder 
for  the  entire  work.  By  handling  the 
undertaking  in  this  manner,  by  buying 
materials  and  equipment  in  large  quantities, 
instead  of  for  each  separate  house,  a  con- 
siderable saving  shoukl  be  possible. 


If  the  tastes  of  the  various  families  are 
more  or  less  similar  in  the  matter  of  inte- 
rior fittings  and  decoration,  the  buying  of 
many  of  the  furnishings  may  also  be  done 
on  a  cooperative  basis,  without  sacrifice  of 
that  variety  and  individuality  which  are  the 
rightful  charms  of  every  home.  And  when 
the  bungalows  are  completed  and  ready  for 
their  occupants,  the  same  principles  may  be 
applied  to  the  purchasing  of  coal,  wood, 
groceries  and  other  supplies  that  can  be 
ordered  in  fairly  large  quantities. 

A  caretaker  may  also  be  employed  to 
take  charge  of  the  furnaces,  mow  the  lawn, 
and  attend  to  other  "odd  jobs"  around  the 
place,  as  in  the  California  bungalow  court 
illustrated  in  this  article ;  only  in  the  case 
of  a  cooperative  scheme,  he  would  be  paid, 
of  course,  from  a  common  fund  contributed 
by  the  various  families.  When  new  trees, 
shrubs  or  flowers  are  needed  for  the 
grounds,  or  the  services  of  a  professional 
gardener  are  desired,  these  expenses  may 
be  divided  among  the  different  households. 

By  working  along  these  community  lines, 
very  satisfactory  results  may  be  obtained, 
for  when  the  expenses  are  shared  by  six  or 
eight  families,  the  proportionate  cost  to 
each  will  be  comparatively  small.  More- 
over, through  such  joint  action  many 
advantages  will  be  possible  that  would 
have  been  out  of  reach  of  a  single  home- 
builder.  The  using  of  the  ground  in  com- 
mon will  permit  much  more  attractive  land- 
scape treatment,  and  give  an  air  of  greater 
spaciousness  and  freedom  around  each 
home  than  would  be  possible  on  a  single 
lot.  At  the  same  time,  the  planting  of 
shrubbery  and  flower-beds,  and  the  build- 
ing of  pergolas,  arbors  and  rustic  seats, 
will  give  an  atmosphere  of  friendly  inti- 
macy. If  they  desire,  of  course,  the  own- 
ers may  plant  little  individual  gardens 
around  their  own  homes  without  inter- 
fering in  any  way  with  the  general  land- 
scape scheme. 

In  fact,  the  idea  is  worth  considering 
from  many  standpoints — for  the  sake  of 
both  economy  and  beauty — and  it  is  quite 
possible  that  Mr.  Sweet's  bungalow  court 
idea  may  not  only  prove  successful  for 
builder  and  tenants,  as  originally  devised, 
but  may  also  furnish  a  suggestion  for 
home-builders  who  are  interested  in  coop- 
erative plans.  At  all  events,  it  is  an  tm- 
usuallv  practical  and  delightful  variation  in 
modern  architecture:  and  marks  a  pro- 
gressive step  in  this  imporlanl  art. 

319 


THE   PEOPLE'S  COMMUNITY   HEADQUARTERS 


A  CIVIC  CENTER  OF  REAL 
BEAUTY  FOR  THE  PEOPLE  OF 
SANTA  BARBARA :  BY  MARION 
CRAIG  ^^^NTWORTH 

TO  those  who  understand  and  appre- 
ciate the  subtle  influence  of  har- 
mony of  line  and  color  in  every- 
day surroundings,  it  is  always  a 
matter  of  rejoicing  when  a  building  dedi- 
cated to  the  common  needs  of  the  people  is 
erected  in  which  there  has  been  frank  and 
adequate  recognition  of  the  large  part 
beauty  may  play  in  the  happiness  and  good 
of  the  people.  Such  a  building  is  the  new 
Civic  Center  of  Santa  Barbara,  completed 
last  August. 

The  townspeople  of  this  charming  old 
California  coast  city  have  every  reason  to 
be  proud  of  their  Recreation  Center.  Not 
only  is  a  great  civic  idea  accomplished,  but 
its  embodiment  is  of  such  structural  dignity 
and  is  so  worthily  adorned  as  to  come  near 
realization  of  William  Morris's  dream  of 
the  "noble  communal  hall  of  the  future." 

The  purpose  of  the  Santa  Barbara  Recrea- 
tion Center  is  well  in  accord  with  the  domi- 
nant social  movement  of  the  day,  which  is 
to  develop  the  recreational  facilities  of  the 
people,  both  old  and  young.  It  is  now  uni- 
versally recognized  that  the  wise  provision 
of  opportunities  for  wholesome  pleasure  is 
not  only  the  sane,  constructive  method  of 
dealing  with  vice  but  it  is  also  a  most  potent 
means  of  brightening  and  enriching  the 
general  social  life.  Working  towards  this 
end,  the  California  legislature  has  appointed 
a  commission  to  investigate  facilities  for 
recreation  throughout  the  State — both  in 
city  and  country  districts. 

In  Santa  Barbara  however  the  center  is 
to  serve  more  than  recreational  needs, — it 
is  to  be  the  focusing  point  for  manifold 
civic  and  educational  activities.     The  old- 

320 


LIVIC  LLMLK  ul-  SANIA  B.AKliAKA,  CALIFORNIA, 
WHERE  YOUNG  AND  OLD  FIND  REST  AND  RECREATION 
AMONG  HOMELIKE  AND  BEAUTIFUL  SURROUNDINGS  : 
J.  CORBLEY   POOL,  ARCHITECT. 

fashioned  New  England  town  meeting  is  to 
be  revived,  and  citizens  will  here  gather  to 
discuss  various  questions  pertaining  to  the 
welfare  of  the  city.  Indeed  the  walls  were 
scarcely  dry  when  they  crowded  within 
them  to  overrule  the  city  council's  plan  for 
a  cheap  sea  wall.  A  few  weeks  later  the 
teachers  thronged  there  to  consider  the  Red 
Light  Abatement  Act,  proving  at  once 
what  a  big  place  The  Civic  Center  will  fill 
in  the  life  of  the  community. 

But  the  unique  and  impressive  part  of 
the  achievement  is  that  a  building  so  obvi- 
ously democratic  in  its  uses  should  have 
been  made  to  express  beauty — both  archi- 
tectural and  decorative. 

Merited  tribute  is  paid  Mr.  J.  Corbley 
Pool,  the  architect,  for  his  admirable  plans, 
his  choice  of  proportions,  his  masterly 
handling  of  all  the  features  that  go  to  make 
a  good-looking  structure;  and  after  this  is 
done,  credit  must  be  given  the  decorative 
skill  and  social  ideals  of  a  young  woman  of 
Santa  Barbara,  named  Donna  Youmans. 
To  her  was  entrusted  the  decoration  of  this 
civic  center — the  supervision  of  the  paint- 
ing and  tinting,  the  selection  of  all  the  fit- 
tings, appointments,  hangings  and  furnish- 
ings. 

Miss  Youmans  started  out  with  this  wise 
principle  firmly  fixed  in  her  mind :  that 
there  is  nothing  too  beautiful  for  the 
people ;  no  arrangement  of  colors  too  subtle 
or  rich  for  their  appreciation ;  also  that  no 
single  detail  should  be  overlooked — for  it  is 
the  combined  wealth  of  detail  that  makes 
the  harmonious  whole.  It  was  for  this — an 
atmosphere  of  richness  and  simplicity  that 
Donna  Youmans  worked — and  successfully 
— and  which  she  meant  should  consciously 
or    unconsciously    enter    into   the    joy    and 


THE  PEOPLES   COMMUNITY   HEADQUARTERS 


well-being  of  all  those  who  might  gather 
within  the  walls  of  the  center.  Conse- 
quently the  color  scheme,  starting  from  the 
outermost  bricks  and  the  mortar  that  holds 
them  together  to  the  last  rug  in  the  hall, 
from  the  highest  lighting  bowl  in  the  audi- 
torium to  the — what  shall  we  say  ? — the 
china  cups  and  saucers  in  the  kitchen  pan- 


TiiE  Importance  of  Color 
These  lights  are  the  satisfying  point  in 
the  scheme.  They  might  so  easily  have 
been  white.  Indeed  the  workmen  said  they 
had  to  be  white — that  the  color  Miss  You- 
mans  had  in  mind  could  not  be  done.  But 
the  unerring  instinct  of  Miss  Youmans  in- 
sisted. 


try,  is  in  harmony,  made  up  of  a  few  soft 
deep  tones,  blending  perfectly  by  gentle 
gradations  into  one  another. 

The  Recreation  Center  you  find  near  the 
town's  center,  a  little  beyond  the  library, 
off  the  main  business  thoroughfare,  facing 
the  mountains.  It  looks  even  better  than  it 
sounds.  It  is  solidly  constructed  of  brown- 
ish red  tapestry  brick  with  a  red  tiled  roof, 
two  stories,  built  on  Spanish  lines  with  an 
open  patio  on  the  street.  This  patio  is  to 
be  bricked  and  decorated  with  a  fountain 
and  English  planting. 

The  first  thing  that  strikes  you  is  the 
richness  and  warmth  of  the  general  effect, 
and  the  way  the  three  shades  employed  arc 
held  together ;  not  a  jarring  note, — the  red 
of  the  tiles  toning  in  with  the  brownish  red 
of  the  bricks  and  the  deep  cream  of  the 
surrounding  woodwork;  heavy  roof  rafters 
under  the  eaves  and  French  window  sashes. 
The  opaque  globes  of  the  big  egg-shaped 
lamps  suspended  at  the  outer  cornices  are 
of  the  same  cream  color — "recessed  ivory" 
is  the  mf)re  technical  term. 


KOUF  GARDEN  OF  THE  CIVIC  CENTER,  WITH  HAM- 
MOCKS AND  HICKORY  FURNITURE:  IN  THIS  PLEAS- 
ANT AIRY  RETREAT  THE  FOLK  OF  SANTA  BARBARA 
FIND  REFRESHMENT  AND  COMFORT  AT  NOON  OR  TE.\- 
ITME. 

You  enter  the  auditorium  and  find  that 
Miss  Youmans  has  kept  to  this  plan  of 
matching  the  woodwork  and  the  lighting 
bowls  in  the  color  of  "recessed  ivory."  ( In 
fact  continuing  the  idea  throughout  the 
entire  building,  with  the  exception  of 
the  club  rooms  and  dormitory.)  The 
result  is  most  effective — particularly  in 
combination  with  the  raspberry  velour  of 
the  stage  curtain  and  entrance  hangings.  A 
noticeable  feature  of  the  woodwork  is  the 
carving  of  rows  of  California  poppies  on 
the  pilasters.  The  hall  is  large  and  commo- 
dious, seating  about  nine  hundred,  and  has 
a  stage  well  equipped  with  theater  lights 
and  large  airy  dressing  rooms. 

Here  the  young  people  of  the  city  in  the 
habit  of  going  to  "Neighborhood  House" — 
the  long  low  picturesque  Spanish  adobe  on 
a  back  street,  of  which  the  present  Recrea- 
tion   Center    is    the  outgrowth — will    have 

321 


THE  PEOPLE'S  COMMUNITY   HEADQUARTERS 


l-IRKPLACl:  COKNER  IN  THE  RECREATIUN  CENTER, 
WHICH  SHOWS  WHAT  A  HOMELIKE  QUALITY  PER- 
VADES THIS  DELIGHTFUL  COMMUNITY   HOME. 

their  entertainments  —  theatricals,  dances, 
fairs,  carnivals  and  concerts.  Here  also 
will  be  held  public  functions,  conventions, 
lectures,  town-meetings  and  various  gath- 
erings of  business  men  and  public  spirited 
women  to  discuss  affairs  of  mutual  interest. 
On  Sundays  there  will  be  a  "quiet  hour"  of 
good  music  and  reading  for  all  the  people. 
After  the  program,  if  any  wish  to  stay  for 
an  evening  chat  with  friends  they  may  go 
into  the  kitchen  and  make  their  own  toast 
and  tea. 

Out  of  this  hall,  through  a  series  of 
French  doors  curtained  in  ivory  linen  and 
overhung  with  raspberry  velour  opens  a 
large  hall-like  room,  a  sort  of  parlor  or 
social  meeting  place,  known  as  the  Assem- 
bly Room,  suitable  for  classes,  smaller  lec- 
tures and  receptions.  The  furnishings  here 
harmonize  with  the  auditorium  ; —  the  same 
color  scheme  of  walls  and  curtains — ma- 
hogany pieces — a  large  brown  seamless  rug. 
A  long  mahogany  table  made  by  a  local 
German  workman,  beautifully  designed  and 
proportioned,  stands  in  the  center.  Before 
the  fireplace  is  a  huge  Davenport  uphol- 
stered in  raspberry  rep 

The  interest  of  the  room  finally  centers 
in  a  painting  by  I-undgren, — "The  Sentinel" 
— a  picture  of  an  Indian  standing  guard  on 
the  walls  of  his  pueblo  at  the  sunset  hour. 
The  fireplace  was  built  to  suit  and  bring 
out    the   picture.      Under    Mr.    Lundgren's 

322 


direction  it  rose  with- 
tiut  a  break  to  the 
ceiling.  In  the  upper 
half  he  set  the  paint- 
ing, framing  it  with 
wide,  laid-on  panels 
of  Flemish  oak. 

T_h  e  Auditorium 
and  this  Assembly 
Room  are  so  invit- 
ing that  new  organi- 
zations have  suddenly 
rome  into  being  and 
nld  ones  have  taken 
on  new  life,  in  their 
eagerness  to  avail 
themselves  of  the 
privilege  of  meeting 
in  such  attractive 
(juarters.  Thus  the 
building  bids  fair  to 
be  an  "inspirational" 
as  well  as  a  recreational  center. 

Foe  the  Business  \\'oman 
Beyond  the  offices  is  the  Business  Wom- 
an's Club  Room  with  adjoining  baths  and 
showers.  The  room  is  spacious,  well 
lighted,  with  a  large  fireplace  and  accom- 
panying Davenport,  long  window-seats, 
comfortable  couches  and  chairs  in  uphol- 
stered wicker,  reading  and  writing  tables 
and  a  piano.  The  prevailing  colors  are 
mauve  (the  walls)  and  brown  (the  wood- 
work) ;  while  the  windows  are  hung  with 
pretty  flowered  English  linen.  The  room  has 
an  air  of  space  and  elegance — yet  withal 
homelike — in  which  any  club  in  the  country 
might  take  delight. 

Here  the  members — business  girls,  teach- 
ers and  professional  women — may  come  for 
rest  and  recreation,  privileged  at  any  time 
to  prepare  for  themselves  a  meal  in  the 
kitchen. 

Opposite  this  room  is  the  club  room  of 
the  Forty  Fellows — the  name  by  which  the 
young  business  men's  club  is  known.  Here 
the  colors  are  bolder.  The  woodwork  is 
brown,  the  plaster  panels  are  tinted  green, 
the  lighting  bowls  have  a  faint  greenish 
tinge,  while  the  curtains  at  the  windows  are 
a  striped  green  and  black,  daring  but  effec- 
tive. To  present  such  a  room  with  its 
perfect  and  handsome  appointments — bil- 
liard and  pool  tables,  tables  for  cards  and 
reading  and  writing — to  the  young  men  of 
tlie  city  is  to  offer  inestimable  opportunities 
for  normal  social  expression  and  comrade- 
ship. 


GOOD   ROADS,   OLD    AND   NEW 


For  Home  Comfort 

Upstairs  are  the  apartments  of  the  Resi- 
dent Director  and  the  dormitory  for  tran- 
sient women.  This  dormitory  is  a  series  of 
bedrooms  and  baths  for  the  use  of  young 
women  who  may  come  as  strangers  to  the 
city,  who  are  not  able  to  afford  or  who  do 
not  wish  to  go  to  hotels.  At  thirty-five  and 
fifty  cents  a  night !  With  the  privilege  of 
preparing  their  own  meals  in  the  kitchen. 

The  charming  series  of  bedrooms  are 
done  in  white  and  dove  color,  with  dainty 
chintz  curtains  and  rag  rugs  to  match. 
Comfort  and  cleanliness  pass  into  an  atmos- 
phere of  beauty — for  what  else  would  one 
call  it  to  be  surrounded  with  lovely  color, 
though  all  else  be  simple,  even  austere. 

On  the  top  of  the  house  is  a  roof  garden, 
with  hammocks,  hickorv  furniture  and  tea 


A  SP.A.CIOUS  AUDITORIUM  FORMS  AN  IMPORTANT  PART 
OF  THE  "people's  HEADQUARTERS"  AND  PROVIDES  A 
MEETING  PLACE  WHERE  LECTURES,  CONCERTS  OR 
PLAYS    MAY  BE  GIVEN. 

tables — and  a  glorious  view  of  both  moun- 
tains and  sea  .  .  .  an  opportunitv  for 
rest  and  pleasure  for  the  girls  who  work 
'round  the  corner,  to  run  up  here  for  their 
noon  hour  and  tea  ! 

Coming  out  on  the  street  again  one  real- 
izes what  an  achievement  is  here.  The  pos- 
sibilities of  what  it  may  mean  to  the  people 
— rich  and  poor  alike — loom  up.  Not  only 
in  the  growth  of  the  communal  spirit  (of 
which  Santa  Barbara  has  much  when  tried 
out — heritage  of  old  mission  days)  but  be- 
cause it  is  a  civic  center  which  expresses  a 
sense  of  the  fitting  and  beautiful  at  every 
turn. 


GOOD  ROADS  AND  THEIR 
BUILDING:  MODERN  PROG- 
RESS IN  AN  ANCIENT  ART 

THE  value  of  good  roads  has  been 
recognized  practically  ever  since 
civilization  began.  Commerce,  trav- 
-  el  and  warfare,  as  well  as  the 
developing  and  military  control  of  distant 
countries,  have  all  been  largely  dependent 
upon  the  length  and  quality  of  the  world's 
roadways.  The  word  itself  shows  how 
ancient  was  the  origin  of  this  important 
means  of  communication,  for  it  comes  to  us 


through  the  Anglo-Saxon,  from  the  Ger- 
man reitcn.  to  ride,  and  is  connected  with 
the  Gallic  rcda.  wagon. 

Three  great  highways,  says  the  historian, 
ran  out  from  ancient  Babylon.  The  Car- 
thaginians, too,  were  skilled  in  this  art — 
in  fact,  to  them  the  earliest  systematic  road- 
making  is  credited.  But  the  most  famous 
road-builders  of  the  olden  days  were  the 
Romans,  whose  broad  highways  through 
Gaul  and  Britain  still  survive  as  examples 
of  fine  workmanship  and  records  of  the 
trail  of  conquest  during  those  early  cen- 
turies.    Probablv  the  best  known   road  of 


323 


GOOD  ROADS,   OLD  AND    NEW 


that  period  is  the  Appian  Way,  which  was 
begun  by  Appius  Claudius,  312  B.  C.  "In 
general,"  says  one  writer,  "Roman  roads 
were  built  in  straight  lines,  regardless  of 
ordinary  grades,  and  were  paved  to  a  great 
depth,  the  several  layers  of  stone  and  con- 
crete sometimes  aggregating  three  feet  in 
thickness." 

As  the  making  and  maintenance  of  roads 
grew  to  be  an  important  subject  of  public 
welfare,  laws  were  passed  regarding  them. 
One  of  the  first  and  most  curious  of  these, 
in  England,  was  enacted  by  Parliament  in 
1285.  It  directed  that  all  trees  and  shrubs 
be  cut  down  to  the  distance  of  200  feet  on 
either  side  of  roads  between  market  towns, 
so  that  there  might  be  no  places  of  ambush 
for  highway  robbers — a  danger  of  those 
days  which  was  by  no  means  to  be  ignored ! 
The  first  toll  for  the  repair  of  roads  was 
levied  by  the  authority  of  Edward  III  in 
1346,  on  roads  which  now  form  part  of  the 
streets  of  London. 

France,  it  seems,  did  not  take  a  govern- 
mental interest  in  this  matter  till  somewhat 
later,  for  we  find  that  in  1508  Louis  XII 
ordered  an  inspection  and  record  of  roads 
to  be  made,  and  late  in  the  same  century 
Henry  IV  appointed  the  "Great  Way- 
warden of  France."  Although  that  coun- 
try was  the  leader  in  modern  road  construc- 
tion, it  was  soon  surpassed  by  England,  and 
even  adopted  the  English  macadam  system 
of  road  improvements. 

ROAD-MAKING    IN    AMERICA 

The  work  of  organized  road-making  in 
the  United  States  may  be  dated  from  about 
1800.  In  1786  Francis  Baily,  in  his  "Jour- 
nal of  a  Tour  in  Unsettled  Parts  of  North 
America,"  wrote  "there  is  at  present  but 
one  turnpike  road  on  the  continent,  which 
is  between  Lancaster  and  Philadelphia,  a 
distance  of  66  miles,  and  is  a  masterpiece 
of  its  kind ;  it  is  paved  with  stone  the  whole 
way,  and  overlaid  with  gravel,  so  that  it  is 
never  obstructed  during  the  most  severe 
season." 

In  the  middle  of  the  last  century,  how- 
ever, the  various  States  began  to  take  a 
serious  and  active  interest  in  road  construc- 
tion ;  local  laws  were  passed,  old  roads  were 
repaired  and  new  ones  made.  And  the  last 
few  years  have  seen  a  vigorous  campaign  in 
this  field. 

The  Southern  Sportsman,  in  a  recent 
issue,  summarized  the  situation  in  a  com- 
prehensive manner,  as  the  following  para- 
graphs will  show : 

324 


"Approximately  $206,000,000  was  spent 
last  year  on  public  roads  in  the  United 
States,  according  to  statistics  prepared  by 
the  U.  S.  Department  of  Agriculture.  In 
1904,  the  total  was  only  $79,000,000.  In 
nine  years,  therefore,  the  increase  has  been 
over  250  per  cent. 

"This  awakening  on  the  part  of  the  coun- 
try to  the  importance  of  good  roads  has, 
experts  say,  been  due  in  great  measure  to 
the  principle  of  State  aid  to  counties  and 
other  local  communities.  New  Jersey  be- 
gan the  movement  in  1891  when  it  passed 
its  State  Highway  Law.  Massachusetts 
and  Vermont  followed  a  year  later,  but  for 
the  most  part  the  other  States  were  slow 
to  move.  In  1904  only  fifteen  had  State 
highway  departments ;  today  there  are  only 
six  that  have  not. 

"The  value  of  this  State  aid  is,  however, 
not  to  be  measured  by  the  figures  alone,  for 
the  bulk  of  the  money  comes  from  the 
counties  and  townships.  Last  year,  local 
communities  contributed,  in  round  num- 
bers, $136,000,000,  as  against  appropria- 
tions from  State  treasuries  of  over  $38,- 
000,000.  The  true  importance  of  this 
thirty-eight  millions  lies  in  the  fact  that  it 
means  expert  supervision  of  the  expendi- 
ture of  a  considerable  portion  of  the  vast 
sum  of  two  hundred  millions.  When  each 
county  built  as  it  chose  and  when  it  chose, 
the  services  of  trained  engineers  were  usu- 
ally out  of  the  question.  There  was  little 
opportunity  to  test  innovations,  little  ad- 
vance in  the  science  of  road-building,  and 
there  was  also  difficulty  in  arousing  each 
county  individually  to  do  its  best  to  improve 
conditions  within  its  own  limits.  State  aid 
has  changed  all  this.  The  best  engineering 
skill  is  available  for  all  works  of  impor- 
tance. 

"At  the  present  time  there  are  in  the 
United  States  20,741  miles  of  roads  im- 
proved either  wholly  or  in  part  by  State 
aid.  This  is  nearly  the  mileage  of  the 
French  routes  nationalcs,  the  system  of 
great  national  highways  which  is  the  envy 
of  every  civilized  nation.  ...  Of  the 
2,226,842  miles  of  roads  in  the  United 
States  approximately  10  per  cent,  are 
classed  as  improved. 

"To  improve  the  remaining  90  per  cent. 
may  well  seem  a  big  job.  It  is,  in  fact,  only 
made  possible  because  the  work  really  pays 
for  itself.  From  material  gathered  by  the 
U.  S.  Department  of  Agriculture,  it  is  now 
possible  not  only  to  prove  that  good  roads 


GOOD   ROADS,    OLD  AND   NEW 


are  a   profitable  investment,  but  to   deter- 
mine exactly  what  dividends  they  pay. 
Why  Good  Roads  Pay 

"An  investigator  assigned  to  this  prob- 
lem in  any  given  locality  first  ascertains  the 
extent  of  the  territory  that  is  tributary  to 
any  main  road,  much  as  one  might  ascertain 
the  territory  tributary  to  some  river.  The 
next  step  is  an  accurate  estimate  of  the 
total  products  of  this  territory ;  so  much 
grain,  so  much  tobacco,  so  much  garden 
truck,  etc.  Of  this  quantity  a  certain  por- 
tion is  consumed  on  the  farm ;  the  rest  is 
shipped  over  the  road  in  question.  The 
whole  calculation  can  then  jje  checked  by 
investigators  at  the  shipping  point  to  which 
the  road  leads.  In  general  it  has  been 
found  that  the  two  methods  yield  much  the 
same  information — the  total  amount  of 
produce  hauled  over  the  road.  Next,  the 
length  of  the  average  haul  is  calculated,  the 
size  of  the  load  permitted  by  the  character 
of  the  road  ascertained,  and  the  cost  of 
teams  and  drivers  figured. 

"With  these  facts  before  him,  the  inves- 
tigator is  now  able  to  state  positively  the 
cost  of  hauling  a  ton  of  produce  on  that 
road,  to  express  in  terms  of  these  'ton- 
miles'  the  freight  traffic  on  the  road,  and 
finally  the  total  cost  to  the  community 
served  by  the  road  of  hauling  its  goods  to 
market.  Armed  with  these  data,  it  is  easy 
to  decide  how  much  money  can  be  profit- 
ably spent  in  improving  the  road,  and  what 
are  the  returns  that  the  investment  yields 
to  the  community. 

"These  returns  are  of  various  kinds. 
First  and  foremost  is  the  reduction  in  the 
actual  cost  of  hauling,  the  plain  fact  that  it 
takes  less  time  and  labor  to  haul  a  load  over 
a  good  road  than  over  a  poor  one.  Less 
obvious  is  the  effect  of  improved  roads  in 
increasing  the  total  output  of  a  community. 
In  the  case  of  one  county  in  Virginia  where 
particularly  thorough  records  have  been 
kept,  this  output  was  more  than  doubled. 
The  farmers  found  that  with  a  market 
always  and  readily  accessible  to  them,  it 
paid  to  work  the  land  to  its  maximum  pro- 
duction. 

"This  explains  the  very  remarkable  rise 
in  farm  land  values  which  nearly  always 
accompanies  road  improvement.  The  rise 
is  not  a  fictitious  one.  The  land  is  more 
valuable  because  it  can  profitably  be  made 
to  produce  more.  In  other  words,  the 
money  that  goes  into  the  road  comes  back 
with  interest  from  the  land." 


Modern  Methods  in  Road-Building 

Additional  information  on  this  subject  is 
to  be  found  in  an  article  in  Concrete-Cement 
Age  for  September,  entitled  "Industrial 
Railway  for  Conveying  Materials  in  Con- 
crete Road  Construction." 

"One  of  the  most  serious  of  road  con- 
struction problems,"  says  this  writer,  "is  the 
economical  hauling  of  materials.  In  the 
development  of  a  system  of  county  high- 
ways it  is  very  apt  to  be  the  case  that  the 
construction  progresses  outward  from  a 
city  which  is  the  center  of  the  system.  As 
the  road  development  continues  the  material 
hauls  are  constantly  getting  longer,  due  to 
the  increasing  distance  from  the  base  of 
supplies.  This  problem  is  an  important 
one  in  the  construction  of  the  concrete 
roads  in  Wayne  County,  Michigan. 

"Traction  engines  and  trains  of  six  or 
seven  dump  wagons  have  given  excellent 
service  in  Wayne  County  work,  very  ma- 
terially reducing  the  cost  of  conveying  ma- 
terials from  stock  piles  to  the  job,  as  com- 
pared with  the  cost  of  similar  work  with 
single  teams  and  wagons.  Traction  en- 
gines have  frequently  been  used  to  get  the 
materials  only  as  far  as  the  end  of  the 
grading  work  on  the  road  under  construc- 
tion. Sometimes  it  has  been  possible  to  go 
farther  than  this,  but  it  has  been  found 
best  not  to  use  the  traction  engines  over  a 
finished  subgrade  any  more  than  necessary. 
Wagons  have  been  used  to  relay  this  ma- 
terial to  the  exact  location  of  the  work  in 
progress.  Sometimes,  side  roads  have 
made  it  possible  to  get  the  materials  very 
close  to  the  operations,  and  again  there  has 
been  width  enough  on  the  road  to  carry  on 
hauling  operations  without  seriously  inter- 
fering with  the  grade.  As  superior  as 
traction  engines  are  to  team  haulage,  there 
have  been  times  when  they  could  not  be 
used,  due  frequently  to  deep  sand  or  to 
very  bad  weather.    .    .    . 

"It  was  the  increasing  length  of  hauls 
on  the  Wayne  County  road  construction 
which  finally  led  to  the  trial  of  the  indus- 
trial railway  equipment  with  track  in  port- 
able sections,  dump  cars  and  locomotive. 
This  trial  is  being  made  in  the  construction 
of  the  Eureka  road,  where  traction  en- 
gines and  teams  would  be  at  a  disadvan- 
tage owing  to  the  fact  that  the  material  has 
to  be  conveyed  about  si.x  and  a  half  miles 
from  the  beginning  of  the  road,  and  for 
the  entire  road  over  an  average  haul  of 
about  four  miles." 

325 


IF  YOU   CAN'T   GET  BEEF,  EAT  POULTRY 


IF  YOU  CAN'T  GET  BEEF,  EAT 
POULTRY:  QUICK  PROFITS 
FROM  MODERN  METHODS  IN 
RAISING  CHICKENS,  TUR- 
KEYS, DUCKS  AND  GEESE: 
BY  FRANK  W.  GAYLOR 

VERY  few  people  realize  the  substan- 
tial profit  that  can  be  made  from 
poultry  raising,  as  compared  with 
other  branches  of  the  farming  in- 
dustry. There  is  no  other  live  stock  that 
will  give  as  good  return  for  the  money  in- 
vested, in  such  a  short  time  or  on  such  a 
small  area.  The  raising  of  cattle,  espe- 
cially, requires  a  much  greater  capital,  more 
acreage,  larger  and  more  expensive  build- 
ings, and  more  costly  feeding ;  and  as  three 
or  four  years  are  needed  for  beef  produc- 
tion, it  also  means  a  longer  delay  before 
the  product  is  ready  for  the  market.  Chick- 
ens, on  the  other  hand,  require  little  space 
or  outlay,  and  are  ready  for  sale  in  three 
or  four  months. 

This  comparison  is  particularly  signifi- 
cant now  that  the  extension  of  our  beef 
market  and  growing  scarcity  of  the  product 
in  this  country  are  raising  prices  that  are  al- 
ready uncomfortably  high.  The  sugges- 
tion naturally  presents  itself — since  beef 
takes  so  long  to  raise,  and  since  eggs  and 

326 


CuLO.NY  COOP  FOR  GROWI.VG  CHICKENS  .\FTER  THEY 
LEAVE  THE  HEN  OR  BROODER  :  THIS  SIZE  HOLDS  40 
CHICKENS  :   BY   PERMISSION   OF   E.    F.    HODGSON   CO. 

poultry  meat  mean  speedy  returns  for  the 
grower,  why  not  increase  our  poultry  in- 
dustries— either  as  by-products  or  special- 
ties. 

The  matter  is  worth  serious  considera- 
tion, and  those  who  are  not  familiar  with 
the  latest  developments  in  this  field  will  be 
surprised  to  learn  how  profitable  poultry 
raising  may  be  for  any  one  who  is  ready  to 
devote  the  necessary  time  and  energy  to 
this  interesting  occupation.  The  following 
facts,  based  on  my  own  experience  and 
knowledge,  will  give  some  idea  of  the  sit- 
uation. 

Egg  Production 

I  know  a  man  in  Flushing,  Long  Island, 
who  went  into  the  business  four  years  ago 
last  spring.  He  had  had  no  experience  what- 
ever in  this  line,  and  when  he  decided  to 
take  it  up  he  was  ignorant  of  even  the  most 
essential  principles.  But  he  made  inquiries 
among  his  farmer  friends,  visited  poultry 
supply  establishments,  investigated  various 
kinds  of  equipments,  examined  different 
breeds,  and  made  himself  as  familiar  as 
possible  with,  the  technique  of  the  trade. 
He  used  to  come  to  me  and  spend  hours 
talking  over  his  plans,  asking  advice  on  dif- 
ferent problems. 

When  he  had  accumulated  all  the  infer- 


IF  YOU  CAN'T  GET  BEEF,  EAT  POULTRY 


mation  he  could,  he 
began  work,  set  and 
hatched  a  batch  of  eggs, 
and  by  the  first  of  Oc- 
tober had  250  white 
Leghorn  pullets.  These 
he  put  into  laying  quar- 
ters for  the  winter. 
From  the  pullets  he 
produced  sterile  eggs 
for  table  use,  and  ca- 
tered to  private  family 
trade.  During  one  year 
— 1910-1911 — he  made 
a  net  profit  of  over 
$1,000  (not  counting 
his  labor).  Then  he 
increased  his  stock  to 
800,  and  maintained  an 
annual  profit  of  over 
$2,000.  This  was  done 
on  a  village  lot,  the 
total  area  of  which  was  not  more  than  a 
quarter  of  an  acre. 

Of  course,  this  man  specialized  on  poul- 
try, and  gave  practically  all  his  time  to  the 
undertaking.  Such  a  record  cannot  be 
maintained  on  a  farm,  where  other  branches 
of  work  demand  attention ;  but  it  illustrates 
what  can  be  done  by  any  one  who  devotes 
himself  to  the  work.  And  it  is  worth  not- 
ing that  the  smaller  the  flock,  the  more  in- 


COLONY  LAYING  HOUSE  WITH  UPPER  STORY  FOR 
ROOSTING  AND  LAYING,  AND  LOWER  STORY  FOR 
SCRATCHING  PEN  :  THIS  TYPE  IS  PARTICUL.\RLY  SUIT- 
ABLE FOR  WINTER  QUARTERS:  BY  PERMISSION  OF 
E.  F.    HODGSON  CO. 


THIS  COLONY  CHICKEN  COOP  IS  MADE  WITH  YARD 
AND  FEED  HOPPER  .\ND  IS  ESPECI.\LLY  PR.\CTICAL  AS 
IT  CAN  BE  READILY  MOVED  TO  NEW  GROUND:  BY  PER- 
MISSION  OF  E.   F.    HODGSON    CO. 

dividual  care  the  birds  receive — which  ac- 
counts for  the  fact  that  small  flocks  pay  in 
better  proportion  on  the  investment  than 
large  ones. 

Cost  of  Feeding 
During  his  experiment,  the  owner  of  this 
Flushing  plant  kept  careful  account  of  ac- 
tual expenses  and  re- 
sults, and  found  that 
the  cost  of  feeding  a 
laying  hen  was  $1.88 
a  year.  He  also 
found  that  hens  kept 
for  egg  production 
made  an  everage  rec- 
ord of  160  eggs  per 
bird  during  the  year 
— and  as  he  received 
from  forty  to  seven- 
ty-five cents  a  dozen, 
according  to  the  sea- 
son, it  is  easy  to  see 
how  the  profits 
mounted  up.  Since 
that  time,  however, 
the  price  of  feed  has 
risen,  and  the  present 
cost  of  feeding  a  hen 
is  about  $2  a  year.  But  even  with  this 
difference,  a  large  margin  of  profit  remains. 
Indeed,  the  maximum  profit,  in  poultry- 
keeping,  is  in   egg  production   rather  than 

327 


IF  YOU  CAN'T  GET  BEEF,  EAT  POULTRY 


meat.  The  white  egg  brings  a  premium  in 
New  York  markets,  and  the  brown  egg  in 
New  England. 

The   Broiler    Market 

The  broiler  end  of  the  poultry  business  is 
not  so  profitable  as  egg  production  for  the 
Eastern  producer  on  account  of  cheap 
Western  products  and  cold  storage.  The 
farmer  who  raises  poultry  in  large  numbers, 
therefore,  had  best  get  rid  of  his  surplus 
cockerels   as   broilers   just   as   soon   as   the 


INCUBATOR  ROOM  IN  DUCK  PLANT  AT  SPEONK,  LONG 
ISLAND,   N.  Y.  :  BY  PERMISSION  OF  FRANK  W.  GAYLOR. 

market  will  take  them — which  is  when  they 
weigh  about  a  pound  and  a  half  each,  alive. 
It  does  not  pay  to  care  for  them  beyond 
that  age  in  the  East. 

Some  practical  pointers  on  this  branch  of 
the  business  were  given  recently  by  Michael 
K.  Boyer  in  an  article  in  the  Nezv  York 
Sun. 

"In  order,"  writes  Mr.  Boyer,  "that  the 
broiler  raiser  in  the  East  may  have  ship- 


PEKIN    DUCKS   IN   THE  FATTENING   YARDS   AT  THK    SPEONK     PLANT:     BY     PERMISSION     OF    FRANK    W.    GAYLOR. 


IF  YOU  CAN'T  GET  BEEF,  EAT  POULTRY 


ments  ready  by  the  opening  of  the  market 
and  during  the  season,  he  must  start  hatch- 
ing in  October,  and  continue  on  until  about 
the  middle  or  even  last  of  March. 

"The  market  in  January,  while  not  so 
good  as  that  of  February,  is  still  a  profit- 
able one.  The  hatching  is  done  in  Septem- 
ber. While  it  is  possible  to  grow  two- 
[)0und  broilers  in  twelve  weeks,  the  average 
time  required  will  be  nearer  sixteen  weeks 
— or,  roughly  speaking,  four  months  instead 
of  three.  One-pound  broilers  will  require 
about  six  or  eight  weeks,  and  one  and  one- 
half  pounds  from  eight  to  ten  weeks.  .  .  . 

"To  grow  good  broilers  there  should  be 
dry  quarters  provided,  thoroughly  cooked 
food,  comfortable  heat,  not  too  high  nor 
too  low,  regularity  in  feeding,  cleanliness 
and  good  light.  The  chicks  must  be  in- 
duced to  take  plenty  of  exercise.  .  .  . 

"One  of  the  most  practical  broiler  ex- 
perts the  first  day  gives  nothing  but  wheat 
bran  to  peck  at.  The  next  day  rolled  oats 
are  given,  and  this  is  continued  until  the 
chicks  are  ten  days  old,  keeping  dry  bran, 
charcoal  and  fine  oyster  shell  by  them  all 
the  time.  The  chicks  are  fed  every  two 
hours  all  they  will  eat  up  clean.  After  ten 
days  he  feeds  a  moist  mash  in  the  morning 
and  evening  composed  of  cornmeal,  mid- 
dlings, bran  and  ground  oats,  with  meat 
scraps    in    prof)ortion    to    the    age    of    the 


TWO-PEN  SECTIONAL  POULTRY  HOUSE,  FITTED  WITH 
DROPPING  BOARD,  ROOSTS,  NESTS,  FEED  HOPPER,  SHELL 
BO.X  AND  FOUNTAIN  :  BY  PERMISSION  OF  E.  F.  HODG- 
SON   CO. 

chicks.  It  is  best  to  give  these  parts  by 
weight.  At  noon  he  feeds  wheat  or  cracked 
corn  and  keeps  green  stuflf  by  them,  so  they 
can  eat  all  they  want,  until  the  last  two 
weeks." 

Capons 

There  is  some  profit  to  be  made  in  ca- 
pons, but  this  branch  of  the  industry  re- 
quires a  knowledge  of  the  operation,  e.xtra 
care,  and  special  quarters  for  the  poultry, 
and  it  is  problematic  whether  it  is  advisable 
for  the  average  farmer  to  take  up  this 
work. 

Selecting  the  Breed 

The  selection  of  the  right  breed  for  the 
particular  purpose  is  an  important  one  for 
the  poultry-raiser  to  consider.  When  egg 
production  is  the  main  object,  Leghorns 
will  be  found  the  record  holders.  Anconas, 
Campines,  Houdans  and  Buttercups  are 
also  good  breeds  for  this  purpose,  as  well 
as  the  Minorcas,  which  lay  a  very  large  egg. 
All  these  hens  lay  eggs  with  white  shells. 

Equally  good  for  both  meat  and  egg  pro- 
duction are  the  Plymouth  Rocks,  Rhode 
Island  Reds,  Wyandottes,  Buckeyes,  Sus- 
sex,   Faverolles   and   Orpingtons,   the   last- 

329 


IF  YOU  CAN'T  GET  BEEF,  EAT  POULTRY 


named  being  especially  satisfactory  as  win- 
ter layers. 

The  best  breeds  to  select  for  meat  pro- 
duction alone,  are  the  Brahmas,  Cochins, 
Games,  Cornish,  Dominiques,  Langshans 
and  Dorkings. 

B.\Bv   Chicks 

There  is  one  phase  of  poultry  raising  that 
has  developed  within  the  last  four  years— 
and  that  is  the  baby  chick  trade.  This  has 
almost  supplanted  the  eggs  for  hatching, 
the  majority  of  people  today  buying  one- 
day  old  chicks.  On  Long  Island  I  found 
quite  a  few  large  chick-producers,  the 
smallest  producing  and  selling  15,000  and 
the  largest,  35,000. 

Baby  chicks  can  be  shipped  200  or  300 
miles  without  risk.  They  ship  better  the 
lirst  day  than  when  three  or  four  days  old, 
as  they  require  no  food  the  first  forty-eight 
hours  of  their  life. 

The  Duck  Industry 

The  most  profitable  branch  of  poultry 
meat  production  is  the  duck  industry. 
Ducks  as  a  rule  command  good  prices  in  the 
market,  and  a  Pekin  duckling,  properly  fed 
and  cared  for,  can  be  made  to  weigh  from 
five  to  five  and  a  half  pounds,  dressed,  at 
ten  weeks  of  age — which  is  the  proper  time 
to  market. 

Very  few  people  have  the  slightest  con- 
ception of  the  size  of  the  duck  industry — 
especially  around  New  York.  In  a  recent 
canvass  of  all  the  duck  plants  on  Long 
Island,  I  discovered  that  the  total  hatch  of 
ducks  during  the  last  season  was  1,163,261. 
The  largest  Long  Island  grower  produced 
100,000,  and  the  next  largest  81,000.  Many 
of  them  raise  from  20,000  to  50,000,  and 
very  few  fall  below  10,000.  They  are  spe- 
cialists, however,  in  this  particular  indus- 
try ;  only  two  of  them  raise  chicks  for  broil- 
ers, and  one  of  these  produced  this  season 
5,000  and  the  other  8,000. 

The  Goose  Trade 

Geese  can  be  raised  cheaply  and  a  good 
profit  made,  if  one  has  a  piece  of  land  with 
natural  advantages — that  is,  low,  marshy 
ground,  where  there  is  a  continuous  growth 
of  tender  young  grass.  Goslings  properly 
fed  and  cared  for  up  to  a  marketable  age, 
which  is  about  nine  to  twelve  weeks,  can  be 
made  to  show  one  pound  for  every  week  of 
their  lives.  The  goose  industry  is  not  car- 
ried on  much  in  the  vicinity  of  New  York, 


but  through  the  New  England  States,  and 
especially  in  and  around  Rhode  Island,  it 
has  reached  a  considerable  development. 

Turkeys 

The  turkey,  which  is  such  a  popular  bird 
at  this  season  of  the  year,  may  also  be  a 
source  of  profit  to  the  poultry-grower.  To 
quote  Mr.  Boyer  again — "Ever  since  1585 
the  turkey  has  been  recognized  as  an  ideal 
table  fowl  for  the  Christmas  feast.  Years 
afterward,  when  a  Thanksgiving  Day  was 
proclaimed,  it  became  the  center  of  attrac- 
tion for  those  dinners. 

"The  turkey  still  retains  much  of  its  wild 
nature,  and  is  the  last  of  our  poultry  to  be- 
come domesticated.  Its  natural  food  is  in- 
sects, grass  and  seeds  as  found  on  a  range 
through  a  rough  woodland.  The  Rhode 
Island  and  Connecticut  turkeys  feast  on 
chestnuts,  which  impart  a  very  attractive 
flavor. 

"There  are  seven  varieties  of  turkeys,  of 
which  the  bronze  is  the  largest  and  most 
popular,  the  adult  cock  bird  weighing  thirty- 
six  pounds.  The  other  varieties  follow  in  this 
order:  Narragansett.  Bourbon  Red,  White 
Holland,  Black,  Buff  and  Slate. 

"Turkeys  cannot  stand  confinement. 
They  must  have  range  and  be  taught  to 
come  home  at  night  to  roost. 

"For  marketing  they  are  bled  from  the 
mouth  and  are  then  dry  picked  and  packed 
in  barrels,  with  or  without  ice,  according  to 
the  condition  of  the  weather.  Corn  is  the 
great  fattening  food." 

Guinea  Fowl 

As  a  word  of  warning  to  the  amateur,  it 
may  be  added  that  guinea  hens  are  not  apt 
to  be  a  satisfactory  investment.  They  are 
difficult  to  care  for,  noisy  to  have  around 
the  place,  and  usually  the  mortality  of  the 
flock  eats  up  all  the  profits. 

Incubators 

The  poultry-raiser  who  uses  incubators 
should  start  them  in  January  and  continue 
until  August.  The  most  satisfactory  re- 
sults are  obtained  in  a  cellar  about  five  feei 
deep,  as  this  gives  a  more  uniform  temper- 
ature than  a  room  on  the  surface.  The 
cellar  shown  in  one  of  the  accompanying 
photographs  contains  thirty-two  incubators, 
each  of  which  holds  300  duck  eggs.  This 
room  is  part  of  a  large  duck  plant  at 
Speonk,  Long  Island,  shown  in  the  lower 
l)icture. 


330 


YOUR  OWN   HOME 


YOUR  OWN  HOME:  TWELVE 
LESSONS  IN  PRACTICAL 
HOUSE  CONSTRUCTION:  NO. 
ONE,  THE  HOUSE  AND  ITS 
SITE 

(Continued  Jrom  page  .'Sj. I 

features  will  be  discussed.  Photographs  of 
open  fireplaces  and  cozy  inglenooks,  roomy 
window-seats  and  staircases  will  give  an 
idea  of  the  varied  decorative  effects  and 
lasting  comfort  that  can  be  embodied  in  the 
home  interior. 

Advice  will  be  given,  too,  upon  the  urgent 
questions  of  plumbing,  lighting  and  heating, 
with  reference  to  the  most  efficient  modern 
methods  and  apparatus.  Here,  too,  plans, 
diagrams  and  photographs  will  add  to  the 
helpfulness  of  the  text. 

The  planning  and  equipment  of  a  model 
kitchen  will  be  a  chapter  of  interest  to  the 
housewife  who  wishes  her  new  home  to  be 
as  satisfactory  as  possible  in  this  important 
respect.  Especially  shall  we  consider  the 
needs  of  the  woman  who  does  her  own 
work,  and  who  wishes  to  so  arrange  her 
kitchen  and  so  plan  her  duties  as  to  elim- 
inate all  unnecessary  friction  and  reduce  the 
household  problems  to  their  simplest  terms. 

Particular  emphasis  will  be  laid  upon  the 
planning,  furnishing  and  decorating  of  the 
nursery,  which  will  be  treated  from  the 
triple  standpoint  of  comfort,  hygiene  and 
beauty.  Views  of  attractive  modern  nin-ser- 
ies  and  playrooms  will  suggest  various  sat- 
isfactory arrangements;  photographs  of 
new  and  delightful  furnishings  and  toys, 
designs  for  nursery  friezes,  wall  panels, 
screens  and  draperies  will  open  up  fascinat- 
ing possibilities  for  the  development  of 
decorative  schemes  and  color  combinations, 
and  will  suggest  countless  quaint  and  hu- 
morous ways  of  using  the  bird,  animal  and 
flower  motives  and  the  Mother  Goose  char- 
acters that  children  always  love. 

The  garden,  also,  will  be  a  subject  for 
interesting  discussion.  Its  planning  with 
relation  to  the  house  :  the  planting  of  flower, 
fruit  and  vegetable  plots:  the  laying  out  of 
walks  and  terraces ;  the  building  of  walls 
and  garden  entrances,  pergolas,  summer- 
houses,  arbors,  rustic  seats  and  other  in- 
viting features  which  make  the  ])lace  so 
friendly  and  livable.  T^ictures  will  be 
shown  of  many  gardens,  old  and  new.  for- 
mal and  informal,  broad,  imposing  grounds 
of  country  homes  and  manors,  and  small 


intimate  gardens  for  tiny  cottage  homes; 
gardens  for  plain,  hillside  and  valley,  for 
narrow  town  or  suburban  lots,  for  wood- 
land, mountain,  lake  and  seashore — gar- 
dens, in  short,  of  rich  enough  variety  to 
appeal  to  all  sorts  of  individual  tastes  and 
to  suit  widely  divergent  local  needs. 

In  preparing  these  articles,  we  shall  be 
interested  to  hear  from  any  of  our  readers 
who  may  have  suggestions  to  oiifer  on  some 
particular  phase  of  home  or  garden-making 
in  which  experience  has  made  them  wise ; 
and  those  who  have  achieved  unusually 
beautiful  and  satisfactory  results  in  any 
of  the  features  outlined  above  are  invited 
to  send  us  whatever  facts  and  photographs 
they  think  might  prove  of  interest  and  ser- 
vice to  other  Cr.\ftsman  readers.  In  this 
way,  the  benefits  they  have  gathered  from 
their  own  experiments,  and  the  comfort, 
convenience  and  beauty  they  have  obtained 
in  their  own  home-making  adventures,  may 
afford  help  and  inspiration  to  other  pilgrims 
and  pioneers  starting  on  a  similar  quest. 
Choosing  the  Site 

The  first  thing  to  be  considered,  of 
course,  is  the  choice  of  location  and  site — a 
matter  on  which  few  rules  can  be  given,  for 
it  must  be  determined  mainly  by  individual 
preference  and  circumstances.  Happy  the 
man  or  woman  who  does  not  feel  obliged  to 
build  in  the  narrow  confines  of  a  town  or  on 
some  suburban  tract,  where  the  limited 
imagination  of  a  real-estate  development 
com])any  has  marked  off  the  land  in  geo- 
metric fashion,  with  checkerboard  streets 
and  gardens,  and  where  the  houses  all  seem 
to  have  been  methodically  cast  in  the  same 
unoriginal  mold.  Such  monotonous  pre- 
cision of  surroundings  must  be  reflected, 
surely,  in  the  lives  of  those  who  dwell  with- 
in that  constant  influence.  For  how  can  we 
expect  to  develop  characters  of  personality, 
initiative  and  interest  when  the  eye  is  con- 
tinually registering  impressions  that  are  ut- 
terlv  lacking  in  individuality  and  devoid  of 
natural  charm?  We  know — alas,  too  well! 
— those  rows  of  prim,  symmetrical  houses, 
or  carefully  leveled,  tree-shorn  land,  fac- 
ing a  street  of  unimpeachable  straightness. 
They  may  deserve  some  credit  for  their  neat 
appearance,  but  they  fail  lamentably  in  im- 
aginative appeal.  There  is  no  element  of 
surprise ;  we  know  beforehand  just  what 
to  expect  in  street  and  house  and  garden. 
.'\nd  we  feel  instinctively  that  the  people, 
too,  must  bear  the  subtle  but  unmistakable 
imprint  of  their  uninspiring  environment. 


YOUR  OWN  HOME 


Contrast  with  that,  a  landscape  m  which 
Nature  is  still  the  controlling  spirit  of  the 
place— a  colony  in  which  human  habitation 
has  added  to  rather  than  diminished  the 
original  loveliness.  How  friendly  and  in- 
formal are  irregular  groups  of  individual 
homes  scattered  among  winding  roadways, 
nestling  against  rugged  hillsides,  sloping 
down  to  lake,  river  or  shore,  or  peeping 
out  from  among  the  trees!  Every  unex- 
pected bend  and  corner  opens  up  some  new 
vista ;  every  little  hill  or  clump  of  shrubbery 
or  bit  of  woodland  suggests  the  delights  that 
lie  beyond.  Each  house,  too,  as  one  comes 
upon  'it,  holds  its  own  message  or  invitation, 
and  proclaims  in  its  own  quiet  but  convinc- 
ing fashion  the  ideals  of  those  who  planned 
and  built  it  as  a  part  of  this  particular  spot. 
And  when  we  remember  the  hardy,  enter- 
prising, courageous  type  of  people  nearly 
always  to  be  found  in  a  rugged  natural  land 
— the  old  Scotch  Highlanders,  for  instance, 
the  Swiss  or  Norwegian  peasants  and 
craftsmen,  or  the  early  settlers  of  our  own 
New  England— we  cannot  help  feeling  that 
the  qualities  which  found  expression  in 
their  lives  and  work  were  in  some  measure 
due  to  the  wildness  of  their  surroundings 
and  the  simple  individuality  of  their  homes. 
These  helped  to  breed  in  them  a  spirit  of 
sincerity,  originality  and  daring  that  a  con- 
ventionalized environment  and  "ready- 
made"  architecture  would  have  spoiled. 

In  choosing  the  location  for  one's  home, 
therefore,  it  is  well  to  keep  these  things  in 
mind,  and  to  seek  some  spot  that  has  been 
allowed    to    retain     its    natural    beauty — 
whether  in  the  form  of  rocks,  trees,  slopes 
or  hollows.      It   may   be  necessary   to   cut 
down  a   few  trees  to   make  room   for  the 
house,  or  the  ground  may  need  a  little  grad- 
ing if    it   is   too   steep    for   comfort.      But 
usually,  the  more  irregular  the  site.  t\v-  more 
attractive  both  home  and  garden  will  be. 
Hous?:hold  and  Landscape 
The  wise  home-maker,  moreover,  instead 
of  erecting  upon  the  chosen  ground   some 
arbitrarily  designed  house,  will  conform  his 
dwelling  to  the  landscape  and  let  the  nature 
and  contour  of  the  site  suggest  the  type  of 
building   most    harmonious.     For    instance, 
beside  the  sea-shore  or  on  a  level  or  rolling 
plain,  a   low-roofed  wide-eaved  bungalow, 
set  close  to  the  soil,  will  look  most  in  keep- 
ing.    For  a  steep  mountainside  the  house 
should  nestle  against  the  slope  of  the  hill, 
with  terraced  garden  to  link  it  more  closely 
to  its  surroundings.    When  placed  on  knoll 

332 


or  hilltop,  it  should  conform,  in  roof  Hnes 
and  general  shape,  to  the  lines  of  the  hill, 
seeming  to  crown  and  complete  the  eleva- 
tion. And  where  the  environment  is  less 
rugged,  and  there  arc  other  houses  nearby, 
these  must  be  considered  also,  and  a  style 
of  building  evolved  that  will  fulfil  the 
owner's  requirements  in  a  practical  and 
beautiful  fashion  without  appearing  too 
self-assertive  or  too  different  from  its 
neighbors. 

Choosing  the  Materials,  Etc. 
The  site  will  often  suggest,  besides,  the 
materials  of  which  the  house  is  to  be  built. 
Woodland  surroundings,   for  example,  de- 
mand a  more  or  less  rustic  form  of  con- 
struction—logs,   shingles,    or   boards,   with 
possibly  heavy  beams  and  log  pillars,  and 
rustic   structures    for  the  garden.      Where 
the  ground  is  rocky,  the  rough  stone  ex- 
cavated for  the  foundation  can  be  used  to 
advantage   for  the  lower  walls  and   some- 
times for  the  entire  building,  as  well  as  in 
the  garden  walls.     Or  if  the  soil  contains 
sand,  clay  or  gravel,  it  will  supply  one  of 
the  elements  for  cement  construction,  while 
on  reddish  soil  brick  is  always  appropriate. 
Another  point  to  be  considered  is  the  size 
of  the  house  with  relation  to  its  site.   Need- 
less to  say,  the  more  ground  one  can  pur- 
chase, the  better,  for  even  the  most  attrac- 
tive house  will  look  cramped,  and  its  inter- 
esting features  will  be  lost  sight  of  if  the 
lot  is  very  small  and  other  houses  too  near. 
The  further  out  one  gets  into  suburbs  or 
country,  therefore,  the  more  chance  one  has 
of  being  able  to  ''spread  out"  the  new  home 
over  a  comfortably  large  area  without  en- 
croaching too  much  on  one's  income. 

Good  roads,  local  improvements,  the  gen- 
eral character  of  the  neighborhood,  building 
restrictions,  proximity  of  schools,  transit 
facilities,  fire  and  police  protection— these 
are  all  items  to  which  due  consideration 
must  be  given  if  the  enterprise  is  to  be  per- 
manently satisfactory,  and  the  owner  will 
need  to  investigate  for  himself  in  each  case. 
The  illustrations  used  in  this  article  in- 
clude a  wide  variety  of  homes  adapted  to 
many  different  sites,  and  should  prove  of 
considerable  help  to  the  prospective  home- 
maker,  for  in  each  case  the  design  and  plac- 
ing of  the  house  has  been  worked  out  in 
close  relation  to  the  contour  of  the  ground 
and  general  character  of  the  landscape.  In- 
deed, this  collection  of  photographs  illus- 
trates in  a  delightfully  convincing  way  the 
beauty  and  homelike  quality  that  our  mod- 


FEEDING  AND   CARE  OF  LITTLE    CHICKS 


ern  American  architects  are  achieving. 
True,  these  artistic  homes  are  still  the  ex- 
ception rather  than  the  rule ;  but  their  num- 
ber is  constantly  increasing.  And  when 
popular  opinion  is  more  widely  and  en- 
thusiastically awakened,  when  people  realize 
that  comfortable,  beautiful  architecture  is 
within  reach  of  even  the  ver}^  moderate  in- 
come, provided  the  house  is  wisely  planned 
— then  we  may  expect  to  find  in  our  towns 
and  villages,  our  suburbs  and  country  dis- 
tricts, an  interesting  variety  of  individual, 
original  and  attractive  homes. 

FEEDING  AND  CARE  OF  LIT- 
TLE CHICKS 

MR.  FRANK  W.  GAYLOR,  poultry 
expert,  and  author  of  the  article 
on  page  326,  recommends  the  fol- 
lowing method  in  the  feeding  and 
care  of  little  chicks. 

When  twenty-four  to  forty-eight  hours 
old,  they  should  be  placed  in  the  brooder  or 
(if  hen  hatched )  in  the  brood  coop  with  the 
mother  hen.  and  given  their  first  food.  If 
in  a  brooder,  the  brooder  must  have  pre- 
viouslv  been  warmed  and  regulated  to  a 
temperature  of  about  90°.  The  animal  heat 
of  the  chicks  will  raise  this  temperature  to 
about  95°  or  more,  which  is  the  proper 
heat — 90°  to  100° — for  the  first  ten  days. 

Everything  about  the  brooder  must  be 
thoroughly  clean,  and  the  floor  covered 
with  dry,  sharp  sand,  except  under  the 
hover,  where  a  litter  or  bedding  of  cut  clov- 
er should  be  provided.  A  clean  fountain 
that  the  chicks  cannot  get  into  to  get  wet. 
should  be  filled  with  water  that  has  been 
slightly  warmed  and  placed  within  easy 
reach.  The  chill  should  be  taken  oflf  the 
water  for  at  least  a  week,  as  extremely  cold 
water  given  newly  hatched  chicks  is  liable 
to  cause  trouble. 

The  first  feed  should  be  a  good,  clean, 
dry,  grain  chick  food,  with  a  little  chick 
grit  scattered  over  it.  For  the  first  few 
days  this  is  best  fed  on  boards  about  six 
inches  wide  and  fifteen  to  twenty  inches 
long,  with  a  lath  tacked  around  the  edge  to 
form  a  shallow  box  or  tray.  After  that  it 
may  be  fed  in  a  hopper  if  desired.  If  hand 
feeding  is  jireferred,  the  use  of  the  feeding 
board  may  be  continued,  with  a  little  food 
scattered  in  litter  for  them  to  scratch  for. 
Chicks  should  be  fed  four  or  five  times  a 
day  imtil  four  weeks  old,  when  three  times 
is   sufificient.      When   thev  are  five  or  six 


days  old,  grit,  charcoal  and  beef  scrap 
should  be  placed  before  them  in  hoppers 
where  they  can  help  themselves.  The  sup- 
ply should  never  be  allowed  to  run  out. 

At  a  week  old  they  should  be  supplied 
with  green  food  daily  in  the  form  of  let- 
tuce, spinach,  beet  tops  or  sprouted  oats. 
Do  not  feed  hard-boiled  eggs  to  newly 
hatched  chicks.  It  is  better  to  beat  up  a 
raw  egg  until  the  yolk  is  well  broken,  and 
thicken  it  with  stale  bread  crumbs.  The 
chicks  will  relish  this,  and  it  is  an  excellent 
food,  promoting  growth  and  aiding  diges- 
tion ;  whereas  hard-boiled  eggs  impair  di- 
gestion. 

Fresh  water  should  be  provided  twice  a 
day  and  the  fountains  washed  out  daily, 
and  once  a  week  the  fountains  should  have 
a  thorough  cleansing  with  water  in  which  a 
half  pint  of  crude  sanitas  has  been  put  to 
each  two  gallons  of  water.  Use  a  sponge 
for  this  v.-eekly  washing,  and  do  it  thor- 
oughly, as  many  an  epidemic  among  chicks 
can  be  traced  to  unclean  drinking  fountains. 

Little  chicks  should  be  let  out  on  the 
ground  every  day  that  it  is  not  stormy,  after 
they  are  ten  days  old.  In  February  and 
March,  even,  the  snow  should  be  kept  cleared 
from  in  front  of  the  brooder  house  or 
brooders,  and  on  every  pleasant  day  the 
chicks  should  be  let  out.  if  for  no  more 
than  an  hour  or  two  at  midday  when  it  is 
warmest.  Chicks  must  have  access  to  the 
ground  to  thrive  and  do  well.  Much  of  the 
so-called  leg  weakness  in  brooder  chicks  is 
caused  by  being  ofif  the  ground   too   long. 

Shade  during  hot  weather  is  as  necessary 
as  warmth  in  cold  weather.  The  former 
can  be  best  provided  by  low-growing  shrubs 
or  fruit  trees,  or  by  frames  covered  with 
heavy  muslin  and  placed  so  that  the  chicks 
can  get  under  them. 

In  changing  the  food  ration,  do  not  make 
too  radical  a  change,  or  it  may  prove  disas- 
trous. At  about  four  or  five  weeks  of  age 
the  safest  method  is  to  change  from  chick 
food  to  developing  food.  At  first  give  one 
feed  daily  of  the  developing  food  for  a  few 
days,  then  two  feeds  daily,  and  finally  take 
away  the  chick  food  entirely.  The  com- 
position of  the  two  foods  is  such  that  no 
harm  will  result  from  such  a  method. 
Cleanliness,  warmth  (not  too  high  a  tem- 
perature under  the  hover),  freedom  from 
h'ce,  access  to  Mother  Earth  after  they  are 
ten  days  old,  and  the  use  of  a  good  quality 
of  food,  will  insure  the  successful  raising 
of  little  chicks. 


333 


PROTECTING   FLOWERS  FROM  JACK  FROST 


TO  PROTECT  YOUR  FLOWERS 
FROM   JACK  FROST 

WHEN  Jack  Frost  has  visited  the 
garden  and  checked  or  bhghted 
the  vegetation,  the  flower  lover 
will  consider  what  shall  be  done 
for  the  various  plants  and  shrubs.  Jack 
Frost  usually  makes  himself  decidedly  evi- 
dent in  the  vicinity  of  Washington  about 
the  first  of  November,  but  farther  north 
his  arrival  may  be  expected  earlier.  Differ- 
ent plants  demand  different  treatment. 
Such  flowers  as  peonies  and  hollyhocks  will 
come  up  again  the  following  year  if  they 
are  properly  protected  during  the  winter, 
while  others,  like  cannas  and  dahlias,  which 
are  more  accustomed  to  warmer  climes, 
must  have  their  roots  or  bulbs  dug  up  and 
stored  in  a  cellar.  At  this  season  many 
inquiries  come  to  the  United  States  Depart- 
met  of  Agriculture  regarding  the  treatment 
needed  by  different  plants,  and  the  Depart- 
ment's specialists  have  given  the  following 
suggestions  regarding  some  of  them. 

Hardy  Perennials 
Hardy  perennials  that  are  expected  to 
live  through  the  winter,  should  be  covered 
with  a  good  coating  of  manure  or  other 
litter  to  a  depth  of  three  or  four  inches. 
This  in  more  southern  localities  will  hold 
the  frost  in  the  ground  during  the  winter 
and  keep  the  plant  from  alternately  freez- 
ing and  thawing ;  in  more  northern  regions 
the  manure  will  keep  the  plant  from  freez- 
ing to  so  great  a  depth  that  its  water  supply 
would  be  cut  off  and  the  plant  would  perish. 
This  treatment  is  good  for  peonies,  lark- 
spur, hollyhocks,  columbines,  iris,  paltyco- 
dones  and  perennial  poppies. 

Cannas,  Dahlias,  Etc. 

As  soon  as  tlie  tops  of  cannas,  dahlias, 
gladiolas,  caladiums,  and  similar  plants  are 
killed  by  the  frost,  the  roots  or  bulbs  should 
be  dug  and  stored  in  a  cellar,  where  the 
temperature  will  remain  about  55°  and 
should  never  go  below  50'  or  above  60°. 
No  more  earth  should  be  shaken  from  the 
chimps  of  cannas  and  dahlias  than  is  neces- 
sary to  remove  them  from  the  ground.  The 
plants  may  be  placed  on  racks  or  in  slat 
boxes  so  the  air  may  circulate  freely 
through  them.  No  frost  must  reach  the 
roots,  nor  must  they  become  too  warm  or 
dry. 

With  bulbous  plants,  such  as  caladiums, 
gladiolas,  tuberoses,  it  is   desirable  to   re- 

334 


move  all  the  soil  and  dry  them  in  the  open 
air  a  day  or  two  before  storing. 

The  killed  tops  of  all  vegetation  may  well 
be  removed  from  one's  flower  beds  after 
Jack  Frost  has  visited  them.  This  is 
inerely  for  the  sake  of  appearance,  as  it  has 
nothing  to  do  with  making  the  garden  more 
successful  the  coming  season. 
Pansies 

If  pansies  are  expected  to  do  well  in  the 
South  they  must  be  set  out  in  the  fall,  and 
need  the  protection  of  manure  as  do  the 
perennials.  In  the  South,  pansies  make  the 
best  showing  in  the  early  spring,  and  later 
in  the  summer  are  burnt  up  by  the  hot  sun. 
North  of  the  region  from  New  York  City 
to  Springfield,  Illinois,  pansies  do  better  if 
set  out  in  the  spring  than  if  planted  in  the 
fall,  for  in  these  regions  the  flowers  will 
not  be  affected  by  the  strong  sunlight  and 
they  should  blossom  all  summer. 

Geraniums 

The  ordinary  method  of  carrying  gera- 
niums over  the  winter  as  used  by  florists 
is  as  follows : 

A  few  vigorous  young  plants  are  taken 
into  a  conservatory  or  greenhouse  and  cut- 
tings are  taken  from  these  during  the 
winter  from  which  a  new  supply  of  plants 
is  grown  for  spring  use.  The  cuttings  for 
the  spring  supply  should  not  be  made  later 
than  January,  if  good  stocky  plants  are  de- 
sired for  the  next  summer's  use. 

The  ordinary  householder  who  desires  to 
keep  his  or  her  plants  through  the  winter  is 
not  usually  the  possessor  of  a  conservatory 
where  he  can  follow  the  method  outlined 
above.  The  following  suggestions  may 
help  him  to  keep  a  part  of  his  geraniums, 
at  least,  througliout  the  winter  season.  Be- 
fore the  frost  has  killed  the  plants,  dig  up 
the  geraniums  and  place  them  in  a  cool, 
damp  cellar.  This  cellar  should  be  cooler 
than  that  in  which  bulbs  are  kept,  ranging 
in  temperature  from  40°  to  50°  ;  in  other 
words,  such  a  cellar  as  is  suitable  for  stor- 
ing potatoes. 

Tlie  plants  may  be  placed  in  deep  boxes, 
stanriing  up  and  packed  close  together  with 
a  little  dry  soil  about  the  roots.  Geraniums 
are  also  sometimes  hung  up  by  the  roots  on 
the  wall  or  from  the  joists.  In  spring,  the 
tops  of  these  plants  should  be  cut  off  within 
two  or  three  inches  of  the  ground  and  the 
roots  again  j^Ianted.  A  loss  of  half  the 
plants  may  be  anticipated  in  following  this 
procedure. 


OLD-FASHIONED   CHARM   IN   SUBURBAN   HOMES 


BRINGING  OLD-FASHIONED 
CHARM  INTO  MODERN  SU- 
BURBAN  HOMES 

(Coiiliniicd    from    fayc    -'74'.) 

tile  with  stucco  covering  might  be  used 
to  advantage  in  this  house,  as  the  simple 
lines  of  walls  and  roof  would  make  this 
material  very  economical.  The  roof  might 
be  covered  with  white  cedar  shingles,  and 
the  trim  painted  a  light  cream  color,  with 
green  blinds  in  the  second  story. 

The  Colonial  entrance  at  the  center  of 
the  front  leads  into  the  stair  hall,  which  has 
a  coat  closet  on  each  side,  and  which  is 
planned  so  that  it  communicates  easily  with 
all  the  rooms  of  the  first. 
floor.  The  living  room  with 
its  big  fireplace  and  pleasant  | 

FIRST  FLOOR 
PLAN   OF 
COLONIAL 
COTTAGE 
SHOWN   ON 
PAGE  275. 


window  groups  takes  up  tlie  whole  dejith 
of  the  house  on  the  right.  A  bay  efYect  is 
obtained  at  one  end  of  the  room  by  the 
building  of  corner  bookcases.  Opening 
from  this  room  is  a  big  piazza  leading  with 
broad  steps  to  the  garden. 

Communicating    with    the    living    room 
through  a   sash  door  is  the  study,  which 
can  be  reached  also  from  the  main  hall. 
The  dining  room  shows  a  window  treat- 
ment   similar   to   that   in    the 
living  room,  and  opens  like- 
wise onto  a  piazza  that  might 
be  used  as  a  breakfast  porch. 
The  rest  of  the  first  floor  is 
occupied  by  the  kitchen,  pan- 
try and  usual  modern  acces- 
sories, all  convenient  in  their 
arrangement. 

In  the  second  story  the 
staircase  leads  to  a  breakfast 
room,  screened  off  by  columns 


and  arches.  Through  this  room  one  enters 
the  two  principal  bedrooms  in  front,  both 
of  which  contain  fireplaces  and  communicate 
with  open  balconies  that  utilize  the  roof 
space  of  the  piazzas  below.  There  are  two 
smaller  bedrooms  taking  up  the  rear,  and 
two  bathrooms,  while  the  attic  is  big  enough 
to  contain  two  or  three  rooms  and  bath. 

In  the  last  sketch  is  seen  a  suburban  resi- 
dence in  which  have  been  followed  some  of 
the  best  traditions  of  the  Elizabethan  rural 
type  of  architecture.  One  of  the  great 
charms  of  such  old  English  dwellings  was 
the  variety  in  shape,  color  and  arrangement 
of  the  stonework,  and  this  effect  can  be 
attained  by  selecting  carefully  the  most 
interesting  stones  and  laying 
them  in  rugged,  informal  fash- 
ion so  as  to  bring  out  the  rich- 
ness of  texture  and  coloring. 

The  upper  parts  of  the  chim- 
neys are  of  red  brick,  and 
remind  one  of  the  days  when 
English  masons  vied  with  one 
another  in  using  this  material 
in  unique  and  pleasing  forms. 

The  walls  of  the  second  story 
show  a  typical  half  -  timber 
treatment  that  carries  out  the 
structural  lines  of  the  building. 
It  would  be  particularly  inter- 
esting if,  instead  of  using  the 
usual  modern  construction  of 
shallow  planks  nailed  to  the 
surface,  one  could  use  the  real 
old  English  construction,  in 
which  the  solid  timber  was  an 
actual     carrying    part     of     the 


l-XOND  FLOOR  PLAN  OF  COLONIAL  COTTAi; 
HOWN  ON   PAGE  275. 


335 


OLD-FASHIONED  CHARM  IN  SUBURBAN   HOMES 


walls.  In  a  building  of  this  type,  moreover, 
mill  work  should  be  avoided  as  much  as 
possible,  and  replaced  by  timbers  hewn  with 
the  axe.  This  would  be  especially  appro- 
priate if  the  house  were  built  in  a  thickly 
wooded,  mountainous  part  of  the  country, 
where  timber  could  be  had  for  the  cutting, 
and  where  a  mill  was  out  of  convenient 
reach. 

The  shingles  are  laid  in  irregular  widths. 


In  a  building  of  this  sort,  it  will  be 
noticed,  any  deviation  from  symmetry  and 
severely  straight  lines  is  an  advantage.  A 
certain  charming  informality  results  from 
irregular  outlines,  and  for  this  reason  it  is 
often  well  not  to  plan  every  detail  in  ad- 
vance on  the  draughting  board,  or  to  build 
in  strict  accordance  with  the  drawings.  If 
some  of  the  structural  problems  are  solved 
on  the  spot,  and  the  various  details  worked 
out  in  a  more  or  less 
spontaneous  manner,  the 
outcome  is  much  more 
likely  to  have  that  in- 
formal, friendly  quality 
that  is  such  an  appeal- 


py^ZZ'^ 


ing   trait   of    Old 
World  homes. 

The  main  en- 
trance to  this 
house  is  across 
the  terrace,  under 
the  projecting 
gable  of  the  sec- 
ond story,  and 
the  door  opens 
into  a  broad  stair 
hall  with  substan- 


SECOND  FLOOR  PLAN  OF  COLONIAL 
SUBURBAN  RESIDENCE  SHOWN  ON 
PAGE  277. 


fsffcema^  ^/at. 


and  in  the  eaves  and  sides  of  the  gables 
they  are  bent  over,  giving  a  rounded  effect 
and  suggesting  somewhat  the  soft  lines  of 
old-fashioned  thatch. 

336 


tial  oak  trim.  This  hall  passes  through  the 
house  to  the  small  covered  porch  in  the  rear 
that  leads  to  the  formal  garden,  thus  pro- 
viding a  pleasant  vista  through  the  interior. 


OLD-FASHIONED   CHARM   IN  SUBURBAN   HOMES 


FIRST    FLOOR    PLAN    OF    "OLD    ENGLISH" 
SUBURBAN    HOME  SHOWN   ON   PAGE  "278. 


At  one  side  of  the  hall  is  the  main  living 
room  with  its  big  fireplace,  its  groups  of 
leaded  glass  casements,  and  heavy  beamed 
ceiling — all  of  which  remind  one  of  its 
English  prototype.  The  billiard  room,  built 
on  at  an  unexpected  angle,  seems  a  sort  of 
architectural  afterthought,  and  is  reminis- 
cent of  the  old  English  buildings  that  were 
added  to  from  lime  to  time  as  necessity  de- 
manded, in  a  naive  and  unconventional 
manner  that  gave  them  a  peculiar  rambling 
charm.  The  broad  steps  of  the  stairway 
suggest  Jacobean  treatment,  and  recall  the 
days  when  the  staircase  was  given  a  distinct 
structural  dignity,  as  befitted  so  important 
a  feature  of  the  house. 


7^/ra/  K^/hfy-' 


Opening  from  the  living  room  and 
billiard  room  is  a  big  porch  with  either 
stone  or  tile  flooring,  and  having  a  brick 
fireplace  built  behind  the  one  in  the  living 
room. 

On  the  other  side  of  the  hall  is  the  dining 
room,  its  floor  raised  two  steps  above  the 
living-room  level,  and  here  also  a  chimney- 
piece  is  built.  Nearby  is  a  porch  so  con- 
structed that  it  may  be  easily  glassed  and 
used  as  a  sunroom  or  conservatory.  In 
addition  to  the  kitchen  and  pantry,  there  is 
a  combined  sitting  and 
dining     room     for     the 


SECOND   FLOOR    PLAN   OF   "OLD    ENGLISH 
SUBURBAN    HOME  SHOWN   ON   PAGE  278. 


337 


THE  AMERICAN   SANTA   CLAUS  AND  HIS  GIFTS 


FIRST   FLOOR   PLAN   OF  FIELD-STONE  BUNGALOW    SHOWN   ON    PAGE  276, 


servants — which,  in  a  house  of  this  size,  be- 
comes really  a  necessity.    From  the  kitchen 
separate  stairs  lead  to  the  servants' 
rooms  above,  which  occupy  a  wing 
by    themselves.      There    are    four 
family  bedrooms,  two  of  them  con- 
taining   an    open    fire- 
place, and  there  is  also 
a    sleeping   porch    that 
can     be     screened     or 
glassed       as      desired. 
Ihree    bathrooms    are 
provided. 

The  landscape  treat- 
ment around  this  house 
is  an  interesting  exam- 
[jle  of  the  formal  style. 
The  paved  court  at  the 
front  is  bounded  by  a 
clij)ped  privet  hedge, 
and  at  the  rear  is  a 
formal  garden  which 
should  of  course  be 
lid  out  with  special 
reference  to  vistas 
rom  the  doors,  win- 
dows and  porches  of 
the  home — an  impor- 
tant consideration  in 
garden  planning. 


"A 


THE  AMERICAN  SANTA  CLAUS 
AND  HIS  GIFTS 

T  Christmas  play  and  make 
good  cheer,  for  Christmas 
comes  but  once  a  year,"  quoth 
the  old  English  rhymer, 
Thomas  Tusser,  of  sixteenth  century  fame. 
Long  before,  as  well  as  long  after  this  re- 
minder, the  world  has  been  following  the 
couplet's  advice,  and  one  of  its  happiest 
methods  for  such  celebration  is  the  gift 
custom. 

With  December  regarding  us  cheerfully 
from  the  calendar,  with  the  holiday  spirit 
already  brightening  the  windows  of  the 
stores  and  toy  shops,  and  bringing  the  joys 
of  anticipation  into  the  hearts  of  old  and 

Q  young — it  is  high 
time  that  we  be- 
gin    our     annual 

338 


our 

COPPKR  BOOK   ENDS 
FROM  THE  KARL  KIPP 
shop:   an   INTEREST- 
ING COLLECTION  OF 
THIS   WARE  WILL  BE 
FOUND  IN  THE  CRAFTS- 
.  MAN  BUILDING. 


COPPER   SMOKING   SET   FROM   THE   KARL   KIPP   STUDIOS. 

conspiracy  with  Santa  Claus.  Some  of 
us  arc  fortunate  enough  to  have  leisure  to 
work  into  each  gift  the  friendship  that  is  in 
our  thoughts.  But  there  are  many  whose 
busy  lives  cannot  make  space  for  this  holi- 
day luxury.  Yet,  even  in  the  presents  that 
one  buys,  there  is  so  much  chance  for  the 
exercise  of  individual  taste,  and  such  end- 
less variety  to  choose  from,  that  the  de- 
light of  selection  almost  equals  that  of 
actual  making. 


THE   AMERICAN  SANTA   CLAUS  AND   HIS   GIFTS 


COPPEK  JEWEL  CASE  UE.SIC.NI-U  V.\    KAKI.   KIPP. 

This  season,  the  world  of  Christmas 
gifts  appears  more  entrancing  than  ever 
before.  Toy  makers,  pubhshers,  potters, 
jewelers,  artists  and  craftsmen  of  every 
kind,  seem  to  have  put  forth  their  finest 
and  most  enthusiastic  eflforts,  and  so  many 
beautiful  and  ingenious  things  confront  one 
that  it  becomes  difficult  to  choose. 


M.-VVO.V- 
XAISE  SET 
OF  STERLI.NC 
SILVER, 
FROM  THE 
KARL  KIPP 
SHOP. 


And  _\-et,  tliroughuui  ail  this  variety  and 
gaiety  and  color,  it  is  interesting  to  find 
that  there  is  one  dominant  and  significant 
note — namely,  usefulness.  Instead  of  the 
pretty,  frivolous  articles  and  the  fragile 
bric-a-brac  that  were  displayed  on  the 
Christmas  counters  of  a  few  years  ago — in- 
stead of  charming    but    useless    gifts  that 


were  obviously  made  onh' 
for  the  holiday  season, 
and  that  in  a  few  months 
you  were  ready  and  even 
thankful  to  discard — yoi; 
find  today  things  that  are 
both  well  made  and  beauti- 
ful, fashioned  for  real  ser- 
vice, designed  to  stand  thi 
wear  and  tear  of  dail\ 
usage — gifts,  in  short,  that 
will  last. 

Side  by  side  with  thi'> 
practical  Christmas  feel- 
ing, we  find  another  sig- 
nificant element  in  the  gift- 
world  of  today,  that  even 
the  most  ordinary  objects 
have  been  invested  with 
dignity  and  charm.  Things 
that  in  the  past  were  re- 
garded as  merely  useful, 
have  become  beautiful  as 
well.  Simple  trays  and 
boxes,  cake  tins,  tea  cad- 
dies, sugar  jars,  candles, 
these  are  found  in  gay 
forms  and  colors, 
often  with  ciuaint 
and  humorous  de- 
signs, waiting  to 
brighten     s  h  e  1 


WALL  SCONCE  OF 
HAND- WROUGHT 
COPPER. 

toilet   articles — 
and    decorative 


.^.^0 


THE  AMERICAN   SANTA  CLAUS  AND  HIS   GIFTS 


table  or  dresser,  in  kitchen,  dining  room  or 
bedroom,  as  the  case  may  be.  After  all, 
why  should  not  every  article  in  one's  home, 
no  matter  how  prosaic  its  purpose,  be  made 
beautiful  and  interesting  instead  of  dull 
and  commonplace?  And  why  should  not 
the  spirit  of  Christmas  find  its  way,  in  this 
simple,  kindly  fashion,  into  every  nook  and 
corner  of  the  house? 

"Who's  afraid  of  Color?"  asks  the  Forest 
Craft  Guild  —  that  cheerful  society  of 
craftsmen  whose  workshops  are  filled  with 
such  delightful  and  amusing  things.  And 
the  challenge  is 
one  that  is  being 
widely  e  c  h  oed 
all  through  the 
world  to- 
day, in  art, 
fur  nishing, 
I  d  e  c  oration, 
dress  and 
countless 
other    im- 


RUSTIC  G.\TE\VAY,  PORCH  A.NU  GAKDKN  lUKNlSHINCS 
ON  THE  GARDEN  FLOOR  OF  THE  CRAFTSMAN  BUILDING 
— A   DELIGHTFUL   PLACE   FOR    A    CHRISTMAS    SHOPPER. 

portant  branches  of  household  activity. 
Poiret,  the  famous  French  designer,  whom 
all  the  world  accepts  as  an  artist,  says 
only  untrained  children  are  fearless  enough 
to  be  imaginative,  and  daring  enough  to  use 
pure  color.  If 
that   is  so,   then  J^^^  a  wigwam 

BIRD   HOUSE 
OF  TINY  LOGS  : 


recap 


ONE  OF  THE 
MANY  NEW 
AND  UNIQUE 
MODELS  ON 
THI-:  GARDEN 
FLOOR  OF  THE 
CRAFTSMAN 
BUILDING. 


THIS  COZY  BIRD 
HOUSE  MAKES  A 
CHARMING  GIFT 
FOR  THE  GARDEN- 
LOVER. 


t  u  r  1  n  g    some- 
thing   of    our 
lost     c  h  i  1  d- 
courage     and 
imagination ; 

for     cer- 

t  a  i  n  1  y 

color    is 

today 


340 


THE  AMERICAN  SANTA  CLAUS  AND  HIS  GIFTS 


USEFUL  AND 
RICHLY  COLORED 

I.ACQUER  GIFTS 
MADE  BY  THE 
FOREST  CRAFT 
GUILD. 


I 

■    1 
1 

everywhere  in  evidence — flaunting  bold  ban- 
ners of  audacious  orange,  blue  and  purple, 
vermilion,  black  and  green,  over  every  arti- 
cle that  is  capable  of  decoration,  from  elab- 
orate and  costly  furnishings  and  draperies 
down  to  humble  flower-pot  or  tray. 

And  the  result  of  this  riot  of  color  is  a 
freshening  not  only  of  our  homes,  but  of  our 
lives.     This    spontaneous   and   often    naive 


article  cannot,  of  course,  give  any  idea  of 
the  color  beauty  that  is  so  distinctive  a 
feature  of  these  gifts,  they  nevertheless 
prove  what  useful  and  attractive  things 
await  the  holiday  shopper.  And  as  these 
articles  have  been  selected  from  among  the 
many  charming  displays  on  the  various 
floors  of  the  Craftsman  Building,  they  show 
what  a  varied  and  interesting  collection  has 


SBr_z: 


CRAFTSMAN    LETTER   RACK,   BOOK   ENDS   AND  REVOLVING    BOOK   RACK   OF    MELLOW    BROWN    FUMED    OAK,    WHICH 
MAKE   SERVICEABLE   AND   INEXPENSIVE    HOLIDAY   GIFTS   FOR  LIBRARY  DESK   AND   LIVING-ROOM   TABLES. 


outburst  of  color  gives  fresh  impetus  to 
our  minds.  In  the  bold  use  of  pure  pig- 
ment, and  vividly  contrasting  hues,  we  find 
reflected  something  of  the  modern  Zeitgeist 
— the  spirit  of  frankness  and  of  daring,  of 
revolt  against  outward  traditions,  and  read- 
iness for  fresh  adventures  and  experiments 
in  many  fields.  And  today,  when  Christmas 
is  so  near  at  hand,  this  festivity  of  color 
seems,  somehow,  especially  appropriate. 
While  the  photographs  that  illustrate  this 


been  gathered  together  here  for  Craftsman 
friends. 

Among  these  displays  are  found  simple, 
well-made  pottery — Fulper,  Grueby,  Rook- 
wood,  Lenox,  Paul  Revere — sturdy  yet 
graceful  in  design,  rich  in  texture  and  mel- 
low in  tone,  presenting  a  wide  range  of 
choice  for  those  who  wish  some  of  their 
Christmas  ofTerings  to  take  the  form  of 
flower  holders,  nut  bowls,  candlesticks  or 
fern  jars.   And  one  can  readily  imagine  how 

341 


THE  AMERICAN   SANTA   CLAUS  AND  HIS   GIFTS 


OATMEAL  SET,  TEA   SET,   LOAF  SUGAR  DISH,   AND  CHILD  S  BREAD-AND-MILK  SET  OF  LENOX  CHINA:  OTHER  GIFTS 
OF  THIS  NATURE  MAY  BE  FOUND  ON  THE  THIRD  FLOOR  OF  THE  CRAFTSMAN   BUILDING. 


acceptable  these  gifts  would  be  to  those  who 
appreciate  the  value  of  such  useful  and 
decorative  pieces  in  the  home  interior. 

The  copper  ware,  too,  from  the  Karl 
Kipp,  Heintz  and  Forest  Guild  studios,  as 
well  as  from  our  own  Craftsman  shops, 
will  be  found  full  of  interest.  Book  ends, 
vases,  desk  sets,  smoking  sets,  lamps  and 
sconces — it  would  make  a  long  list  to  enumer- 
ate the  diliferent  fittings  into  which  this 
adaptable  material  is  wrought.  And  from 
the  three  studios  just  mentioned,  as  well  as 
from  the  Alchauquin  Studio  and  that  of 
Miss  M.  H.  Peck,  come  also  very  attractive 
handwrought  jewelry,  of  simple  and  dis- 
tinctive designs,  with  colorful  stones  in 
unique  and  craftsmanlike  settings.  Leather- 
work,  basketry,  hand-woven  draperies  of 
durable  texture  and  unusually  attractive 
patterns ;    holiday  cards    and  calendars    of 


HAMMERED  COP- 
PER FITTINGS  OF 
CRAFTSMAN  DE- 
SIGN, THAT  MAKE 
DISTINCTIVE  YET 
INEXPENSIVE 
CHRISTMAS 
PRESENTS. 


original  and  graceful  design — these  are 
likewise  included  in  the  exhibits  of  the 
Craftsman  Building. 

One  of  the  most  enjoyable  features  of 
the  place — so  at  least  our  visitors  tell  us — 
is  the  Children's  Department  on  the  eleventh 
floor,  just  below  the  Restaurant.  This 
unique  room  has  already  been  described  in 
the  magazine,  but  we  cannot  resist  remind- 
ing our  readers  once  more  about  it,  for 
Helen  Speer,  its  manager,  has  been  aiding 
and  abetting  Santa  Claus  in  the  busiest  and 
most  ingenious  manner,  devising  countless 
new  and  humorous  toys  and  furnishings 
with  which  to  stock  that  far-famed  reindeer 
sleigh. 

Miss  Emerson,  too,  is  an  active  Christ- 
mas conspirator,  who  has  brought  together 
innumerable  joyous  surprises  for  the  little 
folks — the  Child  Lore  Library,  and  holiday 
books    from  John  Martin  and  various 
other  publishers ;    pictures    and  cards, 
toys  and  playroom  fittings  that  recall 
with  whimsical  humor  the  days  when 
the    legends   of    Mother    Goose    were 
more  thrilling  and  impressive  than  any 
subsequent  history    book    has  proved. 


342 


THE   AMERICAN   SANTA   CLAUS  AND   HIS  GIFTS 


And  the  Gardencraft  toys  of  Frances  Dun- 
can's also  suggest  another  amusing  and  in- 
structive form  of  nursery  gift. 

In  our  Furnishing  Department  on  the 
third  floor  will  also  be  found  attractive  and 
serviceable  presents  for  the  home — beauti- 
ful willow  furnishings,  pillows,  scarfs,  ta- 
ble linens,  lamps  and  other  necessary  fit- 
tings. And  on  the  eleventh  floor  we  have 
just  brought  together  some  remarkably  in- 
teresting Indian  rugs  and  baskets,  lamp 
shades  and  leather  work,  with  all  the  rich 
coloring  and  wonderful  craftsmanship  for 
which  this  work  is  famed. 

Another  fortunate  addition  to  our  exhib- 
its is  a  collection  of  Copley  prints,  both  in 
sepia  and  in  colors,  framed  and  unframed, 
as  well  as  etchings — from  the  most  mod- 
erate priced  to  the  most  luxurious  pictures. 
These  well-known  reproductions,  which  in- 
clude the  finest  work  of  our  American 
artists,  are  invaluable  in  adding  to  the 
beauty  of  one's  walls,  and  are  particularly 
appropriate  gifts  for  art-lovers. 

Those  whose  minds  run  along  practical 
household  channels  will  find  many  gift  sug- 
gestions among  the  dining-room  and  kitchen 
furnishings,  while  a  visit  to  the  Model 
Kitchen  and  a  chat  with  Miss  Logan,  who  is 
in  charge,  will  prove  full  of  interest  and 
help. 

Then  there  is  the  Garden  Department, 
with  its  fascinating  fittings — -rustic  furni- 
ture, decorated  flower-pots,  jardinieres  and 
other  forms  of  porch  and  outdoor  furnish- 
ings ;  bulbs  and  ferns  and  garden  books ; 
smock  frocks  for  milady  to  don  when  weed- 
ing, planting  or  hoeing  is  to  be  done ;  tiny 
bird  houses  of  wood  and  bark  to  hang  in 


trees  or  rustic  shelters,  and  brightly  painted 
wooden  parrots  to  amuse  the  children  and 
add  a  note  of  vivid  color  among  ferns  or 
branches. 

Another  important  feature  is  the  collec- 
tion of  tool  outfits  on  the  sixth  floor — tool 
boxes,  cabinets,  work  benches,  large  and 
small,  for  grown  man  or  boy.  An  exhibi- 
tion of  beautiful  mirrors  and  picture  frames 
has  also  just  been  arranged  by  Messrs. 
IMacCabe  and  Little,  who  are  ready  to  help 
visitors  with  the  selection  and  designing  of 
appropriate   frames  of  all  kinds. 

A  delightful  display  on  the  eleventh  floor 
likewise  invites  attention,  for  Miss  Morse 
and  Mrs.  Stebbins  have  installed  here  their 
hand-loom,  so  that  visitors  may  watch  the 
actual  weaving  of  lovely  scarfs,  table  run- 
ners and  other  fabrics.  Hemp-fiber  pillows 
dyed  in  wonderful  shades,  decorative  boxes, 
leather  work  and  bead  necklaces  are  in- 
cluded in  this  gift  collection. 

These,  then,  are  the  sort  of  things  you 
find  in  the  Craftsman  Building,  when  you 
visit  it  on  your  Christmas  shopping  tour. 
And,  as  can  be  imagined,  the  displays  in- 
clude so  many  different  objects,  that  one  can 
find  here  almost  everything  that  the  imagin- 
ation of  the  holiday  shopper  can  conceive. 

At  all  events,  a  visit  to  these  exhibitions 
will  prove  a  pleasant  if  not  a  profitable 
pastime,  and  will  convince  you  that  America 
is  quite  capable  of  creating  objects  of  util- 
ity and  beauty  that  will  please  even  the 
most  fastidious  taste.  And  if,  either 
through  correspondence  or  by  personal  vis- 
its, we  can  help  you  solve  your  Christmas 
problems,  our  work  in  gathering  these  dis- 
plays together  will  not  have  been  in  vain. 


A  CORNER  OF  THE  ALCHAUQUIN   STUDIOS:  THE    WOVEN    DRAPERIES,    BASKETS,    LEATHER    WORK    AND    JEWELRY 
MADE   HERE  CAN  BE  FOUND  IN   THE  CRAFTSMAN   BUILDING  AMONG  THE   MANY  OTHER  INTERESTING  DISPLAYS. 

343 


IS  CULTURE  A  COMMODITY? 


ALS  IK  KAN 

IS   CULTURE  A   COMMODITY? 

THE  whole  world  seems  to  be  terri- 
bly stirred  up  these  days  over  a 
single  word — culture.  The  nations 
stop  throwing  bombs  long  enough 
to  claim  its  exclusive  possession,  or  to  deny 
it  to  their  neighbors  and  enemies.  Sud- 
denly it  has  become  a  national  vogue  to 
have  culture,  like  being  the  largest  city  in 
the  world  or  the  greatest  fashion  center. 

There  are  many  definitions  to  this  popu- 
lar word.  Von  Bernhardi,  the  fearless 
German  says,  "War  is  the  greatest  factor 
in  the  furtherance  of  culture."  Ruskin  felt 
quite  differently  about  it.  "Giving  up 
wrong  pleasure,"  said  he,  "is  not  self-sacri- 
fice but  self-culture."  The  dictionary,  to 
which  we  turn  whenever  we  want  to  con- 
tradict any  one,  presents  culture  as  "a  finer 
state  of  mind,  taste  and  morals" — which 
seems  nearer  to  Ruskin  than  to  Von  Bern- 
hardi. In  one  of  the  older  intellectual 
magazines  of  the  month  we  find  a  writer 
who  is  unhappy  because  America  is  "hum- 
ble about  her  culture,"  evidently  feeling 
that  if  it  exists  it  is  worth  advertising. 
And  this  point  of  view  oiTends  a  metro- 
politan newspaper,  which  assures  us  that  a 
person  proud  of  culture  hasn't  got  it. 

All  of  which  has  set  me  to  thinking  a  bit. 
What  is  this  popular  characteristic  which 
every  one  seeks  to  possess  and  which  seems 
to  become  personal  the  minute  it  is  ac- 
quired? 

I  have  wondered  more  than  once  if  after 
all  culture  might  not  really  be  a  man's  own 
development  through  what  he  gives  the 
world  rather  than  tlie  elaboration  of  self 
through  what  he  gets  from  the  world.  It 
seems  to  me  that  an  artist  grows  not  by 
what  he  takes  from  nature,  but  by  that 
which  he  puts  into  his  work  of  himself. 
Painting,  literature,  drama,  all  seem  impor- 
tant and  lasting  to  me  as  an  expression  of 
a  man's  emotion  about  life,  and  I  have 
always  thought  that  art  was  great  or  small 
according  to  the  individual  artist's  ability  to 
get  directly  at  great  truths. 

The  world  is  quarreling  about  culture  be- 
cause it  has  been  accepted  as  an  external 
ornament,  something  to  be  got  outside  of 
one's  self,  even  something  to  be  bought,  and 
the  more  expensive  the  better.  We  have 
imagined  that  culture  was  housed  on 
library  shelves,  that  you  could  acquire  it  by 
the  chapter,  that  it  was  the  distinguished 

344 


possession  of  the  rich  and  idle,  of  the 
student,  the  cloister.  And  of  course  very 
wonderful  things  are  on  the  library  shelf 
and  wise  men  have  walked  through  gray 
cloisters.  But  it  is  the  personahty  of  the 
wise  man  and  of  the  student  who  seeks 
the  library  which  enables  them  to  trans- 
mute what  they  find  through  the  alchemy 
of  their  own  emotions,  before  culture  can 
result. 

Everywhere  the  world  over,  facts  are  but 
the  shell  of  truth,  and  the  kernel  is  only 
found  through  the  emotional  understanding 
of  the  fundamentals  of  life.  It  is  impos- 
sible to  think  profoundly  about  this  matter 
and  not  realize  that  real  culture  must  be 
understanding  illuminated  with  spirituality, 
— that  is  to  say,  a  mere  knowledge  of  given 
conditions,  a  memory  that  holds  all  the 
incidents  of  the  world's  completion,  are  not 
enough ;  all  of  these  things  are  good  and 
make  for  a  strong,  brilliant  background  to 
existence,  but  the  subtle  thing  which  de- 
velops in  a  man  "a  finer  state  of  mind,  taste 
and  morals"  is  a  vision  of  the  great  truths 
which  must  act  as  a  solvent  on  all  the 
material  possessions  of  the  brain. 

Culture  is  far  mightier  than  the  foolish 
mannerisms  that  have  sprung  up  about  it 
(its  false  limbs  as  it  were)  and  which 
really  should  be  lopped  off  if  the  finest 
growth  is  to  be  achieved.  And  so  it  seems 
to  me  so  futile  to  seek  culture,  for  it  is  not 
to  be  found  for  the  mere  looking.  We 
should  aim  ratlier  for  the  conditions  of 
mind,  of  soul  and  body  that  produce  it.  It 
cannot  be  picked  out  of  the  heart  of  a  song, 
from  the  pages  of  a  book,  or  achievement 
of  art,  a  bit  of  scientific  research,  for  it  is  in 
the  soul  of  the  men  who  have  accomplished 
these  things.  It  has  come  to  each  through 
the  struggle  of  his  own  development.  You 
cannot  buy  the  flame  that  inspires  poetry, 
that  is  turned  into  music,  that  lights  up  the 
soul  of  the  painter,  and  this  flame  is  the 
essence  of  culture.  You  may  be  warmed 
by  its  fire,  you  may  be  encouraged  to  de- 
velop your  own  ideals,  you  may  have  your 
confidence  in  the  progress  of  man  restored, 
but  that  is  as  far  as  any  other  man's  culture 
can  help  you. 

As  for  yourself,  you  must  achieve  it 
personally.  It  often  illumines  the  life  of 
the  very  simple,  it  is  often  totally  lacking 
in  the  existence  of  the  successful  and  pre- 
tentious. Least  of  all  is  it  ever  the  essen- 
tial possession  of  a  nation  or  of  any  one 
class  in  a  nation.     It  is  no  more  inevitably 


FAIRY  TALES  AND   OTHERS 


the  right  of  a  king  than  of  a  peasant,  it  is 
not  royal  or  democratic,  antique  or  modern, 
Oriental  or  Western.  It  is  just  a  single 
man's  relation  with  the  universe,  the  gift  to 
one  brother  and  not  to  another,  to  one 
parent  or  one  child.  And  because  it  is  so 
evanescent,  so  subtle,  so  intangible,  we 
have  somewhat  formed  the  habit  of  accept- 
ing its  externals,  not  demanding  its  soul, 
satisfied  with  the  dress  of  culture,  so  easily 
satisfied,  indeed,  that  we  have  almost  for- 
gotten the  realities.  No  man  can  give  you 
culture,  and  neither  man  nor  time  can  take 
it  from  you  once  you  have  found  the  secret 
channels  of  its  attainment. 

And  so  all  this  confusion  and  irritation 
and  unhappiness  as  to  which  nation  is 
really  the  most  cultured  seems  very  futile 
and  unthinking  if  once  we  are  in  contact 
with  the  great  human  beings  who  possess 
and  express  culture  in  all  the  activities  of 
their  lives.  Such  men,  for  instance,  as 
Confucius,  Walt  Whitman,  Richard  Wag- 
ner, Millet, — they  are  of  no  land,  no  station 
in  life ;  they  never  strove  consciously  for 
this  beautiful  possession,  but  lived  close  to 
the  springs  of  life,  accepting  great  truths 
very  simply  and  bearing  them  with  splen- 
did banners  out  to  the  world. 

BOOK  REVIEWS 
FORTY-FOUR    TURKISH    FAIRY 
TALES:  COLLECTED   AND   TRANS- 
LATED   BY    IGNACE    KUNOS:    IL- 
LUSTRATED    BY    WILLY    POGANY 

AROUND  Christmas,  which  is  so  es- 
sentially the  children's  festival, 
even  the  most  staid  and  grown-up 
people  feel  the  lure  of  the  fairy 
tale.  They  recall  with  affectionate  grati- 
tude those  wonderful  days  when  Anderson 
and  the  Grimms — those  wizards  of  the 
imagination — were  their  favorite  authors, 
and  when  they  feasted  for  hours  upon  the 
barbaric  splendors  and  delicious  horrors  of 
the  "Arabian  Nights."  And  now,  at  this 
appropriate  season,  comes  to  us,  old  and 
young,  another  book  of  fairy  legends  that 
bids  fair  to  take  its  place  among  those  well- 
loved  classics  and  to  share  with  them  the 
wide-eyed  wonder  and  rapt  attention  of  the 
little  folk. 

"The  stories  comprising  this  collection," 
writes  Dr.  Kunos,  "have  been  culled  with 
my  own  hands  in  the  many-hued  garden  of 
Turkish  folk-lore.     .     .     .     They  are  such 


as  may  be  heard  daily  in  the  purlieus  of 
Stamboul,  in  the  small  ricketty  houses  of 
that  essentially  Turkish  quarter  of  Con- 
stantinople where  around  the  tandir  the  na- 
tive women  relate  them  to  their  children 
and  friends.  .  .  .  They  are  mostly 
woven  from  the  webs  of  fancy,  in  that  de- 
lightful realm.  Fairy-land,  since  it  is  there 
that  everything  wonderful  happens,  the 
dramatis  personce  being,  as  a  rule,  super- 
natural beings." 

The  pages  of  this  fascinating  volume  are 
indeed  an  interesting  example  of  the  writer's, 
illustrator's,  engraver's  and  printer's  art, 
and  one's  admiration  is  about  equally  di- 
vided between  the  dramatic  and  poetic  qual- 
ity of  the  stories,  and  the  unique,  fantastic 
charm  of  the  pictures,  in  line  and  color, 
which  enliven  almost  every  page.  Here  one 
finds  maidens  and  youths,  garbed  in  the 
picturesque  and  flowing  attire  of  the  Orient, 
radiant  with  that  inimitable  beauty  and 
gifted  with  that  unparalleled  courage  in 
which  the  folk  of  fairy  tales  abound. 
Mighty  dervishes,  peris  and  magicians,  gi- 
gantic "dews"  and  many-headed  dragons, 
figure  largely  among  the  tales.  Magic  cas- 
tles perched  on  unscalable  crags  confront 
the  adventurous  heroes,  while  talking  lions, 
flying  horses  and  similar  fanciful  creations 
appear  and  vanish  in  the  casual  but  start- 
ling manner  that  seems  to  be  one  of  the 
prevailing  traits  of  legendary  beasts. 

In  fact,  the  stories  combine  the  usual  in- 
congruous ingredients  that  all  true  wonder 
tales  should  hold — and  at  the  same  time 
both  text  and  pictures  are  full  of  originality, 
rich  in  whimsical  humor,  and  brimming 
with  those  romantic  impossibilities  which 
only  the  childlike  mind  of  a  primitive  and 
mystery-loving  people  could  have  con- 
ceived. 

As  a  Christmas,  New  Year  or  birthday 
gift,  this  book  will  bring  joy  to  many  youth- 
ful hearts,  and  older  eyes  will  find  its  decor- 
ative contents  a  source  of  genuine  delight. 
(Published  by  Thomas  Y.  Crowell  Com- 
pany, New  York.  363  pages,  profusely  il- 
lustrated. Price  in  cloth,  $3.00  net;  in 
leather,  $6.00  net.     Postage  30  cents.) 

THE  RAFT:  BYCONINGSBY  DAWSON 

MR.  DAWSON  is  already  well  known 
to  a  wide  circle  of  readers.     In  his 
short  stories,  his  essays,  and  his  first 
novel,  "The  Garden  Without  Walls,"  they 
have  found  an  unusually  broad  understand- 
ing of  human  nature,  a  quiet  humor,  a  deep, 

345 


FAIRY  TALES  AND  OTHERS 


sympathetic  quality,  and  a  frank  recogni- 
tion of  facts  combined  at  the  same  time 
with  a  certain  fine  idealism.  And  all  these 
one  finds  in  "The  Raft." 

The  story  starts  with  an  interesting  con- 
trast in  temperament,  presented  by  the  two 
girls — Jehane  and  Nan — whose  matrimonial 
experiences  form  the  two  main  threads  of 
the  book.  Their  common  predicament  is 
put  into  a  few  outspoken  words  by  the 
former,  when  she  says:  "We  girls  are 
adrift  on  a  raft,  and  we  can't  swim.  Over 
there's  the  land  of  marriage  with  all  the 
little  children,  the  homes  and  the  husbands. 
Unless  some  of  the  men  see  us  and  put  oflf 
in  boats  to  rescue  us,  we'll  be  caught  in  the 
current  of  the  years  and  swept  out  into  the 
hunger  of  mid-ocean." 

The  first  part  of  the  book  is  full  of  in- 
terest and  promise,  suggesting  possibilities 
for  unusually  dramatic  situations  and  psy- 
chological developments.  But  the  succeed- 
ing chapters  are  disappointing.  True,  these 
two  women,  their  husbands  and  children, 
and  the  various  minor  characters,  are  all 
drawn  in  skilful,  sympathetic  manner,  and 
the  pages  are  rich  in  understanding  com- 
ments on  human  nature,  in  whimsical  and 
tender  passages,  and  in  romantic  appeal. 
But  one  feels  a  certain  confusion,  a  lack  of 
unity.  The  book  reminds  one  of  a  picture 
in  which  each  separate  detail  is  full  of  color 
and  charm,  but  which  lacks  the  essential 
quality  of  composition  that  alone  can  make 
its  message  clear.  (Published  by  Henry 
Holt  &  Company,  New  York.  466  pages. 
Price  $1.35  net.) 

THE  GYPSY  TRAIL:  AN  ANTHOL- 
OGY FOR  CAMPERS:  COMPILED 
BY  MARY  D.  HOPKINS  AND 
PAULINE   GOLDMARK 

THE  very  spirit  of  the  open  is  in  this 
inviting  little  book,  with  its  friendly, 
well-chosen  verses — some  of  them  old 
and  familiar,  and  many  of  them  new. 
Those  who  love  the  winding  trail  and  the 
gypsy  campfire,  the  beckoning  highways 
and  quiet  lanes,  deep-shadowed  woodlands, 
lifting  hills  or  sandy  shore — will  find  here 
almost  every  phase  of  Nature  interpreted 
in  some  poet's  Hues.  It  is  the  sort  of  book 
one  can  slip  companionably  into  one's  pocket 
and  take  out  during  a  pleasant,  lazy  hour 
under  the  trees,  beside  the  riverbank — 
wherever  the  wanderlust  calls  one. 

Shakespeare,  Browning,  Tennyson,  Keats, 

346 


Shelley,  Wordsworth  and  other  English 
poets  are  represented,  while  Emerson,  Walt 
Whitman,  Stevenson,  Bliss  Carman  and 
Hamlin  Garland  are  among  the  American 
names.  A  few  appropriate  extracts  from 
the  German,  French  and  Latin  are  also 
given.'  (Published  by  Mitchell  Kennerley, 
New  York.     385  pages.     Price  $1.25  net.) 

THE  AMERICAN  BOYS'  WORK- 
SHOP: EDITED  BY  CLARENCE  B, 
KELLAND 

IT  would  be  difficult  to  imagine  a  more 
welcome  holiday  gift  for  the  boys  of 
America  than  this  interesting,  practical 
and  comprehensive  book.  Every  conceivable 
phase  of  boyish  activity  seems  to  be  repre- 
sented between  its  covers,  and  the  lad  who 
loves  to  make  things  with  his  own  hands 
and  tools — and  what  youth  does  not? — is 
sure  to  find  the  volume  a  source  of  endless 
help  and  inspiration  in  outdoor  and  indoor 
work  and  play. 

The  first  part  is  devoted  to  "The  Outdoor 
Boy  in  Summer,"  and  directions  are  given 
for  the  making  of  various  forms  of  camp 
equipment.  Then  comes  the  building  of  a 
log  cabin,  and  after  that  the  needs  of  the 
boy  fisherman  are  considered,  and  the 
youthful  enthusiast  is  told  how  to  make  his 
own  fishing  rod,  minnow  trap,  fish  wheel, 
marine  telescope  and  other  devices. 

"The  Aquatic  Boy"  is  the  subject  of  the 
next  few  chapters,  and  here  are  described' 
the  building  and  management  of  a  flat- 
bottom  row  boat,  canoe,  sail  boat,  punt,  etc. 
Swimming  instructions  are  also  given. 

"The  Outdoor  Boy  at  Home"  is  shown 
next  how  to  build  a  sail  cart,  coaster,  wheel- 
barrow, aeroplane,  kite,  gymnasium  and 
dozens  of  other  articles  for  utility  and 
sport.  Under  the  heading  of  "The  Outdoor 
Boy  in  Winter"  is  discussed  the  making  of 
sleds,  ice  boats  and  other  articles. 

Countless  forms  of  indoor  activity  are 
described — the  making  and  equipment  of  a 
workshop  and  workbench,  the  designing  and 
constructing  of  furnishings  and  fittings, 
gymnasium  apparatus,  toys  and  gifts  of 
many  kinds,  while  the  book  concludes  with 
a  few  chapters  on  rope  work,  including  the 
making  of  a  hammock. 

As  every  subject  is  handled  by  an  ex- 
pert, and  supplemented  with  innumerable 
sketches  and  working  drawings,  each  page 
is  as  practical  as  it  is  interesting.  (Pub- 
lished by  David  McKay,  Philadelphia.  336 
pages,  well  illustrated.     Price  $1.25.) 


FAIRY  TALES   AND   OTHERS 


GARDEN  ENTRANCE  Tu  BUKLtlliH,  HOWARD  COUNTY,  MARYLAND  :  ONE  OF  THE  STATELY,  BEAUTIFUL  OLD  HOME- 
STEADS ILLUSTRATED  IN  "COLONIAL  MANSIONS  OF  MARYLAND  AND  DELAWARE,"  PUBLISHED  BY  J.  B.  UPPIN- 
COTT   COMPANY. 

COLONIAL  MANSIONS  OF  MARY- 
LAND AND  DEL !\^ WARE:  BY  JOHN 
MARTIN   HAMMOND 


IN  this  well-illustrated  volume  are  pre- 
sented photographs  and  historical  de- 
scriptions of  many  old  and  picturesque 
Colonial  homes,  of  interest  not  only  to  the 
folks  of  their  locality  but  to  all  architects 
and  students  of  this  classic  type.  The  ma- 
terial was  gathered  from  personal  visits  and 
studies  at  first  hand,  and  much  of  the  liter- 
ary matter  has  come,  as  the  author  says, 
"from  private  papers  and  from  the  recollec- 
tions of  the  older  generation  of  the  descend- 
ants of  builders  of  Maryland  and  Delaware 
mansions."  The  chapters,  therefore,  con- 
.  tain  much  human  as  well  as  architectural 
and  historical  interest. 

The  photographs  are  by  Mr.  Hammond 
himself,  and  the  ones  reproduced  here  give 
some  impression  of  the  beauty  of  those 
stately  dwellings,  with  their  dignified  yet 
friendly  entrances,  their  stately  columns, 
their  winding  stairways,  spacious  rooms 
and  ample  hearths.  As  a  record  of  their 
history  and  traditions,  the  book  deserves  a 
place  among  the  annals  of  American  archi- 
tecture. (Published  by  J.  B.  Lippincott 
Company,  Philadelphia.  294  pages,  65  illus- 
trations.    Price  $5.00  net.) 


CHATS  ON  OLD  COPPER  AND 
BRASS:  BY  F.  W.  BURGESS 

LOVERS  of  the  old,  the  curious  and  the 
beautiful  will  find  in  this  plump  and 
fascinating  volume  a  wealth  of  crafts- 
man's lore.  Fact  and  fiction,  history  and 
legend,  technique  and  romance  rub  elbows 
in  the  carefully  and  pleasantly  written 
pages.  Delightful  and  unsuspected  vistas 
are  opened  up  into  the  past  of  the  ancient 
metal-working  art. 

In  the  illustrations  of  antique  bronzes 
from  Greece,  Rome  and  the  East,  one  reads 
something  of  the  lives  of  those  early  peo- 
ples. A  bronze  buckler  from  the  Thames 
Valley  conjures  visions  of  the  Britons  of  a 
prehistoric  day ;  caldrons  and  urns  of  sur- 
prising preservation  and  strangely  appeal- 
ing beauty  bring  us  echoes  of  the  Age  of 
Bronze  and  its  primitive  happenings,  while 
a  couvre  de  feu  of  brass  recalls  the  times 
when  fires  were  covered  at  the  curfew's 
toll.  Weathercocks,  door-knockers,  lamps 
and  candlesticks  of  odd  designs  show  what 
skill  and  love  of  decoration  existed  far 
earlier  than  we  are  wont  to  imagine.  And 
always  we  find  these  metal  objects  and  fit- 
tings closely  related  to  the  hearth  and  home. 
The  massive  long-handled  saucepans,  the 
carved  brass  well-bucket,  the  foot  and  hand 

347 


FAIRY  TALES   AND   OTHERS 


^^       "s,           v^l^,       ' 

.    '\ 

1 

j> 

^^^^^B^^^^^^^ni^^Wn^Qg 

y' 

1 
1 

'^ 

mm 

m 

■%   ,.  ■' 

"•tffi  ■'■ 

':i«^^: 

CLASSIC  ENTRANCE  TO  BELMONT,  "tHE  ANCIENT 
STRONGHOLD  OF  THE  DORSEYS  AND  HANSONS,"  IN 
MARYLAND:  FROM  "COLONIAL  MANSIONS  OF  MARY- 
LAND AND  DELAWARE." 

warmers  of  unique  pattern,  the  measuring 
cups,  lanterns  and  candle-molds — all  show 
how  closely  interwoven  was  the  craft  work 
of  olden  days  with  simple  household  needs 
and  customs. 

For  the  collector  this  volume  is  full  of 
interest  and  information ;  but  its  appeal  is 
by  no  means  limited  to  the  connoisseur.  Its 
pictured  treasures  will  be  equally  appre- 
ciated by  all  who  wish  to  widen  their 
knowledge  in  this  delightful  field  of  work- 
manship. (Published  by  Frederick  A. 
Stokes  Company,  New  York.  394  pages. 
Well  illustrated.    Price  $2.00  net.) 

EVERY  MAN  HIS  OWN  MECHANIC: 
BY  JOHN   BARNARD 

(4  A  COMPLFTE  Guide  for  the  Ama- 
X\.  teur  to  all  Constructive  and  Decora- 
tive Work"  is  the  subtitle  of  this 
very  practical  volume.  As  the  author  ex- 
plains, it  is  put  forth  not  as  a  text-book  for 
skilled  craftsmen,  but  rather  as  a  guide  to 
those  who  are  inexperienced  and  therefore 
stand  in  need  of  advice  and  assistance.  The 
book  is  carefully  and  clearly  written,  and 
illustrated  with  photographs  and  drawings 

348 


that  show  the  various  kinds  of  tools  and 
machines  and  the  correct  manner  of  using 
them.  Different  forms  of  construction,  and 
articles  for  indoor  and  outdoor  home  equip- 
ment are  likewise  shown. 

The  first  part  of  the  book  is  devoted  to 
household  carpentry  and  joinery,  including 
the  various  woods  and  their  uses,  the  work- 
bench with  its  tools  and  fittings.  The 
second  part  takes  up  ornamental  and  con- 
structional woodwork — wood-turning,  fret- 
work, veneering,  inlaying,  marquetry,  carv- 
ing, as  well  as  the  making  of  windows, 
doors,  gates,  fixtures  and  furnishings  for 
both  home  and  garden.  The  last  part  is 
entitled  "Household  Building  Art  and 
Practice,"  and  here  will  be  found  practical 
advice  on  the  many  problems  of  building — 
excavating,  bricklaying,  masonry,  roofing, 
plastering,  metal  work,  plumbing,  and  gas- 
fitting;  also  bell-hanging,  painting,  paper- 
hanging,  and  glazing. 

For  those  who  contemplate  taking  up 
any  of  these  branches  of  work,  the  book 
should  prove  a  very  helpful  guide.  (Pub- 
lished by  Frederick  A.  Stokes  Company, 
New  York.  485  pages,  illustrated.  Price 
$1.50  net.) 

GARDEN  BOOKS  FOR  XMAS  GIFTS 

For  sale  on  the  Fifth  Floor  of  the  Craftsman 
Building  6  E.  39th  St. 

The  American  Flower  Garden,  Neltje  Blanchan, 
$1.50;  Colour  Schemes  for  the  Flower  Garden, 
Gertrude  Jekyll,  $3.75;  Gardens  in  the  Making, 
Walter  H.  Godfrey,  $2.00;  Gardens  Near  the  Sea, 
Alice  Lounsberry,  $4.20 ;  The  Garden  at  Home, 
H.  H.  Thomas,  $2.00;  The  Ideal  Garden.  H.  H. 
Thomas,  $2.00;  The  Amateur  Garden,  Geo.  W. 
Cable,  $1.50;  The  Home  Garden,  Eben  E.  Rex- 
ford,  $1.25;  The  Garden  Book  for  Young  Peo- 
ple, Alice  Lounsberry,  $1.25;  The  Happy  Garden, 
Mary  Ansell,  $2.00;  The  Small  Country  Place, 
Samuel  T.  Maynard,  $1.50;  How  to  Plan  the  Home 
Grounds,  Samuel  Parsons,  Jr.,  $1.10;  Garden 
Planning,  W.  S.  Rogers,  $1.10;  Garden  Profits, 
E.  L.  D.  Seymour,  $1.10;  Cassell's  A.  B.  C.  of 
Gardening,  Walter  P.  Wright,  $1.25;  Wall  and 
Water  Gardens,  Gertrude  Jekyll,  $3.75 ;  The  Her- 
baceous Garden,  Alice  Martineau,  $2.75 ;  The 
Hardy  Flower  Book,  E.  H.  Jenkins,  $1.00;  Our 
Garden  Flowers,  Harriet  L.  Keller,  $2.00 ;  A  Gar- 
den of  Simples,  Martha  B.  Flint.  $i..so;  Vines  and 
How  to  Grow  Them,  Wm.  C.  McCoUom,  $1.10. 


We  regret  to  say  that  an  error  crept  into 
The  Craftsman  of  November,  page  181, 
in  the  statement  that  Miss  Irene  Eastman, 
daughter  of  Dr.  Eastman,  "was  a  graduate 
of  I-Jampton  College."  She  is  an  interpre- 
tive singer  of  Indian  music,  but  has  received 
her  training  in  the  schools  of  Amherst  and 
Springfield,  Mass. 


■I   Gi-oiif  for  the  Court  of  the   Vnivc 
at   the   I'lituima-Pacific   Evhihilion. 


"thk      genius      of      creation: 

DANIEL  CHESTER   FRENCH,   SCULPTOR. 


THE  CRAFTSMAN 

PUBUSHED    BY    THE    CRAFTSMAN    PUBUSHING    CO. 
VOLUME  XXVn  JANUARY,  1915  NUMBER  4 


BY  WILL  LEVING 


THE  TEST  OF  AMERICA 
TON  COMFORT 

"^MERICA  has  always  been  considered  the  child  of 
Europe,  but  the  time  is  at  hand  for  the  child  to 
become  the  father.  The  nations  of  Europe  are 
fighting  for  themselves,  and  they  do  not  see  clearly 
yet  that  they  are  destroying  themselves,  but  America 
must  see  that;  and  America  must  see  that  what  the 
nations  of  Europe  are  fighting  for,  is  without  signifi- 
cance to  a  free  people  who  dare  to  dream  of  a  New  Age. 

This  is  less  a  war  of  Germany  against  the  Allies,  than  a  life  or 
death  war  of  the  world's  soul. 

The  hard  thing  for  this  country  is  to  reach  first  of  all  the  state 
of  non-partisanship.  It  is  a  silent  and  a  deadly  struggle,  and  dur- 
ing the  first  ten  weeks  of  the  war,  it  appeared  that  America  was 
deliberately  thrusting  away  her  heroic  opportunity.  The  many  were 
identifying  themselves  with  the  different  causes,  with  the  different 
national  souls,  when  the  apparent  spiritual  plan  of  the  European 
tragedy  is  to  do  away  utterly  with  these  institutions  which  the 
bewildered  armies  are  struggling  so  frenziedly  to  preserve. 

America  is  exempt  only  from  the  physical  plane  of  the  war. 
This  is  the  hour  indeed  of  her  highest  test.  She  belongs  to  the  causes 
of  none  of  the  unclean  entities  destroying  themselves  in  their  inevi- 
table madness  across  the  sea,  but  with  all  her  old  and  a  freshly  ignited 
passion,  she  belongs  to  the  spirit  of  the  New  Age  which  flames  the 
east. 

The  wreckers  are  now  at  work  in  Europe — the  preparers,  America, 
must  conceive  and  preserve  the  plan  of  the  new  structure,  or  there 
will  be  no  task  for  the  builders  after  the  tearing  down. 

Unless  this  war  be  structurally  different  from  all  other  great  wars, 
there  will  be  no  valiant  voice  out  of  Europe  for  at  least  a  decade 
after  the  last  slaughter  is  told.  Not  only  are  the  nations  exhausting 
themselves,  genius  and  all,  but  war  in  its  very  nature  suppresses  the 
voice  of  truth.  There  will  be  many  national  voices,  but  they  are 
devoid  of  reality  and  meaning  because  the  national  souls  must  die, 
even  to  be  bom  again.  How  futile  are  statements  of  the  British 
case,  and  statements  of  the  Prussian  case,  when  their  end  is  hate 
and  death. 

351 


THE  TEST  OF  AMERICA 


America,  alone,  is  the  temple 

of  the  new  spirit.     America  must 

reanimate  the  world  after  the  war, 

but  first  she  must  be  quickened. 

I   believe  America   is 

being  bom  again.     .     .     . 

America  was  bred  right. 
There  is  that  to  fall  back 
upon.  She  was  founded 
upon  the  principles  of  lib- 
erty and  service  to  the  dis- 
tressed, upon  the  principles 
of  giving,  not  getting.  No 
other  nation  can  say  that. 
^  But  the   derision   of  other 

nations,  and  a  still  higher 
derision,  is  the  portion  of  that  part  of 
America  which  is  not  true  to  her  dream. 
America  must  lose  the  love  of  self;  must 
cease  to  be  a  national  soul,  and  become 
the  nucleus  of  the  world-soul  of  the  future. 
Otherwise  all  that  was  holy  in  her  concep- 
tion is  dead,  and  the  passion  of  her  proph- 
ets is  without  avail. 

Over  a  century  ago  the  inspired 
Fichte  addressed  the  Germans  in  a  series 
of  documents  charged  with  exalted  ideal- 
ism for  the  future  of  his  people,  on  the 
basis  of  such  a  Fatherland  that  the  only 
living  sequence  could  be  the  superb  affil- 
iation of  men.  For  years  and  decades  the 
gleam  of  that  spiritual  ignition  endured 
there.  Carlyle,  not  a  countryman,  saw  it  and  made  it  blaze  with 
the  fuel  of  his  genius.  It  is  dead  to  Prussia  now,  but  that  gleam 
will  never  die.  Some  strong  youth  on  the  road  to  Damascus  will 
be  struck  to  the  ground  with  its  radiance — and  arise  to  carry  the 
gleam  to  the  Gentiles. 

THERE  is  a  time  for  nations,  as  there  is  a  time  for  strange 
houses  in  a  neighborhood.     There  is  a  time  for  a  man  to  be 
lost  in  the  romance  of  his  own  household;  indeed,  the  world 
smiles  approvingly  for  a  time,  but  counts  him  a  little  thing  at  the  last, 
if  he  has  not  emerged  for  his  task.     There  is  a  time  for  a  man  to  be 

352 


THE  TEST  OF  AMERICA 


lost  in  the  needs  of  his  street,  of  his  town,  of  his  state,  but  if  he  hold 
to  any  of  these  with  such  rigidity  that  he  cannot  regard  with  justice 
the  conduct  of  other  localities — well,  his  trance  and  his  little  orbit 
are  in  God's  hands. 

There  is  a  time  for  nations,  but  ahead  on  the  road  are  the  world- 
men.  The  precious  whisper  is  abroad  that  more  sins  have  been 
committed  in  the  name  of  patriotism  than  any  other.  The  time  will 
come  when  that  illusion  will  be  well-back  among  the  provincialisms; 
not  a  bad  word  in  itself,  rather  a  lost  meaning  through  abuse. 

Whenever  a  man  does  a  great 
work  in  the  arts,  or  in  any  way 
electrifies  matter  with  his  vision, 
the  achievement  becomes  a  us- 
age in  other  countries  than  his 
own.  In  a  truly  fine  sense  he  is 
a  world  servant,  whether  his  soul 
catches  the  big  harmony  or  not. 
That  is  his  concern  and  a  verj' 
vital  one.  During  a  man's  ap- 
prenticeship, his  individuahty 
must  be  encouraged.  He  loses 
none  of  that  in  becoming  a  mas- 
ter, but  he  is  a  perverted  master 
if  he  does  not  lose  the  intensity 
of  self-seeking.  His  end  is  the 
pitiful  passing  of  a  stylist,  and 
his  are  the  latter  days  of  a  crea- 
ture  cracking  with  vanities, 
secret  and  offensive. 

One  must   become  an   indi- 
vidual,  for  the   world's   service 
is  not  a  clerkship;  the  world's 
progress  rises  upon  labors  that 
are  never  duplicated.    The  herds 
are  still  bond -men;  even   ma- 
chines do  away  with  their  labor; 
and  their  elders  have  heretofore 
spoken    to  them  of    patriotism 
with  large  and  bloody  results;  in  fact  all  the  tragic 
pressures  of  nature  and  human  artifice  are  turned 
upon  raw  human  material  to  hasten  its  emerg- 
ing into  individualism — but  the  pressures  do  not 
end  there.     Becoming  an  individual  a  man  must 


353 


THE  TEST  OF  AMERICA 

turn  out  from  self,  must  realize  that  he  is  one  in  the  great  cause  of 
life,  that  the  prime  purpose  of  his  being  is  for  him  to  give  all  he  can  to 
the  world,  and  not  to  get  all  he  can  from  the  world.  Failing,  he 
meets  an  evil  magic  matched  for  individualism — more  poignant  in 
its  affliction  than  the  herds  can  ever  know. 

The  same  is  exactly  true  with  the  developed  individuality  of  a 
nation.  It  was  true  with  Germany  when  Fichte  addressed  his 
countrymen.  It  is  true  with  America  in  this  hour.  All  the  psychic 
pressures  of  the  European  disruption  are  turned  upon  the  temple 
of  America  to  drive  out  the  money-changers  and  make  it  a  house  of 
God. 

THERE  is  a  new  genius  in  America,  not  yet  in  its  prime,  hardly 
articulate  as  yet,  but  rapidly  maturing  in  these  days  of 
unparalleled  stimulus.  They  will  interpret  the  New  Age, 
the  spirit  of  it,  not  the  emotion,  for  they  deal  in  white  fire,  not  in 
red.  Men  in  their  twenties  now  will  rule  the  world  in  the  next  ten 
years.  They  will  be  terrible  in  their  calm,  for  they  will  not  express 
the  personal  self  and  its  desires,  but  rather  a  phenomenal  self,  in  touch 
with  the  source  of  power,  and  whose  splendid  energy  is  to  give  its 
all  to  the  world,  and  go. 

Heretofore  they  have  bruised  against  the  markets.  You  have 
heard  them  cry,  "They  will  take  me  only  at  my  worst!"  But  the 
war  is  changing  that.  To  them  the  first  weeks  of  the  war  was  a 
valley  of  unutterable  death,  but  it  has  become  the  plateau  of  great 
promise.  For  this  huge  fusing  mass,  America,  is  changing  now  faster 
in  a  month  than  formerly  it  changed  in  half  a  decade,  and  changing 
dififerently.  America  seems  breaking  in  two.  There  is  good  and 
bad,  but  the  channels  are  separating  into  black  and  white — no  longer 
a  blend  of  sodden  gray. 

The  stage  is  stricken.  It  is  falling  even  to  lower  levels  of  appeal, 
seeking  to  find  its  own — which  has  begun  to  climb  instead.  Indeed 
there  is  a  havoc  upon  all  panderers,  pleasant  to  contemplate.  They 
will  be  the  last  to  answer  the  new  spiritual  receptivity  in  America, 
for  they  are  the  farthest  from  it.  Nothing  will  last  through  this  war 
that  is  not  touched  with  reahty.  The  tens  of  thousands  of  worthless 
books  printed  in  the  past  ten  years  have  already  shaken  down  to 
their  final  value  as  masses  of  soiled  paper.  It  was  a  deluge;  much 
cleverness  and  paradox  a  part  of  it,  but  mainly  a  vain  competition 
of  the  "movies."  The  pictures  themselves  are  changing  faster  than 
the  newspapers  can  keep  up.  They  are  on  the  move  as  nothing 
under  the  sun  before,  exhausting  the  world  of  one-dimension,  under 
the  supervision  of  the  police.     But  even  the  tired  little  shop  girls, 

354 


THE  TEST  OF  AMERICA 


the  city's  unfathered, 
are  finding  how  little 
after  all,  the  lens  can 
catch  of  man  and  woman. 

It  is  a   time  for   heroics. 
America  is  emancipating  her 
genius,  not  only  from  herself, 
but  from  the  thrall  of  the  Old 
World's  decadence.     Do  you 
think  there  is  nothing  fateful 
in  the  destructive  energj^  that  is  rubbing 
out  ancient  landmarks?     Rather  it 
would  seem  that  the  old  and  the  un- 
clean has  played  its  part,  and  may  not 
be  used  in  the  new  spiritual  experiment. 

.  .  .  Letters  are  moving  to  and 
fro,  ".4re  you  dreaming  out  the  New 
Age?" — a  sort  of  giving  of  accolade 
between  those  who  belong.  You  must 
put  aside  each  day  for  a  time  (if  you 
would  belong)  your  self-sense,  your 
business  sense,  your  domestic  sense,  and  by  all  means  look  deep  and 
sceptically  into  your  substance  called  patriotism.  You  may  not  be  the 
same  afterward.  ...  In  a  house  that  I  know  where  there  are 
several  children,  the  word  "mine"  is  eliminated  from  all  speech. 
Little  antidotes  and  preventatives  for  war. 


THERE  is  suffering  enough  in  the  world  in  this  hour  to  make 
heroes  of  us  all.     In  the  face  of  this  atrocious  reversion  to 
animal  types  on  the  part  of  Europe,  is  it  not  incontrovertible 
that  the  red  man  of  blood  and  desire  in  us  all,  is  not  the  last  word 
of  humanity?     If  that  were  true,  there  is  no  philosophy  that  will 
cover  the  nearest  edge  of  the  slaughter.     There  must  be  a  white 

355 


I 


THE  TEST  OF  AMERICA 


immortal  to  cany  the  sloi-j-  on.    1  believe  that  the  white  fire  of  the 
human  soul  is  breaking  through  the  flesh  of  America  now. 

.  .  I  have  heard  the  new  song.  Already  the  unspoiled 
workmen  have  found  their  task.  They  sing  as  they  lift.  Listen 
and  you  may  hear  the  song  of  the  New  Age.  Since  the  pilgrims 
sang  together,  no  such  thrilling  harmony  has  moved  this  western 
land. 

A  young  workman  in  the  East  recently  did  a  poem  that  was  due 
in  the  world.  In  fact  he  struck  the  spirit  of  the  hour,  and  something 
glorious  flashed  back  through  him  from  the  future.  It  broke  the 
grim  finality  of  these  days — but  it  was  for  the  few.  He  hated  that, 
rebelled  against  it — not  for  himself,  because  he  had  freed  himself 
from  the  red  man,  and  had  turned  to  make  the  dream  of  World- 
Fatherland  come  true.     This  is  what  he  said  to  certain  companions: 

"Let  us  not  be  so  blind  as  to  vision  a  Fatherland  of  poets  and 
singers  and  painters,  for  the  work  of  the  world  is  to  do.  At  our  best 
we  artists  are  but  igniters  of  other  workmen.  We  seek  to  interpret 
men,  but  we  require  men  to  interpret  for  us.  We  need  world-trained 
men  to  steady  us,  men  who  do  not  wing  away  from  the  comprehension 
of  the  average.  That's  our  trouble— our  wings.  We  shall  fail  now 
if  we  are  out  of  touch  with  the  millions.  It  has  been  our  fate  hereto- 
fore to  wing  and  pass,  to  dream  and  trust  another  generation  to 
enflesh  the  dream.     That's  because  we  lost  ourselves — because  we 

35^^ 


THE  TEST  OF  AMERICA 

felt  ourselves  apart.  We  are  not  apart.  There  are  rarer  men  than 
artists  in  the  world — hoher  groups  of  men  than  we  are,  who  do  not 
make  claim  nor  great  talk  of  world-brotherhood,  but  from  whose 
daily  movement  and  service,  the  splendid  reality  is  gleaming.  We 
must  belong  to  them.  W^e  love  men  through  the  arts,  but  they  love 
men  straight.  We  must  stand  with  the  workmen,  with  statesmen, 
lawgivers,  with  the  conservers  and  the  constructors,  with  men  of 
force  and  acumen  and  kindness  everywhere,  for  they  are  the  wall  of 
the  Fatherland.     We  are  but  the  tapestry." 

You  see  he  was  great  enough  to  forget  his  poem. 

THERE  is  a  great  perfect  story  in  the  world.  It  will  bear  the 
deepest  scrutiny  from  any  plane  of  body  or  mind  or  soul. 
Physically  it  is  exact;  mentally  it  balances;  spiritually  it  is 
the  ultimate  lesson.  You  will  find  in  it  all  you  need  to  know  about 
Christianity,  for  it  is  the  soul  of  that.  You  will  learn  in  it,  who  is 
your  Father,  and  who  your  Brother  is,  and  your  Neighbor.  You  will 
leam  in  its  lines  the  hatred  of  sham  and  office,  the  peril  of  fancied 
chosen  peoples;  and  from  it  you  will  draw  the  cosmic  simplicity  of 
good  actions,  and  a  fresh  and  kindling  hatred  for  the  human  animal 
of  grotesque  desire.  .  .  .  It  is  a  thrilling  comprehension  for 
children;  it  silences  the  critical  faculty  of  the  intellectuals,  and  ani- 
mates the  saint  to  tears  of  ecstasy,  even  to  martyrdoms.  It  expresses 
the  dream  of  peace  alike  for  nations  and  men.  It  is  a  globe.  You 
can  go  it  blind  and  win — following  the  spirit  of  the  Good  Samaritan. 


357 


WATER-COLOR   PAINTING,    CHILDREN  AND 
WAR 

HILDREN  seem  to  flower  out  most  naturally  and 
bewitchingly  through  water-color  sketches.  Their 
fresh,  evanescent  beauty,  their  tender,  brief  moods, 
all  seem  to  flow  most  fluently  through  the  delicate 
permanence  of  water-color,  until  it  seems  reasonable 
that  the  aquarelle  should  be,  of  all  mediums,  most 
closely  associated  with  the  presentation  of  youth. 
The  man  who  stands  too  long  before  his  canvas  is  likely  to  miss 
the  subtle  whimsicality  of  childhood.  This,  of  course,  is  not  always 
so,  and  yet  oil  painting  offers  such  an  opportunity,  such  a  temptation 
to  change  and  improve  that  there  is  always  in  it  the  risk  of  elaboration 
or  of  too  great  a  conventionalization  of  children.  And  youth  needs 
simple  treatment  in  portraiture  as  in  life.  In  our  present  kind  of 
civilization  w^e  so  quickly  rob  it  of  simplicity,  of  its  close  natural 
intimacy  with  nature.  A  child  drifting  back  from  dreamland,  does 
not  apologize  effusively  for  sleeping  in  your  presence  or  try  to  win 
your  interest  by  telling  you  long  dream  stories.  It  is  more  apt  to 
look  you  searchingly  in  the  eyes  and  say  with  a  face  full  of  wonder, 
*T  wake  up."  And  then  if  you  know  children  and  love  them  and  if 
you  are  just  even  a  little  weary  with  the  world  your  heart  melts  and 
your  love  overflows  its  high  boundaries  and  you  feel  yourself  very, 
very  close  to  the  most  beautiful  thing  in  the  world.  Of  course  children 
are  not  always  simple  with  grown  people.  If  they  are,  it  is  through 
some  wonderful  God-given  directness  that  has  somehow  staid  in  the 
mature  nature.  For  indeed,  you  must  become  as  a  little  child; 
simple,  loving,  patient  to  win  their  real  companionship. 

And  so  too,  if  you  would  possess  for  the  world  their  exquisite 
beauty  and  charm,  you  must  strive  to  present  them,  through  whatever 
medium  employed,  gently,  clearly  and  simply;  and  somehow  water- 
color  seems  to  offer  the  best  opportunities  for  this  presentation. 
Whatever  is  done  through  aquarelle  must  be  done  swiftly,  which 
means  more  or  less  spontaneously  and  which  enjoins  upon  the  artist 
the  task  of  capturing  a  mood  rather  than  delaying  to  work  over 
outline  and  proportion.  And  it  is  really  the  mood  of  childhood  that 
tells  its  story  and  that  is  most  lasting  in  one's  memory  of  children's 
beauty. 

IN  visiting  the  Twenty -fifth  Annual  Exliibition,  apart  from  such 
vivid  stirring  work  as  that  of  Maud  Squire  and  Carl  Johansen, 
street  scenes  vividly  and  beautifully  painted,  we  were  most 
arrested  by  the  portraits  of  children  and  perhaps,  too,  of  the  old 
people,  which  is  much  the  same  thing  when  it  comes  to  painting. 

358 


"above  the  mill:"  from  a 
painting  by  a.  e.  albright. 


si 


"the     village:"     from     a 
rainting  by  \v.  fair  kline. 


THE     EMPTY     BOVyL  :        FROM     A 
PAINTING  BY   NAOMI  B.   GREGSON. 


:>L  I 


YVONNE  : 
ING      BY 


FROM   A   PAINT- 
i.      C.      MERRILL. 


WATER-COLOR  PAINTING,  CHILDREN  AND  WAR 

I  do  not  mean  technically,  for  the  fair  faces  of  youth  are  most  difficult 
to  transcribe.  But  old  age  and  youth  touch  the  same  chord  in  the 
sensitive  heart.  They  exact  the  same  desire  to  help,  to  protect,  to 
encourage.  They  carry  an  equal  pathos  because  of  the  too  great 
confidence  of  one  and  the  ruined  confidence  of  the  other.  And  so 
the  painters  who  have  felt  life  most  keenly,  who  have  suffered  most 
over  humanity,  are  most  likely  to  turn  to  the  fresh  face  of  youth 
and  the  shattered  beauty  of  very  old  age. 

For  this  reason  we  have  selected  from  the  recent  exhibition 
pictures  that  seemed  to  us  to  carry  the  spirit  of  the  times  in  the  use 
of  this  medium.  We  are  showing  children  at  play,  quiet  children, 
and  the  wonderful  old  woman  who  stands  in  front  of  the  city  she  has 
loved.  A  picture  which  must  have  been  painted  long  before  the  war, 
and  yet  which  somehow  holds  the  great  tragedy  of  all  the  war  in 
Europe,  the  sorrow  of  futile  age.  For  when  civilization  is  given  up 
to  destruction,  age  and  youth  are  of  no  value.  It  is  only  strength 
ttiat  is  needed,  strength  to  stand  back  of  the  cannons  and  direct  the 
fire,  strength  to  stand  in  the  trenches  and  receive  it.  Age,  which 
holds  a  valued  experience  of  settled  conditions  in  hfe,  has  nothing 
to  give;  it  is  hurried  about  and  forgotten.  Youth,  which  needs 
peace  and  plenty,  has  nothing  to  give;  it  is  destroyed  in  its  cradle 
for  fear  of  its  strength  in  days  to  come.  And  so  in  this  picture  which 
we  are  showing  we  find  the  great  tragedy  of  the  war  in  the  old  woman, 
whose  shadow  falls  back  on  the  city  which  bred  her  and  to  which 
she  has  given  the  fulness  of  her  life.  There  is  no  compensation  for 
age  in  war.  That  all  development  of  the  soul,  all  the  enlarged 
experience  of  life  should  mean  nothing,  is  one  of  the  most  terrific 
commentaries  on  savage  combat  as  a  means  of  adjusting  life. 

It  is  a  joy  for  us  to  present  happy  youth,  also  youth  that  is 
playing  out  of  doors,  youth  unhurt  by  the  torture  of  the  monstrous 
iniquity  of  this  century.  Probably  the  one  thing  above  all  others 
that  one  cannot  really  face  for  a  moment  is  the  hurt  to  the  little 
children  of  Europe.  And  so  we  are  very^  glad  that  the  artists  of 
America  have  given  us  memories  of  joyous  childhood. 

Perhaps  one  of  the  comforts  we  shall  possess  in  America  this 
year,  is  that  as  yet  the  war  spirit  cannot  touch  our  art.  We  do  not 
know  if  it  will  overwhelm  all  art  in  Europe  or  if  a  much  greater  art 
will  be  born  from  the  trenches  and  hospitals  and  red  rivers  of  France. 
But  at  least  here  in  America  we  may  contemplate  beauty  achieved 
through  love  of  peace,  through  need  of  it,  through  joy  in  it.  And  it 
will  be  a  good  thing  for  us  to  see  very  much  of  this  art,  to  save  for  all 
America  and  perhaps  even  for  Europe,  a  complete,  free  manifestation 
of  an  art  unadulterated  by  hate  and  suffering  and  tragedy. 

363 


THE  BEEHIVE:  FEMINISM  CONTRASTED 
WITH  THE  ZENANA:  BY  RABINDRANATH 
TAGORE 

Translated  by  Basanta  Koomar  Roy. 

]HE  strifes  and  the  struggles  of  the  battle  are  over. 
Come,  beauteous  woman,  come  to  wash  me  clean, 
to  heal  my  wounds,  to  comfort  and  bless  me  with 
your  soothing  presence.  Come  beauteous  woman, 
come  with  your  golden  pitcher. 

The  mart  is  over.     I   have  left  the  crowd   and 

built  my  cottage  in  the  village.     Come,  noble  woman, 

come  with  a  celestial  smile  and  a  vermilion  line  on  the  parting  of 

your  hair,   to  bless  and  grace  the  lonesome  home.     Come  noble 

woman,  come  with  your  jar  of  sacred  water. 

The  sun  shines  sultry  at  noon,  and  an  unknown  wayfarer  is  at 
our  door.  Come,  blissful  woman,  come  with  your  pitcher  of  nectar 
and  with  the  pure  music  of  your  bridal  bracelet,  to  welcome  and  bless 
the  unknown  guest.  Come,  blissful  woman,  come  with  your  pitcher 
of  nectar. 

The  night  is  dark,  and  the  home  is  quiet.  Come,  devout  woman, 
come,  dressed  in  white,  with  the  sacrificial  water,  and  in  dishevelled 
hair  light  the  candle  at  the  altar;  and  then  open  the  gates  of  your 
heart  in  secret  prayer.  Come,  devout  woman,  come  with  your 
sacrificial  water. 

Now,  the  time  of  parting  is  at  hand.  Come,  loving  woman, 
come  with  your  tears.  Let  your  tearful  look  shower  blessing  on  my 
way  away  from  here.  Let  the  anxious  touch  of  your  blessed  hand 
hallow  the  last  moments  of  my  earthly  existence.  Come,  sorrowful 
woman,  come  with  your  tears. 

364 


THE   BEEHIVE 


NOT    BY    VIOLENCE    CAN 
OVER  THE  HOME." 


NO  doubt  when  the  woman   of  the       >$S(ac;'^%°*<, 
Western  world  sees  the  small  rooms  ^  V!^i 
with  crude  furniture  and  old-fash-     J\  '^^ 

ioned  pictures  in  our  zenanas,  she  imagines 

that  the  men  of  the  Orient  have  made 

slaves  of  Hindu  women.     But  she  forgets 

that  we  all  live  together  the    same    way. 

We  read  Spencer,  Ruskin  and  Mill;  we  edit 

magazines  and  write  books;  but  we  rest  on 

a  mattress  on  the  floor,  and  we  use  an  earthen 

oil-lamp  for  study.     We  buy  jewels  for  our  wives 

when  we  have  the  money,  and  in  warm  nights  fan 

ourselves  with  a  palm-leaf  fan. 

We  have  no  sofas  or  upholstered  chairs,  yet  we 

do  not  feel  miserable  for  not  having  them.    Surely 

without  them  we  are  quite  capable  of  loving  and 

being  loved.     The  Western  people  love  furniture, 

entertainments  and  the  general  luxuries  of  life  so 

much  that  numbers  of  them  do  not  care  to  have 

wives  or  husbands,  and  often  if  married  no  chil- 
dren.    With  them,  comfort  takes  preference  over  werec 

love.  Whereas  home  and  love  are  the  supreme  things  in  our  life,  and 

it  is  for  this  that  quite  often  we  sacrifice  comfort. 

Our  women  make  our  homes  smile  with  sweetness,  tenderness  and 

love We  are  happy  and  count  ourselves  blessed  indeed 

with  these  priestesses  of  our  household. 

When  I  am  asked  of  Feminism  in  Europe  I  at  once  think  of  de- 
serted beehives.  In 
Europe  homes  are 
disappearing  and 
hotels  are  increasing 
in  number.  When 
we  notice  that  men 
are  happy  with  their 
horses,  dogs  and 
guns,  and  their  clubs 
for  smoking  and  gam- 
bling, we  feel  quite 
safe  in  concluding 
that  woman's  hives 
are  being  gradually 
broken  up.     In  the 

"our    women    make    our    homes    smile    with    sweetness,    tender-  ,       ,1  1 

NESS  AND  love."  psst   thc    mau-bcc 

365 


THE   BEEHIVE 

used  to  gather  honey  outside,  and  store  it  in  the  hive,  where  the 
queen-bee  ruled  supreme.  Now  the  bee  prefers  to  rent  a  cell,  and 
live  by  himself,  so  that  he  alone  may  drink  all  the  honey  in  the  even- 
ing, which  he  gathers  during  the  daytime.  Consequently,  the  queen- 
bee  is  obliged  to  come  out  into  the  world  of  competition  to  gather 
honey  in  order  to  live.  She  is  not  yet  accustomed  to  the  changed 
conditions  of  life  and  society.  The  result  is  uneasiness  and  buz- 
zing  It  is  called  feminism. 

The  present-day  civilization  of  Europe  is  imperceptibly,  but  surely 
extending  the  arid  zone  in  its  social  life.  The  hives  everywhere  are 
empty.  The  superabundance  of  luxuries  is  smothering  the  soul 
of  the  home — the  home  that  is  the  very  abode  of  love,  tenderness 
and  beneficence,  all  most  essential  for  the  healthy  development  of 
the  human  heart. 

JUDGING  as  an  alien,  I  feel  that  in  proportion  as  European 
civilization  progresses,  so  woman  is  being  rendered  increasingly 
unhappy.  Woman  acts  in  society  as  does  the  centripetal  force 
in  the  planets.  But  in  Europe  today  this  centripetal  force  of  woman's 
energy  fails  to  counterbalance  the  centrifugal  force  of  distracted 
society.  Men  are  seeking  shelter  in  far  corners  of  the  earth  to  avoid 
the  crushing  struggle  for  existence,  due  mainly  to  wants  artificially 
created.  In  Europe  the  man-bee  is  more  and  more  unwilling  to 
burden  himself  with  a  family,  consequently  the  queen-bee's  occupa- 
tion is  decreasing.  Young  women  often  wait  long  for  a  husband, 
and  the  wife  suffers  from  love-sickness.  The  son  early  leaves  his 
mother's  home,  and  even  though  training,  tradition  and  nature  are 
opposed  to  it,  the  woman  in  the  West  must  increasingly  often  go 
out  and  work  and  struggle  for  existence.     The  home  is  forgotten !     ^  ^^) 

Social  discord  always  follows  the  abandonment  of  the  home 
ideal.     Feminism  springs  up  by  the  deserted  hive.     The 
women  in  many  of  the  plays  of  Ibsen  show  impatience 
with  the  old  state  of  affairs,  while  the  men  favor  them. 
This  leads  one  to  think  of  the  inconsistent  position  of 
woman  in  the  present-day  European  society.     There  man 
is  loath  to  build  a  home  for  woman,  and  at  the  same  time 
is  stubborn  in  refusing  her  equal  rights  ^to  enter  the  arena  ^ — 
of  fruitful  work.     At  the  first  thought,  the  number  of  women  in  the 
Nihilistic  armies  of  Russia  may  seem  appalling,  but  mature  reflection 
convinces  one  of  the  fact  that  the  time  is  about  ripe  for  militancy  among 
the  women  of  Europe. 

Strength  is  the  watchword  of  European  society  today.  There 
is  no  place  for  the  weak,  male  or  female.     That  is  why  women  are 


THE  BEEHIVE 

getting  ashamed  of  their  femininity,  and  are  striving  to  prove  the 
strength  of  both  their  body  and  mind 

1HAVE  in  the  fulness  of  thought  come  to  the  conclusion  that  in 
the  life  of  man  there  is  not  the  richness  that  characterizes  the  life 

of  woman.  There  is  unity  in  woman's  language,  dress,  deport- 
ment and  duty.  The  chief  cause  of  this  is  that  Nature,  through 
centuries,  has  fixed  her  realm  of  activity.  Until  today  no  change,  no 
revolution,  no  transformation  of  ideals,  of  civilization  has  drawn 
women  from  their  path  of  continuity.  They  have  served,  loved 
and  comforted,  and  have  done  nothing  else.  The  skill  and  beauty 
of  these  functions  have  been  charmingly  expressed  in  their  form, 
language,  and  demeanor.  The  sphere  of  their  activity  and  nature 
has  been  blended,  as  the  flower  and  its  perfume.  Nothing  but 
harmony  has  prevailed  in  them. 

There  is  a  great  deal  of  unevenness  in  the  life  of  man.  The  marks 
of  his  passage  through  the  various  changes  and  functions  of  life  are 
noticeable  in  their  form  and  nature.  The  abnormal  elevation  of 
the  forehead,  the  ugly  protuberance  of  the  nose,  the  ungraceful 
development  of  the  jaws,  all  are  common  in  man,  but  not  in  woman. 
Had  man  followed  the  same  course  all  through  ages;  had  he  been 
trained  to  perform  the  same  function,  there  might  have  grown  a 
mold  for  him,  and  a  harmony  might  have  been  evolved  between  his 
nature  and  his  functions.  In  this  case  he  would  not  have  had  to 
think  and  struggle  so  hard  to  perform  his  duty.  Everything  would 
have  gone  on  very  smoothly  and  beautifully.  He  'f  would  have 
developed  his  nature,  and  his  mind  would  not 
have  been  tossed  from  the  path  of  duty  upon  / ,  //// 
the  least  provocation.  -^'^x/, 'J 


MOTHER  Nature  has  molded  woman  as  . 

in  a  cast.  Man  has  no  such  original  tie,  so  he  has  * 
not  evolved  around  a  central  idea  to  his  fulness.  His 
diverse,  untamed  passions  and  emotions  have  stood  in  the  way 
of  his  harmonious  development.  As  the  bondage  of  meter  is  the 
cause  of  the  beauty  of  poetry,  so  the  bondage  of  the  meter  of  fixed 
law  is  the  cause  of  the  all-round  fulness  and  beauty  of  woman.  Man 
is  like  disconnected  and  uncouth  prose,  without  harmony  or  beauty. 
That  is  why  poets  have  always  compared  women  with  song,  poetrj% 
flower  and  river,  but  have  never  thought  of  comparing  man  with 
any  of  these.  Woman,  like  most  beautiful  things  in  Nature,  is 
connected,  well-developed  and  well  restrained.  No  irrelevant  thought, 
no  doubt,  and  no  academic  discussion  had  formerly  broken  the 
rhythm  of  a  woman's  life. 

367 


THE  BEEHIVE 

But  the  hive  is  overturned  and  the  bees  are  scattered! 

Not  through  warfare,  not  by  violence  can  we  recover  the  home. 
Love  alone  will  bring  Woman,  the  Comforter  back  to  make  fragrant 
and  peaceful  our  lives.  I  believe  that  to  love  is  to  worship.  Every 
kind  of  love  is  part  of  the  great  force  that  expresses  itself  through 
the  human  heart.  Love  is  the  temporary  realization  of  the  bliss  of 
becoming  a  part  of  the  vast  current  of  life.  In  the  physical  world 
gravitation  attracts  the  large  and  the  small  alike.  Similarly,  in  the 
realm  of  the  spirit,  there  is  a  universal  attraction  of  joy.  It  is  by 
virtue  of  this  attraction  that  we  perceive  beauty  in  Nature  and  love 
within  ourselves.  The  limitless  bliss  that  is  in  the  heart  of  Nature 
plays  upon  our  hearts.  If  we  look  upon  the  love  in  our  hearts  in- 
dependently of  that  in  the  universe,  it  becomes  meaningless. 

Love,  not  struggle,  must  animate  Woman,  the  Comforter. 

f\  woman,  you  are  not  merely  the  handiwork   of  God,  but  also 
of  men;  these  are  ever  endowing  you  with  beauty  from  their 

hearts. 
Poets  are  weaving  for  you  a  web  with  threads  of  golden  imagery; 

painters  are  giving  your  form  ever  new  immortality. 
The  sea  gives  the  pearls,  the  mines  their  gold,  the  summer  gardens 

their  flowers  to  deck  you,  to  cover  you,  to  make  you  more 

precious. 
The  desire  of  men's  hearts  has  shed  its  glorj^  over  your  youth. 
You  are  one  half  woman  and  one  half  dream. 


368 


N' 


VIOLETS:  THE 
WORLD'S  FAV- 
ORITE FLOW^ER: 
JUPITER'S  GOD- 
CHILD: BY  ELOISE 
ROORBACH 

APOLEON'S  last 
message  to  his  follow- 
ers, as  he  parted  from 
them  for  his  long  exile  in  Elba,  was  that  he  would 
"return  to  them  with  the  violets."     This  warrior's 
promise,  so  tenderly  phrased,  won  for  him  the  affec- 
tionate  title    "Caporal    Violette"    and    the   little 
flower  that  faithfully  touches  the  earth  with  the 
blue  of  heaven  each  spring  came  to  be  the  badge 
a  mighty  political  party. 

Many  times  has  this  shy  blue  flower  that  loves 
the  quiet  of  woodland  nooks,  played  a  conspicuous 
part  in  historj'  and  legend.  Away  back  in  the  dim 
days  when  mythology  was  in  the  making,  it  in- 
fluenced the  sjonbolic  imagery  of  the  new  litera- 
ture. When  Jupiter  changed  his  beloved  lo  into  a 
white  heifer  to  protect  her  from  Juno's  wicked 
jealousy,  he  caused  violets  to  spring  to  hfe  among 
the  meadow  grass,  that  she  might  be  daintily  fed 
with  food  such  as  never  god  nor  mortal  had  knowl- 
edge of  before.  All  through  the  writings  of  Homer 
and  Virgil,  Ion,  the  Greek  name  for  this  Uttle  flower, 
is  used  as  a  synonym  for  modesty  and  sweetness. 
This  favorite  little  plant  has  a  curious  way  of 
unrolhng  its  leaves  as  they  develop  so  that  it  seems 
shyly  unveiling  its  face  at  the  bidding  of  its  lord, 
the  sun.  Its  blossoms,  according  to  the  interpretation  of  the 
poets,  face  the  ground  demure  as  any  nun.  The  scientists  say 
that  this  appearance  of  diffidence  is  not  from  a  sense  of  humility, 
but  from  the  desire  to  protect  precious  pollen  from  the  rain.  It 
has  many  clever  little  tricks  and  seems  to  possess  an  uncanny  in- 
telligence in  outwitting  scientific  scrutiny. 

With  all  its  simplicity,  the  violet  is  a  subtle  flower.  Its  way  of 
guarding  honey  sap,  yet  at  the  same  time  inviting  winged  visitors 
shows  both  caution  and  boldness.  After  it  has  flowered  and  all 
attention  to  its  beautiful  life  is  over,  way  down  below  its  leaves,  far 
out  of  sight,  it  produces  clear,  half -formed  flowers  without  perfume, 

369 


THE  WORLD'S  FAVORITE  FLOWER 

honey  or  petals,  but  each  one  bearing  stamens  and  seed  germs,  which 
somehow  develop  the  seed  from  which  the  new  plant  arises.  When 
the  seed  capsules  are  ripe,  they  split  into  three  parts,  shooting  the 
seeds  far  into  the  air,  much  as  little  birds  are  pushed  forcefully  from 
the  nest  and  made  to  fly  far  from  home,  that  the  circle  of  beauty  may 
be  forever  widened. 

Botanists  say  that  some  plants  reproduce  by  walking  from  place 
to  place,  that  is,  by  sending  out  suckers  that  root  some  distance  from 
the  parent  plant,  as  the  strawberry,  for  instance.  Some  seeds  ride 
away  from  home  on  the  backs  of  animals,  clinging  to  the  fur  with 
curling  or  hooking  seed  pods,  like  the  burdock.  Some  build  airships 
and  float  away,  like  the  dandelion,  others  grow  wings,  like  the  maple 
and  ash.  The  violet  is  an  archer,  shooting  its  small  seeds  from  its 
capsule  as  from  a  springy  bow. 

The  demand  for  violets  is  luring  both  amateur  and  professional 
into  experimental  attempts  to  increase  the  yield  per  foot,  size  of 
flower  and  length  of  stem.  Various  indeed  have  been  the  results  of 
cultivation,  though  all  show  a  portion,  at  least,  of  success,  for  this 
popular  flower  is  exceedingly  easy  to  cultivate.  In  the  West,  florists 
plant  whole  fields  to  violets.  Blue  as  a  lake  is  such  a  field  in  spring- 
time, the  air  for  miles  around  telling  its  presence. 

The  method  of  cultivation,  whether  in  field  or  hothouse,  varies  but 
little.  Well-rooted  runners  with  good  crowns  must  be  set  out  in  a 
rich  soil  mixed  with  lime  and  manure.  The  plants  must  be  at  least 
a  foot  apart  allowing  free  space  for  cultivation.  The  ground  must  be 
kept  well  hoed,  the  runners  clear.  For  winter  blooming  the  violet 
roots  should  be  transplanted  after  the  first  frost  to  a  cold  frame 
that  is  at  least  twenty -four  inches  from  the  glass  to  the  solid  ground. 
As  all  violets  have  very  long  roots  much  care  must  be  exercised  in 
transplanting.  The  roots  of  a  full-grown  plant  reach  deep  into  the 
ground  so  that  the  soil  of  the  cold  frame  should  be  two  feet  in  depth. 
The  roots  must  be  set  straight  into  the  ground,  not  tangled  in  a  bunch 
in  a  cramped  way.  In  very  cold  weather  the  frame  must  be  covered 
to  keep  the  severe  frost  away.  If  properly  planted,  flowers  should 
bear  three  or  four  weeks  after  the  plants  have  been  removed  to  the 
cold  frame.  Double  violets  are  much  more  tender,  and  harder  to 
cultivate  than  the  single  ones,  and  flower  later  in  the  fall. 

The  chief  enemies  of  the  violet  are  the  red  spider  and  the  black  fly. 
These  can  easily  be  kept  in  check  by  the  sprinkhng  of  tobacco  dust 
over  the  entire  plant  just  before  a  vigorous  spray  with  fresh  water. 
The  Marie  Louise,  the  long  stemmed,  double  Italian  violet,  and 
the  Swanley  White,  a  short-stemmed  Russian  variety,  are  perhaps 
the  most  popular  of  the  double  violets  for  amateur  cultivation. 

370  ' 


SELDOM  DOES  ONE  SEE  A  MORE  APPROPRIATE  SETTING  THAN  THIS  FOR 
A  CLUMP  OF  violets:  the  MOSS-GROWN  ROCKS  AND  STONE,  THE 
TUFTED  CRASS,  THE  BLOSSOMS  AND  FOLIAGE  OF  TINY  WILD  FLOWERS 
ALL  ENHANCE  THE  BEAUTY  OF  THESE  MODEST  CHILDREN  OF  THE   SPRING. 


.T 


FOR  AN  INFORMAL  GARDEN  NOTHINC.  iA\  Li  A  MURK  PLEASING  TOUCH  THAN  WILD  VIOLETS.  TRANS- 
PLANTED FROM  THE  WOODS,  AND  SET  IN  CLUMPS  OR  BORDERS  OR  SCATTERED  AMONG  OTHER  GROWTH  : 
THEIR  ORIGINAL  NATURAL  SETTING  SHOULD  FIRST  BE  STUDIED,  HOWEVER,  SO  THAT  ONE  CAN  GIVE 
THEM  IN  THEIR  NEW  HOME  JUST  THE  SORT  OF  SHADE  AND  SHELTER,  MOIST  OR  LEAFY  MOLD,  ROCKY 
OR   GRASSY    SETTING   IN    WHICH    THEY  BELONG. 


THESE   THREE    PHOTOGRAPHS    SUGGEST    HOW    EACH 
DIFFERENT  VARIETY  OF  VIOLET  LENDS   ITSELF  To 
SOME  SPECIAL  ARRANGEMENT  WHEN  GATHEREO 
FOR  THE  DECORATION  OF  THE  HOME  :  THE  LUXURI- 
OUS LITTLE  BLOSSOMS  JUST  BELOW   SEEM  TO  FALL 
NATURALLY  INTO  THIS  COMPACT  BUNCH  :   THE 
SLENDER,   LONG-STEMMED  FLOWERS  ON   THE  RIGHT 
LOOK  BEST  WHEN  SOMEWHAT  LOOSELY  GROUPED  : 
THE  DOUBLE  VIOLETS  IN  THE  LOWER  PICTURE  ARE 
PARTICULARLY  CHARMING  IN   THEIR  TIGHTLY 
CLUSTERED  BALL. 


THE   SHY 
BLUE 
VIOLET 
HAS 
PLAYED 
A  CON- 
SPICUOUS 
PART   IN 
HISTORY 
AND 
LEGEND, 
AND  HAS 
ALWAYS 
BEEN 
LOVED 
BY  THE 
POETS 
FOR  ITS 
FRAGRANT 
MODEST 
WAYS. 


THE 
DOUBLE 
RUSSIAN 
VIOLETS 
SHOWN 
AT  THE 
LEFT 
ARE 
MUCH 
MORE 
TENDER 
AND 
H.\RDER 
TO   CUL- 
TIVATE 
THAN 
THE 
SINGLE 
ONES. 


("LUSTEKING   SNUGLY 
AROUND   THE   FOOT 
OF  A  TREE,  THEIR  TINY 
BLOSSOMS    SHINING 
LIKE    STARS   AMONG 
THE  GREEN   LEAVES, 
THESE  FRIENDLY 
VIOLETS   SEEM   THE 
VERY  EMBODIMENT  OF 
WOODLAND  BEAUTY. 


THE  GROUP  BELOVl' 
SHOWS    AN    EQUALLY 
PICTURESQUE  GROWTH, 
THE  GRAY   STONES 
FORMING  A  WONDER- 
FUL CONTRASTING 
BACKGROUND   FOR  THE 
FRAGILE   FLOWERS   AND 
SLENDER    STEMS. 
VIOLETS  ARE  FOUND 
IN   MOST  PARTS  OF 

THE  globe:  there 

ARE  ABOUT  ONE 
HUNDRED  SPECIES 
ALTOGETHER,   MOST 
OF   WHICH   GROW    IN 
NORTH   TEMPERATE 
ZONES  :  THE  VIOLET 
RANKS  THIRD  IN 
COMMERCIAL    I.M- 
PORTANCE  AMONG 
THE  FLOWERS  OF 
THE  UNITED  STATES. 


THE  WORLD'S  FAVORITE  FLOWER 


California  and  the  Prince  of  Wales  are  the  most  desirable  as  single 
violets. 

In  the  West  the  presence  of  spring  is  shown  in  the  hills  by  myriads 
of  little  yellow  violets  that  fleck  the  green  hills  with  bits  of  gold. 
The  two  upper  petals  of  this  small  flower  are  brown,  so  that  the  tiny 
yellow  face  seems  hooded  with  a  wee  brown  fur  cap.  This  little  round- 
leafed  violet,  first  of  all  the  tribe  to  appear,  is  a  favorite  with  the 
children,  who  liken  it  to  funny  Uttle  gnomes. 

The  common  blue  violet  of  the  East,  full  of  whims  as  Lady  April 
herself,  is  loved  in  a  corresponding  way  by  the  children  of  the  East. 
The  dog  violet  is  not  such  a  favorite  because,  though  it  is  low  branch- 
ing, long  stemmed,  larger  than  all  others  and  with  a  longer  blooming 
season,  it  is  without  scent.  The  sweet  white  violet  of  the  wet  woods 
and  boggy  meadows  well  deserves  its  name,  heartsease.  The  bird's 
foot  violet  with  a  velvety  blossom  like  a  pansy,  though  too  frail  for 
cultivation,  is  one  of  the  prettiest  of  all  the 
woodland  species. 

The  Viola  canadensis  grows  to  an  unusual 
height  in  moist,  shady  situations,  so  that  it  is 
especially  desirable  for  rock  gardens  or  border- 
ings  of  brooks,  natural  or  artificial.  With  its 
whitish  flowers  tinged  with  purple,  rising  above 
heart-shaped  leaves  which  are  fully  a  foot  to 
two  feet  in  height,  it  makes  a  showj'  addition  to 
any  wild  garden.  The  sweet  white  violet,  Viola 
blanda,  should  be  planted  with  this  larger 
violet  because  it  is  much  smaller  and  will  fit  in 
informal  planting  among  its  larger  cousin,  can- 
adensis. 

The  common  blue  violet,  a  strong  growing 
plant,  with  flowers  deep  or  pale  violet  blue,  is 
best  for  massing  on  banks  or  through  a  grove 
or  bordering  a  walk.  It  will  grow  well  in  half 
shade;  filtered  sunlight  and  shade  giving  it  just 
the  atmosphere  it  needs  for  it  to  put  forth  its 
most  perfect  blossoms.  The  horned  violet, 
sometimes  called  horned  pansy,  an  old  garden 
plant,  sweet  perfumed,  also  should  be  found  in 
all  violet  gardens.  It  is  exceedingly  hardy, 
flourishing  either  in  dry  or  boggy  situations. 

For  window-box  gardening  no  violet  is  as 
satisfactory  as  the  large  single,  deep  blue  Cal- 
ifornia violet.     It  is  a  profuse  bloomer,  forms 

375 


/ 


v 


THE  WORLD'S  FAVORITE  FLOWER 

large  clumps  of  beautifully 
shaped,  rich  green  leaves 
on  stiff  stems.  It  needs 
little  protection  in  the  win- 
ter, will  grow  within  doors 
in  a  sunny  window  or  if 
covered  sUghtly  with  brush 
or  fern  fronds  will  bloom 
early  in  the  spring  in  its  na- 
tural  condition  outdoors, 
even  in  Eastern  climates. 

In  any  florist's  catalogue 
will  be  found  a  number  of 
old-fashioned  favorites  un- 
der unfamiliar   names. 
These    lists    from    rehable 
growers  give  one  choice  of 
double    or    single,   pale   or 
dark  blossoms  that  will  grow  from  the  first  melting 
of  snow  to  the  very  latest   blooming,  so  that  the 
flowering  months  of  the  violet,  this  favorite  flower 
of  the  world,  will  cover  a  period  of  many  months  if 
carefully  selected. 

Whether  violets  come  fresh  from  the  cozy  nooks 
of  sunny  spring  woods,  from  the  steam-warmed  con- 
servatories of  growers,  who  with  commercial  ambi- 
tions have  sheltered  them  expensively  from  winter 
storms,  or  from  the  poor  little  vendors  on  street  cor- 
ners, they  never  fail  to  quicken  the  memories  and 
touch  the  emotion  of  every  beholder.  Their  mar- 
velous color  and  sweet  perfmue  make  an  appeal  to 
the  tenderest  and  best  in  everyone.  Even  the  cheap 
velvet  and  cloth  imitations  sprayed  with  perfume 
take  hold  upon  one's  heart,  unconsciously  leading  the 
mind  back  to  the  hopes  and  fine  ambitions  of  youth; 
even  those  poor  caricatures  recall  fresh  woods,  beauti- 
ful pastures,  free  winds,  sunny  skies  and  the  great  out-of-doors. 

One  reason  why  violets  are  the  favorite  flowers  of  the  world  is 
that  they  belong  to  sweet  woods  and  doorj'ard  gardens.  We  can 
plant,  tend  and  pick  them  ourselves,  make  borders  for  our  walks, 
fringe  a  brook  or  star  a  corner  of  the  lawn  with  their  iflecks  of  deep 
rich  blue.  Year  after  year  they  will  come  to  remind  us  of  our  first 
planting. 

376 


THE    POTTERS    OF 
AMERICA :     CRAFTS 
MEN'S   WORK  FOR 
GARDEN  DECORA 
TION :  NUMBER  TWO 

lAIlTH  I  am,  et  is 
most  trwe,  desdan 
me  not,  for  so  ar 
you."  Thus  quaint- 
ly runs  the  motto 
on  an  old  platter 
— and  perhaps  it  is 
this  traditional  kinship  with  the 
clay  that  Ues  at  the  root  of  man- 
kind's fondness  for  ceramic,  art. 
Certain  it  is  that  poets  and 
symbolists  of  many  lands,  as 
well  as  the  potters  themselves, 
have  often  felt  and  voiced  this 
curious  sent  iment — from  the 
prophets  of  the  Old  Testament,  and  Omar  with  his  vivid  Persian 
metaphors,  down  to  the  philosophers  of  our  own  day.  They  seem 
to  take  a  certain  satisfaction  in  reminding  us  that  we  were  formed 
"out  of  dust  of  the  ground."     "We  are  the  clay,  and  thou  our  poller," 


m 


GARDEN  DECORATION  BY  CRAFTSMEN 

said  Isaiah — while  David  sang,  "He  knoweth  our  frame,  he  remem- 
bereth  that  we  are  dust."  And  oddly  enough,  if  we  look  with  the 
eyes  of  symbolism,  we  can  find  in  our  own  nebular  hypothesis  and  our 
theories  of  evolution,  these  same  ancient  legends  of  creation  restored 
to  us  in  scientific  guise. 

In  a  practical  and  very  charming  book  on  pottery,  sketches  from 
which  are  scattered  through  our  text,  George  J.  Cox,  of  Columbia 
University,  gives  us  this  picturesque  resume  of  the  origin  of  the  pot- 
ter's craft.  "It  was,  probably,"  he  says,  "the  first  form  of  handicraft, 
if  we  except  the  fashioning  of  flints  and  clubs.  Accident  or  the  funer- 
al pyre  may  have  suggested  the  extraordinary  durability  the  clay 
shape  obtained  when  burned,  and  doubtless  siliceous  glazes  were  first 
the  result  of  chance.  All  early  work  was  built  up  by  hand  and  for 
that  reason  possesses  wide  mouths  and  simple  forms.  The  introduc- 
tion of  the  wheel  is  lost  in  a  mist  of  time,  but  drawings  from  the 
tombs  of  Beni  Hassan  show  the  potter  at  his  wheel  substantially  as 
he  works  in  Asia  to  this  day.  The  wheel-made  or  thrown  shape  is 
distinguished  by  far  more  grace  and  symmetry  than  the  built  shape, 
and  by  an  infinitely  greater  variety  of  form. 

"In  burial  mounds  from  prehistoric  Egypt  are  found  many  bowls 
and  platters  rudely  scratched,  and  the  earliest  examples  from  mounds, 
lake  dwellings,  and  tombs  show  the  quick  development  of  the  pot, 
not  only  as  an  object  of  utility,  but  as  a  vehicle  of  art.  The  first 
kinds  of  decorations  were  incised  lines  followed  by  strappings  and 
bandings,  painted  stripes  and  scrolls  and  hieroglyphs,  with  later 
additions  in  slip  and  modelled  clay.  Primitive  wares  from  their 
method  of  production  exhibit  an  interesting  similiarity  of  shape  and 
style  in  such  widely  divergent  countries  as  China,  Egypt  and  Peru. 

"From  Egypt  and  Mesopotamia  the  craft  spread  east  and  west 
to  Phoenicia,  Attica  and  Greece;  through  Persia  and  Arabia  to  India. 
Here  it  mingled  with  currents  from  China,  then  invading  Korea, 
Japan,  and  Siam,  the  united  flood  rising  until  the  potter  was  a  power 
in  every  land." 

The  development  of  pottery  in  our  own  country  was  outlined 
briefly  in  the  December  number  of  The  Craftsman,  and  illustrations 
were  given  of  some  of  the  most  original  and  beautiful  productions  of 
our  kilns. 

IN  this  issue  we  are  reproducing  photographs  of  garden  pottery, 
heavier  and  rougher  in  texture  than  the  indoor  fittings,   but 
equally  graceful  in  proportion  and  Une.     And  here  we  no  longer 
see  "the  potter  thumping  his  wet  clay;"  the  wheel  is  not  employed 
for  work  of  this  character.     Instead,  it  is  made  by  casting.     These 

378 


THE  GARDF.N   POTTERY   SHOWN    HERE  AS  WELL  AS 
ON  PAGE  382  IS  DESIGNED  AND  MADE  BY   MR.  E.  E, 
SODERHOLTZ,  AND  WAS  DISPLAYED  RECENTLY  IN 
THE  ARTS  AND  CRAFTS  EXHIBITION  IN   BOSTON 
AS  AN  INSTANCE  OF  EXCEPTIONALLY  FINE  AMERI 
CAN    WORK  :   THE   PIECES   ARE  OF  CAST  CONCRETE, 
WITH   A  RICH    MELLOW   SURFACE,   IN   VARIOUS 
VELVETY  TONES  OF  WARM  GRAY  AND  RED. 


► 


3l^l 


EVEN   WITHOUT    nil-:  i,I<A'ious 
TOUCH   OF   FOLIALE  OR  BLOS- 
SOMS THIS   SIMPLE  VASE  IS 
VERY   PLEASINO. 


FIVE  PIECES  OF  HARTMANN- 
SANDERS  GARDEN  POTTERY 
ARE  SHOWN  ON  THIS  PAGE  : 
THESE,  LIKE  PRACTICALLY 
ALL  MODERN  OUTDOOR 
POTTERY,  ARE   MADE  BY 
CASTING  :  THE  VASE  ABOVE 
SHOWS   AN   INTERESTING 
USE  OF  DECORATION   WITH 
RELATION  TO  THE  DESIGN. 


BELOW  IS  A  RATHER 
UNIQUE  VASE   WITH 
ROUNDED  BOWL   AND 
SQUARED  RIM  AND  BASE  : 
PLANTED  WITH   TRAILING 
IVY  OR  DROOPING  FERN   IT 
WOULD  ADD  A   PLEASING 
TOUCH  TO  THE  GARDEN. 


Mil.    LMi-.u   '.'.r..' „  Lu..  ;,  ILLUS- 
TRATED iUJOVE   WOULD  BE  ESPECIALLY 
EFFECTIVE  PLACED  UPON  AN  ENTRANCE 
POST  OR  UPON  THE  CORNER  OF  A  PORCH 
PARAPET. 


ANOTHER  INTER- 
ESTING VARIATION 
IN   VASE  DESIGN   IS 
SEEN  AT  THE  RIGHT. 


SHARON  WARE, 
THE  "pots  that 
BREATHE,"   ARE 
SHOWN  HERE — 
SIMPLE,  RICH- 
TEXTURED,  MEL- 
LOW-COLORED 
PIECES  SUITABLE 
FOR  EITHER  IN- 
DOOR OR  OUTDOOR 
USE. 


THESE   DECORATI\"E   FERN   JARS   AND 
WINDOW  BOXES  ARE  MADE  SO  THAT  THE 
PLANTS   CAN   BE   SET  RIGHT  IN   THEM, 
WITHOUT  ANY  INSIDE  POT,   AND  THE 
SHARONWARE,  BEING  POROUS,  INDICATES 
WHEN  THE  ROOTS  ARE  THIRSTY  OR  DRY. 


THE  SHALLOW  BIRD  BATH  SHOWN  ABOVE 
PROVES   VERY  ATTRACTIVE   TO   FEATHERED 
VISITORS,  BESIDES  ADDING  A  DECORA- 
TIVE NOTE  TO  THE  LAWN. 


WHETHER  SIM- 
PLE AS  THE  LIT- 
TLE JAR  ON   THE 
RIGHT,  OR  EN- 
RICHED  WITH 
ORNAMENT  LIKE 
THAT  ON  THE 
LEFT,   THIS 
UNIQUE  POTTERY 
IS  ALWAYS 
PLEASING. 


if 


THE  TALL,   GRACEFUL  JAK 
WITH  ITS  TINY  HANDLKs 
ILLUSTRATED  ABOVE,  RE- 
MINUS  ONE  OF  AN  ANCIENT 
WATER  PITCHER  :  MADE  IN 
SOFT  TONES   OF  RED  OR 
TERRA  COTTA,  IT  WOULD  BE 
A  VERITABLE  BEAUTY  SPOT 
IN  SOME  LEAFY  CORNER  OF 
THE  GARDEN  :  SO  SATISFY- 
ING ARE  THE  LONG  SYMMET 
RICAL  LINES  AND  INTER- 
ESTING TEXTURE,  THAT  ONE 
FEELS  NO  NEED  OF  ANY 
DECORATION  TO  COMPLETE 
THE  BEAUTY  OF  THIS  PIECE. 


THE  PHOTO- 
GRAPH   ABOVE 
SHOWS    ONLY 
THE  CONTOUR 
AND  ROUGH, 
RICH  TEXTURE 
OF  THIS  GAR- 
DEN  VASE,   BUT 
ONE   CAN 
IMAGINE  HOW 
EFFECTIVE  ARE 
ITS   WARM 
GRAY   TONES 
AMONG   THE 
TREES    AND 
VINES  : 
EQUALLY 
PLAIN    YET 
LOVELY   IS 
THE    WELL- 
PLACED  JAR 
ON   THE  LEFT. 


GARDEN   DECORATION   BY  CRAFTSMEN 

fern  jars  and  urns,  bird  basins,  pedestals  and  seats,  are  usually  of 
cement — natural  rock,  crushed,  pulverized  and  burned — mixed  with 
volcanic  sand  in  proper  proportion  to  make  a  durable  cast,  and  then 
moistened,  mixed  to  the  right  consistency  and  poured  into  molds. 
For  simple  shapes — such  as  shallow  bowls  or  jardinieres  with  wide 
openings — a  single  form  is  used,  while  those  of  more  elaborate  design 
are  cast  in  two  pieces  and  joined.  Sometimes  crushed  granite  or 
other  natural  stone  is  mixed  with  the  cement  to  add  to  the  interest 
of  coloring  and  texture,  or  mineral  colors  are  introduced  where  special 
shades  are  desired  to  harmonize  with  the  masonry  of  the  house, 
porch  or  garden  walks.  The  pieces  are  often  reinforced  by  wire 
mesh,  embedded  in  the  concrete. 

In  other  cases,  the  material  is  terra  cotta — literally  "burned 
earth,"  as  its  Latin  name  denotes — and  its  rich  tones  are  especially 
effective  against  a  background  of  garden  greenery.  The  plastic 
unburned  terra-cotta  clay  lends  itself  readily  to  ornamental  treat- 
ment; its  wide  range  of  colors  makes  it  adaptable  to  any  scheme  of 
decoration,  and  after  it  has  been  fired  to  a  high  temperature,  great 
durability  is  insured  and  it  possesses  a  moisture-proof  and  frost- 
proof quality  that  renders  it  safe  from  disintegration  during  even  the 
severest  winter  cold. 

White  Portland  cement  is  also  used  with  crushed  marble  when  a 
marble  effect  is  desired,  and  sometimes  the  cast  pieces  are  so  cleverly 
tooled  afterwards  that  it  is  almost  impossible  to  distinguish  them  from 
sculptured  work. 

It  is  surprising  what  a  decorative  effect  can  be  obtained  in  even 
the  most  modest  garden  by  the  use  of  a  few  pieces  of  cement  or  terra- 
cotta outdoor  pottery.  A  simple,  massive  jar  holding  an  evergreen 
shrub,  placed  on  each  side  of  the  porch  steps — a  concrete  bowl  planted 
with  geraniums  or  nasturtiums  and  trailing  ivj%  upon  the  corner  of 
the  porch  or  parapet  or  on  a  pedestal  in  the  garden — a  low  drinking 
basin  on  the  lawn  to  attract  the  birds — a  concrete  bench  of  classic 
lines  placed  invitingly  against  a  clump  of  dark  shrubbery  or  beside 
a  garden  pool — any  of  these  features  will  add  a  distinctive  note  to 
their  surroundings,  bringing  into  the  domain  of  Nature  the  contrast- 
ing but  sympathetic  handiwork  of  man. 

We  are  presenting  here  a  number  of  different  types  of  garden 
pottery — all  remarkably  interesting  in  texture,  coloring  and  design. 
Particularly  unique  are  the  pieces  made  by  E.  E.  Soderholtz,  for 
although  devoid  of  any  ornamentation,  the  classic  lines,  graceful 
proportions,  rich  surface  effects  and  mellow  tones  give  them  great 
distinction  and  beauty.  This  pottery  comes  in  various  shades  of 
warm  gray  as  well  as  in  soft  reddish  colors  that  are  most  decora- 

383 


GARDEN  DECORATION   BY   CRAFTSMEN 


tive  in  a  setting  of  garden  foliage,  or 
among  ferns  and  rocks.  One  does  not 
wonder  that  the  work  received  special 
appreciation  at  a  recent  exhibition  of 
arts  and  crafts  in  Boston,  for  it  shows 
conclusively  what  real  loveliness  can 
be  created  by  American  craftsmen. 

There  is  another  kind  of  pottery 
recently  devised  which  is  equally  suit- 
able for  outdoor  and  indoor  use,  and 
which  has  a  peculiar  property  that 
makes  it  especially  valuable  for  both 
E<jypt.    B.Q.  2000  tender  and  hardy  plants  and  flowers. 

This  is  the  "Sharon ware" — a  concrete  pottery  that  is  made  porous, 
so  that  it  can  indicate  when  the  plant  has  received  sufficient  water 
and  thus  prevent  the  rotting  that  is  liable  to  set  in  from  over- 
moisture.  It  also  indicates  by 
its  dry  appearance  when  the 
plant  is  thirsty. 

These  ingenious  "pots  that 
breathe"  are  as  decorative  as 
they   are  useful,  for  they  are 
made  in  all  sorts  of  simple, 
sturdy,  graceful  shapes, 
from  the  tiniest  jars  to  the 
largest  jardinieres — for 
living  room,  porch,  sun- 
room,  conservatory  or 
garden.     There  are  also* 
hanging  bowls  of  various 
sizes,  that  one  can  sus- 
pend from  the  ceiling  by 
stained  or  natural  colored  ^^""'y  <5reek  KWd 

raffia  braids.  And  as  this  pottery  cornes  not  only  in  pale  gray  and 
buff  but  also  in  a  soft  pinkish  and  greenish  tone,  it  aflFords  an  interest- 
ing contrast  against  green  foliage  and  the  varying  colors  of  flowers. 
Another  interesting  fact  about  this  pottery  is  its  origin,  for  it  is 
made  in  the  Industrial  School  for  Convalescents  in  New  York — the 
outgrowth  of  the  Home  at  Sharon,  Connecticut,  which  cares  for 
cardiac  patients  after  they  have  left  the  hospital,  and  teaches  them 
a  trade  or  handicraft  suitable  to  their  physical  condition.  The 
sceptical  have  said  that  one  could  not  teach  a  truck-driver  or  a  day- 
laborer  to  do  light  work,  and  that  such  men,  when  handicapped  by 

384 


GARDEN   DECORATION  BY   CRAFTSMEN 


'^af^jesse.M^XiXi^^^-j«-.-«-jB^:3ic^r<\ 


a  crippled  heart,  could  not  find  a 
trade  at  which  they  could  earn  a 
living  wage.  But  this  school,  with 
its  charming  "Sharonware"  seems 
to  have  found  at  least  one  prac- 
tical solution  to  the  problem. 
One  of  its  best  artisans  was  for- 
merly an  ice-man! 

In  all  the  pottery  that  we  are 
showing  here,  three  things  are 
particularly  noticeable — the  frank 
use  of  the  material,  the  tendency 
toward  simple,  massive  forms,  and 
the  rehance  upon  the  proportion, 
texture  and  natural  interest  of 
coloring  for  the  decorative  effect. 
In  some  cases,  such  as  the  fluted 
window-box  or  the  grape-encircled 
jar,  actual  designs  are  used  to  or- 
nament the  surface;  but  these 
are  not  at  all  elaborate,  and  are 
carefully  related  to  the  contour 
and  structure  of  the  piece. 

As  a  rule,  it  will  be  found  that  pottery  of  this  rather  simple  style 
is  most  in  keeping  with  the  informal  American  garden.  In  fact  one 
finds  that  it  is  coming  to  be  given  preference  almost  every- 
where— a  sort  of  outdoor  reflection  of  the  simplicity  and  harmony 
that  is  beginning  to  reign  within  our  homes.     We  are  leaving  the 

complex  ornamentation  and  classic 
effects  borrowed  from  Italian  and  other 
Old  World  gardens,  for  the  large  and 
formal  estate,  where  they  may  be  per- 
haps more  appropriate — choosing  for 
the  intimate  outdoor  nooks  and  comers 
of  our  smaller  homes  such  unpretentious 
and  friendly  fittings  as  are  pictured 
here.  And  in  doing  so,  we  are  making 
our  gardens  more  and  more  beautiful 
and  inviting,  adding  to  their  interest 
not  only  through  the  summer  months 
but  all  the  year  round — in  the  days  of 
bare  branches  as  well  as  in  the  time  of 
leaves  and  flowers, 

385 


"  H«  iTToxighi  a  work  upon  the  whffls,  and  the  tessd  that  ke  made  nrf  clay  r£C 
marred  in  the  hands  qf  the  PoUet:  so  he  made  it  again  another  vessel,  c 
seemed  good  to  the  PoUer  tc  make  it."  ~~  (jEHsaaiB.) 


Iijdia.     B.  <?.  2000 


THE  GREEN  WORLD  IN  WINTER: 
A    GARDEN  THE  YEAR  ROUND 

the  long  struggle  for  possession  of  the  earth,  the 
oaks,  maples,  elms  and  trees  of  their  kind  have  forced 
the  pines,  firs,  spruces,  the  cone  bearers,  to  the  waste 
places,  to  the  wall  as  it  were,  where  they  now  stand 
sternly  at  bay  defying  farther  pursuit  of  their  vigorous 
foes.  Their  Norse-Uke  hardiness  has  become  as  a 
magic  ring  of  protection,  for  they  endure  in  a  region 
and  under  climatic  conditions  that  strike  death  to  the  very  tres- 
passers who  have  crowded  them  to  their  present  vantage  ground. 
They  have  been  pushed  to  rocky  headlands,  sandy  wind-swept 
shores,  up  mountain  sides  to  the  verj'  margin  of  the  eternal  snows 
and  into  the  deserts  where  they  patiently  mature  large  cones,  filled 
with  nuts  which  furnish  sweet  food  to  wild  tribes  in  these  almost 
arid  lands. 

Recently  mankind  has  come  to  notice  that  these  trees  that  stand 
Uke  priests  upon  our  hills,  warriors  upon  the  mountains,  martyrs 
along  our  coasts,  saviors  in  our  deserts,  have  not  been  appreciated 
as  they  deserve.  National  laws  for  their  protection  have  called 
the  attention  of  individuals  to  their  worth,  made  them  reaUze  how 
barren  the  world  would  be  without  their  brave  show  of  green  through- 
out long  winters,  their  majestic  beauty  in  wild  places,  and  their 
haunting  seolian  music  in  our  gardens.  So  we  are  going  to  the  forests 
and  deserts,  bringing  them  home  to  our  gardens,  even  into  our  houses 
where,  in  dwarf  form,  they  give  cheer  in  our  window-boxes,  adorn 
our  tables  or  stand  as  green  sentinels  at  our  doorways. 

Many  are  the  reasons  why  evergreens  should  have  welcome  places 
in  our  gardens,  in  the  streets  of  our  cities,  in  our  parks  and  play- 
grounds; for  beauty  of  coloring,  texture  and  marking  of  bark  the 
evergreens  cannot  be  surpassed,  their  branches  sweep  over  roadways 
with  a  picturesque  grace  we  can  hardly  do  without;  their  foliage 
adds  variety  and  rich  color  both  summer  and  winter;  we  use  them  as 

386 


A  Sl'KAY  OF  AUSTRIAN  PINE  CONES  AND  A  IIKAXIH  llF  TIIF.  FRACKAXT  I'lXUS  rUXr.FNS- 
— TWO  BEAUTIFUL  SPECIES  OF  EVERCREKX  THAT  HKI.F  To  KKKl'  THE  GARDEN  LOVELY 
THROUC.HOyl    THE    WINTER    MONTHS. 


,r 


AT  THE  Rlf;HT   IS   A   BRANCH   OF 
JUNIPER   WITH   ITS  TINY  DIXOKA- 
TIVE  FRUIT,   WHICH  LOOKS 
EQUALLY  CHARMING  EITHER  ON 
THE  TREE  OR  WHEN  PICKED  AND 
PLACED  IN   SOME  GRACEFUL  VASE 
INDOORS  :   THE  FANCIFUL  FERN- 
LIKE QUALITY  OF  ITS  FOLIAGE  IS 
CURIOUSLY  REMINISCENT  OF  THE 
PATTERNS  THAT  JACK   FROST 
TRACES   UPON  THE   WINDOW   PANE 


ANOTHER  VARIETY  OF  JUNIPER  IS   SHOWN 
HERE,   MORE  SYMMETRICAL  IN  GROWTH   THAN 
THE   KIND  IN  THE  UPPER  PICTURE,  BUT  JUST 
AS  BEAUTIFUL  IN   ITS  OWN  WAY. 


THIS  GRACEFULLY  DROOPING  BOUGH  OF  HEMLOCK  REMINDS  ONE  HOW 
MUCH  WARMTH  AND  FRIENDLINESS  THE  EVERGREENS  CAN  GIVE  TO  A 
BARE  WINTER  GARDEN,  KEEPING  THE  NATURE  SPIRIT  ALIVE  THROUGH 
EVEN  THE   MOST  RIGOROUS   SEASON  OF  THE  YEAR. 


BELOW   ARE  THE   GRACEFUL 
CONES  AND  NEEDLES   OF  THE 
HIMALAYA   PINE,    WHICH 
MAKE  SUCH  A  LOVELY  CON- 
TRAST OF  BROWN  AND  GREEN 
IN  THE  garden:   LIKE  ALL 
THE  EVERGREENS,  THEIR  PRES- 
ENCE THROUGH  THE  MONTHS 
WHEN  OTHER  TREES  ARE  BARE 
AND  WHEN  THE  GARDEN   BEDS 
ARE  FLOWERLESS,  BRINGS  A 
NOTE  OF  WARMTH  AND  COM- 
FORT FOR  PEOPLE  AND  BIRDS 
ALIKE. 


THIS  DOUGLAS  SPRUCE 
CONE  SUGGESTS  THE  SUBTLE 
GRACE  ONE  FINDS   IN   A 
JAPANESE  PRINT — SO  WON- 
DERFULLY HAS  THE  GREAT 
ARTIST,  NATURE,  DRAWN  IT. 


.\T   THE   LEFT   IS 
A  BRANCH   OF 
THE  PINUS   FUN- 
GENS,  SOMETIMES 
CALLED  THE  TABLE 
MOUNTAIN  pine: 
IT  IS  FOUND  IN   OUR 
EASTERN   AND   SOUTH- 
ERN  STATES   FROM 
NEW   JERSEY  TO 
GEORGIA. 


OS** 


FEW  PEOPI-E  APPRECIATE  AS   KEENLY  AS 
THE  JAPANESE  THE  POETIC  QUALITY  OF 
FVERnRFFNS:  THESE  BEAUTY-LOVING  FOLK 
PI  ANT  THEM  CAREFULLY  AND  TENDERLY 
IN  THEIR  GARDENS.  JUST   WHERE  THE 
VELVET  GREEN  LEAVES  AND  RICH  BROWN 
CONES  WILL  GIVE  MOST  PLEASURE  TO 
OWNER.  GUESTS  OR  PASSERSBY  1  THEY 
TKAIN  THE  BRANCHES.  TOO,  SO  THAT  THEY 
WILL  STRETCH   OUT  LIKE  GRACIOUS  ARMS 
TO  BEAR  THE  SOFT  WHITE  BURDEN  OF  THE 
SNOW  •    AMONG  THE   ANCIENTS   THE  EVER- 
GREEN  WAS  BELIEVED  TO  ATTRACT  NOT  ONLY 
THE  BIRDS  BUT  ANY  KINDLY  SPIRITS  THAT 
MIGHT  BE  HOVERING  AROUND  THE  IIOMI-. 


ABOVE  IS  SEEN  THE  FOLIAGE  OF  THE  BALD 
CYPRESS,  FEATHERY  OF  GROWTH  :  ON   THE 
RIGHT   IS   A    SPRAY  OF   WHITE   SPRUCE, 
WHILE  IN  THE  UPPER  CORNER  ANOTHER 
OF  THE  MANY  EVERGREENS— THE  TAXUS 
BACATTA— IS   SHOWN. 


THE   GREEN   WORLD   IN    WINTER 

wind  breaks;  screens  for  unsightly  back  dooryards;  as  hedges  to 
insure  privacy  to  garden  rooms;  to  frame  vistas;  emphasize  gateways; 
we^^roup  them  irregularly  over  hillsides;  set  them  in  formal  rows 
along  driveways  or  walks;  plant  them  as  shelter-tents  for  birds;  set 
individual  specimens  such  as  the  round  Scotch  pine  or  weeping  hem- 
lock where  the  full  beauty  and  form  can  best  be  appreciated,  or 
encircle  our  houses  with  dwarf  species.  W^e  trim  them  high  leaving 
a  round  green  crown  in  memoiy  of  the  pines  of  the  old  Appian  way  or 
leave  them  tall  as  any  wand,  as  in  the  gardens  of  modern 
Italian  villas. 

For  wind  breaks,  screens,  enclosed  walks  of  winter  gardens,  the 
Nordman  fir  is  most  practical  for  it  is  strong  and  hardy.  Its  leaves 
form  compact  masses  through  which  the  bitter  winds  cannot  find  as 
easy  a  passage  as  through  a  hedge  of  pines.  They  should  be  set  out 
never  less  than  one  foot  apart,  just  so  the  branches  touch  one  another. 
This  will  give  them  ample  opportunity  to  overlap  and  adapt  them- 
selves to  a  massed  growth. 

Our  native  arbor-vitse.  Thuya  occidentalis,  makes  a  graceful 
hedge  when  left  uncUpped  and  yields  itself  quite  naturally  to  severe 
priming.  Since  it  will  stand  much  shearing  it  is  in  great  demand  for 
formal  gardens  where  hedges  of  greater  heights  are  required.  Double 
hedges  of  it  are  sometimes  planted  so  that  seats  may  be  indented. 
Hemlocks  and  Norway  spruce  are  in  quite  general  use  for  hedges 
for  they  will  thrive  under  varied  conditions,  but  the  white  spruce, 
Picea  alba,  is  only  at  its  best  in  the  cold  northern  regions;  for  the 
pleached  arches  or  even  the  long  pleached  alleys,  cedars  could  be 
used  for  their  branches  are  both  tough  and  pliable.  From  our  own 
arbor-vitae  also  a  living  arch  may  be  grown,  the  branches  rising 
evenly  above  this  supple  bole. 

For  window-box  use  they  are  comparatively  new,  yet  a  wide  range 
of  dwarf  species  is  now  within  easy  reach  which  will  supply  both 
variety  of  color,  height  and  form.  The  Japanese  cedars,  retinosporas, 
which  come  in  round,  square  or  pyramidal  form,  Tsuga  canadensis 
and  T.  Sieboldi,  Chinese  arbor-vitse,  Chinese  juniper  and  mist 
cypress,  dwarf  mountain  pine,  could  be  had  from  any  florist's  for 
this  purpose.  The  retinospora  plumosa  and  its  golden  varieties, 
sulphur ea  and  aurea  in  conjunction  with  the  dark,  rich  green  of  the 
English  ivy  trailing  down  from  the  boxes  are  often  seen  along  the 
railings  of  winter  porches.  The  pyramidal  box  and  standard  bays 
keep  the  note  of  green  in  vestibule  of  both  city  and  country  houses. 
Another  favorite  use  for  evergreens,  rapidly  coming  into  favor,  is 
their  formal  planting  in  tubs,  set  at  the  corners  of  beds,  or  along 
garden  paths. 

391 


THE   GREEN   WORLD    IN   WINTER 


For  their  use 
in  tubs  can  be 
recommended 
the  arbor-vitaes, 
Thuya  occiden- 
talism T.  Colum- 
bia, T.  globosa 
and  T.  Rosen- 
thali.  Among 
cedars  the  retin- 
ospora  Youngii, 
obtusa;  among 
spruce,  Picea 
alba,  P.  excelsior, 
P.  pungens;  among  junipers, 
Japonica  aurea  and  juniperas 
hibernica. 

The  best  of  all  the  plans  for 
the  use  or  preservation  of  our 
evergreens  is  that  of  bringing  the 
Christmas  tree  into  the  house, 
roots  and  all,  planting  it  in  a  tub 
of  green,  letting  it  yield  its  magic 
fruit  of  toys,  candles,  gifts  and 
stars  for  its  brief  week  or  two, 
then  transplanting  to  its  perma- 
nent home  in  the  garden,  where  it  will  keep 
green  for  many  a  year  the  memory  of  the  chil- 
dren's happy  Christmas  day.  Thousands  and 
thousands  of  young  balsam  pines  are  sacrificed 
each  year  to  the  Christmas  market,  hillsides 
are  yearly  depleted  to  supply  the  demand  of 
Christmas  green.  All  this  waste  of  the  work 
of  years  for  the  joy  of  a  day  could  be  controlled 
if  the  little  trees  were  brought  in  roots  and  all, 
made  to  serve  their  part  in  the  festive  day, 
then  set  to  continue  for  years  to  live  their  life  in 
the  dooryard  garden.  We  do  not  need  to  look 
outside  our  own  land  for  shapely  evergreen 
trees,  for  avenue,  hedge,  coppice  or  individual  specimens  for  lawn, 
beside  a  house  or  at  the  gateway,  for  in  the  United  States  there  are 
at  least  thirty-eight  species  of  pine  alone,  ready  to  bear  the  hardy 
banner  of  green  through  the  brown  season  and  white  of  winter,  many 

392 


THE   GREEN   WORLD   IN   WINTER 


spruces  with  beautiful  crowns  and  long,  graceful  branches  hung  with 
glossy  pendant  cones  to  make  pictures  against  an  evening  sky,  many 
firs  whose  brown  cones  stand  up  from  the  tip  of  dripping  branches 
as  though  they  were  gifts  upon  a  perpetual  Christmas  tree,  as  in 
very  fact  they  are,  as  winter  birds  bear  grateful  testimony.  From 
Alabama  to  Nova  Scotia  are  lovely  conical  hemlocks  which  graciously 
bear  transplanting  from  wild,  free  canyons  to  small  dooryards. 
Everywhere  are  sweet-scented,  delicately-foliaged  firs,  cedars  whose 
beautiful  bark  and  flat,  frondlike  foliage  is  jewelled  with  spicy, 
aromatic  little  cones.  There  are  creeping  junipers  whose  branches 
are  continuously  spread  with  inviting  berry  banquets,  to  train  over 
walls,  to  mat  over  terraces,  to  be  used  as  borders  and  edgings  or  in 
combination  with  evergreens  of  conical,  bushy  or  rounding  form 
against  the  foundation  of  a  house  or  angle  of  driveway. 

The  evergreens  or  cone  bearers  are  not  ranked  high  in  the  order 
of  plants  by  botanists,  for  though  they  are  survivals  of  the  earliest 
ages  they  have  not  changed  their  simple  form  of  floral  structure. 
Scientists  classify  them  with  the  club  mosses  and  cattails,  so  of 
course  they  must  be  right.  When  the  primeval  jv 
waters  subsided,  leaving  an  earth  of  but  bare  rocks, 
the  lichens  were  the  first  form  of  vegetable  life  to 
appear.  They  slowly  covered  those  bare  rocks, 
gradually  disintegrating 
them  by  the  acid  they  gener- 
ated, thus  forming  the  soil 
upon  which  the  mosses  could 
thrive.  The  pines  were  the 
first  trees  that  ventured  foot- 
{Continued  on  page  J^SJf) 


393 


A  NEW  PLAN  FOR  BIRD  SANCTUARIES  ALL 
OVER  AMERICA:   BY  T.    GILBERT  PEARSON 

"^MERICA  is  planning  new  homes  for  her  birds,  homes 
where  they  can  Uve  with  unrestricted  freedom,  where 
food  and  lodging  in  abundance,  and  of  the  best,  will 
be  supplied,  where  bathing  pools  will  be  at  their 
service,  where  blossoming  trees  will  welcome  them 
in  the  spring  and  fields  of  grain  in  the  fall,  a  silent 
place  where  they  will  bring  much  joy  and  contentment. 
Throughout  this  country  there  is  to  be  a  concerted  effort  to  convert 
the  cemeteries,  the  homes  of  our  dear  friends  who  have  gone  away, 
into  sanctuaries  for  the  bird  life  of  this  land.  And  what  isolated 
spots  could  be  more  welcome  to  the  birds  than  these  places  which 
hold  so  many  sad  memories  for  human  beings? 

Why  should  we  purchase  great  bird  reserves  and  spend  vast 
quantities  of  money  in  making  them  habitable  for  our  birds  when  the 
little  cemeteries  of  the  land  so  need  their  presence?  And  why  should 
not  every  person  who  visits  so  often  the  green  home  of  mother  and 
father,  brother,  sister  and  dear  friend,  delight  in  planting  the  kind 
of  flowers  and  plants  which  will  woo  the  birds?  Why  should  there 
not  be  a  society  in  every  town  for  beautifying  the  cemetery  for  bird 
occupation  ? 

In  reality  they  would  be  beautifying  it  to  hold  more  tenderly 
and  lovingly  their  own  memories  and  to  make  a  spot  more  friendly 
to  welcome  the  sad  and  the  heartbroken.  Surely  if  any  place  in  the 
world  should  speak  of  the  resurrection,  in  whatever  form  it  may  come 
to  us,  it  is  the  cemeteries  of  our  land.  There  we  should  seek  lovely 
bird  songs,  the  nesting  of  birds,  the  sight  of  the  httle  ones  preparing 
for  the  world  in  their  flight;  there  we  should 
find  all  the  beautiful  flowers  and  the  waving 
grain  which  somehow  always  is  associated  with 
the  spiritual  harvest  and  should  be  associated 
in  our  minds  with  comfort  and  peace  as  well. 

Many  of  us  have  felt  in  the  past  that  we 
have  done  much  to  make  "God's  acre"  beauti- 
ful everywhere,  in  the  putting  up  of  monuments, 
in  the  planting  of  evergreens,  in  the  building  of 
vaults,  but  this  is  not  what  we  mean  today  by 
making  a  home  for  the  birds.  We  want  it  all 
intimate  and  friendly  and  full  of  color  and  life. 
Not  long  since,  I  visited  one  of  the  old-time 
cemeteries  which  was  the  pride  of  the  neighbor- 
ing city.  It  was  indeed  a  region  of  beauty  to 
BEAUTY,  j^jjg  gyg^  jj^^  ^Q  jjjy  biased  mind  there  is  always 


ORIOLE 
FOR 


AMERICA'S  PLAN  FOR   BIRD  HOMES 


something  flat  and  insipid  about  a  landscape 
however  charming,  if  as  one  passes  among  its 
beauties  there  is  not  borne  to  the  ear  the  music 
of  singing  birds.  For  my  feathered  friends  I 
looked  and  listened.  Some  English  sparrows 
flew  up  from  the  drive  and  I  heard  the  rusty- 
hinge  squeaks  of  a  small  company  of  purple 
grackles  which  were  nesting,  I  suspected,  in 
the  pine  trees  down  the  slope.  But  of  real 
cheerful  bird-life  there  was  none  in  this  arti- 
ficially beautified  forty  acre  enclosure.  There 
is  no  reason  to  suppose  that  birds  would  under 
normal  conditions  shun  a  cemetery  any  more 
than  does  the  traditional  graveyard  rabbit. 

It  was  not  fear  such  as  we  mortals  have 
which  kept  the  song-birds  from  this  place,  it 
was  the  work  of  the  living  which  had  driven 
them  away.  From  one  boundary  to  another 
there  was  scarcely  a  yard  of  underbrush  where  a 
thrasher  or  chewink  might  lurk,  or  in  which  a  vireo 
or  dainty  chestnut -sided  warbler  might  hang  its  nest,  scarlet  tanagers 
There  was  not  a  drop  of  water  discoverable,  where  a  for  color  and  cheer. 
bird  might  slake  its  thirst.  Neither  in  limb  nor  bole  was  there  a 
single  cavity  where  a  titmouse,  wren  or  bluebird  might  construct  a 
bed  for  its  young.     There  were  no  fruit-bearing  trees  to  invite  the 

birds  in  summer.  So  far  as  I  could  see 
there  were  no  berry -bearing  shrubs 
which  birds  enjoy  nor  were  there  any 
weed  patches  to  invite  the  flocks  of  white- 
throats  and  juncos  which  come  drifting 
southward  with  the  falling  leaves  of 
autumn. 

Had  my  visit  to  this  place  been  made 

in  April  or  early  May  there  might  have 

been  a  different  tale  to  tell.      September 

would  also  have  yielded  more  birds  than 

June,  for  those  are  the  seasons  when  the 

migrants  are  with  us  for  a  time.     It  is  then 

•  that  the  little  voyageurs  of  the  upper  air  are 

wont  to  pause  after  a  night  of  tiresome  flight, 

and  rest  for  the  day  in  any  grove  which  chances 

to  possess  convenient  home  comforts.     They  are 

hurrying  on  to  other  lands  and  do  not  have  time 


THE  EVER  WELCOME 
WOOD  THRUSH. 


395 


AMERICA'S   PLAN   FOR  BIRD   HOMES 

or  opportunity  to  seek  out  and  use  only  the  most  invit- 
ing places.  It  is  at  these  seasons  that  we  sometimes 
see  a  rare  forest  bird  hopping  among  the  scraggy  limbs 
of  a  knotted  shade  tree  along  a  busy  street,  but  we 
would  never  expect  to  find  one  of  those  birds  loitering 
there  in  June. 

Not  long  ago  B.  S.  Bowdish,  a  busy  New 
York  man,  made  a  careful  study  of  the  bird 
life  of  St.  Paul's  Churchyard  in  lower  New 
York  City.  This  property  is  three  hundred 
and  thirty-three  feet  long  and  one  hundred 
and  seventy-seven  feet  wide.  In  it  there  is 
a  large  church  and  also  a  church  school. 
Along  one  side  surge  the  Broadway  throngs. 
From  the  opposite  side  there  comes  the  roar 
and  rumble  of  an  elevated  railway.  The 
area  contains,  according  to  Mr.  Bowdish, 
three  large,  ten  medium,  and  forty  small 
trees.  With  great  frequency  for  two  years, 
field-glass  in  hand,  he  /^ 


pursued  his  work  of  making  a  bird  census  of 
the  graveyard.      The  nest  of   a  native  bird 
rewarded   his   search,    for   the  place 
was  absolutely  destitute  of  feathered 
songsters  during  the  late  'spring  and 
summer,  and  with  a  single  excep- 
tion he  never  found  a  bird  there 
in  winter.     In  passing,  it  may  be 
interesting  to  note  that  in  this 
noisy,  limited  area  during   the 
periods  of  migration  he  dis- 
covered three  hundred  and 
twenty-eight  birds,  embrac- 
ing forty  species.     The  larger  cemetery 
which  I  visited  in  June  would  of  course 
yield  a  much  larger  series  of  birds  than 
this,  had  observations  been  made  during 
migration. 

Why  do  not  more  of  the  birds  which 
pass  in  spring  tarry  in  this  quiet  place 
for  the  summer?  The  answer  may  be 
found  in  the  facts  stated  above.  The 
cemetery  has  been   rendered   unattrac- 

396 


GOLDEN  AND 
RUBY 
CKOWNED 
KING- 
LETS. 


AMERICA'S   PLAN  FOR   BIRD   HOMES 


tive   to  many  species  by  the  activities  of    thTye^ 
a  mere  human  committee  in  charge  of 
the  property. 

During  the   season   when   birds    are 
engaged  with  their  domestic  duties  they 
are   usually    a    very    wise   little   people. 
They   know   perfectly  well  whether  a  ^  ^ 
region  is  calculated  to  provide  them  with 
sure  and  safe  nesting  sites  and  whether 
there  is  suflBcient  food  and  water  acces- 
sible for  their  daily  wants.     A  little  of 
this  same  wisdom  on  our  part  and  a  com- 
paratively small  expenditure  might  make  of 
almost  any  cemetery  a  bird  paradise.     Such 
places  are  not  usually  frequented  by  men  and 
boys  who  go  afield  for  the  purpose  of  shoot- 
ing, which  is  an  important  point  in  the  es- 
tablishment of  a  bird  sanctuary". 

There  is  one  great  enemy  of  the  birds,/ 
however,  which  must  'be  guarded  against — 
the  domestic  cat.  It  is  the  greatest  scourge 
which  civilized  man  has  ever  loosened  upon  small  wild  life,  and  in 
virtually  every  cemetery  in  the  land,  you  may  find  these  feline 
destroyers  skulking  among  the  grassy  mounds.  They  pounce  upon 
the  old  birds  that  light  on  the  ground  in  quest  of  insect  food.  They 
note  the  nest  on  the  swaying  branch  above,  and  also  seize  the  fledgings 
in  their  initial  attempts  at  flights.  A  cat  has  been  known  to  destroy 
as  many  as  twenty  birds  in  a  day.  It  is  as  natural  for  the  average 
healthy  cat  to  hunt  as  it  is  for  the  sparks  to  fly  upward.  So  if  we 
are  going  to  make  a  bird  sanctuary  out  of  the  cemetery,  pussy  must 
be  excluded  from  its  confines.  This  may  be  done  effectively  by 
means  of  a  cat-proof  fence,  or  to  a  large  extent,  by  the  help  of  humane 
box-traps. 

Gunners  and  cats  having  been  eliminated  there  are  few  enemies 
of  birds  which  need  be  seriously  considered.  Bird-catching  hawks 
are  not  often  numerous  in  the  neighborhood  of  cemeteries.  Red 
squirrels  have  a  wide  reputation  for  pilfering  birds'  nests,  and  if 
abundant  they  may  constitute  a  danger  of  secondary  importance. 

Properly  constructed  bird-boxes  wisely  placed  have  often  proven 
to  be  a  means  of  increasing  bird-life  to  a  most  astonishing  degree, 
and  this  is  absolutely  the  only  means  of  getting  hole-nesting  varieties 
to  remain  during  the  summer  in  the  cemetery  from  which  all  dead 
standing  wood  of  every  character  has  been  removed.  Even  the  strong- 

397 


AMERICA'S  PLAN  FOR  BIRD  HOMES 


billed  woodpeckers  will  not  abide  in  a  region  where  the  only  trees 
are  living  ones,  unless,  perchance,  an  artificial  nest  entices  the  re- 
splendant  and  dashing  flicker  to  tarry.  Many  a  bluebird  with  its 
azure  coat  gleaming  in  the  sunUght,  visits  the  cemetery  in  early 
spring.  From  perch  to  perch  he  flies  and  in  the  plaintive  notes  may 
be  detected  the  question  which  every  bird  asks  of  its  mate,  "WTiere 
shall  we  find  a  place  for  our  nest.?" 

The  bluebird  cannot  build  a  cradle  of  twigs  and  sticks  on  some 
leaf-covered  limb  or  hide  it  in  the  long  grass  of  a  neglected  grave. 
The  only  place  it  knows  where  baby  bluebirds  may  be  safely  hatched 
is  in  some  snug  cavity.  But  in  the  well-kept  cemetery  there  is  no 
such  retreat.  The  caretaker  with  his  pruning  hook  and  cement 
has  carefully  removed  such  places.  So  when  the  roses  and  lilies 
bloom,  the  visitor  is  deprived  of  the  bluebird's  cheery  song,  for  the 
little  fellow  and  his  mate  have  departed  for  the  neighboring  farm 
where  we  may  find  them  perhaps  in  the  old  apple  orchard.  A  few 
cents  expended  for  lumber,  a  very  little  labor  in  making  a  small  box 
to  be  attached  to  the  side  of  a  tree  or  erected  on  a  post  was  all  that 
was  needed  to  keep  the  bluebirds  where  they  may  be  seen  and  enjoyed 
by  hundreds  of  sorrowing  people.  In  the  same  way  the  quiet  little 
wrens,  whose  loud  bursts  of  song  are  entirely  out  of  all  proportion 
to  the  size  of  the  singers,  may  be  attracted  in  summer  to  the  number 
of  two  pairs  or  more  to  every  acre. 

It  is  a  curious  fact,  of  which  I  believe  but 
little  has  been  written,  that  birds  which  build 
open  nests  may  often  be  induced  to  remain  in 
a  given  locality  if  attractive  nesting  ma- 
terial is  placed   within   easy   reach.      A 
gentleman  residing  in  one  of  the  Southern 
States  has  told  me  that  one  of  the 
most  effective  means   which   he   em- 
ployed  to  induce  a  large  colony   of 
herons  to  nest  near  him  was  to  haul 
annually,  to  his  little  swamps,  many 
wagon-loads  of  twigs  suitable  for  nest 
composition.     There  was  a  dearth  of 
such  material  in  this  region  and  the 
herons  greatly  profited  by  his  thought- 
fulness. 

In  many  a  cemetery  orioles  may  be 
tempted  to  weave  their  hanging  cradles 
among  the  swaying  ehn  limbs,  if  strings 
and  fragments  of  brightly  colored  yams 


AMERICA'S  PLAN  FOR  BIRD  HOMES 

are  placed  where  the  birds  may  find  them.      Baron  von  Ber- 
lepsch,   whose  experiments   in  attracting  birds  to  his  place  in 
Germany  have  been  widely  heralded,  found  that  if  the  tops  of 
bushes  were  drawn  in  closely  by  means  of  a  wire 
or  cord,  the  resulting  thick  mass  of  leaves  and 
twigs  offer  such  a  fine  place  for  concealing  nests 
that  few  birds  can  resist  the  temptation  to  use 
them. 

Other  means  of  rendering  a  cemetery  alluring 
to  nesting  birds  will  readily  present  themselves, 
when  one  develops  an  active  interest  in  the  subject 
It  takes  only  a  little  thought,  a  little  care, 
and  a  little  trouble,  to  make  it  possible  for 
many  birds  to  nest  in  a  cemetery-,  and  it 
must  be  remembered  that  unless  they  can 
nest  there,  the  chances  are  that  no  great 
abundance  of  bird  music  will  fill  the  air. 

The  young  of  most  song-birds  are  fed 
to  a  great  extent  on  the  soft  larvae  of  in- 
sects of  which  there  is  usually  an  abundant  supply 
everj'where.  Many  mother-birds,  however,  like  to 
vary  this  animal  diet  with  a  little  fruit-juice  now 
and  then,  so  it  transpires  that  the  ripened  pulp  of 
the  blackberry,  strawberry  or  mulberry',  frequently 
cheer  the  spirits  of  the  nestlings.  Such  fruits  in  most  places  are 
easily  grown  and  for  the  birds  they  make  a  pleasant  addition  to 
the  menu.  In  a  well-watered  territory^  birds  are  always  more  numer- 
ous. You  may  find  a  hundred  of  them  along  the  stream  in  the  valley, 
to  one  on  the  mountain-top.  A  cemetery  undecorated  with  fountains 
and  through,  or  near  which,  no  stream  flows,  is  too  dry^  a  place  for 
the  average  bird  to  risk  the  exigencies  of  rearing  a  family.  A  few 
simple  and  inexpensively  constructed  fountains  or  drinking  pools 
will  work  wonders  in  the  way  of  attracting  birds  to  waterless  territory. 

Anyone  who  takes  the  trouble  to  induce  wild  birds  to  remain 
in  a  cemetery  during  the  summer  will,  in  all  probability,  feel  so 
abundantly  repaid  for  his  labors  that  there  will  develop  in  his  mind 
a  strong  desire  to  do  what  is  possible  to  increase  also  the  numbers 
of  fall  migrants  and  winter  visitors.  The  means  of  accomplishing 
these  ends  are  even  simpler  than  those  necessary  to  hold  the  summer 
birds.  The  thoughtless  gunner  and  the  marauding  cat  must  still 
be  dealt  with,  but  in  addition  to  keeping  at  bay  these  enemies,  the 
one  necessary  thing  to  do,  is  to  provide  food,  either  by  natural  or 
artificial   means.     In   many   graveyards   there   is   considerable   un- 


CHICKA- 

DEES 

AT  PLAY. 


399 


AMERICA'S  PLAN  FOR  BIRD  HOMES 


occupied  space  which  might  well  be  planted  in  buckwheat  or  other 
small  grain.  If  uncut,  the  quantities  of  nourishing  food  produced  will 
bring  together  many  kinds  of  grain-eating  birds. 

There  are  numbers  of  native  shrubs  and  bushes  which  grow  berries 
that  birds  will  come  far  to  gather.  Look  over  the  following  list  which 
Frederick  H.  Kennard  of  Newton  Center,  Massachusetts,  has  recom- 
mended and  see  if  you  do  not  think  many  of  them  would  be  decorative 
additions  to  the  cemetery.  Surely  some  of  them  are  equal  in  beauty 
to  many  of  the  shrubs  usually  planted  and  they  have  the  added 
value  of  furnishing  birds  with  wholesome  food.  Here  is  part  of  Mr. 
Kennard's  list:  shad  bush,  blue-,  gray-,  silky-  and  red-osier  cornels, 
dangleberry,  hackleberry,  inkberry,  black  alder,  bayberry,  shining-, 
smooth-  and  staghorn-sumachs,  large-flowering  currant,  thimble- 
berry,  blackberry,  elder,  snowberry,  dwarf  bilberry,  blueberry,  black 
haw,  hobble  bush,  and  arrow-wood.  In  the  way  of  fruit-bearing 
shade  trees,  he  recommends:  sugar  maple,  flowering  dogwood,  white- 
and  cockspur-thorn,  native  red  mulberry,  tupelo,  black  cherry,  choke 
cherry,  and  mountain  ash.  For  the  same  purpose  he  especially 
commends  the  planting  of  the  following  vines:  Virginia  creeper,  bull 
beaver,  frost  grape  and  fox  grape. 

Such  shrubs  and  bushes  are  usually  well  stripped  of  their  berries 
after  the  first  heavy  snowfall.     Then  is  the  time  to 
begin  feeding  birds  in  earnest.     The  more  food  wisely 
placed  where  the  birds  can  get  it,  the  more 
birds  you  will  surely  have  in  winter.    Seeds 
\  and  grain  with  a  judicious  mixture  of  animal 
fat,  is  the  best  possible  ration  for  the 
little  feathered  pilgrims.     Rye,  wheat, 
•  sunflower  seed  and  cracked  corn  mixed 
"together   in   equal   parts   and    accom- 
^panied  with  a  liberal  sprinkling    of 
ground   suet  and  beef -scrap, 
makes  an  excellent  food   for 
birds  at  this  season.     This  may 
be  placed  on  shelves  attached 
to  trees  or  buildings,  or  on  oil- 
cloth spread  on  the  snow,  or 
on  the  ground  from  which  the 
snow  has  been  scraped.      On 
one   occasion   the  writer  at- 
tracted many  birds  by  the 
simple   means   of    providing 
them  with  finely  pounded  fresh 

400 


ROBIN 

IN  SPRING 

BLOSSOMS. 


LOVE 

beef-bones.  Furnishing  food  of  this  character  might  well  be  made 
a  pleasant  and  profitable  duty  of  the  children  who  attend  Sunday 
school  in  many  a  rural  church. 

WTiy  should  we  not  make  a  bird  sanctuary  of  every  cemetery  in 
America?  Why  leave  the  cemetery  to  the  English  sparrow  and  the 
grackles,  when  the  bluebird  and  the  thrush  are  within  hail  and  eager 
to  come  if  the  hand  of  invitation  be  but  extended? 

The  National  Association  of  Audubon  Societies  has  issued  an 
illustrated  publication  entitled  "Bulletin  Number  1.  Attracting 
Birds  About  the  Home."  This  will  be  found  to  contain  much  advice, 
useful  to  those  interested  in  the  subject  of  increasing  bird-life. 
Usually  a  small  fee  is  charged  for  this  bulletin,  but  for  the  present 
a  copy  will  be  sent  free  to  any  reader  of  The  Craftsman  who  may 
forward  a  two  cent  stamp  to  cover  the  postage.  Letters  should  be 
sent  to  the  writer  at  nineteen  seventy-four  Broadway,  New  York 
City. 


LOVE 

IF  you  love  your  friend  better  than  your  friend  loves  you, 
Do  not  grieve  with  the  pain  of  pride! 
Know  yourself  fortunate. 
You  are  the  happier  of  the  two. 
For  it  is  good  to  be  loved: 
It  is  better  to  love. 
It  is  sad  to  be  hated: 
It  is  sadder  to  hate. 
You  are  as  weak  as  your  hate  is  strong. 
Resolve  it  to  nothing! 

Hate  is  a  costly  thing  and  not  worth  the  price. 
You  are  as  strong  as  your  love  is  strong. 
Let  it  take  in  the  whole  world. 
Some  as  your  heart's  dearest. 
Many  as  your  brothers  and  sisters. 

All  as  worthy  a  kind  thought,  a  salute  and  a  comradely  touch 
of  the  hand. 

Ethel   Marjorie   Knapp. 


401 


YOUR  OWN  HOME:  NUMBER  TWO:  PLAN- 
NING FOR  COMFORT,  ECONOMY  AND  BEAUTY 

ILLIAM  L.  PRICE,  in  "The  House  of  the  Democrat," 
gave  us  a  description  of  his  ideal  dwelling  in  words  so 
genial  and  simple,  and  full  of  such  picturesque  feeling, 
that  they  seem  a  fitting  preface  to  an  article  on  the 
planning  of  a  home:  "The  rooms,"  he  said,  "shall 
be  am])le  and  low;  wide-windowed,  deep-seated,  spa- 
cious; cool  by  reason  of  shadows  in  summer,  warmed  by 
the  ruddy  glow  of  firesides  in  winter;  open  to  wistful  summer  airs, 
tight  closed  against  the  wintry  blasts:  a  house,  a  home,  a  shrine." 

One  cannot  but  wish  that  every  home-builder  and  architect 
would  learn  these  words  by  heart,  and  hold  them  as  a  constant  re- 
minder— for  in  that  one  prophetic  sentence  seems  to  be  condensed 
the  very  spirit  of  home. 

This  atmosphere  of  comfort  and  restfulness  cannot  be  attained, 
however,  without  much  wise  and  thoughtful  planning.  Its  roots 
are  in  the  practical,  the  seemingly  commonplace — which,  rightly 
treated,  results  in  lasting,  homelike  charm.  And  for  this  reason  the 
plans  should  be  worked  out  with  the  utmost  care. 

In  the  present  article  we  are  illustrating,  for  the  help  of  the 
home-builder,  floor  plans  and  views  of  modern  houses,  large  and 
small, — bungalows,  cottages  and  two-story  dwellings  of  various  types 
— together  with  suggestions  as  to  the  most  practical  way  of  arranging 
different  kinds  of  interiors. 

The  first  thing  to  be  decided,  of  course,  in  one's  home-planning, 
is  the  size  and  gen- 
eral character  of  the 
building,  which  will 
be  determined  part- 
ly by  the  income  of 
the  owner,  the  size 
of  the  family,  and 
the  nature  of  the 
locality  and  site. 
The  relation  of  the 
design  of  the  house 
to  its  surroundings 
was  considered  in  the 
preceding  article. 

Whether  it  is  to 
be  a  cottage,  a  bun- 
galow or  a  two-story     HOUSE   AT  CEDARCROFT,    MARYLAND,    MORRIS    AND   ERSKINE,    ARCHI- 
Vir>lica    r>ai>f  ain  occon         TECTS  :   AN    EXAMPLE   OF   IRREGULAR    PLANNING    FOR    VARIED    OUTLOOK 

nouse,  ceridm  essen-    ^^^  ^^^^^,  ^^^^  ^^^^^^^ .  ^^^  ^^^^^  ^^^  ^^^^  431 
402 


PLANNING  FOR  COMFORT,  ECONOMY  AND  BEAUTY 


tial  principles 
should  be  adhered 
to  if  a  genuine  home 
quality  is  to  be 
achieved.  In  plan- 
ning, for  instance, 
one  should  keep  in 
mind  the  design  of 
the  exterior,  taking 
care  especially  to  so 
arrange  the  rooms 
that  the  building 
will  not  be  too  high 

tor  Its  breaatn  and  lea  cottage,  chaknwood  forest,  Leicestershire,  England:  ernest 
length;  for  as  a  rule,    gimson,  architect:  an  interesting  type  of  old-fashioned  coun- 

the  lower  the   roof  ™^  «°^'^=  ^'-^'^  '»*  ^^"^  '^^i- 

line,  the  more  hospitable  and  homelike  the  place  will  appear.  An 
unusually  interesting  illustration  of  this  will  be  found  in  the  plans 
and  sketch  of  the  house  at  Cedarcroft,  Maryland. 

The  points  of  the  compass  must  likewise  be  considered,  for  much 
of  the  comfort  of  the  interior  will  depend  upon  the  exposure  of  the 
various  rooms.  It  is  always  pleasant  to  have  the  morning  sun  in 
the  kitchen  and  dining  room,  while  in  the  living  room  one  appreciates 
the  midday  and  afternoon  light.  The  living  porch  should  be  sheltered 
from  the  north,  with  a  chance  for  plenty  of  sunshine,  so  that  it  can 
be  used  as  many  months  in  the  year  as  possible,  and  if  it  is  to  be 
glassed  in  for  the  winter  as  a  sunroom  it  should  have  a  southern 
exposure.     "Rosebriers,"  at  Llanfairfechan,  in  North  Wales,  among 

our  illustrations, 
gives  an  example  of 
irregular  planning 
for  variety  of  expo- 
sure and  outlook. 

The  matter  of 
the  living  porch  is 
an  important  one, 
and  deserves  consid- 
erable attention. 
As  a  rule,  this  fea- 
ture is  not  nearly  so 
valuable  as  it  real- 
ly should  be,  for  we 
do  not  take  full  ad- 


another  view  of  lea  cottage  and  garden. 


403 


PLANNING   FOR  COMFORT,   ECONOMY  AND  BEAUTY 

vantage  of  its  possibilities,  limiting  its  use  to  the  warm  months. 
Now,  few  things  give  the  house  a  more  desolate  air  in  winter  than  a  cold, 
empty,  unused  veranda.  It  means  just  that  much  wasted  space  for 
half  the  year,  and  its  roof  is  probably  darkening  the  windows  of  the 
living  or  dining  room  behind  it  without  giving  any  compensation  for 
the  drawback.  Then,  too,  there  is  the  original  cost  of  the  porch  to  be 
considered.  Why  not  make  it  pay  for  itself  by  continual,  all-year 
usefulness?  Why  not  glass  it  in,  heat  it,  furnish  it  with  a  few  simple, 
comfortable  pieces,  and  thus  add  an  extra  living  room  to  the  house? 
An  oak  settle  or  a  swinging  seat,  a  table,  a  few  willow  or  hickory 
chairs,  grass  mats  on  the  cement  or  tile  floor,  one  or  two  well-placed 
lighting  fixtures,  and  some  ferns  or  blossoming  plants — these  will 
transform  the  most  cheerless  porch  into  a  livable  and  attractive 
spot.  Here,  in  even  the  stormiest  weather,  amid  rain  or  snow  or 
blustering  autumn  winds,  you  can  sit  in  sheltered  comfort,  with  only 
a  pane  of  glass  (unobscured  by  curtains  and  reaching  to  the  ceihng) 
for  your  invisible  but  effective  barrier  against  the  elements.  And 
if  the  house  is  in  the  country,  this  nearness  to  Nature  will  bring  a 
delightful  outdoor  friendliness  into  the  home.  Such  a  "glass  room," 
moreover,  forms  the  most  natural  and  inviting  entrance  to  the  home, 


ENGLISH    DWELLING   PLANNED   FOR   A   LONG    NARROW    SITE:    H.    G.    IBBERSON,    ARCHITECT;    PLANS    ON 
PAGE  432  :   THIS   USE  OF   STONE  IS   PARTICULARLY   INTERESTING. 

404 


PLANNING  FOR  COMFORT.  ECONOMY  AND   BEAUTY 


^^l^^^fB- 


ROSEBRIERS,  LLANFAIWECHAN,  NORTH  WALES  :  H.  L.  NORTH,  ARCHITECT  :  THIS  PICTURESQUE  TEE- 
RACED  HOME  OVERLOOKS  ITS  GARDEN  FROM  MANY  ANOLES,  AS  THE  GROUND  PLAN  ON  PAGE  432  SHOWS. 

and  by  sheltering  the  front  door  effectually  from  draughts,  enables 
one  to  dispense  with  the  usual  vestibule — another  welcome  economy. 

In  laying  out  the  first  floor,  it  is  always  well  to  keep  it  as  open 
as  possible,  so  that  on  entering  the  house  one  has  a  sense  of  wide 
hospitable  spaces.  Nothing  should  be  more  carefully  avoided  than 
a  series  of  separate  cell-Uke  rooms,  opening  out  of  a  long  dark  hall — 
a  type  of  plan  that  was  so  popular  in  formal,  old-fashioned  houses. 
In  a  small,  simply  planned  home  or  in  a  farmhouse  where  the  kitchen 
is  used  for  meals,  it  is  not  necessary  to  shut  even  this  room  from 
the  rest  of  the  house,  provided  a  large  ventilating  hood  is  used  over 
the  stove  to  carry  off  all  cooking  odors.  Such  an  arrangement 
will  be  found  described  and  illustrated  in  the  article  on  page  430, 
which  may  afford  various  helpful  suggestions  to  the  home-maker  who 
is  interested  in  this  democratic  type  of  plan. 

The  key  to  true  economy  and  convenience  in  house  planning  may 
be  summed  up  by  saying  that  every  bit  of  space  should  "earn  its  own 
living."  In  other  words,  there  should  be  no  unused  corners,  no 
needless  passages  and  halls,  no  rooms  that  are  not  really  essential 
to  the  general  well-being  and  happiness  of  the  owners.  Time  was, 
when  a  vestibule  and  front  hall  were  deemed  indispensable  to  every 

405 


PLANNING  FOR   COMFORT,   ECONOMY  AND   BEAUTY 


house — but  that  is  no  longer  an  architectural  axiom.  Likewise,  a 
curious  superstition  was  current  that  the  staircase  must  be  kept  care- 
fully out  of  sight  of  the  living  room  or  "parlor" — whether  because  of 
its  plain  utility  or  its  suggestion  of  bedrooms  above,  remains  un- 
known.    But  that  too,  is  fortunately  an  ex])loded  theory. 

Instead  of  these  cut-and-dried  arrangements  of  a  few  decades 
ago,  the  front  door  of  the  modern  house  is  quite  apt  to  open  directly 
into  the  living  room,  or  if  not,  then  into  a  wide,  light  hall  whose 
division  from  the  rest  of  the  house  is  merely  indicated  by  a  slight 
partition  or  friendly  woodwork,  or  an  interesting  arrangement  of 
panels,  posts  or  grilles.  And  the  staircase,  instead  of  hiding  igno- 
miniously  in  the  background,  ascends  frankly  from  the  living  room 
or  cheerful  hall,  a  pleasant  and  often  a  very  decorative  part  of  the 
interior.  The  plans  used  herewith  suggest  a  number  of  practical 
and  charming  ways  of  treating  this  feature. 

The  living  room  should  always  be  as  large  as  possible,  for  of  all 
places  in  the  house,  this  is  sure  to  be  the  most  used.  The  fireplace, 
of  course,  is  the  central  and  most  important  feature,  and  its  position 
will  determine  usually  the  general  layout  as  well  as  furnishing  scheme. 
It  is  well  to  locate  it,  if  possible,  where  the  chimney  will  serve  also 
for  the  kitchen  range.  This  can  generally  be  accomplished  in  a  small 
house  by  having  a  central  rather  than  an  outside  chimney.  The 
latter,  it  is  true,  adds  a  certain  decorative  interest  to  the  exterior, 
but  it  is  really  not  the  most  practical.  The  best  place  for  the 
chimneypiece  is  against  a  dark  inside  wall,  away  from  the  windows, 
where  the  glow  of  the  fire  will  be  most  appreciated  on  dull  or  stormy 
days.  The  hearth  should  always  be  so  arranged  that  there  is  ample 
room  around  it  for  the  grouping  of  chairs  and  possibly  a  settle,  and  it 
is  a  good  plan  to  build  it  where  the  warmth  and  glow  of  the  fire  can 
be  enjoyed  from  the  rest  of  the  interior.     If  there  is  to  be  a  fireplace 


COTTAGE    AT    MEDMENHAM,    ENGLAND,    SHOWING    SYMMETRICAL    CABLE    DESIGN    AND    FRONT   COURT, 
THE   RESULT   OF   AN    UNUSUALLY   ATTRACTIVE   PLAN  ;    ARNOLD    MITCHELL,    ARCHITECT. 


406 


PLANNING  FOR  COMFORT,  ECONOMY  AND  BEAUTY 


SEMI-DETACHED    COTTAGES,    BYTLEET,    SURREY,     ENGLAND:     NI\'EN 
THE   FIRST   AND    SECOND  FLOOR   FLANS   ARE   SHOWN   BELOW. 


&     WIGGLESWORTH,     ARCHITECTS  : 


GRcirmnnoB  ram 


in  the  bedroom  above,  it  will  naturally  be  just  above  that  in  the 
living  room. 

Broad,  well-placed  window  groups  that  give  as  much  variety  of 
exposure  and  view  as  is  possible  without  breaking  up  the  wall  spaces 
too  much,  add  to  the  atmosphere  of  good  cheer,  and  a  glass  door 
opening  onto  the  porch  will  give  a  long  pleasant  vista  of  road  or 
garden. 

Most  people,  nowadays,  prefer  to  have  the  dining  room  so  open 
that  it  is  almost  a  part  of  the  living  room,  indicating  the  separation 
only  by  an  arch,  or  post-and-panel  construction,  or  perhaps  by  low 
bookshelves  built  on  each  side  of  the  opening,  with  a  shelf  for  ferns 
or  pottery  above.  The  dining  alcove,  in  either  living  room  or 
kitchen,  also  presents  an  interesting  solution  of  this  problem  for 
those  of  simple  tastes  and  modest  means.  Several  different  combi- 
nations of  these  three  rooms  will  be  found  among  the  floor  plans  ac- 
companying this  article,  as  well  as  in  the  article  on  page  430,  already 
referred  to,  from  which  many  unique  and  practical  suggestions 
may   be  gleaned. 

407 


PLANNING  FOR  COMFORT,  ECONOMY  AND  BEAUTY 


FIREPLACE    NOOK    IN    BUNGALOW    PLAN     SHOWN     BELliW,     VVMH     ClI  1  M  XIYPIECE    DESIGNED    BY    THE 
COLONIAL    FIREPLACE    COMPANY. 

In  a  small  home,  where  the  housewife  will  do  her  own  work, 
and  where  considerable  economy  must  be  exercised  in  the  planning, 
a  butler's  pantry  between  dining  room  and  kitchen  would  be  an 
unnecessary  expense,  and  would  increase  rather  than  lessen  the  labor. 
The  size  of  the  kitchen,  too,  will  depend  upon  individual  circum- 
stances; but  in  any  case,  it  should  be  so  planned  that  the  range, 
sink,  dresser  and  work  table  are  all  conveniently  placed  and  well- 
lighted.  Whether  wash  tubs  are  to  be  installed  here,  or  placed  in  a 
separate  laundry  at  the  rear,  or  in  the  basement,  is  another  impor- 
tant question.  A  good 
plan  is  to  use  the  kitch- 
en porch  for  this  pur- 
pose, building  it  so  that 
it  can  be  screened  in 
summer  and  glazed  in 
winter  as  a  sort  of  out- 
door kitchen. 

If  a  maid  is  to  be 
kept,  her  room  should 
be  near  the  kitchen- 
opening  out  of  it,  reach- 
ed through  the  service 
porch,  or  if  on  the  sec- 
ond floor  it  should  be 
within  easy  access. 
Many  steps  can  be 
saved  by  having  the 
main  staircase  accessi- 
{Continued  on  Page  431) 


AN  EXCEPTIONALLY 
COMPACT   AND 
COMFORTABLE 
BUNGALOW  PLAN. 


408 


"PROPERLY  APPOINTED  AND  BECOMING 
DWELLINGS:"  NUMBER  TWO:  WALLS 
FLOORS  AND  WOODWORK  AS  HARMO- 
NIOUS BACKGROUNDS 

DECORATION,"  said  Morris,  "is  the  expression  of  man's 
pleasure  in  successful  labor."  And  this  simple  defini- 
tion is  particularly  appUcable  to  the  art  of  home-making 
— from  architecture  down  to  the  smallest  furnishings 
and  fittings  of  the  interior.  The  office  of  decoration, 
he  adds,  is  two-fold:  "To  give  people  pleasure  in  the 
things  they  must  perforce  use,"  and  "to  give  people 
pleasure  in  the  things  they  must  perforce  make." 

It  is  interesting  to  study  these  words — "pleasure  in  successful 
labor" — for  they  suggest  an  important  principle — namely,  that 
beauty,  to  be  permanently  satisfying,  should  be  a  natural,  joyous 
outgrowth  of  practical  conditions;  that,  like  the  flower,  it  should 
have  its  roots  in  the  ground.  The  phrase  recalls,  too,  that  other 
axiom — that  one  may  decorate  construction,  but  never  construct 
decoration — a  rule  that  every  home-maker  should  keep  in  mind. 

"The  world  is  still  deceived  with  ornament,"  lamented  Shakes- 
peare, and  for  many  years  this  has  been  widely  true.  But  the 
deception  is  one  that  is  being  gradually  and  steadily  discarded, 
especially  in  the  building  of  our  homes.  We  are  no  longer  satisfied 
with  the  kind  of  architectural  frills  that  can  be  "nailed  on."  Ornate 
designs  and  gilded  imitations  are  ceasing  to  attract  us.  The  lure 
of  the  fake  antique,  the  fascination  of  the  imported  product,  and  the 
charms  of  the  once-popular  but  useless  bric-a-brac,  are  on  the  wane. 
Instead  we  are  building  and  furnishing  and  decorating  for  perma- 
nency. Good  taste  and  intrinsic  beauty  are  guiding  our  choice  of 
fittings — not  the  ephemeral  and  unreliable  tyrant  known  as  "fashion." 
More  and  more  we  are  doing  our  own  thinking  and  planning  and 
selecting,  and  expressing  our  own  individuahty  in  an  environment 
that  we  ourselves  help  to  create. 

And  in  place  of  the  restless,  over-furnished,  over-decorated  rooms 
that  were  in  vogue  a  few  decades  ago,  our  homes  are  growing  more 
gracious  with  the  beauty  of  simplicity.  Elimination,  blowing  hke 
a  refreshing  breeze  through  open  doors  and  windows,  is  sweep- 
ing away  that  which  was  needless  or  ugly,  leaving  the  useful,  the 
comfortable  and  the  beautiful  behind. 

That  this  is  the  general  trend  today,  and  that  permanence, 
simplicity  and  individuality  are  becoming  more  and  more  widely 
the  American  home-maker's  ideal,  we  know  not  only  from  observation 
but  from  practical  experience.     As  publishers,  furniture-makers  and 

409 


INDIVIDUAL  BEAUTY   IN  HOME  INTERIORS 

decorators — indeed,  through  every  phase  of  Craftsman  activity — 
we  have  our  fingers  on  the  pulse  of  the  countrj%  so  far  as  the  home 
and  its  equipment  are  concerned.  And  the  recent  extension  of  our 
Department  of  Interior  Decoration  has  brought  us  into  particularly 
close  touch  with  this  interesting  phase  of  American  life.  We  have 
found  that  those  who  come  to  us  for  advice  about  their  home  problems 
are  seeking  not  for  the  novel  or  the  unusual  or  the  fashionable,  but 
for  the  thing  that  is  appropriate  for  their  special  needs,  that  expresses 
their  personal  taste  in  design  and  color,  that  will  bring  comfort  as 
well  as  beauty  into  the  home,  and — above  all — that  will  last.  They 
have  had  enough  of  temporary  furnishings,  of  objects  that  were  made 
to  endure  only  as  long  as  the  fad  or  fashion  that  devised  them.  And 
today  they  are  seeking  wall  and  floor  coverings,  finishes,  furniture 
and  fittings  that,  once  installed,  will  become  satisfying  and  permanent 
elements  of  the  home. 

IN  taking  up  the  matter  of  interior  decorating  from  this  standpoint, 
one  of  the  first  and  most  important  things  to  be  considered  is 

the  background.  This  includes  walls,  floors,  ceilings,  as  well 
as  doors,  windows  and  other  woodwork — whatever  forms  the  setting 
in  which  the  furnishings  of  the  room  are  placed.  It  has  been  said 
rightly  that  "the  first  impression  of  a  room  depends  upon  the  walls." 

The  character  of  these  features  will  of  course  be  largely  determined 
by  the  size,  purpose  and  exposure  of  the  rooms.  For  instance,  in  a 
very  simple,  rugged  bungalow  or  summer  home,  rough  plastered 
walls  and  somewhat  coarse-grained  woodwork — oak,  chestnut  or 
cypress,  will  be  most  in  keeping.  Or  perhaps  panels  of  burlap, 
beaver  or  compo-board  may  be  used.  In  a  sunroom,  where  a  semi- 
outdoor  atmosphere  is  desired,  and  where  the  furnishings  are  such  as 
one  would  use  on  a  porch,  flooring  of  brick,  tile  or  cement,  and  walls 
of  brick  or  stucco,  plain  or  in  panels,  are  most  effective. 

For  the  living  room  of  a  suburban  or  country  house,  the  plastered 
walls  may  be  papered  or  tinted,  with  or  without  stencil  or  other 
decoration,  according  to  the  owner's  preference;  or  the  lower  part 
may  be  paneled  in  wood.  The  latter  is  particularly  suitable  for  a 
dining  room,  where  a  plate  rail  is  desired,  or  for  a  library,  where  one 
wishes  to  carry  out  the  solid  structural  effect  of  the  bookshelves 
throughout  the  entire  room.  The  bedrooms,  on  the  other  hand, 
will  be  most  satisfactory  if  the  walls  are  kept  very  simple,  painted  or 
papered  in  rather  light  tones,  without  much  woodwork.  And  in  the 
kitchen,  it  is  always  a  good  plan  to  have  painted  or  enameled  wood- 
work, walls  that  are  painted,  tiled  or  covered  with  some  easily  wash- 
able paper,  and  linoleum  upon  the  floor. 

410 


Photographs  by  Jessie   Tarbox  Beals, 


THIS  COOL,  SHELTERED  PORCH,  WITH  ITS  WELL-PLANNED  VISTA  OF  THE  GARDEN,  AND  COM- 
FORTABLE WILLOW  FURNISHINGS,  IS  AN  INTERESTING  EXAMPLE  OF  HARMONIOUS  ARRANGE- 
MENT  FOR   A    SEMI-OUTDOOR   RETREAT. 

A  LIVING  ROOM  WINDOW  GROUP  THAT  REVEALS  AN  EXCEPTIONALLY  DECORATIVE  AS  WELL  AS 
PRACTICAL  USE  OF  CASEMENTS  AND  WINPOW-SKAT  :  THE  PANELED  WALLS  ARE  PARTICULARLY 
IN  KEEPING  WITH  THE  REST  OF  THE  INTERIOR. 


A  sunr.ESTiuN  OK  Tin;  colonial  is   found   in   thi-;   mantki.piece,   pillars,   lattill-\vin- 

DOWS  AND  THE  CUPBOARDS  BKI.OW  THEM,  WHICH  FORM  SUCH  DISTINCTIVE  FEATURES  OF 
THIS   GRACIOUS    DINING   ROOM. 

ANOTHER  ATT'(ACTIVE  FIREPLACE  IS  SHOWN  IN  THE  LOWER  PICTURE,  AND  THE  CORNER  SEAT. 
BOOKSHELVES,  CASEMENT  WINDOWS  AND  WOODWORK.  ARE  ALL  TYPICAL  OF  THE  MODERN 
TREND  TOWARD  REAL  COMFORT   AND  A   WISE   SIMPLICITY. 


BOTH  THE  ST  Ml  1  \  -1  MKIASI.  A.Xh  I  III  I  I K I  IM.ACK,  HOOR  AND  FURNISHINGS  SHOWN  BELOW, 
DENOTE  CAREFUL  THOUGHT  FOR  HARMONIOUS  DESIGN  AND  PROPORTION,  AND  A  PLEASING 
TREATMENT    OF    WALL    SPACES  ALONG  COLONIAL  LINES. 


MOUKKN  l.Nl.l.I.SIl  COTTAGE  rURMTUK]-:  HAS  KVIUli.NTLY  UliKN  THK  INSPIRATION  FOR  BOTH 
THIS  DAINTY  niCDROOM  AND  THE  SUNNY  DINING  ROOM  IN  THE  PICTURE  BELOW:  IN  EACH  OF 
THESE  INTERIORS  THERE  IS  A  FRESH,  WHOLESOME  ATMOSPHERE  THAT  SUGGESTS  THE  SIMPLE 
AND   GENUINE    COMFORT    OF   A   COUNTRY   OR   SUBURBAN    HOME. 


INDIVIDUAL  BEAUTY  IN  HOME  INTERIORS 

For  the  woodwork  of  living  room,  dining  room  and  hall,  where 
serviceable  and  fairly  heavy  furniture  is  used,  it  is  well  to  choose 
wood  that  has  a  somewhat  rough  texture  and  pronounced  grain — 
such  as  oak,  ash,  elm,  chestnut  or  cypress;  while  for  bedrooms, 
sitting  rooms  or  boudoirs,  where  the  furnishings  are  of  Ughter, 
daintier  nature,  woods  of  a  smoother  texture  and  less  defined  grain — 
as  poplar,  maple,  birch  or  gumwood — are  more  appropriate.  This, 
of  course,  does  not  apply  to  painted  or  enameled  woodwork,  in  which 
the  grain  is  not  noticeable. 

In  finishing  the  woodwork,  we  believe — and  American  architects, 
decorators  and  home-makers  are  coming  to  share  our  opinion — that 
stains  rather  than  varnishes  are  preferable — soft  mellow  tones  of  brown, 
green  and  gray  that  protect  the  surface  and  deepen  the  color  of  the 
wood  without  obscuring  its  natural  beauty  of  grain  and  texture. 
And  here  we  may  learn  much  from  the  homes  of  the  Orient,  where 
wood  is  used  in  such  a  decorative  and  sympathetic  way.  Cram,  in 
his  "Impressions  of  Japanese  Architecture,"  says; 

"To  the  Japanese,  wood,  like  anything  that  possesses  beauty, 
is  almost  sacred,  and  he  handles  it  with  a  fineness  of  feeling  that  at 
best  we  reveal  when  we  are  dealing  with  precious  marbles.  From 
all  wood  that  may  be  seen  close  at  hand — except  such  as  is  used  as 
a  basis  for  the  rare  and  precious  lacquer — paint,  stain,  varnish, 
anything  that  may  obscure  the  beauty  of  texture  and  grain,  is  rigidly 
kept  away.  .  .  .  The  same  respectful  regard  is  shown  toward 
plaster.  With  us  of  the  West,  plaster  is  simply  a  cheap  means  of 
obtaining  a  flat  surface  that  afterward  may  be  covered  up  in  many 
different  ways;  with  the  Japanese  plaster  is  an  end  in  itself,  and  well 
it  may  be!  We  ourselves  know  nothing  of  the  possibilities  of  this 
material.  In  Japan  it  has  the  solidity  of  stone,  the  color  of  smoke 
and  mist  and  ethereal  vapors,  and  the  texture  of  velvet." 

IN  the  woodwork  of  the  kitchen,  pantrj%  bedrooms  or  bathrooms, 
where  paint  and  enamel  are  generally  used,  poplar,  basswood  or 
pine  may  be  employed.  And  the  floors  likewise  must  be  treated 
from  a  different  standpoint,  for  here  a  smooth,  durable  surface  rather 
than  a  decorative  grain,  is  the  object.  For  this  reason  they  should 
first  be  filled  to  give  a  non-absorbent  surface,  and  then  stained, 
shellacked  and  waxed.  Quartered  or  plain-sawn  oak  is  the  most 
satisfactory  wood  for  flooring  throughout  the  lower  portion  of  a 
house,  and  maple  for  the  upper  part,  although  some  cheaper  wood, 
such  as  pine  is  often  used  for  economy.  The  floor,  moreover, 
should  not  be  too  light  in  tone  or  it  will  be  too  prominent  a  note  in 
the  room, 

415 


INDIVIDUAL  BEAUTY   IN  HOME  INTERIORS 

In  determining  the  color  scheme  for  the  walls,  there  are  many 
things  to  be  considered.  For  example,  if  the  room  is  a  very  small 
one,  the  background  of  walls,  floor  and  ceiling  should  be  as  light  as 
possible,  to  give  an  effect  of  space.  Whereas,  in  a  very  large  room, 
darker  colors  may  be  used  without  danger  of  making  the  place  seem 
prisonlike.  For  a  south  room,  where  there  is  plenty  of  sunshine, 
blue,  mauve  or  gray  is  restful  and  cool,  while  for  north  rooms  where 
no  sun  can  penetrate,  yellow,  golden  brown  or  rose-color  gives  to  the 
walls  that  warm,  cheery  glow  that  can  do  so  much  to  compensate 
for  the  lack  of  actual  sunlight.  Sometimes,  of  course,  one  can  make 
exception  to  this  rule,  and  use  a  rich  blue  paper  in  a  north  room ;  but 
it  must  be  brightened  with  splashes  of  yellow  or  burnt  orange  in 
pillows  and  window  draperies,  to  introduce  the  needed  touch  of 
"artificial  sunshine"  without  which  the  atmosphere  would  be  austere 
and  cold.  Rich  browns  and  buffs  and  mossy  greens  that  remind 
one  of  the  branches  and  foliage  of  the  woodland  are  always  welcome 
colors  in  living  room,  dining  room  and  library,  while  in  the  bedrooms 
soft  tones  of  blue  or  violet,  gray,  cream,  yellow  or  pale  rose  seem  most 
suitable  as  a  background,  and  give  the  rooms  a  clean,  wholesome, 
dainty  air. 

Whether  a  plain  or  figured  paper  is  chosen  will  depend  on  the 
size  of  the  room  and  whether  pictures  are  to  be  hung.  A  small 
room,  as  already  suggested,  will  seem  larger  if  the  walls  are  light 
and  plain,  while  in  a  large  room  a  darker,  figured  background  may  be 
used.  But  if  the  walls  are  to  be  a  setting  for  pictures,  the  plainer 
the  surface  the  better,  for  any  definite  pattern  or  variation  of  color 
will  detract  from  their  value. 

Another  thing  to  be  remembered  is  that  the  lighter  the  ceiling 
the  higher  the  room  will  seem;  also,  that  a  room  in  which  the  ceiling 
is  too  high  can  be  given  a  fairly  cozy  air  by  papering  the  walls  only 
up  to  the  picture  molding,  or  within  two  or  three  feet  of  the  ceiling, 
and  tinting  the  space  above  either  the  same  tone  as  the  ceiling  or  a 
shade  between  the  ceiling  and  walls. 

The  relative  size  and  arrangement  of  wall  space  and  placing  of 
windows  and  doors  are  other  important  elements  in  the  decorative 
scheme,  and  for  this  reason  it  is  always  so  much  more  satisfactory 
to  plan  and  build  one's  own  home,  for  then  all  these  features  can  be 
worked  out  harmoniously  from  the  beginning,  and  the  whole  interior, 
however  simple,  handled  in  an  interesting  way.  Convenience,  of 
course,  will  be  the  ruling  factor  in  this  matter;  but  at  the  same  time, 
it  is  always  possible  to  achieve  an  attractive  result  without  sacrificing 
the  practical.  For  instance,  one's  living  room  needs  a  certain  amount 
of  window  space,  to  insure  plenty  of  light  and  air;  but  there  is  no 

416 


INDIVIDUAL   BEAUTY   IN   HOME  INTERIORS 

need  to  break  up  the  wall  into  unpleasing  patches  by  placing  these 
windows  each  separately.  Instead,  let  us  group  them  together  as 
much  as  possible,  in  such  a  way  that  the  walls,  both  indoors  and  out, 
will  be  divided  into  agreeably  balanced  spaces,  with  the  woodwork 
and  panes  of  the  windows  so  designed  and  related  as  to  make  the 
group  an  interesting  structural  feature  of  the  room,  a  decorative 
frame,  as  it  were,  for  the  view  of  garden  or  landscape. 

WHERE  one  wishes  to  have  a  wide  unbroken  vista,  a  large 
"picture  pane"  may  be  used  in  the  broad  central  window, 
with  a  transom  above  and  long  narrow  windows  on  each 
side.  And  where,  on  the  contrary,  the  windows  overlook  a  neighboring 
house  or  a  view  that  is  not  particularly  attractive,  small  panes  may 
be  used  with  very  satisfactory  result,  for  they  draw  the  eye  to  the 
window  itself  rather  than  to  the  outlook  beyond,  and  give  a  latticelike 
effect  to  the  room  that  is  very  pleasing. 

The  materials,  colors  and  designs  chosen  for  the  window  curtains 
have  also  much  to  do  with  the  success  of  the  interior — but  that  must 
be  left  for  a  later  article. 

There  is  another  element  that  enters  into  this  matter  of  back- 
ground, and  may  rightly  be  considered  along  with  the  walls,  windows 
and  floors — namely,  the  floor  coverings.  The  observant  homemaker 
does  not  need  to  be  told  that  the  modern  tendency  in  this  respect 
is  toward  great  simplicity.  The  heavy  carpet,  fitted  and  tacked 
down  into  every  comer,  removed  and  cleaned  and  replaced  perhaps 
at  spring  and  fall — this,  even  with  the  refreshing  advent  of  the 
vacuum  cleaner,  is  no  longer  considered  a  sanitary  covering  by  the 
housewife  of  today.  The  plain,  well-finished,  easily  cleaned  hardwood 
floor  with  serviceable  rugs,  neither  too  large  nor  too  many,  is  con- 
sidered now  the  ideal  solution  for  this  problem.  And  whether  such 
rugs  be  luxurious  Orientals,  bright-colored  Navajos,  or  domestic 
rugs,  for  living  room,  dining  room  or  library,  Scotch  wool  or  rag 
rugs  for  the  bedrooms,  grass  or  fiber  or  bullock's  wool  rugs  for  sun- 
room  or  porch — they  should  be  chosen  always  with  the  idea  of  ap- 
propriateness for  the  particular  puipose,  durability  of  material  and 
weave,  interest  of  texture  and  design,  and  beauty  of  coloring. 

In  fact,  the  prevailing  color  in  a  rug,  if  at  all  strong  in  tone,  is 
one  of  the  most  noticeable  features  in  a  room,  and  with  the  walls 
may  give  the  keynote  to  the  whole  decorative  scheme.  It  is  often 
interesting  to  study  the  various  colors  in  the  rugs  and  repeat  them  in 
the  different  furnishings,  draperies  and  fittings  of  the  interior.  Care 
should  be  taken,  however,  not  to  get  so  much  variety  that  the  effect 
is  spotty  and  uncertain,  for  although  many  contrasting  and  comple- 

417 


AFTER 

mentary  colors  may  be  used  with  rich  effect,  they  should  be 
harmonious  units  in  a  general  scheme,  with  one  dominant  color 
effect  prevailing.  This  will  help  to  bring  about  that  restful  atmos- 
phere which  is  one  of  the  essentials  of  a  satisfactory  home. 

Such  endless  variety  of  combinations  is  possible  in  handling  the 
walls  and  woodwork,  w'indows,  floors  and  their  coverings,  that  a 
whole  volume  of  illustrations  would  be  inadequate.  We  are  suggest- 
ing here,  however,  a  few  of  the  many  ways  in  which  these  matters 
may  be  successfully  adjusted,  and  in  the  photographs  that  accompany 
this  article  the  home-maker  may  study  a  number  of  modern  American 
interiors  which  have  been  treated  in  an  interesting,  harmonious 
manner.  In  all  of  them  the  main  idea  is  comfort  and  simplicity, 
carried  out  along  practical,  individual  lines.  And  although  in  each 
case  there  is  a  definite  interest  resulting  from  the  texture  and  tone 
of  the  walls,  woodwork,  floors  and  furnishings,  we  feel  that,  as 
Dresser  says,  "it  is  the  art  which  gives  the  value,  and  not  the 
material." 


AFTER 

J)RENCHED,  after  rain, 

The  lilacs  tremble  again 
In  the  cool  wind,  and  pour 
Their  fragrance  round  my  door. 

Crushed,  when  Love  dies, 
Bravely  her  spirit  cries; 
But  through  Life's  empty  room, 
O  the  perfume! 


Charles   Hanson  Towne. 


418 


COLOR:    THE  MAGIC  SPIRIT  IN  THE  HOME : 
BY  MARIE  HALL 

"Color  is  an  agent  able  to  produce  effects  which  to  the  thoughtful  mind  must  always 
rcir.ain  wonderful." 

N  no  other  field  has  the  right  use  of  color  been  so 
neglected  as  in  the  furnishing  of  the  American  home, 
and  nowhere  else  could  its  influence  be  so  wide  or 
beneficent.  For  this  reason,  it  is  worth  while  to 
consider  the  countless  possibilities  for  its  application 
to  our  home  environment,  and  to  glance  at  least 
briefly  at  its  early  Juses,  its  picturesque  and  usually 
symbolic  meanings. 

Color  was  first  used  symboUcally  in  the  hieroglyphics  of  Egypt. 
In  them,  the  color  of  an  object  meant  as  much  to  the  reader  as  the 
object  itself.  For  instance,  a  certain  king,  who  had  always  been 
well  and  strong,  lost  his  mind  in  the  latter  part  of  his  Ufe.  In  the 
hieroglyphics,  his  portrait  was  colored  entirely  red  in  the  story  of 
his  early  life,  but  later  his  head  was  changed  to  yellow.  The  red 
symbolized  strength  and  vitality,  while  yellow  signified  disease  and 
pestilence. 

Color  played  an  important  part  in  the  religious  rites  of  early 
peoples.  All  the  colors  woven  into  an  Oriental  rug  were  sj'mbolic. 
The  Turk  regarded  green  as  a  holy  color,  not  to  be  profaned  by  be- 
lievers' or  unbelievers'  feet — which  accounts  for  the  absence  of  all 
green  from  Turkish  rugs.  Dift'erent  countries  did  not  always  give 
the  same  meaning  to  colors,  but  to  all  white  was  Purity;  black  was 
Evil;  blue  was  Virtue  and  Truth;  and  yellow,  in  China,  was  Royalty. 
As  we  study  the  historic  periods,  we  find  color  holding  a  very 

419 


COLOR 


significant  j^lace  in  the  furnishings  of  the  royal  palaces,  chateaux, 
English  halls,  and  in  the  homes  of  the  people.  The  colors  used  in 
the  court  of  Louis  Quinze  and  also  in  the  chateaux  of  the  late 
eighteenth  century  express  the  gay  frivolity  and  sham  of  the  ruling 
classes.  One  cannot  imagine  dark  colors  in  a  Louis  Seize  room; 
neither  would  the  light  colors  of  Marie  Antoinette  have  been  pleasing 
to  Elizabeth,  who  loved  the  somber  massiveness  of  a  Tudor  hall. 
The  different  styles  were  the  temperamental  expressions  of  those 
who  created  or  lived  among  them. 

This  individual,  spontaneous  choice  of  color,  however,  is  not 
always  best  or  wisest  in  the  furnishing  of  a  home.  Eirst,  the  mental 
influences  of  color  must  be  taken  into  account.  Consider,  for  ex- 
ample, the  efi'ects  of  the  three  elemental  primary  colors — yellow, 
red  and  blue. 

Yellow  is  nearest  to  sunlight.  Morbid  dispositions  require  this 
color,  although  they  do  not  choose  it.  Yellow  brings  cheer  and  light 
into  a  dark,  gloomy  room.  I  have  in  mind  a  small  breakfast  room 
in  a  city  house  which  is  a  particularly  pleasing  example  of  this  fact. 
Although  high  buildings  shut  off  the  sunlight,  there  is  a  light,  cheerful, 
sunny  atmosphere.  For  the  walls  are  hung  with  a  striped  cream 
and  yellow  paper;  the  enameled  woodwork,  furniture  and  rugs  are 
in  tones  of  old  ivory;  a  printed  linen  with  a  decorative  pattern  on  a 
bright  yellow  ground  is  used  at  the  French  windows,  and  repeated 
at  the  opposite  side  of  the  room  in  the  covering  of  a  comfortable 
chair;  the  yellow  tones  are  echoed  in  the  seats  of  the  other  chairs, 
while  the  lamp  and  candleshades  are  of  black-and-yellow  striped 
silk.     The  room  has  been  carried  out  almost  exclusively  in  one  tone, 

yet  monotony  has  been  avoided, 
and  the  place  possesses  not  only 
light  and  cheerfulness,  but  also  an 
air  of  definite  distinction. 

Red  is  symbolic  of  blood,  fire 
and  excitement.  Even  an  animal 
is  excited  by  red,  for  the  sight 
of  it  actually  irritates  the  nerves. 
Therefore,  since  the  keynote  of  all 
homes  should  be  rest,  and  red  in 
any  large  area  destroys  restfulness, 
it  should  be  handled  with  special 
caution.  It  may  be  introduced 
successfully  into  drawing  rooms, 
club  rooms  and  dance  halls,  where 
gaiety    and   a  certain  amount    of 


420 


COLOR 


excitement  are  desirable,  but 
for  other  interiors  it  should  be 
employed  only  in  occasional 
details.  Often  mothers  choose 
red  for  the  nursery  because  the 
children  like  it;  but  the  normal 
child  is  naturally  excitable  and 
nervous,  and  does  not  need 
this  rousing  note 

Rarely  in  public  buildings, 
and  almost  never  in  private 
homes,  is  a  red  room  advisable. 
When  it  is  attempted,  how-  i,  i^ 
ever,  the  red  should  be  allowed  *kikU>fi&.% 
to  completely  dominate.  There  is  a  large  Italian  Renaissance 
dining  room  in  one  of  the  New  York  hotels  which  all  decorators 
consider  a  success.  Its  color  scheme  is  red,  and  the  fact  that 
the  room  has  a  distinctly  architectural  quality  makes  this  treat- 
ment pleasing.  The  ceiling  is  beamed  in  Italian  walnut,  the  walls 
are  hung  with  red  velvet,  and  the  same  coloring  is  used  in  the  floor 
covering.  At  one  end  of  the  room  is  a  large  stone  fireplace,  and  all 
the  furniture  is  heavy  in  design,  the  Italian  chairs  having  red  velvet 
seats.     The  whole  effect  is  rich,  luxurious  and  dignified. 

Turning  now  to  blue,  we  find  that  it  is  calm,  retiring,  repressing 
in  character.  It  is  the  coldest  color  note,  and  makes  a  room  restful 
and  cool.  For  this  reason  it  is  especially  pleasing  in  warm  sections 
of  the  country,  in  summer  homes,  in  sunny  south  rooms,  and  also 
in  bedrooms — for  it  is  always  suggestive  of  rest.  An  entirely  blue 
room  may  prove  rather  monotonous;  but  this  can  be  avoided  by  the 
introduction  of  orange,  the  complementary  color,  as  a  decorative 
note.     The  orange  adds  both  warmth  and  interest. 

In  addition  to  these  primary  elements,  there  are  three  equally 

421 


COLOR 

powerful  ones  known  as  binary  colors — orange,  violet  and  green — 
each  of  which  is  formed  by  two  primaries  combined.  Orange,  the 
combination  of  yellow  and  red,  is  symbolic  of  light  and  heat,  which 
makes  it  the  hottest  color  possible.  Since  it  is  the  strongest  and 
most  intense  of  colors,  it  should  be  used  only  in  small  areas,  for 
emphasis. 

Violet,  composed  of  red  and  blue,  suggests  heat  and  cold  combined 
— which  results  in  ashes.  It  is  the  color  of  shadows;  it  expresses 
restrained  heat,  or  mystery  and  gloom,  and  this  is  the  psychological 
reason  for  its  use  in  mourning  and  in  religious  rites.  The  use  of 
violet  is  not  often  practical  in  home  furnishings,  although  it  may  be 
used  to  dim  a  room  having  too  much  sunhght.  Violet  hangings  are 
pleasing  where  there  is  a  large  window  expanse. 

Green,  the  result  of  mixing  yellow  and  blue,  expresses  light  and 
coolness.  Generally  speaking,  it  is  the  most  successful  color  that 
can  be  used  in  interior  furnishing,  for  it  eUminates  the  nerve-exciting 
red,  and  combines  rest  and  cheer — than  which  nothing  can  be  better 
for  a  home. 

Just  as  musical  sounds  differ  in  loudness,  quality  and  pitch,  so 
may  colors  differ  in  intensity,  value  and  hue.  One  color  changes 
into  the  next  by  a  vast  number  of  barely  perceptible  steps,  and  these 
steps  are  called  hues.  Thus,  the  steps  between  orange  and  yellow, 
called  yellow-orange,  are  hues  of  orange. 

A  hue  is  more  interesting  than  a  primary  or  even  a  binary  color, 
as  the  mind  unconsciously  seeks  to  solve  its  composition.  Primitive 
people  always  choose  primitive  colors,  but  as  culture  develops  the 
more  subtle  variations  are  used.  Hues  were  employed  for  the  first 
time  by  the  Greeks,  when  their  country  was  at  the  height  of  her 
civilization;  before  that  time  there  had  been  only  unmixed  primary 
colors.  A  home  in  which  the  hues  are  used  is  more  pleasing  than  one 
in  which  there  are  merely  the  "plain  fact"  colors.  In  rooms  where 
single  schemes  dominate,  hues  are  especially  valuable  in  preventing 
monotony  and  adding  interest  and  variety. 

Every  color  has  a  certain  strength  or  value,  and  these  values  are 
the  steps  between  the  lightest  and  the  darkest  possible  tints  of  that 
color.  Blue-black  is  the  darkest  shade  or  value  of  blue,  while  pale 
pink  is  the  lightest  value  of  red.  Any  two  colors  may  be  made  to 
correspond  in  value  by  adding  the  right  proportion  of  either  white 
or  black  to  one  of  them.  Strong  value  contrast  is  apt  to  be  harsh 
and  vulgar,  if  incorrectly  used.  The  wood  trim  in  a  room  is  not, 
as  a  rule,  especially  decorative,  and  should  not,  therefore,  be  allowed 
to  contrast  too  greatly  in  value  with  the  walls,  which  it  does  when 
either  much  darker  or  lighter  than  the  latter.     A  spotty  appearance 

422 


COLOR 

is  created,  likewise,  when  the  furniture  in  a  room  is  dark  and  the  walls 
light.  And  on  the  same  principle,  pictures,  when  used  in  a  home, 
should  be  of  the  same  general  color  value  as  the  wall  on  which  they 
are  hung. 

Color  value  should  be  consistent  also  with  scale.  That  is,  pale 
colors  are  appropriate  for  small  rooms  and  for  furniture  which  is 
light  and  delicate,  while  dark  colors  should  be  used  in  large,  "archi- 
tectural" rooms  and  with  furniture  which  is  heavy  in  build. 

The  vitality  of  a  color  is  denoted  by  its  intensity,  or  its  relation 
to  the  neutral — gray.  Intense  color  should  be  used  with  restraint, 
for  brilliant  coloring  is  pleasing  only  in  small  areas,  just  as  "the  flash 
of  diamonds  is  more  tolerable  on  account  of  their  insignificant  size." 
The  ceiling,  walls  and  floor  of  a  room  are  the  background  or  setting 
for  its  furnishings,  and  should  always  be  neutralized.  At  the  same 
time,  their  colors  should  be  kept  fresh  and  clear.  A  bold  use  of  in- 
tense coloring  is  often  necessary  to  make  a  textile  design  decorative; 
but  masses  of  such  color  should  not  be  allowed  to  come  into  contrast 
in  a  room,  although  they  may  be  used  to  emphasize  decorative  notes. 
It  should  be  remembered,  also,  that  "the  attempt  to  emphasize 
everything  emphasizes  nothing." 

Both  intensity  and  hue  change  with  the  variation  of  light.  There- 
fore, before  any  fabric,  article  or  color  is  finally  selected  for  interior 
furnishing  or  decoration,  it  should  be  viewed  in  three  lights — sunlight, 
shadow,  and  artificial  light. 

If  the  foregoing  points  are  kept  in  mind,  the  home-maker  will  be 
able  to  introduce  charm  and  cheerfulness  into  even  the  most  un- 
promising rooms,  through  a  wise  use  of  color.  Indeed,  when  people 
give  the  subject  a  little  scientific  study,  and  when  a  sensitiveness  to 
color  harmony  is  more  widely  developed,  this  important  element  will 
become  a  vital  factor  for  beauty  and  restfulness  in  our  homes. 


423 


"STRENGTH   AND   BEAUTY   ARE   IN   HIS 
SANCTUARY":  BY  WILLIAM  ALLEN  WOOD 


o 


NE  night  I  travelled  over  mountainous  ways 
And  feared  the  menace  of  Almighty  Power; 
His  terrors  in  the  lightnings  were  ablaze, 
His  crashing  thunder  made  the  summits  cower- 
When  o'er  my  path,  from  out  the  dark,  there  blew, 
Making  my  heart  leap  up  in  sheer  delight. 
The  thrilling  scent  of  roses  cooled  with  dew. 
Thy  beauty,  Lord,  is  stronger  than  thy  might. 


424 


CRAFTSMAN  COTTAGES  DE- 
SIGNED FOR  THE  PRACTICAL 
HOUSEKEEPER  WHO  WANTS 
SIMPLICITY  AND  COMFORT 

IN  Thoreau's  friendly  and  discursive 
"Walden"  —  which  one  appreciative 
critic  has  called  "the  log-book  of  his 
woodland  cruise" — the  hermit  philoso- 
pher has  a  good  deal  to  say  about  the  home 
and  its  building.  Although  his  words  pre- 
sent the  viewpoint  of  one  who  may  be  called 
an  extremist  in  simplicity,  we  shall  find 
them  well  worth  pondering ;  for  both  the 
directness  of  his  thought  and  the  naive,  al- 
most affectionate,  manner  of  its  expression 
are  peculiarly  refreshing.  And  in  these 
days  of  complicated  living  it  is  well  to  turn 
back  sometimes  to  such  frank  recognition 
of  fundamental  principles,  and  rediscover 
the  sincere  and  satisfying  quality  of  plain, 
homespun  things. 

Here,  then,  is  Thoreau's  description — 
not  of  his  own  beloved  hut,  but  of  that 
"larger  and  more  populous  house"  of  which, 
he  said,  "I  sometimes  dream" — a  dwelling 
built  "of  enduring  materials  and  without 
gingerbread  work." 

It  shall  consist,  he  wrote,  "of  only  one 
room,  a  vast,  rude,  substantial,  primitive 
hall,  without  ceiling  or  plastering,  with 
bare  rafters  and  purlins  supporting  a  sort 
of  lower  heaven  over  one's  head  .... 
such  a  shelter  as  you  would  be  glad  to 
reach  on  a  tempestuous  night,  containing 
all  the  essentials  of  a  house,  and  nothing 
for  housekeeping ;  where  you  can  see  all  the 
treasures  of  the  house  at  one  view,  and 
everything  hangs  upon  its  peg  that  a  man 


should  use ;  at  once  kitchen,  pantry,  parlor, 
chamber,  storehouse  and  garret ;  where  you 
can  see  so  necessary  a  thing  as  a  barrel  or 
a  ladder,  so  convenient  a  thing  as  a  cup- 
board, and  hear  the  pot  boil,  and  pay  your 
respects  to  the  fire  that  cooks  your  dinner, 
and  the  oven  that  bakes  your  bread.  .  .  ." 

Such  an  unpretentious,  homely  dwelling, 
wherein  all  formality  is  banished,  and 
household  labor  is  reduced  to  its  lowest 
terms,  might  prove  a  little  too  primitive  for 
the  modern  home-lover.  And  yet  this  vis- 
ion of  Thoreau's  holds  a  blunt  sincerity, 
tempered  with  a  fine  idealism  of  the  com- 
monplace, that  may  guide  us  to  wiser  solu- 
tions of  our  own  home  problems  and  saner 
adjustment  of  our  lives. 

Take,  for  instance,  his  feeling  about  the 
comfortable,  picturesque  charm  of  the 
kitchen,  with  its  useful,  kindly  fire,  and  all 
those  necessary  fittings  and  utensils  that 
contribute  to  the  well-being  of  owner,  fam- 
ily and  guests.  Thoreau's  idea  is  that  in- 
stead of  being  shut  away  from  the  rest  of 
the  house,  as  though  one  were  ashamed  of 
it,  the  kitchen  should  be  a  frank  and  friend- 
ly part  of  the  home,  and  the  preparation  of 
meals  a  pleasant  and  hospitable  rite  that  all 
may  witness — not  a  mysterious  or  igno- 
minious task  performed  by  "menials,"  and 
either  condescendingly  appreciated  or  po- 
litely igfnored  by  host  and  guests. 

When  we  recall  the  old-fashioned  farm- 
houses of  Europe  or  those  of  our  own  New 
England,  with  their  simple  plastered  walls 
and  beamed  ceilings,  their  huge  fireplaces 
and  ample  rooms — we  find  that  it  was  inva- 
riably the  kitchen  that  played  the  most  im- 
portant role.  The  "parlor"  was  a  cold, 
formal  place,  set  apart  for  funerals,  wed- 

425 


CRAFTSMAN  COTTAGES  FOR  PRACTICAL  HOUSEKEEPERS 


dings  and  other  solemn  occasions.  It  was 
in  the  kitchen,  around  the  huge  range  or 
open  hearth  and  brick  oven,  that  the  family 
life  clustered.  Here,  at  the  big  solid  table, 
the  meals  were  prepared  and  eaten  ;  here,  in 
deep  fireside  settles,  by  the  light  of  log  or 
coal,  candle  or  dim  oil  lamp,  the  long  win- 
ter evenings  were  spent.  And  the  visitor 
shared  with  the  rest  the  plain,  hearty  fare 
and  enjoyed  the  warmth  and  cheer  of  this 
homelike  place. 

But  now,  "Old  times  are  changed,  old 
manners  gone."  The  farmhouse  kitchen 
with  all  its  solid  comfort  and  hospitality  is 
relegated  to  the  past.  And  yet — why  should 
not  those  of  us  who  really  love  such  home- 
ly, democratic  ways  of  living,  plan  and 
build  our  houses  with  some  such  ideal  in 
mind?  Why  not  omit,  if  we  really  wish  to, 
that  modern  feature — the  separate  dining 
room — and  eat  our  meals  either  in  the 
kitchen  or  in  tlie  living  room,  wherever  best 
suits  the  housewife's  convenience?  We  can 
eliminate  then  both  the  pass  pantry  and 
much  of  the  usual  dining  room  equipment, 
lessening  our  steps  and  household  labor,  as 
well  as  the  original  building  expense. 

For  those  who  wish  to  build  their  homes 
in  such  simple  fashion,  we  have  designed 
this  month  two  small  Craftsman  houses — 
one  a  cottage,  the  other  a  bungalow — both 
of  them  economical  in  arrangement  and  con- 
struction, and  especially  suitable  for  young 
couples  who  wish  to  begin  their  housekeep- 
ing on  a  modest,  unassuming  scale. 

THE  first  design,  No.  199,  is  two  stories 
in    height,    with    shingled    walls    and 
roof,  and  brick  chimney.    As  the  plans 
show,  the  space  has  been  utilized  to  the  best 


COTTAGE  NO.  190 : 
SECOND  FLOOR   PLAN 


FIRST  FLOOR  PLAN  OF  CRAFTSMAN  SHINGLED  COTTAGE 
NO.    199. 

possible  advantage,  and  although  the  house 
is  a  small  one,  the  great  living  room  with 
its  wide  window  groups,  central  fireplace 
and  long  bookshelves  gives  one  a  sense  of 
spaciousness  as  one  steps  inside  from  the 
porch.  Not  an  inch  is  wasted  on  vestibule 
or  hall,  the  only  passage  being  between  the 
living  room  and  kitchen,  where  the  stairs 
ascend.  Opening  from  this  passage  is  a 
closet  that  will  be  convenient  for  coats,  and 
another  closet  is  provided  in  front,  which 
may  be  made  to  open  from  either  the  porch 
or  living  room.  In  the  present  plan,  we 
have  intended  it  for  the  storage  of  ham- 
mock, porch  mats,  garden  tools,  etc. 

The  kitchen  is  a  big,  light,  airy  place, 
with  windows  on  three  sides  and  a  door  at 
the  back  leading  out  to  the  garden,  and  near- 
by is  the  entrance  to  the  cellar  stairs,  which 
can  also  be  reached  from  the  outside,  the 
landing  being  only  one  step  above  the  gar- 
den level.  Along  one  wall  are  the  dresser, 
sink,  drainbroad  and  ice-box,  and  against  the 
opposite  wall  stands  the  range,  with  a  closet 
for  pots  and  pans  close  by.  Over  the  range 
a  large  brick  hood  is  provided,  supported 
by  an  angle  iron,  lined  with  cement,  and 
provided  with  a  vent  through  which  all 
cooking  odors  will  pass  instead  of  escaping 
into  the  room.  In  the  vent  is  placed  a  reg- 
ister, which  may  be  kept  closed  when  the 
heat  is  needed  in  the  house,  the  register 
being  regulated  by  a  chain  that  hangs  down 
against  tlie  wall  over  the  range.  In  order 
that  this  construction  may  be  quite  clear, 
we  arc  showing  here  three  drawings — a 
front  cl('\ation  of  the  range  and  chimney- 
piece    with    the    hood    opening    shown    by 


426 


Si 


^^iliT    "  .~^S5^^., 


Gnstav  Utickley,  Architect. 


CRAFTSMAN  TWO-STORY  SHINGLED  COTTAHE.  NO.  lOP  :  THE  LIVING  PORCH  IS  SO 
BUILT  THAT  IT  CAN  BE  CLASSED  IN  FOR  THE  WINTER  IF  DESIRED.  AND  THE  RE- 
CESSED SLEEPING  BALCONY  ABOVE  IS  ALSO  WELL  SHELTERED  BY  THE  WALLS  AND 
ROOF:  THE  ROOMS  .\RE  PLANNED  FOR  SIMPLE,  COMFORTABLE  HOME  LIFE  AND  A 
MINIMUM    OF    HOUSEWORK. 


f^? 


Gustaz'  Stickley,  Architect. 


CRAFTSMAN  STUCCO  BUNGALOW  NO.  200  :  THE  SLOPING  ROOF  LINES  GIVE  THIS 
LITTLE  BUILDING  A  PARTICULARLY  HOMELIKE  AIR,  AND  THE  GROUPS  OF  CASE- 
MENT WINDOWS  FORM  PLEASANT  BREAKS  IN  THE  PLAIN  STUCCO  WALLS:  IN- 
DOORS THE  ARRANGEMENT  IS  UNUSUALLY  COMPACT,  AS  A  GLANCE  AT  THE 
FLOOR   PLANS    WILL   SHOW. 


CRAFTSMAN    COTTAGES   FOR  PRACTICAL   HOUSEKEEPERS 


dotted  lines  ;  a  vertical  section  taken 
on  line  B — 13,  showing  the  arrange- 
ment of  smoke  pipe,  flue,  hood  and 
register — also  a  horizontal  section 
taken  on  the  line  A — A,  looking 
up  into  the  hood. 

\\'e  have  made  the  kitchen  12  by 
i6  feet,  so  that  it  will  be  large 
enough  for  meals  to  be  served  there 
whenever  desired.  Or  if  the  owner 
prefers,  the  rear  end  of  the  living 
room  may  be  used  for  dining  pur- 
poses. 

Upstairs  there  are  three  bed- 
rooms and  bathroom  opening  out 
of  a  central  L-shaped  hall,  and 
plenty  of  closets  are  provided.  The 
hall  is  lighted  by  windows  at  the 
rear  and  one  in  the  front  overlook- 
ing the  sleeping  porch.  As  this 
porch  is  sheltered  by  the  angle  of  the  roof 
and  walls,  and  is  sunk  into  the  roof,  it  forms 
a  pleasant  and  private  place  for  outdoor 
sleeping,  in  spite  of  being  at  the  front  of 
the  house. 

THE  bungalow,  No.  200,  is  quite  differ- 
ent   in    construction,    design   and    ar- 
rangement.     Stucco   walls    are    used, 
with  shingled  roof,  and  all  the  rooms  ex- 
cept one  are  on  the  ground  floor. 

The  entrance  is  from  the  side  porch  into 
the  big  central  room — which  is  Hving  and 
dining  room  combined.  The  walls  are 
pleasantly  broken  by  carefully  grouped  case- 
ments, and  a  glass  door  leads  out  onto  a 
small  corner  porch  w-hich  is  built  so  that  it 
may  be  screened  in  summer,  glazed  in  win- 
ter, and  used i 
for  either 
sunroom    ( 


FIRST 
FLOOR 
PLAN   OF 

CRAFTSMAN 
BUNGALOW 
NO.   200. 


extra  dining  room.  For  the  latter  purpose, 
we  have  made  it  accessible  also  from  the 
kitchen. 

The  range — which  in  this  instance  like- 
wise is  provided  with  a  big  ventilating  hood 
— is  placed  where  it  can  use  the  same  chim- 
ney as  the  corner  fireplace  in  the  living 
room,  and  the  sink,  drainboard  and  dresser 
are  placed  opposite,  beside  the  windows. 
There  is  a  little  service  porch  at  the  rear, 
and  a  small  well-equipped  pantry,  while  on 
the  right  are  the  cellar  stairs  descending  be- 
neath the  main  flight. 

The  two  bedrooms  and  bath  are  shut 
away  from  the  front  of  the  house  by  the 
staircase  and  a  hall  in  which  a  linen  closet 
is  provided.  Upstairs  there  is  one  large 
room  which  may  be  used  as  a  bedroom, 
playroom,  or  studio — according  to 
the  needs  of  the  family.  And  if  an 
extra  bathroom  is  required  here,  it 
_'  may  be  built  in  this  attic,  over  the 
one  downstairs. 

'      Following  this  will  be  found  the 

'continuation  of  another  article  on 

"Your  Own  Home,"  which  includes 

several  bungalow  and  cottage  plans 

that  show  various  simple  and  eco- 
nomical arrangements  of  living 
room,  dining  room  and  kitchen, 
somewhat  similar  to  the  designs 
which  we  have  just  described. 

ALTHOUGH   the  cottage   and 
bungalow  presented  here  are 
very  simple  in  both  exterior 
design  and  interior  plan,  they  can 
both     be     made     very     attractive 


429 


CONVENIENCE  IN   THE   KITCHEN 


■El-ClVftTlOK- 


ijECTIonlHKOU&H-BB 


THESE  THREE   DRAWINGS 
SHOW   THE   SPECIAL  CON- 
STRUCTION  OF   THE  VENTILAT- 
ING HOOD  OVER  THE   KITCHEN 
RANGE  IN  CRAFTSMAN   COT- 
TAGE NO.  199  AND  CRAFTSMAN 
BUNGALOW   NO.   200. 


Jectiom  Throu&h  ■  A  i\- 
■  Looking  Up- 
through  a  wise  use  of  color  outside  and  in. 
The  cottage,  for  instance,  would  be  interest- 
ing if  the  shingles  up  to  the  line  of  the 
gables  were  stained  a  rich  golden  brown, 
and  those  above  a  darker  tone,  with  a  mossy 


green  for  the  roof.  Green  door 
and  window  trim  with  white 
sash,  and  touch  of  red  brick  in 
the  chimney,  garden  steps  and 
low  wall  would  give  additional 
variety. 

The  bungalow  would  look  well 
with  gray  or  but?  stucco  walls, 
and  shingles  of  a  reddish  brown 
to  harmonize  with  the  brick  of 
the  garden  walls.  The  porch 
floor  might  be  of  cement  with  a 
border  of  brick  to  carry  out  the 
general  scheme.  Here  again, 
green  door  and  window  trim 
with  white  sash  would  be  ap- 
propriate. 

If  the  walls  seemed  too  plain, 
white  or  green  latticework  might 
be  used  on  each  side  of  one  or 
more  of  the  window  groups. 
This  is  always  an  effective  de- 
vice, for  it  helps  more  than  any- 
thing to  link  the  house  to  its 
garden.  Concrete  vases  or  urns 
filled  with  ivy  and  set  on  top  of 
the  entrance  posts  would  give  a 
charming  note  to  the  approach. 
A  number  of  vases  suitable  for 
this  purpose  will  be  found  among 
the  illustrations  of  an  article  for 
outdoor  pottery  on  page  377  of 
this  issue.  Some  practical  points 
on  the  interior  treatment  of  a 
home,  with  special  reference  to  the  back- 
grounds formed  by  walls,  floors,  woodwork, 
etc.,  on  page  409,  may  likewise  be  helpful 
to  home-builders  when  they  are  ready  to 
consider  this  stage  of  the  work. 


CONVENIENCE   IN  THE   KITCHEN 

IN  "The  Book  of  Little  Houses,"  which 
the   Macmillan  Company  has  just  pub- 
lished, are  many  practical  hints  for  the 
home-builder,  the  following  of  which  seem 
particularly  worth  quoting  in  reference  to 
the  foregoing  article. 

"Next  to  the  iilumbing,  the  greatest  atten- 
tion of  all  should  be  given  to  the  kitchen. 
.  .  .  .  The  kitchen  is  the  business  part  of 
the  home.  No  matter  liow  beautiful  our 
entrance,  how  charming  our  open  fireplaces 
or  how  artistic  our  dining  room,  if  our 
facilities  for  getting  food  in  comfort  and 
in  plenty  arc  inadequate,  the  aesthetic  side 
of  the  house  will  suffer.     If  it  requires  too 


much  time  to  accomplish  what  must  be  done 
in  the  kitchen,  little  energy  will  be  left  to 
enjoy  the  rest  of  the  house. 

"Tiled  or  cement  floor  is  the  unanimous 
verdict  of  those  who  have  struggled  with 
])aint  and  varnish,  mops  and  linoleum. 
Tiled,  or  at  least  washable  walls  of  a  soft 
color,  preferably  bufif  or  dull  yellow.  Cross 
ventilation  should  be  thought  of,  for  suc- 
cessful disposition  of  smoke  and  smells. 

"By  all  means  have  a  porcelain  sink,  for 
cleanliness  and  appearance  both.  Do  you 
know  how  high  the  sink  ought  to  be  for 
comfort  in  dish-washing?  Measure  and 
find  out  before  you  have  it  installed.  There 
is  a  regulation  height,  which  may  not  suit 
your  needs  at  all." 


430 


PLANNING   FOR  COMFORT,   ECONOMY   AND  BEAUTY 


YOUR  OWN   HOME 

(Continued   from   page   408) 

ble  from  the  kitchen  as  well  as  from  the 
front  of  the  house,  with  a  few  steps  going 
up  on  each  side  to  a  central  landing.  This 
obviates  the  necessity  for  separate  back 
stairs.  In  planning  the  staircases,  of  course,— 
if  the  cellar  stairs  do  not  descend  beneath  * 
the  upper  flight,  the  extra  space  above  one 
and  below  the  other  can  be  utilized  for 
storage,  coat  closets,  etc. 

The  Bedrooms 

If  the  house  is  a  bungalow,  with  all  or  ^ 
most  of  the  rooms  on  the  main  floor,  care 
should  be  taken  to  group  the  bedrooms  so 
that  they  will  be  away  from  the  rest  of  the 
plan.     This  can  usually  be  accomplished  by 

J—J]!^ 


The  Attic 

An  attic,  of  course,  is  always  useful  for 
storage — and  besides,  there  is  a  certain  old- 
fashioned  picturesqueness  attached  to  the 
idea,  that  brings  to  mind  the  attics  of  our 


J- 


I     I        _'—-.» ,.^ 


SECOND  FLOOR  PLAN  OF  HOUSE  AT  CEDARCROFT  :  SEE 
PAGE  402. 

having  a  small  hall  out  of  which  the  bed- 
rooms and  bathroom  open.  If  they  are  all 
on  the  second  story,  the  shape  of  the  plan 
and  placing  of  the  stairs  will  suggest  a 
practical  arrangement,  and  if  there  is  any 
extra  space  off  the  hall,  it  may  be  used  as 
a  sewing  alcove  or  playroom  for  the  chil- 
dren. The  bathroom  should  be  placed  over 
or  near  the  kitchen  if  possible,  so  that  the 
plumbing  may  be  carried  down  in  one  line, 
and  if  a  second  one  is  provided,  it  may  be 
used  in  connection  with  the  owner's  bed- 
room, or  made  to  serve  for  two  adjacent 
rooms.  The  planning,  exposure  and  equip- 
ment of  the  sleeping  porch  or  balcony  is 
another  matter  of  interest  to  the  modern 
home-maker,  and  this  will  be  taken  up  in  a 
later  issue. 


FIRST  FLOOR  PL.\N  OF  HOUSE  AT  CEDARCROFT  :  SEE 
PAGE  402. 

childhood,  when  long  rainy  days  were 
brightened  by  adventurous  explorations 
among  the  treasure-holding  depths  of 
grandmother's  trunk,  or  among  quaint 
books  and  toys  that  belonged  to  our  moth- 
er's childhood.  The  attic  of  today,  how- 
ever, is  likely  to   be    a    neat  and    hygienic 


PL.\N   OF  LEA   COTTAGE  AND  GROUNDS  :    SEE   PAGE  40b 


PLANNING   FOR   COMFORT,   ECONOMY  AND  BEAUTY 


this  article  are  those  of  English 
dwellings ;  for  the  architects  over 
there,  both  in  the  past  and  at  the 
present  time,  have  proved  them- 
selves peculiarly  ingenious  in  the 
way  they  have  worked  out  their 
plans,  from  the  standpoints  of  ex- 
posure, and  variety  of  outlook,  con- 
venience of  interior  arrangement, 
as  well  as  in  the  picturesque  quality 
of  the  exterior  which  was  so  apt  to 
result  from  a  more  or  less  irregular 
and  original  design. 

The  illustrations  of  Lea  Cottage 
(page  403),  the  house  on  page  404, 
and  "Rosebriers"  (page  405  j,  were 
reproduced  from  the  pages  of 
"Country  Cottages  and  Week-end 
Homes,"  by  J.  H.  Elder-Duncan,  a 
charming  volume  published  by  Gas- 
sell  and  Company  Limited.  The 
cottage  at  Medmcnham,  on  page 
406,  and  the  row  of  semi-detached 

___  cottages    on    page   407,    are    from 

FIRST  AND  SECOND  FLOOR  PLANS  OF  ENGLISH  DWELLING  sHowN"Modern   Cottagc     Vrchitecturc  by 
ON  PAGE  404.  Well-Known    Architect  s."    by 

place,  rather  than  a  musty  and  mysterious      Maurice  B.  Adams,  published  by  John  Lane 


one.  And  often,  if  one  is  planning  a  small 
house,  it  is  advisable  to  omit  this  feature 
altogether,  in  order  to  retain  a  low  roof 
line — in  which  case  a  generous  amount  of 
storage  and  closet  space  should  be  provided 
in  convenient  corners  beneath  the  slope  of 
the  roof. 

These,  then,  are  the  general 
principles  that  should  guide  the 
planning  of  every  modern 
home — -principles  that  must  be 
worked  out  in  each  case  accord- 
ing to  individual  tastes  and  cir- 
cumstances. The  plans,  photo- 
graphs and  sketches  show  n 
here — and  indeed,  the  illustra- 
tions of  houses  in  every  num- 
ber of  The  Cr.aftsman — will 
suggest  many  variations  on  this 
universal  theme.  And  if  we 
can  help  in  a  more  personal  way 
those  of  our  readers  who  are 
beginning  the  actual  planning 
of  their  homes,  we  shall  be  glad 
to  do  so. 

Illustrations 

It  will  be  noticed  that  a  num- 
ber   of    the    photographs    and 

plans  which  we  have  selected  to    j.^,,^  of  "rosebriers"  and  its 
illustrate  the  various  points  of     house  see  page  405. 

432 


Company. 

An  interesting  example  of  American 
architecture  which  recalls  somewhat  the 
English  cottage  type,  is  shown  in  the  house 
at  Cedarcroft  on  page  402,  and  the  plans  of 
which  are  given  on   page  431.     For  these 


GARDEN  :     FOR     EXTERIOR     VIEW     OF 


PLANNING  FOR  COMFORT,   ECONOMY  AND  BEAUTY 


which  plans  will  be  found  here  and 
on  the  following  page. 

In  all  of  these  plans,  we  have 
kept  in  mind  the  fact  that  the  gen- 
eral tendency  among  American 
home-builders  today  is  toward  sim- 
plification in  practically  every  de- 
partment. A  few  large  rooms,  con- 
veniently arranged,  with  simple 
woodwork  that  will  not  catch  the 
dust,  with  a  fairly  central  fireplace, 
and  possibly  a  few  built-in  book- 
cases and  window  or  fireside  seats 
where  the  wall  spaces  and  natural 


PLAN  FOR  A  SIMPLE  BUNGALOW  :  THE  BIG 
MAIN  ROOM  CAN  BE  USED  AS  BOTH  LIVING 
AND  DINING  ROOM  :  NOTE  SEPARATION  OF 
BEDROOMS   FROM   REST  OF  PLAN. 

illustrations  we  are  indebted  to  the 
"Year  Book  and  Catalogue"  of  the 
T  Square  Club,  the  design  in  ques- 
tion having  been  included  in  the 
Club's  Sixteenth  Annual  Architec- 
tural Exhibition  in  the  Pennsyl- 
vania Academy  of  the  Fine  Arts,  in 
1910. 

For  instances  of  cottage  and 
bungalow  plans,  we  have  introduced 
a  number  of  Craftsman  designs, 
which  were  specially  prepared  to 
exemplify  the  various  features  of 
interior     arrangement     discussed — 


SECOND    FLOOR    PLAN    FOR    A    TWO-STORV    COTTACE    ARRANf^FP 
FOR   SIMPLE  HOUSEKEEPINC. 


FIRST  FLOOR  PLAN  FOR  A  TWO-STORY  COTTAGE 
ARRANGED    FOR    SIMPLE    HOUSEKEEPING. 

nooks  suggest  such  construction ;  plenty 
of  room  for  sheltered  outdoor  living — 
these,  generally  speaking,  are  the  lines 
along  which  modern  home-makers  are 
thinking  and  planning. 

Moreover,  as  in  many  instances  the 
family  cannot  afford  to  or  does  not  wish 
to  keep  servants,  the  housewife  often  pre- 
ferring to  do  most  of  her  own  work,  we 
have  remembered  the  need  for  very  sim- 
ple and  compact  arrangement  of  the 
various  household  facilities,  so  that  the 
labor  of  housekeeping  will  be  as  light  as 
possible,  consistent  with  efficiency  and 
comfort. 

We  have  not  included  among  our 
iUustrations  any  exterior  views  of  the 
Craftsman  cottage  and  bungalow  plans 
lown   lure,  but   if   anv  of  our  readers 


435 


THE   GREEN   WORLD   IN   \^^NTER 


FIRST  FLOOR 
PLAN  FOR  A 
TWO-STORY  COT- 
TAGE :  THE  DIN- 
ING ROOM  IS 
ESPECIALLV  IN- 
TERESTING— 
PRACTICALLY  A 
PART  OF  TH 
KITCHEN. 


Ha 


SECOND  FLOOR 
PLAN  OF  TWO- 
STORY  COTTAGE : 
CROSS-VENTILA- 
TION IS  SECURKD 
FOR  EACH  BED- 
ROOM. 


happen  to  be  interested  in  such  special 
designs  they  can  get  in  touch  with  our 
Architectural  Department  and  have  the 
desired  elevations,  working  drawings  and 
specifications  prepared.  We  are,  however, 
showing  on  page  408  an  interior  sketch 
of    an    especially    attractive    fireplace    ar- 


rangement in  one  of  the  bungalows.  As 
the  plan  denotes,  the  angles  of  the  walls 
on  each  side  of  the  chimneypiece,  which 
give  such  a  cozy  effect,  are  the  result  of  the 
closets  that  had  to  be  provided  just  behind. 
The  materials  used  in  modern  home- 
building  and  their  most  appropriate  uses,  il- 
lustrated with  an  interesting  variety  of 
photographs,  will  be  the  subject  of  our  next 
article. 


THE    GREEN    WORLD    IN 
WINTER 

{Continued  from  page  393) 

hold  upon  the  new  earth.  They  are  the 
pioneers  of  the  vast  family  of  trees  that  now 
clothe  the  earth  with  so  marvelous  a  gar- 
ment of  green.  That  hardy,  venturesome 
spirit  of  theirs  has  not  diminished  with  time. 
They  still  venture  into  the  untried  life  of 
cities  and  small  gardens  as  staunchly  as  they 
did  into  the  primeval  world  and  set  about 
making  it  green  and  beautiful.  From  the 
very  first,  they  and  the  winds  have  been 
comrades.  Storm  winds  bend  them  into 
patriarchal  forms  of  beauty,  but  have  never 
conquered  their  insistent  vitality ;  gentle 
winds  play  upon  them  as  upon  a  harp  of 
many  strings.  The  winds  carry  the  pollen 
from  branch  to  branch  and  toss  the  cone 
full  of  new  seeds  far  down  a  canyon  or  into 
a  brook  that  carries  them  into  a  new  valley. 
To  the  wild  places  we  must  also  go  for 
the  broad-leaved  form  of  plant  life  that 
keeps  the  note  of  evergreen  in  our  gardens. 
Instead  of  the  music  of  pines  and  the  sweet 
nuts  of  cones  the  broad-leaved  evergreens 
give  us  flowers  as  fair  as  any  annual :  in- 
stead of  spicy  aroma  they  give  us  perfume 
sweet  as  any  rose.     The  large   familv  of 


rhododendrons,  laurels  and  azaleas  that  now 
are  drawn  upon  to  make  our  garden  beauti- 
ful in  winter,  are  mostly  hybrids,  creatures 
of  the  florist's  art ;  though  the  native  rho- 
dodendron is  still  the  hardiest  of  all  its  kind 
and  the  most  magnificently  leaved,  and 
therefore  most  useful  for  grouping  and 
massing  purposes,  it  cannot  compare  with 
the  new  varieties  for  size  of  blossom  and 
glory  of  colored  petals.  This  native  rho- 
dodendron, Catazvbieiise,  must  not  be  con- 
fused with  the  plant  of  the  same  name  im- 
ported from  Europe  and  grown  upon  a  sin- 
gle stem. 

The  beauty  of  these  broad-leaved  ever- 
greens is  in  their  informal  irregularity  of 
growth  and  the  dependable  regularity  of 
their  blossoming.  Seldom  is  a  spring  un- 
heralded by  their  beauty.  Boxwood,  holly 
and  privet,  each  of  many  charming  varie- 
ties, help  to  make  up  a  list  of  indispensable 
evergreens  which  can  be  counted  upon  to 
keep  in  memory  the  green  world  of  summer. 
Thus,  by  the  help  of  these  friendly  plants, 
we  may  keep  our  gardens,  tlu-oughout  the 
colder  months,  warm  with  masses  of  green 
foliage,  bright  with  clustered  berries,  and 
fragrant  with  the  incense  which  these 
children  of  tlie  earth  are  always  offering  up 
on  Nature's  shrine. 


434 


A   NEW   WAY  TO   SHOP   IN   AMERICA 


A     NEW     WAY    TO    SHOP    IN 
AMERICA 

BACK  of  the  gift  stands  the  heart 
of  the  giver,"  said  some  wise  per- 
son whom  hfe  had  taught  to  see 
through  trivial  outward  things  to 
the  important  inward  meanings.  Back  of 
the  gift  also  stands  the  vision  and  skill  of 
the  maker.  Every  article  that  is  chosen  to 
be  the  visible  sign  of  love  and  friendship, 
the  gift  that  proves  forethought  and  remem- 
brance has  a  bit  of  personal  history,  char- 
acter, experience,  patient  care  or  self-denial 
indelibly  impressed  upon  it.  Even  the 
cheapest  of  the  machine-made  articles  that 
are  bought  with  hoarded  pennies  has  a  halo 
about  it  when  it  is  chosen  as  a  gift  of  truest 
sentiment,  of  real  affection,  of  kindliness, 
of  generosity.  Gifts  are  really  wonderful 
things  no  matter  from  what  angle  they  are 
viewed  and  the  marts  from  which  they  are 
chosen  are  most  fascinating  places. 

I  was  freshly  impressed  with  this  the 
other  day  when  I  happened  by  chance  upon 
the  Craftsman  Bazaar.  The  place  at  tirst 
sight  reminded  me  of  the  old  guild  halls, 
those  wonderful  old  places  where  crafts- 
men proudly  displayed  the  things  they  had 
made,  publicly  standing  as  sponsors,  as  it 
were,  for  the  thought  of  their  mind  and  the 
work  of  their  hands.  The  personality  of  the 
makers  was  stamped  upon  the  chair,  jar, 
jewel,  article  of  ornament  or  clothing,  their 
character  was  expressed  in  every  detail  of 
its  design  and  construction.  One  could  see 
where  the  vision  failed,  the  hand  trembled 
or  the  faith  halted,  and  such  marks  of 
human  strength  or  frailty  was  what  made 
the  thing  so  lastingly  beautiful.  The  skil- 
ful stroke  or  the  slip  of  a  tool  a  hundred 
years  ago  recorded  upon  a  bit  of  engraved 
metal,  embossed  leather,  carved  wood,  added 
lasting  value  to  the  object.  One's  sym- 
pathy and  interest  always  goes  out  to  those 
old  records  of  personal  struggle. 

A  warm  vital  individuality  pervaded  that 
modern  guild  hall,  the  eleventh  floor  of  the 
Craftsman  Building.  The  walls  were 
decorated  with  copper  and  brass,  pottery, 
crystal,  rich  brocades  and  sheerest  of 
gauzes  ;  tables,  informally  placed,  held  beau- 
tiful things  made  by  the  hands  of  careful 
workers  instead  of  by  whirling  machinery. 
A  woman  sat  at  a  loom,  tossing  a  shuttle 
back  and  forth,  weaving  fine  fabrics,  with 
a  rhythmic  click-clack  of  treadles ;  pillow 
covers,  table  covers,  curtains  and  scarfs  of 


colored  silks,  linens  and  hand-dyed  cotton 
were  piled  up  on  benches  and  tables  as  proof 
that  civilization  hasn't  taken  the  weaver's 
cunning  from  the  hands  of  women. 

An  Indian  woman  surrounded  with  Nav- 
ajo rugs,  with  baskets  and  pottery  from 
many  tribes,  sat  shaping  baskets  of  sweet 
grass  and  reed,  quiet,  industrious  and  dex- 
terous as  her  ancestors  who  sat  under  a  tent 
on  the  great  Western  plains.  All  through 
the  room  were  beautiful  things,  made  or 
being  made  by  skilled  workers,  things  not 
to  be  found  in  the  usual  shops. 

There  was  a  fascination  about  the  place, 
difficult  to  analyze,  the  same  fascination 
that  is  around  the  bazaars  of  the  old  coun- 
tries. Half  the  pleasure  of  a  trip  abroad 
lies  in  the  anticipation  of  actually  visiting 
all  the  bazaars.  The  visitor  feels  the  same 
stirring  of  romantic  interest  as  though  he 
were  on  a  voyage  of  discovery.  The  Old 
World  way  of  centering  things  wanted  and 
needed  in  one  merry,  holiday-spirited,  pic- 
turesque center  has  been  revived  and  estab- 
lished in  the  Craftsman  Building.  It  has 
shown  this  city  the  new  way  to  shop  in 
America,  to  save  much  of  the  confusion 
and  indecision;  for  the  objects  displayed 
there  have  already  been  carefully  selected. 
They  are  the  result  of  experienced  winnow- 
ing, so  that  there  is  not  a  discouraging 
number  of  things  confronting  one  to  add  to 
the  indecision  already  in  one's  mind. 

I  overheard  a  conversation  that  seemed  to 
me  the  keynote  of  the  whole  plan  of  the 
Craftsman  Bazaar.  A  woman  turned  to  the 
saleswoman  asking,  "Have  you  any  necktie 
holders  ?" 

"What  kind  do  you  want?" 

"I  don't  know  exactly  what  I  want.  Just 
the  kind  you'd  have,  if  you  had  any  at  all." 

She  felt  that  whatever  was  displayed  in 
that  skyscraping  bazaar  would  be  sensible, 
and  in  good  taste. 

In  no  section  of  this  block-long  "market- 
place" is  the  matter  of  careful  selection 
more  apparent  than  in  the  children's  room. 
Here,  the  funny,  amusing  animals  that 
children  love  are  made  of  wood  instead  of 
germ-nourishing  imitation  wool.  Every- 
thing from  the  little  bed,  the  toys,  the  books, 
furniture,  sand  boxes,  screens,  curtains, 
lamp  shades  has  been  made  simply  and  is 
therefore  beautiful.  Children  play  in  the 
sand,  rock  upon  the  see-saws,  while  the 
mothers  shop,  exactly  as  they  do  in  bazaars 
across  the  water.  To  me  it  was  more  than 
an  object-giving  lesson  in  a  new  way  to  buy. 

435 


TWO  WOMEN   HOMESTEADERS 


THE     WIN- 
NING   OF  A 

ho:mestead: 
by  harriet 

JOOR 

]i\L'l'2  I  took  up  a  homestead 

claim,  countless  letters  have 

come    to    me    asking    what 

lands  are  still  open  for  filing, 

and  what  one  must  do  in  order  to 

file  on  a  claim.     Others  ask  the 

expense  of   homesteading,  of  the 

daily  living  as  well  as  the  cost  of 

the   land,  and   what   equipment   is 

needed  for  the  life  on  the  plains. 

A  written  request  to  the  Com- 
missioner of  the  General  Land 
Office,  Washington,  D.  C,  will 
bring  to  the  home-seeker  a  list  showing 
roughly  the  character  of  the  land  now  open 
for  filing  in  the  different  States,  and  the 
name  of  the  city  or  town  in  each  of  these 
.States  in  which  the  U.  S.  Land  Office  is 
located.  By  writing,  then,  to 
the  Registrar  of  any  of  these 
offices,  general  information  as 
to  the  land  vmder  its  jurisdic- 
tion may  be  obtained. 

Each  man  or  woman  who 
would  take  up  a  homestead 
claim  must  first  personally  in- 
spect the  quarter  section  on 
which  it  is  desired  to  file,  and 
then  present  to  the  Land  Office 
of  that  district  an  application 
made  out  before  the  appointed 
authorities.  Within  six  months 
after  filing,  one  must  put  up  a 
shack  and  actually  begin  living 
on  the  land  ;  else  one's  right  to 
the  quarter  may  be  contested 
when  final  proof  is  made. 

The  settler  may  then  com- 
mute, after  fourteen  month'-' 
continuous  residence;  or  make 
homestead  proof,  after  a  resi 
dence  of  from  three  to  fivt 
years.  In  the  latter  case  a  five 
months'  leave  of  absence  is 
I)ermitted  in  each  of  the  three 
years,  with  seven  months  of 
residence  between  each  absence. 
The  commuter,  when  prov- 
ing np  at   the  end  of   fourteen 


months,  is  now  expected  to  have  ten  acres 
under  cultivation,  and  such  other  simple  im- 
jirovements  about  his  home  as  show  an 
honest  intent  to  make  it  a  real  home.  He 
must  also  pay  a  certain  amount  for  his  land  ; 
this  amount  varying  in  diiTerent  localities, 
fiere  in  Perkins  County,  South  Dakota,  it 
is  fifty  cents  an  acre.  Thus,  when  my  neigh- 
bor cominutes  on  a  claim  of  a  hundred  and 
sixty  acres,  with  the  publishing  of  the  ap- 
])lication  for  jiroof,  official  fees  and  price  of 
the  land,  the  final  proof  costs  him  altogether 
from  $95.00  to  $100.00. 

The  homesteader  who  proves  up  after 
three  years'  residence  has  a  little  more  to 
pay  in  the  way  of  commissions,  but  pays 
nothing  for  his  land ;  so  the  final  proof 
costs  only  from  $18.00  to  $20.00.  He,  how- 
ever, has  put  much  more  money  into  the 
land  itself,  as  he  is  required  to  have  ten 
acres  under  cultivation  the  second  year,  and 
twenty  acres  the  third  year,  if  he  has  a 
quarter  section.  The  requirements  for  a 
five-year  proof  are  much  the  same  as  for 
the    three-vear,    onlv    that    there    shall    be 


TWO   WOMEN    HOMESTEADERS   IN    .SOUTH    D.\KOTA. 


TWO  WOMEN  HOMESTEADERS 


twenty-five   acres    under   cultivation    when 
proof  is  made. 

Homestead  Expenses 

Women  homesteaders  have  usually  to 
hire  help  for  most  of  their  farm  work ;  and 
for  the  many  would-be  home-seekers  who 
are  anxious  to  know  the  actual  cost  of  the 
whole  undertaking,  I  have  noted  down 
roughly  my  own  general  expenses. 

Cost  of  filing  homestead  entry $14.00 

Cost  of  lumber  in  floor  and  roof  of 

soddy   50.00 

Cost  of  work  in  building  soddy 50.00 

Cost  of  plastering  soddy  (with  sand 

and  clay)   7 .  00 

A  shack  in  any  neighborhood  costs  much 
less  now  than  when  mine  was  built,  as  labor 
is  not  in  such  demand,  and  the  lumber  need 
now  is  hauled  only  thirty-five  miles  insteacl 
of  seventy-five,  as  when  I  filed.  In  many 
localities,  also,  a  frame  shack  may  be 
bought  second-hand  for  twenty-five  or 
thirty  dollars  and  hauled  across  country  to 
the  new  claim. 

Cost   of    digging   and    curbing   my 

well  $37 .  00 

Cost  of  fencing  in  house  and  well 

with  barbed  wire 7.00 

Cost  of  running  the  farm  for  three 
years  (preparation  of  soil,  seed, 
harvesting,  threshing),  about.  .  .  .Sjooco 


OUR    PETS    ARE    ALL    PRACTICAL. 

Here  the  returns  have  not  nearly  equaled 
the  output ;  but  I  did  not  expect  them  to, 
during  these  first  years.  The  expense  of 
making  final  proof  is  about  $18.00. 

Clothes  out  here  on  the  plains  are  a 
negligible  expense,  as  we  wear  our  clothes 
until  they  really  wear  out,  regardless  of  the 
cut  of  sleeve  or  skirt;  and,  as  was  said  of 
the  Kansas  pioneers  a  half  century  ago,  we 
"dance  blithely  in  the  cast-ofif  finery  of  our 
kinsfolk"  back  in  the  world !  A  little  old 
red  woolen  frock  that  I  brought  out  with 
me  to  make  into  a  braided  rug,  served  me 
instead  a  whole  year  as  a  "party  gown !" 

Food  and  Equipment 

Living  expenses,  as  nearly  as  I  can  esti- 
mate, average  three  dollars  a  week  for 
food,  wood,  coal,  and  oil  for  the  lamp. 
Some  things,  like  canned  goods  and  coal-oil, 
are  higher  here  than  they  are  back  in  civih- 
zation ;  but  milk,  butter,  and  eggs  are 
cheaper  out  here — when  they  can  be  gotten 
at  all. 

One  can  live  much  more  expensively  than 
this,  even  out  here,  where  luxuries  do  not 
exist — especially  if  one  lives  on  canned 
goods.  Or  one  can  live  more  cheaply  bv 
eliminating  fresh  milk,  eggs  and  a  liberal 
use  of  dried  fruits ;  but  in  the  lack  of  fresh 
meat  and  fresh  fruit,  these  are  really 
needed  to  make  a  balanced  diet 


437 


TWO  WOMEN   HOMESTEADERS 


Let  1 iir 

expect  luxuries;  for  these,  and  even  many 
simple  comforts,  cannot  be  had.  Once,  for 
four  months  on  a  stretch,  I  could  not  buy 
a  single  egg:  the  hens  were  not  laying! 
And  sometimes  during  the  winter,  for 
weeks  at  a  time,  butter  cannot  be  had,  while 
fresh  fruit  and  fresh  meat  are  always  a 
rarity.  These  things,  however,  mean  very 
little  in  the  daily  happiness  of  the  plucky 
prairie-people,  and  the  "needfuls"  can 
always  be  found  in  some  form.  Canned 
milk  can  be  kept  on  hand ;  or  milk  in  a 
powdered  form,  which  is  cheaper  than  that 
in  cans  and  equally  good  for  cooking. 
Ihere  is  an  egg-powder,  also,  tested  by  ex- 
perts, which  will  help  tide  one  through  the 
winter ;  and  a  wide  variety  of  dried  beans, 
peas  and  lentils,  doubly  precious  in  a  meat- 
less land.  One  grows  weary  of  the  sight 
of  a  tin  can  out  here  where  there  is  a  mot- 
ley heap  of  them  beside  every  abandoned 
shanty ;  so,  whenever  possible,  I  get  things 
in  the  dried  form  instead  of  in  cans  or  jars  ; 
corn,  beans,  fruits,  bacon  and  dried  beef. 
They  are  equally  palatable  this  way,  and 
much  less  expensive.  Except  in  the  worst 
years  of  drought,  you  can  raise  your  own 
potatoes,  lettuce,  corn,  beets  and  beans,  dry- 
ing your  own  sweet-corn  for  the  winter, 
and  harvesting  your  own  winter  supply  of 
dried  beans. 

For  those  who  inquire  what  equipment  is 
needed,  I  would  say,  bring  out  very  little 
Ijcsides  clothes  and  bedding.  The  few  things 
that  are  needed   to   furnish  a   shack    (cot, 

138 


t.ible.  >niall  stcjve,  camp  chairs,  a  few  dishes 
and  cooking  utensils)  can  usually  be  got- 
ten second  hand  from  settlers  who  are 
proving  up — or  from  the  nearest  town.  For 
food  supplies,  some  you  will  get  from  the 
country  store,  and  others  you  will  probably 
have  freighted  out  from  the  East.  I  usually 
send  an  order  East  each  fall. 

Out  on  the  plains,  a  woman  must  be  her 
own  laundress,  so  bring  simple  clothes  :  also 
a  sweater  coat,  pair  of  strong  shoes,  and 
strong  walking  skirt. 

Each  woman  homesteader  should  also 
have  a  light  rifle,  and  know  how  to  use  it — 
to  frighten  hawks  and  coyotes  from  her 
chickens,  and  jack-rabbits  from  her  garden 
patch,  and  add  toothsome  "cotton-tails"  to 
her  bill  of  fare,  as  well  as  to  insure  her  own 
safety. 

Pr.\irie  Folk 

Tramps  are  never  seen  out  here,  U'V  our 
little  new  hamlets  are  too  far  from  the  rail- 
road;  but  folk  of  every  station  in  life  and 
every  nationality  drift  to  the  prairies  in 
quest  of  homes.  One  morning  a  Syrian 
peddler  will  pause  at  the  door,  the  next  a 
Russian  peasant  will  inquire  in  broken 
English,  direction  on  his  way,  or  ask  help 
in  finding  his  wandering  cow :  or  a  blue- 
eyed  Swede  in  a  white-topped  prairie 
schooner  comes  seeking  a  drink  of  water. 
Never  have  I  met  aught  but  perfect  cour- 
tesy and  frank  kindliness :  but  where 
strange  folk  are  continually  drifting  past 
lier  door,  no  woman  is  warranted  in  living 


TWO   WOIVIEN  HOMESTEADERS 


utterly  alone  with  no  means  of  self-protec- 
tion. 

Life  on  the  Plains 
Several  eager  girls,  yet  in  their  teens, 
have  written  to  ask  how  old  they  must  be 
before  they  can  file.  There  is  a  movement 
now  on  foot  to  lower  the  age  limit  to 
eighteen,  but  at  present  no  one  under 
twenty-one  can  enter  a  homestead  claim; 
and,  indeed,  both  men  and  women  need  the 
maturity  of  their  full  twenty-one  years  be- 
fore entering  upon  so  isolated  and'  lonely  a 
life.  Even  older  folk  occasionally  have 
their  heads  turned  by  the  first  intoxicating 
taste  of  such  wide,  unwonted  liberty ;  and 
the  draught  is  sometimes  too  strong  for 
young,  untried  natures,  whom  life  has  not 
yet  inured  to  self-control.  Besides,  to  bear 
with  equanimity  the  loneliness  and  the 
inevitable  discouragements  and  disappoint- 
ments of  frontier  life,  one  needs  that 
steadiness  of  courage  and  good  cheer  that 
usually  comes  only  after  the  fitful  enthusi- 
asms of  early  youth  are  past. 

Most  difficult  of  all  to  answer  are  the  let- 
ters from  elderly  women  wistfully  seeking 
a  home,  and  from  women  broken  by  illness 
or  grief,  asking  if  it  would  be  well  for 
them,  also,  to  seek  a  new  life  on  the  plains. 
No  one  can  solve  this  problem  for  an- 
other. Ask  yourself — you  who  would  be  a 
homesteader — whether  you  are  fitted  for 
the  life.  Can  you  draw  your  happiness 
from  within,  or  are  you  dependent  upon 


constant  stimulus  from  without?  Some 
natures  cannot  endure  solitude,  and  to  such 
the  very  immensity  of  the  plains  becomes 
in  time  a  menace  to  sanity ;  the  silence,  that 
to  another  is  fraught  with  healing,  becomes 
a  horror  and  a  dread. 

The  homesteader's  need  not  be  a  hermit- 
life;  it  may  be  warm  with  neighborly 
human  interests ;  but  there  must  come  many 
lonely  hours.  Twilight,  when  the  day's 
work  is  laid  aside,  seems  ever,  to  me,  the 
hardest  time,  and  most  full  of  wistful 
home-rnemories.  But  there  are  lonely 
hours  in  the  city,  too;  and  there,  as  here, 
one  has  to  make  one's  own  happiness. 
Always  the  days  may  be  cheerily  filled  with 
work  and  gardening,  books  and  sewing. 
Two  brides-to-be  wrought  beautiful  house- 
hold embroideries  for  their  wedding-chests 
while  holding  down  their  claims;  and  a 
group  of  college  girls  embroidered  for 
themselves  lovely  lingerie  which  they  never 
had  found  time  for  "back  in  the  world." 
One  girl  carried  on  a  long-postponed  course 
with  a  correspondence  school;  another 
busied  herself  with  her  camera ;  while  a 
dear  old  neighbor  of  mine  pieced  quilts  for 
the  grandchildren  "back  home,"  and  cut 
and  dyed  countless  balls  of  carpet  strips  to 
be  woven  into  a  rug  for  her  daughter's 
home. 

H.'^RDSHIPS — AND    CoMPENS.\TIONS 

There    are    hardships    which    you    who 
would  be  a  homesteader  must  face.     Hail 


ONE   OF    THE   TA.SKS    FOR    THE    WOMAN    HOMESTEADER. 

439 


THE   PHILOSOPHY  OF  ZARATHUSTRA   SIMS 


may  beat  down  your  fields  of  grain,  and 
drought  may  parch  your  green  stretches  of 
corn ;  the  beans  over  which  you  have  toiled 
so  hard  may  be  devastated  by  jack-rabbits, 
and  your  green  peas  laid  low  by  cut-worms. 
And  sickness  may  come — but  kindness, 
then,  conies,  too ;  such  delicate,  understand- 
ing kindness  as  only  folk  who  have  the 
same  hopes  and  the  same  handicaps  can 
show  one  to  another. 

For  the  first  weeks,  the  manual  work  is 
hard  for  muscles  that  are  all  unused  to 
service ;  even  the  drawing  of  a  pail  of  water 
seemed  at  first  beyond  my  power.  Wash- 
ing has  ever  been  my  Waterloo ;  while 
cooking  and  housework  seem  always  like  a 
game,  and  my  soddy  like  a  playhouse  of 
ciiild-days.  The  very  crudeness  of  our 
housekeeping  equipment  out  here  on  the 
plains  only  makes  it  seem  more  like  the  old 
play-house  time. 

Yes,  there  are  hardships;  but  there  is 
health  in  the  faces  I  meet  upon  the  prairie- 
trails,  and  content  in  the  clear  eyes  that 
smile  frank  greeting  into  mine,  and  hope — 
the  miraculous,  ever-renewed  hope  of  the 
pioneer — behind  the  smile. 

For  every  precious  thing  in  life  we  must 
pay  a  price;  and  all  the  deprivations  of 
homesteading  have  seemed  to  me  but  a  little 
price  to  pay  for  air  that  is  clean  and  pure 
as  golden  wine ;  and  sunlight,  straight  from 
heaven,  flooding  plain  and  hill ;  and  dim 
blue  distances  for  the  healing  of  weary 
eves  ;  and  the  big,  blessed  prairie  silence  for 
the  healing  of  tired  nerves. 

"ON   THE   JOB" 

From  one  of  our  friends. 

THE  most  sensible  word  yet  spoketi 
within  the  English  war  zone  was  that 
of  Lord  Roberts — "Bobs."  He  coun- 
seled the  British  to  stop  inventing  atrocity 
yarns  about  the  Germans  and  to  get  on  their 
job  as  fighters 

In  different  circumstances  the  advice  is 
equally  good  here. 

America  has  work  to  do.    Get  on  the  job. 

If  we  never  did  another  dollar's  worth  of 
l)usiness  with  the  peoples  at  war,  the  loss 
wouldn't  be  one  per  cent  of  our  total  volume 
of  business.    Get  on  the  job. 

Our  soil,  though  yielding  this  year  prod- 
ucts worth  nine  billions  of  dollars,  is  cap- 
able of  yielding  twenty  billions  or  thirty 
billions  every  year.     Get  on  the  job. 

Beneath  Old  Glory  nature's  resources  are 
limitless.    Get  on  the  job. 


Prosperity  is  what  we  make  it.  Get  on 
the  job. 

As  a  man  thinks,  so  is  he.  Think  that  the 
bottom  is  dropping  out,  that  there's  nothing 
ahead  but  trouble  and,  sure  enough,  the 
deuce  is  soon  to  pay.  But  chirk  up,  smile 
and  go  to  the  task  of  the  hour  with  hope's 
banners  flying,  and  sunshine  soon  clears  the 
mists  away. 

As  a  matter  of  fact,  there  are  mathemat- 
ical proofs  that  business  is  on  the  rebound. 
Note  the  bank  clearings,  the  foreign  com- 
merce figures,  the  car  movements — all  sure 
indexes. 

Prosperity  is  plainly  billing  for  a  return 
engagement. 

On  the  job,  everybody ! 
Get  busy ! 

THE   PHILOSOPHY  OF    ZARATHUS- 
TRA  SIMS 

I  DON'T  know  which  is  more  ridiculous, 
a   farmer  trying  to  mail  a  letter  in  a 
city  fire  alarm  box  or  a  summer  boarder 
trying  to  get  maple  syrup  out  of  a  hickory 
tree  in  August. 

p  ARSON    HUBBARD    preaches    "Love 
thy  neighbor  as  thyself,"  but  he  admits 
that  it  isn't  so  easy  when  thy  neighbor  is  an 
ornery  cuss  that  never  oils  his  windmill. 

\   SENSE  of   humor  is  a   fine  thing  to 
have,    but    a    good    deal    depends    on 
whose    corn    it    is    and    whose    cow    gets 
scratched  up  with  barbed  wire. 

Q  ALEB  BELDEN  says  it's  all  right  to  be 
forehanded,  but  what's  the  use  of  cut- 
ting hay  before  the  timothy's  ripe,  or  short- 
ening your  life  by  overwork?  But  I  notice 
he  doesn't  object  seriously  to  Hannah's  lop- 
ping off  a  couple  of  years  of  her  life  that 
way,  if  occasion  offers. 

J^  ALF  -  WITTED  KELLY  can  neither 
read  nor  write,  but  he  exhibits  a  great 
admiration  for  education  when  he  sees 
laddie  Thompson  enjoying  the  post  cards 
in  the  R.  F.  D.  boxes  at  the  cross  roads. 

1  NE\'ER  knew  any  one  with  a  more  abid- 
ing faitli  in  Providence  than  Susan  Bea- 
nian,  but   1   notice  she  puts  her  trust  in   a 
featlier  bed  during  a  thunder  storm. 


440 


A  NEW  HOME  IDEAL  FOR  THE  ORPHAN 


A  NEW  HOME  IDEAL  FOR 
THE  ORPHAN:  BY  CLARA  DE 
L.  BERG 

EUROPE  is  already  stricken  over  her 
homeless,  fatherless  and  often  moth- 
erless children,  and  every  month 
increases  their  number.  Never, 
probably,  in  the  history  of  the  world,  has 
humanity  been  confronted  with  a  more 
vital  and  difficult  problem  than  that  pre- 
sented by  this  widespread  devastation  which 
has  deprived  so 
many  little  ones 
of  the  comfort, 
care  and  even 
bare  necessities  of 
life  that  should 
be  their  rightful 
inheritance.  And 
never  before, 
surely,  has  there 
been  a  time  when 
the  world  was 
ready  to  offer 
wider  and  more 
eager  sympathy. 

When  we  stoj) 
to  consider  that  it 
is  largely  from 
these  very  thou- 
sands— nay,  mil- 
lions— of  unfor- 
tunate children 
that  the  manhood 


THE  LOVELY  CHEERFUL  PL.WROOM  IN  THE  NEW  TYPE 
Of  ORPHAN  ASYLUM  IN  WESTCHESTER  COUNTY,  NEW 
YORK. 

and  womanhood  of  Europe's  future  must 
be  drawn,  we  realize  with  peculiar  poign- 
ancy how  essential  it  is  that  they  should  re- 
ceive the  physical,  mental  and  ethical  train- 
ing, and  the  wise,  loving  care  needed  to  fit 
them  for  the  tasks  ahead — for  the  work  of 
upbuilding  a  finer,  saner  citizenship  anfi 
government  in  which  such  international  dis- 
asters as  the  one  we  are  now  witnessing  will 
become  impossible. 


THE    ENTRANCE   TO   ONE   OF   THE  GROUP  OF  COTTAGES  IN  THE  NEW   HOME  PLAN  FOR 
CHILDREN  :   NOTE  THE  INLAID  TILES  BETWEEN   THE  UPPER   WINDOW  GROUPS. 


441 


A   NEW  HOME   IDEAL  FOR  THE   ORPHAN 


COULD   YOU   PICTURE    A    MORE   CHEERFUL    PLACE   FOR    HOMELESS   LITTLE    FOLKS   TO   EAT    IN? 


In  view,  therefore,  of  this  widespread 
orphan  problem,  the  example  presented  by 
the  Home  which  this  article  describes, 
seems  particularly  pertinent,  for  it  holds  a 
suggestion  that  should  prove  of  value  not 
only  to  America  but  also  to  Europe. 

THIRTY  little  boys  had  just,  after  more 
or  less  tumult,  been  transported  from 
the  large  brick  barrack,  which  had 
sheltered  their  orphaned  or  destitute  little 
lives,  to  the  big  cottage  which  was  hereafter 
to  be  "home"  to  them.  Thirty  boys,  ranging 
in  age  from  six  to  sixteen,  had  inspected  the 
thirty  little  white  beds  of  the  dormitory, 
each  with  its  bordered  counterpane,  had 
gazed  with  lively  interest  at  the  sunny 
kitchen,  where  they  were  to  cook  their  own 
food,  and  at  the  cheerful  dining  room 
where  they  were  to  serve  and  eat  it,  and 
had  happily  tried  the  chairs  and  acquainted 
themselves  with  the  bookshelves  in  the 
many-windowed  room  where  they  would 
study  or  play.  Twenty-nine  boys  were  in 
high  feather.  But  the  thirtieth  was  sorrow- 
ful. He  was  a  little  chap — one  of  the 
youngest — and  as  he  could  not  quite  conceal 
his  grief,  he  took  refuge  behind  one  of  the 
flowered  .scrim,  window  curtains  and  blinked 
mournfully  out  at  what,  had  he  been  in  a 
state  to  see  clearly,  would  have  appeared  a 
verv  lovely  stretch  of  country.  Here  a 
"visiting  la<ly"  found  him. 
.  "Why,  Isaac,  dear,  what  is  the  matter?" 
Isaac  swallowed  a  sob ;  then  came  the 
cause  of  his  grief. 


"I  haven't  any  'duties'  1"  he  lamented. 

Shades  of  Oliver  Twist,  shades  of  Sara 
Crewel  Pathetic  shadows  of  all  mournful 
little  creatures  to  whom  this  beautiful  world 
has  been  a  dreary  prison  house ;  for  whom 
existence  was  a  soul-killing  and  body-rack- 
ing grind  of  toil !  Here  was  a  little  child, 
child  of  a  persecuted  race,  inured,  in  all 
probability,  to  poverty  if  not  hardship  since 
his  birth,  actually  grieving  because  he  was 
not  to  be  allowed  a  daily  stint  of  cooking, 
bedmaking,  dishwashing,  and  housecleaning 
in  this  home  which  had  offered  to  shelter 
him. 

Nothing  illustrates  better,  I  think,  the 
spirit  in  which  the  Hebrew  Sheltering 
Guardian  Society  has  wrought  than  this 
quick  recognition,  on  the  part  of  a  young 
child,  that  life  was  to  be  truly  a  community 
affair  not  only  in  deed  but  in  spirit,  and  that 
one  is  truly  a  member  of  a  family  when  he 
shares  not  only  its  pleasures  but  its  respon- 
sibilities. 

The  Hebrew  Sheltering  Guardian  Society 
is  by  no  means  a  pioneer  in  achieving  the 
physical  expression  of  its  ideal  of  the  "cot- 
tage plan"  and  family  life  for  the  five  or 
six  hundred  children  confided  to  it.  The 
movement  started  some  years  ago  in  Eng- 
land and  has  been  adopted  by  three  socie- 
ties caring  for  children  in  the  neighborhood 
of  New  York.  However,  the  home  of 
the  Society,  at  Pleasantville,  ^\'estcheste^, 
opened  just  two  years  ago,  is  the  latest  of 
these  cottage  colonies  for  children  and  is 
most  interesting  and  admirable  in  its  adap- 


442 


A  NEW   HOME   IDEAL   FOR  THE  ORPHAN 


tation  of  architectural  and  natural  beauty 
to  the  needs  of  its  big  family. 

Perhaps  it  would  be  better,  in  this  con- 
nection, to  use  the  word  "families."  De- 
spite the  maintenance  of  an  esprit  de  corps. 
and  the  congregating  of  all  the  children  in 
schoolhouse,  workshop,  and  synagogue,  the 
fundamental  idea  of  its  Director,  Dr.  Lud- 
wig  B.  Bernstein,  and  of  the  men  who  have 
given  him  loyal  and  generous  support,  has 
been  a  real  family  and  home  life  for  each 
child,  possible,  of  course,  only  in  compara- 
tively small  groups,  and  to  this  end  the 
seventeen  cottages,  each  housing  thirty  boys 
or  girls,  and  each  under  the  care  of  a  house- 
mother, are  designed.  The  children  are  not 
allowed  to  visit  from  cottage  to  cottage, 
but  they  meet  of  course  in  school  and  on  the 
playground,  and  within  each  cottage  life  is 
as  unrestricted  as  is  consistent  with  un- 
selfishness and  good  manners.  Under  the 
direction  of  the  housemother  the  children 
prepare  and  cook  the  food,  which  is  of 
course  sent  from  the  central  storehouse, 
serve  it,  wash  the  dishes,  make  the  beds, 
and  clean  house.  None  of  these  duties  in- 
terfere with  school  or  with  the  studying  of 
lessons,  yet  there  is  an  hour  of  recreation 
every  afternoon  and  half  of  Saturday  for 
play  or  reading,  either  out  of  doors  or  in 
the  cottage  living  room — a  real  living  room, 
with  bookcases,  chairs  for  big  and  little 
people,  tables,  and  games. 

Planned  and  executed  as  a  whole,  the  col- 
ony,   ^ft    on    ;i     lii]l-cii(-ii-.-]c'ii    |il;iti.-au    in    a 


beautiful  section  of  Westchester  County, 
N.  Y.,  is  both  impressive  and  pleasing.  At 
the  far  end,  approached  by  a  broad  drive- 
way, stands  the  school  and  administration 
building,  a  two-story  edifice  of  stucco,  with 
red  tiled  roof,  flanked  by  curving  colon- 
nades terminating  in  low  buildings  which 
serve  respectively  for  workshop  and  do- 
mestic science  hall.  Behind  and  practicall\ 
concealed  by  the  central  structure  are  the 
storehouses,  bakery,  power  house,  and  the 
like.  To  the  left,  at  the  termination  of  an- 
other roadway,  lies  the  white  hospital  build- 
ing, used,  as  it  has  turned  out,  rather  for 
the  care  of  ansmic  children  than  for  cases 
of  illness,  of  which,  in  this  healthful,  active 
life,  there  are  few.  Ranged  between  the 
entrance  and  the  school  building,  about  the 
great,  grassy  quadrangle,  lie  the  seventeen 
cottages,  of  stucco  with  roofs  of  red  or 
green  tiling,  and  insets  of  colored  tiles. 
They  are  of  two  types,  rectangular,  with 
entrance  in  the  middle,  or  consisting  of  two 
L's,  set  at  right  angles.  However,  a  certain 
individuality  is  secured  through  the  various 
potted  plants  and  flowers  that  adorn  the 
porches,  and  on  one  cottage  there  flaunts  a 
large  American  flag.  The  cottage  so  dis- 
tinguished is  the  "Honor  Cottage"  of  the 
week,  whose  members  have  attained  the 
highest  mark  for  excellence  of  work  and 
deportment. 

Despite  the  dissimilarity  in  outward  struc- 
ture, the  two  types  of  houses  are  practically 
tin:'     same     in     interior     arrangement,     the 


THEIR   BEDS   ARE  IMMACULATE   AND   THE   CHILDREN   TAKE  CARE  OF  THE  SLEEPING  ROOM   THKM-i  1' 


443 


A    NEW   HOME  IDEAL   FOR  THE   ORPHAN 


ground  plan  of  each  comprising  a  living 
room  and  a  dining  room,  each  running  the 
entire  depth  of  the  house,  with  a  stafif  mem- 
ber's room  in  the  front  and  the  kitchen  in 
the  rear.  Above  are  two  dormitories,  sep- 
arated by  the  hallway,  the  lavatory,  and  the 
housemother's  apartment.  On  the  attic 
floor  are  rooms  and  bath  for  teachers.  Of 
one  possibility — that  of  air  and  sunshine — 
the  architects,  Messrs.  Harry  A.  Jacobs  and 
Max  G.  Heidelberg,  seem  to  have  been 
keenly  conscious.  On  three  sides  of  each 
large  room,  close  set  windows  admit  sun- 
light, the  clean  air  of  Westchester,  and  a 
view  over  woods  and  meadows  to  the  hills 
beyond.  If  bad  behavior  is  the  result  of 
tired  nerves — and  how  often  it  is  ! — a  boy 
or  girl  must  be  indeed  incorrigible  who 
cannot  find  rest  and  sweetness  in  the  call  of 
a  robin  or  savor  of  the  new  cut  grass ;  who 
can  look  out  at  night  from  the  security  of  a 
little  white  bed  to  the  star-sown  sky  and  the 
solemn,  moonlit  woods. 

Fortunately  for  all  concerned,  a  happy 
rule  was  adopted  as  to  the  furnishing  of  the 
cottages.  The  only  gifts  acceptable  and 
indeed  accepted  were  those  in  the  form  of 
money.  Thus  the  possibility  of  the  houses 
becoming  dumping  ground  for  discarded 
chairs  and  unsightly  bureaus  was  avoided. 
In  the  second  place,  the  Society,  instead  of 
leaving  the  purchase  of  its  equipment  to 
the  haphazard  supervision  of  a  committee, 
or  the  more  or  less  self-interested  care  of 
agents,  accepted  the  services  of  Miss  Elsa 
Oppenheimer,  who  not  only  was  a  trained 
decorator,  but  who  had  been  connected  with 
the  Society  as  a  club  leader,  knew  its  wants, 
and  understood  its  spirit.  Though  limited 
in  money  and  forced  to  conform  to  general 
outlines  in  all  the  cottages.  Miss  Oppen- 
heimer has  nevertheless  succeeded,  by  vari- 
ous arrangements  of  color  and  material,  in 
imparting  a  certain  individuality  to  each. 
The  floor  rugs  of  one  living  room  may  be 
brown,  with  a  general  color  scheme  in  win- 
dow drapings  and  flower  vases,  of  browns 
and  yellows ;  in  another,  the  tones  may  be 
green  and  dull  red.  One  very  successful 
room  shows  a  floor  painted  a  dull  terra 
cotta,  with  Auburn  made  rugs  of  olive 
green  banded  in  terra  cotta,  and  green 
hangings  of  linen  scrim.  The  walls  are 
tinted  the  color  of  putty.  One  dining  room 
shows  willow-ware  on  its  cabinet  shelves, 
with  hangings  to  matcli,  and  table  runners 
of  Russian  crash  embroidered  in  Delft 
blues    ftheso  last   done  bv   the  girls  them- 


selves), another  has  white  china  and  rose- 
bordered  hangings.  The  dormitories  sug- 
gest hospital  rooms,  with  their  white  walls 
and  little  white  iron  beds,  but  on  each  bed 
is  a  white  muslin  cover  banded  with  roses, 
and  at  the  w  indows  hang  rose-dotted  scrim 
curtains. 

It  might  seem  at  first  sight  that  this  method 
of  furnishing,  involving,  as  it  does,  the  salary 
of  a  decorator  and  variety  in  the  articles 
bought,  might  mean  undue  expense,  but  this 
does  not  seem  to  be  the  case.  While  chairs, 
rugs,  and  the  like  are  durable,  as  they  needs 
must  be,  they  are  inexpensive.  Further- 
more, as  the  furnishing  was  planned  as  a 
whole  and  approved,  down  to  the  last  de- 
tail, before  purchases  were  made,  umieces- 
sary  expenses  were  avoided. 

Yet  even  were  the  cost  greater,  it  would 
seem  worth  it  to  create  in  a  child  who  has 
known  only  sordidness,  ugliness,  and  pov- 
erty, a  respect  and  understanding  of  beau- 
tiful things,  no  matter  how  simple.  A 
teacher  of  the  school  recenth'  observed  that 
one  of  the  hardest  problems  he  had  to  con- 
tend with  in  the  children  under  his  care  was 
their  utter  lack  of  respect  for  things.  Hav- 
ing had  practically  no  property  of  their 
own,  and  no  proprietary  interest  in  their 
former  institutional  home,  the  children 
showed  no  care  or  respect  for  the  property 
of  others.  Of  course  it  is  early  yet  to  boast 
of  a  decided  improvement  in  this  respect, 
but  certainly  the  cottages  are  immaculate, 
and  in  view  of  the  fact  that  thirty  active 
children  have  lived,  worked,  and  played  in 
each,  show  remarkably  few  signs  of  wear. 

Indeed,  when  we  contrast  this  charming, 
homelike  place  with  the  average  institution, 
we  cannot  help  feeling  that  a  very  distinct 
and  significant  advance  has  been  made,  not 
merely  in  the  matter  of  architecture,  in- 
terior arrangement  and  beauty  of  furnish- 
ing, but  especially  in  the  spirit  in  which  the 
home  is  conducted,  and  the  methods  by 
which  the  children  are  encouraged  to  take 
a  personal  interest  and  an  individual  re- 
sponsibility in  the  various  details  of  their 
environment. 

Surely  a  home  .wherein  regular  work, 
order,  and  cleanliness  are  not  incompatible 
with  a  healthy,  happy,  mentally  alert  child- 
hood, and  where  to  be  deprived  of  one's 
"duties'"  is  to  be  defrauded  of  honor  and 
enjovment,  is  a  home  from  which  shall  come 
forth  not  only  "useful  citizens"  but  well- 
rounded,  wholesome,  and  happy  young  men 
and  voung  women. 


-M-1 


CRAFT  WORK  IN  BRASS 


OLD   ENGLISH   BRASSES:    BY 
JAMES   THOMSON 

TO  round  out  and  complete  any 
architectural  or  cabinetmaking 
work,  it  is  essential  that  visible 
metal  work  such  as  drawer  handles, 
lockplates,  etc.,  should  accord  with  the  style 
in  which  the  article  of  woodwork  is  made. 
When  representing  some  historic  period  it 
is  the  height  of  folly  to  fit  to  a  piece  of 
furniture  metal  trimmings  out  of  harmony 
with  it.  Colonial  furniture  is  to  be  met 
with  to  which  brasses  of  an  altogether  dif- 
ferent period,  if  not  character,  have  been  at 
some  time  added.  The  Chippendale  handle 
but  ill  accords  with  the  more  refined  work 
of  Hepplewhite  and  Sheraton,  yet  in  many 
a  modern  instance  the  connection  is  observ- 
able. 

A  quarter  of  a  century  ago  there  was 
difficulty  in  getting  cabinet  metal  trimmings 
of  good  design.  The  makers  of  outside 
door  trimmings  imagined  that  the  "usual 
thing"   which    was   of   no   particular   style 


o 

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1 

THESE  LOCKPLATES  WERE 
MADE  FOR  UTILITY  AND 
STRENGTH,  PRIMARILY  : 
OUT  OF  THESE  QUALITIES 
THEIR  DECORATIVE  OUT- 
LINES GREW — AN  EXAM- 
PLE THAT  MODERN  WORK- 
ERS MIGHT  WELL  FOLLOW. 


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LOCKPLATE  FROM   A  JACOBEAN  CHEST. 


ELIZABETHAN  LOCKPLATE,   SIXTEENTH   CENTUKY. 


would  adequately  serve  architectural  pur- 
poses, which  it  in  numberless  cases  most 
assuredly  did  not.  In  this  exigency  a  well 
known  Connecticut  firm  of  lock  makers 
sprang  into  the  breach  and  began  making  a 
line  of  door  hardware  that  was  most  artis- 
tic as  regards  design  and  beautifully  exe- 
cuted. Such  work  of  course  was  costly,  but 
the  time  had  arrived  when  people  of  taste 
with  the  means  of  gratifying  their  desires 
were  willing  to  pay  the  price.  Ten  or 
twelve  dollars  for  a  single  finger  plate  for 
an  outside  door  seems  a  large  price  to  pay, 
but  all  such  hardware  besides  being  beauti- 
fully cast,  is  hand  chased  and  clean  and 
sharp  as  a  piece  of  jewelry. 

There  must  have  been  a  time  in  this 
country  when  cabinet  metal  trimmings  were 
common  enough,  for  on  old  Colonial  pieces 
we  rarely  meet  with  handles  and  lockplates 
other  than  good.  The  beautiful  elliptical 
handles  of  infinite  variety  to  be  met  with 

445 


CRAFT  WORK  IN  BRASS 


\Y^^-Ci 


R  3' 

on  old  Hepplewhite  and  Sheraton  furniture 
must  have  been  imported  from  England, 
and  moreover,  must  have  been  especially 
designed  for  the  products  of  the  respective 
men.  Be  that  as  it  may,  there  came  a  time 
when  the  fine  and  desirable  brasses  went 
out  of  fashion,  and  ugly  wooden  pulls  of 
the  rustic  order  of  architecture  became  the 
rage.  In  Civil  War  times,  and  for  many 
years  thereafter,  a  tremendous  business 
was  done  in  producing  the  grape  and  vine- 
leaf  atrocities. 

The  drawings  which  illustrate  this  arti- 
cle are  of  old  cabinet  metal  hardware  from 
a  variety  of  sources.  The  seventeenth  cen- 
tury examples  are  well  adapted  for  case- 
work designed  on  simple  lines.  The  chest 
lockplates  in  all  probability  were  fashioned 
in  iron,  but  all  other  pieces  were  cast  in 
brass. 

The  brass  hinges  of  the  year  1777  are 
representative  of  a  collection  of  old 
English   pattern   books   at   present   in   the 

446 


London  Victoria  and  Al- 
bert Museum.  From  the 
illustrated,  descriptive 
catalogue  we  learn  that 
the  development  of  the 
present  immense  brass- 
foundry  trade  in  Bir- 
mingham had  inception 
somewhere  between  the 
years  1689  and  1702. 
The  manufacture  of 
stamped  goods  as  distin- 
guished from  articles 
that  were  cast  was  begun 
in  1769.  A  local  brass 
founder  at  a  later  period 
improved  the  methods 
and  adapted  them  to  the 
manufacture  of  handles, 
escutcheons,  etc.  It  is 
quite  plain  from  these 
facts  that  Hepplewhite 
was  quick  to  grasp  the 
opportunity  presented, 
whereby  appropriate 
handles  and  the  like 
could  be  obtained  at 
moderate  cost  to  grace 
his  case  work.  The  Hep- 
plewhite elliptic-shaped 
handles  are  always  to  be 
found  of  chaste  design 
and  beautifully  executed. 


CRAFT   WORK   IN   BRASS 


The  men  who  made  the  steel  dies  from 
which  such  brasses  were  struck  must  have 
been  men  of  taste.  They  did  their  work 
well. 

The  substantial  qualities  of  these  eight- 
eenth century  hinges  are  apparent  from 
the  sketches.  Compare  them  with  the 
flimsy  "stamped  from  sheet  metal"  affairs 
that  often  do  duty  today.  Present  -  day 
castings  may  frequently  have  a  fair  face, 
but  the  outlines  are  so  rough  as  to  set  one's 
teeth  on  edge  at  appraisal  of  them.  The 
beveled  edge  in  the  eighteenth  century 
examples  carries  implication  of  prismatic 
quality  not  otherwise  attainable.  Careful 
filing  is  needed  so  that  the  miters  shall  be 
true.  All  this  attention  to  detail  tends  to 
richness  of  effect. 

Up  to  a  comparatively  recent  time  cab- 
inet doors  were  made  flush  with  the 
pilaster.  This  explains  the  reason  for  the 
double  hinge  plate  in  these  old-time  exam- 
ples :  one  plate  being  accorded  the  door,  the 
other  the  pilaster.  A  hinge  thus  became  a 
very  symmetrical  and  decorative  feature. 
The  French  designers  of  the  Louis  XIV 
and  XV  period  changed  all  this,  deeming 
the  hinge  plate  but  a  relict  of  a  ruder  age. 
Chippendale,  Hepplewhite,  Sheraton  and 
compeers   followed  suit,  and  not  until  the 


time  of  the  Eastlake  craze  in  the  seventies 
of  the  last  century  were  brass  hinge  plates 
again  to  be  seen  on  English  furniture.  The 
fashion  lasted  but  a  decade. 

The  late  Jacobean  style  has  a  multiplicity 
of  miters,  but  little  carving.  When  made 
in  ebonized  oak  and  trimmed  with  handles 
and  lockplates  of  oxidized  silver  the  effect 
is  particularly  fine.  A  satisfactory  greenish 
black  can  be  imparted  to  oak  by  an  appli- 
cation of  a  solution  of  copperas.  Silver 
mounts  most  admirably  round  out  such  a 
scheme.      In    old    European    buildings    the 


I-'"""""* 


oV  A,Vt  ve.n.r    \  1 "(  T" 


447 


CRAFT  WORK  IN  BRASS 


oaken  woodwork  is  frequently  to  be  found 
of  a  greenish  black.  Rain  water  from  cop- 
per and  iron  gutters  and  conduits,  operating 
through  the  centuries,  is  doubtless  respon- 
sible for  the  black  effect. 

FW.  BURGESS,  in  his  recent  book 
"Chats  on  Old  Copper  and  Brass," 
makes  the  following  note:  "The 
metal  work  of  the  interior,  such  as  lock 
plates,  hinges,  and  door  knobs,  was  fre- 
quently of  brass,  and  very  ornate  some  of 
these  quaint  old  fittings  are.  Perhaps  the 
most  interesting  are  those  which  were 
much  used  on  the  more  portable  sideboards, 
corner  cupboards  and  chests.  It  would 
appear  that  the  extravagance  in  design 
reached  its  height  when  Chippendale's  in- 
fluence extended  to  the  metal  ornaments  on 
the  furniture,  as  well  as  to  the  scroll-work 
and  carving  of  the  woodwork.  Some  of 
this  metal  work  gives  evidence  of  Chinese 
influence,  or  as  it  was  then  called,  Chinese 
taste,  shown  in  the  landscapes,  palanquins, 
and  Chinese  trees  and  flowers,  even  in 
English    metal    work.      The    collector    of 

448 


such  things  finds  a  wealth  of  brass  in 
even  escutcheons  and  handle  plates. 

"There  is  some  very  rich  brass- 
work  in  the  frames  of  the  old  banner 
screens,  made  of  beautiful  needle- 
work panels,  over  which  so  much 
time  must  have  been  spent.  A  re- 
markably fine  banner  holder  in  the 
Victoria  and  Albert  Museum  is  typi- 
cal of  many  others.  We  have  only 
to  look  round  the  house  and  imagine 
how  it  looked  a  century  ago  to  dis- 
cover that  the  collectable  objects  of 
copper  and  brass,  even  when  domes- 
tic utensils  and  curios  have  been 
removed,  included  many  other  ob- 
jects besides  those  referred  to  which 
may  be  secured  among  the  old  shops 
and  builders'  odds  and  ends. 

"It  may  at  times  be  necessary  to 
polish  parts  of  curios  which  have 
been  subjected  to  rough  wear  and 
are,  therefore,  badly  scratched.  A 
very  fine  file  will  remove  scratches ; 
fine  emery  will  then  make  the  sur- 
face quite  smooth,  after  which  it  can 
be  polished  with  rotten  stone  and  oil, 
some  adding  a  little  turpentine." 


b 


THIS  DOUBLE 
HINGE  PLATE 
BELONGS  TO  THE 
PERIOD  WHEN 
DOORS  WERE  MADE 
FLUSH  WITH 
THEIR  PILASTERS. 


T'^OOT  °^,\\C  A  "?\\».'iVtv  :  ' 


THE   WEAVING   OF  A  POMO    BASKET 


A  LESSON  IN  UNIQUE  AND 
SIMPLE  BASKETRY:  BY  CAR- 
RIE D.  McCOMBER 

IT  was  the  tee  weave  of  the  Pomos, 
the  famous  Northern  Cahfornia  bas- 
ketmakers,  of  a  giant  jar  -  shaped 
basket  in  the  Natural  History  Mu- 
seum in  New  York  which  inspired  the 
basket  -  covered  bowl  illustrated  here. 
Prompted  by  the  spirit  of  invention  and 
a  love  for  experiment,  the  writer  de- 
parted from  the  Indian's  way  of  putting 
the  coil  of  her  basket  on  the  outside,  and 
adopted  the  easier  and  more  attractive 
method  of  using  it  on  the  inside  with  the 


DETAIL  NO.  1,  SHOWING  THE  BEGINNING  OF  THE  TEE 
WEAVE. 

spokes  outside.  While  imagining  that  she 
had  discovered  a  weave  all  her  own,  she 
chanced  upon  a  picture  of  a  Smithsonian 
Institute  basket  which  had  come  from  Van- 
couver Island.  And  there  was  her  own 
weave,  well  known  to  students  of  Indian 
basketry  as  "wrapped  twining."  Still  fur- 
ther, it  transpired  that  she  was  not  even 
the  first  white  woman  to  practice  the  weave. 
Yet  she  has  never  seen  the  weave  except  as 
she  has  produced  it,  and  has  never  met  any 
one  else  who  has  seen  it,  although  she  has 
trailed  baskets  all  her  life  as  naturally  as 
the  hunter  tracks  his  quarry. 

It  is  surprising  that  wrapped  twining  is 
so  little  known  not  only  to  Indians  but  also 
to  white  basketmakers.  It  is  singularly 
tough  and  strong,  easy  to  do,  most  attrac- 
tive in  appearance,  and  lends  itself  to  any 
shape  that  suits  round  reed  basketry.  The 
only  Indians  to  use  it  are  a  few  tribes  in 
Washington  and  on  the  ocean  side  of  Van- 
couver Island. 


THE    FINISHED    POMO    BASKET     WOVEN     TO    FIT    AND 
COVER  A  BOWL. 

The  wrapped  twining  weave  and  the  Po- 
rno tee  weave,  the  latter  one  of  the  most 
famous  basket  stitches,  are  alike  in  being 
three-ply,  each  having  warp,  weft  and  woof, 
or,  in  amateur  vernacular,  spokes,  coil  and 
twiner. 

Wrapped  twining  is  far  more  easy  to  do 
than  the  tee  weave.  The  coil  of  wrapped 
twining  being  inside  is  held  in  shape  while 
working  by  the  spokes  which  are  outside. 
But  in  the  tee  weave,  the  coil  being  out- 
side, its  continual  tendency  is  to  escape. 
Moreover,  to  hold  the  coil  taut,  the  tee 
weave  requires  two  twiners,  while  one 
twiner  is  sufficient  for  wrapped  twining. 

The  Indian  woman's  patience  and  disre- 
gard of  time  were  brought  to  the  writer's 
attention  when  she  counted  the  number  of 
spokes  in  the  big  museum  piece.      In  the 


DETAIL    NO.    2,    SHOWING   THE   COMBINATION    OF   REED 
AND   RAFFIA    IN    PROCESS   OF    WEAVING. 

449 


THE    WEAVING  OF  A  POMO  BASKET 


seventy  inches  around  the  biggest  part  there 
were  six  hundred  spokes.  In  a  pretty  bas- 
ket of  the  wrapped  twining  which  she  her- 
self had  just  finished  there  had  been  sev- 
enty spokes  and  it  had  taken  an  hour  to 
make  four  circuits.  Moreover,  the  coil  of 
the  Indian  woman's  basket  was  consider- 
ably finer,  involving  more  coils  in  the  same 
space.  Some  one  else  more  mathematically 
inclined  may  calculate  the  weeks  and  months 
required  for  the  Indian's  great  task,  and 
add  to  it  the  labor  of  fetching  the  carex 
and  willow  from  the  edges  of  streams,  and 
stripping,  barking,  curing  and  dyeing  it. 

The  tee  weave,  though  more  difficult  to 
accomplish  than  the  wrapped  twining,  is 
very  effective  done  with  natural  reed  spokes 
and  coil,  and  with  brown  or  green  raffia — a 
detail  of  this  kind  is  shown.  Spokes  for 
this  weave  cannot  be  too  close.  The  closer, 
the  easier  it  will  be  to  hold  the  coil  in  place. 
Work-baskets  for  hard  wear  and  jardinieres 
are  particularly  attractive  in  it. 

Wrapped  twining  is  at  its  best  in  fine 
work.  The  spokes  as  a  rule  shoidd  be 
coarser  than  the  coil,  the  larger  the  spokes 
the  more  prominent  the  ribbed  eflfect.  A 
fine  coil,  on  the  other  hand,  makes  the  work 
close  and  strong.  The  spokes  should  never 
be  more  than  ^  inch  apart. 

The  bowl  shown  was  made  for  a  flower 
holder  over  an  ordinary  plain  glass  finger 
bowl.  No.  2  reed  was  used  for  spokes,  and 
No.  I  for  coil.  To  cover  a  bowl  in  this 
way,  measure  from  top  edge  to  top  edge 
across  the  bottom  of  the  bowl  and  allow 
eight  inches  more  for  spoke  finish.  The 
bowl  here  was  eight  inches  from  top  edge 
to  top  edge  around  the  bottom,  and  it  was 
four  inches  across  the  top.  Twelve  spokes 
were  cut  sixteen  inches  long.  They  were 
interlaced  in  groups  of  three  as  shown  in 
detail  i.  Then  a  strand  of  raffia  was  looped 
over  one  group  and  woven  around,  over  and 
under  the  groups  twice,  to  bind  them  se- 
curely. Next  a  full-length  reed  sharpened 
at  one  end  was  placed  back  of  the  spokes 
and  held  firmly  against  one  of  the  groups. 
A  strand  of  raffia  was  looped  over  a  spoke, 
the  short  end  was  held  down  with  the  coil 
and  the  long  end  was  brought  outside.  It 
was  passed  across  one  spoke  to  the  right, 
passed  back  between  it  and  the  next  spoke, 
over  and  under  the  coil,  and  brought  back 
outside  through  the  opening  that  it  went 
through  in  going  back.  This  is  the  whole 
story  of  the  weave. 

Bend  the  spokes  the  shape  of  the  bowl, 

450 


as  the  weaving  progresses,  and  when  the 
top  is  reached  bend  them  in  for  a  couple  of 
rows  to  encase  it  firmly.  Then  sharpen  the 
coil,  cut  ofT  and  finish  ofT  the  raffia  end. 
To  make  the  spoke  finish,  have  the  spokes 
wet  and  supple.  Bend  each  in  front  of  the 
one  at  the  right  and  in  all  the  way  around, 
threading  the  last  through  the  loop  made  by 
the  first ;  second  row,  bend  each  across  the 
one  at  the  right  and  out  all  around,  thread- 
ing it  through  the  nearest  opening;  third 
row,  pass  each  across  the  next  at  the  right 
and  in  through  the  nearest  loop.  Draw  the 
spokes  very  tight  and  cut  them  very  short 
under  the  twist. 

Few  tools  are  needed  for  the  work — a 
sharp  knife,  scissors  and  a  coarse  knitting 
needle  or  stiletto  to  make  openings  through 
which  to  thread  the  spokes.  The  reed 
should  always  be  damp  in  working. 

A  basket  of  this  kind  may  be  begun  in 
any  way  suited  to  a  round  reed  basket.  In 
making  a  larger  basket  where  more  spokes 
are  needed  than  the  ones  used  at  the  start, 
introduce  new  ones  when  the  spokes  begin 
to  be  too  far  apart.  To  do  this,  sharpen 
the  ends  of  the  new  reeds  and  with  a  sti- 
letto or  big  knitting  needle  to  force  an  open- 
ing in  the  raffia  stitchery,  push  the  new 
spokes  well  down.  Then  continue  as  be- 
fore. 

To  piece  a  coil,  splice  the  ends  of  new 
and  old  by  flattening  both  with  a  sharp 
knife  and  using  the  two  ends  together  like 
one  reed. 

To  piece  the  raffia,  loop  a  strand  over  a 
spoke,  hold  the  short  end  and  the  discon- 
tinued end  down  with  the  coil  and  work 
over  them  with  the  coil  several  times.  Or 
the  raffia  may  be  threaded  into  a  needle  and 
caught  into  the  weaving — this  is  sometimes 
the  neater  way. 

The  bowl  shown  here  was  stained  with 
the  juice  of  wild  smilax  berries  gathered 
in  the  fall  and  simmered  for  several  hours. 
Two  shades  were  obtained  by  using  the  dye 
at  different  strengths.  It  was  strained 
through  cheesecloth  before  using.  There  is 
a  strange  difference  in  color,  one  being  a 
greenish  gray  and  the  other  a  flesh  tint. 

A  simple  glass-lined  basket  of  the  char- 
acter described  seems  somehow  especially 
appropriate  for  holding  wild  flowers,  as  the 
plain  yet  decorative  material  and  weave  are 
naturally  suggestive  of  outdoor  things.  But 
whatever  purpose  such  basketry  is  put  to,  it 
will  be  sure  to  add  a  charmingly  craftsman- 
like touch  to  one's  home. 


'THE   NEW  WORD— DEMOCRACY" 


ALS   IK  KAN 

"THE  NEW  WORD-DEMOCRACY" 

The  quotations  in  this  article  are  from  "Towards 
Democracy,"  by  Edward  Carpenter,  the  Great 
Democrat. 

IN  all  directions,  gulfs  and  yawning 
abysses,  the  ground  of  society 
cracking,  the  fire  showing  through, 
the  old  ties  giving  way  beneath  the 
strain,  and  the  great  pent  heart  heaving  as 
though  it  would  break — at  the  sound  of 
the  new  word  spoken — at  the  sound  of  the 
word — Democracy." 

It  is  difficult  to  believe  that  these  pro- 
phetic lines  were  written  two  years  before 
the  beginning  of  Europe's  great  tragedy. 
"In  all  directions,  gulfs  and  yawning 
abysses."  Certainly  this  is  the  condition  in 
which  we  see  a  whole  continent  today.  And 
if  there  is  any  hope  out  of  this  hideous 
blood-drenched  contest  for  supremacy  it 
must  be  found  in  "the  new  word — Democ- 
racy." 

Every  man  in  every  nation  is  seeking  to 
understand  the  meaning  of  this  world-wide 
catastrophe.  We  have  all  gone  past  the 
time  when  we  thought  it  worth  while  to 
blame  any  one  nation  or  any  one  motive. 
We  have  ceased  to  ask  whether  England  or 
Germany  furnished  the  underlying  cause. 
We  have  ceased  to  consider  whether  it 
would  be  better  for  the  world  if  England 
should  win,  or  if  Germany  should  establish 
a  universal  militarism.  We  have,  strangely 
enough,  almost  ceased  to  argue  about  it. 
And  those  who  look  beyond  the  mere  news 
of  the  day  are  one  and  all  turning  their 
faces  eagerly  to  the  future.  What  can  it 
mean?  Where  is  our  hope?  The  people 
of  imagination  have  begun  to  insist,  to  de- 
mand, that  out  of  all  the  torture,  the 
slaughter  of  the  young  and  old,  there  shall 
dawn  some  great  spiritual  triumph. 

For  the  first  time  some  of  us  have  opened 
our  eyes  to  the  fact  that  there  must  be 
significances  in  the  world  beyond  the  ma- 
terial. We  are  compelled  to  say,  this  is  not 
a  war  between  France  and  Germany,  Russia 
and  Austria;  it  must  be  more,  if  "the 
ground  of  society  is  cracking,  the  fire  show- 
ing through." 

Surely  the  face  of  the  whole  world  is 
changing,  "the  great  pent  heart  heaving  as 
though  it  would  break."  It  is  the  universal 
heart  that  is  breaking,  and  the  great  hope 
that  must  come  cannot  be  born  in  any  one 
nation.     It  must  be  universal.     If  all  the 


nations  are  being  sacrificed  in  this  holocaust 
of  mankind,  there  can  be  only  one  sediment 
— brotherhood.  We  must  seek  a  condition 
where  "the  riches  of  the  Earth  may  go  first 
and  foremost  to  those  who  produce  them 
.  .  .  building  up  all  uses  and  capacities 
of  the  land  into  the  life  of  the  masses." 

If  this  fearful  upheaval,  this  digging  of 
trenches  for  the  living,  is  but  the  spirit  of 
the  people  wrenching  itself  free  from  the 
manifold  bondage  of  ages,  we  may  at  last 
take  heart.  If  each  nation  is  struggling 
subconsciously  to  be  placed  "squarely  on  its 
own  base,  spreading  out  its  people  far  and 
wide  in  honored  usefulness  upon  the  soil," 
we  may  dare  to  take  breath,  and  the  wait- 
ing, for  those  of  us  who  must  remain  inac- 
tive, becomes  conceivable. 

With  what  shaking  hearts  we  remember 
the  boasts  of  our  civilization,  our  talk  of 
the  superman,  our  superiority,  our  culture, 
— that  poor,  futile,  mental  ornament !  How 
we  have  laughed  at  the  lovely  simple  ways 
of  primitive  folk,  scorned  the  joys  of  min- 
strel and  bard  and  holy  knight !  We  have 
put  laurel  leaves  on  our  own  brows  and 
ofifered  the  acid  cup  to  our  brothers. 

■■'On  the  outskirts  of  a  great  city,  a  street 
of  fashionable  mansions  well  withdrawn 
from  all  the  noise  and  bustle ;  and  in  the 
street — the  only  figure  there — in  the  middle 
of  the  road,  in  the  bitter  wind,  red-nosed, 
thin-shawled,  with  ankles  bare  and  old 
boots,  a  woman  bent  and  haggard,  croaking 
a  dismal  song. 

"And  the  great  windows  stare  upon  her 
wretchedness  and  stare  across  the  road 
upon  each  other,  with  big  fool  eyes ;  but 
not  a  door  is  opened,  not  a  face  is  seen,  nor 
form  of  life  down  all  the  dreary  street,  to 
certify  the  existence  of  humanity — other 
than  hers." 

Our  civilization  has  for  centuries  cost  us 
"women  on  the  street,"  children  in  the 
shops,  boys  wasted  with  riches.  Our  true 
freedom  has  been  lost,  and  our  souls  have 
been  for  sale  in  the  market  places. 

"Who  will  learn  Freedom?  Lo!  As  the 
air  blows,  wafting  the  clinging  aromatic 
scent  of  the  balsam  poplar,  dear  to  me,  or 
the  sun-warm  fragrance  of  wallflowers, 
tarrving  here  for  a  moment,  then  floating 
far  down  the  road  and  away  ;  or  as  the  early 
light  edging  the  hills,  so  calm,  unprejudiced, 
open  to  all ;  so  shall  you  find  what  you  seek 
in  men  and  women," — in  the  people. 

"Do  vou  understand?  To  realize  Free- 
dom or  Equality  (for  it  comes  to  the  same 

451 


'THE   NEW   WORD— DEMOCRACY' 


thing) — for  this  hitherto,  for  you,  the  uni- 
verse has  rolled;  for  this,  your  life,  possi- 
bly yet  many  lives ;  for  this,  death,  many 
deaths ;  for  this,  desires,  fears,  complica- 
tions, bewilderments,  sufferings,  hope,  re- 
gret— all  falling  away  at  last  duly  before 
the  Soul,  before  You  .  .  .  possessor  of 
the  password.  .  .  .  For  this  the  heroes 
and  lovers  of  all  ages  have  laid  down  their 
lives,  and  nations  like  tigers  have  fought, 
knowing  well  that  this  life  was  a  mere 
empty  blob  without  Freedom.  Where  this 
makes  itself  known  in  a  people  or  even  in 
the  soul  of  a  single  man  or  woman,  there 
Democracy  begins  to  exist." 

Everywhere  today  the  seeing  men  and 
woinen  are  apprehensive;  even  those  who 
have  hope,  fear  complications  and  "many 
deaths,"  and  only  if  they  can  realize  free- 
dom in  the  future  will  it  be  possible  to 
endure  the  tragedy  that  seems  today  circ- 
ling the  world.  Do  not  misunderstand  that 
I  dream  or  believe  that  our  own  democ- 
racy, if  it  survives,  will  be  equipped  to  tame 
the  whole  disorganized  sorrowing  world 
abroad  and  instruct  it  with  the  new  spirit. 
The  new  birth  of  the  old  nations  in  Europe 
must  come  through  their  own  travail ;  the 
new  hope  must  be  found  in  the  heart  of  the 
people  who  have  suffered.  They  alone  can 
understand  their  own  liberation,  their  own 
needs.  The  work  for  the  reconstruction  of 
a  continent  can  only  be  undertaken  by  the 
reddened  hands  of  its  own  tortured  man- 
kind. 

America  may  advise,  may  help ;  from  our 
blunders,  which  are  many,  the  people  of 
Europe  may  profit ;  our  failures  may  stand 
out  as  sentinels  to  beckon  them  a  new  way. 
But  a  new  and  true  democracy  ever  flour- 
ishes in  the  blood  of  the  heroes  sacrificed 
for  her  growth  and  is  only  fully  nourished 
by  mothers  leading  their  children  to  the 
altars  of  their  country.  The  flame  cannot 
be  handed  from  one  nation's  hearth  to 
another's.  The  fire  must  be  struck  by  each 
people  in  the  terrific  conflict  which  has  de- 
stroyed old  conditions.  "Except  the  Lord 
build  the  House,  their  labor  is  but  lost  that 
build  it."  The  Lord  is  the  fire  burning 
deep  in  the  hearts  of  men,  clarifying  and 
keeping  pure  and  bright  the  essential  need 
for  freedom,  and  everywhere,  in  the  course 
of  time,  aiding  the  soul's  disentanglement. 

Here  in  our  own  land  if  we  survive  all 
this  bewilderment,  if  even  further  success 
should  come  to  us  through  it,  I  feel  that  we 
must  not  look  upon  our  added  prosperity 

452 


with  merely  selfish  joy,  but  seek  to  purify 
our  own  nation,  from  church  to  market 
place.  We  should  demand  for  ourselves 
out  of  our  own  experience  of  generations 
a  finer  freedom,  a  more  glorious  democ- 
racy. We  have  had  our  own  wars,  our 
terrible  birth-throes,  and  we  should  not 
forget  them  in  our  man's  stature.  If  the 
promise  of  great  prosperity  which  we  hear 
all  about  us  for  the  coming  new  year  is 
realized,  if  we,  almost  alone  among  all  the 
nations  called  civilized,  are  to  survive,  let  us 
insist  that  this  prosperity  be  for  the  whole 
land.  Let  us  gain  from  the  suffering  of  our 
friends  on  the  other  side  of  the  ocean  a 
higher  understanding  of  the  need  of  a 
world-brotherhood.  If  we  are  a  nation 
governed  by  the  people  and  for  the  people, 
may  we  truly  prove  it  now  as  never  before. 
With  our  eyes  wide  open  through  sympathy 
and  sorrow,  let  us  begin  a  new  work  for 
our  country  with  our  vision  turned  once 
more  to  the  ideals  for  which  our  own 
fathers  battled  and  died. 

If  the  whole  world  across  the  ocean — 
Russian  serf.  Bavarian  peasant,  Austrian 
slave,  British  factoryman — are  all  giving 
their  bodies  for  the  torch  which  shall  illu- 
mine the  world,  let  us  not  stand  back  in  the 
shadow,  self-satisfied,  inert.  If  our  pride 
closes  in  upon  us  at  this  time  and  our  own 
lamps  burn  low,  we  surely  shall  be  the  next 
called  to  account  by  that  implacable  master- 
workman — Fate. 

Because  at  one  time,  at  the  beginning  of 
our  self-support,  commercialism  was  so 
essential  to  this  nation,  we  have  to  an  extent 
let  it  master  us.  We  have  made  it  a  god 
which  we  gladly  worship  rather  than  a 
means  of  establishing  our  country  on  a  sure 
foundation  for  the  benefit  and  comfort  of 
the  people.  Why  should  we  not  at  the 
beginning  of  the  year  permit  ourselves  to 
see  sanely  and  wisely  what  is  best  for  us 
all — claiming  again  for  our  people  the  sim- 
ple life  with  beauty,  the  cultivation  of  art 
ijefore  affluence,  the  development  of  our 
children,  strong,  fair  and  hajipy,  with  mus- 
cles equal  to  the  plow,  with  fingers  supple 
for  fine  craft  work,  and  with  souls  fearless 
and  confident — the  true  children  of  a  new 
flcmocracy  ? 

".Are  you  a  carpenter,  a  mason,  a  grower 
of  herbs  and  flowers,  a  breaker  of  horses? 
a  wlieel-wright,  boat-builder,  engine-tender, 
dockvard-laborer?  do  you  take  in  washing 
or  sewinsr.  do  you  rock  the  youngest  in  the 
cradle  with  your  foot  while  you  knit  stock- 


BOOK   REVIEWS 


A    DUTl  H    (,R1  i:X(,Ki(  IKIK  :       AN"    FTIHIN" 
ING,    JUST    PUBLISHED    BV    THE    JI)H\     LA 


-IR    I 
lOMI'A 


ings  for  the  elder  ones  ?  It  is  well — wean- 
ing yourself  from  external  results,  learn  the 
true  ])urposes  of  things.     .     .     . 

■'\Vith  joy  over  the  world.  Democracy, 
born  again,  into  heaven,  over  the  mountain- 
])eaks  and  tlie  seas  in  tlie  unfathomable  air. 
screaming,  with  sliouts  of  joy,  whirling  the 
nations  with  her  breath,  into  heaven  arising 
and  passing.    .    .    . 

"Government  and  laws  and  police  then 
fall  into  their  places — the  earth  gives  her 
own  laws :  Democracy  just  begins  to  open 
her  eves  and  peep!  and  the  rabble  of  un- 
faithful bishops,  priests,  generals,  land- 
lords, capitalists,  kings,  queens,  patronisers 
and  polite  idlers  goes  scuttling  down  into 
general  oblivion.  Faithfulness  emerges, 
self-reliance,  self-help,  passionate  comrade- 
ship. Freedom  emerges,  tlie  love  of  the 
land." 

BOOK  REVIEWS 

ETCHING    AND    OTHER    GRAPHIC 

ARTS  :    BY   GEORGE   T.  PLOWMAN 

HF.   fact   that   most  etchings   do 
not  tell  a  story,  lack  the  assist- 
ance   of    color,    are    not    con- 
cerned with  the  mere  copying 
of  facts,  thus  leaving  much  to  the  imagina- 
tion,   tends    to    make    this    art    less    easily 
understood    bv    the    amateur,"    savs     ^Ir. 


iiryy 


Plowman  in  the  foreword  to  his  practical 
book  on  the  various  processes  of  this  inter- 
esting art.  "The  more  numerous  the  con- 
ventions, the  greater  is  the  knowledge  r^- 
(|uired  for  intelligent  understanding.  .  .  ;  . 
The  finest  thoughts  of  the  great  Masters 
have  often  been  expressed  by  a  few  lines 
and  with  the  cheapest  materials." 

This  peculiarly  subtle  quality  of  the  etch- 
ing is  revealed  in  many  of  the  reproduc- 
tions with  which  the  author  illustrates  his 
text,  and  especially  in  the  two  that  we  are 
showing  here.  The  little  street  in  Rome, 
with  its  group  of  dark  figures  in  the  fore- 
ground, the  old  lantern  projecting  from  the 
shadowed  wall  at  the  left,  and  the  irregular 
Ijuildings  beyond,  all  convey  an  apprecia- 
tion of  the  picturesqueness  which  dwells  in 
simple  things  when  viewed  by  the  artist 
from  the  angle  of  beauty.  The  "Dutch 
Greengrocerie"  is  equally  appealing  in  it^s 
informal  presentation  of  this  intimate  Old 
World  scene. 

The  book  contains  chapters  on  pencil 
drawing  and  composition,  pen  drawing, 
wood  engraving,  lithography  and  line  en- 
graving, as  well  as  eight  chapters  on  the 
materials  and  processes  of  etching.  Sev- 
eral examples  of  pencil  and  charcoal  draw- 
ins:  fire  eiven,  the  most  beautiful  being  that 
of  tJTC  "^^'ool worth  Building  at  Night,"  in 
whicli  tlie  pale  tower  rises  mystically  from 


453 


BOOK   REVIEWS 


iN   komk:     moM   an   ktching  dy   mk.  plowman, 

1HK   KRONTISFIECE  OF   HIS   NEW   DOOK. 

among  the  dark  buildings.  (  Published  by 
John  Lane  Coi'^pany,  New  York.  139 
pages,  with  original  etching  frontispiece  and 
26  illustrations.  Price  $1.50  net;  postage 
extra. ) 

THE   BOOK  OF  LITTLE   HOUSES 

Tills  jjractical,  handy  little  book  will 
l)rnve  helpful  to  many  ])eople  who  are 
contemplating  the  planning  and  build- 
ing of  a  home.  It  is  written  in  a  simple, 
non-technical  style,  and  at  the  same  time  is 
full  of  useful  facts  and  suggestions.  The 
first  cha])ler,  on  "What  l-'xperience  Has 
Tauglit  House  Builders,"  contains  numer- 
ous hints  as  to  general  ])lanning  as  well  as 
minor  but  important  details,  attention  to 
which  may  save  future  disappointments. 
The  book  is  illustrated  with  views  and  floor 
])lans  of  various  types  of  small  houses,  cot- 
tages and  bungalows  for  suburbs  and  coun- 
try, a  study  of  which  reveals  many  ingeiii- 

4.S4 


ous  and  attractive  features.  Especially  in- 
teresting is  the  last  chapter,  on  "The  Sleep- 
ing Porch— As  It  Should  Be,"  which  in- 
cludes several  diagrams  showing  convenient 
.'irrangements  and  forms  of  eciuipment. 
(  Publisjied  by  The  Alacmillan  Company, 
Xew  \'ork.  107  pages,  with  eleven  plates 
.md  many  text  cuts.      Price  50  cents.) 

MANUAL  OF  PLAY:  BY  WILLIAM 
BYRON  FORBUSH 

MOTHERS,  kindergarten  teachers  and 
all  who  are  interested  in  children 
and  their  i)lay,  and  who  realize  the 
need  for  directing  the  play  spirit  into  wise 
channels,  will  tind  this  well-written,  com- 
preiiensive  book  an  invaluable  aitl.  Per- 
haps liie  most  significant  thing  about  it  is 
that  it  is  not  written  from  the  standpoint  of 
scientific,  organized  recreation  which  has 
been  so  much  talked  of  recently.  Rather  it 
deals  witli  tlie  subject  in  a  spontaneous, 
natural  manner,  and  although  the  chapters 
are  .systematically  arranged  and  the  treat- 
ment of  each  topic  is  based  on  sound  psv- 
chological  principles,  the  author  advocates 
not  so  much  the  application  of  cut-and- 
(Iried  scientific  rules  to  children's  games, 
hut  more  the  development,  through  sympa- 
thetic sujiervision,  of  those  imaginative 
powers  which  every  child  displays. 

The  pages  are  full  of  suggestions  show- 
ing how  parents  may  join  in  the  games  of 
the  little  jjeople  as  well  as  help  the  latter  to 
])lay  by  themselves.  Dolls,  toys,  balls,  im- 
aginative ]>lay,  constructive  play,  laughter 
])lay,  games  with  pets,  games  of  experimen- 
tation, neighborhood  play — these  and  other 
delightful  phases  are  handled  in  an  under- 
standing, interesting  and  often  humorous 
manner.  (  Published  by  (leorge  W.  Jacobs 
&  Co.,  Philadelphia.  348  pages.  18  illus- 
trations.    Price  $1.50  net.) 

PERSONALITY  PLUS:  BY  EDNA 
FERBER 

THIS  entertaining  book  is  full  of  amus- 
ing and  [philosophical  sidelights  on 
American  commercial  life.  Emma 
McChesney.  that  up-to-date  business  wo- 
man who  "also  was  old-fashioned  enough 
to  be  a  mother,"  and  her  sprightly  young 
son  Jock,  fresh  from  college,  are  the  main 
personages,  and  their  various  experiences 
are  recorded  in  the  author's  characteristic 
snappy  style — -with  which  readers  of  the 
current  magazines  are  by  this  time  familiar. 
(  I'ublished  by  Frederick  A.  Stokes    Com- 


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pany,  New  York.  i6i  pages.  15  illustra- 
tions by  James  Montgomery  Flagg.  Price 
$1.00  net.) 

POTTERY  FOR  ARTISTS,  CRAFTS- 
MEN AND  TEACHERS  :  BY  GEORGE 
J.   COX 

A  BRIEF  historical  sketch  of  this  inter- 
esting craft,  and  lifteen  carefully 
-  written  chapters  upon  its  various 
technical  phases,  illustrated  with  many  prac- 
tical and  decorative  drawings,  will  be  found 
in  this  convenient  little  volume.  Different 
kinds  of  glazes  and  pastes  are  discussed,  the 
building  up  of  pottery  shapes  is  described, 
and  the  processes  of  molding,  casting  and 
pressing  are  set  forth  in  detail.  Jigger  and 
joUey  work,  thrown  shapes,  turning  or 
shaving,  are  also  among  the  subjects  treat- 
ed— likewise,  the  art  of  tile-making,  and  the 
processes  of  drying,  finishing,  firing,  glaz- 
ing and  decorating.  A  plan  is  given  for 
the  arrangement  of  a  small  pottery,  and  it> 
equipment  is  described  in  a  way  that  should 
l)e  most  helpful  to  those  who  intend  to 
launch  a  project  of  this  nature.  Indeed, 
the  book  is  full  of  practical  advice  and  use- 
ful hints  to  the  student  and  amateur  who 
wish  to  familiarize  themselves  with  the 
technique  of  this  delightful  work.  A  few 
quotations  and  illustrations  from  the  book 
will  be  found  in  a  special  pottery  article  on 
P^gc  377  of  this  magazine.  (Published 
by  The  Macmillan  Company,  New  York. 
200  pages,  with  illustrations  by  the  author. 
Price  $1.25  net.) 

ART  METALCRAFT  WITH  INEX- 
PENSn  E  EQUIPMENT  .  BY  ARTHUR 
F.    PAYNE 

Til  1^  first  portion  of  this  practical  treat- 
ise on  metal  work  deals  with  materials 
and  equipment,  tells  of  the  produc- 
tion of  copper,  ores,  methods  of  extracting 
and  how  to  color  and  finish  metals.  But 
the  main  portion  treats  of  the  processes  to 
be  followed  in  making  articles,  from  the 
simplest  watch  fobs,  hat  pins,  paper  knives, 
blotter  backs  and  corners  of  copper  and 
brass  to  the  elaborate  shaping  and  engrav- 
ing of  silver  spoons  and  jewel  boxes.  It 
gives  detailed  instruction  in  soft  soldering, 
straight  bending,  lapping,  saw  piercing,  riv- 
eting, seaming,  raising  of  design,  beating 
down,  fluting  and  modeling,  and  shows 
ways  of  chasing  designs  for  engraving,  etc. 
In   fact  it  is  a  complete    and    helpful    text 


A^'-Lfi..^-^.^-  ":3s. 

"WOOLVVORTH  BUILDING,  NEW  YORK,  AT  NIGHT  :" 
FROM  A  CHARCOAL  DRAWING  BY  GEORGE  T.  PLOWMAN. 

book,  written  by  a  teacher  of  many  years' 
experience  for  use  in  schools  and  home 
workshops.  It  is  profusely  illustrated, 
clearly  written,  well  printed.  (Published 
by  The  Alanual  Arts  Press,  Peoria,  Illinois. 
187  pages.  159  illustrations.  Price,  post 
paid,  $1.50.) 

STORIES  FROM  WAGNER:  BY  J. 
WALKER  MCSPADDEN 

WAGNER    enthusiasts    will    welcome 
this  pleasantly    written    volume    of 
legends,  which  are  illustrated  with 
sixteen  color  plates  by    H.  Heindrich    and 
F.  Lecke  that  add  a  vivid  note  to  the  ro- 
mantic tales.      The  following  themes    are 

455 


BOOK  REVIEWS 


covered:  The  Ring  of  the  Curse  (The 
Khine-Gold,  the  War  Maidens,  Siegfried 
the  Fearless,  and  the  Downfall  of  the 
Gods)  ;  Parsifal  the  Pure;  Lohengrin,  the 
Knight  of  Song ;  the  -Master  Singers ;  Rien- 
zi.  tne  Last  ol  the  Tribunes ;  the  Flying 
Dutchman;  and  Tristan  and  Isolde.  (Pub- 
lished by  Thomas  Y.  L  rowell  Company, 
New  York.  282  pages.  lO  illustrations. 
Price  $1.50  net.) 

BULFINCHS   MYTHOLOGY 

IX  lliis  compact  and  delightful  volume 
are  included  Thomas  liiUlinch's  "Age 
of  l-"able,"'  "The  Age  of  Chivalry,"  and 
"Legends  of  Charlemagne."  revised,  en- 
larged and  supplemented  with  many  illus- 
trations. Both  the  student  and  the  general 
reader  will  welcome  this  mythological 
treasure-house,  with  all  its  classic  tales,  its 
hur.iorous  and  tragic  legends,  grotesque  and 
whimsical  traditions  that  have  gathered 
around  the  names  of  the  characters  of  an- 
cient myth  and  early  history — legends 
which  run,  like  vivid-colorecl  threads, 
through  the  world's  literature,  jjast  and 
present. 

Stories  of  the  gods  and  heroes  of  Greece 
and  Rome ;  romances  of  King  Arthur  and 
his  Round-Table  Knights ;  folk-lore  of  the 
Welsh  and  the  ancient  Britons :  adventur- 
ous recitals  of  knightly  deeds  in  the  days  of 
the  great  Charlemagne — all  are  told  in  sim- 
ple, picturesque  and  interesting  fashion 
{ Published  by  Thomas  Y.  Crowell  Com- 
j'any.  New  York.  912  pages.  Illustrated. 
Price  $1.50  net.) 

SOUL-SPUR:  BY  RICHARD  WIGHT- 
MANf 

THIS  friendly  book,  in  spite  of  the  trace 
of  aflectation  in  its  title,  holds  some 
charmingly  informal  essays  and  talks 
on  various  topics  of  general  interest.  There 
are  pleasant  reminiscences,  philosophical 
discussions,  comments  on  men  and  things, 
with  here  and  there  some  brief  verses,  writ- 
ten very  simply  and  with  a  human,  kindly 
feeling.  As  a  gift  for  a  friend,  the  book 
would  be  particularly  welcome. 

Here  is  an  extract  that  gives  some  idea  of 
the  flavor  of  the  pages : 

"There  are  two  sorts  of  discontent.  The 
first  of  these  is  named  Complaint.  .  .  The 
second  form  bears  a  sweeter  name — Aspira- 
tion. .  .  .  The  sons  of  aspiration — the  chil- 
dren of  this  dear  discontent — are  the  salt 
of  the  earth.     They  save  and  savor  the  life 

456 


of  every  human  community.  They  are 
calmly  busy  with  the  deeds  of  the  present 
hour,  and  when,  by  industry  and  experi- 
ence, they  add  skill  to  skill  they  are  grate- 
fully glad.  They  have  made  certain  discov- 
eries and  thereby  gained  certain  wisdoms. 
They  have  found  that  art  is  work,  and  that 
good  work  is  always  artistic  :  that  though  a 
necessary  task  may  be  nienial  it  need  never 
be  mean  ;  that  the  only  way  to  adorn  a  pro- 
fession is  to  practice  it  well ;  that  fidelity  in 
little  things  holds  the  promise  of  big  things 
and  the  (jualification  to  do  them  with 
honorable  erticiency."  (Published  by  The 
Century  Co.,  New  York.  204  pages.  Fron- 
lis]3ifce.     Price  $1.25  net.) 

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See  page  4/<). 


JOHN     MUIR     OF    CALIFORNIA,     POET, 
NATURALIST,    PHILOSOPHER,    FRIEND. 


.THE  CRAFTSMAN 

PUBUSHED    BY    THE    CRAFTSMAN    PUBUSHING    CO. 
VOLUME   XXVII  FEBRUARY,  1915:  NUMBER  5 

'MY   PEOPLE:"   BY   ROBERT   HENRI 

Editor's  Note — Robert  Henri's  paintings  of  the  people  of  France,  Holland,  Spain  and 
Ireland  are  famous  the  world  over.  During  the  past  summer  he  painted  the  people  of  most 
vital  interest  to  him  in  California  and  the  Southwest.  The  following  article  was  written  at 
the  request  of  The  Craftsman,  that  our  readers  might  more  fully  understand  and  enjoy 
his  point  of  view  as  a  painter  of  people. 

HE  people  I  like  to  paint  are  ''my  people,"  whoever 
they  may  be,  wherever  they  may  exist,  the  people 
through  whom  dignity  of  life  is  manifest,  that  is,  who 
are  in  some  way  expressing  themselves  naturally  along 
the  lines  Nature  intended  for  them.  My  people  may 
be  old  or  young,  rich  or  poor,  I  may  speak  their 
language  or  I  may  communicate  with  them  only  by 
gestures.  But  wherever  I  find  them,  the  Indian  at  work  in  the  white 
man's  way,  the  Spanish  gypsy  moving  back  to  the  freedom  of  the 
hills,  the  little  boy,  quiet  and  reticent  before  the  stranger,  my  interest 
is  awakened  and  my  impulse  immediately  is  to  tell  about  them  through 
my  own  language— drawing  and  painting  in  color. 

I  find  as  I  go  out,  from  one  land  to  another  seeking  "my  people," 
that  I  have  none  of  that  cruel,  fearful  possession  known  as  patriotism; 
no  blind,  intense  devotion  for  an  institution  that  has  stiffened  in 
chains  of  its  own  making.  My  love  of  mankind  is  individual,  not 
national,  and  always  I  find  the  race  expressed  in  the  individual.  And 
so  I  am  "patriotic"  only  about  what  I  admire,  and  my  devotion  to 
humanity  bums  up  as  Ijrightly  for  Europe  as  for  America;  it  flares 
up  as  swiftly  for  Mexico  if  I  am  painting  the  peon  there;  it  warms 
toward  the  bull-fighter  in  Spain,  if,  in  spite  of  its  cruelty,  there  is 
that  element  in  his  art  which  I  find  beautiful;  it  intensifies  before  the 
Irish  peasant  whose  love,  poetry,  simplicity  and  humor  have  enriched 
my  existence,  just  as  completely  as  though  each  of  these  people  were 
of  my  own  country  and  my  own  hearthstone.  Everywhere  I  see  at 
times  this  beautiful  expression  of  the  dignity  of  life,  to  which  I 
respond  with  a  wish  to  preserve  this  beauty  of  humanity  for  my 
friends  to  enjoy. 

This  thing  that  I  call  dignity  in  a  human  being  is  inevitably  the 
result  of  an  established  order  in  the  universe.  Everything  that 
is  beautiful  is  orderly,  and  there  can  be  no  order  unless  things  are 
in  their  right  relation  to  each  other.  Of  this  right  relation  through- 
out the  world  beauty  is  born.     A  musical  scale,  the  sword  motif  for 

459 


"MY   PEOPLE" 

instance  in  the  Ring,  is  order  in  sound ;  sculpture  as  Donatello  saw  it, 
big,  sure,  infinite,  is  order  in  proportion;  painting,  in  which  the 
artist  has  the  wisdom  that  ordained  the  rainbow  is  order  in  color; 
poetry, — Whitman,  Ibsen,  Shelley,  each  is  supreme  order  in  verbal 
expression.  It  is  not  too  much  to  say  that  art  is  the  noting  of  the 
existence  of  order  throughout  the  world,  and  so,  order  stirs  imagina- 
tion and  inspires  one  to  reproduce  this  beautiful  relationship  existing 
in  the  universe,  as  best  one  can.  Everywhere  I  find  that  the  moment 
order  in  Nature  is  understood  and  freely  shown,  the  result  is  nobility; 
— the  Irish  peasant  has  nobility  of  language  and  facial  expression; 
the  North  American  Indian  has  nobility  of  poise,  of  gesture;  nearly 
all  children  have  nobility  of  impulse.  This  orderliness  must  exist 
or  the  world  could  not  hold  together,  and  it  is  a  vision  of  orderliness 
that  enables  the  artist  along  any  line  whatsoever  to  capture  and 
present  through  his  imagination  the  wonder  that  stimulates  life. 

It  is  disorder  in  the  mind  of  man  that  produces  chaos  of  the  kind 
that  brings  about  such  a  war  as  we  are  today  overwhelmed  with. 
It  is  the  failure  to  see  the  various  phases  of  life  in  their  ultimate 
relation  that  brings  about  militarism,  slaverj',  the  longing  of  one 
nation  to  conquer  another,  the  willingness  to  destroy  for  selfish, 
unhuman  purposes.  Any  right  understanding  of  the  proper  relation 
of  man  to  man  and  man  to  the  universe  would  make  war  impossible. 

The  revolutionary  parties  that  break  away  from  old  institutions, 
from  dead  organizations  are  always  headed  by  men  with  a  vision 
of  order,  with  men  who  realize  that  there  must  be  a  balance  in  life, 
so  much  of  what  is  good  for  each  man,  so  much  to  test  the  sinews  of 
his  soul,  so  much  to  stimulate  his  joy.  But  the  war  machine  is 
invented  and  run  by  the  few  for  the  few.  There  is  no  order  in  the 
seclusion  of  the  world's  good  for  the  minority,  and  the  battle  for  this 
proves  the  complete  disorganization  of  the  minds  who  institute  it. 
War  is  impossible  without  institutionalism,  and  institutionahsm  is 
the  most  destructive  agent  to  peace  or  beauty.  When  the  poet, 
the  painter,  the  scientist,  the  inventor,  the  laboring  man,  the  philos- 
opher, see  the  need  of  working  together  for  the  welfare  of  the  race, 
a  beautiful  order  will  be  the  result  and  war  will  be  as  impossible 
as  peace  is  today. 

ALTHOUGH  all  fundamental  principles  of  Nature  are  orderly, 
humanity  needs  a  fine,  sure  freedom  to  express  these  principles. 
When  they  are  expressed  freely,  we  find  grace,  wisdom,  joy. 
W' e  only  ask  for  each  person  the  freedom  which  we  accord  to  Nature 
when  we  attempt  to  hold  her  within  our  grasp.  If  we  are  cultivating 
fruit  in  an  orchard,  we  wish  that  particular  fruit  to  grow  in  its  own 

460 


BY  ROBERT  HENRI 

way;  we  give  it  the  soil  it  needs,  the  amount  of  moisture,  the  amount 
of  care,  but  we  do  not  treat  the  apple  tree  as  we  would  the  pear  tree 
or  the  peach  tree  as  we  would  the  vineyard  on  the  hillside.  Each 
is  allowed  the  freedom  of  its  own  kind  and  the  result  is  the  perfection 
of  growth  which  can  be  accomplished  in  no  other  way.  The  time 
must  come  when  the  same  freedom  is  allowed  the  individual;  each 
in  his  own  way  must  develop  according  to  Nature's  purpose,  the  body 
must  be  but  the  channel  for  the  expression  of  purpose,  interest, 
emotion,  labor.     Everywhere  freedom  must  be  the  sign  of  reason. 

We  are  living  in  a  strange  civilization.  Our  minds  and  souls 
are  so  overlaid  with  fear,  with  artificiality,  that  often  we  do  not 
even  recognize  beauty.  It  is  this  fear,  this  lack  of  direct  vision  of 
truth  that  brings  about  all  the  disaster  the  world  holds,  and  how  little 
opportunity  we  give  any  people  for  casting  off  fear,  for  living  simply 
and  naturally.  When  they  do,  first  of  all  we  fear  them,  then  we 
condemn  them.  It  is  only  if  they  are  great  enough  to  outlive  our 
condemnation  that  we  accept  them. 

Always  we  would  try  to  tie  down  the  great  to  our  Uttle  nationalism; 
whereas  every  great  artist  is  a  man  who  has  freed  himself  from  his 
family,  his  nation,  his  race.  Every  man  who  has  shown  the  world 
the  way  to  beauty,  to  true  culture,  has  been  a  rebel,  a  "universal" 
without  patriotism,  without  home,  who  has  found  his  people  every- 
where, a  man  whom  all  the  world  recognizes,  accepts,  whether  he 
speaks  through  music,  painting,  words  or  form. 

Each  genius  differs  only  from  the  mass  in  that  he  has  found 
freedom  for  his  greatness ;  the  greatness  is  everywhere,  in  every  man, 
in  every  child.  What  our  civilization  is  busy  doing  mainly,  is 
smothering  greatness.  It  is  a  strange  anomaly;  we  destroy  what 
we  love  and  we  reverence  what  we  destroy.  The  genius  who  is  great 
enough  to  cut  through  our  restraint  wins  our  applause;  yet  if  we  have 
our  own  way  we  restrain  him.  We  build  up  the  institution  on  the 
cornerstone  of  genius  and  then  we  begin  to  establish  our  rules  and 
our  laws,  until  we  have  made  all  expression  within  the  commonplace. 
We  build  up  our  religion  upon  the  life  of  the  freest  men  that  ever 
lived,  the  men  who  refused  all  limitation,  all  boundaries,  all  race 
kinship,  all  family  ties;  and  then  we  circumscribe  our  religion  until 
the  power  that  comes  from  the  organization  blinds  and  binds  its 
adherents.  We  would  circumscribe  our  music,  we  would  limit  the 
expression  of  our  painter,  we  would  curb  our  sculpture,  we  would 
have  a  fixed  form  for  our  poet  if  we  could.  Fortunately,  however, 
the  great,  significant,  splendid  impulse  for  beauty  can  force  its  way 
through  every  boundary.  Wagner  can  break  through  every  musical 
limitation  ever  established,  Rodin  can  mold  his  own  outline  of  the 

461 


"MY   PEOPLE" 

universe,  Whitman  can  utter  truths  so  burning  that  the  edge  of  the 
sonnet,  roundelay,  or  epic  is  destroyed,  Millet  meets  his  peasant 
in  the  field  and  the  Academy  forgets  to  order  his  method  of  telling 
the  world  of  this  immemorial  encounter. 

I  am  always  sorry  for  the  Puritan,  for  he  guided  his  life  against 
desire  and  against  nature.  He  found  what  he  thought  was  comfort, 
for  he  believed  the  spirit's  safety  was  in  negation,  but  he  has  never 
given  the  world  one  minute's  joy  or  produced  one  symbol  of  the 
beautiful  order  of  Nature.  He  sought  peace  in  bondage  and  his  spirit 
became  a  prisoner. 

TECHNIQUE  is  to  me  merely  a  language,  and  as  I  see  life  more 
and  more  clearly,  growing  older,  I  have  but  one  intention  and 
that  is  to  make  my  language  as  clear  and  simple  and  sincere 
as  is  humanly  possible.  I  believe  one  should  study  ways  and  means 
all  the  while  to  express  one's  idea  of  life  more  clearly.  The  language 
of  color  must  of  necessity  vary.  There  are  great  things  in  the  world 
to  paint,  night,  day,  briUiant  moments,  sunrise,  a  people  in  the  joy 
of  freedom;  and  there  are  sad  times,  half  tones  in  the  expression  of 
humanity,  so  there  must  be  an  infinite  variety  in  one's  language. 
But  language  can  be  of  no  value  for  its  own  sake,  it  is  so  only  as  it 
expresses  the  infinite  moods  and  growth  of  humanity.  An  artist 
must  first  of  all  respond  to  his  subject,  he  must  be  filled  with  emotion 
toward  that  subject  and  then  he  must  make  his  technique  so  sincere, 
so  translucent  that  it  may  be  forgotten,  the  value  of  the  subject 
shining  through  it.  To  my  mind  a  fanciful,  eccentric  technique 
only  hides  the  matter  to  be  presented  and  for  that  reason  is  not  only 
out  of  place,  but  dangerous,  wrong. 

All  my  life  I  have  refused  to  be  for  or  against  parties,  for  or 
against  nations,  for  or  against  people.  I  never  seek  novelty  or  the 
eccentric;  I  do  not  go  from  land  to  land  to  contrast  civihzations. 
I  seek  only,  wherever  I  go,  for  symbols  of  greatness,  and  as  I  have 
already  said,  they  may  be  found  in  the  eyes  of  a  child,  in  the  move- 
ment of  a  gladiator,  in  the  heart  of  a  gypsy,  in  twilight  in  Ireland  or 
in  moonrise  over  the  deserts.  To  hold  the  spirit  of  greatness  is  in 
my  mind  what  the  world  was  created  for.  The  human  body  is 
beautiful  as  this  spirit  shines  through,  and  art  is  great  as  it  translates 
and  embodies  this  spirit. 

Since  my  return  from  the  Southwest,  where  I  saw  many  great 
things  in  a  variety  of  human  forms, — the  little  Chinese-American 
girl,  who  has  found  coquetry  in  new  freedom;  the  peon,  a  symbol 
of  a  destroyed  civilization  in  Mexico,  and  the  Indian  who  works 
as  one  in  slavery  and  dreams  as  a  man  in  still  places — I  have  been 

462 


TAM     CAN.       FROM    A    PAINTING    MADE 
IN    THE    SOUTHWEST    BY    ROBERT    HENRI. 


h4-i 


"yf.n  tsidi"  (ground  sparrow), 
from  a  painting  made  in  the 
southwest    by    robert    henri. 


"KAMOX — A    MEXICAN,"    FROM    A 
PAINTING       BY       ROBERT       HENRI. 


t^ 


"jIM  LEE,"  FROM  A  PAINT- 
ING MADE  IN  THE  SOUTH- 
WEST    BY     ROBERT     HENRI. 


BY   ROBERT  HENRI 

reproached  with  not  adding  to  my  study  of  these  people  the  back- 
ground of  their  Uves.  This  has  astonished  me  because  all  their 
lives  are  in  their  expressions,  in  their  eyes,  their  movements,  or  they 
are  not  worth  translating  into  art.  I  was  not  interested  in  these 
people  to  sentimentalize  over  them,  to  mourn  over  the  fact  that  we 
have  destroyed  the  Indian,  that  we  are  changing  the  shy  i  Chinese 
girl  into  a  soubrette,  that  our  progress  through  Mexico  leaves  a 
demoralized  race  like  the  peons.  This  is  not  what  I  am  on  the  outlook 
for.  I  am  looking  at  each  individual  with  the  eager  hope  of  finding 
there  something  of  the  dignity  of  life,  the  humor,  the  humanity,  the 
kindness,  something  of  the  order  that  will  rescue  the  race  and  the 
nation.  That  is  what  I  have  wanted  to  talk  about  and  nothing  else. 
The  landscape,  the  houses,  the  workshop  of  these  people  are  not 
necessary.  I  do  not  wish  to  explain  these  people,  I  do  not  wish  to 
preach  through  them,  I  only  want  to  find  whatever  of  the  great 
spirit  there  is  in  the  Southwest.  If  I  can  hold  it  on  my  canvas  I  am 
satisfied,  for  after  all,  every  race,  every  indi\'idual  in  the  race  must 
develop  as  Nature  intended  or  become  extinct.  These  things  belong 
to  the  power  of  the  ages.  I  am  only  seeking  to  capture  what  I  have 
discovered  in  a  few  of  the  people.  Everj^  nation  in  the  world  in  spite 
of  itself,  produces  the  occasional  individual  that  does  express  in  some 
sense  this  beauty,  with  enough  freedom  for  natura^gro^\i:h.  Itjis 
this  element  in  people  which  is  the  essence  of  life,  which  springs  out 
away  from  the  institution,  which  is  the  reformation  upon  which  the 
institution  is  founded,  which  laughs  at  all  boundaries  and  which  in 
everj'^  generation  is  the  beginning,  the  birth  of  new  greatness,  which 
holds  in  solution  all  genius,  all  true  progress,  all  significant  beauty. 

IT  seems  to  me  that  this  very  truth  accounts  for  the  death  of 
religions.  The  institutionalized  religion  doubts  humanity,  where- 
as truth  itself  rests  upon  faith  in  humanity.  The  minute  we  shut 
people  up  we  are  proving  our  distrust  in  them;  if  we  believe  in  them 
we  give  them  freedom,  and  through  freedom  they  accomplish,  and 
nothing  else  matters  in  the  world.  We  harness  up  the  horse,  we 
destroy  his  very  race  instincts,  and  when  we  want  a  thrill  for  our  souls 
we  watch  the  flight  of  the  eagle.  This  has  been  true  from  the  begin- 
ning of  time.  It  is  better  that  every'  thought  should  be  uttered  freely, 
fearlessly,  than  that  any  great  thought  should  be  denied  utterance 
for  fear  of  evil.  It  is  only  through  complete  independence  that  all 
goodness  can  be  spoken,  that  all  purity  can  be  found.  Even  in- 
decency is  bred  of  restriction  not  of  freedom,  for  how  can  the  spirit 
which  controls  the  ethical  side  of  life  be  trusted  except  through  the 
poise  that  is  gained  by  exercise.''     When  we  think  honestly,  we  never 

467 


"MY   PEOPLE" 

desire  individuals  bound  hand  and  foot,  and  the  ethical  side  of  man's 
nature  we  cannot  picture  as  overwhelmed  and  smothered  with 
regulations  if  we  are  to  have  a  permanent  human  goodness;  for 
restrictions  hide  vice,  and  freedom  alone  bears  morality. 

I  wonder  when,  as  a  nation,  we  shall  ever  learn  the  difference 
between  freedom  and  looseness,  between  restriction  and  destruction, 
— so  far  we  certainly  have  not.  When  people  have  the  courage  to 
think  honestly,  they  will  live  honestly,  and  only  through  transparent 
honesty  of  life  will  a  new  civilization  be  born.  The  people  who  think 
and  live  sincerely  will  bear  children  who  have  a  vision  of  the  truth, 
children  living  freely  and  beautifully.  We  must  have  health  every- 
where if  we  are  to  overcome  such  civilizations  as  we  see  falling  to 
pieces  today,  not  only  health  of  body,  but  health  of  mind.  Humanity 
today  is  diseased,  it  is  proving  itself  diseased  in  murder,  fire,  hideous 
atrocity. 

THE  more  health  we  have  in  life  the  fewer  laws  we  will  have, 
for  health  makes  for  happiness  and  laws  for  the  destruction 
of  both.  If  as  little  children,  we  were  enabled  to  find  life  so 
simple,  so  transparent  that  all  the  beautiful  order  of  it  were  revealed 
to  us,  if  we  knew  the  rhythm  of  Wagner,  the  outline  of  Pericles,  if 
color  were  all  about  us  beautifully  related,  we  should  acquire  this 
health  and  have  the  vision  to  translate  our  lives  into  the  most  perfect 
art  of  any  age  or  generation. 

I  sometimes  wonder  what  my  own  work  would  have  been  if  I  could 
as  a  child  have  heard  Wagner's  music,  played  by  great  musicians. 
I  am  sure  the  rhythm  of  it  would  have  influenced  my  own  work  for 
all  time.  If  in  addition  to  this  great  universal  rhythm,  I  could  have 
been  surrounded  by  such  art  as  Michaelangelo's  frescoes  in  the 
Sistine  Chapel,  where  he  paints  neither  religion  nor  paganism,  but 
that  third  estate  which  Ibsen  suggests  "is  greater  than  what  we 
know;"  if  these  things  had  been  my  environment,  I  feel  that  a  greater 
freedom  of  understanding  and  sympathy  would  have  come  to  me. 
Freedom  is  indeed  the  great  sign  which  should  be  written  on  the 
brow  of  all  childhood. 

There  are  other  things  I  should  like  to  speak  of  which  have  been 
important  to  me  as  a  painter.  In  addition  to  a  sense  of  freedom,  a 
sure  belief  that  only  the  very  essence  of  the  universe  was  worth 
capturing  and  holding,  perhaps  one  of  the  most  valuable  things  for 
the  painter  to  study  is  economy,  which  is  necessary  in  every  phase 
of  life,  almost  the  most  valuable  asset  a  man  can  possess.  But  in 
painting  especially  a  man  should  learn  to  select  from  all  experience, 
not  only  from  his  own  but  from  that  of  all  ages,  essential  beauty. 

468 


BY   ROBERT   HENRI 

He  should  learn  through  wisdom  to  gather  for  his  work  only  the  vital 
and  express  that  with  the  keenest  dehght  and  emotion.  The  art  that 
has  lasted  through  all  ages  has  been  culled  in  this  way  from  often 
what  seemed  meager  opportunity.  Beethoven  must  have  captured 
his  Ninth  Symphony  only  through  the  surest  understanding  of  what 
was  essential  to  hold  and  translate  to  the  world.  He  was  not  listening 
carelessly  or  recklessly  to  the  melody  which  is  held  on  the  edge  of 
the  infinite  for  the  man  with  spiritual  ears;  rather  he  was  eager, 
intense,  sure,  wise  and  economical  as  he  gathered  beauty  and  distilled 
it  into  that  splendid  harmony  which  must  forever  hold  the  world 
captive.  And  so  all  great  music,  great  prose,  every^thing  beautiful 
must  depend  upon  the  sure,  free  measure  with  which  it  is  garnered 
and  put  into  language  for  the  people,  for  each  lovely  thing  has  its 
intrinsic  value  and  belongs  in  its  own  position  for  the  world  to  study, 
understand  and  thrive  upon. 

In  various  Avays  the  free  people  of  the  world  will  find  and  translate 
the  beauty  that  exists  for  them;  the  musician  most  often  in  the  hidden 
space  of  the  world,  the  sculptor  closer  to  nature,  feeling  her  forms, 
needing  her  inspiration;  the  poet  from  the  simple  people  in  remote 
countries;  the  painter  it  seems  to  me,  mainly  from  all  kinds  and 
conditions  of  people,  from  humanity  in  the  making,  in  the  living. 
Each  man  must  seek  for  himself  the  people  who  hold  the  essential 
beauty,  and  each  man  must  eventually  say  to  himself  as  I  do,  "these 
are  my  people  and  all  that  I  have  I  owe  to  them." 


469 


THE  ADAM  STYLE  AS 
APPLIED  TO  FURNI- 
TURE AND  FITTINGS: 
BY  JAMES  THOMSON 


?i\iw\A;\^\»\  \(tWHittn\AlwA.ti5t  Mto  )KuXt\ovK^  m  Ontt^\.»\«w\  w4vV\t.'?aTi«.\J,tcMi\.\aT,sNo>T\«fnia-n  . 


|ERE  is  a  veritable  patrician  amongst  the  styles,  chaste, 
refined  and  possessor  of  character  and  distinction.  An 
Adam  dwelling  is  in  fact  but  expression  in  the  concrete 
of  inward  feeling  refined,  artistic  and  intellectual. 
Even   in    its   hour   of    dilapidation,    decadence   and 

neglect,  there  is  an  air  of  gentihty  about  it.     The 

Adam  style,  therefore,  whether  in  architecture  or 
furnishings  is  one  for  the  few  rather  than  for  the  many.  The  ap- 
preciation of  it  implies  some  measure  of  cultivated  feeling. 

The  product  of  a  mind  classically  trained,  of  an  eye  sensitive  to 
beauty  of  line  and  mass,  of  excellent  judgment  in  the  field  of  decora- 
tive endeavor,  in  the  Adam  style  we  have  a  most  successful  adaptation 
of  ancient  classic  form  to  modern  needs.  It  found  favor  with  the 
cultivated  Englishman  of  the  latterhalf  of  the  eighteenth  century,  as  it 

470 


RARE  EXAMPLES  OF  ADAM  FURNITURE 


,  , .   ,  FIGURE    FIVE  : 

also  did  with      adam  settle 

our  own  Col-     °™,;f'' 

.     1  rrti  EXQUISITE 

omals.  Ine  design. 
NewEngland 
builders  of 
the  last  quar- 
ter of  the 
eighteenth 
century  and 
first  decade 
of  the  next 
were  in  large 
degree  influ- 
enced in  their 
operations 
by  the  publi- 
cation in  sev- 
enteen hundred  and  seventy-eight  of  the  Adam  work  on  architec- 
ture. The  fine  old  dwellings — of  which  fortunately  many  still  remain 
to  us — in  Salem  and  Boston  most  admirably  reflect  the  Adam  taste. 
For  this  reason  Chestnut  Street  in  Salem,  and  the  Beacon  Hill 
district  of  Boston,  are  in  aspect  essentially  English. 

It  is  not  however  my  present  purpose  to  consider  the  purely 
architectural  side  of  the  style.  The  brothers  Adam  while  distinguish- 
ed architects  and  best  known  in  that  capacity,  also  designed  carriages, 
sedan  chairs,  balustrades,  ceilings,  plate,  firegrates,  furniture,  and 
usually  succeeded  in  beautifying  everything  they  touched.     As  they 

published  a  book  of 
designs  in  seventeen 
himdred  and  seven- 
ty-eight and  reprints 
are  now  to  be  had, 
the  character  of  the 
furniture  for  which 
they  were  respon- 
sible is  easily  estab- 
lished. The  sketches 
which  illustrate  this 
article  however  were 
made  from  a  private 
^.  collection  of  prints 
^^^^i^  f rom  copperplate 
^.VTOsv'fvvw  Mo.-m  A'<\<  .Tll.^^n^,^.A  A<tortv»-n.  somc  quarter  or  a 


FIGURE  SEVEN. 


centurv  old. 


4/1 


RARE    EXAMPLES 


OF  ADAM  FURNITURE 


FIGURE   ONE  :    A   SIDEBOARD  TABLE   IN    PURE   ADAM    DESIGN. 

Robert  Adam  was  the  second  of  the  four  sons  of  WilHam  Adam 
and  was  born  in  Kirkcaldy,  Scotland,  in  seventeen  hundred  and 
twenty-eight.  He  came  of  a  family  of  excellent  social  standing  and 
condition.  Early  exhibiting  a  marked  talent  for  drawing,  and 
deciding  to  be  an  architect,  he  went  to  Italy  and  France  in  order  to 
get  a  full  grounding  in  the  classic  orders.  At  the  expiration  of  four 
years,  with  a  full  notebook  he  returned  to  his  native  land  and  formed 
a  partnership  with  his  brother  James.  The  names  of  Robert  and 
James  are  usually  coupled  in  published  works;  it  is  generally  under- 
stood, however,  that  the  quartet  of  brothers  were  in  partnership, 
though  perhaps  not  all  draughtsmen  or  designers. 

The  Adam  architectural  influence  was  destined  to  be  widespread 
and  important.  Among  noted  buildings  that  at  present  stand  to 
the  credit  of  the  talented  Scots  is  the  Adelphi  in  London  which  was 
built  in  the  year  seventeen  sixty-eight.  It  consists  of  the  Terrace 
overlooking  the  river  and  neighboring  streets,  the  names  of  which 
are  respectively,  John,  James,  Robert,  William  and  Adam.  Thus 
is  the  family  name  and  those  of  the  four  brothers  perpetuated. 

To  be  adequately  viewed,  and  appreciated  at  true  worth,  the 
Terrace  must  be  taken  in  from  the  embankment,  or  better  still, 
by  a  boat  trip  on  the  river.  The  haunting  beauty  of  the  Adam 
ceilings  and  mantelpieces  has  been  testified  to  by  many.  They  can 
of  course  only  be  correctly  judged  by  a  survey  of  the  noted  interiors 
which  should"^  not  be  difficult,  considering  that  the  buildings,  many  of 
them,  are  now  devoted  to  business  purposes. 

472 


BARE   EXAISIPLES    OF     ^^  ADAM  FURNITURE 


FIGURE     EIGHT  :     DRAWING-ROOM     CABINET,     CHARACTERISTIC     EXAMPLE     OF     ADAM     PANEL    DESIGN. 

While  the  Terrace  has  fallen  somewhat  from  ancient  estate, 
there  are  still  many  distinguished  people  domiciled  there,  among 
the  number  being  James  M.  Barrie,  George  Bernard  Shaw,  John 
Galsworthy,  and  Granville  Barker. 

Coming  down  to  a  consideration  of  the  Adam  examples  which 
I  herein  have  the  pleasure  of  submitting,  I  would  remark  that  the 
nearest  the  Adam  brothers  came  to  a  sideboard  is  shown  in  our 
illustration  the  "Sideboard  Table."  In  the  center  space,  resting 
upon  the  floor,  was  sometimes  placed  the  cellarette,  in  which,  while 
diners  were  in  action  were  kept  the  wines.  In  designs  of  sideboards 
by  Chippendale,  Hepplewhite  and  Sheraton  the  cellarette  is  in 
evidence. 

In  regard  to  the  sideboard  as  a  piece  of  dining-room  furniture 
there  are  several  in  the  South  Kensington  Museum  that  may  pass 
for  such,  being  catalogued  under  the  name  of  dressoir  or  dressoir 
de  salle  a  manger.  They  are  small  cupboards  and  would  be  called 
cabinets  but  for  the  drawers  half  way  down  and  the  rows  of  shelves 
at  the  top.  In  the  Middle  Ages  the  dressers  were  but  covered  boards 
or  shelves  against  a  wall  on  which  plate  was  set,  and  were  made  three 
or  more  stages  according  to  the  splendor  of  the  occasion.  The  cup- 
boarded  dresser  of  more  modest  pretensions  was  considered  a  piece 
of  dining-room  furniture.  It  was  ordinarily  covered  with  a  piece 
of  embroidery. 

In  this  year  of  grace  in  the  face  of  these  easily  ascertainable 


473 


RARE   EXAMPLES  OF  ADAM  FURNITURE 


FIGURE    SIX  :    ADAM    SEAT    SHOWING    EMPIRE   INFLUENCE. 


historical  facts  our 
western  furniture 
makers  have  trans- 
ferred the  name 
"dresser"  to  the  or- 
dinary American 
bureau  with  looking- 
glass  attachment. 

Figure  three  shows 
another  beautiful  and 
characteristic  speci- 
men of  the  style.  In 
the  arrangement  o  f 
parts  it  would  be 
difficult  to  improve  on  it.  The  legs  are  especially  graceful,  full  of 
variety  and  altogether  well  thought  out.  "Repetition  with  variety" 
is  the  legend  the  Adam  brothers  ever  kept  in  the  foreground. 

To  more  fully  exemplify  the  beauty  of  Adam  ornament  I  have  in 
figure  four  submitted  an  enlarged  drawing  of  a  section  of  the  frame- 
work of  this  table.  The  honeysuckle  ornament  is  intended  to.be 
an  inlay  of  wood  which  may  be  either  lighter  or  darker  than  the  ground. 

Seats  (and 
sofas  of  the 
kind  with 
backs)  after 
the  manner 
of  the  one 
shown  in  fig- 
ure six  were 
designed  by 
the  Adam 
brothers,  but 
intheEmpire 
style  are  also 
to  be  found 
seats  with 
similar  scroll 
arms.  This 
is  not  to  be 
wondered  at 
when  we  con- 
sider that  the 

basis    m   bOtll  figure   three:    a    second    example   of   the   beautiful   SIDEBOARD  TABLE. 


474 


RARE  EXAMPLES   OF    ADAM  FURNITURE 


instances  was  classically 
the  same.   Empire  seats 
however  were  beautiful- 
J^  ^=^1"  ly  embellished  with 

V^^  ~  ^n]  ormolu  mounts.    In  the 

■'  present  instance  the 

only  brass  is  in  the  ter- 
minals or  toes  of  legs. 
The  woods  used  are  ma- 
hogany and  satinwood. 
Adam  chairs  and 
sofas  were  in  general 
light  and  graceful  but 
nevertheless  substantial, 
the  material  mahogany 
or  satinwood,  the  orna- 
ment inlaid,  and  perhaps 
a  little  carving.  When 
painted,  lacquered  or 
gilded,  birch  or  cherry 
were  employed.  Painted 
or  enameled  chairs  were 
embellished  by  orna- 
ment done  in  oils  by 
the  most  celebrated  ar- 
tists of  the  day.  Painted 

FIGURE    ten;    ADAM    MANTEL    AND   DETAIL    FROM    AN    EXAMPLE     dcCOratioU      aftCr      thc 
TO  BE  SEEN   IN  THE  GEFFRYE  MUSEUM,  LONDON.  /^  1  II 

Irreek  manner,  depend- 
ing on  outline  for  effect,  is  to  be  commended  for  this  class  of  work. 
There  is  little  beauty  in  some  decoration  to  be  found  on  Adam  chairs 
where  the  work  is  treated 
in  a  broad  manner,  the  col- 
ors being  jumbled  and  out- 
lines scarcely  noticeable. 

In  figure  seven  are  two 
exceedingly  graceful  and 
withal  substantial  exam- 
ples in  the  designers'  dain- 
tiest mood.  Cane  was  quite 
extensively  employed,  not 
only  for  seats  and  backs  of 
chairs  and  sofas  but  for 
decorative  purpose  also.      figure  two:  adam  center  table 


475 


RARE  EXAMPLES  OF  ADAM  FURNITURE 


Panels  of  intricate 
design  are  to  be 
found  done  in  cane 
in  Adam  casework. 
A  very^  beautiful 
and  characteristic 
example  in  the  form 
of  a  drawing-room 
cabinet  is  submitted 
in  figure  eight.  It 
would  be  difficult 
for  the  most  accom- 
plished modern  de- 
signer to  improve 
on  this.  Admirably 
spaced  and  propor- 
tioned, the  distribu- 
tion of  ornament 
leaves  nothing  to  be 
desired.  Even  in 
the  hands    of  the 

FIGURE  eleven;  DETAILS  IN  DESIGNS  OF  MANTELS  OF  THIS  PERIOD.  mOSt  sklllcd,  thc  PCH 

is  a  clumsy  instrument  compared  with  the  tool  of  the  copperplate 
engraver,  hence  at  best  the  drawing  but  inadequately  renders  the 
spirit  of  the  original. 

No  article  on  this  subject  would  be  complete  without  some  reference 
to  the  Adam  mantelpieces  of  which  the  talented  brothers  are  credited 
with  a  large  number.  It  was  their  custom  to  design  the  firegrates 
also,  and  many  fine  examples  in  that  line  are  today  to  be  found. 
From  the  art  point  of  view  these  steel  grates  are  far  above  the  ordinary 
effort  in  that  direction. 

In  figure  nine  is  shown  a  very  beautiful  example  in  statuary 
marble.  The  drawing,  made  from  a  photograph,  cannot  of  course 
convey  any  impression  of  the  beauty  of  modeling  in  the  Flaxman 
plaques.  Some  idea  may  be  gained  of  the  qualities  of  such  work  by 
examination  of  the  decorations  of  Wedgwood  ware. 

Figure  ten  exhibits  another  Adam  mantel  of  greater  simplicity 
but  equally  as  meritorious.  The  original  is  in  the  Geffrj^e  Museum, 
London. 

To  Robert  and  James  Adam  is  no  doubt  credited  much  that  is 
fine  which  in  all  fairness  should  be  assigned  to  others.  In  figure 
eleven  are  shown  specimens  of  the  product  of  eminent  architects 
contemporary  with  the  brothers.  Without  a  doubt  such  designs 
476 


RARE  EXAMPLES  OF   ADAM    FURNITURE 


FIGURE   FOUR 
ENLARGED  DETAIL 
OF  ADAM  DESIGN 
ON  THE  TABLE  IN 
FIGURE  THREE. 


would,  in  nine  cases  out  of  ten,  be 
credited  to  the  latter.  Nor  could 
the  work  be  much  bettered  by 
anyone.  The  example  of  the  de- 
signing skill  of  W.  Thomas  is  par- 
ticularly pleasing.  To  improve 
would  be  difficult. 

Mantels,  too,  of  an  earlier  period, 
save  for  a  certain  flamboyance  in  orna- 
ment, might  pass  for  Adam  product. 
The  early  Georgian  work  made  use  of 
the  "five  orders"  but  engrafted  upon  it 
was  ornament  of  a  naturalistic  order.  i^AKaof.KK3CKXxrYx:iiXX XXX ) 
Early  Colonial  examples  in  this  country 
are  of  this  "Free  Classic"  order  and 
just  as  beautiful  and  desirable  as  the 
product  of  Adam.  Robert  Kent  (sixteen 
eighty -five  to  seventeen  forty-eight)  has  r 
left  designs  of  some  fine  mantels.  His  outlines  are  as  severely  classical 
as  are  those  of  Adam,  but  the  carving  is  of  the  school  of  Grinling 
Gibbons. 

Adam  furniture  has  been  little  known  in  this  country  which  may 
be  ascribed  to  the  fact  that  the  brothers  worked  for  a  clientele 
essentially  aristocratic.  Made  for  the  nobles  and  gentry,  it  became 
a  fixture  in  the  homes  of  the  great  until  the  breaking  up  of  collections 
made  it  known  to  the  public.  A  survey  in  the  shops  of  antique 
dealers  disclosed  but  very  little  furniture  of  the  Adam  stamp. 

How  Uttle  indeed  was  Adam  furniture  regarded,  may  be  judged  from 
the  fact  that  in  "Art  Decoration  Applied  to  Furniture,"  a  book  pub- 
lished by  the  Harpers  in  eighteen  seventy-seven,  the  author  being 
Harriet  Prescott  Spofford,  there  is  no  mention  of  it.  "After  exhaust- 
ing the  resources  of  the  Congressional  Library  in  the  preparation 
of  this  book"  the  distinguished  author  devotes  but  a  single  paragraph 
to  description  of  a  looking-glass  which  after  all  seems  to  have  been  the 
work  of  another  but  equally  skilled  hand.  From  the  naturalistic 
style  of  the  carving,  the  frame  obviously  was  not  the  work  of  Adam 
brothers.  B.  Pastorini  and  Pergolisi,  contemporaries  of  Adam,  were 
responsible  for  a  lot  of  fine  work  of  this  character.  The  latter  in 
seventeen  seventy-seven  published  a  book  of  designs  of  ceilings, 
looking-glasses,  sconces,  etc.,  which  are  characterized  by  felicity  of 
line  and  airy  grace.  The  fact  is,  that  many  talented  compeers  of 
Adam  have  been  lost  sight  of  in  the  shadows  of  a  greater  name. 
Everything  of  English  eighteenth-century  production  that  resembles 

477 


EXERCISE 

the  work  of  the  Adam  brothers  has  been  forthwith  assigned  to  them. 

Our  cabinetmakers  are  today  turning  to  the  Adam  style  for 
inspiration.  The  charming  center  table  shown  in  figure  two  when 
shorn  of  the  elaborate  running  ornament  around  the  frame,  would 
come  nearest  of  the  submitted  illustrations  to  the  Adam  furniture 
as  at  present  offered  in  the  American  market. 

Robert  Adam  has  been  acclaimed  a  genius.  He  was  at  least  a 
most  skilled  adapter.  Out  of  complex  materials  of  a  bygone  age  he 
erected  a  fabric  that  was  new.  Many  another  has  attempted  to  do 
as  much  and  failed.  It  is  not  given  to  all  designers  to  know  what  to 
avoid.  Robert  Adam  had  the  capacity  to  choose  wisely.  Delicacy 
and  restraint  are  always  in  evidence  in  his  work.  It  is  the  same 
qualities  that  supply  the  charm  in  our  Colonial  style.  Once  we 
begin  to  add  ornament  of  a  flamboyant  kind  the  charm  vanishes. 


EXERCISE 

EMMY  brought  in  an  armful  of  wood  for  the  fire.     "My  dear," 
said  her  husband,  "you  shouldn't  do  that." 

She  lifted  the  heavy  case  of  berries  to  the  table  and  sat  down  to 
look  them  over. 

"I'd  help  you  if  I  wasn't  waiting  for  Bates  to  come  over  and  look 

at  the  new  filly."  ,  „    ,  ,     .  .i.    n 

The  grocer's  boy  deposited  a  dollar  s  worth  ot  sugar  on  the  tloor 
and  Emmy  took  it  up  and  put  it  in  the  sugar  pail  on  the  lower  pantry 

shelf.  ,       , 

"You  really  shouldn't,"  said  her  husband. 

Finally  she  lugged  the  iron  preserve  kettle  to  the  sink  for  the  last 
time  and  went  out  for  another  pail  of  water. 

"I  hate  to  see  you  lift  so,  Emmy.  My,  how  many  glasses  have 
you  got?  It's  my  favorite  jam.  I'll  get  you  a  case  of  cherries  to- 
morrow." 

Emmy  went  on  getting  up  a  hearty  supper. 

"Seems  as  if  you  didn't  eat  much,"  commented  her  husband. 
"Don't  you  want  to  walk  down  with  me  to-night  while  I  finish  that 
rubber  with  Stetson?     The  exercise  will  do  you  good." 

Gertrude  Russell  Lewis. 


4/8 


JOHN  MUIR:   BY  ELOISE  ROORBACH 

HOEVER  has  had  the  memorable  experience  of  sleep- 
ing for  a  night  at  the  foot  of  a  sequoia  gigantia 
watching  the  moon  peer  through  its  branches,  and 
the  sugar  pines  like  priests  upon  Sierra  ridges,  the 
stars  sweeping  over  them  with  ordered  march,  heard 
the  water  ousel  singing  with  the  waterfalls,  heard  the 
thunderous  booming  of  rivers  leaping  and  plunging 
down  mighty  gorges,  listened  to  the  chant  of  storm  winds,  waded  waist 
deep  through  flower  meadows,  seen  the  Douglas  squirrels  scamper 
up  a  yellow  pine,  the  summer  patch  of  snow  upon  the  top  of  Half 
Dome,  a  storm  breaking  over  Cloud's  Rest, — whoever  has  learned 
to  call  the  western  trees  and  wild  flowers  by  name,  holds  the  name 
of  John  Muir  in  reverence.  His  name  will  be  forever  associated  with 
mountains,  forests,  glaciers,  storms,  with  the  big,  fundamental  facts 
of  nature,  and,  too,  with  its  deUcate,  evanescent,  poetic  beauty. 

His  love  and  deep  appreciation  of  the  majesty  of  Nature  was  so 
intense  it  gave  him  interpreter's  power;  understanding  her  message 
he  translated  it  so  that  all  could  understand.  Many  a  novice  has 
received  initiation  into  Nature's  sanctuary  through  the  pages  of  his 
books.  Before  even  Sierra's  crags,  forest  trees  and  flower  fields 
became  mirrored  forever  upon  my  heart  I  had  learned  to  call  them 
all  by  name  through  the  reading  of  his  books.  Through  his  writing 
I  also  became  acquainted  with  the  towering  sequoias,  the  wonderful 
markings  of  the  yellow  pine,  the  storm  twisted,  fox-tail  pines.  His 
descriptions  so  exact,  poetical,  inspiring,  caught  my  fancy,  and  re- 
mained so  indelibly  in  my  mind  that  I  recognized  them  all  on  sight. 
Through  his  books  I  learned  of  the  beauty  of  chrysoprase,  ice-bound 
lakes,  became  enamored  of  dangerous  passes,  hungered  and  thirsted 
to  see  sphagnum  meadows,  yearned  to  hear  the  boom  of  distant 
waterfalls. 

When  at  last  I  actually  trod  the  trails  he  had  described  and  saw 
for  the  first  time  flowers,  trees,  birds  and  animals  he  had  spoken 
of  they  were  all  as  familiar  friends.  When  I  first  saw  a  rattlesnake 
crossing  the  trail  just  ahead  of  me,  within  easy  striking  distance, 
I  had  no  fear,  only  intense  interest,  for  John  Muir  had  assured  me  it 
was  a  gentleman,  would  not  strike  unless  I  struck  first.  That 
serpent  never  coiled  into  a  defensive  circle,  but  gazed  at  me  with  the 
utmost  dignity.  I  bore  it  no  grudge  for  the  trick  its  ancestors 
played  mine  when  the  world  was  young,  though  an  avalanche  of 
trouble  fell  upon  the  head  of  all  my  kind  because  we  dared  seek 
wisdom — a  realm  most  jealously  guarded  by  the  sons  of  Adam. 

When  I  met  a  funny  brown  bear,  scraping  the  bark  from  a  fallen 
log,  hunting  a  luscious  breakfast  of  ants,  again  I  had  no  fear,  for 
John  Muir  had  taught  me  that  bears  were  more  fond  of  strawberries 

479 


THE  PUPIL   OF   THE   WESTERN    WOODS 

than  of  women  for  a  diet,  would  not  trouble  himself  to  make  a  meal 
of  us  unless  food  was  scarce  and  hard  necessity  forced  him  to  a  bitter 
meal.  The  knowledge  gained  from  John  Muir's  books  robbed  me  of 
fear,  taught  me  what  to  do  and  what  not  to  do  out  in  the  untried 
wilds,  opening  up  a  marvelous,  beautiful,  new  world,  where  I 
could  wander  steeped  in  wonder  and  delight. 

WHEN  I  actually  met  this  world-renowned  scientist,  naturalist 
and  poet  face  to  face  in  his  own  realm,  the  Yosemite  Valley, 
I  knew  him  at  once.  The  tramper's  pack  upon  my  back 
was  introduction  enough,  it  proclaimed  me  without  the  use  of  social 
ceremony  one  of  the  "initiated."  As  we  talked  of  our  familiar 
friends,  the  giant  forests,  Mt.  Whitney,  Kearsarge  and  Harrison 
Passes,  the  Tuolumne  and  Hetch  Hetchy  Valleys,  of  glaciers  and 
national  parks,  of  trees  and  butterflies,  of  desert  nights  and  mountain 
sunrises,  I  became  conscious  of  his  unusual  personality.  His  eyes 
were  as  clear  as  a  mountain  lake,  bright  as  a  delighted  child's.  It  is 
the  life  of  cities,  not  the  weight  of  years  that  dulls  our  eyes,  robs  them 
of  the  divine  gift  of  sight.  His  forehead  was  high,  unwrinkled  by 
anxious  struggle  for  an  easy  place  in  the  race  for  gain.  His  nose  was 
sensitive,  finely  chiselled,  the  chin  firmly  modeled,  step  light  and 
buoyant.  He  reminded  me  of  a  Douglas  squirrel,  that  embodiment  of 
vitality,  that  flash  of  joyous  vigor.  There  was  no  doubt  about  his 
ability  to  climb  mountains,  explore  treacherous  glaciers;  his  whole 
personality  radiated  confidence,  fearlessness  and  delight  of  life. 

Once  having  heard  that  his  favorite  reading  was  the  book  of  Job, 
I  reread  it  trying  to  discover  wherein  lay  its  especial  charm  for  him. 
This  verse  discovered  everything  to  me:  "Speak  to  the  earth  and  it 
will  teach  thee."  Who  else  has  taught  him?  The  wolves  made 
Mowgli  one  of  them,  taught  him  the  jungle  password,  "We  be 
brother  of  one  flesh,  thou  and  I."  So  he  walked  the  earth  in  charmed 
safety — "little  friend  of  all  the  world."  Some  such  password  must 
have  been  given  John  Muir  in  the  far  vastnesses  of  the  mountains. 
For  he  walked  among  them  unharmed,  possessed  of  all  their  secrets. 

What  Thoreau  has  done  for  the  East,  Muir  has  done  for  the  West. 
Thoreau  wrote  of  pastoral  hills,  the  small  wild  life  driven  into  wood- 
lots  and  along  the  shore  of  little  ponds  by  encroaching  civilization. 
His  careful  observations  were  made  within  sound  of  a  locomotive; 
John  Muir  wrote  of  wide,  wild,  primeval  spaces,  never  before  visited 
by  man,  far  from  the  shrieks  of  locomotive.  He  followed  the  track 
of  big  game,  sang  of  cataracts  swirling  and  fuming  over  towering 
crags,  of  giant  trees  and  jagged  peaks.  Both  men  have  written 
accurately,  poetically  of  things  they  knew  and  their  works  are 
monuments  to  eternal  truths. 

480 


THE    MYSTERIOUS 

ORANGE,    PURPLE    AND    WHITE    ARE    THE  (J  IV  i_/  H.  1  U   '.  D    I  A  !_/ 1  ^  Hi 

COLORS   OF  THIS   GRACEFUL  ORCHID,   THE  j    /— vT  T\TCT>  17  D  D  \7 

DENDROBIUM    WARDIANUM.  IjU  U  JN  ODHirVlV  Y 

MYSTERIOUS  as  an  orchid,  incomprehensible  as  its 
ways!"  Perhaps  it  is  this  mystery  in  the  haunts  and 
growth  of  the  orchid  that  have  made  her  seem  the 
Cleopatra  among  flowers,  for  more  than  any  other 
growing  thing  she  has  cost  men  their  peace  of  mind, 
their  strength,  even  their  very  lives.  In  her  natural 
haunts  she  is  protected  not  by  fire  as  Brunhildein  the 
woods  of  Valhalla,  but  by  miasma,  by  seclusion,  by  the  fury  of  wild 
beasts,  by  her  inaccessibility  and  sometimes  by  the  poisonous  life  which 
blooms  about  her,  to  which  she  clings,  giving  grace  and  destroying 
personality,  for  the  orchid  is  not  only  a  rare,  proud,  mysterious 
beauty  but  also  a  parasite.  In  the  great  kingdom  of  flowers  she 
is  among  the  few  who  seldom  will  work  for  her  living,  who  will  not 
stoop  to  gather  strength  from  the  earth.  Wherever  she  rests,  that 
tree,  shrub  or  wasted  trunk  becomes  a  thing  of  joy,  but  in  return 

481 


THE   CLEOPATRA  FLOWER 

its  individual  life  must  be  sacrificed  to  the  alluring,  white-winged, 
open-mouthed  beauty  who  has  selected  it  for  support.  The  orchid 
indeed  is  a  flower  of  the  air,  an  ethereal,  marvelous,  living  poem  whose 
waywardness  and  strangeness,  whose  remoteness  and  exotic  loveliness 
are  the  despair  as  well  as  delight  of  the  gardener.  "The  rose  looks 
fair,  but  fairer  we  deem  it  for  that  sweet  odor  which  doth  in  it  lie." 
And  yet  the  rose  with  all  her  variety,  delicacy  of  plumage,  her  heart 
of  memories,  her  fragrance  that  lives  in  the  thought  of  man  through 
a  life  time,  has  never  so  completely  captivated  the  imagination  of 
the  flower  grower  as  the  heartless,  scentless,  unresponsive  orchid. 

Because  of  her  infinite  beauty  the  orchid  has  become  among 
flowers  a  symbol  of  luxury  and  inaccessibility,  and  has  brought  in 
individual  instances  the  highest  price  of  any  flower.  Whole  green- 
houses have  been  given  up  to  her  cultivation,  special  exhibitions  have 
been  reserved  to  show  her  priceless  wonder;  all  this  has  brought  about 
in  the  mind  of  the  public  the  impression  that  only  very  rich  people 
could  undertake  indoor  orchid  growth,  and  many  who  have  marveled 
at  her  romance,  loved  her  beauty,  dreamed  of  her  possession  have  felt 
her  quite  out  of  reach  except  through  heroic  sacrifice,  following  her 
into  her  own  mysterious  realm  through  swamps  and  clinging  under- 
brush, by  sleeping  animals,  deep  in  poisonous  gloom. 

It  is  a  matter  of  fact  that  rare  orchids  imported  from  the  tropics 
or  produced  through  hybridization  have  so  excited  competition 
among  dealers  and  amateur  growers  that  their  price  has  been  run  up 
to  figures  far  out  of  the  reach  of  the  flower-lover  possessing  possibly 
only  a  single  glasi.  house  or  a  sunroom  of  small  area.  But  the  prices 
brought  for  these  reigning  beauties  have  no  more  relation  to  the 
general  schedule  of  orchid  values  than  the  cost  of  the  peachblow 
vase  to  the  few  shiUings  paid  for  lovely  potteries  made  by  simple 
folks. 

Even  in  this  country  there  are  now  estabhshed  several  great  plant 
emporia,  besides  nurseries,  exclusively  for  orchids.  Among  all  trades- 
men competition  is  keen,  and  it  is  not  too  much  to  say  that  many 
beautiful  orchids  may  be  cultivated  as  cheaply  as,  for  example, 
carnations.  Certain  kinds  of  orchids  have,  moreover,  through  the 
knowledge  of  seed-production,  attained  to  immense  numbers  and  can 
no  longer  be  classed  among  the  rare  varieties. 

A  point  more  important  in  orchid  growing  and  one  which  must 
unflinchingly  be  solved  is  that  of  their  accommodation.  Yet  even 
this  formerly  formidable  obstacle  is  being  overcome.  A  leaf  in  this 
connection  may  be  taken  from  England's  book  of  experience,  since 
there  the  cultivation  of  orchids  has  progressed  steadily  for  more  than 
a  century  and  a  half.     Even  England  has  been  criticised  because  she 

482 


TWO  OF  THE  MOST  CAPTIVATING  VARIKTIKS  OF  ORCHIDS:  THE  DENUROBIUM  TOMSONIANUM,  OF  DELI- 
CATE TONE  AND  RICHLY  MARKED  LII",  AND  THE  CATTLEYA  MOSSIAE,  WHOSE  TRANSPARENT  LAVEN- 
DER   SEPALS    ARE    SEEN    IN    FLORISTS*    WINDOWS  THE  GREATER  PART  OF  THE  YEAR. 


iV^ 


A  MADAGASCAR  SPECIES 
IS   SHOWN   ON   THE 
RIGHT — A  WHITE,  STAR- 
LIKE  ORCHID   OF 
STRIKING  LOVELINESS, 
THOUGHT  BY    MANY   TO 
BE  THE   MOST   NOTABLE 
OF  THE   GENUS  :    WITH 
SUCH  FLOWER  WONDERS 
FOR  THE  REWARD,  ONE 
CAN    HARDLY    BE    SUR- 
PRISED THAT  ENTHU- 
SIASTS   HAVE  BRAVED 
THE  TANGLED  AND 
GLOOMY   DEPTHS   OF 
MANY   A    STRANGE 
COUNTRY   IN    SEARCH 
OF    NEW    MEMBERS   OF 
THIS    WAYWARD   AND 
ALLURING   TRIBE. 


ONE  OF  THE   MOST   BEAU- 
TIFUL  MEMBERS  OF  THIS 
EXOTIC   FLOWER   FAMILY 
IS   THE  L/ELIA   SUPER- 
BIE.VS,  A  SPRAY  OF  WHICH 
IS  .SEEN   AT  THE  LEFT: 
THIS    PLANT  REQUIRES 
THE  SAME  TREATMENT  AS 
THAT  GIVEN  TO  ITS  BISTERS, 
THE    CATTLEYAS,   AND 
LIKE  THF.M   CAN   BE   SUC- 
CESSFULLY  CULTIVATED 
HY  THE  AMATEUR  GARDENER 
— A   FACT    UNKNOWN    TO 
MANY,    WHO    HAVE  BEEN 
UNDER  THE   IMPRESSION 
THAT  ORCHIDS,  LIKE  RARE 
AND  PRECIOUS  STONES,  ARE 
ACCESSIBLE   ONLY   TO   THE 
PKIVILEGEU   FEW. 


THE  STRONG  UPRIGHT  ORCHID 
IN   THE   PHOTOGRAPH    BELOW 
THRIVES  IN  THE  WARM   CON- 
SERVATORY OR  "INTERMEDIATE 
HOUSE,"   WHERE  IT  SHOULD 
BE   POTTED   IN   EQUAL   PROPOR- 
TIONS  OF   LOAM,    PEAT   AND 
SPHAGNUM  MOSS  :  FROM  ITS 
GROWTH,  ONE   MIGHT  AL- 
MOST THINK   IT  A   RELATIVE 
OF  THE  DAFFODIL. 


ORCHIDS    ARE 
DIVIDED  INTO 
TWO   CLASSES  : 
THE  TERRES- 
TRIALS, WHICH 
GROW   IN   THE 
SOIL,   AND  THE 
EPIPHYTES, 
WHICH   GROW 
ON  BLOCKS  OR 
RAFTS  AND 
DRAW   SUSTEN- 
ANCE FROM  THE 
AIR. 


THE   OPEN 
MOUTH    AND 
OUTSTRETCHED 
PETALS   OF 
THE    LUXURIOUS 
ORCHID  ON 
THE    LEFT 
REMIND  ONE 
OF   SOME 
STRANGE, 

large  insect 
alert  for 
prey  :  it  is  a 
terrestrial 
orchid,  root- 
ing like  a  con- 
ventional 
plant  in  the 
soil:  its  name 
is  cvpripedium 

HAYNOLDIANUM. 


Mm^ 

^ 

J^ 

^^^^^  jif' 

^' 

If 

ru. 

^ 

KXQUISITEI.Y   COLORED  ARE  THE    FAIRYLIKE 
r.LOSSOMS  OF  THE  ORCHID  IN   THE   PICTURE 
ABOVE,   WHICH    BURST   FORTH    FROM    THE 
BARE  STEMS  LIKE  LITTLE  BUTTERFLIES: 
LIKE  ALL  THE  "dENDROBEs"  THIS  FLOWER 
IS  NOT  DIFFICULT  TO  GROW,  AND  SHOULD 
UNQUESTIONABLY  BE  CHOSFV   liv  RFr.TM- 

^ 

NERS:   IT  IS  CALLED  THE  D 
MACROPHVLLUM    ALBUM. 

ENDROBIUM 

THE  WAXEN 
WHITE   BLOS- 

0 
F 
I 
T 

A 

} 

R 

I 

I 
(^ 
i 

NE    POETIC 
LOWER-LOVER 
IAS  LIKENED 
HE   ORCHID 
.BOVE  TO  A 
HUNGRY  NIGHT 
.lOTH  :"  UNLIKi; 
OME  OF  ITS 
ELATIVES  IT  IS 
:asy  to  CUL- 
ivate:  it  is 
■rolific  in 
irowth  and 
irilliant  ik 

^ 

SOMS   OF   THE 
ORCHID  AT  THE 
LEFT  DRAW  THEIR 
NOURISHMENT 
FROM   THE   AIR 
— A   CURIOUS 
CHARACTERISTIC 
WHICH    HAS 
HELPED  TO  GIVE 
THIS    MYSTERI- 
OUS  PARASITE 
ITS   ROMANTIC 
REPUTATION  : 
CHYSIS  BRAC- 
TESCEXS    IS   THE 
NAME  OF  THIS 
PARTICULAR 

CUI.UK.KU. 

DENDROBIUM 
FINDLAYAXUM. 

V 

PLANT. 

I 


THE  CLEOPATRA  FLOWER 

has  sacrificed  the  Uves  of  innumerable  courageous  men  in  order  that 
these  rare  plants  might  be  collected  and  added  to  her  possessions 
and  her  brilliancy  of  display. 

The  British  speciahsts  divide  their  orchids  into  four  classes 
for  which  are  provided  four  types  of  houses.  The  first  of  these  is 
called  the  "cool  house;"  its  winter  temperature  ranging  from  forty- 
five  to  fifty  degrees  during  the  night  and  some  ten  degrees  higher 
in  the  day.  This  house  approximates  the  ordinary  greenhouse  of 
the  general  grower  of  plants  and  in  it  certain  Cypripediums  and 
Odontoglossums  have  been  found  to  Uve  happily.  The  second  house 
is  called  the  "intermediate,"  its  temperature  kept  at  five  degrees 
higher  than  that  of  the  cool  house;  the  third  is  the  "Cattleya  house" 
with  a  temperature  ten  degrees  higher  than  that  of  the  cool  house 
and  the  fourth  is  the  "East  India  house"  with  an  average  temperature 
of  fifteen  degrees  higher  than  the  cool  house.  An  equipment  of 
houses  that  seems  somewhat  luxurious  to  the  mere  amateur  who  has 
probably  no  desire  to  specialize  in  orchids,  preferring  to  leave  such 
an  occupation  to  the  clever  nurserymen  of  the  country. 

Happily  to  one  who  feels  the  lure  of  this  flower  coquette,  it  is  also 
possible  to  woo  her  in  a  single  house  of  moderate  size,  provided  it  is 
divided  into  compartments,  one  of  which  is  kept  more  moist  and 
warm  than  the  other.  By  following  this  simple  plan  suitable  accom- 
modation can  be  given  to  a  variety  of  the  most  important  genera. 
In  fact  to  concentrate  on  the  four  great  and  important  genera  is  the 
only  sensible  scheme  for  the  amateur.  These  may  be  cited  as 
Cattleya,  Dendrobiums,  Cypripediums  and  Odontoglossums.  Natur- 
ally other  worthy  genera  may  be  included  provided  discrimination 
is  used  in  their  selection  and  the  fact  estabUshed  that  their  comfort 
will  be  absolute  in  one  or  the  other  of  the  provided  compartments. 
As  much  consideration  as  this  is  given  to  plants  of  far  less  mysterious 
charm  than  orchids. 

The  orchid  tribe  is  divided  into  two  great  classes:  those  which 
grow  in  soil  like  conventional  plants  and  which  are  called  terres- 
trials; and  those  which  grow  on  blocks  or  rafts,  drawing  their  sus- 
tenance from  the  air.     These  latter  are  designated  as  "epiphytes." 

AMONG  the  wild  woodland  plants  of  North  America  the  terres- 
trial species  have  a  generous  representation.  The  pink  lady's 
slipper,  or  moccasin  flower  is  an  orchid  of  history  and  romance. 
It  follows  the  haimts  of  the  whippoorwill,  rests  shyly  hidden  in  deep, 
moist  woods  and  sends  forth  in  May,  in  the  vicinity  of  New  York 
city,  its  flower  of  mysterj'  and  grace.  Both  the  large  and  the  small 
yellow  lady's  slippers  are  native  Cypripediums  well  known  to  the 

487 


THE   CLEOPATRA   FLOWER 


an  unusually  fairy- 
like  spray  of  orchid 
blossoms:  there  are 
over  five  thousand 
different  species  of 
orchids,  found  in 
all  parts  of  the 

WORLD. 


flower  gatherers  of 
spring.  The  species  re- 
ginse,  a  rare  find  now 
among  American  wild 
flowers,  is,  however,  the 
veritable  beauty  of  the 
family.  It  is  shy,  yet  co- 
quettish in  personality 
and  radiantly  colored. 
The  Habenarias,  entire- 
ly different  in  appear- 
ance from  the  Cypripe- 
diums,  were  also  known 
to  the  North  American 
Indians,  who  regarded 
certain  varieties  as  an 
antidote  to  rattlesnake 
poison,  and  from  the 
roots  of  the  plants 
brewed  a  draft  which 
they  gave  to  their  httle 
'  papooses.  A  small  spring 
orchid,Orc/a"s  spectabilis, 
is  picked  in  the  woods 
by  many  a  country  child  who  has  no  knowledge  that  he  holds 
in  his  hand  one  of  the  most  human  of  plants.  On  many  chalky 
uplands  of  Great  Britain  the  bee-orchid,  the  spider-  and  the  fly- 
orchid  are  found,  and  the  student  of  wild  flowers  who  loves  best 
these  terrestrial  species,  recalls  that  they  are  so  named  because  of 
their  resemblance  to  these  respective  insects.  Makers  of  gardens 
of  special  interest  and  sentiment  are  also  pleased  to  introduce  these 
plants  among  their  treasures. 

THE  real  orchid  enthusiast,  however,  goes  in  for  the  cultivation 
of  exotic  species  and  finds  overwhelming  delight  when  in 
aerial,  fantastic  fashion  the  whimsical  plants  respond  to  his 
will.  The  greater  number  of  exotic  orchids  are  epiphytes,  those  most 
incomprehensible.  Among  them  the  leader  of  the  four  most  con- 
spicuous types  is  Cattleyas,  which,  owing  to  their  large  size,  their 
luxurious  coloring  and  distinctive  personalities,  are  known  to  every 
lover  of  flowers.  They  may  be  used  to  exemplify  the  method  of 
potting  in  favor  for  this  type  of  orchid. 

Cattleyas  are  imported  to  this  country.     They  arrive  in  a  so- 


THE   CLEOPATRA  FLOWER 


called  dry  state  and  between  their  roots  and  leaves  there  are  to  be 
seen  greenish-gray,  swollen  growths  which  pass  among  the  initiated 
for  pseudo-bulbs.  Cattleyas  should  be  set  in  pots;  but  they  do  not 
require  to  sink  their  roots  into  a  mixture  composed  of  leaf  mould, 
sand,  manure  and  loam,  or  such  as  is  commonly  associated  with  plant 
nourishment.  They  should  be  placed  uprightly  in  good-sized  pots 
and  surrounded  with  crocks,  that  is,  pieces  of  broken  flower  pots. 
These  should  be  cleansed  before  using  and  kept  fairly  moist.  In  the 
pots  the  Cattleyas  must  be  held  firmly  by  means  of  stakes,  otherwise 
the  plants  will  move  about  and  their  rooting  be  retarded.  But  when 
placed,  after  proper  potting,  in  a  suitable  temperature  rich  in  moisture 
the  plants  take  hold  quickly.  As  soon  as  it  is  observed  that  they  are 
well  started,  both  at  top  and  bottom,  the  pots  should  be  filled  in  the 
following  manner.  Two-thirds  of  the  pot  is  already  supplied  with 
crocks,  on  top  of  which  is  now  placed  a  layer  of  sphagnum,  then  a 
mixture  of  two-thirds  fibrous  peat  and  one-third  sphagnum  should 
be  stirred  in  and  packed  firmly  with  the  fingers  until  the  pot  is  filled 
and  rounded  over  its  top.  And  not  until  this  has  been  carefully 
done  can  the  plants  be  regarded  as  potted.  Then  as  long  as  their 
pseudo-bulbs  keep  robust  and  unshrivelled  they  may  be  looked  upon 
as  in  good  condition. 

Such,  briefly,  is  the  general  method  of  potting  these  uninteresting 
looking  leaves  and  pseudo-bulbs  which  are  Nature's  accompaniment 
to  flowers  renowned  among  men  for  translucent  loveliness. 

These  pseudo-bulbs  of  orchids  act  in  many  cases  as  a  sort  of 
thermometer,  registering  their  welfare. 
While  they  continue  fresh  and  round- 
looking,  the  danger  signal  is  at  rest; 
but  when  they   begin   to  shrivel  and 
dry,  the  skilful  grower  scents  trouble 
and  bestirs  himself 
to  locate  the  reason 
for  their  derange- 
ment.    His  hope  is 
to  keep  them  from 
shrivelling  through- 
out the  winter,  an 
undertaking  which, 
when  accomplished, 
indicates  that   the 
plants  are  all  right,   the  blossoms  of  this 
Some  orchids  are  orchid, the brassa- 

..,  .      .-,  VOLA,  ARE  SUCCESTIVE 

Without  these  wea-  somewhat  of  ulies. 


489 


THE    CLEOPATRA   FLOWER 


WHITE   FRAGRANT   FLOWERS    WITH    LONG   GREEN    SPURS   BELONG  TO   THIS   ORCHID, 
ANGR^CUM    SCOTTIANUM. 


ther  signals, 
and  hence 
need  very 
special  atten- 
tion from  the 
grower.  For- 
tunately Cat- 
tleyas  do  not 
all  flower  at 
the  same 
time.  The 
widely  known 
Mossise,  va- 
rying from 
white  to  pur- 
plish red  or 
crimson,  is 

imported  in  large  quantities  and  can  at  times  be  bought  very 
cheaply.  It  blooms  in  late  spring  and  summer.  Citrina,  small, 
fragrant  and  yellow  throws  out  its  bloom  in  spring.  Labiata  vera 
in  rose  or  purple  with  yellow,  reserves  its  flowers  until  the  autumn. 
Of  these  and  other  species  there  are  now  many  varieties,  and  owing 
to  this  very  wide  range  in  the  time  of  their  bloom  amateurs  frequently 
specialize  in  Cattleyas  as  giving  them  the  most  extended  delight. 

DENDROBIUMS  are  likewise  epiphytal  orchids  and  among  the 
most  beautiful.  In  growth  they  are  free  and  prohfic  and^in 
coloring  exquisitely  brilliant.  The  blooms  are  not  as  large  as 
those  of  Cattleyas,  but  they  grow  in  drooping  spikes  heavy  with 
numbers  of  elfinlike  flowers.  Wardianum,  which  blooms  late  in  the 
winter,  is  one  of  the  best  varieties ;  Nobile  has  a  number  of  fascinating 
forms;  Superbum  shows  purple  blooms  in  spring,  and  there  are  also 
a  great  many  others  since  speciahsts  have  been  very  successful  in 
their  hybridization. 

The  Dendrobes  are  not  difficult  to  grow  and  should  unquestion- 
ably be  chosen  by  the  beginner.  The  imported  pieces  should  be 
treated  much  like  Cattleyas.  When  they  cease  to  throw  out  fresh 
leaves  it  may  be  taken  as  a  signal  that  their  resting  period  is  at  hand. 
Like  other  orchids,  at  this  time  they  should  be  placed  in  cool  places 
and  given  less  water. 

Odontoglossums  are  essentially  cool  house  plants,  also  those  which 
with  judicious  treatment  are  among  the  most  readily  grown.  Odon- 
toglossum  crispum  in  disporting  its  spray  of  bloom  is  one  of  the 
490 


\ 


TBE  CLEOPATRA  FLOWER 

fairest  sights,  a  fantasy  of  the  forest.  The  flowers  come  forth  as  if 
on  the  wings  of  the  air  since  their  foHage  gives  no  hint  of  the  beauty 
that  will  one  day  spring  from  the  same  base.  Their  pseudo-bulbs, 
as  is  true  of  those  of  other  orchids,  should  be  kept  above  the  level 
of  the  rim  of  the  pot  in  which  they  are  grown.  This  genus  is  espe- 
cially impatient  of  dry' air  and  insufficient  ventilation. 

Cypripediums,  another  of  the  great  orchid  families  which  should 
appeal  to  amateurs,  require  for  the  most  part  a  warm  house,  in  fact 
a  night  temperature  which  in  winter  does  not  fall  below  fifty-five 
degrees.  There  are  a  few  which  grow  under  very  little  heat.  Insigne, 
the  best  known  member,  is  one  of  the  few  orchids  that  amateurs  need 
not  hesitate  to  introduce  among  a  general  collection  of  hothouse 
plants. 

Cypripediums  are  terrestrial  orchids  and  it  is  their  strange  forms 
which  attract  attention  rather  than  any  brilhancy  of  coloring,  green, 
bronze,  purple  and  silver  being  among  their  leading  tones.  They 
are  easy  to  grow  and  while  they  do  not  immediately  catch  and  dazzle 
the  eye  they  hold  the  interest  through  their  apartness  from  one's 
usual  conception  of  flowers. 

In  England  a  few  years  ago,  a  craze  sprang  up  over  the  Cypripe- 
diums. Extraordinary  prices  were  paid  for  certain  species  and  there 
are  still  growers  who  cultivate  them  to  the  exclusion  of  all  other 
genera.  Cypripediums  have  in  fact  been  more  crossed  and  recrossed 
than  any  other  orchids,  and  their  varieties  are  endless.  The  common 
name  of  Lady's  Slipper  clings  to  them  because  of  the  shape  of  the 
lip,  more  like  a  sabot  however  than  the  modern  shpper. 

USING   these  four  genera,   Cattleyas,   Dendrobiums,   Odonto- 
glossums  and  Cypripediums  as  a  basis  for  a  collection,  the 
amateur  will  find  range  of  color  and  form  enough  to  satisfy 
his  desire  and  to  give  him  a  legitimate,  if  not  an  over  arduous,  experi- 
ence in  orchid  cultivation.     He  will  avoid  the  flagging  interest  of 


THE     PETALS     OF     THIS     ORCHID     REMIND     ONE    OF     THE     FLAUNTING     LINES     OF     CERTAIN     TULIPS. 

491 


THE  CLEOPATRA  FLOWER 

those  who  begin  on  too  elaborate  a  scale,  enter  too  many  unsuitable 
genera,  and  who  find  themselves  doomed  to  watch  with  discourage- 
ment plants  failing  to  present  the  same  quality  of  bloom  that  has 
turned  the  eye  toward  the  florist's  window. 

Orchids  are  really  among  the  most  responsive  of  plants.  Certain 
conditions  they  demand,  it  is  true;  good  ventilation,  warmth  and 
moisture  and  to  be  potted  according  to  their  peculiar  taste.  Mainly 
they  grow  during  the  summer,  rest  in  winter  and  flower  in  spring. 
When  growing  they  need  much  water;  when  resting  they  require 
very  little.  These  requirements  however  have  been  so  closely  studied 
and  such  hard  and  fast  rules  concerning  them  have  been  established 
that  uncertainty  concerning  their  treatment  no  longer  exists.  A 
visit  to  one  of  the  orchid  nurseries  of  the  country  will  greatly  assist 
the  amateur  grower,  the  systematized  knowledge  to  be  had  on  orchid 
culture  then  being  enlarged  by  individual,  practical  experience.  The 
things  that  through  observation  and  care  one  finds  out  about  these 
exotics  render  them  especially  interesting  and  precious. 

No  "glass  house"  is  more  attractive  than  the  one  filled  with 
orchids.  Herein  the  plants  are  seen  in  various  stages  of  growth, 
in  pots,  or  hanging  in  baskets  from  the  rafters.  For  several  months 
of  the  year  a  world  of  peculiar  texture  and  coloring  is  here  represented, 
one  in  which  the  thoughts  may  wander  to  distant  and  romantic 
fields.  In  truth,  no  other  flower  has  a  like  power  to  carry  the  mind 
into  strange  and  far  countries. 

Scientists  have  argued  long  over  the  curious,  often  distorted 
orchid  shapes.  It  is  now  generally  believed  that  these  flowers,  which 
are  dependent  on  insects  for  cross-fertilization,  have  achieved  the 
shapes  of  certain  large  moths,  flies,  bees  and  other  insects  in  order 
to  attract  unto  themselves  these  agents  of  creation.  Aiming  at  self- 
preservation,  others  take  the  forms  of  creatures  that  destroy  them, 
frogs,  lizards  and  snakes,  since  by  assuming  the  appearance  of  their 
enemies  they  secure  immunity  from  attacks.  The  native  Cypri- 
pedium  regince  and  a  larger,  related  South  African  species  have  the 
form  of  a  great  spider,  the  habit  of  which  was  to  catch  small  birds 
and  to  sting  them  to  death  with  its  bite.  It  also  was  thought  that 
humming  birds  observing  this  resemblance  of  the  orchid  to  the 
dreaded  spider  passed  it  by  and  that  thus  its  nectar  was  preserved 
from  their  pilfering. 

It  requires  no  stretch  of  the  imagination  to  connect  a  spray  of 
Dendrobiums,  Odontoglossums  with  a  flight  of  butterflies;  and  a  large 
Cattleya  might  readily  seem  a  tropical  night  moth  on  the  wing  seeking 
its  prey.  Indeed  with  these  hints  freely  given  by  orchids  themselves 
florists  have  learned  to  play  the  bee  or  fertilizing  agent  so  success- 
492 


I 


A  STATELY  HOUSE 

fully  that  orchids  have  been  crossed  and  recrossed  and  a  vast  number 
of  hitherto  unknown  tj^ies  placed  on  the  market.  Tropical  orchids 
have  been  raised  from  seed  both  in  England  and  in  this  country  with 
as  much  facility  as  the  newer  types  of  gladioli.  The  operator  ac- 
quaints himself  first  with  the  individual  structure  of  each  flower  and 
then  imitates  closely  the  ways  of  the  insect  world.  The  pollen  taken 
from  one  flower  is  placed  on  the  stigmatic  surface  of  another  chosen 
to  be  the  seed-bearing  parent.  The  bloom  selected  for  cross-fertil- 
ization should  have  its  own  pollen  removed ;  it  need  not  be  destroyed, 
however,  but  used  to  cross  another  plant.  The  golden  dust  of  the 
orchid  world  must  indeed  be  valuable.  Sustained  care  and  delicacy 
of  touch  are  needed  in  the  successful  fertilization  of  orchids.  The 
work  is  not  difficult.  But  to  the  amateur  who  tries  it  for  the  first 
time  the  excitement  is  great  when  the  bloom  that  he  has  fertilized 
fades  to  be  replaced  by  a  capsule  containing  seed.  Patience  then 
must  not  forsake  him  for  the  seed  must  still  be  sown  and  its  offspring 
tended  carefully  before  the  flower  that  he  has  helped  to  create  is 
unfolded  for  his  delight.  Will  it  fulfil  the  high  hopes  of  the  operator, 
adding  one  more  to  the  already  long  list  of  orchid  marvels;  will  it 
line  his  pockets  with  gold;  give  his  name  to  posterity?  Such  are  the 
questions  he  asks  himself  while  pondering  perhaps  on  the  mystery 
of  an  orchid  capsule,  a  South  African  species  containing  over  a  million 
and  a  half  of  tiny  seeds. 


A  STATELY  HOUSE 

T^HEY  built  a  stately  house  and  dwelt  therein  and  men  said, 
-■-  "All  their  tastes  are  gratified,  how  happy  they  must  be."  And 
they  came  and  went  and  were  not  satisfied,  for  they  felt  that  they  had 
no  abiding  place.  And  they  bought  more  things  for  the  house. 
Not  until  there  came  a  birth  did  they  begin  to  feel  the  sheltering  walls. 
But  once  came  Death,  who  took  the  best  beloved,  and  as  he  went 
he  set  the  great  seal  upon  the  house  where  they  had  lived  and  made 
it  Home. 

Gertrude  Russell  Lewis. 


493 


A  MOUNTAIN  PALACE  FOR  OUR  PRESI 
DENTS:  BY  ROBERT  H.  MOULTON 

iHE  announcement  that  President  Wilson  has  consented 
to  lay  the  cornerstone  of  a  proposed  castle  of  granite 
upon  Mount  Falcon,  in  Colorado,  places  an  oflBcial 
stamp  upon  the  plan  to  dedicate  the  structure  as  the 
"Summer  Capitol"  of  the  United  States — as  the 
residence  of  the  President  and  his  staflF  during  the 
intolerably  hot  months  which  afflict  the  city  of  Wash- 
ington. The  castle  is  to  cost  fifty  thousand  dollars  and  its  approaches 
two  hundred  thousand  dollars  more.  It  is  promised  that  the  main 
part  of  the  building  will  be  completed  in  time  for  President  Wilson 
to  spend  there  the  summer  of  nineteen  hundred  and  fifteen. 

This  plan  would,  for  a  part  of  each  year,  effect  a  transfer  of  the 
seat  of  the  national  executive  power  from  the  Potomac,  in  the  East, 
to  the  foothills  of  the  Rocky  Mountains,  in  the  heart  of  the  West. 
F'or  a  part  of  each  year,  except  when  emergency  legislation  should 
require  (as  it  has  this  summer)  the  presence  of  Congress  and  the 
President  in  Washington,  the  Capitol  of  the  United  States  will.be 
upon  the  peak  of  a  Western  Mountain,  which  is  several  hundred  feet 
more  than  a  mile  higher  than  the  level  of  Washington. 

The  foundations  of  the  building  are  already  in  place,  and  every- 
thing is  in  readiness  for  laying  the  cornerstone.  The  site  is  upon 
land  donated  by  John  Brisben  Walker  who  gave  up  for  the  purpose 
a  part  of  his  big  estate  on  Mount  Falcon. 

Not  the  least  of  the  advantages  promised  by  the  Rocky  Mountain 
Capitol  is  that,  for  a  portion  of  each  year,  the  President  would  be 
in  intimate  touch  with  the  West  and  in  the  best  possible  position 
to  interpret  its  problems  and  needs.  In  turn,  the  West  would  enjoy 
for  the  first  time  the  honor  of  possessing  a  resident  President  of  the 
United  States. 

Presidents  have  hitherto  had  to  shift  for  themselves  in  the  matter 
of  summer  homes.  John  Wanamaker  gave  Harrison  a  house  at 
Cape  May.  Cleveland  owned  his  own  summer  residence  at  Buzzard's 
Bay,  as  did  Roosevelt  at  Oyster  Bay.  McKinley  went  back  to  his 
home  at  Canton,  Ohio.  Taft  rented  a  house  at  Beverly,  Mass, 
Wilson  rents  a  house  in  Cornish,  N.  H.,  and  at  Washington  has  taken 
refuge  from  the  heat  in  a  tent,  which  is  pitched  on  the  White  House 
lawn. 

According  to  the  architect's  plans,  the  castle's  north  terrace,  upon 
which  the  drawing  room  and  library  will  open,  will  look  down  over 
a  precipice  which  has  a  sheer  fall  of  two  thousand  feet.  To  the  south 
looms  Pike's  Peak  and  to  the  northeast  lies  Denver,  fifteen  miles 
away  as  the  crow  flies,  but  forty  miles  distant  by  a  winding  road. 

494 


THE  GRANITE  CASTLE  TO  BE  BUII.T  UroX  .MOUNT  FALCcjN,  IN  COLOKAUO,  AS  A  SUMMER  HOME  FOR 
OUR  presidents:  the  CORNERSTONE  IS  TO  BE  LAID  BY  PRESIDENT  WILSON,  WHO  EXPECTS  TO  MAKE 
IT  HIS  WESTERN  CAPITOL  DURING  THE  WARM  MONTHS  OF  THE  COMING  YEAR,  WHEN  THE  MAIN 
PART  OF  THE  BUILDING  WILL  BE  COMPLETED:  THE  SITE  WAS  DONATED  BY  JOHN  BRISBEN  WALKER, 
AND   THE    DESIGN    MADE    BY    JAMES    B.   BENEDICT. 


I 


THE  PROPOSED  SUMMER  CAPITOL  ON  MOUNT  FALCON  WILL  COMMAND 
MAGNIFICENT  VIEWS  OF  GRANITE  CLIFFS,  WOODED  VALLEYS  AND 
MOUNTAIN  TOPS,  WITH  PIKE's  PEAK  LOOMING  TO  THE  SOUTH  :  THE 
UPPER  PICTURE  SHOWS  THE  PRESENT  TRAIL,  TO  BE  TRANSFORMED 
INTO  A  GREAT  AUTOMOBILE  HI(;HWAY  TO  DENVER:  THE  LOWER  ONE 
PRESENTS    THE   PANORAMA    TOWARD   THE    NORTHWEST. 


A  MOUNTAIN  PALACE  FOR  OUR  PRESIDENTS 

THE  finest  view  from  Mount  Falcon,  however,  lies  to  the  west. 
Granite   cliffs   drop   perpendicularly   into   a   wooded   valley. 
Thence   the   eyes    follow     a     billowing   succession    of   green 
mountain  ledges,  spreading  out  like  waves  of  the  sea  and  mounting 
gradually  higher  and  higher  until  they  reach  a  climax  in  the  snow- 
covered  peaks  of  the  distant  Rockies. 

As  the  sun  goes  down  in  the  West  the  landscape  becomes  a  vast 
sweep  of  beauty — the  sky  above  opal,  amethyst,  topaz,  turquoise 
or  aquamarine,  and  a  hundred  ridges  displaying  every  shade  of  green, 
from  the  bright  emerald  of  the  mountain  meadows  to  the  tourmaline 
depth  of  the  pines. 

Mount  Falcon  is  not  one  of  the  high  peaks  of  the  Rockies,  but  is 
some  hundreds  of  feet  higher  than  Denver.  It  hes  about  midway 
between  the  extreme  foothills  on  the  east  and  the  Continental 
Divide.  Within  sight  on  clear  days  is  Mount  Evans,  fourteen 
thousand,  three  hundred  and  twenty-one  feet  high,  or  more  than 
two  hundred  feet  loftier  than  Pike's  Peak.  Mount  Evans  is  crowned 
with  a  perpetual  snow,  and  chill  exhalations  from  it  and  other  heights 
cool  Mount  Falcon  and  lesser  peaks  in  its  vicinity. 

The  mountain  scenery  visible  from  Mount  Falcon  is  beautifully 
diversified  by  water.  No  less  than  seventy  lakes  are  discernible 
from  its  summit.  At  its  base  winds  Bear  Creek,  a  typical  Rocky 
Mountain  trout  stream. 

The  natural  loveliness  of  the  scene  is,  according  to  the  plans, 
to  be  enhanced  by  a  magnificent  system  of  approaches  and  terraces 
which  will  soften  and  adorn  a  thousand-foot  precipice  which  the 
castle  will  overlook  on  one  side.  It  is  planned  to  make  the  castle  a 
distinctive  and  impressive  edifice,  which  will  nevertheless  be  ex- 
ceedingly attractive  and  comfortable.  Ample  quarters  will  be 
provided  for  the  President's  family,  his  attendants,  secretaries  and 
assistants. 

To  make  the  project  national,  or  at  least  Western,  its  promoters 
plan  to  raise  by  popular  subscription  the  funds  necessary  to  erect 
the  castle  and  construct  its  approaches.  The  building,  according  to 
present  plans,  is  to  be  held  in  trust  by  the  Governors  of  the  twenty- 
two  States  west  of  the  Mississippi  River,  all  of  whom  have  enlisted 
as  official  sponsors  of  the  undertaking. 

The  plan,  as  suggested,  will  make  Mount  Falcon  the  permanent 
summer  residence  of  the  Presidents,  and  will  be  for  a  portion  of  each 
year  the  center  of  the  American  Government.  Important  govern- 
mental news  would  bear  a  Colorado  date  line  instead  of  those  of  the 
District  of  Columbia,  or  New  York,  or  Massachusetts,  or  New 
Hampshire. 

497 


OUR  FRIENDS,  THE  PLANTS:  HOW  WE  CAN 
GROW  THEM  AND  WHAT  THEY  CAN  DO 
FOR  US 

"LANTS  being  living,  breathing  things  exercise  a 
positive,  almost  personal  influence  upon  the  atmos- 
phere of  the  home.  Your  interest  in  indoor  plants 
must  of  necessity  be  something  quite  different  from 
that  which  you  feel  in  your  furniture,  rugs  and 
beautiful  ornaments — one  you  like  as  a  possessor, 
the  other  as  a  friend.  As  a  matter  of  fact  it  goes  even 
further  than  this.  It  is  because  plants  demand  so  much  of  one  that 
it  is  important  to  have  them  growing  wherever  it  is  convenient 
indoors.  There  is  the  same  question  of  responsibility  and  interest 
between  you  and  your  plants  that  there  is  between  you  and  any 
human  being  with  whom  you  come  into  intimate,  friendly  contact. 
Your  association  with  all  plant  life  must  be  mutual.  You  must 
give  your  thought  and  wisdom  and  care  and  effort  for  the  life  of  your 
plant  and  in  return  a  plant  will  give  you  beauty  and  fragrance  and 
joy.  A  beautiful  peachblow  vase  may  give  you  a  great  deal  of 
interest,  but  it  demands  nothing  from  you  for  its  growth  and  loveliness, 
and  for  that  reason  it  cannot,  except  in  a  very  vague  way  hold  your 
interest,  because  interest  must  be  a  living  thing,  a  thing  that  grows 
with  the  demands  made  upon  it. 

Take,  for  instance,  the  cut  flowers  that  we  buy  by  the  dozen 
or  by  the  box  from  the  florist's.  They  may  be  full  of  charm  and  may 
add  just  the  needed  touch  of  color  and  fragrance  to  our  rooms. 
But  somehow,  with  all  their  richness,  with  all  their  highly  cultivated 
beauty,  the  product  of  years  of  professional  experiment  and  care, 
they  lack  that  pecuhar  intimacy,  that  friendliness  which  is  one  of  the 
most  lovable  qualities  of  the  home-grown  plant.  The  flower  that 
we  ourselves  have  sown  or  planted,  tended,  watched  in  each  stage  of 
its  development  and  unfolding  up  to  the  time  of  blossoming,  has  ac- 
quired an  individuality  that  no  outside  product  can  possess.  In  the 
same  way,  the  wildflowers  that  we  used  to  gather  when  we  were 
children  were  invested  with  the  special  halo  that  clings  to  things 
eagerly  waited  for,  lovingly  sought.  Half  the  pleasure  of  the  bunch 
of  arbutus  that  we  buy  today  from  a  vendor  on  the  city  street  in 
early  spring,  lies  in  the  fact  that  it  recalls  so  poignantly  the  days 
when  we  wandered  through  the  woods  in  search  of  the  tiny  pink  and 
white  blossoms,  half-hidden  among  last  year's  leaves — exquisite 
starlike  faces  whose  tender  perfume  well  rewarded  our  careful  quest. 
Rooms  without  growing  plants  are  never  really  perfectly  satis- 
factory in  spite  of  the  change  of  furniture  from  one  place  to  another, 
its  readjustment  with  fresh  color  from  time  to  time.     There  must 

498 


OUR  FRIENDS,  THE   PLANTS 


ONE  VALUE  OF  HOUSE  PLANTS  IS  THAT  THEY  KEEP  THE  FLOWERING  FIELDS,  BLUE  SKIES  AND  WHOLE- 
SOME JOYS  OF  SUMMER  FRESH  IN  OITO  REMEMBRANCE:  WHO  DOES  NOT  LIKE  TO  BE  REMINDED  ON 
WINTRY  DAYS  OF  DAISY   FIELDS? 


499 


OUR   FRIENDS,  THE   PLANTS 

always  be  moments  when  the  inanimate  room  bores  or  stifles  one, 
but  never  a  time  when  a  plant  lifting  up  its  branches  for  the  blossom- 
ing time  will  not  win  your  response,  your  desire  to  aid  it,  your  joy  in 
its  triumph. 

Indeed,  a  very  cold,  bare  and  plain  room  can  be  made  cozy  and 
inviting  by  the  introduction  of  a  few  blossoming  plants.  In  the 
summertime  they  connect  you  with  the  garden,  in  the  winter  they 
shut  you  away  from  chill  and  frost;  with  color  and  fragrance  they 
welcome  your  friends. 

And  as  a  matter  of  truth,  they  are  one  of  the  best  means  of  ethical 
training  that  can  be  imagined,  because  you  cannot  neglect  your 
plant  and  have  it  live,  you  cannot  be  whimsical  with  it,  overfeed 
it  one  day  and  starve  it  the  next,  you  cannot  treat  it  badly  and 
hope  for  forgiveness.  It  demands,  in  fact,  a  very  high  ethical 
standing.  You  will  find  this  out  if  you  ever  put  plants  in  the  keeping 
of  a  child;  plants  and  little  animals  can  do  more  to  train  growing 
children  to  a  real  understanding  of  generosity,  patience  and  devotion 
than  all  the  precepts  ever  uttered. 

They  are  in  no  sense  of  the  word  an  expensive  luxury,  but  they 
do  demand  thought  and  care.  Of  course,  blossoming  plants  can  be 
brought  from  the  florist,  and  with  no  more  care  than  an  occasional 
watering  be  made  to  last  a  week  or  two,  but  plants  raised  from  seeds, 
bulbs  or  clippings  require  a  continual,  intelhgent  nursing.  They 
are  as  sensitive  as  children  to  cold  draughts,  must  be  fed  regularly, 
washed  occasionally  and  their  little  peculiarities  given  considerable 
attention,  but  they  more  than  repay  for  any  expenditure  of  time. 
Plants  out  of  doors  experience  great  changes  of  temperature, 
of  light  and  of  shade.  Those  in  the  house  to  be  healthy  need  similar 
variation  to  keep  them  in  the  best  condition.  Their  location  in  a 
room  must  be  changed  occasionally,  now  a  bit  of  quiet  light,  then 
a  bath  of  direct  sunshine.  They  must  have  plenty  of  fresh  air,  yet 
not  be  left  in  a  draught;  light  also  is  a  necessity  to  their  being.  They 
can  do  without  direct  sun,  but  never  without  plenty  of  light,  for 
without  Ught  the  foliage  will  be  but  a  sickly,  pale  green  and  the 
plant  lack  vitality  enough  to  produce  blossoms.  The  leaves  must  be 
washed  occasionally  with  soap  suds  and  rinsed  with  clear  water  to 
keep  them  free  from' dust  and  parasites.  They  require  an  annual 
repotting  to  allow  fuller  root  growth  and  to  provide  fresh  soil  from 
which  they  may  feed.  At  such  times  the  old  soil  should  be  removed 
carefully  so  that  the  roots  will  not  be  injured  and  fresh,  lightly 
sifted  soil  added.  Unless  this  attention  is  given  them  they  wiU 
become  pot-bound,  too  firmly  packed  for  growth;  the  earth  must  be 
left  open  and  porous,  not  allowed  to  become  sour. 

500 


THE  BELL-SHAPED  GLOXINIA, 
A  POT  OF  WHICH   IS   SEEN 
BELOW,    MAKES  AN   EXCELLENT 
HOUSE  PLANT,   AND   WELL 
REPAYS  BY   ITS   FRIENDLY 
BEAUTY  THE  LITTLE  CARE 
NEEDED   FOR   ITS   CULTIVATION  : 
IT  GIVES   A   CURIOUSLY  RICH 
EFFECT  IN   BOTH    FORM    AND 
COLOR,  AND  A  SINGLE  PACKAGE 
OF   MIXED   SEEDS  WILL  BRING 
A   SURPRISING  ARRAY  OF 
LUXURIANT  BLOSSOMS    AND 
VELVETY   LEAVES   INTO  ONe's 
HOME. 


THE   CYCLAMEN,    SHOWN    ABOVE,    IS 
A  VERY  DECORATIVE  FLOWER  FOR  THE 
home:    IT  IS  DESCENDED   FROM 
WILD    FLOWERS    WHICH    THE    COUN- 
TRY  CHILDREN   CALL   "SHOOTING 
stars"   BECAUSE   THEY  BLOSSOM    SO 
QUICKLY  AFTER  THE  ARRIVAL  OF 
THE   SPRING  SUN,    AND  BECAUSE 
THEY   SEEM   TO   SHOOT  TO  EARTH 
LIKE  A   ROCKET   WITH   A  TRAIL  OF 
SPLENDOR  BEHIND   THEM  :    "MADCAP 
violets"  IS  ANOTHER  OF  THEIR 
FANCIFUL  names:   THE  CULTIVATED 
VARIETY   RANGES    IN   COLOR   FROM 
PURE  WHITE,  THROUGH   PINK,  ROSE, 
MAGENTA  AND  CERISE  TO  DEEPEST 
REDS,   WHICH   FORM   A  RICH   CON- 
TRAST AGAINST  THE  BEAUTIFULLY 
VEINED  LEAVES. 


^fhi  by  Nathan   R.    Graves. 


VL< 


THE  CINERARIA,   TWO  OF    WHICH    ARE   SHOWN 
HERE,   SENDS  UP  MANY   STEMS  BEARING 
FLOWERS   WHICH   REACH,   UNDER  PROPER  CARE, 
Til   A   CIRCUMFERENCE  OF   FROM    SEVEN   TO 
NINE   inches:    MOST  OF  THE  COLORS   ARE 
PRIMITIVE,   WITH    FEW    HALF  TONES  TO  SOFTEN 
THEIR  BARBARIC  SPLENDOR:  THEIR  GAY 
PRESENCE  IS  ESPECIALLY   WELCOME  IN 
HARK  ROOMS,  TO  BRIGHTEN   AN   INVALID's 
TAF.LE  OR  ADD  BEAUTY  TO  A   WINDOW   SILL. 


THE  INDOOR  GARDENER  FINDS 
IN   THE  LARGE  FAMILY  OF 
I'RIMULAS  CHARMING  FLOW'ER 
FRIENDS:  THEIR  STARRY  FACES, 
VELVETY   STEMS   AND  SOFT 
t^RAY  LEAVES  BRING  A  DE- 
LIGHTFUL OUTDOOR   NOTE  INTO 
WINTER   ROOMS,   AND  THE 
IlKLICATE  PERFUME  ADDS  TO 
THEIR   ATTRACTION. 


THE  CURIOUS  BLOSSOMS 
OF  THE  CALCEOLARIA  ARE 
TO  BE  SEEN   BELOW  :  THIS 
COMPACTLY    GROWING, 
STRANGELY  LOBED  PLANT, 
WITH  ITS  ORCHID-LIKE 
MARKINGS  AND  HEART- 
SHAPED  LEA\^S   WILL   HOLD 
ITS  FLOWERS   FOR   MANY 
WEEKS   WHEN   PLACED 
AWAY  FROM   DIRECT   LIGHT 
IN  THE  CENTER  OF  THE 
DINING  TABLE. 


INDOOR   PLANTS 
ARE  AS   SENSI- 
TI\-E  AS  CHILDREN 
TO  COLD  DRAUGHTS. 
MUST  BE  FED  RECU- 
L.\RLY,    W.\SHED 
OCCASIONALLY  AND 
THEIR  LITTLE 
PECUUARITIES 
MUST  BE  GIVEN- 
THOUGHTFUL  .\T- 
TENTION  :    THEY 
MORE   THAN    REPAY, 
HOWE\-ER,    IN 
THEIR   COLOR,    GRACE 
A.\D   PERFUME,   THE 
C.\RE   EXPENDED 
UPON   THEM. 


TWO   INTERESTING   VARIE- 
TIES  OF  GLOXINIA   ARE 
SHOWN    IN    THE   PHOTO- 
GRAPHS AT  THE  TOP  .\ND 
BOTTOM  OF  THIS  PAGE  : 
SOME  OF  THESE   PLANTS 
ARE   OF   TUBEROUS    GROWTH 
WITH    DWARF   HABITS, 
AND  THESE   THRIVE    PAR- 
TICULARLY  WELL  INDOORS  : 
CARE  SHOULD  BE  TAKEN 
IX    W.^TERING  NOT  TO  WET 
THE   LE.WES,  AS   THIS 
WOULD   SPOT  THEM   AND 
MAR    THEIR   BEAUTY. 


THI-:  PLANT   SHOWN    AT 
THF.   RIGHT    HAS    A   PKO- 
FUSION   OF  SOFT  PIKK 
BLOSSOMS  WHICH  APPEAR 
IN    SEPTEMBER  ;   AS   A 
RULE,    IT   DOES    NOT   AT- 
TAIN   MORE    THAN    A 
FOOT   AND  A    HALF   IN 
HEIGHT  :  THE  BOTANICAL 
NAME  IS  BAUERA 
RUBI.EDES  :   IN   A  ROOM 
WHERE  GREEN,   GRAY  OR 
ROSE   PREDOMINATED  IX 
THE  DRAPERIES   AND 
DECORATIONS,   A   POT   OF 
THESE  GRACEFUL  FLOWERS 
WOULD   ADD   A   CHARMING 
COLOR  NOTE  OF  CONTRAST 
OR   HARMONY  :   INDEED, 
IN    SELECTING  THE   IN- 
DOOR PLANTS  FOR  THE 
VARIOUS  ROOMS,  THIS 
QUESTION   OF   COLOR 
SHOULD  BE  KEPT  WELL 
IN    MIND. 


A    CLUSTER    OF 
ORANGE  BLOSSOMS 
IS   PICTURED   AT 

THE  left:  under 

FAVORABLE  CONDI- 
TIONS THIS  GRACE- 
FUL FLOWER  WILL 
GROW    INDOORS, 
AND  THOUGH    IT 
SELDOM    MATURES 
FRUIT    IT   FILLS 
THE    AIR    WITH 
SWEET   PERFUME 
AND  GIVES   A   FES- 
TIVE   NOTE   OF 
DECORATION. 


OUR   FRIENDS,  THE   PLANTS 

Wlien  plants  are  taken  up  from  the  garden  in  the  fall  the  earth 
must  be  left  clinging  to  the  roots  as  much  as  possible,  for  then  it  is 
sweet  and  full  of  vitality;  but  after  the  plants  have  lived  in  the 
house  for  some  time  the  soil  must  be  replenished  or  else  enriched 
by  some  of  the  many  excellent  plant  foods  placed  on  the  market. 
The  best  soil  for  indoor  plants  consists  of  undecayed,  organic  matter 
like  leaf  mold,  mixed  with  a  Httle  sand.  The  earth  must  never 
reach  to  the  top  of  the  pot,  but  enough  space  be  left  to  hold  water 
and  an  occasional  application  of  plant  food. 

Most  people  water  their  house  plants  too  generously.  More 
of  these  beautiful,  Uving  plant  friends  are  lost  through  too  much 
water  than  too  little.  When  they  are  growing  rapidly  of  course 
they  require  more  frequent  watering  than  at  their  resting  times. 
The  condition  of  the  soil  at  the  top  gives  indication  of  their  need. 
When  the  soil  is  dry  it  pulls  away  from  the  sides  of  the  jar,  then 
water  should  be  applied  until  it  runs  through  into  the  saucer.  No 
more  water  should  be  given  until  the  plant  is  dry  again.  This  holds 
good  with  nearly  all  plants  with  the  exception  of  ferns  which  need 
a  continual  moisture,  though  not  a  soggy  condition.  The  pots 
themselves  even  must  be  kept  free  from  mold  and  dirt  so  that  the 
plants  can  breathe  naturally. 

Among  the  plants  suitable  for  home  growing  the  cinerarias  are 
to  be  heartily  recommended  for  they  are  of  an  infinite  variety  of 
gay  colors,  easily  grown,  very  hardy  and,  being  annuals,  blossom  the 
first  season  from  seeds.  Each  plant  sends  up  many  stems  bearing 
flowers  which  reach,  under  proper  care,  to  a  circumference  of  from 
seven  to  nine  inches.  Most  of  the  colors  are  crude  and  primeval- 
looking,  with  few  half  tones  to  soften  their  barbaric  splendor.  Their 
jaunty  gaiety  is  much  in  demand  to  enhven  dark  rooms,  give  beauty 
to  a  window,  brighten  a  sick-room  table.  Many  good  hybrid  mix- 
tures can  be  had  at  only  five  cents  a  package.  Hybrid  gigantea,  a 
large  showy  species,  is,  as  the  name  indicates  of  unusual  size.  It 
is  popular  for  greenhouse  displays  as  well  as  for  individual  house 
plants.  Maritima  diamond,  "Dusty  Miller,"  makes  a  good  bedding 
display  for  outdoor  gardens;  Grandiflara  stellata,  a  star  cineraria, 
is  one  of  the  most  popular  species.  There  are  large-flowered  white, 
dark  blue,  azure  blue,  pink,  scarlet,  shaded  and  rimmed  varieties, 
standing  well  above  deeply  veined,  beautifully  shaped  leaves. 

The  bell-shaped  gloxinias,  startling  of  form  and  coloring,  make 
magnificent  house  plants.  One  package  of  mixed  seeds  will  fill 
the  house  with  Oriental  color.  There  are  also  wonderful  tuberous 
plants  of  dwarf  habits,  which  thrive  accommodatingly  indoors.  Their 
trumpet  blossoms  held  aloft  on  stout  stems  as  though  gnome  buglers 

505 


OUR   FRIENDS.  THE   PLANTS 


THE 

LARGE 

WHITE 

FRAGRANT 

FLOWERS 

OF  THE 

CARPENTESIA 

CALIFORNICA 

ARE 

SHOWN 

HERE. 


were  about  to  pipe  a 
merry  tune  upon  them 
are  of  every  conceivable 
rainbow  shade,  from 
dark  wine  and  deep  scarlet  to  light 
blue  and  violet.  Sometimes  they  are 
white-edged,  variously  striped  or  even 
spotted  finely  like  the  breast  of  a 
thrush.  Emperor  Frederic  is  red  with 
a  white  border;  Mt.  Blanc,  pure  white;  Emperor 
WiUiam,  violet  blue  with  white  throat;  Defiance,  a 
rich,  crimson  scarlet.  In  watering  this  wonderfully 
colored  plant  care  must  be  taken  not  to  wet  the  leaves,  else 
they  will  spot  and  lose  much  of  their  beauty. 
Calceolaria,  a  compact,  strangely  lobed  growth,  with  orchid-Uke 
markings  of  blossoms,  and  heart-shaped  leaves  is  another  plant 
which  will  thrive  willingly  in  sunny  windows  and  hold  its  matured 
flowers  for  many  weeks  when  placed  away  from  direct  light  in  the 
center  of  a  dining  table.  They  look  as  much  hke  harmless  little 
tiger  kittens  cuddled  peacefully  among  green  leaves  as  the  blossoms 
of  the  willows,  like  soft  Maltese  kittens  scampering  up  a  yellow  stem. 
There  are  several  dwarf  varieties  as  well  as  many  giant  ones,  all 
notable  for  freakishly  rich  coloring.  A  tiger-spotted  superba  and  a 
shrub  rugosa  are  favorites  for  outdoor  growing. 

Among  the  giant-flowered  cyclamen,  that  greatest  of  all  house 
favorites,  may  be  mentioned  the  Aigburth  crimson,  white  perfection, 
the  Princess  May,  a  white  with  rose  tip;  the  lilac,  peach  blossom, 
506 


OUR   FRIENDS,   THE  PLANTS 

rosy  morn  and  salmon.  These  names  like  the  names  given  by  the 
Indians,  being  descriptives,  need  no  explanation.  There  is  no  limit 
to  the  shades  of  cyclamen  to  be  had,  for  they  range  from  pure  white, 
through  pinks,  rose,  magentas  and  cerises  to  the  darkest  of  wine. 

The  great  family  of  primulas  make  charming  house  plants,  for 
their  sweet  star  faces,  velvety  stems  and  soft  gray  leaves  can  be 
depended  upon  as  nearly  as  can  anything  in  the  whole  flower  world 
to  brighten  winter-dull  rooms.  There  is  a  delicate  perfume  to  most 
of  the  primulas  which  gives  them  additional  charm.  Malacoides  is  of 
a  dehcate  shade  of  lavender,  growing  in  whorls  on  tall  spikes ;  Forbesi — 
baby  primrose,  a  dainty  rose  color  with  golden  eyes.  Primroses  show 
beautiful  lavender  and  Ulac  strains  which  give  them  value  to  people 
insistent  upon  certain  color  harmonies  in  rooms. 

And  what  can  be  said  in  praise  of  the  faithful  geranium,  that 
humble  flower  which  blossoms  as  gaily  in  an  old  tin  can  as  in  the 
finest  of  porcelain  jars,  that  good  Samaritan  of  flowers  which  goes 
down  to  the  tenements,  filUng  dull  rooms  with  warm  glory  of  coloring! 
The  red  geranium  in  the  kitchen  window  transforms  a  kitchen  into 
a  living  instead  of  a  drudgery  room.  When  all  else  fails  the  geranium, 
pink  or  red,  is  to  be  had  for  but  a  few  pennies  and  a  trifling  amount 
of  care. 

Schizanthus  wisetonensis,  the  bridal  veil,  is  much  in  demand  for 
pot  culture  and  exhibitions.  It  grows  well  in  greenhouses  or  in  a 
simny  window.  The  glossy-leaved  dracsena,  almost  more  of  a 
favorite  than  the  rubber  plant,  will  stand  apparently  any  amount  of 
neglect,  continue  to  thrust  its  wine-colored  new  leaves  above  the  dark 
green  older  ones  in  a  way  that  makes  it  seem  in  blossom.  Some  with 
brilliant  crimson  foUage,  suffused  with  pink  and  white  make  almost 
as  gorgeous  a  display  as  blossoming  plants.  Then  there  are  the 
araucarias  which  look  much  Uke  dwarf  pines  and  do  well  in  cool 
rooms  or  veranda  sun  parlors.  The  graceful  asparagus  fern,  its 
cousin,  springerii,  are  invaluable  as  decorative  plants. 

The  dwarf  citrus  fruits,  the  orange  and  lemon,  under  favorable 
circumstances  will  blossom  indoors,  filUng  the  room  with  penetrating 
perfume  though  seldom  being  able  to  mature  fruit. 

Beside  the  large  number  of  dwarf  palms  and  pines,  laceUke  ferns, 
ivies  and  bay  trees,  there  are  the  great  race  of  bulbs,  the  tuUps, 
daffodils,  crocuses,  hyacinths,  narcissus  and  jonquils  which  can  be 
made  to  bloom  continuously  from  Thanksgiving  until  Easter.  All 
of  the  plants  just  mentioned  are  distinctly  house  plants  which  will 
grow  in  rooms  without  the  aid  of  conservatories.  Many  other  plants 
including  azaleas,  anterrhinums,  nicotiana,  pansies,  require  the  warmth 
and  light  of  glass  houses. 

507 


VINTAGE,  NINETEEN  FOURTEEN:  A  STORY: 
BY  WILL  LEVINGTON  COMFORT 

OYLAN,  of  the  Polar  Failure  especially,  but  an  old 
head  for  the  war  stuff,  with  young  Darnton  had 
pulled  together  through  the  waiting  days  in  Belgium 
— nothing  much  going  out,  but  pale  death  and  red 
war  making  pictures  in  their  brains  that  burned  for 
answer.  Between  them  they  had  seen  the  butcheries 
and  blackenings  of  Liege,  Namur  and  Charleroi;  of 
many  lesser  towns  besides,  and  were  hung  up  now  in  Laraffy,  which 
had  escaped  wrecking  so  far,  and  was  still  trying  to  pursue  its  regular 
business  in  the  mighty  tension.  The  two  correspondents  had  come 
in  two  weeks  before  with  a  German  reserve  column,  which  was  now 
anointing  the  French  vineyards.  They  lived  together,  under  the  eye 
of  the  German  garrison,  in  the  club  room  of  socialists  who  no  longer 
foregathered. 

Darnton  was  out  on  the  night  that  Major  Ulrich,  their  official 
suppresser,  called  with  the  announcement  that  two  would  be  permitted 
to  go  on  into  France  with  a  column  leaving  to-morrow. 

"It  may  be  you  will  watch  us  enter  Paris,"  he  said  to  Boylan. 

"My  young  friend  Darnton  will  be  glad  to  hear  that,  Major." 

"WTiere  is  Mr.  Darnton  to-night.''" 

"He's  calling  on  a  lady — " 

"Ah,  yes,  Miss  CooUdge  of  America — the  paint-tube  lady.  She 
is  going  on  up  to  Holland  to-morrow  with  other  foreigners  who  have 
remained  thus  far." 

Major  Ulrich  was  a  bit  bright  with  wine,  but  not  so  as  to  rock. 
He  would  have  remained  longer,  but  Boylan  wanted  to  see  Darnton 
and  to  do  other  work,  so  did  not  suggest  opening  anything.  He  Uked 
the  younger  man  more  than  Darnton  knew,  and  likings  of  this  sort 
were  not  even  occasional.  Boylan  was  nearing  fifty — a  man  all  in 
one  piece— thick,  hard,  scarred  with  la  viruela,  a  saber  sweep,  a  green 
blue  arc  in  his  throat  where  some  dart  or  arrow  had  torn  its  way  in 
between  the  vital  columns.  His  head  was  bald  and  wrinkled,  but 
very  big,  his  neck  and  jaw  to  match,  his  eyes  a  soft  blue  that  once 
had  been  his  secret  shame — a  man  often  called  to  the  glare. 

Just  now  Boylan  was  in  the  street — on  the  way  to  the  house  where 
a  few  courageous  Americans  beside  Miss  CooUdge  had  stayed  as  long 
as  permissible.  Darnton  would  be  there.  ...  A  certain  dead 
cavalry  horse  was  powerful  in  the  air.  Boylan  knew  exactly  where 
it  lay,  for  it  had  called  attention  for  three  days — saddled  and  all. 

He  pushed  open  the  hallway  door,  and  heard  Darnton's 

voice.  The  place  was  dim.  They  neither  saw  nor  heard  him. 
The    huge    scarred    head    of   the   old    warwolf    withdrew    jerkily. 

508 


VINTAGE,  NINETEEN  FOURTEEN 

What  he   had  to   say   would  have  to   wait   until    Darnton   came. 

Boylan  went  to  his  own  quarters  and  sat  by  the  open  window. 
He  was  accustomed  as  any  man  can  be  to  unremoved  horse  by  this 
time.  It  came  steadily  to  his  nostrils,  mingled  with  the  leathery 
smell  of  his  own  field-outfit  in  the  room.  Presently  he  looked  at  his 
watch,  and  snapped  the  case  shut  with  a  crack.  The  strength  of 
his  fingers  would  have  broken  a  filbert. 

Then  he  muffled  his  machine  in  a  blanket  and  went  to  work. 

DARNTON  was  thirty  with  a  year  or  two,  a  strong  quiet 
force,  though  his  only  previous  war-work  had  been  the  Balkan 
preliminaries.  All  these  years,  though  he  had  made  many  men 
like  him,  he  had  moved  to  and  fro  without  a  touch  of  the  crippling 
emotions  which  Marthe  Coolidge  had  so  suddenly  called.  Without 
many  words  she  had  made  him  ashamed  of  the  present  work,  for  he 
had  been  an  exploiter  of  war,  considering  it  the  ranking  adventure, 
the  big  gun  sport  which  called  brave  men.  With  her  in  his  mind — 
and  she  had  not  been  elsewhere  of  late — there  was  something  gross 
and  unendurable  in  the  ravage  everywhere. 

"These  are  not  times  for  a  man  to  whimper,"  he  was  saying 
(about  the  time  Boylan  ducked  his  head  back  from  the  hallway  door), 
"but  I  haven't  done  so  hard  as  to  let  you  go  — " 

He  had  not  heard  of  his  own  leaving — only  that  she  and  the  others 
were  going  north  to  Holland  the  next  day  — . 

"I'll  watch  for  your  work,"  she  said.  "I'll  probably  get  down 
toward  Paris — if  it  holds.     Anyway  I'll  watch — " 

"  ....  It  was  queer  to  find  you  here — queer,  and  has  been  hard 
sometimes  to  remember  that  we  are  in  the  heart  of  The  Great  War. 
You've  spoiled  everything  — " 

She  smiled.  "That  had  to  come — I  mean  for  you  to  see  it  all 
differently." 

"We  need  each  other's  eyes  to  get  along  — " 

I've  moved  about  here  for  days  in  some  kind  of  a 

dream,"  she  whispered,  "as  if  something  were  dead  inside.     The 
world  has  gone  insane  — " 

"Go  up  into  Holland — to  Flushing  or  Rotterdam  and  wait  — " 

"Yes,  I'll  wait  and  watch  for  you Good-by Oh, 

we'll  meet  again — eye  to  eye  — " 

Darnton  found  the  big  belted  one  at  work  when  he  reached 
quarters,  was  growled  at,  heard  the  news  and  was  glad. 

Deep  afield  with  the  German  reserves  and  caught  at  last  in  the 

edge  of  the  great  battle After  eternal  days  it  seemed  to 

both  Boylan  and  Darnton   that  they   were  forgotten — as  a  pair 

509 


VINTAGE,  NINETEEN  FOURTEEN 

of  buttons  on  the  German  uniform — forgotten  because  they  served 
and  were  not  in  the  way.  All  that  had  not  to  do  with  Marthe  Cool- 
idge  was  black  as  the  Belgian  night  to  Darnton's  thoughts,  but 
Boylan  was  always  by.  He  could  not  have  managed  but  for  that. 
There  were  days  in  which  it  appeared  that  half  the  world  was  down 
and  bleeding;  the  other  half  trying  to  lift,  pulling  at  the  edges  of  the 
fallen,  as  one  would  pull  at  a  stupefied  body  in  a  burning  house.  At 
night,  through  the  silence  between  the  cannon,  sometimes  over  the 
vineyards  through  cold  rains,  there  came  to  their  ears  the  sound  of 
church-bells.  The  German  officers  declared  there  were  no  such 
sounds. 

"If  I  ever  get  out  of  here,  I'll  write  one  thing — one  battle  till 
I  die — one  story — and  I'll  call  it  Vintage  'Fourteen.' " 

For  they  were  fighting  in  the  vineyard  of  France,  and  what  a 
fertilizing  it  was — phosphor  and  potash  and  nitrogen  in  the  perfect 
solution  of  human  blood.  .  .  .  Boylan  saw  more  and  more  that 
Darnton  was  queer. 

"I  can't  write,"  the  younger  man  said.  "I  feel  Uke  one  man  dying 
under  a  mountain  of  dead.  I  don't  want  to  live.  I  don't  want 
to  die.     I  believe  it's  all  one,  and  that  this  is  the  end  of  the  world." 

Darnton  could  work,  however.  Day  and  night  he  tugged  at  the 
dead  and  the  dying  in  the  field  and  in  the  field  hospitals. 

"The  world  calls  this  the  great  German  fighting  machine,"  he 
would  say,  "but  we're  inside.  We  can't  call  it  that.  It's  the  most 
pitiful  and  devitalized  thing  that  ever  ran  up  and  down  the  earth. 
And  it  doesn't  mean  anything.  It's  all  waste — like  a  great  body 
killing  itself  piece  by  piece — all  waste  and  death." 

He  tried  to  make  death  easy  for  a  soldier  here  and  there,  but 
there  was  so  much.  His  clothing  smelled  of  death ;  and  one  morning 
before  the  smoke  fell,  he  saw  the  sun  shining  upon  the  vineyard — and 
the  thought  held  him  that  the  vineyards  were  immortal,  and  men  just 
the  dung  of  the  earth.  .  .  .  One  night  Boylan  asked  as  they  lay 
down : 

"Who  are  you?" 

"Darnton." 

"Yep,  and  I'm  Boylan.  You're  at  liberty  to  correct  if  wrong. 
Are  we  ever  going  to  die  or  get  out.'*" 

"I  don't  know.  .  .  .  Boylan,  you've  been  good  to  me.  We're 
two  to  make  one — eye  to  eye — " 

"You're  making  a  noise  like  breaking  down  again — don't  Darnton. 
I've  gone  on  a  bluff  all  my  life.  I'm  a  rotten  sentimentalist  at  heart- 
soft  as  smashed  grapes.  It's  my  devil.  If  you  break  down  I'll 
show  him  to  you  — " 

510 


VINTAGE,  NINETEEN  FOURTEEN 

"It  wouldn't  hurt  you  to  beller  like  a  girl." 

"Maybe  not,  but  I'd  shoot  my  head  off  first." 

"Did  you  see  the  old  leprous  peasant  today?  He  was  humpbacked, 
and  he  had  no  lips,  but  teeth  like  a  dog.  He  pulled  at  the  soldier's 
stirrup  as  we  rode  into  town.     The  soldier  was  afraid  and  shot  him." 

"Shut  up,  Darnton,  or  you'll  get  me.  I've  shown  you  more  now 
than  living  soul  knows  — " 

"You  ought  to  show  it  to  a  woman.  A  man  isn't  right  until  a 
woman  knows  him  in  and  out." 

"For  the  love  of  God — go  to  sleep!" 

THEY  sank  into  restless,  haunted,  death-ridden  dreaming;  and 
so  it  was  many  nights,  until  the  dawn  that  they  fronted  an 
abrupt  rive,  saw  the  rising  vineyards  opposite  and  were  swept 
possibly  by  mistake  into  the  center  of  comprehensible  action — a 
picture  lifted  from  the  hundred  mile  ruck. 

The  little  town,  so  far  nameless  to  them,  stood  on  the  slopes  about 
a  half  mile  up  from  the  river,  overlooking  the  vineyards  and  in  the 
midst  of  them.  A  quick-fire  gun  or  two  was  emplaced  in  that 
vicinity,  and  two  batteries  of  bigger  bores  (that  they  knew  of), 
higher  on  either  side.  Infantry  intrenchments  that  looked  like  mole- 
tracks  from  the  distance  corrugated  the  slopes  in  lateral  lines,  and 
roads  came  down  to  the  two  bridges  that  spanned  the  swift  stream, 
less  than  a  mile  apart. 

The  morning  was  spent  in  artillery  duelling.  The  French  seemed 
partly  silenced  at  noon.  At  no  time  was  their  attack  cocky  and 
confident.  The  Germans  determined  to  cross  in  the  early  afternoon. 
This  movement  was  not  answered  by  excessive  firing.  German 
cavalry  and  small  guns  on  the  east  bridge,  heavy  masses  of  helmets 
took  the  west.  Boylan  and  Darnton  rode  with  the  artillery.  Even 
as  the  German  forces  combined  for  position,  the  firing  of  the  French 
was  not  spiteful.  There  seemed  a  note  of  complaint  and  hysteria. 
There  was  no  tension  in  the  German  command;  it  was  too  weathered 
for  that. 

Now  the  cavalry  went  into  action  and  guns  moved  away  farther 
to  the  east  for  higher  emplacement. 

"They're  going  to  charge  the  horses  up  into  the  town.  They 
haven't  much  respect  for  the  infantry  trenches,"  said  Boylan. 

At  that  moment,  Darnton  got  a  clearer  mental  picture  of  Marthe 
Coolidge's  face  than  had  come  for  weeks.  Often  at  night  he  had 
tried  to  think  just  how  she  looked,  but  it  was  easier  to  remember 
something  which  Darnton  designated  secretly  as  her  soul.  She  passed 
in  a  flash. 

S" 


VINTAGE,  NINETEEN  FOURTEEN 

His  body  was  bent  in  the  concussion  from  behind;  the  turf  rocked 
with  it.  He  turned  and  saw  the  middle  stone  abutment  of  the  nearer 
bridge  Hfted  from  the  stream,  the  whole  background  sky  black  with 
dust  and  rock.  Then,  just  as  he  thought  of  it,  the  west  bridge  went. 
He  spoke  before  Boylan,  and  rather  imerringly,  as  one  does  at  times 
coming  up  from  a  dream. 

"They've  trapped  what  they  think  they  can  handle— and  fired 
the  bridges  by  wire." 

Boylan  said:  "I  can't  call  it  German  stupidity,  because  it  didn't 
occur  to  me  that  the  bridges  were  mined.  .  .  .  Oh,  God,  it's  to  be 

another  leisure  spraying.     We're  in  the  slaughter-pen God, 

man,  look  at  the  horses!" 

It  had  been  too  late  to  call  back  the  cavalry.  Darnton's  eyes 
foUow^ed  Boylan's  sweeping  arm.  The  horsemen  were  in  skirmish 
among  the  grapes,  just  breaking  out  into  charge.  The  town  above 
and  the  emplacement  adjoining  which  had  kept  their  secret  so  well, 
were  now  in  a  blur  of  sulphur  from  mitrailleuses  turned  upon  the 
cavalry  charge.  The  whole  line  went  down  in  the  deluge — suddenly 
vanished  under  the  hideous  blat  of  the  machines — whole  rows  rubbed 
into  the  grapevines — a  few  beasts  rising  empty!  shaking  themselves 
and  tumbling  back — no  riders.  Darnton  turned  to  the  infantry  in 
formation  on  the  western  slopes.  The  French  fire  was  not  lax  now, 
not  discouraged  in  the  least,  nor  hysterical.  It  was  cold-blooded 
murder  in  gluttonous  quantity. 

Boylan  and  Darnton  forgot  themselves.  Cavalry  gone — they 
turned  to  the  west  and  saw  the  poor  men-beasts  in  rout.  Even  the 
infantry  comprehended  the  trick,  and  felt  something  superhuman 
behind  it.     They  rushed  back  towards  the  river— swift,  ugly  with 

white  patches  and  unfordable,  requiring  a  good  swimmer 

The  eyes  of  Boylan  turned  back  to  the  horse.  He  had  always  loved 
the  cavalry — ridden  with  the  cavalry  always  by  preference — but 
Darnton  was  watching  the  river — the  hands  up  from  the  center  of 
the  river 

They  were  alone,  and  now  the  French  machines  were  on  the 
German  batteries  not  yet  emplaced,  none  unlimbered.  It  was  as  if 
the  wind  carried  them  the  spray  from  the  sweeping  fountains,  turned 
from  the  horse  to  put  out  the  guns.  Darnton  was  hit  and  down — 
hit  again  and  the  night  slowly  settled  upon  him,  bringing  the 
bells. 

"Who  are  you?"  someone  piped  sharply  in  French. 

"Two  American  correspondents.     I  can  take  care  of  this  man." 

It  was  the  voice  of  Boylan,  very  weary.  Darnton  felt  the  heavy, 
hard  hands  that  had  been  tugging  at  his  flesh  for  hours. 

512 


VINTAGE,  NINETEEN  FOURTEEN 

The  Frenchman  said:  '"American  correspondents  ....  search 
....  if  true,  conduct  them  to  the  EngHsh  camp." 

Then  Boylan's  voice.  "Yes,  he's  hard  hit  and  heavj^  as  hell. 
Passports  in  hip-pocket I'll  carry-  him thanks  — " 

It  seemed  part  of  an  eternal  night.  Darnton  only  knew,  and  that 
from  time  to  time,  that  he  had  messages  to  carry. 

"There's  no  other  way — I've  got  to  get  through  the  lines  — " 

"Quite  right,"  Boylan  panted. 

"I  don't  want  to  fail.  She  wouldn't  look  twice  at  a  man  who 
failed  — " 

"Hell,  child,  sit  still.  She'd  look  twice  if  you  failed  a  thousand 
times Hai,  don't  tear  open  a  man's  bridle-arm.     \Miat  is  it?" 

"He  was  humpbacked — no  lips — teeth  like  a  dog — and  the  trooper 
shot  him." 

"I  know,  but  he's  dead.  His  back  is  straight  now — don't  look 
any  worse  now  than  ten  thousand  other " 

Boylan  was  trudging  after  a  French  sentry — the  Enghsh  camp 
ahead.     They  passed  sentry  after  sentrj'  each  time  deadly  waiting. 

"Hai,  you,"  he  called  at  last  to  the  soldier,  "I  can't  go  any  further. 
"Send  a  wagon.  Tell  the  English  two  American  correspondents  are 
sitting  out  here — one  with  a  bullet  or  two  through  his  chest." 

He  sank  down  with  Darnton,  badly  bandaged  across  his  lap. 

"I  never  knew  it  to  fail,"  he  muttered.  "The  man  who  wins  a 
woman  gets  the  steel  when  it's  any\\'here  in  the  air,  but  bullets  fly 
wide  and  knives  curve  about  a  lonely  maverick  who  has  lost  all  his 
heart  winnings." 

They  found  Boylan  so,  the  jaw  clenched,  the  huge  scarred  head 
bare  and  covered  with  night  dew,  his  friend  breathing.  It  was  all 
on  the  wire  that  night. 

SOME  unique  thing,  Boylan  that  rock  of  a  man,  had  found  in 
Darnton.  For  seven  days  and  nights — (though  broken  with 
incredible  fatigues,  a  yellow  line  of  bone-color  showing  across 
his  nose  under  his  eyes) — Boylan  sat  by  in  cars  and  ambulances  until 
they  reached  the  city  of  the  womenfolk  and  a  regular  Parisian  bed. 
What  he  gave  to  Darnton  was  clear,  what  he  took  from  a  man  down, 
and  a  woman's  property  at  best,  is  not  known.  Perhaps  in  the  great 
strains  and  pressures  of  the  campaign  he  had  seen  Darnton's  soul, 
the  mechanism  and  light  effects  appertaining,  and  found  it  true.  It 
may  be  that  Boylan  had  never  been  quite  sure  that  a  man-soul  could 
be  true,  and  having  found  one,  was  ready  to  go  the  limit.  That's 
only  a  hazard. 

Darnton  himself  didn't  know.     He  was  a  lump — one  little  red 

513 


VINTAGE,  NINETEEN  FOURTEEN 

lamp  burning  in  that  big  house  of  a  man — flickering,  at  that,  its 
color  bad,  its  shadow  monstrous.  Every  one  but  Boylan  had  de- 
clared that  he  would  die  from  that  wound  in  his  chest. 

Boylan  was  sitting  now — the  seventh  afternoon — at  the  edge  of 
the  Parisian  bed,  when  he  heard  a  voice  below.  His  jaw  clenched 
as  it  had  done  that  night  outside  the  British  camp.  The  woman  had 
found  them.  

"I  was  waiting  in  Flushing,  as  he  said,  when  I  read  the  story  of 
his  wound,  and  the  way  you  brought  him  through  to  the  English  lines, 
I  can't  get  over  that." 

"Humph,"  came  from  Boylan,  as  he  watched  her,  for  her  eyes  were 
upon  the  bed 

Darnton  was  still  afar  off. 

The  woman  saw  the  situation  at  once;  in  fact,  she  saw  the  woman 
in  Boylan,  the  mysterious  draggled  secret  creature,  which  he  desig- 
nated his  devil  on  occasion.  The  great  war-man  gave  her  credit  for 
no  such  penetration.  Miss  Coolidge  kept  herself  second,  never 
played  the  love-lady,  advised,  assisted,  would  not  let  Boylan  go. 

"He  is  knit  to  you.     He  will  die  if  you  go,"  she  said. 

Another  time  she  told  him :  "Oh,  you  won't  understand.  I  know 
what  you  are  and  what  you've  done.  You  can  hate  me  all  you  wish, 
but  you've  got  to  take  what  I  give  you — " 

"You're  an  all  right  young  woman,"  Boylan  remarked.  "I  knew 
that  before  Darnton  did."  In  something  hke  panic,  he  added: 
"He'll  know  you  to-night.  He's  cool.  He'll  pull  through.  He'll 
know  you  to-night,  and  then  I  go." 

"Not  until  he  sees  you  — " 

It  wasn't  that  night,  but  the  next  morning  Darnton  opened  his 
eyes  with  reason  and  organization  back.     He  saw  Boylan. 

"Hello,"  he  said. 

"Hello,  boy." 

Darnton  looked  beyond  him,  and  around  the  room. 

"Go  to  sleep,"  said  Boylan. 

"I  won't." 

"Then  wait  a  minute." 

Boylan  came  back  with  her.  Darnton  managed  to  get  his  knuck- 
les up  to  rub  his  eyes. 

"He's  back  with  us,"  Boylan  whispered. 

"Don't  go,"  she  pleaded. 

"Don't  be  a  fool,"  said  Boylan. 

She  bent  over  Darnton,  lower  and  lower.  It  was  against  nature 
for  them  not  to  forget  themselves  for  a  moment,  and  Boylan  was 
away  and  in  the  streets. 

514 


ABSENCE 

He  saw  Paris  with  eyes  that  seemed  to  have  dropped  their  scales. 
It  was  very  early  and  still  wet.  An  old  charwoman  was  sitting  in 
the  entrance  of  a  dairy  shop,  weeping  for  her  only  son.  Boylan 
stopped.     She  was  very  poor  and  weak. 

"Come,  Mother,"  he  said,  lifting  her. 

She  looked  into  his  face  in  a  way  that  rowelled  the  man. 

"Come  on,"  he  said  softly.  "We'll  have  breakfast,  and  you'll 
tell  me.     I  belong  to  the  widows  and  fatherless,  too." 

So  they  rocked  away  together. 


ABSENCE 

^LT'OU  need  send  me  no  costly  presents 

To  remind  me  of  you. 
Momently  I  am  reminded. 
I  hear  a  snatch  of  a  song. 
Oh,  it  puts  me  into  the  mood  I  was  in  one  tender 

September  evening  when  you  sang  to  me. 
I  hear  no  more  of  the  song  that  is  near. 
Only  your  voice  which  is  far  away. 
I  catch  an  odor  from  a  rose  garden  and  remember  all 

the  sweet  rosebuds  you  have  fastened  into  my  hair 

with  kisses. 
Everything  beautiful  speaks  to  me  of  you. 
In  everything,  beautiful  or  no,  I  feel  the  essence  of 

you,  the  strength  of  you,  the  broad  humanity. 
Weary,  I  lean  upon  you,  Happy,  I  drink  deep  of 'you, 

Ambitious,  I  work  alongside  you,  Climbing  the  hills, 

I  catch  hold  of  your  hand,  my  comrade.  Loving,  I 

kiss  you  fervently. 
Thus  am  I  with  you  in  spirit 
Until  that  moment  of  happiness 
When  I  hold  you  close  to  my  heart. 
And  know  that,  for  a  time  at  least. 
No  space  can  separate  us. 

Ethel  Marjorie  Knapp. 


515 


AN  ARCHITECTURAL  TOURNAMENT:  SUC- 
CESSFUL DESIGNS  FOR  AMERICAN  SUBUR- 
BAN  HOMES 


PjHIS  is  undoubtedly  an  age  of  domestic  architecture — 
in  America,  at  least.     Never  before  has  there  been 
such  widespread  interest  in  home-planning  and  build- 
ing, or  such  eagerness  on  the  part  of  thinking  men  and 
women  to  bring  real  comfort    and   beauty   and   per- 
manence into  their  environment.     Architects,  builders 
and  draughtsmen  all  over  the  country  are  cooperating 
toward  this  end,  and  opportunities  are  constantly  being  opened  up 
for  the  public  to  study  this  important  subject,  and  to  acquire  in- 
spiration and  practical  help  in  their  own  home-making  projects. 

One  of  the  most  effective  and  interesting  ways  in  which  this  is 
being  accompUshed  is  through  the  various  competitions  held  from 
time  to  time  by  technical  magazines  and  progressive  institutions. 
By  such  means,  architects,  young  and  old,  all  over  the  country,  are 
encouraged  to  bend  their  finest  efforts  toward  the  creation  of  modern 
homes  suited  to  American  conditions  and  needs.  Individuality  is 
fostered;  fresh  ideals,  new  and  ingenious  plans  are  brought  forward, 
and  the  general  public  as  well  as  the  professional  builder  gains  wider 
knowledge  and  enthusiasm  from  a  study  of  the  competing  designs. 
A  short  time  ago  The  Brickbuilder  held  an  unusually  interesting 
competition  for  designs  of  fireproof  suburban  cottages.  About  three 
hundred  architects  from  all  parts  of  the  country  entered  with  zest 
into  this  draughting  tournament,  many  excellent  and  ingenious  plans 


FLRST  PRIZE- 
WINNING 
DESIGN  IN 

The  Brick- 
builder's 

COMPETI- 
TION :  BY 
WILLIAM  G. 
RANTOUL  OF 
BOSTON  : 
FLOOR  PLANS 
AND  DETAIL 
SKETCHES  ON 
PAGE  574. 


PICTURESQUE   DESIGNS   FOR  FIREPROOF  HOMES 


and  picturesque  sketches  being  submitted.  And  as  the  matter  is 
one  that  holds  many  attractions  for  the  modern  home-builder,  we  are 
glad  to  have  the  opportunity  of  presenting  here  the  four  prize-winning 
houses,  for  we  are  sure  that  our  readers  will  find  in  the  plans  and 
perspectives  many  a  wise  suggestion  for  the  arrangement  and  con- 
struction of  their  own  homes. 

The  designs  are  especially  valuable  because  the  terms  of  the 
competition  outlined  conditions  which  apply  in  a  great  many  cases 
today.  The  size  of  the  given  plot,  for  example,  had  a  frontage  of 
fifty  feet  and  a  depth  of  one  hundred  feet — which,  as  a  general  rule, 
may  be  considered  the  usual  size  purchased  in  the  suburbs  of  a  large 
city.  The  terms  of  the  competition,  moreover,  called  for  a  fireproof 
house — a  point  that  the  modern  suburban  builder  is  giving  serious 
consideration.  It  was  also  stated  that  the  house  must  be  of  a  type 
suitable  for  a  suburban  as  distinguished  from  a  country  site,  and  that 
it  must  be  planned  with  the  idea  that  the  lots  on  either  side  had 
already  been  built  upon.  Another  important  feature  was  that  a 
garage  should  be  provided,  this  being  almost  essential  now  that  so 
many  suburban  residents  have  their  own  motors  and  prefer  to  keep 
them  on  the  premises  rather  than  in  a  distant  garage.  No  limit  of 
cost  was  established,  but  naturally,  for  a  lot  of  the  dimensions  given, 
most  of  the  competitors  kept  economy  as  well  as  convenience  and 
beauty  of  design  in  mind. 

The  jury  chosen  by  The  Brickbuilder  to  award  the  prizes  was 
composed  of  Frank  Chouteau  Brown  of  Boston,  F.  Ellis  Jackson  of 

517 


PICTURESQUE  DESIGNS  FOR  FIREPROOF  HOMES 


THE  HOUSE  THAT  WON  THE  THIRD  PRIZE  :  AN  ATTRACTIVE  SUBURBAN  HOME  DESIGNED  BY  J.  IVAN 
DISE  OF  NEW  YORK:  THE  GROUND  PLAN,  DETAIL  OF  ENTRANCE  AND  CROSS  SECTIONS  SHOWING  CON- 
STRUCTION   WILL  BE   FOUND   ON   PAGE   576. 

Providence,  Calvin  Kiessling  of  New  York,  Linn  Kinne  of  Utica, 
and  F.  R.  Walker  of  Cleveland,  who  were  unanimous  in  awarding 
the  first  prize  to  William  G.  Rantoul  of  Boston.  His  design  and 
the  three  other  prize-winning  houses  are  presented  herewith,  and 
as  the  drawings  include  not  only  perspective  sketches  and  details 
of  the  exterior  but  also  ground  plans  showing  the  arrangement  of 
each  home  with  relation  to  its  garage,  garden  walks,  hedges,  flower- 
beds and  other  outdoor  features,  a  little  detailed  study  of  them  may 
be  worth  while. 

The  house  that  won  the  first  prize,  although  very  simple,  sym- 
metrical and  formal  as  to  the  front  elevation,  shows  considerable 
irregularity  on  the  left  side  and  at  the  rear,  while  the  plan  is  par- 
ticularly notable  for  its  unusual  treatment  of  the  interior.  The  broad 
curving  bay  windows  add  to  the  interest  and  give  a  more  varied  out- 
look to  the  hving  and  dining  room  in  front,  which  have  also  the  ad- 
vantage of  fireplaces  so  arranged  that  the  furniture  may  be  com- 
fortably grouped  around  them.  Although  the  central  hall  is  so  long 
and  narrow,  the  openings  into  the  various  rooms  and  the  arrangement 
of  the  curving  staircase  prevent  it  from  seeming  at  all  cramped  or 
dark.  A  vestibule  shields  the  front  rooms  from  draughts  from  the 
door,  and  at  the  end  of  the  hall  a  coat  closet  is  provided.  The 
arrangement  of  kitchen  and  pantry  with  relation  to  the  rest  of  the 

518 


PICTURESQUE  DESIGNS  FOR  FIREPROOF  HOMES 

plan  is  especially  convenient.  The  second  floor  shows  an  equally 
compact  and  wise  use  of  the  space,  with  cross-ventilation  for  each 
bedroom  and  ample  provision  for  closets. 

Admirable,  also,  are  the  placing  of  the  garage  and  layout  of  the 
grounds,  which  are  particularly  in  keeping  with  this  type  of  lot  and 
dwelUng.  The  arrangement  of  the  walk  leading  through  the  flower 
garden  to  the  vegetable  garden,  on  a  line  with  one  of  the  openings 
of  the  piazza  and  one  of  the  living-room  windows,  shows  thoughtful- 
ness  for  that  vista  effect  which  adds  so  much  to  the  charm  of  a  home. 
It  gives  an  opportunity,  moreover,  for  a  pleasing  arch  or  gateway  at 
the  end  of  the  flower  garden,  and  interesting  treatment  of  the  path, 
both  as  to  paving  and  borders. 

The  house  faces  approximately  east,  giving  a  desirable  southern 
exposure  to  the  Uving  room  and  piazza,  and,  as  The  Brickbuilder  said, 
"the  designer  had  so  frankly  accepted  the  narrow  frontage  and  yet 
treated  his  logically  resultmg  design  so  quietly,  simply  and  attractively 
that  his  drawing  was  accepted  as  easily  the  best  all-round  solution 
of  the  problem  received." 

THE  second  prize  was  given  to  Jerauld  Dahler  of  New  York, 
whose  house  is  as  symmetrical  and  dignified  as  the  first  in  its 
design,  but  quite  different  in  the  arrangement  of  the  interior. 
The  layout  is  based  on  the  assumption  that  the  lot  faces  north,  and 
the  architect  has  for  this  reason  located  his  kitchen  in  the  front 
{Continued  on  Page  574.) 

THIS  CHARMING  HOME,  WITH  ITS 
SMALL  GARAGE  ON  THE  RIGHT,  WAS 
THE   FOURTH    PRIZE-WINNER  IN    The 

Brkkhuilder's  contest,   and   was 

SUBMITTED  BY  RICHARD  M.  POWERS 
OF  BELMONT,  MASS.  :  PLANS  AND 
DETAILS    ON    PAGE    577. 


519 


INDOOR  GARDENING :    HOW  TO  KEEP  SUM- 
MER THE  YEAR  ROUND 

|T  has  been  quite  an  understood  thing  for  some  time 
now,  that  real  homes,  not  just  city  houses,  must  have 
an  outdoor  room,  a  fragrant  place  under  shady  trees 
or  a  blue  vault  of  sky,  the  "walls"  hung  with  living 
tapestries,  vines  and  roses,  with  a  green  grass  carpet, — 
a  place  in  which  one  can  really  live,  rest,  sleep,  breathe, 
dine  and  meet  friends.  People  spend  more  time  on 
their  porches,  terraces,  pergolas  and  in  their  garden  houses  than  of 
former  years,  finding  there  health,  inspiration  and  continual  joy. 
Houses  have  extended  wings  into  gardens  and  gardens  creep  close 
to  the  outer  walls  of  houses,  even  climbing  up  porches  and  looking 
into  open  windows. 

We  have  grown  so  attached  to  garden  life  and  to  the  plants  we 
have  tended  through  the  long  pleasant  summer  days  that  we  cannot 
be  perfectly  contented  to  be  shut  away  from  it  all  through  the  long, 
dark  winter.  So  architects  are  being  kept  busy  nowadays  devising 
ways  of  including  garden  rooms  in  house  plans.  This  is  compara- 
tively easy  for  those  in  the  West,  but  in  the  East  nothing  short  of  a 
carefully  considered  planning  of  glass  walls  and  domes,  sealed  and 
heated  will  suffice.  Conservatories  were  comparatively  scarce  a  few 
years  ago,  but  nowadays  they  are  becoming  almost  necessities.  Old 
houses  are  being  remodeled  to  provide  indoor  garden  rooms,  porches 
extended,  verandas  enclosed,  rooms  turned  into  sun  parlors,  houses 
floored,  and  closed  and  glassed  over,  heating  systems  enlarged  that 
the  winter  may  not  shut  us  entirely  away  from  the  pleasures  of 
gardening. 

Many  are  the  ways  of  outwitting  winter's  severe  decree  against 
gardens.  Summer  can  be  coaxed  to  remain  as  guest  by  a  little 
judicious  management.  Plants  by  careful  selection  will  provide  a 
continuous  succession  of  bloom  throughout  the  winter  season,  but 
this  is  not  accomplished  without  experienced  forethought.  Cold 
frames  must  be  resorted  to,  to  guard  the  clippings  and  to  start  seed. 
The  begonia,  that  half-hardy  perennial,  is  a  prime  favorite  for 
greenhouse  use  because  of  its  beautiful  foliage,  freakishly  interesting 
and  charmingly  colored  blossoms.  Begonias  have  been  a  favorite 
winter  plant  since  the  Puritans  attempted  to  found  a  home  in  the 
bleak,  new  land.  Their  culture  is  of  the  simplest  and  they  will  thrive 
cheerfully  in  the  partial  light  of  a  window-box  as  well  as  in  a  glass- 
roofed  conservator^'.  The  blossoms,  in  many  shades  of  pink,  rose, 
orange,  scarlet,  crimson  and  white,  sometimes  measure  six  inches  in 
diameter.  Wlien  in  good  condition  the  plant  will  continue  in  bloom 
very  often  for  weeks  at  a  time.     Among  the  fibrous-rooted  varieties 

520 


CHRYSANTHEMUMS  MAY  BE  LIFTED  FROM  THE  GARDEN. 
BROUGHT  INTO  THE  GLASS  HOUSE  AND  MADE  TO  EXTEND 
THEIR  TIME  OF  BLOOMING  THROUGH  FALL  AND  WINTER  TO 
THE    MONTH   OF  JANUARY. 


I'ALMS,    II"   GIVEN 
HLKNXy   OF   LIGHT, 
WIIX  STAY  IN  THE 
BEST  OF  CONDITIONS 
EVEN    WHEN   THE 
ATMOSPHERE   IS 
NOT   AS    WARM    AS 
IN    THE   FULL   CON- 
SERVATORY :    THE 
PORCH    EXTENSION 
THEREFORE    MAKES 
THE    MOST   SATIS- 
FACTORY  PALM 
GARDEN,   FOR  IT 
CAN    BE    HEATED 
EASILY   FROM   THE 
ADJOINING   ROOMS  : 
L1(;HT  AND  AIR  ARE 
MOKE   OF   A    NECESSITY 
THAN    WARMTH  :    THE 
GREEN    BANK    OF 
PALMS    AS    SEEN    FROM 
WITHIN    THE   ROOM 
EASILY    PERSUADES 
ONE  THAT  THE  SUM- 
MER IS  NOT  FAR  AWAY. 


A  NEW  POSSIBILITY  OF  INDOOR  GARDENING  IS  SHOWN  IN  THE  ABOVE  PICTURE:  THE  WHOLE  PLOT 
OF  A  SUMMER  GARDEN  CAN  BE  LAID  OUT  IN  MINIATURE  DURING  THE  WINTER:  SUCH  A  BENCH 
GIVES    EXCELLENT    PLAY    OPPORTUNITIES  TO  CHILDREN. 


KERNS  AND 
EVEN  MANY 
VARIETIES  OF 
ORCHIDS  CAN- 
BE  GROWN  BY 
AN  AMATEUR 
IF  FULL  LIGHT 
AND  AIR  CAN 
BE  PROVIDED  : 
THEY  RE- 
QUIRE A 
MOIST  AT- 
MOSPHERE, 
NOT   TOO 
MUCH   SUN 
NOR   GREAT 
H  EAT. 


AZALEAS,   SPIREA, 
CHRYSANTHEMUMS, 
CARNATIONS,  FERNS 
AND   MOSSES  CAN 
BE   HAD  IN  AS 
GREAT   PROFUSION 
WITHIN  DOORS   AS 
WITHOUT  BY   A 
LITTLE  CAREFUL 
FORETHOUGHT  AND 
EXPENDITURE  OF 
BUT  A   SMALL 
AMOUNT  OF  MONEY  : 
THE    PHOTOGRAPH 
AT  THE  RIGHT 
SHOWS  ONE  EX- 
AMPLE OF  A   SMALL 
INEXPENSIVE  GREEN- 
HOUSE   WITH 
LAVISH  BLOOMING  : 
AS   THE   FLOWERS 
MATURE   THEY   CAN 
BE  CARRIED  INTO 
THE   DIFFERENT 
ROOMS  OF  THE 
HOUSE. 


THERE  IS  NO  FLOWER  WHICH  LENDS  ITSELF  MORE  MAGNIFICENTLY  TO  CULTIVATION  IN  THE 
GREENHOUSE  THAN  THE  CHRYSANTHEMUM  :  THE  SMALL  ONES  GROWING  IN  MASSES  OR  THE 
INDIVIDUAL  SPECIMENS  FORCED  FOR  EXHIBITION  ARE  NEVKR  MORE  PERFECTLY  DEVELOPED  THAN 
WHEN   UNDER  GLASS. 


INDOOR   GARDENING 

is"  the  mignon  gracilis,  popular  because  of  its  profuse"  fierj'  scarlet 
blossoms  and  sure  growth.  There  are  many  rex  varieties,  with 
variegated  red  bronze,  red  and  silver  white  leaves  and  dwarf  vernom 
flowering  at  a  height  of  four  inches  which  makes  it  especially  valuable 
when  begonias  are  to  be  ranged  in  graded  heights.  The  tuberous- 
rooted  begonia  flowers  with  a  perfect  rosette  of  form,  either  single 
or  double  and  in  every  possible  color  variety. 

BEGONIAS  are  seldom  strictly  true  to  type,  having  an  apparent 
dehght  in  individual  experimenting.  The  blossoms  may  often 
be  seen  rising  from  mid-stem  of  a  beautiful  leaf  or  showing 
freakishly  from  the  side  of  the  main  stalk.  The  plant  seems  to  have  an 
unusual  degree  of  individuality,  temperament  if  one  may  so  express  it, 
so  that  its  friend  can  never  be  sure  of  its  mood  from  day  to  day. 

Azaleas  make  another  fascinating  conservatory  plant.  An  azalea 
house  in  full  bloom  makes  one  of  the  most  beautiful  of  all  indoor 
gardens.  They  are  one  of  the  most  satisfactory  of  all  flowers  for 
forcing  and  for  gorgeous  range  of  color.  They  have  the  virtue  also 
of  being  in  full  bloom  for  the  Christmas  hohdays  so  that  they  not 
only  make  excellent  gifts  but  are  much  in  demand  for  decorative 
purposes  of  all  kinds.  The  varieties  are  too  numerous  to  be  men- 
tioned, each  grower  having  his  own  special  list  of  names. 

Antirrhinums,  almost  the  rival  of  the  sweet  pea  for  dehcacy  and 
variety  of  coloring,  if  started  in  a  cold  frame  wiU  make  a  dehghtful 
showing  through  all  the  winter  months.  The  tall  graceful  spikes 
give  them  decorative  value  as  a  house  plant  as  well  as  for  greenhouse 
display. 

The  long,  tube-shaped,  fragrant  nicotiana  can  be  grown  in  the 
greenhouse  from  seed.  An  arrangement  of  nicotiana  in  a  vase  is 
pecuharly  effective.  As  potted  plants  they  are  not  quite  as  satis- 
factory; but  massed  in  the  greenhouse  with  the  splendid  mixture  of 
crimson,  Ulac,  purple,  violet,  flesh  color,  they  make  a  splendid 
showing.  There  are  many  hybrids  now  on  the  market,  the  growers 
endeavoring  to  make  the  flowers  larger  and  the  plant  more  bushlike. 
There  is  a  small  flowering  dwarf  nicotiana  now  on  the  market.  The 
flowers  remain  open  all  day,  are  delightful  and  fragrant,  and  the  tip 
of  the  highest  flower  will  not  be  over  eighteen  inches  in  height. 

The  old-fashioned  gillyflower  or  stock  as  it  is  better  known,  is 
a  half-hardy  annual,  that  if  started  from  seed  early  enough  can  be 
made  to  furnish  profusion  of  bloom  during  almost  the  entire  winter. 
It  can  be  massed  in  a  large  bed  or  grown  individually  for  a  pot  flower. 
The  ten-week  stock  is  a  splendid,  strong,  pyramidal  plant,  bearing 
thick  spikes  of  yellow,  crimson,  blue  or  white  flowers  and  should 

52s 


INDOOR  GARDENING 


THE    BLOOMING    TIMK 


be  in  every  greenhouse.  The  Dresden  perpetual  stock  or  "cut-and- 
come-again"  has  many  strains,  canary  yellow,  Alice  blue  mixed  with 
its  other  well  known  shades.  There  is  a  giant  perpetual  snow-white, 
a  gloria,  Empress  Augusta  Victoria,  also  a  dwarf  variety,  snowflake, 
by  name. 

Schizanthus  is  valuable  where  profusion  of  varied  tinted  bloom 
is  wanted.  Heliotrope,  pansies,  fuchsias,  pink,  yellow  and  white 
oxalis,  white  and  yellow  calla  lilies,  primulus,  geraniums,  forget-me- 
nots,  the  large,  matchless  mignonette  for  greenhouse  forcing,  gloxinias, 
gaillardis,  cinerarias,  cyclamen,  calceolaria,  celosia  (Pride  of  Castle 
Gould),  sweet  alyssum,  and  the  gay-leaved  coleus  plants  are  all 
dependable  greenhouse  favorites  which  can  be  raised  from  seed, 
cuttings  or  repotted  from  the  outdoor  garden  to  furnish  color  and 
fragrance  for  the  indoor  garden.  The  many  carnations  and  chrysan- 
themums are  too  well  known  to  need  special  description ;  also  the  many 
bulbs,  the  parrot  tulips,  hyacinths,  crocuses,  etc. 

The  fragrant  freesias  also  accommodate  themselves  to  indoor 
gardening.  There  is  a  magnificent  white  variety.  Purity,  and  a 
refracta  alba,  pure  white  with  yellow  blotch,  Leichtlinii  Major,  which 
bear  beautiful  golden  yellow  flowers.  There  is  also  the  freesia 
526 


INDOOR  GARDENING 

hybrida  ragionierii,  a  new  race  of  freesia,  free  flowering,  unusua 
shade  of  coloring,  long  stemmed,  capable  of  strong  forcing  and  which 
does  not  require  a  very  high  temperature. 

The  dark-foliaged  spireas,  with  their  wonderful  feathery  sprays 
of  flowers,  bloom  profusely  during  February  and  March  and  under 
careful  forcing  can  be  had  during  the  Christmas  holidays.  There  is  a 
delightful  soft  pink  Queen  Alexandra,  deep  carmine  rose  Rubens, 
feathery  pure  white,  fragrant  Japonica,  and  astilboides  floribunda, 
a  white  plumed  variety  with  rich  bronze  foliage.  Spirea  also  has 
its  dwarf  form  suitable  for  greenhouse  arrangement  when  a  tier  effect 
is  desired. 


ANOTHER  branch  of  indoor  gardening  which  can  be  pursued 
with  great  profit  and  delight  is  the  fruits  and  vegetables;  both 
apple  and  pear  tree  can  be  grown  in  a  pot  to  a  height  of  fi'om 
six  to  eight  feet;  peaches,  nectarines  and  cherries  also  are  capable  of 
luscious  development  in  glasshouses,  especially  if  great  headroom^be 
given  them  so  that  they  can  be  assured  of  plenty  of  fresh  air  and  light 
and  sun.  They  can  be  grown  espalier-wise,  following  the  contour 
of  the  greenhouse  almost  as  perfectly  as  though  they  were  vines. 


AN    INDOOR   GARDEN    CAN   BE    HAD    SIMPLY  BY  AN   EXTENSION   OF  A   PORCH. 


INDOOR  GARDENING 


PERFUME  AND  COLOR  NEED  NOT  BE  ATTRIBUTES  OF  SUMMER  ALONE,  AS  CAN  BE  SEEN  BY  THIS 
WEALTH    OF   BLOOM    PRODUCED    UNDER  CLASS. 

Grapes  are  never  more  perfectly  grown  th.'in  in  a  small  greenhouse 
for  the  reason  that  there  is  better  control  of  moisture,  heat  and  nour- 
ishment. They  are  not  so  apt  to  be  infested  with  scale  or  insects, 
birds,  wasps  and  bees,  are  shut  away  from  the  possibility  of  spoiling. 
Grapes  may  be  forced  to  bear  in  the  early  spring  or  held  over  through 
December  and  January  merely  in  a  lean-to  room  })ut  up  on  the 
windowless  side  of  a  house.  In  addition  to  the  benches  filled  with 
earth  in  which  seed  is  sown  nuich  as  though  in  an  outdoor  garden 
there  is  the  possibility  of  increasing  area  by  many  pots  set  along  the 
aisle  or  beneath  the  benches,  by  vases  and  baskets  hanging  from  the 
roof.  The  spaces  beneath  the  benches  are  often  utilized  for  ferns 
and  the  beautiful  mosses  and  orchids;  ivies  and  palms  also  may  be 
started  beneath  a  bench,  later  brought  out  into  more  direct  light. 

Another  form  of  indoor  gardening,  affording  endless  pleasure 
and  delight  is  imitation  of  favorite  bits  of  the  outdoor  world  in 
miniature.  This  art  of  miniature  gardening  has  long  been  known  in 
Japan,  for  the  Japanese  can  make  a  garden  suggesting  mountains, 
shrines,  forests  and  lakes  in  a  dish  the  size  of  a  saucer.  One  of  our 
illustrations  shows  a  corner  of  a  greenhouse  devoted  to  this  fascinating 
science  of  landscape  gardening.  With  such  a  space  at  one's  disposal 
the  whole  simimer's  garden  may  be  planned  in  miniature.  This  is 
much  more  satisfactory  than  any  paper-planned  garden, — the  hills, 

528 


INDOOR   GARDENING 


dales,  rivulets,  paths  and  driveways  can  quickly  be  created  and 
destroyed  until  the  desired  effect  has  been  decided  upon.  Little 
rustic  bridges,  lanterns,  boats  and  tiny  houses  may  be  bought  from 
almost  any  Japanese  store  if  one  is  unable  to  make  the  little  models 
at  home.  Bits  of  artificial  flowers,  pine  seedlings,  mosses,  quickly 
grown  grasses,  tiny  sticks  and  twigs  can  produce  the  effect  of  a  garden. 
This  miniature  garden  planning  will  pi-event  many  a  mistake  in  actual 
gardening,  suggest  many  ideas  that  might  have  been  one  or  two  years 
in  forming.  A  garden  can  be  built,  approved  or  rejected  in  a  day. 
The  kitchen  porch,  enclosed  in  glass,  heated  with  an  extension 
of  pipe  from  the  house  heating  system,  can  be  made  to  grow  enough 
lettuce,  radishes,  parsley  and  similar  small  vegetables  to  keep 
the  table  supplied  with  fresh  greens.  This  is  of  especial  value  to 
people  who  live  away  from  the  city  markets,  and  the  cost  of  such 
an  enclosure  is  very  trifling  considering  the  pleasure  obtained.  After 
the  lettuce  and  radishes  have  been  gathered  the  seeds  may  be  sown 
for  the  spring  garden,  thus  making  sure  the  chances  of  an  early 
garden.  Tomato  plants  can  be  matured  fully  six  weeks  earlier  by 
starting  them  in  some  such  indoor  room.  The  business  side  of 
growing  vegetables  for  market,  of  course,  is  very  small  unless  special 
greenhouses  are  constructed  for  the  purpose;  but  one's  own  table 
can  be  provided  with  three  or  four  crops  in  a  winter  if  desired,  by 
using  a  little  indoor  garden  room. 

The  allotted  space  of  flower  and  vegetable  garden  can  be  quickly 
determined  and  planned  to  scale,  ])aths,  pools,  fences,  pergolas  and 

all.  Besides  the  use- 
fulness of  such  a 
table  for  grown-ups 
it  affords  one  of 
the  most  delightful 
pastimes  for  the 
children  of  the 
family.  All  chil- 
dren like  to  make 
gardens,  love  to 
handle  little  things. 
One  corner  of  the 
greenhouse  bench 
could  be  given  over 
lo  instructive  and 
______^ entertaining  gar- 

ALL    PALMS    AND    FERNS    REQUIRE   MUCH   AIR  AND   FULL  LIGHT:   THEY        Clenmg     gaUieS     lOr 
CAN  ONLY  BE  GROWN  THEREFORE   WHERE   A    HIGH    DOME    IS    POSSIBLE.        chlldrCn. 


529 


WHY  I   AM  INTERESTED  IN    THE  CRAFTS 
MAN   KITCHEN:    BY   ALFRED   W.    McCANN 

Reprinted  from  The  New  York  Globe,  Jan.  IG,  1915. 

USTAV  STICKLEY  is  a  reformer.  All  attempts 
to  diagnose  the  status  of  this  man's  position  with 
regard  to  the  social  order  must  fail  unless  the  word 
reformer  is  settled  upon  as  the  most  accurately 
descriptive  term  that  can  be  applied  to  him. 

Craftsman  furniture  and  furnishings  constitute  a 
permanent  protest  against  veneer  and  sham. 
Craftsman  architecture  constitutes  a  permanent  protest  against 
the  frothy  incompatibles  which  for  so  long  a  time  have  menaced  the 
beauty  of  American  homes. 

Craftsman  landscaping  and  gardening  constitute  a  permanent 
protest  against  the  cheerless,  friendless,  soulless,  meaningless  and 
needless  disorder  with  which  too  many  American  city  and  suburban 
home  surroundings  are  cursed. 

The  Stickley  protest  is  not  offered  destructively.  He  provides 
the  Craftsman  remedy.  For  years  that  remedy  has  been  content  to 
express  itself  in  the  form  of  unobtrusive  suggestions  and  the  mellow 
eloquence  of  beautiful  things. 

Mere  suggestion,  however  beautiful  or  spiritual,  while  it  may 
reach  the  heart  of  one  who  has  acquired  special  preparedness  for  its 
reception,  is  not  sufficiently  aggressive  to  influence  vast  numbers, 
and  no  reform  can  be  complete  unless  it  influences  all.  Therefore, 
the  sheer  necessity  of  some  such  instrument  of  education  as  the 
Craftsman  Building  gradually  urged  itself  into  the  dreams  of  Stickley 
and  thus  became  a  reality. 

Throughout  the  Craftsman  Building,  on  every  floor,  on  every 
wall,  quiet  suggestion  has  been  equipped  with  energy  and  force,  and 
the  work  of  reform  is  assuming  the  powers  of  a  propaganda. 

People  are  to  be  compelled  to  an  appreciation  of  the  Craftsman 
solution  of  grave  problems,  the  very  existence  of  which  is,  even  now, 
unsuspected  by  millions. 

Assembled  under  its  roof  are  so  many  astonishing  revelations  of 
the  progress  which  this  belated  renaissance  has  already  made  that, 
by  sheer  force  of  numbers,  they  swoop  down  like  a  battalion  upon 
the  defenceless  visitor  and,  catching  him  up  in  the  fury  of  their 
movement,  carry  him  on  and  on  until,  recovering  from  his  amaze- 
ment, he  finds  himself  not  an  unwilUng  captive  but  a  soldier  on  the 
fighting  fine. 

Not  until  he  is  swept  into  this  experience  can  he  fully  grasp  the 
largeness,  the  vigor,  the  beauty  and  the  necessity  of  the  Craftsman 
ideal,  but,  having  comprehended  it  at  last,  he  finds  in  it  no  more 
surprises. 

530 


WHY  I  AM  INTERESTED  IN  THE  CRAFTSMAN  KITCHEN 

Everything  that  grows  out  of  Stickley's  activities  is  henceforth 
obvious.  It  is  all  so  sane,  so  hopeful,  so  simple  and  so  natural  that 
in  its  presence  the  old  familiar  blotches  and  blots  and  daubs  fall  away 
from  their  callous  immunity  to  contempt,  and  stand  forth,  as  they  are, 
the  hideous  symptoms  of  a  disease  too  long  neglected. 

THE  initiated  does  not  wonder  that  the  dreams  of  the  Craftsman, 
woven  out  of  hatred  for  the  ugly  and  the  false,  should  penetrate 
to  the  verj'  heart  of  human  happiness  and  thus  discern  the 
fixed  laws  which,  in  the  natural  order,  underlie  that  happiness.  It 
causes  no  shock  to  learn  that  Stickley,  by  unforced  advances,  has 
arrived  at  that  point  in  his  development  wherefrom  he  sees  clearly 
that  in  all  his  work  for  the  betterment  of  the  American  home  he  must 
begin  with  the  kitchen  and  the  food  that  enters  that  kitchen. 

The  fundamentals  which  have  been  overlooked  there,  as  else- 
where, have  disclosed  themselves  to  his  warm  sympathies  and  his 
sensitive  responsiveness  to  truth.  With  no  fixed  habits  to  blind  his 
vision  he  has  followed  them  to  their  source — the  source  of  life. 

Stickley  knows  that  in  the  days,  popularly  called  Colonial,  when 
men,  animated  by  stern  necessity,  built  their  strong,  durable  and 
really  beautiful  houses,  and  constructed  their  rough-hewn  tables 
and  chairs,  they  vmconsciously  fell  under  the  influence  of  their  unde- 
filed  environment  and  followed  the  lines  of  spiritual  loveliness  and 
physical  grace  and  beauty  and  natural  proportion  which  that  en- 
vironment inspired. 

So  well  did  they  hew  and  carve  and  join  that  all  New  England 
has  been  ransacked  for  the  beautiful  things  that  have  been  hidden 
away  in  the  backwoods  houses  of  olden  days.  Stickley  knows  this 
and  he  knows  also  that  when  the  early  home-makers  of  America 
began  to  accumulate  the  riches  of  their  industry,  the  simplicity  of 
their  humble  beginnings  faded  slowly  out  of  their  consciousness  and 
was  replaced  by  a  desire  to  "better"  their  surroundings. 

Wealth,  without  eyes,  began  to  associate  that  beautiful  simplicity 
with  the  lowly  necessities  of  life  from  which  it  had  emerged  and  which 
bore  unseen  the  imprints  of  a  loving  workmanship  that  was  now 
cruelly  distorted  into  mere  reminders  of  drudgery.  Under  such 
blindness  of  purpose  it  soon  became  fashionable  to  despise  the  old, 
familiar  glories  and  to  search  for  novelty. 

Comfortable,  complacent  and  smug  the  newly  rich  thus  turned 
their  backs  upon  beauty  and  became  patrons  of  the  Mansard  roof, 
the  corner-chpped  shingle,  the  grotesque  arch,  the  crabbed  angle 
and  the  gilded  flounce. 

There  were  to  be  no  more  ample  clapboard  exteriors,  no  more 

S3X 


WHY  I  AM  INTERESTED  IN  THE  CRAFTSMAN  KITCHEN 

sturdy  beams,  no  more  open  fireplaces  of  uncut  stone,  no  more 
casements  on  hand-wrought  hinges,  no  more  rush-covered  chairs,  no 
more  classic  beds. 

A  riot  of  discord,  measured  only  by  the  "cost,"  became  the  new 
standard  by  which  social  distinction  obtained  envious  recognition. 
It  was  no  longer  "All  I  can,"  but  "All  I  Can  Afford."  Into  this 
barbarous  bastardy,  with  all  its  spurious  beatification,  in  which  the 
only  things  real  were  ugliness  and  folly,  was  also  dragged  the  lust 
for  novelty  that  would  titillate  the  palate. 

Food  was  no  longer  looked  upon  as  an  essential,  and  cookery 
became  a  clash  in  which  chef  strove  with  chef  to  produce  a  startling 
color  scheme  or  a  fine  frenzy  of  flavor  without  regard  to  the  laws  of 
nutrition  or  the  capacity  of  the  master  and  his  guests  to  dispose  of 
the  abominations  inflicted  upon  them. 

As  the  gingerbread  school  of  hashed  houses  and  bazaared  pabulum 
developed,  the  notional  indolence  of  fashion  surrendered  the  un- 
recognized responsibilities  of  the  home  kitchen  to  the  food  factory. 

There  were  no  laws  in  the  land  that  obliged  the  prepared-food 
industry,  which  spread  like  an  epidemic,  to  heed  the  meaning  of 
sanitation  or  the  dangers  of  chemical  sophistication.  There  is  no 
law  to  this  day  that  defines  for  the  food  manufacturer  the  meaning 
of  common-decency  or  that  obliges  him  to  recognize  that  foremost 
champion  of  human  happiness. 

Food  soon  became  as  artificial  as  the  houses  in  which  it  was  served. 
The  artifice  was  not  suspected.  By  millions  it  is  not  suspected  to 
this  day. 

HARVEY  W.  WILEY  rebuked  every  Congress  for  twenty-five 
years,  but  he  did  not  succeed  in  convincing  the  representatives 
of  a  befuddled  people  that  the  food  world  had  become  crazed 
in  its  pursuit  of  gain,  until  June  thirty,  nineteen  hundred  and  six. 
Then  came  the  famous  food  and  drugs  act  of  that  date,  and  the 
entire  country  shuddered  for  a  moment  at  the  hideous  disclosures  of 
evil  which  it  provoked — and  promptly  forgot  the  shock  and  its 
significance. 

Had  there  been  sufficient  indignation  in  the  land  to  rise  to  the 
disclosures  of  that  hour,  Stickley's  work  of  reform  in  the  cause  he  has 
espoused  would  no  longer  be  necessary,  for  the  reason  that  any  people, 
capable  of  dealing  adequately  with  such  disclosures  as  were  made 
then  and  as  are  being  made  still,  would  also  be  capable  of  dispensing 
with  the  need  of  reformers  of  Stickley's  kind.  Wiley's  work  has  but 
commenced  and  Stickley's  is  newer  still.     Both  are  pioneers. 

The  Craftsman  has  the  advantage,  for  he  numbers  thousands  of 

532 


WHY  I  AM  INTERESTED  IN  THE  CRAFTSMAN  KITCHEN 

well-trained  and  enthusiastic  followers  where  Wiley  numbers  not 
more  than  one  or  two  in  each  State.  Stickley  knows  that  in  the  eter- 
nal destiny  of  things  the  forward  movement  which  he  has  fathered 
will  contribute  impetus  to  the  Wiley  movement,  and  so  his  pursuit 
of  truth  and  honesty  has  embraced  the  fundamentals  of  the  kitchen 
in  his  scheme  of  perfecting  the  American  home. 

It  is  this  amazing  fidehty  to  the  light  as  it  has  broken  in  upon 
him  and  this  inspiringly  persistent  cooperation  with  grace  which 
have  caused  him  to  include  in  the  Craftsman  Building  a  restaurant, 
a  kitchen  and  a  pure  food  emporium.  Here  such  foods  as  surpass 
the  all  too  meager  requirements  of  the  federal  law  by  their  own  self- 
constituted  standards  of  perfection,  maintained  in  the  face  of  corrupt 
competition,  and  which  are  higher  than  the  pohtically  compromised 
standards  of  federal  and  state  enactment,  are  being  gathered  as  fitting 
adjuncts  to  the  general  scheme  of  Craftsman  reform. 

Here  those  manufacturers  who  do  appreciate  the  significance 
of  sanitation  and  common  decency  and  who  refuse  to  tolerate  the 
legal  trickery  granted  to  them  by  the  law  as  it  stands  or  in  many 
instances  by  the  actual  absence  of  any  law,  have  the  opportunity 
of  identifying  their  virtues  with  one  of  the  most  remarkable  move- 
ments of  the  century. 

In  the  Craftsman  kitchen  reform  has  been  consummated.  It  is 
on  exhibition  daily.  It  stands  like  a  beacon  on  a  cliff  and  sets  up  an 
example  for  every  eating-house  in  the  world  to  follow.  None  of  the 
arts  of  cookery  which  conspire  to  the  legitimate  achievemeiit  of 
daintiness  and  charm  are  neglected  in  the  Craftsman  pursuit  of 
purity  and  wholesomeness.  The  legalized  chemical  preservatives, 
chemical  bleachers,  chemical  glazes,  chemical  flavors,  inert  fillers 
and  extenders,  coal  tar  dyes  and  grossly  impoverished  foods,  however 
popular,  can  find  no  place  on  the  Craftsman  bill-of-fare. 

The  details  of  this  noteworthy  addition  to  the  Craftsman  program 
of  reform  are  so  inspiring  to  the  dietician  and  the  connoisseur  that  I 
promise  the  readers  of  this  article  to  explain  them  in  all  their  signif- 
icance in  some  later  issue  of  The  Craftsman,  at  which  time  I  will 
also  present  further  facts  with  regard  to  the  Craftsman  pure  food 
emporium. 


533 


fiiff^ 


YOUR  OWN  HOME:  NUMBER  THREE:  SE- 
LECTING THE  MATERIALS  FOR  DURABILITY, 
ECONOMY  AND  PICTURESQUENESS 

I  HE  architect  has  been  referred  to  as  a  person  who 
"charms  beauty  out  of  sticks  and  stones;"  but  although 
tliis  molding  of  the  raw  materials  into  pleasing  form 
is  so  distinctive  a  feature  of  the  art,  there  are  other 
points  that  must  be  first  considered.  For  this  very 
quality  of  beauty,  to  be  wholly  satisfying,  must  rest 
upon  the  practical  basis  of  utility.  Wisdom  of  plan, 
strength  of  construction,  durability,  economy  and  appropriateness 
of  materials — out  of  these  must  grow  the  picturesqueness  that  we 
love  to  find  in  our  homes.  Only  in  this  way  can  our  architecture 
be  natural  and  sincei'c. 

The  important  part  which  materials  play  in  the  final  value  and 
effect  of  a  building  becomes  very  graphic  if  we  glance  at  a  few  salient 
types  of  primitive  and  modern  homes.     In  the  crude  simplicity  that 


THIS  GARDEN  WALL  OF  BRICK  AND  STONE,  WITH  ITS  CUKioUol.V  CAk...l.  ,.u.,i.r,^  i.ATE,  ILLUS- 
TRATES WELL  THE  INTEREST  OF  COMBINED  MATERIALS:  IT  IS  TYPICAL  OF  CAUFORNIA,  AND  EN- 
CLOSES THE  HOME  OF  J.  W.  NEILL,  AT  PASADENA  :   GREENE  AND  GREENE,  ARCHITECTS. 

534 


SUCH    STUFF   AS  HOMES   ARE   MADE  OF 


marks  the  adobe  dwelling  of 
the  Pueblo  Indian,  the  ice  hut 
of  the  Eskimo  or  the  log  cabin 
of  the  pioneer,  or  in  the  more 
civilized  walls  of  a  modern 
brick  cottage,  shingled  bunga- 
low or  stone  and  concrete 
house,  we  find  that  next  to  the 
interest  of  the  design  conies 
that  of  the  materials.  The 
smoothness  or  irregularity  of 
texture  that  marks  their  sur- 
face, the  colors  and  tones  that 
give  them  variety,  the  shapes 
and  contours  to  which  the>- 
lend  themselves — in  fact,  all 
those  inherent  qualities  that 
give  to  each  material  its  own 
distinctive  charm,  are  vital 
factors  in  the  architectural 
result.  And  for  this  reason, 
the  selection  of  those  mate- 
rials merits  the  home-builder's 
careful  attention. 

Many  practical  consideni-     ~"'^'i'  b^ck,  half-timber  and  tiles,  in  the 

•;  .      ,         .l    .  1    .  VANDERBILT      LODGE      AT      DEEPDALE,      LONG      ISLAND: 

tions  enter  into  tnis  problem,  jqhn  russell  pope,  architect:  reproduced  by  the 
besides  the  owner's  personal  courtesy  of  the  century  co. 
taste.  The  size  and  design  of  the  house,  the  amount  that  can  be 
expended  upon  it,  the  nature  of  the  site  and  the  surrounding  build- 
ings, the  question  of  permanence,  fireproof  qualities,  repairs — these 
will  be  among  the  determining  elements. 

For  example,  if  the  house  is  to  be  a  fairly  large  one,  built  upon  a 
rocky  site,  the  rough  stone  excavated  for  the  foundation  may  be  used 
with  good  effect  in  the  walls,  while  a  roof  of  slate  or  tile  will  be  in 
harmony.  In  certain  rocky  districts  near  New  York  and  around 
Philadelphia,  the  native  field  stone  has  been  used  with  particularly 
interesting  effect,  as  some  of  the  illustrations  reveal.  The  varied 
shapes  and  sizes  of  the  stone,  the  rich  veins  of  color,  which  range 
from  pale  tones  of  bluish  gray  to  darker  streaks  of  rusty  red  and  mossy 
green,  combined  with  the  rough,  irregular  texture  of  the  surface  and 
the  contrasting  white  or  black  of  the  mortar  joint,  produce  a  wall  of 
unusually  rich  and  rugged  simplicity.  Moreover,  this  use  of  a  local 
material  gives  to  one's  house  a  peculiarly  sympathetic  touch,  making 

535 


SUCH   STUFF  AS  HOMES  ARE   MADE   OF 

it  seem  at  home  in  the  landscape,  a  harmonious  part  of  its  environ- 
ment. 

When  the  house  is  a  small  one,  walls  of  solid  stone  might  seem 
out  of  proportion  to  its  size,  and  in  this  case  the  stone  may  be  used 
only  for  the  foundation,  chimney  and  perliaps  the  porch  pillars,  with 
some  other  material  for  the  walls. 

Cobblestones  are  sometimes  used  with  interesting  effect,  laid  in 
irregular  fashion  with  plenty  of  cement.  But  unless  very  carefully 
handled,  they  are  apt  to  look  unstable  and  spotty,  destroying  that 
air  of  strength  and  restfulness  which  should  always  pervade  the  ex- 
terior design.  In  many  of  our  Cahfornia  bungalows,  where  a 
somewhat  rustic  appearance  is  desired,  cobblestones  have  been 
successfully  combined  with  cement,  brick  and  wood  construction. 

Cut  stone  and  ashlar  (the  latter  used  for  facing)  are  less  widely 
employed  today  than  formerly  in  domestic  architecture,  and  are 
confined  mainly  to  the  town  or  city  residence,  the  rougher  stone 
being  preferred  for  suburban  and  country  homes.  While  the  various- 
sized  rectangular  shapes  of  the  ashlar  make  an  interesting  and 
dignified  surface,  the  effect  is  a  formal  one,  and  until  mellowed  by 
weathering  and  softened  by  vines,  the  walls  lack  that  picturesqueness 
which  belongs  to  the  rougher  material. 

As  to  "artificial  stone" — a  concrete  composition  with  a  surface 
like  that  of  natural  stone — the  less  said  about  it  the  better.  The 
concrete  block,  however,  which  is  frankly  concrete  and  does  not  seek 
to  imitate  anything,  has  a  rightful  place  in  modern  architecture,  but 
is  used  more  for  large  public  and  office  buildings  than  for  homes. 

The  advantages  of  a  stone  house  are  that  it  is  fireproof,  moisture- 
proof,  cool  in  summer,  warm  in  winter,  and  very  durable,  indeed 
practically  indestructible,  so  that  it  never  needs  repairs — unless 
perhaps  it  be  an  occasional  replacing  of  the  mortar  here  and  there 
where  storms  have  worn  it  away.  Its  cost,  as  compared  with  other 
building  materials,  can  hardly  be  estimated  here,  as  it  varies  in 
different  localities  according  to  the  facihty  with  which  it  can  be 
excavated,  blasted  or  hauled,  as  well  as  the  local  cost  of  labor. 
Comparative  prices  of  other  materials,  however,  will  be  given  at  the 
end  of  this  article. 

BRICK  has  always  been  popular  in  both  home  and  public  build- 
ings in  practically  every  land  where  it  could  be  made,  and  it 
has  been  said  that  "the  history  of  England  is  written  almost 
without  a  break  in  brick  architecture."  How  ancient  is  the  industry 
may  be  gleaned  from  the  fact  that  the  Children  of  Israel  were  made 
to  work  among  the  kilns  of  Egypt,  and  that  brick  was  used  for  the 

536 


BRICK,   TILE, 
TIMBER  AND 
SHAKES   ARE 
USED   WITH 
ESPECIALLY 
DECORATIVE 
EFFECT   IN    THIS 
UNIQUE   CALI- 
FORNIA  HOME 
AND   GARDEN  : 
THE  OWNER   IS 
J.   H.  THORSEN, 
OF   BERKELEY, 
AND   THE    ARCHI- 
TECTS   WERE 
GREENE  AND 
GREENE. 


STUCCO  AND 
SHINGLE   ON    A 
FOUNDATION    OF 
STONE    WITH 
OCCASIONAL 
TOUCHES  OF 
BRICK    FORM    A 
DELIGHTFUL   AND 
PRACTICAL   COM- 
BINATION OF 
MATERIALS    IN 
THE    HOMELIKE 
RESIDENCE  SHOWN 
BELOW — THE  CUL- 
BERTSON  HOUSE 
AT    PASADENA, 
CALIFORNIA. 


ANOTHER  VIEW  OF  MR.  NEILL's   HOME,  THE  GARDEN   WALL  OF  WHICH   IS  SHOWN 
ON     PAGE     534:     AN     INTERESTING     EXAMPLE    OF   BRICK    AND   COBBLESTONE. 

A    HOUSE  IN    BERKELEY,   CALIFORNIA,   DESIGNED   BY    GREENE    AND    GREENE:    NOTE 
THE   IRREGULAR   PLACING   OF  THE   BRICKS,  AND  THE  TERRACED  ENTRANCE. 


A  VERY  PLEASING  USE  OF  IRREGULAR  FIELU  STONE  WITH  STUCCO  .VBOVE  IS  SHOWN  IN  THIS  HOUSE 
AT    MERION,    PA.,    DESIGNED    BY    DAVID    KNICKERBACKER  BOYD. 

THIS  SEMI-RUSTIC  HOME,  WITH  ITS  MASSIVE  LOG  WALLS,  SHINGLED  CABLES  AND  DORMERS,  ROUGH 
STONE  CHIMNEYS  AND  STONE  KITCHEN,  HARMONIZES  WELL  WITH  ITS  WOODLAND  SURROUNDINGS: 
AS  SOME  OF  OUR  READERS  MAY  REMEMBER,  IT  IS  THE  HOME  OF  MR.  STICKLEY,  AT  CRAFTSMAN 
FARMS,    N.    J. 


,'-^\ 


THE  BRICK  WALLS,  STONE-FLOORED  TERRACE  AND  "sHINGLE-THATCH"  ROOF  OF  THIS  HOUSE  AT 
LAKE  FOREST,  ILL.,  SHOW  AN  EXCEPTIONALLY  CHARMING  COMBINATION  OF  MATERIALS  :  ALBRO  AND 
LINDEBKRC   WERE  THE   ARCHITECTS. 


SUCH  STUFF  AS  HOMES  ARE  MADE   OF 

walls  of  ancient  Babylon  and  the  Great  Wall  of  China.  It  was  the 
Romans,  however,  who  brought  the  manufacture  and  use  of  burnt 
clay  ''to  a  point  little  short  of  perfection." 

No  wonder  this  richly  colored  material,  which  can  be  produced 
in  such  convenient  and  adaptable  units,  has  held  so  prominent  a 
place  in  the  architectural  history  of  the  nations,  for  it  is  not  only 
durable  and  fireproof  but  capalale  of  great  and  varied  beauty  in 
construction,  growing  more  mellow  and  harmonious  as  the  years  go 
by.  In  localities  where  a  reddish  soil  is  found,  nothing  can  be  more 
appropriate  for  the  walls  of  one's  home,  but  it  can  be  used  in  almost 
any  locality  and  for  almost  any  type  of  building  with  interesting 
eflfect,  and  can  be  combined  successfully  with  stone,  concrete  or 
wood. 

The  home-builder  who  selects  brick  for  the  main  walls  of  his 
house  will  find  a  bewildering  number  of  kinds,  colors,  textures,  bonds 
and  mortars  from  which  to  choose,  for  there  are  few  materials  that 
are  capable  of  more  varied  combinations.  The  tendency  today  is 
toward  the  use  of  a  rough-textured  brick  rather  than  the  smooth- 
faced or  pressed;  irregularity  instead  of  uniformity  of  coloring;  wide 
joints  with  rough  mortar  in  place  of  the  narrow  smooth  joints  formerly 
used;  and  bonds  that,  while  simple,  include  occasional  decorative 
variations,  or  mosaic  inserts  of  Tapestry  brick  or  tile. 

In  "Successful  Houses  and  How  to  Build  Them,"  by  Charles  E. 
White,  Jr.,  pubUshed  by  the  Macmillan  Company,  and  in  the 
illustrated  booklets  of  Fiske  &  Company,  as  well  as  in  back  numbers 
of  The  Craftsman,  will  be  found  more  detailed  information  as  to  the 
use  of  brick,  which  the  home-builder  will  find  well  worth  studying. 
Meanwhile,  we  are  presenting  on  the  opposite  page,  a  photograph 
showing  an  interesting  detail  of  recent  brick  construction  which 
gives  an  idea  of  the  decorative  effect  that  can  be  obtained  with  this 
material.  One  needs  to  see  the  actual  structures,  however,  to 
appreciate  their  full  beauty,  for  so  much  of  the  charm  of  modern 
brickwork  hes  in  its  coloring — in  the  soft  tones  of  brown  and  buff, 
the  warm  terra  cotta  shades  and  deeper  notes  of  purple  that  are  being 
used  by  architects  today. 

A  different  but  equally  interesting  medium  is  found  in  cement 
or  rather  concrete,  which  is  becoming  so  popular  in  the  building 
world  for  houses  both  large  and  small.  Its  surface  can  be  made  to 
vary-  from  the  smoothest  to  the  roughest  texture,  and  may  be  given 
a  remarkably  decorative  air  by  introducing  into  the  mixture  or 
"throwing"  upon  the  surface  tiny  many-colored  pebbles.  The  con- 
crete may  be  colored  either  by  using  in  its  composition  clay  of  the 
desired  tone,  by  adding  color  to  the  mixture,  or  by  applying  it  to 

541 


SUCH   STUFF  AS   HOMES  ARE   MADE   OF 


THIS  PLEASANT  COTTAGE  IS  OF  A  TYPE  PARTICULARLY  ADAPTED  TO  CEMKNT  CONSTRUCTION:  IT 
WAS  DESIGNED  BY  HOWARD  GREENLEY  FOR  THE  ESTATE  OF  MR.  C.  A.  COFFIN  AT  LOCUST  VALLEY, 
LONG  ISLAND,  NEW  YORK  :  REPRODUCED  FROM  "tHE  HONEST  HOUSE,"  BY  RUBY  ROSS  GOODNOW  AND 
RAYNE   ADAMS. 

the  finished  surface  with  a  brush.  The  first  methods  are  the  most 
desirable,  for  in  these  the  coloring  is  permanent,  unaffected  by 
weathering  or  injury  to  the  surface  of  the  wall. 

Additional  beauty  may  be  given  to  concrete  by  the  insertion  of 
decorative  tiles,  either  in  plain  colors  or  in  relief,  used  in  geometric 
patterns  to  emphasize  some  point  of  structural  interest  or  to  brighten 
a  plain  surface. 

THERE  are  several  practical  and  economical  forms  of  concrete 
construction  in  use  today.     It  can  be  cast  in  soUd  or  hollow 
blocks  and  laid  up  with  cement,  like  stone;  or   it   can   be 
cast  in  forms,  on  the  spot,  the  walls  being  built  up  in  successive 
layers. 

In  the  latter  case,  the  wall  may  be  either  solid,  or  made  with  a 
continuous  air  space  in  the  center,  to  insulate  the  inner  from  the 
outer  surface.  This  prevents  heat  and  cold  from  penetrating,  and 
also  prevents  the  condensation  of  moisture  on  the  inner  wall  due  to 
changing  temperatures.  When  an  air  space  is  provided,  the  plaster 
may  be  applied  directly  on  the  inner  concrete  wall,  but  where  the 
concrete  is  solid,  the  usual  furring  and  lath  is  necessary  in  order  to 
provide  insulation.     In  any  case,  unless  the  wall  is  of  exceptional 

542 


SUCH    STUFF   AS  HOMES  ARE   MADE   OF 


THE  WIDE  CI.APBOAKU  WALLS  AND  SHIN(]LHD  GAMRRKL  ROOFS  OF  THIS  DIGNIFIED.  HOSPITABLE-LOOK- 
ING HOUSE  ARE  WELL  SUITED  TO  THE  DESIGN  :  IT  IS  THE  HOME  OF  HENRY  S.  ORR  AT  GARDEN  CITY, 
LONG  ISLAND,  AND  IS  AN  EXCELLENT  INSTANCE  OF  THE  WORK  OF  AYMAR  EMBURY  II,  WHO  HOLDS 
TO   THE   BEST   COLONIAL   AND   DUTCH    TRADITIONS. 

thickness,  the  concrete  is  reinforced,  generally  by  strips  of  metal 
embedded  at  intervals  in  the  mixture  when  it  is  cast. 

A  concrete  effect  may  also  be  obtained  by  using  stucco  (cement 
and  sand)  on  wood,  brick  or  hollow  tile,  or  on  any  of  the  new  forms 
of  metal  reinforcement  that  are  being  so  widely  used  today  where 
an  economical  structure  is  needed. 

Those  who  are  interested  in  hollow  tile — and  a  good  many  people 
are  now^adays,  for  it  has  many  commendable  qualities — will  find  much 
enlightenment  in  a  chattily  written  and  well-illustrated  book  by 
Frederick  Squires,  called  "The  Hollow  Tile  House,"  published  by 
The  William  T.  Comstock  Company  of  New  York.  In  this  volume 
Mr.  Squires  shows  not  only  many  examples  of  modern  buildings 
constructed  of  hollow  tile  with  stucco  covering,  but  also  others  of 
"texture  tile" — which  is  made  with  such  an  attractive  surface  that 
no  covering  is  needed  to  enhance  its  charm.  Incidentally,  the  pages 
carry  numerous  other  photographs  of  houses,  old  and  new,  European 
and" American,  of  various  materials  and  designs,  a  study  of  which 
would  well  repay  the  home-builder  who  is  seeking  inspiration  or  sug- 
gestion for  his  own  enterprise. 

Turning  now  to  wood,  we  find  that  although  it  does  not  share 
the  extremely  durable  and  fireproof  virtues  that  characterize  the 

543 


SUCH  STUFF  AS   HOMES  ARE   MADE   OF 


THE  HEAVY  TIMBERS  AND  SHINGLES  OF  THIS  OLD-FASHIONED  MODERN  HOME,  AT  TUCKAHOE,  NEW 
YORK,  SHOW  A  SUCCESSFUL  USE  OF  WOOD:  THE  BUILDING  WAS  DESIGNED  FOR  JEROME  C.  BULL  BY 
AYMAH   EMBURY    II. 

materials  just  described,  it  is  usually  cheaper,  and  possesses  sufficient- 
ly adaptable  and  friendly  qualities  to  give  it  a  secure  place  in  the 
architectural  field. 

The  simplest  form  in  which  this  material  can  be  used  is  that  of 
siding  or  clapboards,  and  although  walls  so  covered  are  sometimes 
monotonous  and  uninteresting  unless  well  relieved  by  window 
groups,  verandas  and  other  features,  the  cottage,  farrnhouse  and 
stately  home  of  Colonial  design  lend  themselves  admirably  to  this 
construction,  as  the  example  on  the  preceding  page  testifies. 

Shingles,  for  both  walls  and  roof,  are  always  attractive,  either 
when  left  to  weather  to  a  silvery  gray  or  when  stained  some  soft 
tone  of  reddish  or  golden  brown  or  mossy  green;  but  for  a  very  large 
house  shingles  are  likely  to  prove  monotonous,  unless  combined 
with  other  materials.  One  of  the  pictures  shows  an  unusually 
charming  use  of  shingles  for  the  hipped,  dormer-broken  roof.  In 
California,  redwood  shakes,  or  extra  large  shingles,  are  employed 
for  the  walls  of  cottages  and  bungalows  with  remarkably  pleasing 
result. 

Needless  to  say,  wood  construction  is  especially  appropriate  among 
woodland  surroundings,  and  where  a  distinctly  rustic  type  of  archi- 
tecture is  desired  logs  or  slabs  may  be  used,  although  these  are  usually 
confined   to    summer   homes.     In   the   December   number   of   The 

544 


SUCH  STUFF  AS   HOMES  ARE  MADE  OF 

Craftsman  an  illustrated  article  on  slab  construction  will  be  found, 
and  Mr.  Stickley's  own  homestead,  included  among  our  illustrations, 
is  an  interesting  and  successful  example  of  a  permanent  log  dwelling. 
As  to  the  use  of  half-timber,  we  can  hardly  do  better  than  quote 
J.  H.  Elder-Duncan,  who,  in  his  dehghtful  book  of  English  "Country 
Cottages,"  says:  "Half-timber  work  is  one  of  the  most  abused 
methods  of  building  now  extant.  The  beautiful  effects  achieved  by 
its  use  in  former  times  can  be  seen  in  many  countries,  notably  in 
Kent,  Warwickshire  and  Worcestershire.  But  the  beauty  obtained 
by  sound  and  honest  workmanship  is  rarely  seen  nowadays.  Half- 
timber  should  be  a  substantial  framework,  consisting  of  uprights 
tenoned  into  horizontal  sills  and  heads,  which  in  their  turn  are 
secured  to  substantial  corner  posts,  the  framework  being  strengthened 
by  diagonal  pieces.  These  diagonals  were  usually  curved  in  the 
old  work,  and  these  curved  pieces  are  best  if  they  are  so  grown. 
The  tenons  should  not  run  through  the  timbers,  but  be  secured  by 
wooden  pins,  the  heads  of  which  are  left  projecting.  All  the  timbers 
should  be  left  rough  from  the  saw — they  are  better  if  only  roughly 
squared — and  are  simply  treated  with  boiled  oil  or  thin  tar.  The 
joints  should  be  made  with  a  mixture  of  red  and  white  lead,  rendered 
workable  with  a  small  amount  of  boiled  oil.  In  the  old  work  the 
spaces  betw^een  the  timbers  were  filled  with  brick,  usually  set  on  edge 
and  left  plain,  or  covered  with  plaster. 

"Modern  half-timber,  in  nine  cases  out  of  ten,  consists  of  thin 
slats  of  carefully  planed  timber  nailed  to  the  brick  wall  and  provided 
with  projecting  pin-heads,  the  brickwork  showing  betv.een  the  slats 
being  covered  with  rough-cast  or  plaster  in  imitation  of  the  old  work, 
the  whole  thing,"  adds  this  author  emphatically,  "is  a  disgusting 
sham  for  which  no  possible  or  valid  excuse  can  be  advanced." 

In  many  instances — especially  in  a  large  house — a  combination 
of  two  or  more  materials  may  be  advisable,  such  as  concrete  or 
stucco  walls  above  a  foundation  of  brick  or  stone;  stone  walls  with 
stucco  in  the  gables;  or  clapboards  for  the  first  story  and  shingles 
for  the  second.  Naturally,  the  heaviest-looking  material  should  be 
used  below.  Additional  variety  may  be  added  in  the  chimneys, 
porch  pillars,  steps  and  flooring,  and  in  the  timber  and  trim. 

The  question  of  roofing  must  also  be  decided  when  the  building 
materials  are  being  selected,  and  here  again  there  is  a  wide  range 
of  choice.  For  a  frame  house,  wood  or  asbestos  shingles  are  usually 
most  appropriate,  although  they  cannot  be  used  unless  the  roof  has  a 
fairly  steep  slope  to  insure  proper  drainage.  With  concrete  or  stone 
construction,  tile  or  slate  makes  an  effective  covering,  while  the  dif- 
ferent forms  of  sheet  roofing  made  today  can  be  had  in  colors  to 

545 


SUCH  STUFF   AS    HOMES    ARE   MADE   OF 


STUCCO  AND  TrLE  ARE  USED  HERE  WITH  CHARMING  EFFECT  IN  HOUSE,  GARDEN  WALL  AND  HOODED 
entrance:    from   one   of  the    many    interesting    SKETCHES    IN    "the    HONEST    HOUSE." 

harmonize  with  practically  any  building  material,  and  are  especially 
suitable  for  flat  or  slightly  sloping  roofs.  Further  details  on  this 
subject  will  be  found  in  an  article  "Among  the  Rooftops"  on  page 
two  twenty-nine  of  The  Craftsman  for  May,  nineteen  fourteen. 

As  the  matter  of  cost  is  such  an  important  item  to  the  home- 
builder,  the  following  table,  prepared  by  the  National  Fire  Proofing 
Company,  may  be  helpful. 

Comparative  building  costs  of!  different  systems  of  building, 
based  upon  an  average  frame  dwelling  costing  ten  thousand  dol- 
lars, complete,  located  in  the  vicinity  of  New  York: 

The  frame  house  costs  about  ten  thousand  dollars,  while  one 
with  brick  outside  walls  and  wood  inside,  would  be  eleven  thousand. 
Brick  outside  walls  backed  up  with  hollow  tile  would  be  ten  thou- 
sand eight  hundred  dollars.  Stucco  on  expanded  metal,  wood  inside, 
would  cost  less — ten  thousand  two  hundred  and  fifty.  Hollow  tile, 
stuccoed,  wood  inside,  requires  ten  thousand  five  hundred  dollars, 
and  hollow  tile,  stuccoed,  fireproof  throughout  except  roof,  raises 
the  price  to  twelve  thousand.  Fourteen  thousand  dollars  would  be 
the  cost  of  a  house  with  hollow  tile  walls  faced  with  brick,  with  fire- 
proof floors  and  roof,  while  one  with  brick  walls  and  fireproof  floors 
and  roof  would  be  about  fifteen  thousand.  These  figures  are  based 
on  an  average  taken  from  two  architects  and  two  builders,  who 
have  had  experience  with  the  methods  of  construction  designated. 


SINGLE    AND    SEMI-DETACHED    HOUSES    THAT    LEND    THEMSELVES    WELL    TO    STUCCO   CONSTRUCTION: 
FROM   THE  CENTURY  COMPANY'S  RECENTLY  PUBUSHED  BOOK,   "tHE  HONEST  HOUSE." 


AFTER  THE   ARCHITECT,  FURNITURE  AND 
FITTINGS:    NUMBER  THREE 

Tlie  illustrations  in  the  text  are  reproduced  by  permission  of  the  Century  Furniture  Co. 

FTER  the  architect— what?  \Mien  the  house  of 
dreams  stands,  a  piquant  reaUty,  caUing  to  the 
owners  to  experience  its  joys,  what  comes  impera- 
tively next?  The  very  thing  that  has  been  put  off 
as  long  as  possible,  the  fittings  and  furnishings.  And 
the  cause  of  the  postponement  is  fear,  fear  of  buying 

- furnishings   which   would   be   regretted   later.     The 

life-blood  of  fear  is  ignorance.  We  fear  to  buy  furniture  because  we 
know  too  little  about  it.  Let  us  quickly  to  work  then,  and  with  many 
a  good  book  and  many  an  excursion  into  homes  and  museums  feed 
the  eye  with  example  rafter  example 
of  furniture  in  good  styles,  that  the 
underlying  principles  of  construction 
and  outUne  may  become  ours. 

This  is  not  with  the  idea  of  fur- 
nishing the  house  with  the  boasted 
museum  piece  of  each  dealer  in  an- 
tiques. Far  from  it,  for  antiques  are 
both  f rail.and,.expensive,  and  are  main- 

ly  for  those  

W  h  of    do     not    drop-leaf    table    of     modified    JACOBEAN 

mind  hearing  design. 

chairs  crack  under  the  visit  of  a  fat  friend; 
or  of  losing  ormolu  mounts  and  BouUe  inlay 
under  the  duster  of  the  arduous  maidservant. 
But  what  is  gained  by  knowledge  is  the  ability 
to  select  such  modern  furniture  as  is  built 
on  time-honored  lines  of  construction,  furni- 
ture that  has  the  proper  silhouette  as  it  is 
shown  against  hght  walls  and  carpets. 

If  the  purse  and  the  inchnation  permit 
of  filling  the  house  with  antiques,  turn  the 
pages  of  this  magazine  to  some  other  article, 
for  this  treats  of  another  sort  of  furnishing. 
We  are  looking  to  give  the  new  house  at  once 
the  appearance  of  home.  One  way  to  arrive 
at  that  is  to  avoid  high  novelties  of  the  nio- 
ment  in  furniture,  except  it  be  those  which 
are  founded  on  the  lines  of  the  antique.  In 
this  hes  the  secret  of  the  whole  matter. 
lAcoBETN^oTr'*'""""''''^"  Spring  would  not  be  spring  if  we  found  not 

547 


MIRROR   WITH 
AMERICAN-COLONIAL- 
TACOBEAN    MOTIF. 


FURNISHINGS  FOR  THE  MODERN  HOME 

the  same  flowers  in  it  each  year;  houses  are  scarcely  homes  that  do 
not  contain  the  time-tested  outlines  of  furniture  that  has  been  loved 
through  centuries. 

It  may  be  that  a  little  old  furniture  has  been  got  by  means  fair 
or  foul,  and  this  strikes  a  clean,  true  note,  like  a  tuning  fork,  set 
as  the  pitch  for  the  entire  room.     The  plan  is  excellent. 

Deep  in  the  heart  of  the  house-owner  lies  the  picture  of  the 
evening  lamp  and  the  easy -chair,  which  is  the  symbol  of  the  big  heart 
of  the  house,  its  living  room.  We  have  finished  with  the  drawing 
room  in  these  days.  Those  who  have  space  enough  in  the  house  to 
neglect  a  part  of  it  include  one,  that  real  friends  may  avoid  it.  But 
ordinarily  it  is  replaced  by  the  living  room  or  library  or  both,  to  the 
encouragement  of  brotherly  love. 

How  shall  it  be  furnished?  First  and  always  it  shall  have  a  huge 
cushioned  sofa  and  at  least  two  chairs  that  look  like  its  offspring.  In 
what  style  shall  these  be?  In  the  simplest  and  most  comfortable 
as  well  as  the  strongest.  Mother  and  all  the  youngsters  will  pile  on 
that  sofa  at  times,  and  the  squire  will  impose  his  relaxed  weight  on 
the  chairs.  Their  construction  must  be  rectangular,  then,  but  the 
old  wing-chair  may  be  the  inspiration  for  the  arms  and  legs  of  both, 
giving  them  style  and  enduring  beauty. 

After  the  comfortable  seats,  the  table,  the  big  table  that  holds 
the  lamp,  the  latest  magazines,  the  unread  post,  mother's  war  knitting 
and  father's  ink  and  blotter.  ^Vhat  shall  this  table  be?  It  shall 
have  a  smooth  and  spacious  top  and  such  honest  rectangular  support 
that  the  young  daughter  may  perch  on  its  edge  in  her  laughing  play, 
and  the  boys  may  lean  on  it  heavily  without  reproach.  Two  proper 
models  for  such  usage  time  has  given  us,  one  has  legs  descending 
straight  from  the  edge — this  includes  the  gate-leg — and  the  other  is 
supported  at  either  end  with  a  stretcher  through  the  middle.  The 
Renaissance  gave  these  models,  but  Greece  and  Rome  and  Egypt 
were  back  of  them.  These  tables  of  the  Renaissance  were  carved 
and  ornamented  with  the  highest  talent,  and  thus  became  works  of 
art,  but  in  these  latter  days  we  can  do  without  the  embellishment 
and  take  only  the  constructive  lines  of  the  table,  getting  just  as 
tasteful  an  effect  and  much  more  appropriateness.  In  this  way  we 
can  furnish  with  simple  pieces  which  never  alter  in  value  and  of  which 
we  never  grow  tired. 

This  is  the  day  of  the  copy,  the  reproduction,  in  furniture.  But 
in  general  more  attention  is  paid  to  copying  detail  than  in  getting 
correct  proportion.  And  the  proportion  of  the  old  pieces  is  a  subtle 
thing.     It  were  better  to  copy  that  than  to  copy  ornament. 

For  the  big  table  then  choose  a  design  that  follows  in  outline  the 

548 


Photograph, 
by  Mary  H. 
Northend. 


A     NEW    ENGLAND    ROOM     FITTED    UP    IN    GENUINE    COLO.Nii  AliH     i.ATE-LEG    TABLE,    COL- 

ONIAL-EMPIRE MIRROR,  BUILT-IN  MAHOGANY  CHINA  CLOSET.  AN'D  DELIGHTFUL  EFFECT  FROM  FLOW- 
ERED CHINTZES   AND  LANDSCAPE   WALL-PAPER. 

A  SIMPLE  INTERIOR  IN  WHICH  THE  COLONIAL  FINISH  OF  THE  ROOM  AND  FIREPLACE  IS  PERFECTLY 
SUPPLEMENTED  BY  THE  STYLE  OF  FURNITURE  AND  RUGS  !  EVEN  THE  CLOCK  AND  CANDLESTICK  ARE 
HARMONIOUS  IN   DESIGN. 


^■^  7. 


A  LATER  COLONIAL  DINING  ROOM  WITH  COLONIAL  FIREPLACE,  WINDOW  AND  CHINA  CLOSET  WELL 
combined:  THE  EMPIRE  MIRROR  IS  SIMPLE  ENOUGH  TO  SEEM  APPROPRIATE  OVER  THE  LATER  ADAM 
MANTEL,   AND  THE   SIDEBOARD   IS   EXACTLY    SUITED  IN   CONSTRUCTION   AND   FINISH. 

A  ROOM  WHICH  MIGHT  BE  A  BEAUTIFULLY  FITTED-UP  END  OF  A  CHARMING  OLD  NEW  ENGLAND 
kitchen;  ALTHOUGH  THE  DUTCH  TABLE  AND  THE  NEW  ENGLAND  CHAIRS  CAN  HARDLY  BE  SAID 
TO  BELONG  TO  THE  SAME  PERIOD.  THE  EFFECT  IS  HARMONIOUS,  AND  THE  CHINA  CLOSET  AND  LOW 
SIDEBOARD  COMPLETE  A   MOST  FRIENDLY  DINING  ROOM. 


DINING  ROOM  FITTED  UP  WITH  ENGLISH  COTTAGE  FURNITURE:  FOR  A  SIMPLE  ROOM  NOTHING  COULD 
BE  MORE  ATTRACTIVE  THAN  THIS  PLAIN  WHITE  ENAMEL:  IT  HAS  RKALLY  PRODUCED  A  PERIOD  OF 
ITS  OWN  :  THE  SMALL-PANED  WINDOWS.  WITH  THEIR  CASEMENT  CURTAINS  AND  SHELF  FOR  PLATES 
ABOVE,    SEEM    ESPECIALLY    SYMPATHETIC. 

A  BEDROOM  ALSO  FITTED  IN  THE  ENGLISH  COTTAGE  MANNER:  THERE  IS  A  HINT  OF  THE  COLONIAL 
IX  THE  MIRROR.  CHAIR  AND  WINDOW  DRAPERY:  THE  ARRANGEMENT  OF  THEROOMISAN  EXCELLENT 
SUGGESTION    FOR   THE   BEST    POSSIBLE  USE  OF  THE  SP.\CE. 


A   COLONIAL   DEDROOM    WITH    CHINTZ-STRIPED    PAPER    AND    RICH    MAHOGANY    PIECES,    SHOWING   THE 
FINE    SIMPLICITY    WHICH    CHARACTERIZED  THE  FURNISHINGS  OF  THAT  PERIOD. 

A  SIMPLER  ROOM  OF  A  SLIGHTLY  LATER  PERIOD   WITH   A  COZY  WINDOW   SEAT:  THE  BED  AND  DRESSER 
WITH    THEIR   SLENDER   GRACE   ARE   REMINISCENT  OF  ADAM   DESIGNS. 


THE  PICTURE  ON 
THE  LEFT  SHOWS 
EXTREMELY   WELL- 
THOUGHT-OUT  REPRO- 
DUCTIONS OF  JACOBEAN 
DESIGNS  :    ORIGINAL 
MODELS   HAVE  BEEN 
COPIED  SO  CLOSELY 
THAT   NONE   OF   THE 
FINENESS   OF  CON- 
STRUCTION  AND  RICH- 
NESS  OF   FINISH    FOR 
WHICH  THE  JACOBEAN 
FURNITURE  IS  FAMOUS 
IS   MISSED  IN  THESE 
UNUSUAL  PIECES 
FROM   THE  CENTURY 
FURNITURE  COMPANY  : 
ALTHOUGH   OF   MA- 
HOGANY,  THIS   FUR- 
NITURE  IS   FINISHED 
IN   DULL   NUT-BROWN 
TONES   LIKE  THE  OAK 
AND   WALNUT  IN 
WHICH  THE  ORIGINAL 
MODELS  WERE   MADE. 


cL^^ 


BOTH   OF  THESE 
PIECES  OF  UPHOL- 
STERED FURNITURE 
ARE  EVIDENT  REPRO- 
DUCTIONS  FROM 
ADAM    MODELS, 
INFLUENCED,    IN 
THE  COUCH    AT 
LEAST,  BY  THE 
EMPIRE  STYLE  :  THE 
WOODWORK  IS  MA- 
HOGANY, CARVED, 
AND  THE  COVERING 
IS  OF  A  DELICATE 
FAWN   BROCADE 
WITH  A  RICHER  NOTE 
IN  THE  PILLOWS  : 
THIS  FURNITURE 
HAS  THE  ADVANTAGE 
OF  GIVING  REAL  COM- 
FORT  AS   WELL   AS 
DECIDED  BEAUTY   OF 
OUTLINE. 


yy:} 


i 


A  VARIETY  OF  NEW  CRAFTSMAN  FURNITURE  DESIGNS  IN  GUMWOOD,  MAHOGANY  AND  OAK  AS  WELL 
AS  UPHOLSTERED  WILLOW:  THESE  SHOW  A  FEW  OF  THE  MANY  DEPARTURES  FROM  OUR  ORIGINAL 
MORE  SIMPLE  AND  STURDY  OAK  MODELS — NOT  TO  TAKE  THE  PLACE  OF  THE  OLD  FURNITURE,  BUT  TO 
ENRICH    THE    VARIETY    WHICH    THIS   CENF.RAL  STYLE  HAS  PRODUCED. 


FURNISfflNGS  FOR  THE  MODERN   HOME 

Italian  tables  or  the  English  refectory  tables,  and  you  cannot  go  far 
wrong,  no  matter  how  great  the  simplicity.  As  an  example  of 
simplicity  and  strength,  study  the  table  in  the  dining-room  view, 
that  having  grape  wall-paper.  One  could  fancy  even  this  much 
improved  with  twin  uprights  at  the  ends  in  place  of  one  to  reheve  the 
length  on  the  floor. 

Tables  need  not  be  confined  to  one  use,  for  such  as  this  may  be 
used  for  dining  or  for  the  Hving  room,  or  in  the  bungalows  serve  for 
both.  This  is  true  too  of  the  smaller  chairs  of  the  living  room,  which 
may  be  whisked  from  one  room  to  another  as  the  time  demands. 

Models  for  the  small  chairs  make  one  of  the  most  perplexing 
subjects  in  the  world.  A  while  ago  we  would  have  nothing  but 
mahogany,  either  antique  or  new.  Now  we  are  possessed  by  the 
styles  of  England  in  the  seventeenth  century,  all  of  which  we  loosely 
call  Jacobean.  In  the  originals  they  have  an  undying  beauty,  and 
the  simpler  ones  bear  reproduction  retaining  their  charm  and  dignity. 

But  as  the  styles  we  call  Chippendale  and  Colonial  were  usually 
in  mahogany,  and  the  Jacobean  were  in  walnut  and  oak,  there  conies 
a  repugnance  to  putting  them  together — that  is  the  copies.  With 
the  antique  all  is  different.  Time  has  softened  the  finish,  has  brushed 
the  pieces  over  with  a  patine  which  tones  the  woods  and  softens 
sharp  edges.  It  is  easy  enough  to  group  together  heirlooms  of 
different  styles  with  elegant  effect,  as  in  the  plate  showing  a  gate- 
legged table  with  Chippendale  cupboard.  This  room  is  a  rare  ex- 
ample too  of  the  hominess  caused  by  such  grouping. 

But  if  the  new  home  must  be  furnished  with  new  things  then  the 
ideal  to  strive  for  is  not  having  everything  in  sets,  but  to  make 
selections  that  mix  harmoniously  and  that  have  no  startUng  contrasts 
in  the  finish  of  the  woods.  Mahogany  need  not  be  a  glossy  red; 
oak  need  not  be  a  shiny  yellow;  both  can  be  finished  in  melting  tones 
of  brown,  as  soft  as  the  petal  of  a  flower  to  touch,  and  as  subtle  in 
color  as  the  changing  lights  in  a  forest  where  the  wood  spent  its 
tree-life. 

If  then,  when  it  comes  to  the  small  chairs  of  the  house,  there  is 
a  fancy  for  both  Chippendale  and  Jacobean,  do  not  hesitate  to  have 
them  both,  nor  to  put  both  in  the  same  room,  or  in  all  rooms  if  you 
like,  for  we  do  not  hold  to  the  department  store  principle  that  the 
dining  chair  is  for  meals  and  that  the  hving  room  and  hall  must  have 
special  models.     A  good  chair  is  good  anywhere. 

That  last  is  a  rash  statement  unless  you  understand  that  we  speak 
with  a  mental  reservation  about  class.  Class  in  furnishing  the  ideal 
house  has  to  be  regarded  as  punctihously  as  the  school  principal 
observes  the  class  of  mental  development  he  forms  into  groups.     You 

555 


FURNISHINGS  FOR  THE  MODERN   HOME 


REPRODUCTION 


and  in 
tural 

rivals,  all  others  in  sympa 
ment  on  furniture  is  a  lu 
of  the  styles  used  to  cover 
attained  a  perfection  not 
times  to  repeat.  Better 
great  periods  only  in  struc 
get  our  effects  by  beauty 
Peasant  furniture — 
word  peasant  over  here 
us  the  mere  toiler  of  occa 
But  we  must  apply  the 
certain  class  without  off 
tasteful  simplicity.    In  all 


cannot  have  the  inharmony  we  call  bad  taste  if 
you  regard  class  and  line  and  color.  Line  and 
color  (or  finish)  have  been  discussed.  Class  is 
much  regulated  by  the  amount  of  money  to  be 
spent.  In  this  article  we  are  not  considering 
the  millionaire,  but  the  average.  Furniture  for 
the  palace  is  not  included.  If  a  piece  has  been 
presented,  it  were  better  to  present  it  again  to 
someone  whose  whole  house  it  will  not  throw 
out  of  key. 

The  class  which  concerns  us  is  not  the  "Pala- 
tial," but  the  restrained,  the  simple.  Our  effects 
of  beauty  are  not  to  be  got  by  gilding,  carving 


REPRODUCTION 
FARTHINGALE 
CHAIR. 


lay,  but  by  good  struc- 
Hnes,  and  by  a  finish  that 
thetic  loveliness.  Orna- 
xury,  or  is  even  in  some 
faults,  and  in  the  past  has 
desirable  for  these  active 
far  is  it  to  follow  the 
ture  and  silhouette  'and 
of  finish  and  color, 
we  are  not  fond  of  the 
in  America.  It  means  to 
sional  picturesque  dress, 
word  to  furniture  of  a 
ence.  It  is  a  class  of 
the  great  periods  the  ex- 


amples we  study  were  the  possessions  of  kings  and  nobles ;  but  run- 
ning parallel  with  these  was  a  line  of  furniture  on  the  same  structural 
lines,  having  the  same  silhouette, 
but  almost  unbelievably  simplified. 
This  we  are  beginning  to  appreci- ' 
ate  and  in  one  modern  manufacture 
to  use  as  inspiration.      We  call  it 
peasant   furniture  when   made  in 
Europe,  but  cottage  furniture  when 
adapted  to  our  American  uses.    It 
must  be  added,  however,  that  the 
copy  in  this  sort  of  furniture  far 


EARLY  COLONIAL  WIND-  l         •  1  ,1  •     •         l 

soR  CHAIR,  FROM  COL-  excccds  m  eicgancc   the   origmal 
LECTION  OF  E.R.  LEMON,  But  thc  polut  to  bc  uiadc  is,  that 

WAYSIDE       INN,        SUD-  ' 

BURY,    MASS. 


BATES    HALL   CHAIR,  BOS- 


556 


it  all  the  furniture  in  your  home  ton  public  library, 


FURNISHINGS  FOR  THE  MODERN  HOME 


TABLE        WITH 
ADAM    MOTIF. 


comes  from  palaces,  the  cottage  furniture  is  out 
of  place;  and  if  your  home  is  made  homelike  in 
the  simple  style,  the  gold   console  from  Venice 
brings    discord.      This    is  what  I   mean   by  not 
mixing  the  classes  in  furnishing.     By  keeping  to 
one  class  you  may  change  the  things  all  about 
the  house,  whenever  the  whim 
strikes  you,  and  the  result  will 
always  be  tasteful.   The  mixing 
of  "styles"  is  of  far  less  impor- 
tance, for  that  is  done  pleas- 
ingly.    A  dining  room  and  a  bedroom  are  among 
the  plates  which  show  the  simplest  styles  of  cot- 
tage furniture  in  painted  wood.     Another  picture 
gives  a  peep  into  one  of  those  rare  kitchens  that 
are  really  a  living  room,  with  an  annex  for  the 
real  cookery.     This  has  its  cottage  furniture  in  table  of  modified  adam 
the  styles  of  long  ago  New  England. 

The  dining  room  has  special  pieces  for  the  reception  of  silver, 
Hnen  and  breakables.     Such  pieces  are  permanent,  and  yet  the  most 
effective  of  side  tables  are  often  those  which  have  been  diverted  from 
other  uses.     We  have  ^^^gg/^^^^^^^  s*^^°   ^  Jacobean   coffer 
which,  raised   on  legs  ^^■^^^^SH  ^"^  opened  on  the  side 
holds   silver   and    Hnen  Hf^^^^^^H  like  a  cabinet. 

The  dining  table  may  ^T  |^  be   like  the  big  living- 

room  table,    wh;ich    is        ^••••••J       Italian  in  form,  with  all 

ornament  omitted.     Or,         |  ^       it  may  take  the  lines  of 

the  English  table  of  the        1  J       late  eighteenth  century, 

variously  called  Colonial     ^^  l»    or  Sheraton,  the  table  we 

all  know   by   its   round     ^^  ^r       top  and  its  tapered  legs 

which  are  placed  around  drop-leaf  table  based  the  edge.  This  table  is 
without  carving  and  re  "''  J^™^^'^  °"^'^''-  lies  on  fine  finish  and 
good)  proportion  for  its  beauty.  And  this  sort  of  table  is  just  as 
appropriate  in  the  living  room  in  smaller  size.  There  was  once  a 
good  old  fashion  of  clearing  early  the  dining  table  and  of  turning 

n  loose  on  its  top  all  the  school-books,  while  a  set  of 
eager  children  Uttered  it  and  sat  at  lessons  for  the 
next  day's  quiz.  Such  tables  as  we  recommend 
for  the  dining  room  take  well  the  hard  pressure  of 
elbows  and  restless  yoimg  bodies. 
Bedrooms  are  fascinating  to  furnish;  they  are  so 
much  less  serious  in  expense  that  ones  dares  to  be 
SEAT  WITH  ADAM  MOTIF.  (Contiiiued  OTl  PttQe  681.) 

557 


FLOOR  PLAN  OF 
CRAFTSMAN 
SHINGLED  BUNGA 
LOW    NO.   201. 


COMFORT  AND  ECONOMY 
COMBINED  IN  SMALL  CRAFTS- 
MAN   HOMES 

ONE  of  the  greatest  charms  of  most 
old-fashioned  dwellings — Colonial 
homes,  for  instance,  or  English 
farm  or  manor  houses — lay  in  the 
generous  size  of  their  rooms,  especially  the 
main  or  living  room.  They  were  built  in 
the  days  of  large  families,  and  before  the 
concentrative  energies  of  mod- 
ern civilization  had  made  men 
measure  real  estate  by  the 
square  foot  instead  of  by  the 
acre.  Today,  many  of  our 
home-builders,  particularly  in 
the  suburbs  of  the  larger  cities, 
find  themselves  confronted 
with  the  problem  of  obtaining 
the  utmost  modem  comfort  in 
a  moderate-priced  house  on  a 
narrow  lot — and  it  sometimes 
needs  considerable  ingenuity  to 
devise  a  plan  which  will  utilize 
the  available  space  to  the  best 
possible  advantage. 

One  difficulty  in  planning  a 
small  cottage  or  bungalow  is  to 
provide  a  sufficient  number  of 
rooms  in  the  limited  area  given, 
and  yet  prevent  the  interior 
from  seeming  cramped  and 
small.  It  is  desirable  that  a 
feeling  of  openness  should  be 
insured  above  all  for  the  living 
and  dining  rooms,  since  this 
part  of  the  house  is  sure  to  be 
the  most  used.  A  practical  and 
pleasant  way  to  accomplish  this 
is  to  have  the  two  rooms  com- 
municating with  each  other, 
with  a  wide  opening  between 
them.  In  the  Craftsman  bun- 
galow and  cottage  which  we  are 
showing  this  month,  we  have 
introduced  a  variation   of   this 

558 


method  which  may  oflfer  a  timely  suggestion 
to  those  of  our  readers  who  are  planning 
homes.  We  have  made  the  division  be- 
tween the  rooms  even  less  than  usual,  so 
that  they  have  substantially  the  effect  of  one 
long  room.  A  study  of  the  plans  will  show 
just  how  this  has  been  done  in  each  case, 
and  will  reveal  a  compact  and  economical 
use  of  space  throughout  the  rest  of  the  in- 
teriors. The  arrangement  of  rooms  should 
make  the  housework  comparatively  easy. 


m9 


CRAFTSMAN  SHINGLED  BUNGALOW  NO.  201  :  THIS  SIMPLE,  COMFORTABLE  HOME 
HAS  BEEN  PLANNED  TO  MEET  THE  NEEDS  OF  A  SMALL  FAMILY,  AND  COULD  BE 
BUILT  ON  A  NARROW  SUBURBAN  LOT:  THE  ATTIC  SPACE  MIGHT  BE  FINISHED 
OFF   FOR    maid's   ROOM,    GUEST   CHAMBER   OR    NURSERY,    AS    DESIRED. 


^-i-1 


Guslav  Stickley,  Architect. 


THIS  TWO-STORV  CRAFTSMAN  HOUSE,  NO.  2U2,  IS  BUILT  WITH  THE  LOWER 
WALLS  OF  STUCCO.  AND  SHINGLES  IN  THE  GABLES  AND  ROOF:  THE  FLOOR 
PLANS,  ON  THE  OPPOSITE  PACE,  SHOW  AN  UNUSUALLY  COMPACT  AND  ECO- 
NOMICAL  ARRANGEMENT   OF   THE    INTERIOR. 


COMFORT    AND    ECONOMY  IN    SMALL  HOMES 


CRAFTSMAN    CONCRETE  AND   SHINGLE   BUNGALOW    NO. 
202  :    FIRST  FLOOR   PLAN. 

THE  first  design  that  we  are  presenting 
here  is  a  bungalow,  No.  201,  planned 
for  a  small  family  of  moderate  means 
who  wish  to  combine  real  home  comfort 
with  simplified  household  arrangements. 
The  building  is  particularly  suitable  for  the 
suburbs,  and  being  only  36  feet  wide  could 
easily  be  placed  on  a  50  foot  lot  without 
crowding  too  close  to  possible  neighbors. 

The  shingled  walls  and  roof  have  been 
kept  fairly  low,  both  for  economy  of  con- 
struction and  to  emphasize  the  homelike  air 
of  the  exterior.  Rough  stone  is  used  for 
the  foundation  and  chimneys,  to  give  a  note 
of  variety  in  texture  and  coloring,  although 
brick  would  accomplish  the  same  result  if 
stone  did  not  happen  to  be  available  in  the 
locality  where  the  bungalow  was  built. 

The  entrance  is  especially  inviting,  for 
one  steps  up  onto  a  sheltered  porch,  one 
corner  of  which  is  cosily  protected  from 
winds  by  the  walls  of  the  living  room.  The 
parapet  on  the  right,  and  the  arrangement 
of  pillars  and  roof,  make  it  possible  to  en- 
close the  space  by  screens  in  summer  or 
glass  in  winter.  A  terrace  extending  across 
the  rest  of  the  front  also  provides  a  pleas- 
ant space  for  open-air  life,  separated  a  little 
from  the  garden  by  the  low  stone  wall  and 
flower-boxes  between  the  small  brick  posts 
— a  device  which  makes  the  outlook  from 
the  dining  and  living  room  windows  very 
pleasing.  Brick  has  also  been  used  above 
the  stone  steps  of  the  pwrch. 

.-^s  the  roof  of  the  porch  shelters  the 
front  door,  no  vestibule  is  provided,  so  that 


you  step  directly  into  the  living  room 
and  are  greeted  by  the  welcome  sight  of 
the  big  open  fireplace  with  its  tiled 
hearth.  At  the  right  of  this  is  a  sort  of 
alcove  off  the  main  room,  with  two  case- 
ments overlooking  the  garden  at  the  right 
and  another  on  the  recessed  porch.  The 
rear  wall  of  this  alcove  provides  an  ap- 
propriate place  for  the  piano,  while  the 
music  cabinet  could  stand  either  beside 
the  chimneypiece  or  in  the  front  comer. 
As  we  have  indicated  on  the  plan,  this 
room  and  the  dining  room  are  practical- 
ly one,  for  the  division  between  them 
consists  merely  of  low  cabinets,  with 
shelves  for  books  on  one  side,  and  for 
china  on  the  other.  The  dining  end  of 
the  room  has  a  group  of  three  case- 
ments in  the  front  and  side  walls, 
and  as  there  is  no  projecting  porch 
roof  except  at  the  entrance  corner,  the 
place  will  be  light  and  sunny,  especially 
if  the  bungalow  is  built  facing  south.  If 
the  owner  prefers  to  have  the  entrance  at 
the  left-hand  side,  and  the  morning  sun  in 
the  dining  room  and  kitchen,  this  can  be 
attained  by  simply  reversing  the  plan. 
Another  modification,  which  some  people 
might  desire,  and  which  would  probably  be 
necessary  in  a  cold  climate,  is  the  utilization 
of  the  recessed  corner  of  the  front  porch 
for  a  hall  or  vestibule.  In  this  case,  of 
course,  the  entrance  door  would  be  ar- 
ranged here  instead  of  where  indicated  at 
present. 

The  idea  being  to  keep  the  bungalow  as 
simple  and  economical  as  possible,  no  pass 
pantry    has    been    provided;    the    kitchen. 


SECOND  FLOOR 
C:\,Oi>         PLAN  :  BUN- 
GALOW   NO. 

202. 


S6i 


THE  INFLUENCE  OF  SURROUNDINGS 


though  only  12  by  lo  feet,  is  quite  large 
enough  for  a  dwelling  of  this  size,  and  the 
range,  dresser,  sink  and  work-table  are  well- 
lighted  and  convenient.  The  ice-box  is  on 
the  service  porch,  which  is  so  constructed 
that  it  can  be  screened  or  glassed  in,  ac- 
cording to  the  season. 

In  the  center  of  the  bungalow  is  a  hall 
which  affords  convenient  communication 
between  the  front  and  rear,  and  separates 
the  sleeping  rooms  from  the  living  portion 
of  the  house.  From  this  hall,  also,  descend 
the  cellar  stairs,  with  those  to  the  attic  just 
above,  and  a  closet  for  coats  or  linen  against 
the  opposite  wall.  If  the  three  bedrooms 
and  bath  on  this  floor  did  not  afford  suffi- 
cient accommodation,  the  space  beneath  the 
roof,  which  is  lighted  by  windows  in  the 
gables,  could  be  finished  off  and  used  for 
maid's  room,  guest  chamber  or  nursery,  ac- 
cording to  the  family  needs. 

THE  second  design.  No.  202,  shows  a 
two-story  cottage,  with  the  lower  walls 
of  stucco,  and  shingles  in  the  gables 
and  gambrel  roof.  If  built  with  the  living 
room  facing  south  or  east,  plenty  of  sun- 
light will  be  insured  for  this  room  and 
the  dining  room.  The  entrance  is  well 
sheltered  by  the  angle  of  the  walls,  and  the 
living  room  is  further  protected  from 
draughts  by  the  small  passage  or  hall,  with 
its  coat  closet,  which  is  arranged  here.  This 
hall  also  gives  access  to  the  stairs,  and  per- 
mits one  to  answer  the  front  door  bell  from 
the  kitchen  without  passing  through  the 
other  rooms. 

The  same  type  of  combined  living  and 
dining  room  is  shown  here  as  in  the  preced- 
ing house,  and  the  arrangement  of  the 
groups  of  casement  windows  and  open  fire- 
place adds  to  the  decorative  interest  as  well 
as  comfort  of  the  place.  The  staircase  is 
partially  screened  from  the  dining  room  by 
a  grille  and  from  the  living  room  by  a  half- 
height  partition  with  a  shelf  for  ferns  or 
pottery,  giving  an  opportunity  for  an  effec- 
tive use  of  the  structural  woodwork.  A 
pass  pantry  with  two  built-in  dressers  and 
an  icebox  forms  the  communication  be- 
tween dining  room  and  kitchen,  and  from 
this  pantry  the  cellar  stairs  descend  beneath 
the  main  flight.  In  the  kitchen,  the  sink  and 
work-table  are  placed  beneath  windows,  and 
a  dresser  is  built  into  the  corner  between. 
A  small  recessed  porch  is  provided  at  the 
rear. 

The  second  floor  has  been  planned  so  as 

562 


to  obtain  three  bedrooms  with  full-height 
ceilings,  and  plenty  of  closet  space  is  pro- 
vided beneath  the  slope  of  the  roof.  There 
is  also  a  linen  closet  in  the  hall. 

THE  INFLUENCE  OF  SUR- 
ROUNDINGS 

SEE  if  you  can  jireserve  a  happy  and 
contented  disposition  when  you  walk 
through  some  of  the  noisy  city 
streets,  where  ugliness  and  shabbi- 
ness  vie  with  vulgarity.  I  need  not  select 
the  streets,  they  have  their  counterparts 
in  all  cities. 

''Fatalism  is  the  last  refuge  of  the  shirker. 
We  can  destroy  exaggerated  ugliness  in  our 
cities  if  we  decide  to  do  it.  And  we  will 
decide  to  do  it  when  we  realize  the  tremen- 
dous influence  that  our  surroundings  exert 
on  us.    .    .   . 

"In  the  hospital  of  today,  great  care  is 
taken  to  prevent  a  distressing  and  gloomy 
atmosphere.  The  wards  are  light,  sunny, 
and  well-proportioned.  Flowers,  a  pleasant 
outlook  and  an  air  of  cheerfulness,  are  con- 
sidered potent  factors  in  aiding  the  work  of 
the  physicians  and  securing  a  larger  percent- 
age of  cures. 

"There  has  been  a  revolution  in  factory 
buildings,  for  it  has  been  found  that  the  con- 
dition of  the  workshop  counts.  Men  and 
women  are  depressed  or  stimulated  as  the 
workshops  are  ugly  and  unhealthy — or 
bright  and  sanitary. 

"Taking  the  city  as  a  whole,  the  same 
principle  obtains.  The  efficiency  of  the  citi- 
zen is  impaired  or  increased  in  proportion 
to  the  amount  of  friction  and  wear  and  tear 
that  he  endures.    .    .    . 

"There  is  no  reason  why  our  cities  should 
not  be  sensibly  planned.  There  is  no  reason 
why  they  should  be  allowed  to  run  wild  and 
grow  without  care  and  scientific  regulation. 
There  is  no  reason  why  commercial  con- 
siderations should  ruin  the  beauty  of  a  city : 
and  there  is  no  reason  why  considerations 
of  beauty  should  interfere  with  its  commer- 
cial prosperity. 

"I  believe  that  our  newer  ideas  of  social 
justice  will  produce  better  cities.  Cities  will 
be  cleaner,  healthier,  more  beautiful,  for 
even  the  untrained  already  feel  that  their 
rights  are  not  recognized,  and  realize  vague- 
ly that  their  sensibilities  are  hurt  l)v  un- 
sightly surroundings." 

From  an  address  by  Arnold  W.  Brunner,- 
printed  in   The  Countryside  Macjaz'nie. 


PLANTING  TO  ATTRACT  BIRDS 


PLANTING  YOUR  GARDEN  TO 
ATTRACT  THE  BIRDS 

BIRDS,  as  well  as  trees,  shrubs  and 
flowers,  add  to  the  charm  of  a  coun- 
try home.  Birds,  also,  are  practically 
essential  to  the  welfare  of  trees,  and 
in  selecting  the  plants  for  your  home 
grounds  it  is  well  to  include  among  them 
those  which  will  particularly  attract  the 
little  feathered  folk. 

By  consulting  the  following  lists,  the 
gardener  will  know  what  plants  to  choose 
for  the  benefit  of  certain  kinds  of  birds. 
First  we  are  giving  the  names  of  birds  that 
feed  upon  the  fruits  of  the  trees,  shrubs  and 
vines  enumerated  later.  The  numbers  in- 
dicated in  front  of  the  bird  names  will  be 
found  in  the  second  list  after  the  names  of 
the  plants  that  attract  them. 

The  Birds 
I  Blackbird.  2  bluebird,  3  bobolink,  4  cat- 
bird, 5  cedarbird,  6  chickadee,  7  crow,  8 
cuckoo,  9  finch,  10  grosbeak,  11  grouse,  12 
j-^y;  13  junco,  14  kingbird,  15  oriole,  16 
phoebe,  17  quail,  18  robin,  19  sparrow,  20 
swallow,  21  tanager,  22  thrasher,  23  thrush, 
24  vireo,  25  warbler,  26  woodpecker. 

The  Plants 

Shad  Bush  (Amelanchier  botryapium) 
attracts  birds  numbered  i,  2,  5,  7,  10,  12, 
15,  18,  21,  26. 

W'oodbine  (Ampelopsis,  including  A. 
quinquefolia,  A.  Engelmanni  and  A. 
Veitchii),  2,  7,  11,  14,  17,  18,  19,  26. 

Spice  Bush  (Benzoin  odoriferum),  11, 
17.  19,  26. 

Barberry  (Berberis,  including  B.  Thun- 
bergii,  B.  vulgaris  and  B.  vulgaris  pur- 
purea), 5,  7,  II,  14,  17,  18,  19,  26. 

Bittersweet  (Celastrus,  including  C.  pani- 
culata  and  C.  scandens),  2,  11,  17,  18,  26. 

Nettletree  ( Celtis  occidentalis),  i,  2,  5, 
7,  18.  26. 

Cherry  (Cerasus,  including  C.  avium,  C. 
Pennsylvanicum  and  C.  serotina),  i,  4,  5, 
7,  10,  12,  14,  15,  18,  22,  25,  26. 

Cornel  or  Dogwood  (Cilrnus,  including  C. 
alba,  C.  alterni folia,  C.  Florida,  C.  pani- 
culata,  C.  sanguinea,  C.  sericea  and  C. 
stolonifera),  i,  2,  4,  5,  6,  7,  10,  11,  12,  14. 
17,  18,  19,  20,  22,  24,  26. 

Hawthorn  (Crataegus  including  C.  coc- 
cinea,  C.  cordata,  C.  crus-galli  and  C.  oxy- 
acantha),  7,  11,  12,  18. 

Strawberry  or  Spindle-tree  (Euonymus, 
including  all  varieties),  2,  18,  19,  26. 


Holly  (Ilex,  including  I.  opaca  and  I. 
verticillata),  2,  7,  17,  18,  26. 

Juniper  or  Cedar  (Juniperus,  including  J. 
communis  and  J.  Virginiana),  2,  5,  7,  9, 
10,   14,  16,  17,  18,  19,  23,  25,  26. 

Mulberry  (Morus,  including  M.  alba 
pendula,  M.  Tatarica  and  M.  var.  New 
American),  i,  2,  3,  4,  5,  7,  8,  10,  11,  12,  14, 

16,  17,  18,  19,  21,  22,  24,  26. 

Bayberry  (Myrica  cerifera),  i,  6,  7,  11, 
14,  17,  18,  19,  20,  25,  26. 

Sour  Gum  or  Tupelo  (Nyssa  sylvatica), 
4,  7,  II,  12,  18,  22.  26. 

Mountain  Ash  (Pyrus,  including  P.  Sor- 
bus  Americana,  P.  Sorbus  aucuparia,  P. 
Sorbus  pendula  and  P.  Sorbus  quercifolia), 
2,  5,  9,  10,  II,  18,  19,  26. 

Buckthorn  ( Rhamnus,  including  R.  Caro- 
linianus  or  frangula,  R.  catherticus  and  R. 
crenata),  4,  5,  10,  12,  13,  14,  18,  22. 

Sumach  ( Rhus,  including  R.  glabra  and 
R.  typhina),  i,  2,  4,  5,  6,  7,  10,  11,  12,  14, 

17,  18,  19,  20,  22,  24,  25,  26. 

Rose  (Rosa:  hips  of  the  following  varie- 
ties are  eaten  by  many  species  of  birds:  R. 
blanda,  R.  Carolina,  R.  lucida,  R.  multiflora 
Japonica,  R.  nitida,  R.  Rubiginosa,  R.  ru- 
brifolia,  R.  rugosa,  R.  rugosa  alba,  R.  seti- 
gera,  R.  spinosissima,  R.  W'ichuraiana). 

Elder  (Sambucus,  including  S.  Cana- 
densis, S.  nigra,  S.  nigra  aurea  and  S.  race- 
mosa  or  pubens),  i,  2,  4,  5,  7,  10,  11,  12. 

13,  14,  15,  16,  17,  18,  19,  22,  24,  26. 
Blueberry    or    Huckleberry    (Vaccinium, 

including  V.  corymbosum  and  V.  Pennsyl- 
vanicum), 4,  5,  7,  II,  12,  14,  18,  19,  26. 

Viburnum  (including  V.  acerfolium,  V. 
cassinoides,  V.  dentatum,  V.  lantana,  V. 
Lentago  and  V.  opulus),  2,  5,  7,  11,  17,  18, 
19,  22,  25,  26. 

Grape  (Vites,  including  V.  heterophylla, 
V.  Labrusca  and  V.  riparia),  i,  5,  7,  11,  12, 

14,  17,  18,  19,  22,  26. 

When  the  birds  have  been  coaxed  to  one's 
garden  by  the  planting  of  some  of  the  vines 
and  shrubs  listed  above,  the  next  thing  is  to 
encourage  them  to  stay  and  build  their  nests. 
If  there  are  few  trees  or  sheltered  nooks 
where  they  would  feel  safe  in  making 
homes,  a  delightful  plan  is  to  construct, 
from  hollow  bits  of  log,  twigs,  branches  or 
a  ball  of  twine,  little  bird  houses  which  can 
be  hung  under  a  protecting  eave,  nailed  to  a 
porch  post  or  a  pole  in  the  garden,  or  half 
hidden  among  the  shrubbery.  If  the  gar- 
dener has  not  the  time  or  inclination  to  make 
these  tiny  dwellings  at  home,  they  can  be 
[uirchased  for  a  reasonable  sum. 

563 


HOUSE  WITH  A  GARDEN  ROOM 


I 


I 


A    HOUSE    WITH    A    GAltDExN 
ROOM 

T  seems  as  if  Californians  could  never 
get  enough  of  gardens.  They  are  not 
content  with  building  a  home  that  is 
bounded  on  the  north,  south,  east  and 
west  with  gardens,  one  that  is  like  an 
island  entirely  surrounded  with  a  sea  of 
flowers  connected  with  the  main  land — the 
city  street — by  only  a  narrow  strip  of  path. 
They  turn  all  the  roofs  sometimes  into 
gardens  and  wonderful  fairylike  places  they 
are,  blossoming  with  stars  at  night  as  Peter 
Pan's  garden  sparkles  when  Tinker  Bell 
summons  his  playmates  and  Wendy  flies 
home  over  the  trees.  They  put  deep  boxes 
at  upper  windows,  on  veranda  railings,  on 
sleeping-porch  ledges  and  plant  them  to  gay 
flowers  that  reach  up  into  the  sky  and  to 
vines  that  trail  down  to  the  ground,  so  that 
their  houses  are  splashed  with  garden  spray 
as  a  rock  is  splashed  with  the  spray  of  in- 
rushing  waves.  Their  fences  are 
but  trellises  for  vines.  Their  chim- 
neys seem  to  be  woven  of  creei>ers. 
In  San  Diego  is  a  house  that 
carries  the  garden  one  step  further, 
for  it  is  not  only  entirely  sur- 
rounded by  gardens  but  it  also  sur- 
rounds one.  It  has  a  garden  room 
right  in  the  very  heart  of  it.  This 
was  accomplished  by  building  in 
the  form  of  a  hollow  square,  with 
the  square  filled  with  flowers  and  a 
fountain.  The  house  is  white — a 
most  excellent  and  delightful  tone 
for  a  home  in  a  sunny  land.  A 
bright  green  lawn,  smooth  as  a 
mountain  lake,  separates  it  from 
the  street.  Where  the  lawn  meets 
the  house  all  sorts  of  shrubs  and 
plants    that    blossom    in    shades    of 

564 


A  SAN  DIEGO  HOUSE  WITH  A  GARDEN  ROOM  :  DESIGNED 
BY  I.  J.  GILL  AND  OWNED  BY  MRS.  GEORGE  T.  FULFORD. 

lavender  and  violet  have  been  irregu- 
larly planted.  There  is  the  shining- 
foliaged  rhus,  heliotrope  that  climbs  like 
a  vine  and  blossoms  summer  and  win- 
ter, rows  and  rows  of  lavender  stock  and 
sweet  peas,  borders  of  nemophila  and  of 
the  new  sprangling  dwarf  verbena.  Wis- 
taria is  there,  and  clematis  and  plumbago 
over  the  pergola,  with  pansies,  violets  and 
asters  beneath  it.  There  are  purple  and 
violet-tinted  foxgloves,  larkspurs,  mari- 
posas,  lilies  and  daisies  and  a  host  of  other 
flowers  that  only  California  can  grow. 

The  effect  of  all  these  lavender  and  ])ur- 
ple  flowers  in  their  green  foliage  against 
the  white  wall  of  the  house  is  so  ethereally 
lovely  that  it  is  a  miracle  there  are  not  more 
white  houses  hedged  about  with  amethyst 
hues.  On  the  east  side,  where  the  stepping 
stone  path  is  laid,  there  is  a  quiet  little 
flower-tangled    court    enclosed    by    shrubs. 


A   GUMPSE  OF  THE  GARDEN   FROM    THE  ARCADK 


HOUSE  WITH  A  GARDEN  ROOM 


There  is  a  round  fountain  where  the  visiting 
birds  love  to  drink.  It  is  a  charming  place, 
entered  through  an  arched  gateway  of  a 
high  white  wall.  Slender  gray-stemmed 
Cocoa  plumosa  and  the  wide-spreading  date 
palm  are  in  the  yard,  dripping  pepper  trees 
border  the  street. 

The  driveway  leading  to  the  garage  and 
storerooms,  as  can  be  seen  from  the  accom- 
panying plan,  is  a  long  one.  It  has  been 
treated  in  a  most  interesting  manner.  The 
high  wall  at  the  right,  that  the  terraced 
yard  of  the  neighbor  necessitates,  is  artisti- 
cally buttressed.  Vines  and  creepers  climb 
up  these  buttresses  and  also  hang  down 
from  them,  for  they  are  hollow  and  filled 
with  earth.  The  driveway  is  lined  with 
green,  and  flowers  crowd  along  the  base. 

The  house  was  designed  bv  Irving  T.  Gill 
for  Mrs.  George  T.  Fulford.  It  is  of 
hollow  tile  and  concrete  and  is  most  unusual 
in  plan,  for  it  is  of  but  one  story  and  built 
entirely  around  the  court.  Many  California 
houses  have  courts  built  after  the  general 
plan  of  the  Missions  and  of  Ramona's 
birthplace  and  marriage-place,  which  means 
that  the  houses  are  built  around  three 
sides  of  a  square,  the  fourth  side 
being  a  long  garden.  The  rooms  of  this 
house,  however,  touch  one  another  on  but 
one  side  and  are  entered  always  by  passing 


THE   CENTER  OF  THE  GARDEN   ROOM. 


across  the  inner  court  or  from  the  roofed 
arcade.  In  the  plan  this  garden  room  is 
called  a  "screened  court."  An  arcade, 
roofed  in  with  the  rooms,  extends  all 
around  it.  This  is  arched  on  the  inner  side. 
Creepers  (Ficus  re  pens)  at  each  pillar  have 
pushed  their  way  along  the  ceiling  until  it 
has  made  a  network  of  slender  green  lines 
as  finely  marked  as  the  ceiling  of  the  Al- 
hambra. 

The  garden  room  is  tiled  with  large 
square  brick  and  is  covered  with  a  copper 
wire  fly-screen,  supported  by  light  trusses. 
A  wall  fountain  tinkles  from  one  side. 
This  is  the  main  living  room  of  the  house. 
Meals  are  sometimes  served  here  and  after- 
noon teas.  Swinging  couches  and  ham- 
mocks, some  across  a  corner,  some  under 
the  arcade,  are  often  used  for  the  rest  at 
night  as  well  as  the  afternoon  siesta.  A 
screen  or  more  in  front  of  the  arches  some- 
times converts  a  portion  of  the  arcade  into 
impromptu  bedrooms  when  week-end 
guests  are  numerous.  Potted  plants  are  set 
all  about,  other  plants  are  grown  in  the 
corners  where  the  earth  was  left  uncovered 
for  them.  Vines  trail  from  the  trusses. 
Rugs,  chairs  and  tables  with  books,  maga- 
zines and  writing  materials  offer  attractive 
comfort.      No    indoor    sitting    room    could 


565 


HOUSE   WITH  A   GARDEN  ROOM 


compare  in  beauty 
and  home  charm 
with  this  dehght- 
fiil  open-air  com- 
partment. 

A  few  points 
about  the  con- 
struction of  this 
unusual  house 
should  be  of  inter- 
est to  whoever 
contemplates  build- 
ing a  home.  Three 
things  are  de- 
manded of  the 
modern  home.  It 
must  be  beautiful 
that  the  children 
may  develop  nor- 
mally into  an  ap- 
preciation of  all 
that  is  finest  in  life  and  that  their 
elders  may  be  made  happy  and  able 
to  live  their  lives  under  the  best  conditions. 
It  must  be  perfectly  sanitary.  "Let  the 
dwelling  be  lightsome,"  says  the  philoso- 
pher, Pierre  du  Moulin.  Fresh  air  and 
sunshine  must  fill  each  room,  else  the  dwel- 
ling will  not  be  lightsome  and  wholesome. 
It  must  be  substantially  built  so  that  the 
beating  of  storms  and  the  march  of  days 
will  not  injure  but  mellow  it  finely. 

This  house  answers  these  requirements. 
It  certainly  is  beautiful  to  look  at  with  its 
pure  lines,  the  square  of  "preeminent  pow- 
er"   as    Ruskin    calls    it,    broken    with    the 


THE  AKCADE  WHICH   CONNECTS   THE  G.^RDEN    WITH   THE   HOUSES  BY  A 
SERIES  OF   SPACIOUS  ARCHES. 


THE    PICTURESQUE    OUTEK    WALL. 

graceful  arches.  The  window  and  door 
frames  are  square,  indented  by  arches. 
Flower  boxes  are  set  on  the  deep  sills. 
The  garden  room  is  a  series  of  pictures 
framed  by  the  arches  of  the  arcade,  as  a 
glance  at  the  illustrations  will  prove.  The 
form  of  the  outside,  the  color  scheme  of  its 
planting,  the  idea  of  an  inner  secluded 
room  that  can  be  called  a  garden  or  a  room 
with  equal  truth,  constitute  some  of  its  ele- 
ments of  beauty. 

It  certainly  is  sanitary,  for  all  the  wood- 
work of  the  interior  is  flush  with  the  walls, 
preventing  the  accumulation  of  dust.  The 
_^^^^  sink  and  bath  tubs  are  sunk  in 
^^^■1  imagnesite,  which  rounds  into 
^H  the  walls  so  that  there  is  no 
^  crack  in  which  grease  can  col- 
lect, nor  exposed  wood  to  be- 
come damp  and  sour.  Venti- 
lation is  from  the  upper  part 
of  the  windows,  where  it 
rightly  should  be.  It  is  cer- 
tainly substantially  built,  for  it 
is  of  hollow  tile  and  concrete. 
M.  Victor  Laloux,  president 
of  the  French  Institute  of 
.Vrchitects,  considers  that 
America  is  producing  the  best 
architects  of  the  world  because 
they  have  ambition,  plans,  ideas 
and  the  will  to  carry  them  to 
completion.  This  original  little 
home,  so  well  designed,  justi- 
fies his  opinion  of  America's 
ideality  and  workmanship. 


566 


HELPFUL   FACTS  IN  BUILDING   A   SUMMER   CAMP 


HELPFUL  FACTS  IN  BUILD- 
ING A  SUMMER  CAMP:  BY  A 
WOMAN  CAMPER  WHO  KNOWS 
ALL  ABOUT  IT 

WE  call  it  Camp  Dogwood,  from 
the  high-piled  drifts  of  white, 
which,  in  late  March  and  early 
April,  make  it  seem  a  lodge  in 
fairyland ;  but  we  might  just  as  appropri- 
ately call  it  by  any  other  of  a  hundred  fra- 
grant and  suggestive  names.  For  every 
month  has  its  symbol,  its  herald  to  the  ear 
and  eye ;  and  to  us  who  know  it  well,  our 
Haunt  in  the  Woods  changes  its  aspect  with 
every  moon. 

Its  inception,  as  so  often  happens,  was 
somewhat  in  the  nature  of  an  accident. 
When  we  were  married,  Peter  owned  stock 
in  a  small  artificial  lake  about  seven  miles 
from  town,  which — in  default  of  beaches, 
mountains,  or  navigable  rivers  in  the  vicin- 
ity— furnished  about  the  only  outlet  for  our 
longing  for  "all  outdoors."  At  first  this 
met  all  our  needs,  and  we  used  often  to 
come  down  with  our  guns  and  minnows 
and  bird-glasses,  sleep  at  night  in  the  plain 
little  club-house,  and  have  an  early  morn- 
ing fish;  or  spend  a  quiet  Sunday  reading 
and  bird-gazing  in  the  woods.  But  with  the 
advent  of  Peterkin  our  outings  took  on  a 
more  complicated  and  less  distinctively 
"sporting"  character.  It  was  mutually  un- 
comfortable and  embarrassing  for  us  to 
run  into  a  party  of  young  men  taking  their 
ease  with  pipe  and  tackle.  Often  the  howls 
of  our  month's-old  Peterkin  would  throw  a 
whole  party  into  consternation.  We  began 
to  wish  for,  presently  to  speculate  about,  a 
camp  of  our  own.  One  other  member  of 
the  club  had  obtained  permission  to  build 
him  a  little  cabin  on  a  pleasant  wooded 
point;  and  it  occurred  to  us  that  we  might 
do  the  same.  The  Bachelor  Uncle  became 
interested.  Before  we  knew  it  we  were 
sketching  rough  plans ;  our  wistful  debates 
as  to  whether  we  could  properly  aflford  the 
outlay  grew  more  sanguine  as  ima.gination 
warmed  to  the  project ;  and  finally  the  little 
house  was  built.  It  was  finished  in  "the 
month  of  dogwoods,"  the  spring  Peterkin 
was  a  year  old. 

Since  economy  was  decidedly  an  object, 
and  comfort — owing  to  Peterkin's  tender 
years  and  my  rather  precarious  health — in- 
dispensable, we  put  our  whole  investment 
into  that,  and  held  our  aesthetic  vearnings 


UP  THE  TRAIL  TO  THE  CAMP. 

Sternly  in  check.  The  result  was  a  small 
frame  house  on  the  slope  of  one  of  the 
little  wooded  hills  that  rise  from  the  lake. 
We  made  just  enough  of  a  clearing  to  mini- 
mize the  danger  of  forest  fires,  leaving 
even  the  underbrush  on  the  hillside,  to 
avoid  a  "civilizing"  effect.  If  you  were 
fishing  on  the  lake,  a  thread  of  blue  smoke 
above  the  tree-tops,  or  a  friendly  beam  at 
night,  would  be  the  only  indication  of  its 
existence  till  you  put  your  boat  in  at  the 
ferny  landing-place  and  followed  the  wind- 
ing path  up  the  hill  to  our  steps.  Peter  and 
the  Bachelor  Uncle  found  a  fine  spring  and 
sunk  an  eighteen-inch  pipe,  so  that  we  have 
a  supply  of  clear,  sweet  water  that  has  never 
failed  us.  The  house  faces  south,  and  con- 
sists of  two  well-built,  weather-tight  rooms, 
with  a  ten-foot  hall  between,  and  a  porch 
the  length  of  the  front.  Above  the  two 
main  rooms  are  two  attic-rooms,  each  with 
a  window  in  the  end,  and  the  other  end 
closed  only  by  cretonne  curtains.  We  put 
the  ceiling  in  the  two  lower  rooms  above 
the  rafters,  thus  making  floors  for  the  up- 
per. These  quaint  upper  chambers,  looking 
out   into   the  tree-tops,  are  especially  dear 

567 


HELPFUL  FACTS  IN   BUILDING   A   SUMMER   CAMP 


*-•»  ■' 

J.- 

i 

■T 

n 

^^^^  ^^ 

1 

.'{ 

-  life-'-''. ' 

.ft!-. 

'  •^<r*  ^■"^^^^■•r 

LOOKINX,   INTO  THE   CAMP   PORCH. 

to  my  heart,  and  now  and  then  an  occasional 
guest  shares  my  enthusiasm ;  but  most  peo- 
ple, it  must  be  confessed,  look  somewhat 
askance  at  the  ladder  by  which  they  are 
reached !  As  they  are  a  utilization  of  space 
which  would  otherwise  have  been  wasted, 
however,  such  advantages  as  they  possess 
are  clear  gain. 

As  I  have  intimated,  both  the  finishing 
and  the  furnishing  of  our  establishment  are 
sadly  unaesthetic ;  but,  as  our  pocketbook 
spoke  in  no  uncertain  tones,  we  console 
ourselves  for  the  crudeness  within  by  Na- 
ture's munificence  without.  The  furniture 
is  lamentably  and  frankly  cast-off,  or  else 
the  cheapest  procurable.  But  there  are 
plenty  of  cots  and  beds,  and  "stacks"  of 
bedding;  and  the  kitchen,  with  comparative 
lavishness,  is  equipped  with  everything 
which  any  reasonable  camp-cook  can  desire. 
The  rooms  and  hall  are  carefully  screened, 
and  all  the  demands  of  comfort  and  sanita- 
tion squarely  met. 

The  original  cost  of  this  little  establish- 

568 


nient  was  less  than  three  hundred  dollars. 
\\'ithin  the  last  year  an  automobile  has  been 
added  to  the  family.  The  question  then 
arose  of  a  place  to  keep  it ;  and  Peter  was 
inspired  to  add  a  strongly  built  back  porch, 
ten  feet  wide,  the  entire  length  of  the  house 
in  the  back.  This  entrance  is  on  a  level 
with  the  ground,  and  we  simply  run  the 
machine  up  on  the  porch  when  we  arrive. 
It  makes  quite  sufficient  shelter  for  it  in 
our  mild  climate ;  and  it  has  proved,  rather 
unexpectedly,  to  be  the  most  delightful  fea- 
ture of  the  camp.  We  began  by  calling  it 
"The  Garage,"  but  we  now  call  it  the 
"Living  Room."  It  is  always  shady  and 
always  cool.  All  through  the  open  weather 
our  dining  table  stands  at  one  end ;  the 
children  play  on  it  all  day  long ;  and  I  sup- 
pose the  rest  of  us  spend  five-sixths  of  our 
time  there. 

But  no  mere  enumeration  of  details  such 
as  these  can  give  any  conception  of  what 
I  love  to  call  "our  permanent  vacation." 
During  the  first  three  years  or  so  of  its 
possession  I  was  in  the  condition  of  so 
many  young  wives  and  anxious  mothers : 
desperately  and  almost  chronically  in  need 
of  a  vacation,  and  yet  in  no  condition  to 
enjoy  or  profit  by  an  orthodox  one.  Twice 
a  summer  in  Colorado  was  planned  and 
given  up,  solely  because  I  did  not  have  the 
strength  and  courage  to  undertake  it  with 
the  babies.  Pinafore  arrived  before  Peter- 
kin  had  ceased  to  be  a  most  absorbing  care ; 
both  had  their  full  share  of  infantile  ail- 
ments ;  and  it  sometimes  seems  to  me  that 
I  could  not  have  weathered  the  soul-trying 
gales  of  this  period  without  those  blessed, 
healing  intermissions  in  the  familiar  rou- 
tine, those  "visits  home"  to  the  wise  old  un- 
troubled mother  who  has  never  failed  to 
give  me  of  her  courage  and  her  calm. 

During  the  first  "big  flight"  after  Pina- 
fore was  weaned,  when  I  was  able  to  leave 
her  for  a  whole  golden  October  morning 
with  the  nurse,  while  I  lay  in  the  dry  sedge 
with  Peter  and  the  Bachelor  Uncle  and 
watched  for  the  whirring  flocks  to  "come 
in"  from  the  North,  I  felt  the  wrinkles 
smoothing  themselves  out  of  my  forehead 
and  my  spirit,  and  the  physical  and  nervous 
waste  of  four  momentous  years  being  re- 
paired in  a  day.  And,  as  the  seasons  pass 
and  the  strain  lessens,  I  am  able  to  add 
many  active  delights  to  the  mere  passive 
process  of  recuperation.  I  have  learned  to 
manage  a  row-boat  in  a  safe  and  depend- 
able,   if    not   a    finished    manner ;    I    carry 


HELPFUL  FACTS   IN  BUILDING    A   SUMMER   CAMP 


lo\ul}  tl  ^  n  in  tliL  woods  iiul  st.t  them 
out  in  favorable  spots  at  home ;  I  train  wild 
grapevines,  and  try  fascinating  experiments 
in  naturalizing  "tame"  things  and  trans- 
planting wild  ones  from  the  roadside  and 
the  other  shores  of  the  lake  to  the  neigh- 
borhood of  the  camp.  And  this  summer 
Peterkin  and  I  added  swimming  to  the  list 
of  our  achievements.  The  other  day  I  dis- 
covered and  "named"  the  rose  pogonia, 
daintily  flourishing  with  its  feet  in  the  water 
at  the  edge  of  the  sweet,  ferny  "wash- 
place"  where  I  rub  out  Peterkin's  porten- 
tous overalls  with  my  own  hands ;  the  day 
before,  I  found  an  ahinga's  nest;  and  this 
morning  1  killed  my  first  snake ! 

As  for  the  children,  if  Nature  has  been 
to  me  the  soothing  mother,  she  has  been  to 
them  the  doting  grandmother — she  of  in- 
exhaustible treasures  and  ever  new  delights. 
They  are  getting  many  things,  besides  the 
fresh  air,  which  I  consider  supremely  good 
for  them.  Before  Pinafore  was  two,  she 
began  to  notice  and  imitate  the  owls  and 
frogs,  and  to  develop  a  sense  of  direction ; 
and  Peterkin,  at  three  and  a  half,  eagerly 
offered  to  take  a  fish  off  the  hook  for  me — 
and  succeeded !  In  grubby  overalls  and 
cast-off  hat  of  his  father's,  he  made  a  pic- 
ture of  an  absorbed  man-baby  which  I  shall 
remember,  I  think,  when  he  is  old  enough 
to  have  barefoot  boys  of  his  own. 

And  the  crowning  comfort  is,  that  it  is 
always  there.  Whenever  an  especially  de- 
licious morning  suddenly  stirs  up  the  gypsy 
mood,  whenever  the  tyranny  of  telephone 
and  doorbell  begins  to  "get  on  the  nerves," 
whenever  there  is  a  visitor  to  be  amused, 
whenever   one   of   us   gets   "puny"   for   no 


UN'G   CAMPERS. 


definite  reason — we  have  one  unfailing  re- 
source. Sometimes  it  is  only  for  a  day, 
with  a  sketchy  and  unpremeditated  lunch- 
basket  ;  sometimes  for  a  single  moonlight 
summer  night ;  frequently  for  a  week  or 
two,  or  even  longer.  For  my  longer  stays, 
I  owe  much  gratitude  to  Peter.  He  cannot 
leave  business  and  stay  with  us  ■;  but  he  is 
always  glad  to  have  us  migrate,  and  comes 
down  every  evening  to  return  to  work  every 
morning — by  car,  bugg>'  or  horseback,  ac- 
cording to  the  state  of  our  precarious  roads. 
If  Peter's  love  of  nature  were  of  the  parlor 
variety  we  should  have  distinctly  fewer 
family  outings.  As  for  me,  the  long  days 
are  never  long  enough  for  my  multifarious 
affairs.  I  have  spent  three  weeks  with  no 
company,  in  the  daytime,  but  the  babies 
and  a  negro  cook,  who  slept  at  night  in  the 
attic-room  over  the  kitchen.  It  is  true  that 
our  friends  sometimes  shake  their  heads 
over  us,  and  wonder  frankly  what  we  find 
to  do,  and  "what  sort  of  folks  we  are."  But 
most  of  them  avail  themselves  joyfully  of 
our  primitive  hospitality,  and  go  home  with 
improved  spirits  and  digestions. 

As  I  said  in  the  beginning,  each  season 
has  its  distinctive  charm,  each  month,  even, 
for  the  watcher  and  lover,  its  characteristic 
bird  and  color;  and  one  of  the  great  delights 
of  a  permanent  camp  is  in  being  thus  en- 
abled to  know  intimately  one  bit  of  wild 
nature  through  the  round  of  the  year.  Last 
month  it  was  the  whistle  and  flash  of  the 
cardinals  against  the  dogwood  drifts,  and 
the  gold  festoons  of  the  yellow  jessamine, 
lighting  the  dim  gray  woods.  This  month 
(April,   with   the  woods   in    full  leaf)    the 


569 


A   TOWN   FOREST  COMPETITION 


AUGUST   IN   THE   PEKMANENT  CAMP. 

noisy  crested  flycatcher,  that  diverting  Wild 
Irishman  among  the  birds,  is  dominant ; 
and  the  waxen  cups  of  the  sweet-bays 
empty  their  faint,  dehcious  fragrance  into 
the  morning  mist  above  the  lake.  So  far, 
on  account  of  the  babies,  we  have  sought 
fair  weather ;  but  even  so,  many  a  gray  day 
of  blustering  rain  has  caught  us ;  and 
"Father,"  splashing  through  the  mud  at 
nightfall,  with  shining  face,  has  found  us 
snug  and  safe.  And,  as  they  grow  older, 
we  mean  to  pass  on  to  them  our  own  love 
of  the  good  earth  in  all  weathers.  The 
woods  are  never  bankrupt,  even  in  Decem- 
ber. They  always  keep  something  in  store. 
Some  of  the  months  flaunt  their  gifts,  some 
love  to  hide  their  special  treasures  for  us 
to  hunt  for ;  but  none  comes  ill-provided. 
We  have  learned  to  name  eacli  month  for  its 
unique  delight,  and  through  the  happy  out- 
door lessons  that  Nature,  with  her  woods 
and  streams  and  changing  seasons,  has 
taught  us,  we  have  learned  far  deeper  and 
more  wonderful  truths  than  any  school- 
books  could  hold. 


HOW  ONE  STATE  IS  ENCOUR- 
AGING TOWN  FORESTS 

UNDER  the  new  Town  Poorest  Law  re- 
cently passed  in  Massachusetts,  cities 
and  towns  may  own  and  operate 
forests  of  their  own.  It  is  to  en- 
'  'lurage  the  movement  in  this  direction  that 
ilic  Massachusetts  Forestry  Association  is 
iillering  to  ijkmt  60,000  three-year-old  white 
]iine  transpLints  on  flfty  acres  of  the  land 
i'(|uired  for  the  town  forest,  of  the  city  or 
iiiwn  that  wins  the  prize.  The  young  trees 
\\  ill  be  spaced  six  feet  apart. 

In  order  to  enter  the  contest,  a  munici- 
paHty  must  own  and  set  aside  at  least  100 
acres,  imder  the  new  Town  Forest  Law,  and 
fifty  acres  of  that  area  must  be  planted  to 
forest  trees.  In  Massachusetts  the  white 
[Mue  is  the  best  commercial  species,  and 
most  of  the  places  entering  the  contest  will 
])hint  white  pine. 

A  committee  appointed  by  the  Association 
lo  judge  the  contest  will  visit  all  the  forests. 
It  will  determine  the  standing  of  the  con- 
testants on  the  area  acquired,  the  amount  of 
planting  done,  the  quality  of  the  trees  plant- 
ed, extension  provisions,  advantages  for 
lumbering,  and  water  and  soil  protection, 
fire  protection,  recreation  and  aesthetic  pos- 
sibilities, and  general  improvements.  Appro- 
priate scores  are  allowed  on  each  point.  As 
a  result  of  the  requirements,  the  city  or  town 
having  the  best  possibilities  for  a  permanent 
and  efficient  town  forest  wins  the  prize.  At 
least  ten  entries  must  be  made  before  the 
I^rize  will  be  awarded.  The  contest  opened 
June  I,  1914,  and  will  close  June  i,  1915- 
This  allows  for  fall  and  spring  planting. 

When  we  consider  the  splendid  advan- 
tages which  a  town  forest  will  bring  to  a 
city  or  town,  and  the  small  outlay  required 
to  start  such  a  forest  and  to  maintain  it,  we 
should  expect  to  hear  of  many  places  enter- 
ing this  public-spirited  contest.  They  have 
nothing  to  lose  and  much  to  gain. 

Slany  places  already  own  considerable 
areas  on  their  water-sheds  to  protect  their 
drinking  water  from  pollution.  They  could 
do  nothing  better  than  to  plant  these  areas 
to  trees.  Besides  getting  the  best  protection 
for  their  water  supply,  they  will  be  grow- 
ing a  crop  of  timber.  It  is  to  be  hoped  that 
nianv  cities  and  towns  will  avail  themselves 
of  this  opportunity  to  beautify  their  sur- 
roundings and  conserve  their  resources.  Is 
not  the  idea  worth  carrying  out  in  other 
States  also? — From  The  American  Citv. 


570 


TWO  THOUSAND   DOLLARS  FOR   A   SIMPLE  HOME 


WHAT  TWO  THOUSAND  DOL- 
LARS WILL  ACCOMPLISH  IN 
BUILDING  A  COMFORTABLE 
HOME:  BY  CHARLES  ALMA 
BYERS 

Photographs  by  the  Author. 

IT  has  often  been  declared  that  an  attrac- 
tive house  need  not  cost  any  more  than 
an  unattractive  one.  This  seems  es- 
pecially true  of  the  bungalow,  for  there 
is  no  type  of  building  that  lends  itself  more 
easily  to  economical  and  at  the  same  time 
beautiful  construction.  Our  California 
architects,  particularly,  have  proved  this  in 
their  many  successful  designs.  They  seem 
instinctively  to  appreciate  the  decorative 
possibilities  of  their  materials.  In  the  ex- 
teriors they  use  brick  and  stone,  cement, 
shingles  and  timbers,  always  in  a  way  that 
brings  out  the  natural  beauties  of  texture, 
coloring  and  form.  .And  in  the  design  and 
finish  of  interior  woodwork  and  structural 
features,  they  work  along  equally  simple 
and  artistic  lines.  In  the  arrangement  of 
the  rooms,  too,  they  evince  a  delightful 
originality  without  being  at  all  eccentric, 
and  by  solving  each  problem  from  an  in- 
dividual standpoint  they  manage  to  achieve 
a  remarkably  distinctive  and  homelike  re- 
sult. And  ail  this  they  accomplish  at  a  sur- 
prisingly reasonable  outlay. 

The  home-builder,  therefore,  who  seeks 
economy  as  well  as  comfort,  finds  it  worth 
while  to  study  California  bungalow  plans. 


THE  BU.VC.ALOW  HOME  OF  .MK.  K.  H.  DREW,  LOS 
A.VGELES,  CALIFORNIA,  DESIGNED  BY  E.  B.  RUST, 
ARCHITECT,   AND   COSTING   ONLY   $2,000. 

and  the  one  presented  here  serves  as  an  ex- 
cellent illustration  of  the  principles  that  un- 
derlie most  of  the  buildings  of  this  general 
type. 

This  charming  little  five-room  home  cost 
only  $2,000  to  erect,  and  when  one  notes  its 
many  admirable  points  one  wonders  how 
it  could  have  been  built  for  such  a  com- 
paratively small  sum ;  for  it  is  not  only 
pleasing  in  appearance,  both  outside  and 
within,  but  also  substantially  constructed 
and  well  equipped. 

In  style  it  has  all  the  characteristics  of 
the  Western  bungalow — a  roof  that  is  al- 
most flat,  wide  eaves,  rough  sturdy  timbers, 
and  generous  window  groups.  The  outside 
walls  are  shingled,  and  the  masonry  work  is 
of  brick  and  cement,  while  a  white  composi- 
tion is  used  for  the  roof.  The  main  wood- 
work of  the  e.xterior  is  stained  a  dark 
brown,  with  white  trim,  and  these,  together 
with  the  red  brick,  white  cement  and  white 
roofing,  produce  an  interesting  color  scheme. 

There  is  a  small  front  porch  and  a  per- 
gola on  one  side,  both  of  which  have  cement 
steps  and  flooring.  In  the  rear  is  the  usual 
screened  porch  with  its  stationary  wash 
tubs. 

The  interior  is  very  compact  and  cozy  in 
its  arrangement.  The  living  room,  in  front, 
contains  a  chimneypiece  of  old-gold  brick, 
with  a  built-in  bookcase  on  one  side  and  a 
seat  on  the  other.     The  top  of  this  seat  is 

571 


TWO  THOUSAND    DOLLARS   FOR  A 


SIMPLE 

HOME 

■■ 

CORNER 

UK   DIN- 

^^^^^^1 

ING  ROOM 

^^^^m 

IN  THE 

1 

DREW 
BUNGA- 
LOW, 
SHOWING 

PANELED 

WALLS 

AND 

SIMPLE 

BUILT-IN 

BUFFET  : 

THERE  IS 

JUST  THE 

SORT  OF 

HOME 

ATMOS- 

■^^ 

PHERE 

!■ 

ONE 
WOULD 
EXPECT 
IN    A 
BUNGA- 

B'k5ui^B 

fei 

LOW   OF 
THIS 

va^m 

TYPE. 

hinged  so  that  the  space  underneath  may  be 
used  as  the  fuel  receptacle.  The  woodwork, 
which  is  of  Oregon  pine,  is  given  a  finish 
like  Flemish  oak,  and  the  walls  are  covered 
with  a  paper  of  soft  brown.  In  this  room 
as  well  as  in  the  dining  room  and  small 
library,  the  flooring  is  of  polished  oak. 

The  dining  room  opens  from  the  living 
room  and  has  glass  doors  leading  into  the 
side  pergola,  in  addition  to  the  group  of 
four  windows  on  the  right.  An  attractive 
and  convenient  bufTet  is  built  at  one  end, 
as  shown  in  the  photograph.  The  walls  are 
paneled  to  a  height  about  four  feet  six 
inches,  along  the  top  of  which  is  a  narrow 
plate  rail.  The  paper  used  in  this  room  is 
olive  green,  but  the  woodwork  is  finished 
like  that  of  the  living  room. 

There  are  two  bedrooms  of  ample  dimen- 
sions, between  which  the  bathroom  is  placed, 
and  a  small  hall  separates  them  from  the 
rest  of  the  house.  The  woodwork  in  these 
rooms  and  in  the  hall  is  enameled  white,  and 
the  walls  in  the  two  sleeping  rooms  have 
paper  of  moire  pattern  in  delicate  shades. 

The  kitchen  possesses  an  unusually  com- 
plete and  practical  arrangement  of  cup- 
boards and  other  fittings  and  is  of  con- 
venient size  for  a  home  of  this  kind.  Be- 
hind the  kitchen  is  a  little  breakfast  room 
with  a  built-in  cupboard.  White  enamel  is 
used  for  the  woodwork  of  both  these  rooms, 
also  for  the  kitchen  walls. 


57- 


As  indicated  by  the  view  of  the  dining 
room,  the  interior  of  this  bungalow  is  very 
simple  and  homelike.  The  furnishings  are 
few,  but  well  chosen  and  the  whole  ar- 
rangement is  such  as  to  make  the  household 
work  light. 

The  bungalow  is  the  home  of  Mr.  R.  H. 
Drew,  of  Los  Angeles,  California,  and  was 
designed  by  E.  B.  Rust,  an  architect  of  that 
city.  Costing  but  $2,000  in  Los  Angeles,  it 
should  be  duplicated  for  approximately  that 
sum  in  almost  any  locality.  It  does  not  pos- 
sess a  furnace,  however,  and  this  would  be 
needed  in  other  climates.  But  a  furnace 
for  a  building  of  this  size  should  cost  less 
than  a  hundred  dollars — not  counting  the 
excavation,  which  would  naturally  vary  ac- 
cording to  local  conditions. 

Being  only  28  feet  wide,  the  bungalow  is 
particularly  suitable  for  a  narrow  lot,  and 
for  this  reason  as  well  as  for  the  con- 
venience of  its  arrangement  and  economy  of 
its  construction,  the  plan  merits  careful  con- 
sideration from  those  who  contemplate  the 
erection  of  an  inexpensive  home. 

To  those  who  expect  to  build  on  a  corner 
lot,  and  need  a  design  of  this  simple,  eco- 
nomical type,  the  plan  would  also  appeal, 
for  it  could  be  placed  with  the  living  room 
and  porch  fronting  one  street,  and  the  din- 
ing room  windows  overlooking  the  other, 
with  the  bedrooms  at  the  rear  for  quiet 
and  privacy.       If  it  seemed   preferable,  in 


CIVIC  PROGRESS  IN  SPITE   OF   WAR 


DREW 
BUNGA- 
LOW. 


TLOOR     PLA/i. 

such  a  case,  to  screen  the  kitchen  and  break- 
fast room  more  effectually  from  the  street, 
the  pergola  which  is  now  indicated  in  the 
corner  could  be  projected  and  extended 
along  the  dining  room,  kitchen  and  breakfast 
room  wall.  This  would  increase  the  out- 
door living  space,  screen  the  bungalow  bet- 
ter from  the  view  of  passersby,  and  add 
considerably  to  its  architectural  interest.  In 
order  to  avoid  darkening  the  kitchen  win- 
dows, the  planting  of  vines  might  be 
omitted  at  this  point. 

For  a  wide  but  shallow  lot,  the  plan 
would  also  be  practical,  in  which  case  also 
the  pergola  arrangement  just  suggested 
would  be  desirable  across  the  front— which 
is  now  the  side. 

Needless  to  say,  a  home  of  this  character 
is  equally  suited  in  design,  construction  and 
interior  arrangement  to  an  Eastern  as  to 
a  Western  site.  Indeed,  the  influence  of 
California  architecture  is  quite  noticeable 
among  our  modern  Eastern  bungalows. 


CIVIC    ACTIVITIES    IN    ENG- 
LAND IN  WAR  TIME 

As  The  Craftsman  has  published, 
during  the  last  few  years,  so  many 
articles  relating  to  England's  Gar- 
den City  and  town  planning  move- 
ments, our  readers  may  be  interested  in 
knowing  how  the  war  is  affecting  this  im- 
portant work.  The  following  extracts  from 
a  letter  written  to  the  Editor  of  The  Amer- 
ican City,  by  Ewart  G.  Culpin,  Secretary 
of  the  International  Garden  Cities  and 
Town  Planning  Association,  gives  an  en- 
couraging account  of  the  recent  activities. 
It  is  significant  to  note  that  this  movement 
lias  taken  such  a  vital  hold  upon  the  nation 
that  even  in  the  midst  of  war  it  continues  to 
command  support  and  enthusiasm. 

"New  societies,"  wrote  Mr.  Culpin,  at 
the  end  of  November,  "are  being  formed  in 
several  parts  of  the  country  for  the  pur- 
pose of  promoting  garden  suburb  and  gar- 
den village  schemes,  .  .  .  and  now  that 
the  Government  has  agreed  to  lend  money 
up  to  90  per  cent,  of  the  value  of  the  prop- 
erty, including  10  per  cent,  as  a  free  grant, 
we  may  hope  for  enormously  increased  ac- 
tivity in  all  our  busy  centers.  The  pro- 
vision of  this  money  will  operate  in  the 
steadying  of  unemployment  and  also  in  the 
solving  of  many  difficult  housing  prob- 
lems. .   .   . 

"If  you  walk  through  our  streets  in  the 
centers  or  the  suburbs,  or  visit  the  parks 
and  open  spaces,  or  look  over  our  schools 
or  museums  or  art  galleries,  there  is  no  sign 
of  lessened  activity. 

"Far  from  abandoning  their  works,  local 
authorities  are  being  encouraged  to  push 
on  with  them.  Many  new  schemes  for 
housing,  baths,  town  halls,  etc.,  are  being 
set  on  foot,  and  the  whole  country  is  act- 
ing up  to  the  motto  we  see  displayed 
everywhere — 'Business  as  usual.'  Some 
trades  providing  luxuries  only  may  have 
been  hard  hit ;  but  on  the  whole  trade  is 
normal,  and  has  been  so  since  the  first  fort- 
night of  alarm.  .  .  . 

"We  realize  we  are  face  to  face  with  a 
world  tragedy — a  tragedy  that  every  now 
and  then  comes  home  with  the  news  of  the 
death  of  another  friend.  But  the  nation  is 
taking  it  wonderfully  calmly,  and  we  are 
all  convinced  that  the  only  possible  ending 
to  this  war  is  the  absolute  crushing  of  those 
conditions  of  things  which  made  it  possi- 
ble." 

573 


PICTURESQUE   DESIGNS   FOR   FIREPROOF   HOMES 


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■           



PLANS  AND 
SKETCHES 
SHOWING 
ARRANGE- 
MENT OF 
INTERIOR 
AND 

GROUNDS, 
AND  CON- 
STRUCTION 
OF  ENTRANCE 
FOR  FIRST 
PRIZE- 
WINNING 
HOUSE 
SHOWN 
ON  PAGE  516. 


AN  ARCHITECTURAL  TOUR- 
NAMENT 

(Continued   from  page  jul.) 

left-hand  corner,  reached  through  a  Uttle 
entry  off  the  driveway  leading  to  the  garage. 
A  pantry  with  sink  and  drainboard  connects 
the  kitchen  with  the  dining  room  at  the 
rear,  and  the  latter  in  turn  has  steps  lead- 
ing down  to  a  broad  terrace  overlooking  the 
garden. 

The   dining   room  and   kitchen   are   sep- 
arated from  the  big  living  room  on  the  right 


^   -Rl 


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by  a  vestibule  with  a  convenient  coat  closet, 
and  a  hall  from  which  the  stairs  ascend  and 
which  leads  onto  the  sheltered  porch.  The 
living  room  is  particularly  homelike,  with 
its  windows  on  three  sides  and  fireplace  in 
the  center  of  the  long  wall. 

Upstairs  four  bedrooms  are  provided,  all 
leading  out  of  the  light  central  hall,  and 
having  plenty  of  closet  space  and  provision 
for  cross-ventilation.  An  interesting  feat- 
ure is  the  balcony,  which  is  reached  from 
the  large  rear  bedroom. 

The  garage,  although  a  separate  building, 


PLANS  AND 
DETAILS  OF 
CONSTRUC- 
TION OF 
HOUSE  ON 
PAGE   .517. 
WHICH  WON 
THE  SECO.VD 
PRIZE   IN 

The  Brick- 
builder's 

COMPETI- 
TION :  FRONT 
AND  SIDE 
ELEVATIONS 
OF  THE 
GARAGE  ARE 
ALSO  SEEN 
HERE. 


574 


PICTURESQUE    DESIGNS  FOR  FIREPROOF  HOMES 


is  conveniently  near  the  house,  and  as  the 
sketches  of  the  front  and  side  elevations 
show,  lends  itself  to  a  charmingly  decorative 
treatment  through  the  paneling  of  the 
walls,  placing  of  windows, 
provision  of  lattice  and  gate 
and  planting  of  vines.  The 
garden,  too,  with  its  walks  in 
line  with  the  windows  of  liv- 
ing and  dining  room,  and  its 
pleasant  pergola  across  the 
lower  end  is  worth  noting. 

The     third      prize  -  winner 
was    J.    Ivan    Disc,    of    New 


living  and  dining  room.  Small  closets  are 
provided  on  either  side  of  the  vestibule,  and 
the  front  door  is  readily  reached  from  the 
kitchen,  which  is  connected  with  the  dining 
room  by  a  pantry  containing  closets  and 
sink.  The  stone-paved  entrance,  hearth, 
kitchen  porch  and  living  porch  at  the  rear 
give  an  agreeable  touch  of  variety  to  the 
stucco  construction,  and  the  arrangement  of 
the  garden,  driveway  and  garage  gives  an 
opportunity  for  pleasing  vistas  and  plant- 
ing. The  four  bedrooms,  bathroom  and 
closets  upstairs,  planned  around  the  central 
hall,  appear  to  use  the  somewhat  limited 


GROUND   PLAN    AND   DETAIL   SKETCHES  OF   THIRD    PRIZE-WINNING    HOUSE    SHOWN    ON    PAGE    518:     NOTE    T 
LAYOUT  OF  GARDEN    WITH   RELATION   TO   HOUSE    AND   GARAGE. 

York,    whose   plans   show   another   practi-     space     to     the     best    possjble     advanta: 


cal  way  of  developing  a  comfortable  home 
on  the  given  lot.  As  the  jury  said,  in 
summing  up  the  pros  and  cons  of  this  build- 
ing: "It  has  a  simple  yet  convenient  plan, 
although  it  would  be  more  suited  to  a  close- 
ly built  suburb  if  high  casement  windows 
had  been  used  each  side  of  the  living-room 
chimney  in  place  of  the  long  windows  pro- 
posed. .  .  .  The  designer  was  thought- 
ful enough  to  indicate  a  turn-table  directly 
in  front  of  his  garage,  a  convenience,  for  a 
small  car,  that  was  not  thought  of  by  many 
other  contestants  when  placing  their  garage 
on  the  rear  lot  line." 

The  plans  art  compactly  and  economically 
worked  out,  the  first  floor  being  particularly 
fortunate  in  the  open  arrangement  of  hall, 


space     to 

Richard  M.  Powers  of  Belmont,  Massa- 
chusetts, was  the  winner  of  the  fourth  prize, 
and  his  design  reveals  an  especially  charm- 
ing treatment  of  the  problem.  In  this  case, 
the  garage  is  built  as  practically  a  part  of 
the  house,  the  only  separation  being  the 
covered  passage  or  alley  indicated  on  the 
ground  plan.  This  addition,  which  tapers 
off  so  gracefully  into  the  garden  wall  on 
each  side,  helps  to  give  the  house  that 
quaint,  rambling  air  which  reminds  one  of 
an  English  cottage  or  farm.  The  construc- 
tion of  the  front  porch  and  projecting  al- 
cove, with  the  interesting  roof  and  parapet, 
the  hooded  entrance  at  the  side,  the  small- 
paned  windows  and  broad  chimney  are  all 
decorative    and    practical    features.      Even 

575 


PICTURESQUE   DESIGNS   FOR  FIREPROOF   HOMES 


A'  SVIBVIB!E^  -  IHl®VSE'«w»a''(OiAIBA(QE 

TO  •  IE  -  m'^W-q/'  4>  4>  4"      r^ 


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PLANS   AND  DETAILS   OF   SUBURBAN    HOME   WITH    GARAGE    ATTACHED:    FOR    PERSPECTIVE    VIEW 


519: 


THIS    DESIGN    WON    THE    FOURTH    PRIZE. 

the  irregular  handling  of  the  stone  walks 
shows  with  what  interest  the  architect  has 
considered  those  minor  details  which  are 
after  all  so  important  in  the  general  effect. 
The  arrangement  of  the  central  garden  plot 
or  lawn,  the  flower-beds  on  the  left,  tlie  seat 
and  sun  dial,  the  clothes  yard  on  the  right 
and  row  of  trees  along  the  rear  wall — these, 
too,  are  worth-while  suggestions  for  home- 
builders  who  appreciate  the  value  of  friend- 
ly garden  surroundings. 

Turning  again  to  the  house  and  its  plan, 
we  find  that  the  entrance  is  into  a  large 
light  hall  with  a  convenient  lavatory  in  one 
corner,  and  a  few  steps  ascending  to  a  broad, 
well-windowed  landing.  The  living  room  is 
especially  pleasing,  with  its  lounge  or  alcove, 
casement  windows,  built-in  seats  and  open 
fireplace,  on  one  side  of  which  closets  or 
bookcases  are  indicated.  Behind  this  fire- 
place is  another  in  the  dining  room,  and 
here  also  a  charming  alcove  arrangement  is 
seen — a  pleasant,  windowed  nook  intended 
for  ferns. 

A  i)ass-pantry  leads  to  the  large  kitchen, 
which  is  jilanned  with  the  range  and  chimney 
against  the  outside  wall  and  the  sink  in  a 
light  recess  at  ihc  rear,  while  a  small  ])ass- 

576 


ageway  from  which  the  cellar  stairs  descend 
leads  to  the  front  hall.  It  will  be  noticed, 
also,  that  a  few  steps  from  the  kitchen  lead 
up  to  the  main  staircase  landing — an  ar- 
rangement which  is  almost  as  convenient  as 
separate  back  stairs  and  considerably  less 
expensive. 

Three  bedrooms,  maid's  room  and  sewing 
or  dressing  room  are  provided  on  the  second 
floor,  and  in  addition  to  the  bathroom  there 
are  lavatories  in  the  maid's  room  and  dress- 
ing room.  The  latter  has,  moreover,  a  long 
window  seat,  and  in  the  front  bedroom  a 
fireplace  is  built.  The  architect  has  not  in- 
dicated any  window  in  the  front  gable,  but 
judging  from  the  height  of  the  roof  and  the 
indication  of  stairs  above  the  main  flight 
there  is  sufficient  attic  space  for  storage. 

TN  the  December  issue  of  The  Craftsman 
we  published  an  illustrated  article  on 
Santa  Barbara's  Civic  Center.  Unfortunate- 
ly, through  an  error,  a  photograph  of  the 
original  old  building  was  reproduced  instead 
of  the  new  one  of  brick  and  tile  which  Mr.  J. 
Corbley  Pool  designed  as  the  present  spa- 
cious home  of  this  progressive  community 
meeting  place. 


THE   COLD   FRAME— NATURE'S  ASSISTANT 


HOW    TO    MAKE    A     COLD 
FRAME:  BY   DAVID   DON 

Photographs   by   Courtesy   of   the   U-Bar   Green- 
house Co. 

WHEN  the  impatient  arum  attempts 
to  push  its  vivid  green  sheaf  of 
leaves  through  the  ice-bound 
banks  of  little  brooks  that  run 
through  the  sheltered  groves  and  woodlots, 
then  it  is  time  for  us  to  trust  its  faith  in 
the  coming  summer  and  begin  our  garden- 
ing in  cold  frames.  With  a  little  forethought 
and  good  management  the  blossoming  and 
fruiting  time  of  gardens  can  be  advanced 
several  weeks,  an  item  well  worth  attention 
especially  in  regions  where  the  slow-ripen- 
ing vegetables  are  in  danger  of  being  har- 
vested by  the  hoary-fingered  Jack  Frost  in- 
stead of  by  us. 

The  location  of  a  cold  frame,  of  first  im- 
portance, may  be  on  the  south  side  of 
a  wall,  board  fence,  greenhouse,  barn, 
earth  bank  or  even  on  the  lee  of  a  hill 
in  some  place  which  is  easily  reached 
from  the  house,  for  sashes  must  be  fre- 
quently opened  and  closed  following  the 
changeful  lead  of  bright  or  stormy  weather. 
Good  drainage  must  be  considered,  else 
water  from  melting  of  snows  or  the  spring 
rain?  will  get  caught  in  them  and  destrov 


"in  1  1  AM!  ^  I  OR  FORCING  EARLY  VEGETABLES:  AFTER 
WAkM  WIAIHf.R  SETS  IN  THESE  SHOULD  BE  OPENED 
IN    THE    MIDDLE  OF  THE   DAY   AND  CLOSED   AT   NIGHT. 

the  plants.  A  drain  dug  around  the  frames 
will  remedy  the  trouble  if  natural  slope  can- 
not be  had. 

With  the  aid  of  a  hotbed,  the  amateur 
gardener,  as  well  as  the  professional,  can 
raise  his  own  early  vegetable  and  flower 
plants  from  seeds  ;  and  with  a  little  care  and 
attention,  can  force  under  the  frame  some 
early  vegetables  such  as  lettuce  and  radishes. 

Last  spring,  when  you  were  buying  your 
tomato  plants,  egg  plants,  lettuce,  etc.,  it 
perhaps  occurred  to  you  then  that  some  one 
had  to  start  these  plants  from  seed  back  in 
the  cold  months  of  February  and  March. 
To  enable  the  florist  to  grow  these  plants, 
he  had  to  have  a  greenhouse  or  a  hotbed. 
Then,  why  not,  with  a  little  attention  and 
comparatively  little  expense,  have  a  hotbed 
and  grow  these  plants  yourself? 

A  hotbed  is  a  very  simple  affair,  easy  to 
handle,  does  not  get  out  of  order,  and  is 
good  for  many  years.  It  is  composed  of  a 
sash  set  on  a  frame,  which  is  placed  over  a 
manure  pit.  The  heat  from  the  manure 
makes  and  keeps  the  bed  hot  and  keeps  the 
frost  out.  The  hotbed  should  be  in  the 
sunniest  spot  in  the  yard  and  should  slope 
to  the  south.     It  would  be  an  advantage  to 

577 


THE   COLD   FRAME— NATURE'S  ASSISTANT 


have  it  protected  from  the  north  by  a  board 
fence  or  the  side  of  a  barn. 


WHEN    IT    IS    THI-.    PURrOSE    TO    DEVOTE    THE    GREEN- 
HOUSE  TO   FULL   BLOOMING    PLANTS    IT   IS    AN    EXCEL- 
„,  ,     .  ,,  r  1  r  ^^^'^   ^''''^    ™   ^^'^^    "•"   ^   COLD    FRAME   AGAINST   IT 

1  he  sash  is  generally  (i  feet  long  by  3  feet      to  hold  all  the  slips  and  seedlings. 
wide  and  can  be  bought    for    about  $4.50  To  prepare  the  ground   for  the  hotbed, 

^^ch.  dig  out  the  soil  from  two  to  two  and  a  half 

feet,  the  area  to  accommodate  the 
number  of  sash  you  use,  and  fill  this 
in  with  fresh  horse  manure.  It  is 
advantageous  to  dig  the  foundation 
two  feet  wide  all  around,  and  fill  it  in 
also  with  manure ;  this  will  prevent 
the  frost  from  creeping  in.  However, 
for  spring  use,  a  foundation  half  this 
depth  is  sufficient. 

Over  this  manure  foundation  the 
frame  is  set  and  the  corners  nailed  to 
upright  posts  placed  at  each  corner 
and  driven  in  about  2  or  3  feet.  This 
frame  can  easily  be  made  of  one  inch 
boards  12  inches  wide.  To  get  the 
best  slope  for  the  sash,  cut  oflf  6  inches 
from  the  top  of  the  south-side  frame 
and  nail  it  to  the  top  of  the  north- 
side,  thus  forming  a  slope  from  18  to 
6  inches,  then  adjust  the  remaining 
sides  accordingly,  making  sure  that  all 
comers  and  joints  have  a  good  snug 
fit.  Place  the  sash  on  top  of  this 
frame,  and  the  interior  will  get  the 
full  benefit  of  the  sun. 

When  the  seed  is  sown  in  February 
or  March,  the  hotbed  must  be  pro- 
tected at  night  and  in  severe  weather, 
by  a  burlap  or  straw  mat  spread  over 
the  top.  On  bright  days  this  covering 
should  be  removed  and  in  the  middle 
of  the  day    the  sash  should  be  raised 


starting    seeds    in    a    COLD    lUAMI     \\  1  I  H      \    ik 
ADVANCES  THE  GROWTH   OF  THE  GARDEN"   KULLV 


UBLE    SASH 
ilX    WEEKS. 


578 


THE   COLD  FRAME— NATURE'S   ASSISTANT 


a  little  to  give  the  plants  fresh  air.  Close 
up  the  bed  about  two  hours  before  sun- 
down, and  put  the  coverings  on  at  sun- 
set. Take  the  chill  oflf  the  water  before 
sprinkling  the  plants,  and  water  only  on 
bright  days  in  the  morning,  as  this  gives 
the  leaves  of  the  plants  time  to  dn,'  off  be- 
fore night.  This  will  prevent  all  possibility 
of  the  plants  damping  off. 

Much  satisfaction  and  enjoyment  may  be 
derived  from  starting  your  own  egg  plants, 
peppers,  tomatoes  and  vegetable  plants  from 
seed,  during  the  months  of  February  and 
March.  With  care  and  attention  vou  can 
secure  sturdier  plants  and  as  the  warm  days 
come  along,  can  give  the  plants  a  gradual 
hardening-off,  so  that  they  will  not  suffer 
severe  set-back  when  they  are  transplanted 
to  the  open  garden. 

Another  use  of  the  hotbed  is  for  forcing 
vegetables  such  as  lettuce,  varieties  like 
"Ideal"  or  "May  King"  planted  in  the  hot- 
bed in  February  will  be  ready  for  use  early 
in  May.  Radishes  may  be  had  in  from  four 
to  six  weeks  if  varieties  such  as  "Carmine- 
forcing"  and  "White-tipped  Scarlet  Tur- 
nip-forcing" and  carrots,  if  varieties  such  as 
"French-forcing"  and  "Half-long  forcing" 
be  used. 

Perhaps  this  seems  to  involve  too  much 
care  and  attention,  but  the  results  obtained 
will  more  than  repay  the  effort  spent. 

Portable  frames  placed  over  asparagus 
or  rhubarb  plants  early  in  the  season  will 
give    them    several    weeks    start.      Melons 


WHERE  THE  SEASON  IS  SHORT  IT  IS  AN  ADMIRABLE 
IDEA  TO  START  ALL  VEGETABLES  IN  COLD  FRAMES: 
THIS  GREATLY  INCREASES  THE  COMMERCIAL  VALUE 
OF  A  GARDEN. 

started  in  the  small  square  frames  that  can 
be  lifted  without  disturbing  the  plant  will 
have  stronger  roots  and  therefore  better 
flavor  as  well  as  earlier  start. 

Daffodils  and  tulips  will  surprise  you 
with  perfection  of  blossoms  if  protected 
during  the  fitful  early  spring  weather  with 
a  small  portable  frame.  Zinnias,  marigolds, 
stocks,  asters,  cosmos  can  be  planted  in 
large  cold  frames  and  transplanted  later. 
Pansies  and  violets  sown  in  cold  frames 
during  August  will  give  plants  which  will 
bloom  in  the  conservatory  during  the  fol- 
lowing March  and  .\pril.  Cold  frames  are 
also  invaluable  for  starting  Christmas  bulbs. 
Plant  them  in  pots  and  place  them  in  rows 
in  the  cold  frames  and  cover  with  about  a 
foot  of  dirt.  Beginning  in  August,  plant 
every  two  weeks  up  to  November.  Do  not 
disturb  them  for  at  least  eight  weeks,  so 
that  they  may  make  a  vigorous  root  growth, 
Fulness  of  bloom  depends  on  state  of  root 
growth.  For  forcing,  place  them  in  a  hot- 
bed, half  submerging  each  pot. 

Gardens  under  glass  are  in  more  danger 
of  becoming  injured  by  the  too  ardent  sun 
than  of  being  nipped  by  the  frost.  Espe- 
cially is  this  true  of  hotbeds,  for  they  are 
warmed  from  beneath  by  fermentation. 
They  should  be  closely  watched,  and  fresh 
air  admitted  at  the  right  time. 

579 


GARDEN-MAKING   AT  THE   CRAFTSMAN   BUILDING 


OUR  SEED  AND  GARDEN  DE- 
PARTMENT ON  THE  FIFTH 
FLOOR  OF  THE  CRAFTSMAN 
BUILDING  FOR  GARDEN  LOVERS 


WWWVWftVwS 


THE  parable  of  the  sower  has  always 
held  an  especial  appeal  for  human- 
ity, for  we  are  by  nature  tillers  of 
the  earth,  garden  makers.  We  know 
well  that  some  seed,  no  matter  how  care- 
fully sown,  will  fall  upon  rocks  or  barren 
ground,  that  rains  will  wash  them  away, 
suns  dry  up  tender  new  leaves,  untimely 
frosts  and  innumerable  pests  rob  the  sower 
of  his  harvest.  But  we  also  know  that 
some  at  least  of  those  wee  brown  seeds  will 
reach  fertile  ground,  beautify  our  particular 
corner  of  the  world  and  reward  us  immeas- 
urably for  all  our  hopes.  No  amount  of 
failure  really  discourages  us  or  makes  us 
lose  faith  in  an  ultimate  harvest.  No  sooner 
does  the  frost  drive  us  out  of  our  gardens 
into  winter  quarters  than  we  begin  planning 
a  triumphant  return  to  its  dehghtful  free 
life.  The  lighting  of  the  winter  fire  upon 
the  hearth  is  a  signal  for  seed  catalogues 
and  garden  books  to  appear,  plunging  us 
into  happy  bewilderment  of  choice.  As  we 
turn  the  pages  we  become  surrounded  with 
as  fascinating  a  company  of  flower  temp- 
tresses as  ever  confused  the  mind  of  Parsi- 
fal. I  doubt  if  any  printed  book  holds  a 
more  irresistible  charm  than  a  seedsman's 
catalogue  unless  it  be  a  plant  grower's. 

As  we  read  we  are  hypnotized  into  believ- 
ing that  every  seed  will  grow  and  every 
plant  bear  fruit.  Sickening  doubt  never  en- 
ters our  minds  to  drive  us  from  our  tem- 
porary paradise.  Even  though  we  can  only 
buy  a  five-cent  packet  of  mignonette  seed  to 
sow  in  the  window  box  or  an  equally  small 
envelope  of  morning-glory  seeds  for  the 
back  fence  or  are  restricted  to  a  single  hya- 
cinth bulb  in  a  glass  at  a  window,  still  we 
have  our  hour  of  Elysian  bliss.     We  shall 

580 


never  outlive  the  exalted  impression  that 
we  are  witnessing  miracles  when  handling 
seed.  Indeed,  is  there  anything  in  nature 
more  wonderful  to  consider  than  that  tall 
plants,  bearing  multi-colored  fragrant  blos- 
soms, trees  laden  with  luscious  fruits,  are 
coiled  up  within  a  single,  tiny  brown  atom 
smaller  than  the  head  of  a  pin  or  into  hard 
nuts  no  larger  than  our  thumb ! 

Another  miraculous  thing  to  consider  is 
that  cities,  mankind's  winter  quarters  as  it 
were,  are  of  necessity  centers  for  the  distri- 
bution of  all  the  seeds  and  plants  needed 
to  feed  the  people  of  the  world  and  beautify 
their  homes.  Cities  are  really  the  result  of 
the  country's  need.  They  exist  because  of 
man's  need  of  the  products  of  the  country. 
They  are  the  gathering  and  distributing  cen- 
ters of  the  harvest  regions. 

Time  is  so  valuable  a  factor  in  present- 
day  living  that  all  needed  things  must  now 
be  gathered  into  easily  reached  centers.  Dif- 
ferent articles  of  human  needs  are  classified 
and  assigned  to  one  locality  so  that  there 
may  be  little  time  wasted  in  running  to  and 
fro  seeking  information  or  the  actual  thing 
wanted.  The  Craftsman  Building  is  one 
example  of  this  classifying  plan  of  modern 
business  arrangement.  Home-makers  can 
go  directly  to  this  center  and  with  no  loss 
of  time  find  everything  needed  to  build  and 
furnish  a  home  and  its  garden.  This  build- 
ing is,  as  it  were,  a  seed,  from  which  homes 
and  gardens  may  develop.  Not  only  this, 
but  each  department  of  a  home  is  classified 
so  that  there  is  no  necessity  of  wasting  one's 
valuable  time  and  energy. 

When  gardens  are  to  be  planned  the  fifth 
floor  is  to  be  visited.  Here  information 
upon    every   possible   requirement,   of    gar- 


FURNISHINGS   FOR  THE  MODERN  HOME 


den,  farm  or  outdoor  life,  can  be  gleaned. 
Of  course  every  individual  object  cannot  be 
seen  here,  for  even  a  modern  skyscraper  is 
not  large  enough  to  contain  the  infinite  va- 
riety of  things  grown  in  this  amazingly  com- 
plex world,  but  there  are  products  from 
the  best  seedsmen,  plant  growers,  nursery- 
men, planters,  florists,  the  best  makers  of 
garden  tools  and  implements  of  all  kinds, 
furniture,  pottery,  fountains,  gateways,  bas- 
kets, etc.  A  library  of  garden  books  and 
tables  filled  with  catalogues  pertaining  to 
the  garden  are  to  be  found,  with  com- 
fortable chairs  close  by,  and  an  experi- 
enced garden  designer  to  talk  to  and  advise 
with.  Pergolas,  porch  furnishings.  Colonial 
and  rustic  garden  furniture,  sundials  and 
gazing  globes,  concrete  and  terra  cotta  pot- 
tery, tools,  baskets,  seeds,  bulbs,  plants,  nur- 
sery stock,  can  be  seen  with  prices,  and  in- 
formation may  be  obtained  on  everything 
not  actually  on  view. 

A  new  departure  for  this  floor  will  be 
seasonable  flower  and  vegetable  plants  on 
sale.  Hammocks  and  swinging  seats  of 
rustic  birch  and  willow  will  also  be  found, 
flower  pots  painted  to  order  with  motives 
similar  to  the  pattern  of  your  porch  or  sun- 
parlor  cretonnes ;  mats  and  cushions  for  the 
piazza  steps,  smocks,  sun  bonnets,  garden 
gloves,  decorative  and  useful  watering  pots, 
humorous  and  serviceable  flower  sticks,  in 
fact  everything  that  is  needed  to  make  the 
garden  practical  and  beautiful. 

Bird  lovers  will  find  here  the  most  charm- 
ing of  bird  houses,  bird  basins  and  bird 
fountains,  as  well  as  a  comprehensive  library 
of  books  on  bird  life,  how  to  attract,  care 
for  and  identfy  those  delightful  and  useful 
feathered  guests. 

Campers  will  not  only  find  just  what  they 
need  in  the  way  of  tents,  canoes,  camp 
stoves,  cooking  kits,  canvas  clothing,  etc., 
but  will  be  able  to  consult  with  an  experi- 
enced camper  as  to  how  to  camp,  what  to 
take,  what  to  wear,  what  books  to  have 
handy,  that  will  give  them  more  intimate 
knowledge  of  the  flowers,  trees,  birds,  ani- 
mals, likely  to  be  met  with,  and  of  trails, 
tramping,  packing,  etc. 

Now  that  sowing  and  planting  time  is 
near  at  hand  we  wish  again  to  remind  our 
readers  of  our  free  garden  service  depart- 
ment. We  are  glad  to  help  you  plan  your 
garden,  to  suggest  the  best  plants,  shrubs 
and  trees  for  your  especial  locality.  Write 
to  us  and  \ye  will  endeavor  to  give  you  any 
information  you  may  need. 


AFTER  THE  ARCHITECT, 
FURNITURE    AND    FITTINGS 

(Continued  from  page  557.) 

individual  in  them,  knowing  that  if  mis- 
takes are  made  they  are  no  great  loss. 
With  a  mint  of  money  to  spend  the  room 
turns  out  almost  invariably  the  pretty 
French  style  of  Marie  Antoinette.  But 
throwing  this  aside  as  undesirable  for  our 
homey  room,  let  us  see  what  remains. 

Can  anything  be  prettier  than  painted 
furniture  for  a  bedroom,  when  it  is  well 
done?  Primarily  the  forms  of  the  pieces 
must  be  good,  that  is,  well-proportioned, 
and  founded  on  some  of  the  old  styles  that 
the  centuries  have  proved  good.  The  dec- 
oration is  arbitrary,  but  the  forms  must  be 
right.  It  is  a  mistake  to  think  of  painted 
furniture  as  necessarily  white.  Some  of 
the  prettiest  is  in  low  tones  of  green,  in 
strange  apricot  reds,  and  there  is  always 
gray,  and  shades  of  tan.  When  such  col- 
ors are  used  a  soft  polish  is  necessary  and 
the  ornament  may  be  confined  to  bands  of 
a  diiTerent  color  or  gilt,  or  even  silver. 

Often  the  prettiest  effects  can  be  got  by 
making  a  harmony  of  chintz  and  painted 
furniture,  using  the  chintz  colors  as  the  in- 
spiration for  the  furniture.  One  who 
knows  how  to  paint,  copies  the  pattern  of 
the  chintz  on  the  head-board  of  the  bed,  on 
the  bureau  drawers,  on  the  chairbacks,  but 
a  worker  of  lesser  talent  may  well  take  the 
dominant  flower  color  of  the  chintz  for 
the  furniture  and  use  it  in  stripes  on  a 
suitably  colored  ground.  One  of  the  plates 
shows  two  bedroom  chairs  similarly  treat- 
ed. The  ultra-modem  designs  made  now 
in  this  country  in  hand-blocked  linens  help 
to  make  fascinating  bedrooms.  This  is  the 
place  of  all  others  to  use  them  and  show 
one's  own  taste  and  skill. 

Among  the  illustrations  given  is  a  fine 
old  veneered  mahogany  bed  of  the  time 
when  Napoleonic  furniture  was  falling  into 
a  decadent  bulk.  This  bed  agreeably  dom- 
inates the  room,  and  with  the  dressing 
bureau  sets  the  note  of  quaintness.  and 
hominess  that  is  carried  above  the  inhar- 
mony  of  ill-chosen  chair  and  table.  Simi- 
larly, in  the  attic  bedroom,  the  old-time 
chairs  and  mirrors  give  a  note  of  simplicity 
and  sincerity  which  the  owner  has  kept 
throughout,  notwithstanding  the  iron  bed 
and  other  modern  bits.  Simple  as  it  is, 
this  room  has  harmony  and  is  a  good  exam- 
ple of  what  can  be  done  with  light  paint,  a 

581 


FURNISHINGS  FOR  THE  MODERN   HOME 


knowledge  of  furniture  styles  and  a  sensi- 
tive feeling  for  appropriateness.  Both 
these  rooms  breathe  the  spirit  of  home. 

The  other  plan  for  furnishing  the  bed- 
room which  could  be  recommended  is  to 
stay  closely  by  the  "Colonial" — that  word 
which  is  made  to  cover  the  furniture  of 
our  country  in  the  span  of  Martha  Wash- 
ington's life.  Almost  everyone  has  or  can 
get  a  piece  or  two  of  very  simple  old  fur- 
niture. Put  then,  a  chair  or  table  of  old 
make  in  the  bedroom  and  work  up  to  that. 
Never  buy  what  clashes  with  it.  Add  to 
that,  a  wall-paper  of  big  flowers,  or  one 
that  makes  a  solid-color  background,  and 
you  cannot  go  astray. 

All  the  old  styles  are  reproduced,  but 
careful  copies  are  expensive.  Excellent 
effect  can  be  got  by  choosing  furniture 
with  good  lines,  but  great  simplicity.  The 
matter  to  be  avoided  is  not  a  plain  chair  or 
bed,  but  one  that  will  not  soon  become  un- 
certain and  shaky,  trembling  under  its  own 
avoirdupois. 

The  bed  may  well  be  a  bed  with  posts. 
Nothing  prettier  was  ever  devised  in  all 
the  centuries,  but  whether  the  tester  en- 
closes it  or  not  is  a  matter  for  each  to 
decide.  If  you  have  a  space  and  means, 
put  in  the  bedroom  a  long,  comfortable  sofa 
of  some  sort,  so  that  the  mistress  of  tlie 
house  may  be  tempted  to  take  during  the 
day  the  bit  of  rest  that  lubricates  toil.  How 
many  a  weary  body  has  sat  upright  in  a 
chair  for  fear  of  "mussing  up  the  bed." 

In  talking  of  furniture,  or  of  fitting  the 
house,  one  naturally  falls  into  a  way  of 
using  the  names  of  the  great  periods  of 
decorative  art.  It  is  no  more  possible  to 
avoid  it  than  to  avoid  of  speaking  of  veg- 
etables in  the  kitchen.  So  we  must  all  have 
at  least  a  speaking  acquaintance  with  the 
words.  We  all  have  already  that  acquaint- 
ance, but  we  are  lazy  about  pursuing  the 
matter,  and  we  forget  to  recapitulate. 
Renaissance  furniture  means  simply  the 
application  of  Greek  and  Roman  ideas  to 
the  elegant  life  which  Italy  started  about 
A.  D.  fourteen  hundred,  and  which  spread 
over  Europe.  England  in  the  sixteen  hun- 
dreds gave  us  the  wonderful  things  in  oak 
and  walnut  which  the  technical  divide  into 
Jacobean,  Cromwellian,  Restoration,  Stuart 
and  William  and  Mary.  France  in  the  next 
century,  the  eighteenth,  gave  the  styles  we 
loosely  call  "French,"  under  Louis  XIV, 
Louis  XV,  Louis  XVI  and  the  beginnings 
of   the   Empire.     And,  most   loved  of   all, 

582 


England  gave  to  the  world  the  styles  which 
she  made  from  these  French  designs.  These 
are  what  are  too  easily  denominated  Colo- 
nial, or  Georgian,  and  embrace  the  several 
styles  of  the  eighteenth  century,  Queen 
Anne,  Chippendale,  Sheraton,  Hepplewhite 
and  Adam  brothers. 

I  f  you  know  w  hat  these  styles  mean  when 
they  are  mentioned  you  are  fitted  to  pick 
out  furniture  for  the  new  house  from 
amongst  the  uncomfortable  masses  of  "nov- 
elties" and  "newest  things"  of  the  market, 
for  you  will  then  instinctively  choose  the 
pieces  of  fine  structural  composition  and 
beautiful  outline,  letting  ornament  go  and 
taking  beauty  of  finish  in  its  place. 

A  house  is  not  furnished  every  year.  We 
live  all  our  lives  with  one  furniture.  Is  it 
not  then,  worth  while  to  take  pains,  infinite 
pains  in  selecting? 

Here  are  the  important  points,  honestly 
made  furniture,  simplicity,  elegance  of  pro- 
portion, beauty  of  finish,  all  this,  added  to 
outlines  founded  on  the  well-tried  styles  of 
the  centuries. 

A  house  furnished  with  such  movables, 
softened  with  appropriate  textiles,  enliv- 
ened with  tasteful  walls  is  a  peaceful  har- 
bor, an  inspiring  temple,  and,  best  of  all,  a 
home. 

ORIGIN  OF  THE  "CLAW-FOOT" 

THE  earliest  forms  of  household  furni- 
ture are  those  left  us  by  the  Egyptians. 
.  .  .  This  furniture  inclines  toward 
animal  forms  more  than  vegetable  in  its  con- 
struction. 

The  principles  were  sound,  based  on  the 
requirements  of  the  inexorable  laws  of 
gravity  and  the  frangibility  of  household 
goods ;  but  so  harmonious  was  the  drawing 
of  chairs  and  stools  that  man  has  been 
pleased  to  copy  certain  of  them  in  modern 
times.  There  is  a  bit  of  humor  in  the  fact 
that  when  explorers  recently  opened  the 
tomb  of  the  parents  of  Queen  Tii.  and  found 
there  two  superb  chairs,  the  specimens  were 
promptly  named  Empire  and  Louis  Seize. 

Seeing  how  firmly  the  beasts  stood  upon 
four  pads,  the  designer  of  that  time  gave 
to  man,  the  two-footed  and  fatigued,  the 
luxury  of  rest  on  four  feet,  where  no  laws 
of  balance  persecute  the  weary  muscles.  In 
other  words,  his  favorite  model  for  chairs 
was  fitted  with  animals'  legs  or  feet,  and  a 
couch  of  them  represented  an  entire  beast. 

From  "Decorative  Styles  and  Periods," 
bv  Helen  Churchill  Candee. 


THE  BIRD  CORNER  OF  OUR  GARDEN  FLOOR 


THE  BIRD  CORNER  OF  OUR 
GARDEN  FLOOR:  BY  ELOISE 
ROORBACH.  HEAD  OF  THE 
DEPARTMENT 

GARDENS,  no  matter  how  perfectly 
laid  out  and  planted,  remain  far 
short  of  the  ideal  unless  little  birds 
are  nesting  among  the  flowers, 
drinking  at  the  fountains  and  singing  in  the 
trees.  Gardeners,  no  matter  how  experi- 
enced, alert  or  industrious  they  are,  can 
never  bring  their  plant  charges  to  the  ful- 
ness of  harvest  without  the  expert  aid  of  the 
little  feathered  "wardens  of  the  field." 
They  are  better  than  any  poisonous  spray 
for  ridding  flowers  and  vegetables  of  de- 
structive parasites ;  peering  under  every 
leaf,  their  bright  eyes  discover  the  tiniest 
hiding  enemy,  they  patrol  the  rose  bushes 
and  cabbage  plants  with  active  vigilance. 
Not  an  enemy  can  escape  their  watchful 
eyes. 

Knowing  well  the  very  life  of  flowers 
and  fruits  and  birds  depends  upon  a  mutual 
service,  upon  the  divine  taking  and  giving 
service  that  keeps  all  life  sweet  and  whole- 
some, we  have  given  the  birds  their  just 
place  in  the  plan  of  our  garden  department. 
Among  our  garden  furniture,  under  the 
eaves  of  our  portable  houses,  among  the 
branches  of  our  cedar  trees,  are  perched 
charming  houses  designed  to  please  the 
house  hunting  feathered  gardeners,  to  help 
them  reach  a  decision  about  the  important 
matter  of  a  safe  nesting  site,  to  make  them 
feel  at  home  with  us.  The  best  of  bathing 
basins  and  fountains  are  displayed.  Upon 
our  tables  are  books  about  the  birds,  those 
tiiat  introduce  them  by  name,  reveal  their 
pretty  ways  of  life  and  tell  us  how  to  keep 
them  in  our  dooryards. 

All  through  February  we  will  make  an 
especial  appeal  for  the  preservation  of 
these  beautiful,  cheerful  servitors  of  our 
gardens.  The  National  Association  of 
Audubon  Societies  with  their  usual  readi- 
ness of  help  when  appealed  to  have  agreed 
to  place  on  exhibition  beautiful  water-color 
drawings  of  the  New  England  birds  most 
apt  to  visit  our  gardens.  They  will  also 
show  helpful  identification  charts  so  that  a 
better  knowledge  of  these  little  friends  may 
be  had.  Best  of  all  will  be  a  talk  upon  bird 
life  by  T.  Gilbert  Pearson,  Secretary  of  the 
National  Association  of  .'\udubon  Societies, 
on  Thursday,  February  4th,  at  2.30  p.  m. 


Some  one  will  be  in  constant  attendance 
to  talk  with  about  the  planning  of  gardens 
and  ground,  that  the  birds  may  be  assured 
of  a  winter  crop  of  berries.  Information 
will  be  given  about  theberry-bearing  shrubs 
that  should  be  planted  in  sunny  places,  such 
as  the  bayberry,  junipers;  In  the  shade  of 
groves  such  as  mountain  ash,  partridge 
berry  ;  moist  places  such  as  the  shadbush  and 
hawthorn  and  about  the  woodbines  and  bit- 
tersweet and  other  creeping  things.  And 
help  will  be  given  for  the  asking  about  the 
planting  of  the  margin  of  the  bird  pools, 
tying  of  bushes  for  better  shelter,  about 
winter  seed  boxes,  tables  and  feeding  sticks. 
So  write  or  visit  our  garden  department 
during  the  month  of  February  and  get  ac- 
quainted with  the  needs  of  the  feathered 
friends  who  are  soon  to  start  their  northern 
migration,  hunting  for  nesting  sites  and 
feeding  grounds. 

March  will  be  our  special  wild  flower 
month  and  April  the  time  of  flowers  and 
plants. 

The  shrubs,  trees,  plants,  seeds,  stock  of 
everything  grown  that  will  feed  or  shelter 
the  birds  will  be  on  sale  or  to  order  in  the 
bird  corner  of  our  garden  floor.  Basins  of 
just  the  right  depth  for  these  winged  gar- 
tleners'  daily  bath  will  be  shown,  those  that 
are  perfectly  safe  for  the  smallest  bird  and 
delightfully  decorative  as  well,  low  shallow 
liasins  to  place  on  the  ground  or  on  the 
stump  of  a  tree,  basins  upon  graceful  ped- 
estals of  concrete  or  terra  cotta. 

Nothing  could  be  lovelier  for  a  garden 
than  a  slender  bird  basin  twined  about,  with 
roses,  little  birds  perched  along  its  rim, 
chattering  or  singing,  preparing  for  a 
plunge  or  flying  back  and  forth  through 
the  fine  spray  of  a  fountain  springing  from 
its  center.  The  center  of  a  garden's  inter- 
est is  always  where  water  flows  or  plunges, 
or  remains  quiet  in  the  form  of  a  little  pool. 
The  pool  should  be  margined  with  flowers 
that  bloom  successively  through  the  sum- 
mer, and  the  fountain  be  constructed  so 
that  it  is  safe  for  little  birds  to  drink  from. 

We  will  be  glad  to  help  you  give  so  at- 
tractive an  invitation  to  the  birds  that  they 
will  not  only  abide  happily  for  a  summer 
under  the  bounty  of  your  hospitality,  but 
return  again  and  again  to  the  safe  and 
happy  feeding  ground.  Beside  adding  to 
your  own  personal  pleasure,  you  will  also 
be  knowing  that  you  have  added  to  the 
beauty  and  joy  of  our  land  by  aiding  in  the 
preservation  of  our  "singing  gardeners." 

583 


TILES   FROM   THE   POTTERS  OF   TUNIS 


TILES  FROM  THE  POTTERS 
OF  TUNIS:  SUGGESTIONS  FOR 
THE  AMERICAN  LANDSCAPE- 
GARDENER 

EVERY  craft  has  its  own  tradition,  its 
own  historic  romance,  and  few  can 
claim  a  more  ancient  and  picturesque 
one  than  ceramics.  Like  most  use- 
ful arts,  moreover,  it  is  associated  with  spe- 
cial countries  and  localities  where  it  has 
been  practised  generation  after  generation. 
Its  secrets  have  been  handed  down  from 
father  to  son,  each  seeking,  with  a  crafts- 
man's pride,  to  keep  his  work  up  to  the  high 
standard  of  his  predecessors,  or  even  to  sur- 
pass their  handiwork  through  his  own  skill. 
Such  a  spirit  as  this  lies  back  of  the  pot- 
tery of  Tunis,  which,  from  ancient  times, 
has  been  one  of  the  country's  principal  in- 
dustries. The  high  degree  of  excellence 
that  had  been  achieved  even  in  earlv  days 
has  been  revealed  by  the  excavations  made 
on  the  site  of  Carthage,  where  rich  vases, 
funeral  urns,  lamps,  tiles  and  even  large 
statues  have  been  found. 

"In  the  ninth,  tenth  and  eleventh  cen- 
turies of  the  Christian  period,"  says  one 
writer,  "the  Princes  Aghlabites  and  Fatimi- 
tis  decorated  their  palaces  and  religious  edi- 
fices with  tiles  of  faience,  and  emploved  for 
domestic    use  vases    artistically   decorated. 

584 


l'..NTK.\.\CI-.  TO  THI'.  \'II.L.\  l■|k^AM,  1  r  N  I  S  ;  SHOWING 
AN  UNUSUALLY  DECORATIVE  USE  OF  HKILLIANT  COL- 
ORED TILES   IN   THE   CONCRETE   WALLS. 

On  the  arrival  of  the  Spanish  Moors  in 
Tunis,  and  later  that  of  the  Turks,  a  great 
interest  and  impetus  was  given  to  this  in- 
dustry. The  ceramic  art  flourished  until 
the  end  of  the  reign  of  Hamouda  Pacha, 
who  died  in  1790." 

Tunis  Nabeul,  and  the  old  town  of  Kai- 
rouan,  were  the  chief  centers  of  the  craft, 
and  their  mosques  and  old  palaces  are  still 
covered  with  tiles  whose  beauty  testifies  to 
their  makers'  skill.  The  old  houses  and 
monuments,  however,  have  been  largely 
stripped  of  their  faience  decoration,  which 
admiring  travelers  and  collectors  have  been 
able  to  buy  from  the  impecunious  owners. 
Indeed,  so  many  of  these  wonderful  tiles 
have  been  carried  away  that  they  have  be- 
come quite  rare,  and  the  industry  itself  has 
also  been  decreasing. 

Recently,  however,  the  Tunisian  govern- 
ment has  taken  an  active  interest  in  the 
craft,  and  has  tried  to  encourage  the  natives 
to  revive  it,  and  to  conserve  its  ancient  love- 
liness for  future  generations.  Thanks  to 
this  official  effort,  many  of  the  old  models 
of  pottery  and  tiles  to  be  found  in  the 
Museum  of  the  Bardo  at  Tunis  can  now  be 
reproduced  in  all  their  old-time  beauty. 

P>ut  the  phase  of  the  movement  which  is 
of  S])ecial  interest  to  us  here  in  America  is 


TILES   FROISI  THE  POTTERS  OF  TUNIS 


the  introduction  of 
this  faience  work  into 
our  own  land,  the 
privilege  of  importa- 
tion having  been  ob- 
tained from  a  family 
of  Tunisian  potters 
by  whom  the  secret  of 
the  ancient  craft  has 
been  preserved. 

Some  idea  of  the 
charm  which  these 
tiles  add  to  a  garden 


TUNIS  COUKlVAkU  UlIH  TILED  POOL  AND  WALLS 
THAT  REVEAL  A  DECORATIVE  HANDLING  OF  THIS 
BEAUTIFUL    FAIENCEWOEK. 


may    be    gathered    from    the    photographs, 
which   show  the    foliage-sheltered   grounds 
and    low -walled    pathways    of    the    Villa 
Persane,  Tunis.     The   rich   mosaic   effects 
of    the     inserts    in     the    concrete    surfaces 
are  peculiarly  decorative  against  this  lux- 
uriant background,  and    even  without    the 
color  give  one  an  impression  of  the  warmth 
and  interest  which  they  lend  to  each  rest- 
ful garden  spot.      The  construction  of  the 
entrance,  the  rounded  seat  and  tiled  pave- 
ment are  all  worth  noting,  and  offer  sugges- 
tions to  American  gardeners   for  architec- 
tural effects  around  their  own  homes. 
Indeed,  there  are    no    doubt    many 
home-makers  on  this  side  of  the  At- 
lantic who  will    be    only  too    glad    to 
know  that  pottery,  tiles  and   faience 
work  of  this  rich  Oriental  character 
are  obtainable  here.     Not  only  is  the 
material  suitable  for  all  kinds  of  out- 
door uses,  being  thick,  strong  and  un- 
affected by  the  weather,  but  it  can  be 
employed   with   delightful   resuUs    in- 
doors, since  the  colors  will  blend  ad- 
mirably   with    the    tones    of    Oriental 
rugs,  tapestries  and  old  furniture.  One 
can  easily  imagine,  for  example,  how 
decorative  some  of    these    tiles  would 
prove  if  inserted  in  geometric  designs 
— as  panels,  or    diamond-shaped    mo- 
-^     saics   in   a  chimneypiece   of   concrete, 
above  the  mantel-shelf  and  on  each  side  of 
or  around  the  fireplace  opening.    They  could 


VISTA  THROUGH    THE   GARDENS   OF   THE   VILLA    PERSANE:   MODERN  REPRODUCTIONS  OF  THESE   WONDERFUL  TILES 
HAVE  BEEN   RECENTLY  INTRODUCED  INTO  AMERICA. 


TILES  FROM   THE   POTTERS  OF  TUNIS 


be  used,  too,  in  connection  with  briiL,  w  lim. 
very  rich  color  effects  were  desired.  l''or 
the  fireplace  hearth,  the  border  of  a  porch 
floor,  the  walls  or  floor  of  a  smiroom,  the 
garden  walks  and  entrances  or  the  edge  of 
a  lily  pool,  they  would  also  be  appropriate. 

Architects  would  likewise  find  them  in- 
valuable for  adding  a  note  of  color  and  va- 
riety to  otherwise  plain  walls,  and  a  group 
of  tiles  inserted  between  or  above  the  win- 
dows, over  the  doorway  or  in  the  gables 
would  brighten  even  the  simplest  or  sever- 
est building  with  a  touch  of  Eastern  splen- 
dor. Roof  tiles  of  various  shapes,  in  Em- 
pire green,  are  also  to  be  had  in  this  unusual 
ware,  so  that  it  would  be  possible  to  work 
out  both  house  and  garden  decorations  in 
harmonious  color  schemes. 

Those  who  visit  the  Garden  Department 
on  the  fifth  floor  of  the  Craftsman  Build- 
ing may  find  examples  of  this  pottery,  in 
the  shape  of  jars,  bowls  and  vases  of  sim- 
]jle  and  unusual  forms.  The  designs  that 
ornament  the  mellow,  grayish  earthen  sur- 
face are  more  or  less  primitive  in  outlines, 
coloring  and  execution.  And  it  is  this  very 
childlike,  naive  quality  that  gives  them  such 
unique  charm,  and  distinguishes  them  so 
widely  from  the  ordinary  machine-made 
objects  of  more  civilized  nnmufacture. 

The  patterns  on  many  of  the  pieces  are 
semi-geometric,  with  here  and  there  a  leaf 
.or   plant    form,   suggestions    of    the   jiome- 

S86 


AMIHIC.XN  LANDSCAPE  GARUKXKKS  A.NM)  HOMI- 
-MAKtRS  MAY  FIND  HERE  A  CHARMING  SUGGESTIU.V 
FOR  THE  USE  OF  RICHLY  COLORED  MOSAICS  IN  LOW 
CONCRETE    WALLS    AND    GARDEN    SEAT. 

granate  and  the  seed  pods  of  the  lotus, 
which  give  a  touch  of  local  character  to  the 
designs.  It  is  interesting,  too,  to  note  the 
influence  of  beads — so  loved,  always,  by  the 
peo])le  of  African  countries  as  well  as  by 
the  Orientals.  On  many  of  the  jars  one 
sees  a  repetition  of  round  and  oval  bead- 
like forms,  which  remind  one  of  the  curi- 
ous necklaces  of  the  Tunisian  country.  C>c- 
casionally  there  occur  some  of  the  con- 
ventionalized leaf  forms  that  one  finds  in 
Persian  designs. 

The  colors  are  somewhat  uiuisual.  The 
background  is  of  an  uneven  grayish, 
earthen  tone,  while  the  designs  are  in  deep, 
dull  blues,  emerald  greens  with  warm 
splashes  of  yellow  and  orange.  As  a  rule, 
the  jsatterns  are  outlined  with  a  dark  brown 
line,  fine  or  heavy  according  to  the  delicacy 
of  the  ornament,  which  follows  or  harmon- 
izes with  the  general  lines  of  the  objects. 
Although  there  is  little  attempt  at  fine  or 
elaborate  detail,  the  general  effect  is  re- 
markably rich.  Indeed,  it  is  the  kind  of 
work  that  adds  a  note  of  real  distinction 
wherever  it  is  introduced,  whether  in  home 
or  garden.  And  in  its  own  way  it  may  hold 
inspiration  for  American  potters  and  de- 
signers in  many  branches  of  craft  work. 
lUustrnlions  loaned  by  Robert  Rossman  Co. 


REAL  ESTATE  AND   A  HOME 


ALS   IK   KAN 

REAL  ESTATE   AND   A   HOME 

WHETHER  a  man  builds  his  home 
and  plans  his  garden  merely  for 
himself  and  family  or  for  fu- 
ture generations,  he  should  al- 
ways plan  so  carefully  and  construct  so 
practically  that  if  his  home  has  to  become 
real  estate  he  will  find  it  a  valuable  asset, 
having  a  significance  beyond  the  merely 
sentimental  one.  No  man  can  afford  to  put 
a  great  deal  of  time  and  energy  and  some 
money  into  a  proposition  that  would  not 
possess  a  marketable  quality  in  case  of 
emergency,  and  a  house  is  no  more  yours, 
no  nearer  and  dearer  because  you  could  not 
sell  it  if  you  wanted  to  and  needed  to. 

Every  wise  man  really  wants  respect  for 
his  home  as  well  as  admiration,  and  it  does 
not  mean  that  you  are  without  poetry  and 
romance  if  you  decide  to  build  the  best 
kind  of  a  house  and  produce  the  most  prac- 
tical as  well  as  loveliest  garden  in  the 
neighborhood.  In  fact,  the  better  standard 
you  have  for  your  home  in  its  architecture, 
fittings,  grounds  and  garden,  the  more  you 
will  enjoy  it  yourself,  the  more  you  and 
your  family  will  develop  in  producing  it, 
and  of  course  the  better  bargain  it  will  be- 
come if  Fate  should  ever  turn  her  face  from 
you. 

Perhaps  the  best  way  would  be  always  to 
build  the  kind  of  a  home  you  would  like  to 
buy  from  a  neighbor.  You  must  make  a 
careful  study  of  the  site  in  relation  to  sun 
and  wind,  the  design  in  relation  to  comfort 
and  economy,  heating  and  ventilation  in  re- 
lation to  health;  for  home-making  today 
means  more  than  shelter,  it  means  a  place 
in  which  you  intend  to  grow  and  prosper. 
It  is  safe  to  make  elimination  the  keynote 
of  the  whole  theme,  for  extravagance  is  re- 
sponsible in  America  today  for  the  produc- 
tion of  more  unsightly  architecture  and  un- 
comfortable homes  than  poverty  is ;  a  mod- 
erate income  will  often  force  people  to  a 
point  of  elimination  that  will  result  in  real 
beauty.  But  if  you  possess  money  and  wish 
to  spend  it  in  your  home  it  is  essential  that 
you  should  make  a  special  study  of  the  art 
of  leaving  out  the  superfluous.  The  lack 
of  money  somehow  seems  to  breed  thought 
and  the  possession  of  it  recklessness :  and 
wise  thought  is  the  only  inspiration  for 
beautiful  architecture. 

Having  decided  to  build  your  house  for 
the  real  estate  market,  as  well  as  for  pos- 


terity, plan  an  intimate  relation  between 
your  garden  and  your  home.  They  must 
belong  to  one  family  and  both  to  the  land- 
scape. Of  course,  you  will  want  a  great 
deal  of  help  in  this  most  important  under- 
taking of  your  life,  but  in  the  main  you 
must  be  your  own  head  architect,  builder 
and  gardener.  Talk  with  people  who  know 
the  art  of  building  and  garden-making,  read 
the  best  books  on  the  subject,-  and  make 
many  plans  for  your  home.  After  you  have 
given  a  lot  of  time  and  study  to  the  matter, 
then  follow  every  step  of  the  work  as 
though  you  were  the  architect  and  con- 
tractor. It  is  impossible  for  any  one  else 
to  develop  for  you  your  ideal  of  a  home. 
They  can  only  help  you  do  it. 

Since  I  built  my  own  home  at  Craftsman 
Farms  I  have  come  to  the  conclusion  that 
this  is  the  most  important  step  in  a  man's 
Hfe.  Nothing  can  mean  more  to  him  than 
the  surroundings  in  which  he  is  to  live  day 
after  day — the  hills  that  he  is  to  see  from 
his  porch,  the  pasture  that  lies  below  the 
bedroom  window,  the  glimpse  of  the  vine- ' 
yard  through  the  south  windows,  his  own 
fireside  where  he  plans  his  life,  the  porch 
where  he  sleeps  in  the  starlight.  These 
things  are  more  or  less  immutable,  once 
established,  and  so  you  must  know  what 
you  want  before  you  begin  to  build,  and 
then  you  must  build  intelligently  to 
achieve  it. 

It  is  because  these  things  are  so  over- 
whelmingly vital  to  me  that  every  year  I 
decide  to  devote  two  entire  issues  of  the 
magazine  to  gardening  and  home-building. 
This  year,  as  usual,  the  March  number  of 
The  Craftsman  will  be  given  up  to  gar- 
dens and  the  April  number  to  home-build- 
ing. Each  issue  of  The  Cil\ftsman  pub- 
lishes a  certain  number  of  articles  on  both 
building  and  gardening,  but  I  feel  that  that 
is  not  enough.  Once  a  year  I  want  to 
crowd  the  magazine  with  the  most  practi- 
cal and  interesting  material  available  for 
beginning  and  extending  gardens,  for  plan- 
ning and  fitting  houses. 

In  the  March  number  for  191 5  we  shall 
have  an  article  by  Julian  Burroughs,  talk- 
ing about  the  way  he  and  John  Burroughs, 
his  father,  make  the  gardens  around  their 
homes,  and  we  shall  have  a  portrait  statue 
of  John  Burroughs  himself  by  Sciarrino 
Caraino  Pietro,  sculptor.  The  most  beau- 
tiful photographs  of  lotus  blossoms  ever 
published  have  come  our  way.  and  these 
will  appear  with  an  article  about  the  grow- 

587 


PROFITABLE  GARDENING   FOR    CHILDREN 


ing  of  this  Oriental  plant  in  America.  If 
)-ou  happen  to  live  in  a  land  where  rocks 
abound  you  will  tind  good  material  for  the 
making  of  a  rock  landscape  garden.  New 
England  wild  flowers  in  their  original  habi- 
tat and  transplanted  into  New  England 
home  gardens  will  be  the  theme  of  an  arti- 
cle by  Eloise  Roorbach,  illustrated  by 
Charles  Lincoln,  who  knows  more  about 
the  wild  flowers  of  New  England  than  any 
other  botanist  we  know  of. 

We  shall  have  an  American-Japanese 
garden  from  California,  with  picturesque 
photographs  and  the  mysteries  of  the  mak- 
ing of  these  wonderful  gardens  revealed. 
One  of  the  most  practical  articles  will  be 
Vine-Clad  Bowers,  in  which  the  beauty 
and  the  shade  will  be  the  important 
thing  and  not  the  architectural  structure 
of  the  arbor.  Every  one  owning  a  home 
should  have  gateways  and  summer  houses 
and  lattices  covered  with  fragrant  vines. 
A  most  unusual  garden  topic  will  be 
handled  by  Wilhelm  Miller,  the  first  ed- 
itor of  Country  Life  in  America.  It  is 
called  "Wild  Gardening,"  and  he  will  show 
our  readers  how  to  turn  farm  land  and  the 
adjacent  woods  into  a  beautiful  garden,  a 
thing  not  to  be  done  by  a  professional  gar- 
dener, but  by  the  farmer,  his  boys  and  his 
neighbors.  \\"e  have  secured  from  Mr. 
Lincoln  also  four  of  the  most  remarkable 
flower  photographs  that  we  have  ever  seen. 
These  will  be  published  with  a  word  about 
Mr.  Lincoln,  and  his  own  garden,  which  is 
all  New  England.  The  fourth  of  the  series 
of  "Your  Own  Home"  will  take  up  the  ques- 
tion of  the  relation  between  house  and  gar- 
den, planning  and  planting  of  the  grounds, 
and  outdoor  architectural  features.  We 
find  these  articles  on  the  building  of  homes 
are  being  widely  read  and  much  appreci- 
ated because  they  are  written  for  the  peo- 
ple who  want  beautiful  homes  at  moderate 
prices.  If  you  want  to  have  your  lawn 
filled  with  dafifodils  in  the  early  days  of 
May,  The  Craftsm.\n  for  March  will  also 
tell  you  how  to  do  this,  and  will  show  you 
some  lovely  dafifodils  growing  in  the  garden 
at  Hampton  Court.  Of  course,  in  addition 
to  these  very  special  articles  we  will  have 
many  on  small  gardens,  on  vegetable  gar- 
dens, on  practical  and  profitable  little  sub- 
urban gardens,  all  interestingly  illustrated 
and  of  real  value  to  the  garden  lover. 

In  the  March  number  of  The  Crafts- 
man we  will  publish  a  detailed  list  of  the 
table  of  contents  for  .Xjiril.  which  will  in- 

588 


elude  the  work  of  the  best  .Vmerican  archi- 
tects, not  onh-  in  jniblic  buildings,  but  in 
domestic  architecture.  We  shall  have  all 
kinds  of  detail  articles  in  regard  to  the 
finishing  of  homes,  on  lighting,  plumbing, 
heating,  etc.  Modern  porches  and  pergolas 
will  be  shown  in  beautiful  pictures.  Wil- 
liam Price,  one  of  the  most  poetical  of  all 
architects,  will  write  us  a  foreword  in  re- 
gard to  the  American  home,  and  Will  Lev- 
ington  Comfort  will  tell  us  something  about 
his  own  development  through  the  building 
of  his  home.  As  usual,  both  magazines 
will  be  filled  with  pictures  not  only  for  the 
practical  illustration  of  the  articles,  but  to 
add  to  tlie  beauty  of  the  publication. 

GARDENS  VERSUS  FACTORIES 
FOR  CHILD  WORKERS 

ANEW  experiment  is  on  foot  which 
should  interest  all  who  are  con- 
cerned in  the  country  life  movement 
and  in  the  abolition  of  child  labor. 
The  Welfare  League,  in  Westchester 
County,  New  York,  is  planning  to  utilize 
vacant  lots  as  gardens  for  children  who 
would  otherwise  be  in  factories.  The  gar- 
dening is  to  be  done  under  the  direction  of 
the  schools. 

"Practical  work  will  begin  about  the  first 
of  February,"  announces  Mrs.  Walston 
Brown,  "and  will  be  in  charge  of  former 
President  Jarvis  of  the  Connecticut  School 
of  Agriculture.  There  will  be  a  survey  of 
the  land  of  the  county,  and  vacant  lots 
platted  to  ascertain  which  owners  will  be 
willing  to  allow  the  lots  to  be  used. 

"We  believe  that  to  abolish  child  labor  we 
must  do  constructive  work.  It  has  been 
found  by  actual  practice  that  where  children 
have  taken  up  gardening  they  can  earn 
more  in  a  summer  in  that  work  than  they 
can  during  an  entire  year  in  a  factory.  The 
garden  products  of  the  children  are  used 
first  for  the  family  and  the  surplus  is  then 
marketed.  .  .  .  There  are  now  one  and 
a  half  million  children  in  the  factories 
and  there  are  a  million  unemployed  adults. 
When  we  are  able  to  take  the  children 
from  the  factories  we  will  leave  their  posi- 
tions for  the  adults  who  are  now  idle.  .  .  . 
"It  is  estimated  that  by  turning  the  force 
of  the  children  of  the  country  into  garden- 
ing there  can  be  an  increase  of  $200,000,000 
of  wealth  to  the  country.  It  is  not  only  the 
factory  children  who  will  work,  but  others 
who  will  utilize  their  time  out  of  school." 


JOHN  burroughs:  from  a  portrait- 
study     BY     C.     S.     PIETKO,     SCULPTOR. 


THECRAFTSMANi 

PUBUSHED    BY    THE    CRAFTSMAN    PUBUSHING    CO.        ~ 
VOLUME  XXVn  MARCH,  191S  NUMBER  6 

MY    FATHER'S    GARDEN    AND    MINE  :     BY 
JULIAN    BURROUGHS 

^ANY  times  I  have  heard  my  father  tell  of  our  first 
experience  at  gardening  together,  I  being  too  small 
at  the  time  to  remember  anything  about  it:  "I  had 
gone  down  to  the  garden  to  weed  out  my  cabbages," 
he  would  say  with  a  laugh,  "and  you  had  followed  me; 
you  were  a  little  shaver  then,  just  big  enough  to  walk. 
Well,  I  had  my  row  of  cabbages  neatly  weeded  out  and 
when  I  straightened  up  to  rest  my  back  and  I  looked  around  and  there 
you  were,  standing  over  the  row  with  a  young  cabbage  in  your  hand, 
the  last  one;  you  had  pulled  up  every  one.  I  asked  you  what  you 
were  doing  and  you  said  'weeds' — well,  I  have  a  mind  to  spank  you 
for  it  yet."  This  last  he  would  always  add  with  a  threatening 
flourish. 

Later  I  have  come  to  realize  that  even  at  that  time  I  had  begun 
to  express  my  disapproval  of  cabbages  and  hand  weeding,  a  vegetable 
and  a  labor  that  should  have  little  place  in  a  well-managed  garden. 
The  proper  use  of  the  wheel  hoe  and  the  hoe  will  eliminate  most  of 
the  laborious  hand-weeding,  and  as  for  the  cabbages  one  can  usually 
buy  them  just  as  good  and  just  as  cheaply  as  one  can  raise  them, 
thus  leaving  the  ground  and  time  for  the  more  precious  garden 
products  that  are  both  expensive  and  inferior  in  quality  when  bought. 
The  very  fact  that  my  father  was  weeding  cabbages  by  hand  will 
tell  those  who  are  garden  wise  that  he  was  not  a  really  good  gardener. 
And  here  at  Riverby-on-the-Hudson  he  was  not;  at  Woodchuck 
Lodge  on  the  summit  of  the  Catskills,  where  the  hot,  enervating  days 
of  July  and  August  are  cool  and  stimulating,  he  has  become  almost 
an  ideal  gardener.  This  very  coolness  of  the  days,  which  made  it  a 
pleasure  to  work  in  the  garden,  also  made  it  possible  to  have  the  most 
delicious  Telephone  peas  and  head  lettuce  all  summer;  the  peas 
especially  were  a  joy  to  father;  picked  while  the  dew  was  on  and  at 
just  the  proper  age,  they  were  sweet  and  tender,  being  one  of  the 
treats  of  the  summer.  This  same  coolness  kept  the  weeds  in  check 
as  well;  yes,  and  the  garden  was  within  ten  feet  of  the  house,  right 
in  sight  constantly  where  it  could  beckon  to  father  every  hour;  everj' 
weed  that  tried  to  grow  had  to  do  so  in  plain  view  of  the  easy  chair 
on  the  porch — he  simply    could    not  help  having  a  good  garden! 

591 


MY  FATHER'S  GARDEN  AND  MINE 

But  here  at  Riverby  in  the  Hudson  Valley  it  was  different;  father 
fell  into  the  common  erroi",  the  pitfall  of  the  average  home  gardener, — 
he  made  garden  with  joy  in  spring.  When  the  grass  became  green 
and  the  robins  came,  until  the  orioles  began  to  nest  and  the  oaks  were 
in  full  foliage,  he  had  the  gardening  fever  in  earnest;  he  planted  and 
hoed  daily;  his  hoes,  bright  from  use,  hung  in  the  pear  tree  at  the  end 
of  the  garden;  packages  of  seeds  were  scattered  over  his  study  table 
or  the  seat  in  the  summer-house.  How  he  did  enjoy  it!  The 
fragrant  spring  days,  the  apples  and  cherries  in  bloom,  the  birds  he 
knew  and  loved  so  well  keeping  him  company,  all  out  of  doors  tender 
and  inviting,  the  moist,  brown  earth  of  the  garden  freshly  plowed 
and  cultivated — it  was  all  irresistible  and  father  found  in  "making 
garden"  the  best  pleasure  of  the  season.  The  ground,  too,  was  mellow 
and  soft  from  the  winter  frost,  the  spring  rains  and  the  plow;  it  was 
a  pleasure  to  hoe  and  dig  in  it;  the  entire  garden  was  free  from  weeds; 
it  was  a  clean  slate  on  which  anyone  would  have  found  pleasure  in 
writing  with  rows  of  peas  and  corn.  Soon,  however,  the  weather 
got  hot,  weeds  got  a  "start,"  there  was  rust  on  the  hoe  where  it  hung 
in  the  pear  tree,  and  by  August  the  weeds  had  the  upper  hand  and 
were  going  to  seed;  the  ground  was  baked  hard,  the  rows  of  corn  were 
wilted  and  dusty,  the  beets  small  and  tough,  the  peas  could  no  longer 
grow  in  the  hot  weather.  Only  a  Mexican  peon  under  the  eyes  of 
his  master  could  have  hoed  out  these  waist-high  weeds  in  the  hard 
ground,  and  they  not  only  sucked  up  the  scanty  moisture  from  the 
vegetables  but  they  sowed  their  seeds  by  the  million,  making  the 
work  of  the  next  year  doubly  hard. 

AND  this  is  the  fault  of  too  many  amateur  gardeners :  they  spend 
too  much  time  on  the  garden  in  spring  and  then  neglect  it 
too  often  the  remainder  of  the  season.  The  ideal  plan  is  to 
work  a  little  every  day,  or  at  least  three  or  four  times  a  week,  from 
the  time  of  the  first  planting  in  spring  until  the  ground  freezes  in 
November.  By  doing  this  not  a  weed  can  go  to  seed,  making  the 
work  easier  every  year.  Weeds  rob  the  soil  of  everything  the  vege- 
tables need. 

For  those  who  have  little  time  to  work  outdoors  the  best  way 
is  to  plan  their  garden  on  paper,  marking  the  kind  and  quantity  of 
each  vegetable,  according  to  their  needs,  putting  the  entire  garden 
in  rows  running  north  and  south,  leaving  room  between  the  rows  for 
the  passage  of  the  wheel-hoe.  Plan  to  put  the  short-growing  vege- 
tables between  the  tall,  the  late  between  the  early,  and  plan  to  follow 
up  one  crop  with  another;  as  for  instance  the  winter  celery  can  be 
planted  in  the  row  of  the  early  peas,  the  tomatoes  can  be  set  in  the 

592 


BY  JULIAN  BURROUGHS 

row  of  early  lettuce;  the  winter  turnips  can  fill  the  row  vacated  by  the 
early  corn,  and  so  on.  It  is  a  fascinating  thing  to  do,  to  thus  plan 
one's  summer  campaign  and  it  pays  in  the  end. 

After  planning  the  garden  thus,  it  is  well  to  get  the  seeds  for  the 
season.  Get  them  of  one  of  the  old  and  well-known  seedsmen;  not 
only  are  better  seeds,  as  a  rule,  obtained  thus,  but  these  firms  send 
out  for  the  asking  practical  booklets  and  leaflets  on  all  garden  ques- 
tions, giving  nearly  complete  instructions  for  the  gro\ying  of  every- 
thing. It  is  true  the  seedsmen  in  their  leaflets  do  not  give  any  of  the 
discouraging  features;  they  speak  glowingly  of  the  fine  quality  and 
number  of  home-grown  Hubbard  squash  and  say  never  a  word  about 
the  squash  vine-borer!  Nor  in  their  interesting  and  enthusiasm- 
rousing  talk  on  cauhflower  do  they  mention  the  cabbage-root  maggot! 
For  all  of  that,  their  seeds  and  advice  are  better  than  that  of  the  corner 
grocery.  It  is  not  only  wise  to  get  seeds  for  the  season  early,  but  the 
seedsmen  of  national  reputation  do  not  sell  last  year's  seeds  or  those 
not  true  to  name — both  my  father  and  I  have  found  that  others  do. 

WHILE  waiting  for  the  groimd  to  be'ready  to  work  out  of 
doors,  many  things  can  be  started  in  a  box  in  a  sunny 
window — or  a  storm  sash  can  be  taken  from  the  house  and  a 
little  cold  frame  made  in  which  a  surprising  number  of  things  can  be 
started.  Father  would  never  do  any  of  these  little  aids  to  nature 
that  are  such  joy  to  most  gardeners;  his  gardening  fever  exhausted 
itself  in  the  natural  out-of-doors  planting  season.  With  one  storm 
sash,  four  old  boards,  some  manure  and  a  piece  of  canvas  for  a  night 
cover,  I  was  able  to  start  lettuce,  tomatoes,  cauliflower,  and  even 
some  corn  and  muskmelons,  and  gain  a  month  on  the  season.  Paper 
boxes,  unsoldered  tin  cans,  paper-lined  fruit  baskets,  anything 
available  can  be  used.  For  tomatoes  I  found  empty  breakfast-food 
boxes  the  best;  these  would  hold  together  long  enough  to  be  set  in 
season  in  the  ground,  simply  setting  box  and  all  into  the  earth, 
where  it  would  rot  and  let  the  roots  spread  out  into  the  soil.  Plants 
set  in  this  way,  provided  they  have  been  hardened  off,  as  the  garden- 
ers say,  by  gradually  accustoming  them  to  the  outdoor  temperature, 
receive  no  check  at  all  and  lose  no  time  in  the  transplanting.  I  have 
had  tomatoes  by  July  fourth,  corn  the  last  day  in  June,  muskmelons 
by  July  tenth.  Even  lima  beans,  the  hardest  of  all  vegetables  to 
start  here  in  the  north,  can  often  be  successfully  launched  in  paper 
boxes  two  weeks  in  advance  of  the  season. 

Some  of  the  roofing  paper  manufacturers  have  made  paper  flower 
pots;  these  are  neat,  light,  do  not  break,  and  unhook  for  opening. 
These  pots  are  cheap  and  when  onlyuised  for  spring  planting  will 

593 


MY  FATHER'S  GARDEN  AND  MINE 

last  a  long  time — being  round  and  tapering  they  take  up  more  room 
than  do  the  square  paper  boxes.  A  regular  hotbed  is  considerable 
trouble  and  requires  some  practice  for  successful  management,  the 
damping  off,  a  fungus  that  attacks  the  stems  of  many  plants  grown 
in  a  hotbed,  is  quite  likely  to  play  havoc  with  the  vegetables  in  the 
hotbed  of  the  inexperienced  gardener.  After  running  a  hotbed  for 
two  seasons  I  gave  it  up  and  simply  converted  it  into  a  cold  frame 
where  I  raised  a  supply  of  radishes,  young  onions,  beets  and  the  like, 
two  or  three  weeks  in  advance  of  the  season.  I  found  it  did  not  pay 
for  me  to  trj^  to  force  the  hand  of  Nature  too  much — hotbeds  were  for 
professionals  and  those  who  could  devote  much  time  to  them. 

The  plans  made,  seeds  bought,  and  perhaps  some  vegetables 
started  under  glass,  the  gardener  waits  eagerly  for  the  day  when  the 
garden  can  be  plowed  and  the  real  out-of-doors  planting  begun.  The 
old  rule  is  to  test  the  ground  for  "fitness  to  plow"  by  taking  a  hand- 
ful of  the  surface  soil  and  squeezing  it  firmlj^;  if  it  sticks  together  into 
a  lump  it  is  still  too  wet ;  the  mold  made  in  the  hand  should  crumble 
and  fall  apart. 

My  own  experience  with  one  of  the  most  difficult  of  gardens,  a 
low,  heavy,  clay  soil,  to  which  had  been  added,  to  make  matters 
worse,  a  quantity  of  subsoil  or  "hard  pan"  from  a  near-by  cellar, 
may  be  of  help.  First  I  raked  into  heaps  all  the  stones,  shoveling 
them  into  a  wheelbarrow  and  wheeUng  them  away,  then  I  added  all 
the  sifted  coal  ashes  we  had,  also  muck,  and  once  a  year  manure  and 
such  other  humus  as  I  could  get.  In  ten  years  I  must  have  added 
ten  inches  of  sifted  coal  ashes,  the  ground  improving  in  texture  all 
the  time.  Some  soils  are  harmed  by  coal  ashes,  as  sandy  or  very 
light  soil,  or  muck  land,  for  instance;  other  heavy  soils  are  improved. 
The  improvement  in  the  heavy  soil  of  my  garden  was  unmistakable 
and  apparent  in  every  way.  The  muck  from  the  swamp  at  Slab- 
sides  I  added  whenever  I  could  get  it;  it  is  really  better  than  ashes 
for  heavy  ground;  the  supply  however  is  limited  and  few  people 
can  get  it  at  all.  All  the  refuse  from  the  garden  that  the  cow  and 
chickens  would  not  eat  I  composted  and  added  when  it  was  fully 
rotted.  From  being  one  of  the  hardest  of  gardens  to  work,  damp, 
sticky,  from  wet  in  spring  to  hard  and  hot  in  summer,  my  garden 
became  so  mellow  that  it  could  be  worked  as  soon  as  the  frost  was 
out  in  March,  and  no  matter  how  hot  and  dry  the  August  soil  never 
baked  or  hardened.  Everything  grew  surprisingly  well  except  onions. 
The  delicious  muskmelons  and  corn  and  other  vegetables  more  than 
made  up  for  the  smallness  of  the  onions.  In  a  garden  it  often 
seems  as  though  one  vegetable  tried  to  make  up  for  the  failures 
of  others. 

594 


BY  JULIAN  BURROUGHS 

FOR  the  intelligent  working  of  the  garden  a  knowledge  of  the 
relation  of  the  condition  of  the  soil  to  the  growth  of  plants 
is  useful.  The  soil  is  simply  a  mechanical  medium  to  hold  the 
nitrogen,  potash,  phosphoric  acid  and  moisture  in  such  form  that 
they  can  be  taken  up  by  the  fine  feeder  roots  of  the  plants.  These 
feeder  roots  of  practically  all  the  plants  of  the  north  require  a  soil 
that  is  cool,  moist,  and  porous — they  cannot  flourish  in  a  hot,  baked 
soil.  And  the  one  paramount  thing  that  makes  a  soil  best  adapted 
to  plant  growth  is  humus.  Humus  is  simply  vegetable  matter  so 
finely  rotted  that  all  the  fermentation  and  sourness  have  leaked  away, 
leaving  it  like  meal,  like  the  dark  soil  or  leaf  mold  you  find  in  the 
woods.  This  cool  black  earth  of  the  woods,  how  moist  and  pungent 
it  is!  Matrix  of  orchids  and  ferns — if  we  all  had  enough  of  it  to  mix 
with  our  garden  soil  how  our  gardens  would  flourish!  Next  to  it  is 
the  level  black  muck  land,  which  when  drained,  sweetened  and  given 
potash  muck  makes  the  ideal  garden.  Unlike  clay,  sand  will  not 
become  hard;  it  gets  hot  and  dry,  however,  and  as  a  rule  needs  humus. 

After  the  garden  soil  has  been  made  loose  in  texture,  and  is 
provided  with  humus  the  next  thing  is  cultivation.  For  this  the 
wheel  hoe  that  has  a  breast  attachment  is  best;  here  again  we  come 
to  the  original  proposition;  a  wheel  hoe  is  useless  unless  used  fre- 
quently— several  times  a  week.  If  this  is  done  no  weeds  can  grow 
big  enough  to  be  pulled  or  hoed  with  the  hand  hoe.  And  the  ground 
cannot  dry  out  half  as  quickly  as  if  neglected,  for  the  constant  stirring 
of  the  surface  forms  what  we  call  the  dust  mulch,  a  dusty  layer  over 
the  top  of  the  ground  which  prevents  the  escape  of  the  moisture 
and  the  entrance  of  the  heat.  In  fact  were  it  not  for  the  vegetables 
which  are  constantly  drawing  up  the  moisture  from  the  soil  and  giving 
it  off  from  their  foliage,  such  a  soil  would  not  get  really  dry  in  any 
drought.  Weeds  also  give  off  the  moisture  they  have  drawn  from  the 
soil  by  their  leaves;  this  is  the  reason  why  the  weeds  should  be  kept 
out  of  the  garden.  When  weeds  are  in  the  seedling  stage  one  passing 
of  the  wheel  hoe  kills  every  one.  And  how  rapidly  one  can  go  over 
a  garden  with  a  wheel  hoe,  once  or  twice  in  a  row  and  then  in  the  next 
one  and  so  on,  fine  exercise,  good  stand-up-to-it  work  that  gets  whole- 
sale results  quickly.  Once  neglect  it,  let  the  weeds  get  rooted  and  the 
ground  hard,  and  you  might  as  well  hang  up  the  wheel  hoe  in  the 
shed  until  next  year. 

Of  course  the  rows  of  beets  and  carrots  have  to  be  thinned  and 
weeded  by  hand,  and  the  hills  of  corn  must  be  reduced  to  four  stalks, 
and  such  weeds  as  come  up  in  the  hill  will  have  to  be  pulled  up;  the 
melons  have  to  be  sprayed  with  Bordeaux  mixture;  brush  or  poultry 
netting  has  to  be  put  up  for  peas;  poles  set  for  lima  beans.     There  is 

595 


MY  FATHER'S  GARDEN  AND  MINE 

always  work  enough  in  a  garden;  that  is  why  one  should  plant  the 
whole  garden  in  rows  that  admit  the  entire  ground  being  worked  by 
the  wheel  hoe. 

OF  the  three  mentioned  plant  foods,  nitrogen  makes  stalks  and 
foliage ;  it  is  best  for  lettuce  and  cauliflower  and  all  vegetables 
of  which  we  eat  the  leaves,  such  as  spinach,  rhubarb  and  the 
like;  though  corn  and  melons,  and  in  fact  all  plants  except  peas  and 
beans  require  some  nitrogen.  Peas  and  beans  will  sometimes  refuse 
to  grow  in  a  soil  that  has  too  much  nitrogen.  Potash,  especially 
the  sulphate  of  potash,  is  the  best  fertilizer;  it  is  what  gives  size  and 
sweetness  to  the  melons,  strawberries,  beets  and  the  ears  of  com;  it 
can  be  used  liberally  on  all  fruits  and  vegetables  with  good  results. 
Phosphoric  acid  is  needed  for  seeds  and  flowers;  it  is  not  as  important 
as  the  other  two,  though  almost  nothing  will  do  well  in  a  soil  entirely 
deficient  in  phosphoric  acid.  Though  some  plants  will  not  grow  in 
a  sweet  soil,  as  huckleberries  for  an  example,  all  the  common  garden 
vegetables  require  it.  Swamps  and  wild  land  on  granite  rock  are  apt 
to  be  sour,  but  the  average  soil  is  sweet.  If  not,  it  can  be  made 
so  with  applications  of  lime. 

Every  real  gardener  and  true  countryman  loves  the  soil;  the  smell 
of  it  when  turned  over  in  the  sun,  the  feel  of  it  under  foot,  its  wel- 
fare is  his  own ;  he  loves  to  patch  up  the  thin  places,  blast  out  rocks, 
deepen  and  enrich  it.  The  soil  is  our  priceless  heritage  from  geologic 
time ;  it  is  the  insoluble  residue  from  the  crumbUng  of  the  rock ;  on  its 
maintenance  depends  the  prosperity  of  the  race  of  man.  And  how 
we  have  misused  and  neglected  our  soil !  The  earth  has  been  plowed 
down  the  hill  against  the  fences,  where  it  is  allowed  to  grow  brush, 
leaving  the  hillsides  and  ridges  bare;  it  has  been  washed  away  and 
let  choke  up  the  rivers  and  harbors  with  the  finest  and  fattest  of  its 
substance;  it  has  been  burned  over,  and  its  fertility  wasted  in  many 
other  ways.  My  father,  like  the  true  countrjmian  that  he  is,  always 
loved,  indeed  almost  worshipped  the  soil.  He  has  had  more  real  fun 
and  satisfaction  in  late  years  in  improving  pieces  of  land  than  in  any- 
thing else.  This  last  summer  he  found  huge  delight  in  clearing  up  a 
stony,  broken  pasture,  blowing  out  the  rocks  and  building  a  fence  with 
them, leveling  off  the  ground  and  getting  it  ready  for  the  plow, saying: 
■'Fifty  years  and  more  ago  my  father  wanted  to  clear  this  field  and 
make  a  meadow  of  it;  now  I  am  able  to  do  it — what  a  fine,  deep  soil 
it  has!"  He  would  pick  up  a  handful  and  rub  it  between  his  fingers 
or  thrust  the  crowbar  down  into  it  to  show  the  depth.  Not  to  clear 
away  any  more  forest,  but  to  build  up  and  improve  some  of  the  land 
already  cleared,  that  is  truly  an  occupation  worthy  of  any  man! 

596 


A  PLEA  FOR  THE  WILD  GARDEN:  THE 
BEAUTY  AND  USEFULNESS  OF  OUR  VAN- 
ISHING WILD  FLOWERS 

Illustrated   by   wild   flowers   that  bloom  in  New  England  early  in  the  spring. 


THE    FOLDED    LEAF    OF    THE    BLOODROOT    HAS    A    DECORATm:    QUALITY    QUITE    EQUAL    TO    THE    LOTUS. 

jHE  shadow  of  a  flower  on  a  rock,  the  curve  of  a 
wind-touched  grass  stalk,  the  silhouette  of  a  falling 
leaf,  half-opened  bud  or  unfurling  fern  frond,  have 
from  the  beginning  of  time  lifted  men's  imagination 
and  given  them  vision.  All  the  craftsmen,  artists, 
architects,  metal  workers,  lace  makers,  embroiderers, 
in  search  of  fresh  inspiration  for  decoration  of  build- 
ing, for  jeweln,'  or  textiles,  for  anything  in  fact,  that  requires  orna- 
mentation, have  ever  at  times  left  their  easels  or  draughting  tables 
for  a  walk  in  their  gardens,  or  lacking  this  beautiful  stimulus,  to 
wander  in  the  city  parks  or  gaze  into  the  florist's  window. 

Lines  of  beauty  must  of  necessity  be  adaptations  of  things  seen 
in  the  natural  world,  for,  as  has  been  said  by  one  renowned  thinker, 
"it  is  beyond  the  power  of  man  to  conceive  beauty  without  its  aid." 
Builders  have  patterned  our  homes  from  the  nests  of  birds  and  bur- 
rows of  animals;  they  have  made  the  vaults  of  cathedrals  in  imitation 
of  the  dome  of  the  sky  and  arches  to  copy  the  "termination  of  every 

597 


A  PLEA  FOR  THE  WILD  GARDEN 

leaf  that  shakes  in  summer  wind;"  shafts  of  trees  have  suggested  the 
flutings  of  columns;  flowers  of  the  meadow  the  wreaths  upon  the 
capitals. 

The  wild  flowers  of  New  England  are  one  of  our  most  precious 
inspirational  inheritances,  yet  we  have  driven  them  to  the  fence 
corners  with  our  plows,  dried  up  with  our  factories  the  ponds  and 
meadows  they  once  fledged;  carelessly  uprooted  myriads  of  them 
to  gratify  a  momentary  whim  for  possession.  Now  that  their  delicate 
beauty  is  in  danger  of  vanishing  completely  from  our  land  we  are 
awakening  to  an  appreciation  of  how  barren  and  bleak  the  world 
would  be  without  their  rifts  of  color  and  wandering  breaths  of 
perfume.  So  a  vigorous  campaign  in  their  behalf  is  being  inaugurated 
by  our  Government  and  by  every  individual  who  loves  beauty. 

In  the  West  schoolchildren  are  encouraged  to  raise  wild-flower 
seed  in  their  school  and  home  garden.  Men  and  women  who  are 
in  sympathy  with  the  movement  to  preserve  the  wild  flowers,  whirling 
by  the  school  gardens,  stop,  buy  a  packet  or  so  of  seed,  receive  the 
benefit  of  a  small  gardener's  newly  acquired  experience  as  to  the  best 
soil  for  planting,  then  motoring  far  away  to  a  dry  meadow  or  marsh 
land,  scatter  them  again  where  they  will  take  root.  California's 
highways,  fence  corners,  hill  slopes,  bogs,  rocky  shores  and  deserts 
are  already  showing  the  effects  of  the  people's  generous  zeal  in  this 
practical  method  of  preserving  the  wild  gardens.  The  marvelous 
flora  that  once  made  a  carpet  over  the  State,  ventures  again  to  clothe 
the  earth  with  glorious  color. 

THERE  is  a  noticeable  movement  throughout  the  East  toward 
a  similar  active  protection  of  the  flowers  that  formerly  made 
one  vast,  unbroken  garden  of  the  land.  Our  forefathers 
had  of  necessity  to  plow  the  wild  meadows  under  in  order  to  plant 
their  maize,  and  grub  up  the  flowering  shrubs  and  fell  the  blossoming 
trees  to  make  new  dooryards.  Today  we  take  endless  pains  to  dis- 
cover the  haunts  of  such  flowers  as  the  trailing  arbutus  that  we  may 
give  it  care,  double  and  treble  its  yield  that  its  exquisite  beauty  may 
not  vanish  forever  from  beneath  the  lee  of  our  lichen-soft  boulders. 
Nothing  in  all  the  lists  of  gorgeous  hothouse  plants  gives  us  so  sweet 
a  thrill  of  joy  as  the  first,  lavender-blue  hepatica  or  the  unexpected 
encountering  of  a  patch  of  white  bloodroot  or  quivering  anemone. 

Europeans  have  been  quicker  than  we  to  appreciate  the  wonderful 
beauty  of  our  New  England  wild  flowers.  Great  quantities  of  our  un- 
valued native  plants  are  exported  annually.  Our  trilliums,  azaleas, 
laurels,  viburnums,  lilies,  brier  roses,  orchids,  are  given  honored  place 
in  Dutch,  English,  Belgian  and  Italian  gardens.   They  gladly  pay  high 

598 


THE  GRACE  OF  STEM,  FORM  OF  MODEST  BLOSSOM,  SHEEN  OF  VEINED 
LEAVES  OF  THE  FAMILIAR  NEW  ENGLAND  WILD  FLOWER,  THE  MAY  APPLE, 
HOLDS    INFINITE    DECORATIVE    POSSIBILITIES     FOR     ARTIST     AND     ARTISAN. 


6'^< 


WHO  CAN    SEE  A  CLUMl' 
OK  HEPATICA  SUCH   AS  IS 
SHOWN    ON    THE   RIGHT 
WITHOUT  A  THRILL  OF  JOY 
OVER   THE    SHY    SWEET 
llEAUTY  or  THE  FLOWER 
THAT  SO  SWIFTLY  FOLLOWS 
THE   SNOW,   ANSWERING 
THE  SUMMONS  OF   SPR1N(;. 
AND  GROWING   IN  OUR 
ROCK  GARDENS  AS  DAINT- 
ILY  AS   IN    ITS    NATIVE 
ROCKERY   l!Y   THE    SIDE   OF 
A   RUNNING  STREAM   OR    IN 
THE  SHELTER  OF   WOOIl- 
LANI)   GROVKS. 


uM.  <;i     1  hi:  riRSl 
WILD  BLOSSOMS  TO 
ATTRACT  THE  LOVK 
OF  CHILDREN  IS  THE 
DELICATE   FLOWER 
SHOWN    AT   THE 
LEFT,   COMMONLY 
KNOWN   AS   DUTCH- 
MAN'S BREECHES  OR 
SOMETIMES    squir- 
rels'  CORN  :    NO 
MORE    FAIRVLIKE    A 
BLOOM    OPENS   TO 
GREET  THE   SPRING 
THAN  THIS  FRINGE- 
LEAVED    PLANT,.. 
WHICH    WILL  GROW 
UNDER  THE   LEA  OF 
A  ROCK  IN  A  CORNER 
OF   THE   WILD- 
FLOWER  GARDEN. 


THE   CATKINS    OF   THE 
WILLOWS  THAT  HAXG 
OVER  BROOKLETS   STILL 
IN   THE  icy  GRIP  OF 
WINTER,  ARE  LIKE 
LITTLE    FROLICKING 
CRAY'    kittens:    EVERY 
COUNTRY  SCHOOLCHILD 
WATCHES    FOR   THE 
PUSSY   WILLOW   TO 
START  THE   PROCESSION 
OF    FLOWERS  :   THE 
PHOTOGRAPH   AT  THE 
LEFT   SHOWS   THE 
DECORATIVE  QUALITY 
THAT  CHARMS  THE 
WORLD   OF   OLDER    FOLK. 


THE   FIDDLEHEADS 
WRAPPED  IN   THEIR 
WARM    MANTLES 
OF  FLOWER   WOOL 
ARE  THE   FIRST   TO 
VENTURE  ABOVE  THI- 
WINTER   GROUND  : 
THEIR   DECORATIVi 
QUALITY  IS  NEVER 
SEEN   TO  BETTER 
ADVANTAGE  THAN 
IN  THE  PHOTO- 
GRAPH  AT  THE 
RIGHT,   TAKEN 
ESPECIALLY    TO 
BRING  OUT  THIS 
-QUALITY. 


THE  TRAILING  ARBUTUS  IS  OfTEN  FOUND  UNDER  THE  SNOW.  SO  IMPA- 
TIENT IS  IT  TO  LIFT  ITS  SWEET  BLOSSOMS  INTO  THE  SUNSHINE  AND 
TO  CARPET  THE  WORLD  WITH  BEAUTY':  IT  IS  BELOVED  BY  EVERY  NEW 
ENnLANDER   AND   SHOULD  BE  VIGOROUSLY   PROTECTED. 


A  PLEA  FOR  THE  WILD  GARDEN 

prices  for  a  single  root  of  the  lovely  flowers  we  openly  spurri  or  care- 
lessly neglect.  Our  growers  have  long  seen  the  commercial  value 
of  supplying  Europeans  with  "American  gardens."  Lately  growers 
are  getting  requests  for  plants  and  seeds  from  our  own  as  well  as 
European  admirers.  It  is  not  the  easiest  thing  nowadays  to  find  the 
few  remaining  haunts  of  our  wild  flowers  nor  to  uproot,  carry  them 
long  distances  and  make  them  grow  again  in  a  modest  corner  of  our 
own  gardens.  So  we  are  glad  to  know  that  growers  can  furnish  us 
with  stock  to  make  a  wild  rock  garden  or  fill  a  sedgy  meadow  with 
color. 

The  eminent  danger  of  loss  has  called  our  attention  to  how- 
impoverished  we  would  be  without  spring's  courier,  the  shadbush, 
without  the  Joe  Pyeweed,  purple  asters,  harebells,  butterfly  weed, 
dog's-tooth  violet,  cardinal  flower,  pansies,  all  the  shy,  sohtary 
flowers  that  seek  the  covert  of  the  woods,  and  the  brilliant,  fearless 
host  of  blossoming  shrubs  that  camp  in  conspicuous  masses  upon  the 
hills.  Without  the  inconspicuous  flowers  that  fill  the  air  with  per- 
fume as  we  crush  them  in  our  walk,  gauzy  petaled  ones  that  rush  over 
our  pastures  so  gorgeously,  without  those  that  yield  us  succulent 
roots  and  edible  seed  or  those  that  bear  healing  in  their  leaves,  ex- 
istence would  be  impossible.  They  feed  and  warm  our  bodies, 
purify  the  air  and  water  sources  as  well  as  develop  and  aesthetically 
enrich  our  minds. 

Everj^  garden  should  have  a  corner  or  sunny  slope  planted  to  wild 
flowers.  They  make  the  best  of  rock  garden  displays.  Beside  the 
many  lovely  ferns  and  mosses  without  which  a  rock  garden  would 
not  "be  complete,  are  the  native  saxifrages,  columbines,  hepaticas, 
crane's-bill,  harebells,  coral  bells,  anemones,  stone-crop,  fire  pinks, 
ragged  robins,  penstemon,  trilliums,  bloodroot,  mist-maidens,  shoot- 
ing stars,  fringed  gentian,  violets  and  wintergreen. 

WHERE  the  rock  garden  meets  the  water  garden  plant  cardinal 
flowers,  butterfly  weed,  wild  iris,  all  the  graceful,  nodding 
brown,  white  and  yellow  lilies,  arums,  yellow  fringed  orchids, 
pickerel  weed,  lady's-slipper,  meadow  rue,  cattails  and  rushes.  In 
the  pond  itself  drop  roots  of  the  bladder  wort,  water  clover,  cress, 
water  arum  and  poppy,  hyacinth  and  water  shield.  No  fairer  flowers 
bloom  than  our  native  pond  water  lilies  and  white  lotus.  Out  in  the 
sunny  places  scatter  seeds  of  the  Great  Willow  herb,  wild  sweet- 
William,  blue  phlox,  sneeze  weed,  speedwell,  mallow,  goldenrod, 
closed  gentian,  blazing  star,  black-eyed  Susans  and  New  England 
asters.  At  the  edge  of  the  grove  plant  such  shrubs  as  azaleas,  moun- 
tain laurel,  rhododendron,  barberry  and  bayberrv%  dogwood,  highbush, 

603 


A  PLEA   FOR  THE  WILD  GARDEN 


cranberry,  flower- 
ing currant,  hazel, 
spiraea,  spice  bush, 
wayfaring  tree.  For 
trees  use  all  the 
native  conifers, 
maples,  birches, 
elms,  beech.  For 
vines  to  twine  all 
these  together 
choose  wild  cucum- 
ber, honeysuckle, 
bittersweet,  con- 
\olvulus,  clematis, 
woodbine  and 
grape. 

These  are  but  a 
few  of  the  thousand 
beautiful  native 
wild  flowers,  shrubs 
and  trees  that  can 
be  made  to  feel  at 
home  in  our  gar- 
dens, transplanted 
from  the  wilds  or 
purchased  from 
wide-awake  growers  who  have  been  quick  to  see  their  beauty.  Why 
should  we  not  exalt  our  own  flora,  why  should  Europeans  be  bend- 
ing every  energy  to  raise  the  exquisite  flowers  that  they  insist  belong 
to  the  "American  garden,"  while  we  import  from  Italy,  Japan, 
China,  or  Holland,  plants  no  more  beautiful  than  those  already 
growing  in  the  undisturbed  corners  of  our  country .'^ 

Many  charming  books  have  been  written  on  how  to  know  our 
wild  flowers  and  how  to  naturalize  them  in  our  gardens.  These 
books  give  minute  directions  as  to  how  these  flowers  may  be  planted 
and  cultivated,  where  stock  can  be  bought  and  long  lists  of  plants 
suitable  for  different  localities.  An  abundance  of  instruction  and 
stock  is  within  easy  reach  for  whoever  wishes  to  join  the  fast  increasing 
hosts  of  those  who  wish  to  preserve  the  incomparable  American  flora. 
And  those  who  undertake  the  task  not  only  will  find  it  full  of  pleas- 
ant gardening  adventures  and  surprises,  but  will  have  the  satisfaction 
of  knowing  that  they  are  adding  their  own  contribution,  however 
small,  to  the  beauty  of  their  native  land. 

604 


THE   WINDFLOWER   SHOULD  BE  TSANSPLANTKD  FROM   THE   WOODS  INTO 
A    SHELTERED   CORNER   OF   THE   ROCK   GARDEN. 


THE   LOTUS,    SYMBOL  OF  THE  WORLD 

"jHE  lotus,  springing  from  the  mud  and  slime  of  the  lake, 
lifting  its  golden-hearted,  white  blossom  high  above 
the  restless  reach  of  the  waves  that  it  may  open  pure 
and  spotless  to  the  sun,  is  indeed  the  very  symbol  of 
the  evolution  of  the  world.  The  whole  story  of 
creation ;  the  genesis  and  fulfilment  of  life  is  imaged  in 
this  beautiful  plant  that  takes  its  rise  from  the  lowliest 
places,  passes  through  dark  and  troubled  waters,  yet  brings  to  matur- 
ity a  pure,  a  spiritually  perfect  flower. 

To  the  Buddhist  it  is  also  an  emblem  of  the  soul  of  man — 
though  resting  in  eternal  calm  above  the  surging  activities  of  the  world 
basking  in  the  light  of  the  sun,  it  exists,  pure  and  undefiled,  because 
its  roots  are  firmly  fixed  in  the  world  of  experience.  "The  lotus 
springs  from  the  mud,"  is  their  mystic  answer  to  those  unbelievers 
who  think  the  human  heart  is  corrupt  or  that  it  must  of  necessity 
become  soiled  during  its  journey  through  life. 

The  lotus  is  regarded  as  a  sacred  thing  by  some  people,  as  the 
home  of  the  gods  by  others  or  as  the  throne  of  beauty.  Buddha 
is  generally  represented  seated  upon  a  lotus  flower,  lost  in  meditation, 
or  as  standing  within  the  lotus  heart,  teaching  all  people,  as  father 
of  the  world,  of  the  Way,  the  Truth,  and  the  Life.  In  Japan  this 
flower  is  seen  on  every  temple  altar,  of  gold  or  silver  paper  it  is  carried 
in  every  funeral  procession,  a  symbol  of  the  immortality  of  the  soul; 
cast  in  bronze  it  catches  the  water  from  temple  roofs.  Wherever 
religion  is  taught,  in  India,  Japan  or  Eg^'pt,  the  lotus  is  held  in 
reverence  as  typical  of  divine  beauty.  One  reason  for  this,  apart 
from  its  mystic  significance,  is  that  its  calyx  is  a  triangle  whose  base 
is  a  circle — symbols  of  spirit  and  form,  of  eternity  and  tri-unity. 

The  ancient  Greeks  and  Romans  used  the  expression  "to  eat 
the  lotus,"  meaning  to  drowse  in  a  happy  languor,  forgetful  of  dis- 
agreeable things.  There  is  an  old  Greek  legend  of  a  people  who 
lived  on  the  north  coast  of  Africa  and  subsisted  upon  the  fruit  of  the 
lotus  tree.  Homer  relates  that  these  strange  people  received  Ulysses 
and  his  followers  with  a  great  display  of  hospitality,  offering  them 
choice  fruits,  among  which  was  the  lotus.  The  sweetness  of  this 
fruit  filled  the  travelers  with  delight,  with  such  a  delicious  feeling 
of  happy  stupor  that  they  forgot  their  native  land  and  drowsed  their 
days  away  in  dreamy  idleness. 

The  lotus,  known  by  the  Romans  as  Libyan  lotus,  was  probably 
a  native  of  the  elm  family  as  it  was  planted  for  shade  and  bore  a 
small  fruit,  like  wild  cherries.  Though  the  lotus  is  a  name  generally 
applied  to  a  species  of  water-lily,  especially  of  the  African  and  Asiatic 
species,  it  is  a  popular  name  for  a  large  number  of  unrelated  plants, 

605 


THE  LOTUS,  FLOWER  AND  SYMBOL 

also  the  generic  name  for  plants  of  the  order  leguminosa.  The 
lotus  or  nelumbiums,  gigantic  in  size,  exquisite  of  hue,  delicately 
perfumed,  easily  hold  a  foremost  place  among  our  garden  aquatic 
flowers.  Their  great  concave  leaves  like  green  shields,  heavily 
embossed  beneath,  are  beautiful  enough  to  win  them  general  admira- 
tion, even  without  their  "thousand-petaled"  blossoms.  Their  brown 
seed  pods,  rising  above  the  waters  after  the  flowers  have  gone,  are  so 
strikingly  decorative  none  can  pass  them  unobserving. 

Nelumbiums  difter  from  nymphaeas  in  that  they  lift  both  leaves 
and  blossoms  high  above  the  water.  Water-lilies  float  serenely 
upon  the  water  tugging  at  their  stems  like  moored  boats.  Lotuses 
spring  well  above  the  water  like  huge  gulls  rising  for  flight. 

LACKING  a  natural  pool,  lotuses  can  be  grown  in  half-barrels 
sunk  in  the  ground  to  within  a  few  inches  of  the  top.  These 
should  be  half  filled  with  aquatic  soil,  that  is,  well  rotted  vege- 
table matter  from  pond  and  swamp  mud  mixed  with  one-third  manure, 
top  dressed  with  two  inches  of  sand.  Six  inches  must  be  allowed  for 
water.  A  number  of  tubs  each  holding  a  different  variety  can  be 
sunk  in  one  large  pool  to  advantage,  thus  lessening  danger  of  mixing 
species.  Another  effective  plan  is  to  use  the  space  between  tubs 
set  in  the  ground  for  a  rock  garden.  When  a  natural  pool  is  not  to 
be  had  an  artificial  basin  can  be  constructed  of  concrete,  stone,  brick 
or  even  well-tamped  clay.  The  depth  must  vary  to  accommodate 
the  requirements  of  the  different  species,  for  some  need  but  a  few 
inches  of  water,  others  must  have  three  feet  or  more.  There  must 
always  be  a  foot  or  more  of  soil  on  the  bottom  of  artificial  ponds  and  a 
small  outlet  and  inlet  that  the  water  may  be  kept  perfectly  pure. 
Water-lilies  thrive  best  in  quiet  water  for  they,  like  the  lotuses,  are 
distinctly  flowers  of  the  "eternal  calm."  They  love  to  lie  motionless 
upon  a  rippleless  surface,  their  myriad  quivering  golden  stamens 
unruffled  by  the  idle  zephyrs.  Their  peace  must  not  be  disturbed  by 
splashing  fountains  or  swift  moving  currents.  All  pools,  both  natural 
and  artificial,  are  the  better  for  a  few  submerged  plants  to  aerate  the 
water.  Fish  also  are  needed  to  destroy  mosquito  larvae  and  keep 
the  plants  free  from  insect  pests.  Goldfish  serve  every  purpose  for 
garden  pools  as  their  bright  flashes  of  color  add  beauty  to  their  really 
valuable  service. 

The  Egyptian  lotus,  speciosum,  is  the  best  of  all  the  nelumbiums 
for  naturalizing  in  ponds,  especially  in  the  ponds  of  large  estates 
where  its  sumptuous  foliage  and  magnificent  blossoms  can  have 
the  most  effective  settings.  The  superb  rose-colored  flowers  fading 
to  a  creamy  white  at  base,  are  often  ten  inches  in  diameter.     The 

606 


These  Four  Ren 


Photographs  Are  by  Mary  North 


THE  LOTUS  AS  SYMBOL  OF  THE  WORLD  IS  NEVER  MORE  FULLY  APPRECIATED 
THAN  WHEN  SEEN  UNDER  THE  HIGH  LIGHT  OF  THE  SUN,  AGAINST  THE  STRONG 
SHADOWS  OF  ITS  OWN  MAKING:  IT  IS  LIKE  A  CHALICE  OF  SILVER  SUCH  AS 
PARSIFAL    MIGHT    HAVE    SOUGHT    FOR. 


6»' 


THE  DEEP  KOSE  OF  THE  EGYPTIAN  LOTUS  RISES  LIKE  A  MYSTIC  FLAME  FROM 
THE  DARK  WATERS  OF  SLUGGISH  POOLS  !  AS  IT  OPENS  TO  THE  SUN  THE  INNER 
PETALS  ARE  SEEN  TO  BE  CREAMY  WHITE  AT  THE  BASE:  IT  IS  ONE  OF  THE  FINEST 
LOTUSES    FOR    NATURALIZING    IN    PONDS. 


AS  THE  LOTUS  PASSES  ITS  HOUR  OF  PERFECTION  THE  PETALS 
DROP  AWAY  LEAVING  THE  SEED  POD  THAT  HAS  BEEN  A  MOTIVE 
FOR   DECORATORS   FOR    MANY   THOUSANDS   OF   YEARS. 


4o' 


THi;    VELIOW    BUD   CF    THt    AMERICAN    LOTUS    RISES   ABOVE   THE   WATER 
LIKE  A   FU;.L  :.IOCN  :   IT   IS  EASILY    CULTIVATKU    IN'     ARTIFICIAL    PONDS. 


THE   LOTUS,  FLOWER  AND  SYMBOL 

Shiroman,  a  variety  producing  immense  double  white  flowers, 
vigorously  borne  high  above  the  water,  is  fully  as  free  flowering  and 
hardy.  Album  grandiflorum  is  distinguished  for  the  unusual  size 
of  its  great  shield  leaves.  The  blossoms,  white  and  fragrant,  are 
among  the  most  impressive  of  all  flowers.  Album  striatum  bears  a 
smaller,  more  exquisite  flower,  whose  white  petals  tipped  with  carmine 
give  forth  a  perfume  reminiscent  of  our  southern  magnolias.  There 
is  a  dark  carmine  lotus  of  superb  proportion,  Pehinensis  rubrum, 
distinguished  also  by  having  outer  reflexed  petals.  Roseum  -plenum 
is  a  bright  rose  and  Osiris  an  early  blooming,  deep  rose. 

We  have  a  native  lotus  familiarly  known  as  water  chinquepin, 
which  bears  yellow  flowers.  It  is  indigenous  to  the  western  and 
southern  States,  but  since  its  introduction  into  the  East  it  is  often 
regarded  as  indigenous  there  as  well.  It  is  a  beautiful  and  striking 
plant  with  large,  round  blossoms  and  rich  greenish  leaves  borne  on 
thick  vigorous  stalks.  The  Indian  or  false  lotus  grows  in  such  masses 
that  the  leaves  crush  together  and  the  pink  blossoms  rise  like  a  sunset 
cloud  above  them.  The  magnolia  lotus  is  a  beautiful,  white,  native 
variety. 

Thus  we  see  the  varied  appeal  the  lotus  makes  to  our  interest 
and  love.  First  of  all  is  its  apparent  personal  beauty, — beauty  of 
opening  bud,  of  full,  expanded  flower  with  its  quivering  heart  of  gold 
held  up  to  the  sun,  far  beyond  the  reach  of  impurities;  the  giant 
leaf,  intricately  veined  as  insignias  on  a  shield.  Then  there  is  its 
poetic  appeal  of  beauty,  the  way  it  poises  above  the  water,  covers  a 
turgid  pool  with  radiant  beauty,  fills  the  night  with  perfume,  centering 
the  interest  of  a  garden;  there  is  its  symbolic  appeal  stimulating 
imagerj^  of  religious  thought.  The  Buddhas  love  to  portray  the  body 
as  a  crj^stal  vessel  through  which  the  rainbow  of  the  Great  Existence 
is  to  shine;  the  mind  as  a  great  lake  reflecting  the  clouds  that  hover 
over  it.  So  the  lotus  to  them  is  the  light  of  the  soul  that  exists  calmly 
in  spite  of  the  fretful  disturbances  of  the  mind  and  impurities  of  the 
body.  Since  all  Oriental  nations  love  the  beauty  of  symbolism,  the 
lotus  makes  an  imaginative  appeal  to  them  which  re-expresses  itself 
in  all  Eastern  art. 


6ii 


THE  ARTIST 
IN  THE  GAR- 
DEN: RECENT 
AMERICAN 


FOUNTAIN 
SCULPTURE: 
BY  EDWARD 
HALE  BRUSH 


SEAWEED   FOUNTAIN,    BY    JANET    SCUDDER,    FOR   GARDEN    OF    MRS.    ARTHUR    SCOTT,    HICKSVILLE, 

"And  beauty  born   of   murmuring  sound  shall  pass  into  her  face." — W ordsworth. 

FOUNTAIN  to  really  fulfil  its  destiny  must  have 
the  power  through  beauty  of  structure  or  environment 
to  create  in  the  beholder  genuine  emotion.  A  foun- 
tain that  merely  decorates  a  plot  of  grass,  or  stands 
in  an  isolated  bed  of  concrete,  or  appears  inartistically 
and  incoherently  in  the  side  of  a  wall  is  by  no  means 
a  true  fountain.  It  is  missing  its  opportunity  to 
give  the  sort  of  tender  pleasure  that  we  associate  with  the  word  in 
its  fullest  meaning.  A  simple  "fringed  pool"  can  do  all  that  is 
demanded  of  it,  provided  it  is  planned  by  an  artist  and  placed  where 
nature  needs  and  receives  its  loveliness. 

Who  that  has  felt  the  poetic  charm  of  the  wonderful  fountain 
in  the  old  Luxembourg  Gardens  in  Paris,  will  ever  forget  its  beauty 
and  its  power  to  stir  the  imagination?  It  is  half  hidden  away  where 
you  come  upon  it  unexpectedly;  it  makes  but  little  show  and  little 
noise.  Just  when  you  are  tired  and  need  a  green  spot  in  which  to 
rest,  you  come  upon  this  little  stream  of  water  flowing  down  from  its 
source  out  into  a  pool  over  a  mossy  ledge  into  a  shallow  basin,  and 
the  sight  and  sound  of  it  will  linger  with  you  as  long  as  you  live. 
612 


THE  ARTIST  IN  THE   GARDEN 


It  is  such  a  simple  means  to  bring  so  much  pleasure  and  is  a  lesson 
in  fountain-making  to  which  all  should  take  heed  if  they  ever  intend 
to  indulge  in  the  comfort  of  one  on  their  own  grounds. 

Mainlj'  in  America  we  are  a  little  afraid  of  planning  for  fountains 
in  our  gardens;  they  seem  to  be  elaborate,  too  expensive  and  sho\\'j'. 
We  feel  that  we  must  have  an  inunense  sculptural  display  and  terrific 
force  of  water  pyrotechnics  to  astonish  our  neighbors.  And  all  we 
really  need  is  just  what  we  found  in  that  wonderful  corner  of  the 
green  garden  in  Paris — the  marble  slab,  the  peaceful  little  stream, 
vines,  a  bit  of  wall  and  the  mossy  pool.  We  are  too  apt  on  our  large 
estates  and  even  in  our  small  gardens  in  America,  to  separate  the 
fountain  from  the  garden,  just  as  we  separate  our  gai'dens  from  our 
houses,  and  this  is  a  grievous  mistake,  for  it  is  the  destruction  of  all 
romance  and  gentle  charm  to  the  fountain  lover.  One  must  come 
upon  a  fountain  unexpectedly,  one  must  be  loathe  to  leave  it.  It  is 
well  if  a  rustic  chair  is  near  or  a  concrete  f,^ 

bench,  for  a  fountain  properly  placed,  simple, 
intimate  to  the  garden,  will  furnish  the  ut- 
most rest  and  peace  which  one  can  imagine. 

A  fountain,  especially  of  a  simple  type, 
brings  such  a  friendly  and  poetic  note  into 
a  garden  that  one  wonders  that  it  is  not 
more  frequently  met  with.  It  has  many 
charms  to  commend  it  to  the  garden- 
maker.  The  soft  splash  or  trickle  of  the 
water  reminds  one  of  the  music  of  wood- 
land creeks  and  tiny  waterfalls,  and  the 
fountain  structure  helps  to  harmonize  house 
and  grounds,  for  sculpture  is  a  connecting 
link,  a  transitional  step,  between  architec- 
ture and  nature.  Through  it,  a  note  of  dis- 
tinction is  added  to  the  place,  and  especially 
is  this  true  when  the  fountain  stands  at  the 
intersection  of  paths,  framed  against  a  vine- 
covered  wall  or  alcove,  or  gleaming  against 
a  background  of  shrubberj'. 


w 


E  are  apt  to  think  of  the  fountain 
as  a  more  or  less  expensive  luxury, 
to  be  indulged  in  only  by  the  owner 


A  o   FOUNTAIN         GROUP         BY         ISIDORE 
„„,..  .,.  ,.        KONTI,    ON    THE    ESTATE    OF    SAMUEL 

a   matter  oi   tact,   it   is   within   reach — in  untermyer,    greystone,    n.    y. 


of  an  elaborate  garden  or  large  estate, 
a  matter  of  fact,  it  is  within  reach 
some  form — of  practically  anyone  who  has  a  garden  and  a  water 

613 


THE   ARTIST  IN   THE   GARDEN 

supply.  When  there  is  a  natural  spring  upon  the  grounds,  the 
cost  of  harnessing  it  for  a  continuous  fountain  flow  will  be  very 
small,  but  where  an  artificial  supply  is  relied  upon  and  the  question 
of  one's  water  rate  is  to  be  considered,  it  is  usually  advisable  to 
arrange  the  pipes  so  that  the  fountain  can  be  operated  and  turned 
off  at  will,  or  to  devise  some  way  by  which  the  same  water  may  be 
pumped  back  into  a  tank  and  used  over  and  over  again. 

There  are  so  many  types  of  fountains,  suitable  for  different 
gardens,  that  no  rules  can  be  given  for  their  selection,  which  must 
be  left  to  the  owner's  individual  taste.  Innumerable  hints,  however, 
can  be  gathered  from  a  study  of  existing  fountains,  photographs 
and  books,  and  one  of  the  most  helpful  descriptions  we  know  of  is 
contained  in  Phebe  Westcott  Humphreys'  charmingly  illustrated 
volume,  "The  Practical  Book  of  Garden  Architecture,"  just  off  the 
Lippincott  press.  The  following  suggestions  may  serve  to  guide 
the  enterprising  amateur  into  wise  channels,  and  to  lay  the  founda- 
tion for  original  arrangements  and  designs. 

A  LITTLE  low  figure  of  a  swan,  a  nymph  or  a  dolphin,  poised 
on  the  water  in  the  center  of  the  basin  or  pool  is  the 
simplest  form  of  fountain;  and  it  is  especially  pleasing  in 
a  low-lying  garden  with  slightly  rising  terraces.  The  fountain  with 
tall  figures  requires  a  green  background  of  trees  or  shrubbery  to  bring 
out  its  beauty.  The  planting  about  the  pool  must  be  carefully 
considered,  according  to  the  layout  of  the  grounds.  The  low-growing 
plants  and  blooms  of  the  comparatively  flat  garden  should  have  a 
low,  broad  spray  to  the  fountain  jet.  The  fine,  high  stream  spouting 
up  from  a  tall  figure  will  show  to  good  effect  through  a  vista,  or  from 
a  garden  structure  on  upper  terraces. 

"For  the  stone  or  concrete  basins  of  amateur  construction,  shape, 
depth  and  proportion  should  be  considered.  Entirely  satisfactory 
basins  may  be  constructed  at  slight  expense  by  anyone  who  is  capable 
of  building  a  little  garden  pool  or  lake.  It  is  best  to  keep  the  basin 
round  where  it  is  to  have  a  small  central  figure,  rather  than  to  attempt 
any  fantastic  design.  A  square  or  oblong  basin  may  have  the  figure 
poised  on  its  edge  with  a  clump  of  evergreen  shrubberj^  in  ^he  back- 
ground to  throw  it  in  rehef.  A  long,  square-cornered  basin,  with 
jets  of  water  spouting  up  in  many  places,  over  the  surface  of  the 
water,  will  not  require  figures.  For  decorative  value  these  various 
sprays  should  glint  and  sparkle  to  a  height  of  only  a  foot  or  eighteen 
inches,  and  then  fall  into  the  midst  of  water-lily  clumps,  or  other 
aquatic  plants,  which  are  apparently  benefited  by  the  overhead 
watering. 

614 


designers  of  sculpture  for 
garden  fountains  have 
always  found  inspiration 
in  the  fanciful  idea  of 
children  and  dolphins  at 
play:  in  the  two  groups 
which  we  are  showing 
here  the  sportive  figures 
are  full  of  motion  and 
charm.  fairly  radiating 
the   happy   freedom   of 
buoyant  and  adventurous 
youth  :  one  can  easily 
imagine  what  a  delight- 
ful notf.  they  bring  into 
the  garden  when  they  are 
in  place  among  the  spout- 
ing water  and  broken 
reflections  of  fountain 

OR   POOL. 


Tlic   Fountain    Groiif    Above    Is  by 
Sherry  E.  Fr\\  and  Was  Used  for  the  Wall 
Fountain  on   the  Brewster  Estate,  Mount 
Kisco.  K.    Y.:    The    One   Below   Was 
Designed    by   Mrs.    Carol    Brooks    MacSeil. 


I 


A  DELIGHTFULLY  PLANNED  AND  EXECUTED  WALL  FOUN- 
TAIN IN  THE  HOUSE  WALL  OF  FELIX  WARBURG,  WHITE 
PLAINS,      N.      Y.,      THE      WORK      OF      F.IlWARn      MC  ARTAN. 


THE  AKTIST  IN  THE  GARDEN 

"When  the  fountain  basin  is  to  serve  as  a  water-lily  pond  in  the 
garden  of  limited  space,  it  should  be  made  sufficiently  deep  to  provide 
for  the  boxes  of  rich  soil  in  which  the  lily  roots  are  planted.  The 
basin  that  is  not  intended  for  growing  aquatic  plants  niay  be  quite 
shallow;  but  it  should  have  a  good,  solid  foundation  beneath  the 
concrete  or  stone-work,  to  prevent  cracking  or  sinking.  Both  the 
deep  and  the  shallow  basins  should  have  a  slightly  outward  flare 
at  the  brim,  so  that  it  will  not  be  cracked  with  sudden  freezing; 
and  provision  should  be  made  for  thoroughly  draining  the  basins 
when  there  is  danger  of  hard  freezing. 

"Iron  basins  in  various  forms,  which  may  be  bought  at  little 
cost,  ready  for  setting  in  place,  and  with  iron  or  terra  cotta  figures 
in  keeping  with  the  basin  and  its  position  in  the  garden,  require  very 
little  work  except  the  annual  cost  of  paint  necessary  to  preserve  the 
iron  work  and  give  the  whole  a  fresh,  well-kept  appearance.  Low 
flower  planting  close  around  the  rim  of  an  iron  basin  will  be  desirable 
to  give  dignity  to  what  would  otherwise  present  a  frail  appearance. 
For  an  inexpensive  fountain  that  is  easy  to  install,  an  iron  basin  may 
simply  have  its  central  pipe  for  spouting  the  water,  emerging  from  a 
rockery  with  floating  water  hyacinths  among  the  stones  and  the 
exposed  rocks  glistening  in  the  spray  constantly  showered  over  them. 

"\Miether  the  simple  fountain  of  home-made  construction  or  the 
elaborate  affair  of  rare  sculpture  and  coloring  is  considered,  it  is 
of  first  importance  to  have  a  satisfactory  water  supply.  When  there 
is  a  copious  spring  or  stream  on  the  grounds  to  provide  this  with 
sufficient  pressure,  the  plumbing  and  the  piping  will  be  very  simple 
and  well  within  the  capability  of  the  home  gardener.  The  fountain 
that  is  fed  from  an  adecjuate  house  supply  will  be  equally  practical 
at  little  cost.  When  it  is  necessary  to  provide  additional  sources, 
the  hydraulic  ram  with  pneumatic  tank  is  considered  the  best  means 
of  accomphshing  the  purjjose,  and  expert  advice  will  be  required 
to  insure  satisfactory  results." 

THE  wall  fountain  is  usually  the  easiest  to  install,  and  one 
designer  who  has  had  wide  experience  in  this  line  states  that 
there  is  no  more  difficulty  or  expense  in  installing  the  plumbing 
than  for  an  ordinary  wash-basin  faucet.  "Nothing  more  is  required," 
he  says,  "than  a  small  supply  pipe,  and  a  shghtly  larger  one  to  drain 
the  basin  or  pool.  And,  contrary  to  the  wide-spread  impression, 
the  supply  pipe  seldom  needs  to  be  larger  than  one-half  inch  in 
diameter,  and  may  often  be  even  less." 

Not  only  for  the  garden  wall,  but  for  that  of  porch,  sunroom, 
court  or  conservatory,  may  the  wall  fountain  be  made  a  source  of 

617 


THE   ARTIST  IN   THE   GARDEN 


loUXTAlN    IN    THE   COURT    AT   FOREST   HILLS   GARDENS:    DESIGNED  BY   A.   K.   HANKS. 

pleasure  and  decoration.  And  like  any  pool,  fountain  or  other  form 
of  water,  it  will  prove  an  effective  means  of  attracting  the  birds 
around  one's  home. 

Many  a  charming  retreat  has  been  created  by  planting  in  the 
center  of  a  well-kept  garden,  shrubbery  or  hedges  partly  screening 
from  view  a  fountain  basin  where  the  water  gurgles  out  through  a 
dolphin's  mouth,  or  a  chubby  bronze  or  marble  boy  plays  with  a  fish, 
as  in  the  case  of  a  fountain  by  Mrs.  Carol  Brooks  MacNeil  of  College 
Point,  Long  Island,  N.  Y.,  modeled  after  one  of  her  own  children 
and  possessing  an  irresistible  appeal.  Or  it  may  be  the  fountain 
is  the  setting  for  even  a  more  ambitious  work  of  sculpture  like  that 
of  Isidore  Konti  for  Greystone,  at  Yonkers,  formerly  the  home  of 
Governor  Samuel  J.  Tilden,  now  the  country  seat  of  the  famous 
lawyer,  Samuel  Untermyer.  The  subject  of  this  work  is  a  mother 
and  babe,  and  the  tender  figures,  with  their  interpretation  of  youthful 
and  beautiful  motherhood  and  childhood's  innocence,  seem  to  gain 
added  significance  from  their  peaceful  woodland  surroundings. 

On  the  grounds  of  Robert  S.  Brewster,  at  Mount  Kisco,  West- 
chester County,  N.  Y.,  a  niche  in  a  wall  leading  down  to  an  Italian 
garden  has  been  filled  with  a  wall  fountain  by  Sherry  Edmondson 
6i8 


THE  ARTIST  IN  THE  GARDEN 

Fry,  whose  work  has  created  such  favorable  comment  in  recent 
exhibitions  of  the  Architectural  League.  The  boy  and  dolphin, 
against  the  wall  with  its  covering  of  crimson  rambler,  are  unusually 
decorative,  and  are  quite  in  keeping  with  the  marble  balustrades, 
classic  temples  and  other  architectural  features  of  this  forest-circled 
estate. 

Another  delightful  fountain  by  Mr.  Fry  is  on  the  country  estate 
of  Dr.  Walter  B.  James,  at  Cold  Spring  Harbor,  Long  Island.  In  the 
center  of  a  travertine  basin  stands  the  bronze  figure  of  a  boy,  sup- 
ported by  four  frogs  from  whose  mouths  water  spouts  into  a  pool. 
The  boy's  face  is  turned  so  that  at  noon  the  sun  shines  directly  into 
it,  the  whole  impression  being  one  of  youthful  health  and  joy  in  living. 

We  owe  much  to  recent  expositions  and  garden  city  developments 
for  their  suggestions  in  the  beautifying  of  extensive  areas  by  means 
of  landscape  gardening  and  architecture,  and  such  park  and  garden 
schemes  have  included  many  interesting  and  original  fountain  designs. 
The  work  of  the  Sage  Foundation  Home  Company  at  Forest  Hills 
Gardens,  Long  Island,  is  one  instance  of  the  admirable  effects  that 
can  be  produced  when  architect  and  gardener  work  in  close  harmony. 

The  estate  of  Felix  Warburg,  at  White  Plains,  N.  Y.,  contains 
an  example  of  the  fountain  sculpture  of  Edward  McArtan  who  won 
the  Barnett  Prize  of  the  Architectural  League  of  New  York  in  nine- 
teen thirteen  with  his  fountain  design.  In  the  one  at  the  Warburg 
home,  a  piping  boy  Pan  stands  in  a  limestone  niche  set  in  a  wall 
of  Tapestry  brick  on  a  terrace  overlooking  a  rose  garden.  The  hedge 
that  sweeps  down  in  front  to  the  garden  below,  the  mosses,  vines  and 
potted  plants,  and  the  sound  of  the  trickling  water,  all  blend  in 
creating  a  sylvan  atmosphere  in  which  the  youthful  god  must  surely 
feel  at  home. 

Miss  Hyatt,  Paul  Manship  and  many  other  sculptors  of  fanciful 
and  poetic  temperaments  are  devoting  their  attention  to  garden 
fountains  and  figures  for  American  grounds,  and  it  seems  likely  that 
with  the  increasing  interest  in  country  architecture  and  gardening, 
this  branch  of  art  will  find  room  for  wide  and  beautiful  development 
throughout  the  land.  And  one  cannot  help  hoping  that  its  growth 
will  be  of  a  simple  and  naturalistic  rather  than  formal  kind;  that 
it  will  concern  itself  not  merely  with  large  estates  and  elaborate  pri- 
vate grounds,  but  chiefly  with  public  parks  and  small  home  gar- 
dens. For,  as  J.  H.  Dillard  wisely  wrote,  "the  word  art  ought  to 
carry  as  conmion  and  universal  a  meaning  as  the  words  life  and 
love."  And  should  not  the  artist  in  the  garden,  above  all,  work 
to  bring  beauty  and  peace  and  inspiration  within  reach  of  all  the 
people  ? 

619 


A  JAPANESE 
DENMAKING 
EXPRESSES 
POETRY:    BY 


GARDEN   IN  AMERICA:    GAR- 
THAT    IN    FORMAL    MANNER 
HISTORY,    ROMANCE    AND 
ELOISE  ROORBACH 

JHE  Japanese  garden  is,  strictly  speaking,  a  background 
to  imagination,  a  direct  appeal  to  poetic  fancy.  Its 
purpose  is  to  lead  the  mind  along  the  mystic  paths  of 
religious  tradition,  to  guide  it  back  to  episodes  of 
national  history  or  to  personal  events  of  greatest 
moment.  It  is  much  more  than  the  placing  of  objects 
in  effective  relation,  laying  of  paths  and  planting  of 
seeds  and  trees,  or  arrangement  of  stones.  These  are  but  means  to 
an  end,  but  the  strokes,  as  it  were,  of  the  painter's  brush  intent  on 
carrying  out  some  subtle  ideal  of  color  or  sentiment.  The  objects 
in  a  Japanese  garden  represent  the  words  of  a  sentence  embodying 

some  great  or  lovely 
thought,  the  words  being 
of  little  worth,  the  ideal 
or  poetic  thought  every- 
thing. Without  words  of 
course  there  can  be  no 
sentences  of  truth,  no 
poems  of  romance,  but 
they  must  be  chosen  and 
grouped  with  the  greatest 
of  care  along  rigid,  gram- 
matical laws,  rhythmi- 
cally spaced  to  bring  out 
the  full  beauty  or  force 
of  the  thought. 

We  Americans  enjoy 
the  external  beauty  of 
our  gardens,  the  Japanese 
the  internal  beauty.  We 
take  pleasure  in  things  as 
they  are,  in  the  effective 
grouping  of  trees,  grace- 
ful contour  of  bushes, 
brilliant  masses  of  harmo- 
nious color;  they  enjoy 
their  thoughts  as  they 
enter  the  Garden  of  Fan- 

WALKING    UP    THE     STONY     WAY    THROUGH    THE    GATE    OF  .  ,,  1       il  /~i      ■  p 

IMAGINATION.  cics  through  the  (jate  oi 

620 


AN  AMERICAN  JAPANESE  GARDEN 


THE    IRIS    BY    THE    WATEr's    ED(  E    MUST    SUCjCEST    POETIC    THOUGHT. 

Summer  Sleep,  stroll  over  the  Mount  of  Fragrance,  rest  by  the  River 
of  Loveliness,  gaze  into  the  Pool  of  the  Sky.  Looking  over  their  tiny 
plot  of  ground  they  see  the  broad  expanse  of  Lake  Hakoni,  the  Hama- 
Matsu  Isles,  the  mighty  plunge  of  Kegan  Falls,  the  great  wars,  fairy 
tales,  incidents  in  the  lives  of  their  Emperors.  The  iron  crane  stand- 
ing among  the  grasses  by  a  tiny  lake,  the  funny  porcelain  badger  beat- 
ing a  merry  tune  upon  his  round  drum  of  a  stomach,  the  stone  tortoise 
crawling  along  a  path,  the  wooden  fox-god  watching  alertly  from  a 
corner,  Buddha  sitting  upon  a  lotus,  are  all  placed  in  these  gardens, 
not  because  they  cleverly  carry  out  an  effective  superficial  plan,  but 
to  hold  some  beloved  event  or  tale  or  truth  in  constant  remembrance. 

This  "invisible"  garden-making  should  be  understood  by  us.  We 
should  have  something  at  heart  besides  a  fragrant  decorative  beauty 
spot.  True  enough,  our  American  gardens  are  lovely  beyond  words, 
they  uplift  the  imagination,  give  rest  to  tired  minds,  feed  the  soul  and 
clothe  our  land  with  beauty;  yet  they  lack  a  certain  delicate,  subtle, 
super-beauty  that  should  be  hovering  like  a  halo  of  light  around  every 
little  flower  and  arch.  We  must  learn  to  create  inner  as  well  as  outer 
charm.  Even  as  the  flowing,  graceful  sonnet  is  built  upon  unalterable 
laws,  so  must  the  airiest,  apparently  most  impromptu  of  gardens  be 
developed  upon  irrevocable  laws. 

There  is  a  system,  a  set  of  rules  if  you  like,  around  which  a 
Japanese  gardener  works.     He  plans  the  garden  to  be  seen  from  all 

621 


AN  AMERICAN  JAPANESE   GARDEN 


THE   LOTUS,    LIKE   A    STATUE   OF   BUDDHA,   MUST  BE    THERE  TO   UPLIFT  THE   MIND. 


sides  as  though  it  were  a  bit  of  statuary  instead  of  a  flat  canvas. 
The  illusion  of  space  is  uppermost  in  his  mind,  thus  plants  and  trees 
are  dwarfed.  Paths  winding  in  and  out  approach  a  vista  or  a  lake 
from  many  angles,  giving  sense  of  countless  vistas  and  innumerable 
lakes.  The  appearance  of  spaciousness  in  even  the  smallest  garden 
is  brought  about  by  perfect  proportion.  Reverence  for  the  past, 
for  old  people  and  things,  is  shown  by  a  carefully  propped  up,  gnarly, 
lichen-covered  branch  of  a  tree.  Old,  half-dead  trees  offend  our 
sight,  so  we  chop  them  down ;  they  are  choice  possessions  in  Japan, 
carefully  guarded,  well  taken  care  of,  not  as  grotesques  but  as  charac- 
ter studies,  that  one  may  see  and  appreciate  how  the  tree  has  weath- 
ered storms,  how  it  has  borne  the  weight  of  years;  and  the  gray 
branches  forming  lace  against  the  dark  background  of  young  green 
trees  make  a  beautiful  picture. 

In  proof  of  the  fact  that  the  principles  upon  which  the  Japanese 
garden  can  be  understood  and  applied  to  advantage  here  in  America 
we  are  showing  a  group  of  photographs  taken  from  a  Japanese  tea- 
garden  at  Golden  Gate  Park,  San  Francisco,  designed  and  carried 
out  by  Mr.  G.  T.  Marsh  of  San  Francisco.  These  photographs  might 
have  been  taken  from  the  gardens  of  Japan,  so  perfectly  have  their 
spirit  and  form  been  reproduced.  The  clean  lines  of  the  cottages 
are  as  simple  and  full  of  charm  as  those  which  furnished  the  inspiration; 
622 


AN  AMERICAN   JAPANESE  GARDEN 


the  pine  trees  bend  over  the  running,  tumbling  water  with  the  desired, 
sympathetic  twist,  or  stretch  out  one  long  arm  paralleling  the  quiet 
level  of  the  pool.  There  are  the  stone  lanterns  holding  no  light, 
placed  in  memory  of  temple  gardens,  and  wooden  ones  that  hold  the 
real  lights,  on  tall  standards  bearing  the  charming  legend  "Who  goes 
there?"  All  the  details,  without  which  a  Japanese  garden  is  in- 
complete, are  to  be  found  here, — quiet  iris  fields,  wistaria  arbors, 
lotus  pond,  bamboo  groves,  curved  bridges,  "pebble  rivers,"  two- 
storied  gateway,  the  ground  swept  and  raked  into  the  neatest  of 
patterns  about  the  doorways,  the  "shoe  removing  stone"  at  the  door, 
shrines,  wells,  stepping-stone  paths,  meditating  stone  gods  and  jolly 
animals.  Hills  and  dales,  winding  streams  and  lakes,  make  a  lovely 
detail,  apparently  formed  in  the  graceful  mood  of  nature,  yet  eveiy 
inch  molded  to  the  wish  of  a  man  deeply  appreciative  of  the  charming 
decorative  appeal  of  the  Japanese  garden  ideal. 

A  characteristic  Japanese  atmosphere  has  been  created  from  a 
level  strip  of  land,  an  unimaginative  corner  of  an  American  park. 
Mr.  Marsh  has  built  this  whole  portion  of  Japan  from  the  level  back- 
ground as  a  sculptor  forms  a  group,  the  entire  plan  being  definitely 
in  line  before  the  first  stream  bed  was  dug  and  the  first  hill  piled  up. 


MAS.^hs    OF    Wl.-,rAKIA    WILL    SUGGEST  TO  THE  JAPANESE  THE  CLOUDS   OF  A   SUNSET  SKY. 

623 


AN   AMERICAN  JAPANESE  GARDEN 

This  is  not  the  only  bit  of  real  Japan  he  has  created  in  America. 
There  is  a  wonderful  garden  of  his  making  on  the  Silver  Strand, 
Coronado,  California,  entered  through  an  arched  roof  gateway  guard- 
ed by  a  peaceful  Buddha  (an  account  of  which  was  given  in  The 
Craftsman  of  September  Nineteen-thirteen).  This  Oriental  en- 
closure was  created  from  the  sand  dunes,  and  made  to  simulate  the 
lakes  and  islands  of  the  flowery  land  of  Nippon. 

"The  keynote  of  successful  treatment  to  any  plot  of  ground," 
he  says,  "is  to  know  what  not  to  do,  as  well  as  what  to  do."  Want 
of  knowledge  and  the  craving  for  display  has  ruined  many  a  naturally 
charming  spot.  In  a  wooded  or  hill  site  the  aim  should  be  to  preserve 
all  that  is  beautiful  and  carry  its  suggestions  on  in  a  natural  way 
without  apparent  effort. 

He  says  that  once  he  was  taken  by  a  friend  to  inspect  a  tract 
of  some  forty  acres  which  was  being  prepared  for  the  erection  of 
a  costly  home.  From  a  somewhat  bare  stretch  of  ground  rose  a  hill 
devoid  of  any  natural  beauty,  excepting  at  one  of  the  four  shoulder 
points,  which  formed  a  most  beautiful  knoll  crested  by  a  few  grand 
old  oak  trees,  and  studded  over  with  some  of  the  most  interesting 
boulders  possible  to  find  anywhere, — stones  weighing  from  five  to 
fifty  tons,  charmingly  figured  with  lichen  on  a  weather-worn  surface, 
the  work  of  the  elements  for  thousands  of  years.  The  first  work  for 
the  preparation  of  the  expenditure  of  a  hundred  thousand  dollars  or 
more  was  the  destruction  and  removal  of  those  wonderful  stones. 
Nothing  that  man  could  do  would  compensate  for  the  destruction 
of  these  boulders — the  Japanese  would  have  regarded  these  as  his 
choicest  possession. 

One  of  the  chief  things  that  we  learn  from  the  Japanese  beside 
the  simulation  of  nature  is  the  handling  of  small  spaces.  No  plot 
of  ground  is  too  small  for  a  garden  according  to  the  Japanese.  If 
he  cannot  have  a  real  garden  he  has  the  suggestion  of  one  in  a  saucer 
by  his  elbow  as  he  works,  in  a  pan  by  the  doorstep,  in  a  three-foot 
square  dooryard,  in  the  strip  of  earth  between  path  and  house — 
somewhere  he  will  have  ground  heaped  into  hills,  miniature  trees 
upon  them  to  remind  him  of  such  wonderful  things  as  groves  at 
twilight,  marsh  lands  at  sunrise,  flower  fields  at  midday,  the  holiness 
of  temple  gardens,  the  joy  of  running  brooks.  Where  we  fill  window- 
boxes  with  flowers  he  would  lay  the  small  amount  of  surface  into  a 
landscape  that  would  remind  him  of  broad,  free  spaces. 

We  may  not  wish  to  reproduce  the  quaint  atmosphere  of  Japanese 
gardens,  yet  we  could  introduce  to  advantage  some  of  their  attractive 
features,  such  as  tall  memorial  lanterns  and  the  three-legged,  squat, 
flat  roofed  ones  called  "snow-scene  lanterns,"  because  they  make  a 

624 


J 


A  JAPANESE  GARDEN  IN  THE  GOLDEN  GATE  PARK,  CALI- 
FORNIA: FROM  THE  Zashiki,  OR  RESIDENCE,  THE  JAPANESE 
GARDENERS  WALK  TO  THE  POOL  AND  DIP  WATER  FOR  THE 
CEREMONIAL     TEA     EXACTLY     AS     IN     THEIR     NATIVE     LAND. 


THE  FULL-MOON  BRIDGE  OK  Sori-Hosi,  HAS  BEEN  REPRO- 
DUCED IN  THIS  GARDEN  IN  ALL  ITS  DECORATIVE  BEAUTY, 
DUPLICATING  THE  FAVORITE  FORM  OFTEN  SEEN  IN  THE 
TEMPLE   GARDENS   OF   JAPAN. 


THIS  IS  THE  LOVELY  GATE  IN  THE  COURTYARD  THROUGH  WHICH 
THE  LITTLE  MAID-OF-ALL-WORK  GOES  TO  HER  SERVANT'S  QUARTERS 
LYING  BETWEEN  THE  Zasluki  ON  THE  RIGHT  AND  Kuri,  OR 
FIREPROOF   GO-DOWN,    ON    THE   LEFT. 


WITHIN  THIS  TWO-STORY  OATKWAY  OF  THE  CARDEX  THE 
ATMOSPHERE  OF  JAPAN  HAS  BEEN  CREATED, — DWARFED 
TREES,      STONE      LANTERNS,      LITTLE     BROOKS      AND     ALL. 


AN  AMERICAN    JAPANESE   GARDEN 

beautiful  picture  in  winter.  A  Japanese  garden  is  never  without 
water  (or  a  suggestion  of  it)  to  reflect  the  sky  and  the  marginal 
flowers.  We  should  bear  this  in  mind  in  our  own  gardens.  We  can 
verj'  easily  make  miniature  pools,  tiny  brooklets  or  waterfalls  fed  by 
concealed  lead  pipe,  for  water  is  easily  obtained  in  this  land.  A 
spraying  fountain  or  thin  jet  of  water  springing  into  the  air  is  a  center 
of  witcherJ^  Birds  stay  contentedly  where  they  can  fly  back  and 
forth  through  the  iris  veil  of  descending  water.  We  also  enjoy 
drifting  spray,  rainbow  falls.  Our  gardens  are  more  beautiful  be- 
cause of  the  silver  water  mirror  for  the  sky  and  the  flowers  that  grow 
only  where  they,  like  Narcissus,  may  continually  gaze  upon  their 
own  reflection. 

Then  we  should  have  their  fine  reverence  for  rocks,  we  should 
appreciate  those  already  established  in  our  garden  as  tremendous 
assets  and  introduce  others  when  possible  to  do  so  in  a  naturalistic 
way.  Rough  stone  walls,  stepping-stone  paths,  lichen-gray  heaps  of 
them,  garden  moraines,  as  it  were,  interspersed  with  the  masses  of 
Alpine  flowers  whose  nature  it  is  to  make  thick  carpets  of  blossoms 
and  outline  every  crevice  with  color,  boulders  hollowed  for  bird 
baths,  or  set  with  sun-dials  or  stood  on  end  as  name  posts.  We 
cannot  well  do  without  these  rugged,  gray  backgrounds  to  enhance  the 
delicate  beauty  of  our  flowers.  We  have  also  overlooked  the  aesthetic 
opportunity  of  little  bridges.  The  Japanese  have  reminded  us  of 
their  usefulness,  charm  and  suitability.  We  should  study  their 
devices  of  curved,  rustic,  arched  paths  of  faggots  and  the  flat  heaps 
of  stone  irregularly  angled.  It  is  impossible  to  avoid  pictures  if 
little  bridges  are  in  gardens.  We  have  much  to  learn  of  the  use  of 
statuary.  We  may  not  care  for  meditating  gods  and  funny  animals, 
yet  there  is  great  picturesque  possibility  in  stone  or  carved  wooden 
ornaments,  such  as  sun  dials,  fountains,  bird  baths,  dogs'  drinking 
basins  and  seats.  They  are  needed  for  color,  texture,  form  and 
contrast.  We  should  make  use  of  their  rippling,  never  fading  plushy 
grass  of  the  Japanese  that  wrinkles  like  the  surface  of  a  lake  their 
cherry'  trees  cultivated  for  blossom  rather  than  fruit,  the  long, 
dripping  wistaria  blossoms,  marvelous  iris  beds,  weeping  maples, 
twisted  pines.  It  would  be  well  for  us  to  introduce  their  pleasant 
trick  of  giving  names  to  the  various  objects  in  their  gardens.  We 
lack  fancy  and  romantic  imagery  in  this  matter  of  fact,  commercial 
age.  These  are  but  a  few  of  the  points  of  garden  art  that  we  are 
overlooking.  Gardening  is  not  a  haphazard  planting,  filling  the 
ground  with  seed,  it  is  one  of  the  fine  arts  that  has  yet  to  reach  its 
perfect  hour  of  development.  As  Hewlett  saj's,  "Horticulture  is, 
next  to  music,  the  most  sensitive  of  the  fine  arts." 

629 


A   NEW   ENGLAND  FLOWER  LOVER 

I  HE  real  flower  lover  is,  strangely  enough,  not  always 
the  person  with  the  largest  garden  or  the  one  most 
often  seen  bearing  flowers  about  with  a  delight  in  their 
perfume  and  beauty.  He  is  rather  the  guardian  of 
the  flowers,  who  protects  their  natural  haunts,  who 
knows  them  in  the  depths  of  the  woods,  hidden  under 
the  edge  of  stony  crags,  who  has  become  sympathetic 
to  their  reticence,  whose  joy  is  in  their  growth,  their  native  beauty 
and  who  is  tender  of  their  surroundings  and  their  life,  as  one  would  be 
of  human  beings. 

The  flower  lover  is  usually  a  poet  and  poets  are  often  sympathetic 
flower  lovers.  Bacon  has  put  on  record  his  sentiment  that  "because 
the  breath  of  flowers  is  far  sweeter  in  the  air  (where  it  comes  and 
goes,  like  the  warbling  of  music)  than  in  the  hand,  nothing  is  more 
fit  for  that  delight  than  to  know  what  be  the  flowers  and  plants  that 
do  best  perfume  the  air."  We,  of  modern  times  are  most  apt  to 
think  of  what  flowers  will  best  grow  in  the  house,  what  will  last 
longest  worn  for  the  corsage,  what  will  best  ornament  our  dinner 
tables  and  so  on.  We  think  of  them  as  a  decoration  for  our  lives  and 
we  study  to  use  them  for  our  benefit.  To  be  sure,  this  love  of  flowers 
is  better  far  than  no  understanding  of  them,  no  appreciation  of  what 
they  contribute  to  the  well  and  the  sick,  to  the  busy  and  the  idle. 
But  Bacon's  way  after  all  is  the  way  of  the  thoughtful  man,  of  the 
philosopher,  of  the  human  being  with  whom  Nature  stands  first. 

Our  early  New  England  poet,  Lowell  too,  loved  flowers  as  they 
grew  naturally  and  humbly.  "Dear  common  flower,"  he  said,  "that 
grow'st  beside  the  way,  fringing  the  dusty  road  with  harmless  gold." 
Not  blossoming  to  be  bought  with  gold  or  to  enrich  the  grower,  but 
of  its  own  free  will  giving  good  gifts  to  every  weaiy  traveler. 

I  think  perhaps  there  were  more  flower  lovers  in  the  world  before 
we  had  conservatories  and  hot  houses,  and  yet  we  imagine  that  our 
effort  to  grow  more  flowers,  to  grow  them  more  elaborately  and 
eccentrically  proves  us  to  be  artists  full  of  love  of  the  beautiful. 
But  these  poets  who  really  see  straight,  who  know  Nature,  who 
are  inspired  by  her,  do  not  write  of  floral  exhibitions  or  prize 
chrysanthemum  shows  or  the  height  and  depth  of  conservatories; 
ratiaer  they,  as  did  Spenser  of  old,  tell  you  of  "roses  red  and  violets 
blew  and  all  the  sweetest  flowers  that  in  the  for  rest  grew." 

It  is  only  occasionally  today  that  we  encounter  what  we  would 
call  the  old-fashioned  flower  lover,  the  man  who  seeks  the  flowers  by 
brookside,  on  the  top  of  a  crag,  blossoming  timorously  under  a  snow 
bank  or  lifting  their  beauty  shyly  through  faded  leaves.  Mr.  Edwin 
Hale  Lincoln  is  such  an  one,  and  fortunately  for  the  world  he  not 

630 


"go   down    to   KEW    in   lilac-time,    IX    LILAC-TIME,    IN    LILAC-TIME; 
CO    DOWN    TO    KEW    IN    LILAC-TIME    (iT   ISN't   FAK   FROM    LONDON!) 
AND    YOU    SHALL    WANDER    HAND   IN    HAND   WITH    LOVE   IN    SUMMER'S 
WONDERLAND  ; 
GO   DOWN    TO    KEW    TN    LILAC-TIM  K    (IT   LSN't    FAR   FROM   LONDON!)" 

ALFRED    NOYES. 


fW 


From  a  Photograph 


KNOW  ST    THOU    THK    LAND    WHERE  THE   LEMON-TREES  BLOOM, 
WHERE    THE    COLD    ORANGE    CLOWS     IN    THE    DEEP    THICKEt's    CLOOM. 
WHERE   A    WIND   EVER    SOFT   FROM    THE   BLUE    HEAVEN   BLOWS, 
AND  THE   GROVES    ARE   OF   LAUREL   AND    MYRTLE    AND   ROSE?" 

GOETHE. 


I    KNOW    A    BANK    WHERE    THE    WILD    THYME    BLOWS, 
WHERE   OXLIPS    AND   THE    NODDING    VIOLET   GROWS, 
QUITE   OVER-CANOPIED    WITH    LUSCIOUS    WOODBINE, 
WITH    SWEET    MUSK-ROSES    AND    WITH    EGLANTINE." 

SHAKESPKAKE. 


^»1) 


II   Photagrafh   b 


"noLD  OXLIPS  AND  THE  CROWN    IMPERIAL: 

LILIES    OF    ALL    KINDS.    THE    FLOWER-DE-LUCE    BEING    ONE." 

SHAKESPEARE. 


THE   FLOWER  LOVER  AND  THE   CAMERA 

only  loves  the  flowers,  but  he  leaves  them  to  grow  in  peace  and  visits 
them  year  after  year  as  the  season  for  their  beauty  comes  round, 
occasionally  gathering  a  few  blossoms  very  carefully  and  tenderly 
so  that  the  growth  may  not  be  disturbed.  And  these  flowers  he 
takes  to  his  studio  where  he  makes  lovely  photographic  studies  of 
them  that  the  rest  of  the  world  may  know  the  New  England  wild 
flowers  and  enjoy  them  with  this  man  who  undoubtedly  is  their 
greatest  friend  and  historian. 

IN  this  issue  of  the  magazine  we  are  presenting  two  groups  of  Mr. 
Lincoln's  flower  studies,  the  one  that  illustrates  this  note  about 

his  work — unusual  prints  of  beautiful  flower  detail,  and  the 
pictures  illustrating  a  "Plea  for  Wild  Flowers,"  which  show  some  of 
the  New  England  flora  that  blossom  earliest  in  the  spring  time,  which 
Mr.  Lincoln  has  found  ready  to  welcome  him  in  his  walks  through 
the  woods  and  over  the  hilltops  those  very  first  kind  days  in  March 
and  April  when  the  rest  of  the  world  is  talking  of  winter  and  hovering 
about  firesides. 

Mr.  Lincoln  has  always  been  a  flower  lover  and  a  gentle  friend 
of  all  blossoms  that  grow.  He  has  been  accused  of  being  very 
reticent,  even  mysterious  about  his  flower  friends,  and  this  he  ac- 
knowledges to  be  true.  But  he  says,  "I  find  that  many  people  who 
love  flowers,  love  them  only  for  their  immediate  beauty,  and  forget 
that  by  ruthless  plucking,  they  may  be  forever  taken  away  from  their 
natural  home;  that  to  keep  our  woods  and  hills  and  dales  full  of  bloom 
and  perfume  we  must  guard  the  root  of  every  plant  whose  beauty  we 
appreciate." 

Although  as  a  rule  he  refuses  to  give  the  address  of  his  flower 
friends,  occasionally  under  special  circumstances  he  will  reveal  the 
nook  of  some  fragrant  blossom,  where  real  joy  and  real  sympathy 
will  meet  his  revelation. 

He  tells  a  charming  story  of  a  young  man,  a  native  of  Sweden, 
who  once  asked  him  if  the  lannaia  grew  anywhere  in  the  Berkshire 
hills,  for  this  is  the  locality  where  Mr.  Lincoln  lives  and  makes  most 
of  his  excursions  into  the  flower  world.  He  hesitated  at  first  to 
reveal  his  secret,  but  when  the  young  foreigner  told  him  that  he  and 
his  wife  were  born  in  Sweden  where  the  meadows  are  carpeted  with 
this  loved  blossom,  and  that  just  now  his  wife  lay  near  the  point  of 
death  and  was  begging  constantly  during  the  spring  days  for  a  bit 
of  the  beauty  that  she  remembered  in  the  spring  woods  of  her  native 
land,  Mr.  Lincoln  relented  and  went  with  the  young  man  out  to  the 
one  spot  where  this  foreign  blossom  chanced  to  grow  in  New  England. 
{Continued  on  page  689.) 

635 


VINE  CLAD  BOWERS  AND   GARDEN   VISTAS 

S  frosty  February  melts  away  and  March  blows 
merrily  in,  our  thoughts  turn  instinctively  to  outdoor 
things.  Spring  is  in  the  air,  with  promises  of  warm 
south  winds  and  sunshine,  budding  leaves  and 
flowers.  And  so,  whether  our  grounds  consist  of  a 
great  estate,  a  modest  suburban  garden  or  even  a 
tiny  backyard,  we  know  that  the  time  has  arrived 
to  begin  planning  the  year's  campaign,  to  lay  out  our  space,  prepare 
the  ground,  dig,  plant  and  sow  for  the  coming  season. 

For  some  of  us,  the  garden  is  already  an  established  possession 
with  lawns  and  flower-beds,  walks,  trellises,  seats  and  other  features 
only  awaiting  the  addition  of  a  few  new  bulbs,  seeds  or  plants,  and 
the  warmth  and  moisture  of  spring  days,  to  be  clothed  again  with 
foliage  and  blossoms.  Others,  whose  homes  have  been  built  only 
recently,  have  the  more  extensive  task  of  developing  an  entirely 
new  garden.  But  in  either  case,  the  main  ideal  should  be  the  same — 
to  make  this  outdoor  spot  as  livable,  friendly  and  inviting  as  possible. 
The  day  of  the  showy,  formal  garden  is  passing.  The  American 
home-maker  as  a  rule  cares  less  for  an  imposing  horticultural  display 
than  for  an  arrangement  of  walks  and  shelters,  vines  and  flowers, 
grass  and  shrubbery  that  offers  a  quiet  open-air  retreat  and  brings  an 
atmosphere  of  rest  and  harmony  about  the  home.  The  idea  today 
is  to  have  the  sort  of  place  in  which  one  can  live  and  work,  relax  and 
play,  take  one's  meals  when  the  weather  permits,  and  spend  happy 
hours  with  children  or  with  friends.  In  short,  the  garden  is  becoming 
a  real  adjunct  of  the  house,  an  exterior  room,  as  it  were,  which  it  is 
the  task  of  the  wise  gardener  to  make  so  attractive  and  so  hospitable 
that  the  very  glimpse  of  it  from  porch,  door  or  window  will  coax  our 
footsteps  toward  its  shady  pathways  and  sunny  lawns. 

One  of  the  simplest  and  most  effective  ways  in  which  the  grounds 
can  be  made  attractive  is  by  the  use  of  arches,  bowers  and  arbors 
which  serve  the  triple  purpose  of  supporting  vines,  affording  shade 
and  framing  vistas  through  the  garden.  There  are  few  outdoor 
architectural  features  that  offer  a  wider  range  for  imagination — 
the  combinations  of  materials,  designs,  location  and  planting  being 
practically  endless.  The  individuality  of  the  gardener,  therefore, 
can  find  full  play,  and  charming  results  can  be  attained  even  if  only 
a  very  modest  sum  is  expended  upon  such  structures  and  their  vines. 
Indeed,  in  one  of  the  photographs  which  we  are  showing  here 
the  support  consists  merely  of  two  firmly  planted  upright  posts, 
with  the  bark  left  on  to  give  a  rustic  appearance,  and  a  crosspiece 
fitted  and  spiked  to  the  top.  A  simpler  or  more  economical  arch 
can  hardly  be  imagined;  yet  when  crimson,  white  or  yellow  ramblers 

636 


Photographs  by   Mary  H.  Northend 


THIS  LATTICED  GARDEN  BOWER,  WITH  ITS  ARCHED  ROOF.  SHELTERED  SEAT 
AND  COVERING  OF  VIRGINIA  CREEPER  MAKES  A  CHARMING  OUTDOOR  RE- 
TREAT AND  ADDS  A  DECORATIVE   STRUCTURAL  NOTE  TO  THE  GROUNDS. 


A  SLENDER  TRELLISED  ARCHWAY  ALMOST  HIDDEN  BY  LUXURIOUS 
CRIMSON  RAMBLERS,  WHICH  FRAMES  A  PLEASANT  VISTA  AND  EMPHA- 
SIZES THE  garden's  PERSPECTIVE. 


IX  AN  INFORMAL  GARDEN  NOTHING  CAN  BE  MORE  APPROPRIATE  THAN  RUSTIC  CON- 
STRUCTION FOR  ARCHES  AND  BOWERS  :  IN  THE  ONE  SHOWN  HERE,  A  BRIDGE  OF  LOGS 
SPANS  THE  TINY  GRASS-HIDDEN  STREAM,  AND  SIMPLE  UPRIGHTS  AND  CROSS-PIECES 
WITH  A  RAILING  OF  BRANCHES  AT  EACH  SIDE  FORM  THE  SUPPORT  FOR  CLIMBING  ROSES: 
THE    RUSTIC    NOTE    IS    REPEATED,    WITH    PEi<GOLA    EFFECT,    IN    THE    GROUNDS    BEYOND. 


^"n 


SOMEWHAT  UNUSUAL 
AND  VERY  DECORATIVE 
USE  OF  RUSTIC   WORK 
IS  REVEALED  IN  THE 
UPPER    PHOTOGRAPH  : 
THE  WALK  IS  CAR- 
PETED WITH  GRASS  AND 
A  NEAT  LITTLE  ROW  OF 
PLANTS  ON  EACH   SIDE 
LEADS   UP  TO  AN   IRON 
FENCE  WHICH,  COVERED 
WITH   VINES  AND 
FLOWERS,  LINKS  THE 
ARCHWAY  TO   ITS   SUR- 
ROUNDINGS. 


A   SIMPLER  OR    MORE 
INEXPENSIVE  GARDEN 
ARCH   THAN   THE  ONE 
PICTURED  BELOW  COULD 
HARDLY   BE  IMAGINED, 
FOR  IT  CONSISTS  MERELY 
OF  TWO  UPRIGHT  LOGS, 
WITH   A  THIRD  SPIKED 
ACROSS   THE  TOP  :   YET 
HOW   EFFECTIVELY  IT 
FRAMES,   WITH   ITS 
ROSE-COVERED   LINES, 
THE   LONG   ALLURING 
GARDEN    VISTA. 


VINE-CLAD  BOWERS   AND   GARDEN  VISTAS 

have  twined  tlieir  luxuriously  growing  leaves  and  flowers  about  the 
brown  bark,  and  begun  to  drape  their  graceful  clusters  from  the  log 
overhead,  what  a  friendly  note  is  added  to  the  grass  pathway,  and 
what  a  delightful  frame  is  given  to  the  long  vistas  beyond ! 

A  somewhat  more  decorative  variation  of  this  type  of  log  arch 
is  seen  in  another  photograph  where  the  design  is  in  latticework, 
with  lighter  branches  between  the  supporting  logs.  Here  again  the 
walk  is  carpeted  with  grass,  and  a  neat  little  row  of  plants  on  each 
side  leads  up  to  an  iron  fence  which,  almost  hidden  by  leaves  and 
flowers,  serves  to  link  the  larger  rustic  arch  with  its  surroundings. 

Still  another  form  of  rustic  construction  is  shown  in  the  rose- 
covered  bridge  of  logs  which  enables  one  to  cross  with  safety  the 
miniature  glen  and  tiny  grass-hidden  streamlet  that  helps  to  irrigate 
the  informal  garden.  Here,  the  ramblers  have  grown  so  profusely 
over  one  end  of  the  bridge  that  the  rectangular  lines  of  the  posts  are 
concealed  and  the  top  seems  like  a  curved  archway.  The  home  gar- 
dener who  seeks  suggestions  for  unusual  designs  will  find  a  pleasant 
hint  in  the  arrangement  of  irregular  branches  which  form  the  sides 
of  this  picturesque  structure.  The  logs  are  used,  it  will  be  noticed, 
with  a  simple  pergola  effect  farther  on,  the  uprights  almost  concealed 
by  rose  vines. 

THE  use  of  lattice  or  trelliswork  for  garden  bowers  and  arches 
is  always  popular,  for  it  is  easily  constructed,  makes  an  ex- 
cellent support  for  vines  that  like  to  interlace  their  tendrils 
and  stems  about  a  firm  but  open  surface,  and  the  crossed  bars,  whether 
diagonal  or  vertical  and  horizontal,  add  a  decorative  note  to  the 
grounds. 

An  arched  bower,  covered  with  crimson  ramblers,  shown  in  one 
illustration,  reveals  a  somewhat  unusual  use  of  latticework,  the 
diagonal  strips  being  placed  close  together  between  the  narrow 
vertical  corner  pieces.  And  in  the  arbor  with  its  arched  roof,  sheltered 
seat,  and  drapery  of  Virginia  creeper,  a  combination  of  fine  trelliswork 
and  heavier  wooden  framework  makes  a  distinctive  garden  feature. 

A  different  type  of  garden  architecture  is  shown  in  the  picturesque 
entrance,  where  a  white  lattice  gate  of  decorative  design  is  hung 
between  the  massive  rough-stone  pillars.  A  white  wooden  pergola 
covering  is  used  overhead,  and  when  the  vines  have  climbed  a  little 
higher  and  have  covered  this  with  their  foliage  a  very  pleasant  shelter 
will  have  been  achieved.  The  old-fashioned  lantern  that  hangs  over 
the  gate  gives  a  hospitable  note  at  nightfall,  and  adds  to  the  charm 
of  the  entrance  by  day. 

These,  of  course,  are  only  a  few  of  the  innumerable  ways  in  which 

641 


VINE-CLAD  BOWERS  AND  GARDEN  VISTAS 

garden  bowers  can  be  erected,  and  outdoor  vistas  framed.  The 
home-maker  who  wishes  to  beautify  his  grounds  with  structures 
of  this  sort  has  a  wide  scope.  When  only  a  small  sum  can  be  ex- 
pended, arbors  and  arches  can  be  improvised  from  even  such  simple 
materials  as  clothes  poles,  or  saplings  and  branches  from  some 
nearby  wood.  Or  the  materials  left  over  from  the  building  of  the 
house  may  be  utilized — brick  or  rough  stone  for  pillars  and  walls, 
finished  with  a  pergola  covering.  Even  the  tiny  backyard  of  a  city 
home  may  be  made  inviting  by  building  a  plain  board  seat  in  one 
corner  against  the  fence,  and  training  vines  at  each  side  and  above  it, 
over  inexpensive  poles  or  wire  netting.  On  the  other  hand,  if  a  more 
elaborate  bower  is  desired,  in  a  larger  garden  or  estate,  very  dignified 
and  friendly  shelters  can  be  designed  with  classic  columns  of  wood 
or  concrete.     These  are  especially  in  keeping  with  a  Colonial  house. 

THE  question  of  vines  is  an  important  one,  and  here  again 
the  gardener  finds  a  bewildering  variety.  A  little  study  of 
florists'  catalogues,  however,  will  soon  reveal  to  the  amateur 
those  plants  which  are  most  suitable  for  the  purpose. 

For  walls  and  pillars  of  brick,  stone  or  wood,  the  woodbine  makes 
a  rich  covering,  the  best  known  varieties  being  the  common  woodbine 
or  Virginia  creeper,  whose  vigorous  growth  and  brilliant  autumn 
coloring  make  it  very  popular,  and  the  Veitchii — Japan  or  Boston 
ivj' — which  also  assumes  gorgeous  and  varied  tints  in  the  fall.  Young 
plants  of  the  latter  require  some  covering  in  winter  for  a  year  or  so. 

The  Dutchman's  pipe,  with  its  immense  heart-shaped  leaves  and 
curious  brown  pipe-shaped  blossoms  affords  dense  foliage  and  when 
well  established  is  of  very  rapid  growth.  Another  large-leaved  and 
quickly -growing  vine  is  the  Kudzu,  which  bears  small  racemes  of 
rose  purple,  pea-shaped  flowers  toward  the  close  of  August. 

There  are  many  varieties  of  clematis  which  make  a  charming 
covering  for  garden  bowers.  The  coccinea  is  a  strong  climber,  with 
light  green  foliage  and  a  profusion  of  bell-shaped,  brilliant  scarlet 
flowers  which  bloom  all  summer.  Clematis  Montana  is  also  a  vigorous 
climber,  with  large  glossy  leaves  and  white,  sweet-scented  flowers 
that  appear  in  June,  while  the  paniculata,  which  was  originally  in- 
troduced from  Japan,  likewise  spreads  quickly  over  large  areas,  and 
bears  fragrant  white  flowers  the  latter  part  of  August.  Then  there  is 
the  variety  knowTi  as  Virgin's  Bower,  which,  in  addition  to  its  white 
summer  blossoms,  produces  bunches  of  seed  with  long  woolly  tufts 
that  add  a  decorative  touch  to  the  winter  garden.  There  are  several 
other  red,  white  and  puiple  flowered  forms  of  clematis,  all  of  which 
(Continued  on  page  692.) 

642 


LISTENING  FOR  THE   LARK!    A  STORY:   BY 
WILL  LEVINGTON  COMFORT 

"Rise  up,  my  love,  my  fair  one,  and  come  away." — Song  of  Songs. 

NE  of  the  very  first  mornings  of  spring!  iThe  north 
Hght  from  the  roof  blended  with  the  yellow  virginal 
essence  of  warmth,  beaming  in  from  the  southern 
windows,  which  opened,  alas,  upon  a  side  street  in  the 
center  of  New  York.  Carlotta  looked  down  upon 
the  hotel-entrance  opposite,  and  the  fat  unpleasant 
line  of  horses'  backs.  The  noise  came  up  in  a  detached 
fashion,  but  the  sky  was  warm,  an  indescribable  dazzle  of  yellow  and 
pearl  that  made  her  listen  for  a  lark.  This  reminded  her  of  Europe 
and  of  her  almost  disintegrated  patrimony.  It  had  been  altogether 
too  long  since  she  had  heard  a  lark. 

Painting  had  failed  her.  She  had  given  most  of  her  bit  of  a  for- 
tune to  Paris  in  exchange  for  the  conviction  that  she  had  everything 
but  a  certain  divine,  or  mannish,  quality  that  drives  the  woman  to 
individualism  and  victory.  She  had  the  impulse,  the  application, 
the  temperament,  but  lacked  the  one-pointed  spoiling  fury  which 
bulks  the  career.  Her  sense  of  humor  intervened  in  the  place  of 
that  ambition  which  imperils  the  soul  to  gain  its  ends. 

City  life  exhausted  her.  The  three  years  since  she  was  twenty-five, 
had  seemed  possessed  to  show  her  all  the  vulgarities  of  the  human  race. 
...  A  happy  woman  living  in  the  country  with  her  own  babies  was 
the  only  remaining  unbroken  illusion.  Heaven  had  been  stripped 
from  everything  else.  Of  late  she  had  known  moments  of  such 
tension,  that  she  felt  like  giving  up  and  becoming  a  married  woman. 
If  she  could  shut  her  eyes — would  that  other  dream  go,  too?  For 
three  years  there  had  been  a  dreary  burning  within.  The  country 
and  voices  of  children  had  called  to  her  secretly,  continually.  Was 
that  but  another  art  which  Mother  Nature  designs  woman  to  learn 
the  tragedy  of,  forcing  her  to  accept  a  Bluebeard  in  the  bargain, 
before  she  can  become  an  Initiate? 

It  wasn't  because  she  had  found  modern  men  stupid  that  Car- 
lotta was  afraid.  One  can  mother  stupidity.  But  there  had  been 
here  and  there  within  recent  months,  revelations  of  callousness  that 
froze  the  sources  of  her  vitality  for  the  time.  She  tried  still  to  believe 
that  these  were  matters  of  her  personal  ill-luck,  and  did  not  mean  a 
hard  and  general  waywardness  of  men. 

She  had  become  interested  in  pottery',  but  it  was  not  prospering. 
Pottery  would  doubtless  go  the  way  of  the  rest.  .  .  .  She  might 
go  to  the  country  to  live,  but  that  was  only  half  the  dream.  Country 
meant  children;  each  meant  the  other  to  her.  Her  greatest  sorrow 
was  the  wasting  street-bred  thousands — the  myriad  little  souls  of 

643 


LISTENING  FOR  THE  LARK! 

New  York  who  were  not  given  their  chance.  .  .  .  She  might 
take  the  children  of  other  women,  and  go  to  the  country,  but  that  was 
not  the  full  dream.     Perhaps  it  would  come  to  that.     .     .     . 

PRESENTLY  the  elevator-door  in  the  hall  sounded  with  a 
tiny  clatter,  and  her  knocker  dropped.  She  admitted  a 
stranger  who  believed  he  spoke  the  Anglo-Saxon,  but  did  not; 
a  young  man,  elbows  pinned  to  his  sides,  as  if  to  retain  valuable 
pamphlets.  He  made  it  clear  to  her  with  some  difficulty  that  the 
old  mansion  of  which  her  studio  was  the  loft,  was  to  be  torn  down; 
that  the  wreckers  would  arrive  very  early  on  the  morning  of  the  first 
of  the  month,  less  than  a  fortnight  away. 

"But  I  have  a  lease,"  she  repeated.  "Tt  was  to  run  for  three 
years!" 

His  face  seemed  to  inquire  as  he  stood  there,  "Why  do  you  speak 
of  lease  or  personal  convenience  when  the  wreckers  are  coming?" 
Also  he  testified  that  the  woman  who  had  supplied  Carlotta  with 
her  lease  (having  given  up  the  studio  for  a  man)  meant  well  enough, 
but  did  not  have  the  authority  to  grant  leases,  her  own  tenure  not 
being  established.  .  .  .  Carlotta  could  not  speak.  The  air  was 
sick  with  him,  with  wreckers  and  commerce.  He  smiled,  tightened 
his  elbows  and  went  his  way. 

She  sat  in  the  center  of  the  floor  and  wept.  An  attorney,  after 
examining  her  lease,  had  expressed  his  opinion  that  the  tight-elbowed 
creature  was  right.  It  was  not  so  much  that  she  needed  a  studio — 
the  rehcs  of  her  failures  were  everywhere — but  she  needed  her  house. 
This  was  all  she  had.  .  .  .  Carlotta  felt  herself  too  long  upon 
the  vine — would  have  been  surprised  and  incredulous  to  hear  that 
this  was  far  from  true.  The  city  turmoil  came  up  and  the  noon 
suffocation.  .  .  .  Her  knocker  fell.  For  no  particular  reason, 
Carlotta  thought  it  was  the  lease-man  again,  the  native  of  New  York. 
She  allowed  him  to  wait,  pictured  him  waiting  there,  his  elbows 
tight.     The  knocker  fell  again  before  she  opened. 

It  was  the  Tyronian. 

"Hello,"  said  he.     "What's  the  matter?" 

He  built  bridges.  He  had  come  just  twice  before;  once  with 
another  woman,  when  he  had  sat  speechless  for  an  hour;  a  second  time, 
for  five  minutes  in  which  Carlotta  was  forced  to  talk.  .  .  .  He 
had  ranged  like  a  maverick  in  her  mind  since  that  second  call.  There 
was  something  to  him;  yet  she  could  not  tell  whether  it  was  pure 
pose  or  pure  poise.     ... 

"You've  been  crying,"  he  said,  as  if  there  was  nothing  else  to 
expect  from  her  at  eleven-forty-five  in  the  morning.     There  was 

644 


LISTENING  FOR  THE   LARK! 

something  peremptory  and  proprietary  as  well  in  his  manner  of 
speech. 

"I  thought  it  was  some  one  else  at  the  door.  I  would  not  have 
let  you  in — " 

"I'm  glad  you  expected  someone.     I  really  wanted  to  come  in." 

It  was  restful,  with  a  forbidden  restfulness, — this  arrogant  will- 
power in  the  fated  studio.  A  pilot  had  been  taken  on.  But  it  would 
be  all  the  worse  when  he  went  away.  She  was  ready  to  cringe,  to 
lean,  to  weep.  She  hated  herself,  but  the  passion  was  not  potent 
enough  to  count.  All  her  thoughts  were  now  clinging;  all  the  man- 
hunting  heredity  of  her  species  had  risen.  Carlotta  had  been  drawing 
toward  the  door  of  the  inner  room.  Suddenly  she  disappeared. 
Alone,  it  occurred  to  her  not  to  be  a  coward  at  any  cost. 

"I'm  washing  my  face,"  she  called  steadily. 

She  heard  him  pacing  up  and  down  the  studio.  Presently  he  sat 
down,  and  by  the  squeak  of  the  little  cane  chair,  she  knew  he  was  at 
her  table  of  the  clays. 

"Better  put  on  your  hat  and  coat  while  you're  there,"  he  called, 
in  a  tone  of  absorption.     "We'll  go  out  somewhere — " 

She  didn't  obey,  though  she  wanted  to  go  forth  above  all  things. 
When  she  emerged,  he  was  finishing  to  suit  himself,  the  small  figure 
of  a  girl  which  she  had  begun;  in  fact,  he  was  fashioning  a  waist  of 
sensuous  loveliness  with  his  thumb,  stroking  it  sideways  over  the 
wet  clay.  The  figure  itself  was  held  in  the  same  hand — a  large  brown 
authoritative  hand  that  she  had  not  noted  before.  Carlotta  had 
struggled  over  that  little  figure.  All  the  stiffness  was  gone  from  it 
now;  something  of  the  rigidity  from  her  own  life-struggle,  as  well. 

"I  suppose  you  paint,  too,"  she  said  in  rebellion. 

"I  do,  but  not  as  you  might  say,  for  a  living.  Clay  and  paint  are 
flay  matters.  I'll  show  you  some  of  my  things.  You  work  too 
hard — " 

AND  this  was  the  instant  that  she  really  looked  into  his  face. 
It  was  the  first  time,  a  wonderful  look,  never  quite  to  be 
duplicated.  The  Tyronian  was  still  seated,  and  she  was  still 
standing.  His  hair  was  thick  and  close-cropped,  the  eyes  deep  and 
steady,  the  forehead  lined,  as  if  puckered  often  to  shield  the  eyes 
from  the  sun.  All  she  had  seen  from  passing  glances  before,  was  but 
a  mask  for  the  blithe  tenderness  of  the  man.  There  could  be  no 
effrontery  in  what  he  said,  after  this  penetrating  look  of  hers.  He 
spoke  what  he  saw,  a  trained  man,  and  meant  it,  no  more  nor  less. 
He  must  have  been  brought  up  by  some  woman  of  exceeding  great 
wisdom,  never  to  lie  to  himself,  never  to  speak  other  than  the  thought. 

645 


LISTENING  FOR  THE   LARK! 

WTio  had  a  better  right  to  criticise  her  work  than  this  man  whose 
hands  were  full  of  wizardry?  Stiffness  and  strain  of  her  own  work 
were  everywhere  in  the  room.  She  had  worked  too  hard.  She  had 
talked  too  much  of  effects,  and  like  most  talkers  she  had  failed  to 
produce  effects.  When  one  is  a  rhythmic  instrument  of  one's  art, 
one  does  not  talk  technique.  But  the  background  of  all  his  fascina- 
tion for  her  was  the  open  spaces  that  he  breathed.  He  seemed  to 
mean  the  Country — to  have  come  from  country  gardens  on  this 
first  real  day  of  spring.  .  .  .  She  found  herself  telhng  him  of 
the  creature  who  had  called  earlier,  the  preparer  for  the  wreckers. 

"He  seemed  afraid  a  deep  breath  would  fill  his  lungs,  if  he  loosed 
his  elbows,"  she  added. 

He  put  down  the  clay  figure,  and  held  his  sticky  hands  clear  of 
the  table.  She  ran  to  get  him  a  basin  and  towel.  He  washed 
thoughtfully. 

'"You  didn't  put  on  your  hat  and  coat,"  he  said.  "To-morrow 
we  will  talk  about  this  property  man." 

As  Carlotta  searched  for  the  full  significance  of  the  last  remark, 
she  discovered  that  she  had  brought  her  wrap.  He  took  it  from  her 
hand  and  helped  her.  ...  As  they  passed  the  piano  to  the  hall- 
door,  Carlotta's  card-tray  reminded  her  that  she  knew  him  only  as 
"The  Tyronian."  The  other  woman  had  spoken  his  real  name  but 
once.  For  the  present  at  least,  it  was  utterly  gone  from  her.  "Tyro- 
nian" had  sufficed  for  all  her  thinking.  .  .  .  She  halted,  fingered 
the  tray,  making  it  possible  for  him  to  leave  his  card  with  the  others. 
He  slapped  his  pockets,  concluding  hastily: 

"I  haven't  one  with  me.     Come  on!" 

She  narrowly  missed  imploring  him  to  take  one  more  look. 

He  did  not  seem  to  be  concerned  by  the  occasional  silences 
now,  though  Carlotta's  mind  groped  for  words.  Once  when  they  had 
not  spoken  for  five  minutes,  her  self -consciousness  swooped  down  with 
all  its  manners,  fears,  conventions  and  crudities.  She  became  almost 
a  polite  person,  and  turned  at  last  to  the  Tyronian.  He  was  like  a 
horse-lover,  with  a  colt  along.  Playfully  he  managed — with  Ughtness 
and  httle  concern,  with  a  fine  enjoyment  for  the  stages  of  the  journey. 

"Come  on,  we  go  this  way,"  he  said,  turning  her  by  the  shoulder 
toward  a  particular  car,  after  they  had  ferried  over  the  river  at  the 
top  of  town.  She  was  sure  the  car  would  leave  before  they  reached 
it.  .  .  .  He  didn't  run,  but  they  caught  the  car.  All  the  way 
along,  it  was  the  same.  .  .  .  He  was  on  the  one  side;  the  world 
on  the  other.  Mainly,  the  world  was  utterly  and  perversely  wrong. 
In  certain  moments  she  touched  the  mysterious  peace  of  great  com- 
panionship.    This  was  Man,  inclusive,  reliant.     .     .     .    There  were 

646 


LISTENING   FOR  THE  LARK! 

moments  of  intense  concentration,  moments  of  rippling  run,  moment 
aghast   at   herself.     They  passed   another  Jersey   town,   and   wert 
walking  along  the  river.     It  was  very  high  and  noble. 

"^\lly,  look  at  you — you're  a  little  girl  again!  Not  the  same  at 
all  that  I  found  this  morning — the  City  making  you  cry.  You 
don't  belong  to  that.  Only  the  races  that  have  failed  and  the  races 
that  haven't  had  their  chance  yet — belong  to  the  City.  When  one 
is  ready  for  reality  as  you  are — and  doesn't  go  forth  to  find  it- — that 
one  dies — " 

She  was  thinking  of  the  return  to  the  studio — the  difiPerent  loneU- 
ness.  "But  one  can't  wander  abroad  day  after  day,"  she  said.  "No 
work  would  be  done." 

"You  don't  understand.  The  City  isn't  the  place  for  us  to  work. 
The  City  is  the  temple  of  trade.  Producers  should  bring  in  their 
work.  It's  the  same  as  going  to  a  temple  to  pray — one  doesn't  live 
there." 

She  waited  for  him  to  talk  more. 

"This  morning  while  I  was  at  work,"  he  said  presently,  "all  at 
once  I  thought  of  you  back  there.  It  was  as  if  you  were  calling  for 
help — " 

"Perhaps  I  was,"  she  breathed.  This  man  meant  the  Country 
to  her. 

"I  got  it.  ...  I  was  in  the  garden— uncovering  roses.  Only 
once  a  year  the  earth  smells  as  it  did  this  morning.  It  came  to  me 
that  it  would  not  do  for  you  to  wait  another  day.  So  I  went  to  town 
for  you.     .     .     .     We're  nearly  there — " 

It  took  her  breath  away. 

"Why,  don't  you  see — we  do  very  well  there  for  a  time  in  the 
struggle,  but  think  of  the  children — " 

They  had  passed  along  the  wall  of  large  'private  grounds, 
following  a  path  to  the  verj'  edge  of  the  land.  He  pointed  across  to 
Manhattan. 

"I  have  thought  many  times  of  the  children,"  she  said. 

"They  can't  touch  the  earth  and  they  can't  see  the  stars  in  the 
City.  I  have  passed  whole  streets  full  of  children — everywhere 
the  drugged  look  about  their  eyes.  You  would  get  it  if  you  stayed. 
And  then  one  does  not  do  well  with  paint  where  others  are  working. 
One  must  get  out  of  the  market  to  learn  to  play.  Good  work  is 
play.  .  .  .  There  is  nothing  like  a  garden  to  steady  the  hand — 
roses,  anything.     .     .     .     See,  I  was  working  here  when  you  called — " 

The  soil  had  been  turned  along  the  path,  and  the  winter  wrappings 
of  straw  removed  from  the  pruned  bush-roses. 

"But  where  is  your  house?"  she  asked. 

647 


LISTENING  FOR  THE   LARK! 

THE  Tyronian  smiled,  and  took  her  hand.  They  began  a  steep 
descent  of  the  bluff.  He  laughed  at  her  fears,  half-Ufted  her 
down  certain  stony  steps,  when  she  hesitated.  They  turned 
to  the  right,  along  a  seven-foot  ledge,  and  before  her  was  the  weathered 
door  of  a  stone  cottage,  coppery  brown  like  the  splendid  wall  itself, 
and  vined.  On  her  left  hand  was  the  brilliant  etheric  divide,  the 
Hudson  below. 

"It's  an  eyrie!"  she  whispered,  and  her  soul  loved  it. 

The  world  was  forgotten.  Everything  she  had  ever  known  was 
unlike  this,  yet  she  wanted  it  as  it  was.  As  he  turned  the  key  in  the 
ancient  oaken  door,  she  looked  up  into  his  face.  It  was  a  place  of 
power. 

He  smiled,  held  the  door  open,  his  eyes  laughing  but  tender. 
She  would  never  see  the  mask  again.  .  .  .  All  that  she  had 
known  before  was  unfinished,  explanatory.  This  Tyronian  was  what 
a  human  adult  should  be  in  this  year  of  our  Lord.  Somewhere  within 
was  a  far  small  terror  at  her  own  instantaneous  adjustments,  but  in 
her  deepest  soul  she  nestled  to  the  place — as  the  stone  cot  to  the  cliff. 
The  one  terror  was  lest  the  dream  should  end. 

The  windows  slid  back  like  carriages  under  his  hand,  and  the  wind 
and  the  light  came  in.  The  vine  tendrils  came  trailing  through,  and 
light  from  the  waning  east,  over  the  shadowed  river.  Carlotta 
thought  of  morning  through  those  windows — facing  the  east  over 
Manhattan,  from  the  very  frontier  of  the  east.  She  saw  his  books, 
his  pictures,  his  desk  and  bed.  The  rock  of  the  wall  had  been 
hollowed  out,  so  that  the  place  was  large  within.  And  they  were 
alone.     He  took  her  coat,  and  came  toward  her  again. 

"This  morning,  up  there  [with  the  roses,  it  came  to  me  that 
this  was  the  day  to  go  for  you.  .  .  .  The  first  time  I  saw  you,  I 
knew  you  were  the  one.  I  had  never  really  thought  of  a  woman 
until  then.  I  went  again  to  be  sure.  You  were  the  one.  I  am  glad 
the  arts  have  not  given  you  all  you  wanted.  That  would  have 
spoiled  you.  They  are  not  the  way  to  happiness.  They  are  ways 
to  play.     The  world  is  to  play  in.     I  have  enough  for  us — " 

He  stopped.     She  could  not  speak. 

"Do  not  be  afraid,"  he  added  quietly.  "Your  laws  are  my  laws. 
I  love  everything  that  you  wish." 

SHE   drew   back   from   him.      The  east  was  fading.      "A  man 
and  woman  should  not  mate  with  less  beauty  than  the  eagles, 
Carlotta." 
"As  we  neared  this  place,  it  came  to  me,"  she  said.     "I  began  to 
understand  that  you  had  come  for  me.     I  wanted  it  just  this  way.     If 

648 


THE  HUMOROUS  GARDENER 

a  man  and  woman  are  to  be  one — she  and  her  lover  alone  can  make  it 
possible.     A  woman  knows  that.     ...     I  love  it  here — " 

She  led  him  to  the  door,  and  pointed  across. 

"But  let  us  never  forget  the  children — the  thousands  with  the 
drugged  look  about  the  eyes!"  she  whispered. 

She  felt  as  if  the  world  were  hers  to  love  and  lift  with  her  own 
and  this  man's  strength.  .  .  .  Suddenly  she  laughed — threw 
back  her  head  and  laughed. 

"It  doesn't  matter — but  tell  me — I  only  heard  it  once — your 
name — " 

THE   HUMOROUS  GARDENER 

»T  AM  one,  you  must  know,  who  am  looked  upon  as  a  humorist 
I  in  gardening.  I  have  several  acres  about  my  house,  which 
-*-  I  call  my  garden,  and  which  a  skilful  gardener  would  not 
know  what  to  call.  It  is  a  confusion  of  kitchen  and  parterre,  orchard 
and  flower-garden,  .  .  .  mixt  and  interwoven  with  one  another.  .  .  . 
My  flowers  grow  up  in  several  parts  of  the  garden  in  the  greatest  luxuri- 
ancy  and  profusion.  I  am  so  far  from  being  fond  of  any  particular 
one,  by  reason  of  its  rarity,  and  if  I  meet  with  any  one  in  a  field  which 
pleases  me,  I  give  it  a  place  in  my  garden.  By  this  means,  when  a 
stranger  walks  with  me,  he  is  surprised  to  see  several  large  spots  of 
ground  covered  with  ten  thousand  different  colors,  and  has  often 
singled  out  flowers  he  might  have  met  with  under  a  common  hedge, 
in  a  field,  or  in  a  meadow,  as  some  of  the  greatest  beauties  of  the 
place.  The  only  method  that  I  observe  in  this  particular  is  to  range 
in  the  same  quarter  the  products  of  the  same  season,  that  they  may 
make  their  appearance  together,  and  compose  a  picture  of  the 
greatest  variety.  There  is  the  same  irregularity  in  my  plantations, 
which  run  into  as  great  a  wilderness  as  their  natures  will  permit. 
I  take  in  none  that  do  not  naturally  rejoice  in  the  soil;  and  am  pleased 
when  I  am  walking  in  a  labyrinth  of  my  own  raising,  not  to  know 
whether  the  next  tree  I  shall  meet  with  is  an  apple  or  oak;  an  elm  or 

pear  tree You  must  know  .  .  .  that  I  look  upon  the  pleasure 

we  take  in  a  garden  as  one  of  the  most  innocent  delights  in  human 
life.  A  garden  was  the  habitation  of  our  first  parents  before  the  fall. 
It  is  naturally  apt  to  fill  the  mind  with  calmness  and  tranquillity, 
and  to  lay  all  its  turbulent  passions  at  rest.  It  gives  us  a  great  in- 
sight into  the  contrivance  and  wisdom  of  Providence,  and  suggests 
innumerable  subjects  for  meditation.  I  cannot  but  think  the  very 
complacency  and  satisfaction  which  a  man  takes  in  these  works  of 
nature  to  be  a  laudable  if  not  a  virtuous  habit  of  mind." 

Joseph  Addison. 

649 


JAPANESE  FLOWERING  DOGWOOD,  THE  PETALS 
OF  WHICH,  UNLIKE  OUR  OWN  VARIETY,  END 
IN   A   SHARP  POINT. 


LANDSCAPE  FOREST- 
RY AND  WILD  GAR 
DENING  INCREASE 
THE  BEAUTY  AND 
VALUE  OF  THE  FARM: 
BY   WILHELM  MILLER 

N  important  movement  is  on  foot  in  this  country', 
led  by  the  enterprising  State  of  Illinois — a  movement 
that  promises  to  bring  beauty,  happiness  and  profit 
to  thousands  of  homes  all  over  America.  And  the 
plan  is  so  simple  that  one  wonders  why  nobody 
started  such  an  undertaking  before.  For  it  con- 
sists merely  in  beautifying  the  farm — not  by  any 
elaborate  or  costly  schemes  of  landscape  architecture  or  gardening, 
but  by  the  easy  and  inexpensive  planting,  in  the  right  place,  of  a  few 
trees,  shrubs,  vines  and  flowers.  Just  why  this  work  of  transforma- 
tion is  needed,  and  how  it  is  being  carried  on,  is  a  matter  of  interest 
not  only  to  farmers  throughout  the  land  but  to  every  home-maker 
and  citizen  who  has  the  welfare  of  the  nation  at  heart. 

It  seems,  at  first  glance,  a  curious  paradox  that  the  country 
should  need  beautifying.  Surely  the  farmer,  who  hves  in  the  very 
midst  of  Nature,  has  the  greatest  chance,  of  all  people,  to  enjoy 
her  beauties,  and  to  surround  his  homestead  with  lovely  growing 

650 


WILD  GARDENING 


things !  And  yet,  strange  to  say,  an  attractive  farm  is  the  exception, 
not  the  rule,  as  a  glance,  from  the^windows  of  a  train  through  any 
country  district  will  testify.  The  land  itseK  may  be  fair  enough, 
with  woods  and  dales,  winding  creeks,  ferns  and  wild  flowers.  But 
the  farm  and  its  surroundings  are  often  uncouth  and  desolate-looking, 
the  walls  of  the  house  and  barns  and  outbuildings  unsheltered  by 
foUage,  their  lines  unsoftened  by  vines  or  shrubbery^  and  the  grounds 
devoid  of  interest  or  beauty  m  layout  or  planting.  Instead  of  being 
a  pleasant  spot  m  the  landscape,  a  comfortable  home  nestling  among 
shady  trees  and  bright  flower-beds,  fertile  fields  and  fruitful  orchards, 
the  farm  is  too  often  a  place  from  which  the  beauty-loving  eye  turns 
promptly  away. 

Only  a  moment's  reflection  is  needed  to  see  the  disadvantage 
of  such  bare,  unlovely  grounds  and  buildings,  for  not  only  is  the  value 
of  the  place  minimized,  and  the  possibility  of  sale  decreased,  but 
there  is  also  a  de- 
pressing effect  upon 
those  who  live  and 
work  there,  t  What 
wonder  that  the 
young  people  on 
many  farms  today 
prefer  to  leave 
them  as  soon  as 
they  can,  for  the 
attractions  of  the 
city? 

In  seeking, 
therefore,  to  trans- 
form farms  into 
places  of  real  in- 
terest and  beauty, 
both  the  aesthetic 
and  the  practical 
are  kept  in  mind. 
The  leaders  of  the 
movement  are  in- 
ducing the  farmer 
to  plant  sheltering 
windbreaks  and  to 
keep  smooth  green 

loTiTTlc-   tn    Vlirlf^    lin  THE   FAKTHEK  BANK   OF  THIS   STKEAM    NEEDS   ONLY   THE  REMOVAL   OF 

IdWUb,    LU    Umc     Ull-        ^    j^^    YOUNG,    SHORT-LIVED    TREES    TO    GIVE    AN    INTERESTING    VISTA 

sightly  buildmgS     through  the  woodlands. 

651 


WILD  GARDENING 

with  evergreen  trees;  to  beautify  the  walks  and  driveways  with 
borders  of  flowering  plants  or  bright-berried  shrubs;  to. soften  the 
hard  lines  of  severe,  gaunt  buildings  with  the  redeeming  mantle  of 
vines,  and  to  encourage  and  preserve  the  native  beauties  of  the 
nearby  woodlands. 

The  result  of  these  improvements  is  far-reaching  and  manifold. 
The  financial  value  of  the  property  is  raised  in  a  few  years  to  a  figure 
far  above  its  previous  worth — the  outlay  of  a  few  dollars  often  yielding 
remarkable  future  profits.  The  health,  comfort  and  beauty  of  the 
home  are  increased,  and  the  farmer's  family  and  helpers  all  feel  the 
beneficial  influence  of  their  attractive  surroundings.  Personal  en- 
thusiasm and  pride,  moreover,  are  awakened  in  all  who  take  part 
in  the  enterprise,  and  the  children,  instead  of  looking  forward  to  the 
day  when  they  will  be  able  to  leave  it  for  other  work  and  pleasures 
and  other  scenes,  begin  to  take  an  active  interest  in  their  home  and 
its  groimds. 

This  helpful  attitude  may  be  encouraged  by  giving  the  little 
folk  their  own  miniature  flower  and  vegetable  gardens  to  cultivate, 
and  investing  them  with  small  responsibilities  in  caring  for  various 
minor  features  of  the  farm.  For  they  are  usually  just  as  eager  to 
"play  garden"  as  they  are  to  "play  house,"  and  the  more  opportunity 
they  have  for  such  horticultural  adventures  when  they  are  young, 
the  more  interest  and  skill  they  are  likely  to  develop  later  in  this 
field.  Indeed,  the  country  schools  can  help  the  parents  in  this 
movement  by  teaching  their  pupils  how  to  apply  the  principles  of 
gardening  and  forestry  around  their  own  homes. 

By  working  along  such  lines  as  this,  in  cooperation  with  the 
Agricultural  Experiment  Station  of  the  State — which  is  always 
eager  to  give  advice  and  aid  to  all  who  seek  it — the  farmers  of  America 
can  turn  their  hitherto  unattractive  or  neglected  property  into 
beautiful  homesteads,  veritable  country  estates,  of  which  each 
district  as  well  as  each  owner  may  be  justly  proud. 

TO  further  this  ideal,  the  Department  of  Horticulture  of  the 
University  of  Illinois,  at  Urbana,  has  issued  a  special  illus- 
trated  booklet^Circular    Number    One-Seventy — copies   of 
which  are  sent  free  to  anyone  in  the  State  "who  will  sign  a  promise 
to  do  some  permanent  ornamental  planting  within  a  year." 

There  are  many  ways  in  which  Illinois  is  beautifying  her  farms 
and  neighboring  woodlands,  and  the  methods  should  be  of  general 
interest,  for  they  are  applicable  not  only  to  farm  grounds  and  build- 
ings but  to  any  country  home  that  needs  the  gardener's  or  forester's 
sympathetic  touch  to  give  it  an  atmosphere  of  charm  and  friendliness. 
652 


A    COLONY    OF    AMERICAN    BLUEBELLS,    MERTENSIA    VIRGINICA,    WHICH 
BLOOM    IN    MAY,    CARPETING   THE    WOODS    WITH    TINY    FLOWERS. 

THE  PRESERVATION  AND  PLANTING  OF  DOGWOOD  WILL  ADD  GREATLY  TO 
THE  BEAUTY  OF  THE  FARM   GROUNDS  AND  NEIGHBORING   WOODS. 


CLUSTERS  OF  AMERICAN   BI.UE- 
HELLS  AND  STRIPED  WHITE  VIO- 
LETS ARE  SHOWN   AT  THE  LEFT: 
THIS  IS  ONE  OF  NATURE'S  FLOWER 
COMBINATIONS   WORKED  OUT  IN 
HER   WOODLAND   LABORATORY 
THROUGH    AEONS  OF  EXPERI- 
MENT:  CAN    MAN   DO  BETTER 
THAN  TO  PRESERVE,  RESTORE  AND 
IMITATE  SUCH   GROUPINGS 
IN   THE  WILD  PLACES 
AROUND   FARM    AND    FIELD? 


THE  TREES   OF  THIS   PIC- 
TURESQUF,  ILLINOIS  VVOOD- 
LOT  STAND  KNEE-DEEP  IN 
A  TANGLED  MASS  OF  FLOW- 
ERS  AND   FOLIAGE  OF 
AMERICAN   LLUEBELLS  : 
THE  BUDS  OF  THESE 
GRACEFUL  LITTLE  SPRING 
BLOSSOMS  ARE  A  TENDER 
PINK   AND  TURN   LATER.   AS 
THEY  OPEN.   INTO  A   WON- 
DERFUL  RLUE. 


AT  THE  RIGHT  IS 
A   FLOWERING   nO(.- 
WOOD,  A  TREE  THAT 
ADDS    MUCH    TO   THE 
BEAUTY  OF  THE 
SPRING  WOODS  :  THE 
DOGWOOD   HAS  A 
SPLENDID  CHANCE 
TO  DOUBLE  ITS 
SIZE   AND   BEAUTY 
IN   A  FEW   YEARS. 
NOW   THAT  THE 
CHESTNUTS  WHICH 
KEPT   IT   DOWN 
HAVE   PERISHED. 


BY  FENCING  IN   A 
PORTION    OF  one's 
WOODLOT   THE    WILD 
FLOWERS  WILL  SOON 
FLOURISH    ONCE 
MORE:   BELOW   IS 
SEEN   A   ONCE   DE- 
VASTATED   HILLSIDE 
WOODLOT    COVERED 
WITH    WILD  BLUE 
PHLOX. 


US'i> 


A  DECORATIVE  BORDER  OF  WILD  GRAPE  IN  HIGHLAND  PARK,  NEAR  CHI- 
CAGO, BESIDE  THE  HOME  OF  E.  L.  MILLARDS:  THIS  LUXURIOUSLY  GROW- 
ING   VINE   IS    AN    INVALUABLE    AID    IN  BEAUTIFYING  FARM  GROUNDS. 

IN  LEVEL,  WIND-SWEPT  COUNTRY  THE  PLANTING  OF  EVERGREENS  NOT 
ONLY  SERVES  AS  A  WINDBREAK  BUT  ADDS  A  NOTE  OF  WARMTH  AND 
COLOR  TO  THE  LANDSCAPE  THE   WHOLE  YEAR  ROUND. 


WILD   GARDENING 

"The  greatest  enemy  of  the  farmer,"  says  Theodore  Roosevelt, 
"is  the  wind."  And  the  first  step  in  lUinois  is  to  provide  shelter  from 
the  biting  winds  of  winter  and  the  drjdng  winds  of  summer.  The 
pioneers  did  this  before  they  built  their  cabins,  but  many  of  their 
descendants  are  cutting  down  big  trees  because  they  beheve  trees 
are  not  worth  the  space  they  take — especially  on  land  worth  two 
hundred  dollars  an  acre.  Opinions  differ  widely  as  to  the  best  trees 
for  windbreaks,  and  the  best  way  to  arrange  them;  but  much  help 
can  be  had  from  "Windbreaks,"  by  Carlos  G.  Bates  (Bulletin  Eighty- 
six  of  the  Forest  Service),  which  can  be  obtained  at  a  small  price 
from  the  Superintendent  of  Public  Documents,  Washington,  D.  C,  by 
those  who  wish  authoritative  details  on  this  matter. 

The  value  of  removing  or  screening  unsightly  objects  on  one's 
grounds  is  evident  from  the  following  instance.  An  Ilhnois  farmer 
wanted  to  sell  his  farm,  but  could  not  find  a  buyer.  The  reason  for 
this,  which  no  one  reahzed,  was  the  ugly,  unpleasant  barnyard  right 
across  the  road  from  the  house.  One  night  the  barn  burned  down, 
and  after  that  the  farmer  sold  his  farm  for  more  than  he  had  asked 
before.  Not  only  was  the  disagreeable  barnyard  removed,  but  its 
absence  made  possible  a  fine  view  of  the  prairie. 

If  you  cannot  remove  an  unsightly  object  on  your  grounds,  why 
not  plant  the  windbreak  so  that  it  will  act  as  a  screen?  Buildings 
can  be  covered  in  a  single  season,  without  cost,  by  the  aid  of  wild 
cucumber  vines.  Wild  grape  or  trumpet  creeper  proves  even  better, 
while  sumach  and  evergreens  are  also  effective,  especially  the  latter, 
which  keep  their  foliage  the  year  roimd. 

The  first  impression  of  the  house  or  farm  from  the  road  is  an 
important  consideration.  Often,  by  a  rearrangement  of  the  drive, 
or  by  the  planting  of  trees  or  shrubs  on  each  side  of  the  entrance,  a 
pleasant  glimpse  of  the  buildings  is  obtained  from  the  street.  The 
background  also  should  receive  attention.  A  house  seen  against 
the  sky  usually  looks  bare  and  cheerless,  whereas  if  it  nestles  against 
shrubs  and  trees  it  has  a  homelike  air.  The  views  from  and  toward 
the  porch  likewise  should  be  made  as  attractive  as  possible,  and  in 
planting  the  grounds  vistas  from  the  windows  should  be  kept  in  mind. 
The  placing  of  bushes  on  each  side  of  a  pathway,  or  the  erection 
of  a  simple  arch  or  bower  will  often  accomplish  this. 

It  is  a  mistake  to  suppose  that  flat  land  must  be  uninteresting, 
for  it  is  capable  of  very  beautiful  treatment.  The  most  valuable 
plants  for  framing  prairie  views  are  the  Western  hawthorns  and  crab- 
apples.  Rich  men  wall  often  pay  fifty  to  sixty  dollars  for  a  pair  of 
hawthorns,  such  as  the  Illinois  farmer  can  move  from  his  own  pasture 
near  the  house  at  no  cash  outlay. 

657 


WILD   GARDENING 

ONE  of  the  most  effective  ways  of  beautifying  a  house  and 
making  it  look  homehke  is  by  foundation  planting.  Shrubs 
and  permanent  vines  are  best,  for  flowers  die  in  the  winter 
and  leave  the  foundation  bare.  It  is  well  to  choose  different  vines 
for  the  various  farm  buildings — Virginia  creeper  for  one,  trumpet 
honeysuckle  for  another,  bittersweet,  wild  grape  or  wild  clematis 
for  the  next.  The  porch  can  be  covered  the  first  year  without  spend- 
ing a  cent,  by  sowing  seeds  of  wild  cucumber  vine  or  collecting  seeds 
of  morning-glory  in  regions  where  it  runs  wild. 

An  open  lawn  with  shrubbery  grouped  at  the  sides  is  more  valuable 
than  one  broken  by  individual  plantings.  It  is  wiser,  too,  to  have 
low  borders  of  various  shrubs  rather  than  hedges,  for  the  latter 
afford  less  variety  and  need  more  care.  And  in  planting  trees,  it  is 
better  to  choose  those  of  permanent  value,  like  the  tulip  tree,  sugar 
maple,  sweet  gum,  white  ash  and  oaks,  rather  than  the  more  quickly 
growing  varieties. 

Every  farmer's  wife  wants  a  flower-garden,  to  brighten  the 
grounds  and  to  provide  cut  flowers  for  the  rooms.  But  it  is  not 
necessary  to  make  this  a  separate  or  costly  feature.  Each  flower  can 
be  where  it  is  most  needed  and  where  it  can  easily  be  cared  for.  For 
instance,  lilacs,  sweet  shrub,  weigeha,  golden  bells  and  Tartarian 
honeysuckle  may  serve  as  borders  for  the  lawn.  Mock  orange  may 
hide  the  outbuildings.  Spiraea,  deutzia  and  barberry  may  conceal 
the  foundation  of  the  house,  while  perennial  flowers — iris,  peony, 
phlox  and  chrysanthemums  will  bloom  beneath  the  kitchen  window 
where  they  can  be  easily  watered. 

Bird  gardens,  wild  gardens,  winter  gardens  and  arboretums — 
any  of  these  can  be  cultivated  by  the  farmer  at  small  expense  and 
with  delightful  results.  The  wild  woodland  garden  is  especially 
charming,  and  since  its  possession  is  within  reach  of  so  many  country 
homes,  the  following  details  for  its  achievement  may  prove  of  service 
to  woodland-loving  readers. 

Health.  The  first  thing  is  to  banish  mosquitoes,  because  some 
of  these  carry  malaria  and  all  of  them  are  a  nuisance.  Since  mosqui- 
toes breed  only  in  stagnant  water,  the  problem  is  usually  one  of 
drainage.  There  is  often  a  wet  spot  in  the  woods  that  can  be  made 
an  enchanting  feature  by  excavating  a  pond  large  enough  to  contain 
some  goldfish — enough  to  control  the  mosquitoes. 

Evergreens.  The  next  step  is  to  screen  unsightly  objects  and  secure 
privacy  and  charm.  In  such  work  evergreens  are  more  valuable 
than  deciduous  trees,  because  they  are  effective  the  year  round. 
It  is  not  easy  to  plant  evergreens  in  the  depths  of  the  woods  and 
make  them  thrive,  but  they  will  do  better  at  the  edge,  and  that  is 

658 


WILD   GARDENING 

where  we  need  them  most,  since  they  can  hide  unsightly  buildings 
or  other  objects  which  we  do  not  wish  to  see  from  the  woods. 

Walks  and  drives.  It  is  possible  to  ruin  the  sanctity  of  the  woods 
by  too  great  enthusiasm  in  making  them  accessible.  At  Detroit, 
for  instance,  there  are  some  famous  woods  which  have  lost  a  great 
deal  of  their  picturesque  wildness,  because  the  visitor  is  continually 
coming  upon  new  drives.  There  should  be  an  orderly  system — not 
a  bewildering  maze.  It  is  delightful  work  to  survey  the  woods  in 
order  to  discover  the  finest  features  and  how  to  connect  them  in  such 
a  way  that  they  will  all  be  revealed  by  a  single  "round,"  or  easy  walk 
of  fifteen  to  thirty  minutes.  The  best  features  in  woods  are  usually 
big  trees,  fine  bushes,  a  brook,  well-massed  rocks,  or  if  you  are  very 
lucky,  an  outlook  toward  some  mountain,  hill  or  river.  Sometimes 
you  can  lay  out  a  simple  trail,  as  Mr.  Warren  H.  Manning  has  done 
at  North  Billerica,  Mass.,  by  blazing  saplings  along  the  proposed 
route.  Sometimes  it  pays  to  get  a  long  rope,  outhne  a  curve,  and 
drive  stakes  where  you  wish  a  path  to  be  weeded,  dug,  or  carpeted 
with  pine  needles. 

Weeding.  By  far  the  worst  weed  of  woodlands  is  poison  ivy, 
since  this  is  poisonous  to  the  touch  and  causes  great  distress  to  those 
who  are  sensitive.  Brambles  tear  the  flesh  and  clothing,  so  that  in 
spite  of  their  pleasant  fruits  and  beauty,  it  is  best  to  root  out  most 
of  them.  There  is  a  great  variety  of  burrs  in  the  woods  and  these 
spoil  many  an  autumn  walk  because  they  are  so  hard  to  remove  from 
clothing. 

Thinning.  Other  "weeds"  in  the  woods  are  the  trees  themselves 
— the  crooked,  diseased,  and  spindling  trees  which  will  never  become 
vigorous,  and  which  serve  only  to  destroy  the  beauty  of  the  best 
specimens.  One  of  the  greatest  joys  of  the  wild  gardener  is  to  get 
a  can  of  red  paint  and  a  brush,  put  on  old  clothes,  and  mark  the  trees 
that  ought  to  be  cut  out  in  winter  when  that  work  can  be  done  more 
cheaply  and  conveniently.  This  joy  is  exceeded  by  the  pleasure  of 
seeing  the  great  increase  of  beauty  that  comes  when  every  dead  or 
crooked  tree  falls.  And  you  soon  learn  to  sacrifice  the  short-lived 
species  to  the  long-lived.  It  hurts  little  to  cut  out  birch,  poplar, 
and  willow,  in  favor  of  an  oak  or  pine  which  will  live  through  the 
centuries. 

Shrubbery.  After  your  thinning  is  done  the  woods  will  seem  very 
bare,  and  the  need  of  shrubbery  becomes  apparent.  You  will  want 
a  great  variety  of  shrubs  so  as  to  have  flowers,  fruits,  or  vividly 
colored  twigs  the  year  round.  Especially  do  you  need  to  have  shrubs 
thickly  planted  at  the  edges  of  the  woods  to  give  privacy,  and  cut  oflF 
{Continued  on  page  69^.) 

6S9 


YOUR    OWN    HOME:    NUMBER   FOUR:    THE 
PLANNING  OF  THE  GROUNDS 

As  the  March  issue  of  The  Craftsman  is  so  essentially  a  "Garden  Number,"  we  have 
decided  to  postpone  our  article  on  the  various  architectural  details  of  the  home,  in  order  to 
present  here,  at  this  appropriate  season,  the  planning  of  the  grounds  and  the  relation  of 
garden  to  house. 

jIIE  importance  of  a  garden  is  threefold — its  practical 
value  as  a  place  to  grow  one's  vegetables  and  flowers; 
its  contribution  to  health  and  comfort,  as  a  spot  in 
which  to  enjoy  the  fresh  air,  sunshine,  exercise  and 
rest  of  outdoor  life;  and  especially  its  aesthetic  purpose, 
as  a  setting  for  a  house,  the  completion  of  the  archi- 
tectural scheme.  Through  the  gardener's  care  and 
wisdom,  Nature  is  induced  to  set  her  gracious  seal  upon  man's  handi- 
work, softening  its  lines,  enriching  its  surfaces,  enhancing  its  beauties, 
and — if  need  be— covering  its  mistakes  with  a  kindly  mantle  of  green. 
As  Kipling  gently  reminds  us,  "Gardens  are  not  made  by  singing 
'Oh  how  beautiful'  and  sitting  in  the  shade."  Knowledge  and  energy 
are  needed  as  well  as  enthusiasm,  and  many  a  practical  point  must 
be  considered  before  a  satisfactory  plan  can  be  evolved.  The  layout 
of  the  grounds  will  depend  largely  upon  the  size,  shape  and  position 
of  the  lot;  whether  it  is  smooth  or  level,  bare,  or  having  trees,  bushes, 
rocks,  water  or  other  natural  features;  the  position  of  the  house  and 


A  SIMPLE  VINE-EDGED  POOL  REFLECTS  THE  SYMMETRICAL  ROOF  AND  GABLKS  OF  THIS  W  Kl.L-DESIGNED 
HOUSE,  GIVING  A  PECULIARLY  INTERESTING  ATMOSPHERE  TO  THE  LEVEL  GROUNDS:  THE  HOME  OF 
ORVILLE    E.    BABCOCK,    LAKE    FOREST,    ILLINOIS  :    ALBRO  AND  LINDEBERG,   ARCHITECTS. 

660 


PLANNING  THE  GROUNDS  OF  YOUR  HOME 


"the  white  cottage,"  ENCLKFIFXP  (.REKN,  F.GHAM,  SURRKV  :  AN  FN'CLISH  HOME  THAT  HAS  BEEN 
CHARMINGLY  LINKED  TO  ITS  SURROUNDINGS  BV  VINES  AND  BORDER  PLANTING:  FROM  "COUNTRY 
COTTAGES,"   BY   J.   H.   ELDER-DUNCAN. 

that  of  neighboring  buildings;  the  points  of  the  compass,  need  of 
protection  from  cold  winds,  and  possibility  of  taking  full  advantage 
of  summer  breezes;  likewise  the  opportunity  for  vistas  from  doors, 
windows  and  porches  through  the  garden  or  out  toward  the  landscape 
beyond.  The  arrangement  will  also  be  influenced  by  the  proportion 
of  space  needed  for  vegetable  and  flower  garden,  lawn,  tennis  court, 
drying  yard,  swimming  pool  or  other  features. 

The  ground  itself  and  the  style  of  the  house  will  suggest  more  or 
less  the  style  of  treatment — whether  formal,  semi-formal  or  natural- 
istic. The  tendency  in  small  American  gardens  today  is  toward  the 
last;  formal  landscape  effects  being  left  mainly  to  the  owners  of 
extensive  gardens  and  large  estates,  who  can  afford  the  services  of 
the  professional  landscape  architect  and  gardener  in  the  laying 
out,  planting,  and  upkeep  of  the  place. 

Wliere  the  land  is  irregular  in  contour,  broken  by  miniature  hills 
and  depressions,  outcroppings  of  rock,  and  growths  of  various  kinds, 
advantage  should  be  taken  of  these  features,  by  preserving  and  en- 
hancing their  original  beauty.     For  instance,  if  there  is  an  old  apple- 

66i 


PLANNING   THE  GROUNDS  OF   YOUR   HOME 

tree  in  one  corner,  lead  your  path  toward  its  shade,  and  place  a 
rustic  bench  beneath  it,  or  build  a  circular  seat  around  the  trunk. 
If  a  clump  of  bushes  stands  near  the  house  or  at  the  end  of  the  lot, 
make  it  a  part  of  your  garden  scheme,  either  just  where  it  stands  or 
transplanted  to  some  other  spot.  A  group  of  rocks  may  serve  as 
inspiration  and  practical  basis  for  a  charming  fernery,  by  the  addition 
of  moss,  ferns  and  decorative  grasses  brought  in  from  the  woods, 
while  irregular  flat  slabs  may  be  used  as  a  stepping-stone  path  across 
the  lawn,  or  as  rustic  steps  up  some  tiny  hill. 

THE  MAKING  OF  THE  GARDEN  PATHWAYS. 

Garden  paths  should  be  planned  both  for  convenience  and  for 
vistas,  the  latter  framed  occasionally  by  an  arch,  a  pergola  or  a 
clump  of  tall  bushes  whose  upper  branches  are  trained  to  meet  and 
mingle,  forming  a  natural  bower  overhead.  The  material  for  the 
walks  may  be  gravel,  asphalt,  tar  paving,  ash  and  cinders,  cement, 
flagstones  or  brick.  The  last  named  is  capable  of  very  decorative 
handling,  being  particularly  appropriate  where  the  same  material  is 
used  in  the  house  and  garden  walls.  After  a  few  years  of  weathering 
have  softened  the  surface  and  mellowed  the  tones  of  the  pathway, 
and  moss  has  gathered  in  the  crevices,  it  acquires  quite  a  picturesque 
and  old-time  air.  More  secluded  paths,  those  that  are  not  con- 
stantly used  for  traffic  between  house  and  street,  are  delightfully 
soft  and  yielding  to  the  tread  if  covered  with  turf,  while  for  the  sea- 
shore house,  paths  of  sand,  pebbles  or  shells  are  most  in  keeping  with 
their  environment.  A  chapter  on  paths  and  their  making  will  be 
found  in  "Garden  Design  in  Theory  and  Practice,"  by  Madeline 
Agar — a  book  which  contains  very  helpful  directions  on  the  laying 
out  and  planting  of  one's  grounds. 

THE  ARCHITECTURAL  FEATURES. 

If  the  owner  has  a  carriage  or  automobile,  the  driveway,  forte 
cochere,  and  location  of  stable  or  garage  must  be  considered,  and  in  de- 
signing the  building  the  general  style  and  materials  of  the  house  should 
be  adhered  to  fairly  closely,  and  the  two  linked  more  or  less  by  hedges, 
trees,  shrubbery,  pergola  or  possibly  by  a  garden  wall.  In  our  Febru- 
ary number,  pages  five  nineteen  and  five  seventy-six,  were  published 
the  perspective  and  plan  of  an  unusually  interesting  home  in  which  the 
garage  was  built  as  an  extension  of  the  house,  tapering  off  into  the 
wall  that  sheltered  the  drying  yard,  in  a  way  that  effectively  finked 
the  building  and  its  grounds  and  gave  the  house  that  low,  rambling 
air  which  renders  so  homeUke  Old  World  cottages  and  farms. 

Since  the  architectural  features  of  a  garden  naturally  precede 
the  planting,  after  the  general  layout  has  been  made,  one  of  the  first 

66a 


PLANNING  THE   GROUNDS  OF  YOUR  HOME 

details  to  be  determined  is  the  entrance.  If  the  house  is  built  along 
symmetrical  Colonial  lines,  with  the  front  door  in  the  center,  the  best 
plan  as  a  rule  is  to  lead  one's  pathway  through  a  simple,  dignified 
entrance — an  iron  or  wicket  gate  between  pillars  of  the  sanae  material 
as  the  house,  or  possibly  a  white  wooden  archway — straight  up  to 
the  door,  with  perhaps  a  narrower  walk  branching  around  to  a  side 
porch  or  kitchen  entrance.  When  the  house  is  of  irregular  outline, 
with  the  main  entrance  at  the  side,  set  in  an  informal  garden,  a  wind- 
ing path  bordered  with  shrubs  or  flowers  is  in  effect  most  friendly. 

DESIGNING  THE  GARDEN  ENTRANCE. 

The  design  of  the  entrance  is  of  importance,  for  unless  the  house 
is  in  plain  view  of  the  street,  it  is  the  first  architectural  note  that 
greets  the  visitor,  and  should,  therefore,  set  the  keynote  for  both 
home  and  garden.  For  a  fieldstone  house  with  white  trim,  nothing 
can  be  more  appropriate  than  a  white  wooden  gate  hung  between 
stone  posts  capped  with  cement  and  flanked  by  a  low  stone  wall 
with  cement  coping.  Or  if  the  house  is  of  brick  with  a  tile  roof, 
brick  posts  and  wall  with  sloping  tile  caps  may  be  used.  On  the 
other  hand,  for  a  house  set  among  wild  woodland  surroundings,  and 
built  of  shingle  or  logs,  a  rustic  entrance  is  most  in  harmony  with 
the  spirit  of  the  place.  The  rustic  note  may  be  repeated,  too,  in 
pergola,  summer-house,  arbor  or  other  garden  shelter,  and  even  in  a 
bridge  if  one  has  to  cross  a  creek  or  small  ravine. 

PLANNING  THE  GARDEN  SHELTERS. 

A  delightful  way  to  tie  house  and  grounds  into  one  harmonious 
unit  is  to  build  a  pergola  from  the  side  or  rear  entrance  to  some 
especially  inviting  garden  spot — a  summer-house  or  tea  pavilion, 
or  an  open  lawn  with  a  fountain  in  the  center  and  shrubbery  and 
trees  in  the  background.  Suggestions  for  the  design,  placing  and 
operation  of  garden  fountains  will  be  found  in  another  illustrated 
article  in  this  issue. 

In  any  garden  structure — arbor,  archway,  summer-house,  tool 
house,  terrace  or  steps — both  materials  and  design  should  harmonize 
with  those  of  the  house.  And  it  is  best  not  to  place  such  features 
in  isolated  positions,  but  to  connect  them  with  the  main  building 
by  paths,  trellises,  low  borders  of  bushes,  shrubbery  or  other  forms 
of  planting.  Several  excellent  examples  of  this  principle  are  shown 
in  the  illustrations. 

THE  VALUE  OF  THE  LAWN. 

In  planning  the  lawn,  amateurs  should  resist  the  temptation  to 
make  it  a  setting  for  individual  flower-beds  or  specimens  of  interesting 
shrubs  and  plants,  for  such  a  method  is  more  showy  than  artistic, 

663 


PLANNING  THE  GROUNDS  OF   YOUR  HOME 

and  deprives  one  of  that  restful,  unbroken  expanse  of  green  which 
adds  so  much  to  the  dignity  and  peace  of  the  grounds.  The  lawn 
with  trees,  shrubs  and  flowers  sheltering  and  encircling  instead  of 
interrupting  it,  proves  far  more  satisfying  in  the  long  run. 

The  application  of  fertilizer  in  the  shape  of  superphosphate  of 
lime,  bone-dust  or  well-rotted  manure,  the  plowing  and  harrowing 
or  raking  of  the  ground  just  before  the  grass  seed  is  sown,  are  matters 
that  require  attention  if  a  successful  lawn  is  to  be  made,  and  the  best 
quality  of  grass  seed,  free  from  weeds  and  chaff,  must  be  bought. 
In  "How  to  Plan  the  Home  Grounds,"  by  Samuel  Parsons,  Jr., 
directions  for  the  design,  grading,  sowing  and  care  of  lawns  will  be 
found,  with  other  chapters  on  important  phases  of  gardening. 

PLANTING  AGAINST  THE  FOUNDATION. 

One  of  the  most  important  forms  of  planting  is  that  around  the 
base  of  the  house.  No  matter  how  interesting  the  architecture,  the 
building  will  appear  new,  detached  and  unrelated  to  its  surroundings 
if  the  entire  foundation  line  is  visible.  A  few  well-placed  shrubs, 
vines  and  tall  perennial  flowers  will  soon  provide  the  needed  link. 
Lilac,  spiraea,  barberry,  weigeha,  deutzia,  laurel,  rhododendron, 
azalea,  Japanese  quince,  dogwood  and  mixed  evergreens  are  among 
the  shrubs  most  suitable  for  this  purpose.  An  occasional  vine- 
ivy,  Virginia  creeper,  rose  or  trumpet-creeper — trained  up  the  bare 
wall  or  against  a  simple  trellis,  will  furnish  variety,  decorate  a 
plain  surface  and  give  the  house  that  gracious,  mellowing  touch  which 
even  the  best  of  architecture  needs  for  its  completion. 

THE  BACKGROUND  OF  THE  HOME. 

Another  feature  that  contributes  largely  to  the  homelike  atraos- 
phere  of  the  place  is  the  provision  of  a  friendly  background  against 
which  the  house  may  be  seen  from  street  or  garden.  How  inviting 
appears  the  home  that  stands  near  the  edge  of  a  bit  of  woodland, 
against  an  old  apple  orchard,  or  in  the  partial  shadow  of  nearby  trees ! 
If  no  such  pleasant  guardians  exist  upon  the  property,  the  owner  will 
do  well  to  provide  for  the  future  and  plant  a  group  or  two  of  young 
foliage  or  fruit  trees,  and  a  clump  of  evergreens,  to  prevent  the  house 
and  grounds  from  looking  new  and  bare.  Evergreens,  either  trees, 
shrubs  or  both,  should  be  included  in  every  garden  scheme,  for  their 
presence  will  insure  a  note  of  warmth  and  color  during  the  winter 
months,  bridging  the  gap  between  the  seasons. 

TREES  AND  THEIR  CHARACTERISTICS. 

The  size,  color,  hardiness,  speed  of  growth  and  other  character- 
istics should  be  considered  in  selecting  trees  for  the  grounds,  and  the 
gardener  will  find  an  interesting  and  helpful  chapter  on  this  subject 

664 


FOUNDATIOX  PI.AXT1NC  IS  ONK  OF  THE  MOST  EFFECTIVE  MEANS  OF  PRODUCING  HARMONY 
BETWEEN  HOUSE  AND  GROUNDS  :  THIS  PHOTOGRAPH  OF  THE  HOME  OF  MRS.  JOSEPH 
BRIGHT  AT  BRYN  MAWR,  GIVES  A  DELIGHTFUL  SUGGESTION  FOR  THE  PLANTING  OF  VINES 
AND  SHRUBS  AGAINST  THE  WALLS  :  THE  GRASS-BORDERED  PATHWAY  OF  BRICK  AND  THE 
WELL-PLACF.D   TREES    WHICH    EMPHASIZE    THE    GARDEN    VISTA    ARE    ALSO    WORTH    NOTING. 


A  GENEROUS  GROWTH  OF  VINES  OVER  THE  WALLS  AND  LUXURIOUS  PLANT- 
ING OF  FLOWER-BEDS  SEPARATED  BY  WIDE  GRASSY  WALKS,  BRING  THIS 
PLEASANT   HOME   INTO  CLOSE  COMPANIONSHIP  WITH   ITS  GARDEN. 


CALIFORNIA  ARCHITECTS  AND  GARDENERS  REALIZE  HOW  ESPECIALLY 
VALUABLE  VINES  ARE  IN  SOFTENING  THE  NEWNESS  OF  RECENTLY  ERECTED 
WALLS  AND  PROVIDING  A  TRANSITIONAL  STEP  BETWEEN  HOUSE  AND 
grounds:  the  above  picture  shows  how  THIS  WAS  ACCOMPLISHED 
IN  THE  HOME  OF  MRS.  GEORGE  W.  FULFORI)  AT  SAN  DIEGO,  DESIGNED  BY 
IRVING    GILL. 


4,^' 


I 


A  CI  ASSIC  AIR  DISTINGUISHES  THE  PERGOLA-COVERED  WALLS  OS 
THE  GROUNDS  OF  J.  H.  BARNES  AT  PASADENA,  CAUFORNIA  :  HUNT 
AND   GREY,    ARCHITECTS. 

THIS  SIMPLE  COTTAGE  GARDEN  WITH  ITS  NODDING  HOLLYHOCKS 
ON  EACH  SIDE  OF  THE  LOG  RAIL  MIGHT  WELL  AFFORD  INSPIRATION 
FOR    MANY    AN    INFORMAL    AMERICAN    GARDEN,    LARGE    OR    SMALL. 


llii.K].  l>  ,\  >L  i.i.iM  ION  vV  THE  EXOUISITE  ART  OF  TIIK  JAI'ANtSE  IN  THE  STONE  FOUNDATION  AND 
VINE-HUNt;  WINDOW  OF  THE  UPPER  PHOTOGRAPH,  WHICH  SHOWS  A  DETAIL  FROM  A  PASADENA 
HOME    DESIGNED    FOR    J.    W.    NEILL   BY    GREENE    AND   GREENE. 

ENTRANCE  TO  A  NEW  JERSEY  HOME  IN  WHICH  VINE-COVERED  LATTICE  WORK  AND  FLOWER-FILLED 
WINDOW-BOX    TAKE    AWAY    ANY    LOOK  OF  BARENESS  FROM  THE  WALLS. 


AKCHin-.Ll    AMI   OAR- 
liENtR   HAVE  WORKED 
TOGETHER  IN   A   RE- 
.\rARKABLV   SYMPA- 
THETIC  FASHION   IN 
THE  HOME  PICTURED 
ABOVE;   THE  GRACEFUL 
LINES  OF  THE  WELL- 
PROPORTIONED   HOUSE 
ARE  ENHANCED  BY  THE 
TRACERY  OF  VINES,  THE 
ENTRANCE  IS    MADE 
EVEN    MORE  INVITING 
BY  THE  INFORMAL 
STONE  STEPS,  AND  THE 
TALL    SHRUBS   ON 
EITHER  SIDE  SERVE  TO 
FRAME  THE  APPROACH 
AND  REPEAT  THE   LIFT- 
ING LINES  OF  GABLES 
AND   CHIMNEYS  : 
CLOSELY  MASSED  PLANT- 
ING ABOUT  THE 
FOUNDATION  LIKEWISE 
HELPS  TO   MAKE  THE 
BUILDING   SEEM    AN 
INTEGRAL  PART  OF  THE 
LANDSCAPE. 


lUK  A  CALIFORNIA  HOME  OF  MISSION  STYLE,  BUILT  ON  THE  TOP  OF  RISING  GROUND. 
FEW  APPROACHES  COULD  BE  SO  APPROPRIATE  AS  THE  STEPS  AND  PERGOLA  SHEL- 
TERED TERRACES  THAT  LEAD  IN  GENTLE  STAGES  UP  THIS  GARDEN  HILL:  THE  RESI- 
DENCE  OF   D.   C.    W.   LEFFINGWELL,    PASADENA,    DESIGNED   BY    HUNT    AND    EAGER. 


PLANNING  THE  GROUNDS  OF  YOUR  HOME 

in  "Garden  Design."  Among  other  things,  the  author  reminds  us 
that  the  shape  of  a  tree  has  a  distinct  bearing  on  its  fitness  for  certain 
situations,  each  having  its  own  typical  contour  or  silhouette.  "Some 
are  globular,  such  as  oak  and  sycamore,  some  are  oval,  as  the  hme; 
others  are  triangular  in  outline,  from  a  broad  base  as  the  horse- 
chestnut,  narrower  in  the  spruce  and  still  less  in  the  larch.  Tall, 
slim  trees,  of  which  the  Lombardy  poplar  may  be  taken  as  the  extreme 
type,  are  admirably  suited  to  levels.  .  .  .  Round-headed  trees 
suggest  solidity,  and  suit  with  gently  undulating  ground.  Drooping 
or  weeping  trees  are  lovely  by  still  water  because  their  reflections 
complete  a  curve.  Trees  with  rugged  contours,  such  as  Scotch  firs, 
accentuate  broken  ground.  These  observations  apply  to  single 
specimens  whose  outlines  are  well  defined.  In  groups  one  relies  more 
on  color  and  texture  for  effect. 

"A  few  fast-growing  trees,"  adds  the  same  writer,  "and  those 
patient  of  removal  when  large,  should  be  chosen  in  the  planting, 
for  the  look  of  a  garden  where  everything  is  immature  is  uninteresting. 
Poplars  can  be  shifted  when  quite  a  good  size,  and  grow  fast;  syca- 
mores and  Umes  are  also  useful.  But  these  must  not  be  planted  to 
the  exclusion  of  grander  and  more  permanent  trees.  The  designer 
should  aim  to  introduce  at  least  one  fine  timber  tree  into  every  graden 
he  lays  out — a  cedar,  oak  or  beech  for  the  sake  of  posterity,  for  we 
who  inherit  so  much  beauty  in  old  trees  in  old  gardens  are  doing  very 
little  for  our  successors." 

Those  who  possess  fairly  extensive  grounds  may  like,  in  addition 
to  the  general  planting,  to  devote  some  of  the  space  to  special  flowers 
or  forms  of  planting — a  rose  garden,  for  instance,  or  an  iris  garden, 
a  water  garden,  a  rockery,  or  a  Japanese  garden.  But  those  who 
have  only  a  limited  area  usually  prefer  to  treat  the  whole  as  a  unit, 
and  to  plant  beds,  borders  or  groups  of  flowers  wherever  a  note  of 
rich  color  and  the  delicate  grace  of  blossoms  are  needed. 

The  fruit  and  vegetable  garden  should  naturally  be  within  easy 
reach  of  the  kitchen,  the  space  devoted  to  this  purpose  depending 
upon  the  area  available,  the  needs  of  the  family  and  the  amount  of 
care  that  can  be  given  to  the  work  of  cultivation.  It  is  usually 
advisable  to  wall  this  garden,  not  only  to  keep  out  human  and  animal 
intruders,  but  also  to  provide  surfaces  for  the  training  of  fruit  trees. 

The  foregoing  merely  indicates  the  general  principles  to  be 
followed  by  the  American  gardener.  For  more  detailed  instruction 
on  each  point  speciaUzed  articles  and  books  must  be  referred  to. 
And  those  who  wish  advice  and  help  in  their  undertaking  will  always 
find  our  Garden  Department  ready  to  aid  them  in  achieving  just  the 
sort  of  place  on  which  they  have  set  their  hearts. 

671 


PROPERLY    AP 
POINTED  DWELL- 
INGS:   NUMBER 
FOUR:    COMFORT 
FROM  SMALL  FIT 
TINGS   IN    HOMES 


HAT  makes  rooms  look'  like  a  hired-by-the-day  suite 
in  a  hotel?  The  lack  of  all  those  small  wares  in  furn- 
ishing that  express  the  personal  touch.  And  what 
makes  a  room  tasteful  and  lovable?  A  proper  selec- 
tion of  those  small  wares.  All  of  which  means  that 
delightful  work  is  ahead  of  the  home-maker,  after  the 
first  essentials  are  secured, — the  house  itself  and  the 
absolute  necessities  in  furniture.  With  the  big  work  out  of  the  way 
one  can  set  about  choosing  the  little  things,  and  therein  lies  much 
joy  and  satisfaction,  for  artist  and  artisan  spend  their  best  talent  on 
these  little  things  just  to  please  our  fancy  and  satisfy  our  desires. 

A  plan  made  beforehand  always  assists  to  a  good  result,  so  it  is 
an  enormous  help  in  buying  the  accessories  to  a  happy  life  in  the 
new  home.  Such  a  plan  needs  be  mental  only,  and  decidedly  sketchy. 
It  has  its  central  motive  in  the  word  "corners."  A  house  that  is 
lived  in  with  satisfaction  always  resolves  itself  unconsciously  into 
corners.  But  the  wise  furnisher  will  do  the  trick  consciously,  knowing 
from  the  start  the  placing  of  the  objects  bought. 

One  of  the  first  corners  to  fit  out  is  the  lounging  corner,  where 
one  may  rest  from  labor — and  plan  more  corners.  Also  it  is  a  cordial 
place  in  which  to  receive  the  first  guests.  Its  primal  necessity  is  a 
great  all-embracing  humanity -loving  sofa. 

This  piece  of  furniture  tells  at  once  whether  the  house  is  for  show 
or  for  comfort,  for  the  frigid  atmosphere  or  the  sympathetic.     To 

672 


COMFORT  AND  BEAUTY  IN  SMALL  HOUSE   FITTINGS 

serve  one  well  it  should  have  the 
generous  lines  that  suggest  com- 
fort and  rest,  and  the  size  that 
suggests  hospitality.  Of  what  it 
shall  be  made  depends  on  the 
purse.  There  are  styles  which 
are  upholstered  over  all,  styles 
with  loose-cushioned  seats,  and 
styles  in  both  wicker  and  wood 
which  rely  upon  cushions  for 
their  appearance  of  soft  luxury. 
These  former  styles  mount  up  to 
one,  two  or  three  hundred  dollars, 
according  to  elegance  and  quality, 
but  a  modest  expenditure  will  get 
a  wood  or  a  wicker  sofa  of  fine  size 
and  proportion  which  can  have  a 
handsome  seat  cushion  of  Tudor 
velvet  or  velour  and  as  tempting 
a  pile  of  smaller  cushions  as  ever 
soothed  a  troubled  head  or  a  lazy 

Flank  this  sofa  with  a  lamp.     That  is  imperative.     Some  one 
will  want  to  lie  there  and  read,  or  cuddle  in  the  corner  and  knit. 

There  must  be  besides  some  sort  of 
low  stand,  following  the  method  of 
the  Turks,  for  the  after-dinner  coffee, 
or  for  the  |flowers  and  books  of  the 
lounger.  The  lamp  may  be  on  a 
standard,  one  of  those  tall  movable 
affairs  that  may  be  moved  at  pleasure 
and  which  shed  such  abundant  light 
on  the  spot  where  most  needed. 

At  the  very  name  of  lamp  there 
comes  up  such  a  host  of  suggestions 
that  one  is  swamped  by  them.  The 
lighting  of  the  house  is  a  department 
over  which  architects  and  decorators 
are  always  puzzling.  But  after  read- 
ing all  the  books,  and  examining 
thousands  of  lighting  fixtures,  the 
matter  seems  to  show  only  two  or 
three  fixed  principles  which   are   of 

HERE  THE  COLORS  OF  THE  DRAPERIES  ARE  RE-  1  .  j.1.  1.  • 

PEATED  IN   THE   DECORATIONS  OF  THE  CHAIR.    prECtlCal      ValUC      tO      thC      One      WDO      IS 


AN  INTERESTING  AND  NOVEL  TREATMENT  OF  AN 
UNUSUAL  SQUARE  CASEMENT  :  SILK  OF  BLACK 
LINE   WOULD  BE   EQUALLY  EFFECTIVE. 


COMFORT  AND  BEAUTY  IN  SMALL  HOUSE   FITTINGS 

making  a  real  home.  There  are  two  large  classes  of  lamps,  those 
which  supply  light  for  use,  and  those  which  supply  hght  for  decora- 
tion. 

The  ideal  is  the  lamp  which  both  Ughts  and  decorates,  and  that 
we  may  have  by  taking  thought  about  the  shade,  its  color  and  its 
degree  of  opacity.  Not  long  ago  the  idea  of  indirect  lighting  seized 
us.  We  were  told  that  every  lowjlamp  was  a  relentless  menace  to  the 
optic  nerve,  and  were  cautioned  about  the  danger  of  the  lamps  around 
which  we  love  to  gather  when  night  falls  and  the  family  sits  at  peaceful 
amusements.  The  correct  thing,  said  [the  hghting  experts,  was  a 
high  bowl  of  lights  thrown  against  a  whitened  ceiling,  the  reflected 
rays  of  which  blest  the  room  with  a  beneficent  radiance. 

Now,  indirect  ceihng  hghting  is  an  excellent  thing  in  its  proper 
sphere,  but  it  does  not  take  the  place  of  the  cozy  table  lamp.  We 
need  the  low,  intimate  hghts  around  which  we  can  gather  to  read, 
chat  or  sew — especially  in  the  living  room,  where  the  plan  should 
form  itself  into  corners  or  groups. 

Lamps  for  oil,  or  lamps  for  electricity  vary  only  in  their  mechanical 
contrivances,  so  no  choice  is  to  be  made  except  when  the  base-plugs 
in  a  room  are  less  numerous  than  the  lights.  But  the  shade  is  a 
matter  of  serious  consideration,  and  has  rules  of  its  own,  which  must 
be  followed,  the  primary  one  of  which  is  that  no  shade  should  ever 
be  thin  enough  to  allow  the  lamp  to  hurt  the  eye  on  looking  at  it. 
Other  rules  are  those  of  color.  If  you  are  the  least  puzzled  about 
this,  try  various  transparent  colors  over  a  lamp  and  see  the  alteration 
made  in  your  walls  and  fabrics — as  well  as  on  the  human  countenance. 
Green  one  should  avoid  wherever  possible,  but  a  rosy  light  has  charm. 
If  the  lining  of  the  shade  is  white  the  power  of  reflection  is  greater. 

The  light  for  the  dining  table — it  is  hard  to  be  too  emphatic  in 
insisting  that  a  "dome"  is  a  horror.  Either  it  hangs  high  and  dazzles 
the  eye,  or  it  hangs  low  and  oppresses  like  a  screening  rock  swung 
between  you  and  the  opposite  face.  No  table  looks  prettier  than 
when  lit  by  candles  or  candle-lamps  with  pale  shades  of  pink,  orange 
or  other  festive  color. 

Somewhere  in  the  ideal  house  is  the  tea  corner,  devoted  to  the 
gentle  art  of  friendship  and  of  knowing  one's  family.  Its  first  requi- 
site is  a  table.  Choose  it  well,  for  it  belongs  to  the  class  of  furniture 
that  is  adaptable  to  more  uses  than  one.  It  is  the  little  handy  table 
that  with  wings  spread  can  be  dressed  to  appear  permanent  and 
important,  or  it  folds  into  modest  inconspicuousness  against  the  wall 
waiting  its  time  to  serve  for  cards,  sewing  or  its  primal  object — tea. 

If  all  my  tables  were  to  be  taken  from  me  save  one,  I  would 
choose  to  retain  the  gate-legged  table.  It  has  virtues  all  its  own 
674 


THIS  GROUP  OF  MODERN- 
REPRODUCTIONS  OF  ADAM 
FURNITUR1C    SHOWS    TWO 
OCCASIONAL  CHAIRS 
WHICH   WOULD  BE  APPRO- 
PRIATE FOR  ALMOST  ANY 
CORNER  OF  LIVING  OR 
DRAWING  ROOM  :   THE 
SAME  MAY  BE  SAID  OF 
THE  SLENDER  BUT  FIRMLY 
MADE  TABLE. 


THESE    PIECES   ARE 
OF  SAN  DOMINGO 
MAHOGANY, 
CARVED  IN  THE 
SOLID  WOOD,  AND 
GIVEN    A   SOFT 
NUT-BROWN 
FINISH  :    THE 
CANE  SEAT  AND 
BACK  ARE  HAND 
WOVEN. 


A  (  i.W  !  ;  \  I  h-.  -  .IKNKR  WITH  COLONIAL  CHAIH.  ARMCHAIR  AND  CATELK'; 
TABLE,  MADE  IN  THE  SAME  WOOD  AS  THE  ADAM  PIECES  ABOVE— SAN  DOMINGO 
MAHOGANY  WITH  MELLOW  BROWN  FINISH  :  A  CRAFTSMAN  LAMP  WITH 
MAHOGANY   BASE   AND   SILK    SHADE   PROVIDES  A   FRIENDLY   LIGHT. 


SOMK  MODhkiN  Kb.l'RcjliljL  1  UiN  3  sHOUI.Nu  IHL  t.M.l.lJH  ANU  FRENCH  INFLUENCE  AKE  SEEN  IN  THE 
UPPER  PHOTOGRAPH,  AND  IN  THE  DOORWAY  BEHIND  IS  A  SIMPLE  AND  DIGNIFIED  ARRANGEMENT  OF 
DRAPERIES,    THE    MATERIAL   BEING    SILK   REP  OF  A  RICH   CORAL  TONE. 

NEW  AND  DECORATIVE  EXAMPLES  OF  BLOCK-PRINTED  LINENS  ARE  PRESENTED  IN  THIS  COZY  LOUNG- 
ING corner:  THE  RICH  DESIGNS  AND  BRILLIANT  COLORS  OF  THE  PILLOWS  AND  DRAPERY  AFFORD  AN 
INTERESTING  CONTRAST  TO  THE   SOFTER  TONES  OF  THE  WILLOW  COUCH   AND  LAMP. 


THESE  TWO  PHOTOGRAPHS   WERE 
MADE  IN   ONE  OF  THE    MODEL 
ROOMS  IN   THE  DEPARTMENT  OF 
INTERIOR  FURNISHINGS,   IN   THE 
CRAFTSMAN   BUILDING,   AND   SUG- 
GEST AN   ATTRACTIVE   WAY  OF 
ARRANGING  A  BEDROOM,  DRESSING 
ROOM   OR  BOUDOIR  :  THE  COLOR 
SCHEME  OF  THIS   ROOM   IS   PALE 
GREEN   AND  SOFT  ROSE,  THESE 
TONES  BEING  REPEATED  IN  THE 
DELICATELY   STRIPED   WALL  PAPER, 
THE  FLOWERED  CRETONNE  CUR- 
TAINS IN  THE  DOORWAY  AND  IN 
THE  TINY  WINDOW   HIGH  IN  THE 
WALL,  AS  WELL  AS  IN  THE 
CUSHIONS  OF  THE  CHAIRS:   THE 
WILLOW   ARMCHAIR,   WHICH   IS 
STAINED  A  PALE  GRAYISH   GREEN, 
IS  COMFORTABLE  AND  ROOMY,  AND 
GIVES    A   PLEASANT    NOTE   OF 
VARIATION  TO  THE  FURNISHINGS  : 
THE  OTHER  PIECES  ARE  OF  GUM- 
WOOD,   DESIGNED  ALONG   SIMPLE, 
LIGHT  AND  GRACEFUL  LINES,  AND 
FINISHED  IN  MELLOW  GRAY-GREEN 
TONES:  THIS   WOOD   IS   PARTICU- 
LARLY  SUITABLE  FOR  USE   IN 
ROOMS  OF  THIS  CHARACTER. 


AT  THE   RIGHT  IS  THE 
DRESSING   CORNER  OF 
THE  BOUDOIR,    WITH 
ITS   SMALL  BUT  CON- 
VENIENT   DRESSING 
TABLE,   TRIPLE    MIRROR. 
CANDLESTICKS,   AND 
CUSHIONED  CHAIR  :   ON 
THE  STAND  NEARBY  IS 
A  LAMP  WITH   STAND- 
ARD OF  LENOX  POTTERY. 
PALE  GREEN  TO   MATCH 
THE  FURNISHINGS,  AND 
HAVING  A  SHADE  OF 
FLOWERED  CRETONNE 
LIKE  THE   CURTAINS 
AND  CUSHIONS  :   THE 
ROCKER   IS  JUST  LOW 
ENOUGH   TO  BE  CON- 
VENIENT FOR  FASTEN- 
ING one's   SHOES.  OR 
FOR   SEWING. 


THE  DF.SK  AND  CHAIR  SHOWN   IN  THE 
PHOTOGRAPH  AT  THE  RIGHT  ARE  UNUSU- 
ALLY SATIJ'-FACTORY  REPRODUCTIONS  OF 
ADAM    PIECES,    MADE  IN    MAHOGANY  : 
THE  CHAIR  WITH  ITS  TAPERING  LEGS 
AND  COMFORTABLY   UPHOLSTERED  SEAT, 
SIDES  AND  BACK,  IS  COVERED  WITH   A 
RICH  BLACK-AND-GOLD  BROCADE  WITH   A 
SMALL  ALL-OVER   PATTERN  :    AT  THE 
WINDOW  IS  ONE  OF  THE  NEW  BLOCK- 
PRINTED  LINENS   IN    WHICH    DECORATIVE 
STRIPES  ALTERNATE  WITH   CONVENTION- 
ALIZED POTTED  FLOWERS  ;  THE  LIGHT 
IS   FURTHER    MELLOWED  BY  THE   SOFT 
NET   CURTAINS   THAT   COVER   THE 
WINDOW   PANE. 


AN  EXCEPTIONALLY  CHARMING  WINDOW 
CORNER  IS  REPRODUCED  AT  THE  LEFT — 
THAT  SHOWS   HOW  VARIOUS  TYPES  OF 
FURNITURE  STYLES  AND  MATERIALS  CAN 
HE   HARMONIOUSLY  COMBINED:   OPPO- 
SITE THE  MAHOGANY  ARMCHAIR,  WHICH 
REVEALS   ITS   ENGLISH   ORIGIN,   STANDS 
A  CRAFTSMAN  TABORET  OF  FUMED  OAK, 
WHILE  BEHIND  THEM,   ACROSS  THE 
WINDOW,    IS   A    WILLOW   BOX    FILLED 
WITH    GERANIUMS  :    PRINTED   LINENS 
OF  RICH  COLORING  ARE  USED  AT  THE 
WINDOW  OVER  LIGHTER  CURTAINS  OF 
WHITE  NET. 


MOST  OF  THE  (iRl)UPS   SHOWN  ON  THESE   PAGES    WERE   SPECIALLY   ARRANGED   AND   PHOTOGRAPHED  IN 
THE  DEPARTMENT  OF  INTERIOR  FURNISHINGS  ON  THE  FOURTH   FLOOR  OF  THE  CRAFTSMAN  BUILDING. 


AFTHK.VOOX  TEA  WOULD  BE  DOUBLY  REFRE^Hl.\l,  SERVED  IN  THIS  TASTEFUL 
corner:  the  armchair,  tea  wagon  AND  MUFFIN  STAND  REPRESENT  SOME 
OF  THE   MOST  RECENT   DESIGNS   IN    WILLOW    FURNISHINGS. 

A  SEWING  CORNER  IN  WHICH  W'ORK  WOULD  BE  A  PLEASURE  :  THE  HASSOCK,  IT 
WILL  BE  NOTICED,  IS  COVERED  WITH  THE  SAME  MATERIAL  AS  THE  ROCKER 
CUSHION. 


■v 


A  RF.ADING  CORNER  THAT  SUnCF.STS  CURRENT  MAGAZINES  AND  THE  LATEST 
novel:  the  LIGHT  WILLOW  BOOKSHELF  COULD  BE  MOVED  IN  SUMMER  ONTO 
THF.    PORCH. 

WHITE  ENAMEL  FURNITURE,  PALE  STRIPED  WALLS  AND  ROSE-COVERED  CHINTZ 
DRAPERIES  BRING  A  DELIGHTFUL  FRESH  AND  DAINTY  ATMOSPHERE  INTO  THIS 
SIMPLE   BEDROOM. 


COMFORT  AND  BEAUTY  IN  SMALL   HOUSE   FITTINGS 

which  endear  it  to  its  possessor.  For  tea,  nothing  could  be  more 
practical.  It  is  steady  but  light,  takes  up  as  little  room  as  you  like, 
or  spreads  with  hospitable  intent,  and  when  all  is  finished  retires 
slim  and  demure  from  the  scene.  With  the  proper  finish  to  the 
wood,  a  finish  that  defies  heat,  this  is  the  ideal  table  for  the  tea  corner. 
But  as  tea  is  sometimes  served  out  of  its  special  place— on  the 
piazza  or  the  lawn,  for  instance,  a  great  pleasure  is  taken  in  a  tea- 
wagon,  a  table  with  wheels  that  seems  to  give  it  cousinship  to  the 
baby's  perambulator.  It  is  a  pretty  labor-saver  and  where  one  cannot 
have  a  maid  always  in  attendance  it  comes  in  with  tea  all  ready  to 
serve  and  no  favors  to  ask  of  a  tired  or  busy  servant.  This  sort  of 
table  is  prettiest  in  wicker. 

Of  the  tea-service  itself  one  might  talk  all  day,  describing  the 
varieties  of  lovehness  it  may  display,  but  to  be  entirely  practical 
and  condensed,  let  us  take  the  word  of  old  tea-servers  that  a  china 
pot  is  the  only  pot  in  which  to  brew  tea.  Place  the  silver  pot  on  the 
table  for  show,  if  you  like,  but  keep  the  insidious  tannin  of  the  fragrant 
herb  from  contact  with  metal.  The  porcelain  glaze  offers  no  menace 
to  its  flavor  nor  to  the  human  digestion. 

Next,  among  the  essentials  is  the  hot- water  kettle.  Letfit  be 
large,  large  enough  to  serve  even  the  unexpected  guests.  And  let 
it  have  one  of  those  generous  lamps  whose  alcohol  never  gives  out 
and  whose  light  flames  ardently  over  the  entire  bottom  of  the  kettle, 
in  order  that  the  moments  of  waiting  for  the  boiling  may  be  curtailed. 
The  "curate's  assistant"  is  the  best  of  devices  for  serving  all 
eatables  with  one  turn  of  the  wrist.  If  you  cannot  buy  one,  suggest 
to  others  that  your  birthday  is  near.  Then,  if  you  can,  have  a  screen 
to  shut  off  draughts  from  the  kettle,  and  you  have  all  that  is  necessary. 
No,  one  thing  more — the  chair  that  can  be  moved  about  from 
place  to  place,  the  occasional  chair.  It  is  always  wanted  at  the  tea- 
table.  It  is  wanted  all  over  the  house,  in  fact.  If  it  is  made  of 
beautiful  wood  in  reflection  of  some  old  style  that  is  dear  to  us,  it  is 
fitly  transferred  to  almost  any  room  in  the  house.  There  are  chairs 
made  in  the  Unes  of  Adam,  those  late  eighteenth  century  chairs  that 
are  always  in  style  and  always  lovely.  The  lines  in  these  are  graceful 
and  the  detail  fine,  running  into  the  flutes  and  lozenges  of  classic 
origin. 

Bedroom  chairs  are  simpler,  the  straight  construction  being 
preferred,  but  light  in  type.  A  slipper  chair  has  shortened  legs  to 
make  the  bend  less  arduous  in  lacing  boots.  Chairs  for  the  living 
room  are  more  generous  in  construction,  such  chairs  as  the  stranger 
is  not  afraid  to  repose  upon.  And  all  of  these  occasional  chairs  may 
differ  from  the  furniture  of  the  rooms  in  which  they   are  placed. 

68i 


COMFORT  AND   BEAUTY    IN  SMALL  HOUSE    FITTINGS 


SUGGESTION       FOR      A       DRESSING-ROOM 

CORNER     SHOWING    THE     INFLUENCE    OF     MODERN 

DECORATIVE      ART      IN      WINDOW      DRAPERIES      AND 

FURNITURE. 


The  reading  corner  declares 
itself  to  the  reader  who  has  al- 
ways his  eye  on  books.  He  asks 
these  first  then  ooks  for  the  easy 
(hair,  and  then  the  proper  light. 
That  is  all  he  asks  before  oblivion 
overtakes  him.  But  there  must 
he  a  case  to  hold  the  books,  one 
of  those  temporary,  movable 
shelves  that  suggest  the  current 
magazine,  the  latest  book,  rather 
than  treasurers  of  well-tried  liter- 
ature that  binds  itself  proudly  in 
sets.  The  heavier  shelves  are 
where  the  architect  has  placed 
them,  but  this  trifle  is  for  intimate 
and  personal  use,  and  for  moving 
about  if  you  like. 

The  lamp  must  be  always 
good,  simple  in  taste,  with  a 
Mazda  burner  well-shaded.  The 
reader's  chair  should  hold  well 
NDow  and  comfortably  him  who  forgets 
his  caving  chest  in  the  interest 
of  his  book.     Add   a  tiny  table 


for  smoking,  for  candy,  or  any 
other  dear  and  vicious  indulgence, 
and  the  reader's  corner  will  chain 
the  most  restless  by  its  insidious 
charm. 

The  ideal  house  has  also  its 
corner  for  sewing  and  for  conver- 
sation, for  these  two  things  go 
together  as  naturally  as  bread 
and  honey.  To  "sit  on  a  cushion 
and  sew  up  a  seam"  is  boresome 
work  indeed,  if  one  is  alone  at  the 
task. 

What  must  one  have,  then,  to 
make  sewing  a  pastime  instead 
of  a  grind?  A  table  and  two 
chairs  are  enough — but  such  an 
equipment  the  barest  hotel  room 

•     t    .  •  »     1   I        .  1  1       SOFTENED  BY  HANGINGS  OF  RICH  CHINTZ  MATCH- 

nught  give.     Add,  then,  a  work  ing  the  armchai*. 
682 


COMFORT  AND   BEAUTY  IN   SMALL   HOUSE   FITTINGS 


table,  with  pockets  that  may  be  filled 
with  unsewn  stuff,  or  with  flowers  to 
lift  one  above  the  sordid,  and  with  a 
top  that  holds  a  lamp  to  defeat  the 
shades  of  night  when  night  is  falling 
fast.  A  hassock  or  two  to  hold  a  knee 
well  up  while  working,  is  an  old  device 
appreciated  now.  Add  a  waste-basket 
for  scraps,  and  lo,  another  corner  is 
made  to  show  the  tasteful  and  practi- 
cal intent  of  the  home. 

Mounting  the  stairs  to  the  bedroom, 
the  corner  where  one's  careful  groom- 
ing is  done  merits  consideration.  A 
dressing  table  is  needed  to  start  with, 
not  a  tall  bureau  at  which  one  must 
stand,  but  a  friendly  little  shrine  which 
in  place  of  a  Van  Eyck  triptych  has  a 
triple  mirror.  Here  are  displayed  all 
"the  pretty  tiny  little  kickshaws"  that 


FORMAL     A  Nil 

DRAPERIES  THAT  HARMONIZE  WITH 

THE    FURNISHINGS. 


INTERESTING  TREATMENT  OF  DOUBLE 
WINDOWS  AND  DOOR,  WITH  THE  SAME 
FABRIC  REPEATED  IN  THE  \^ENNESE 
FURNITURE. 

one  accumulates  in  a  life  of  birthdays, 
Christmases  and  card  parties,  all  in  silver 
or  ivory,  and  here  one  is  allowed  to  make 
oneself  a  little  prettier  than  Nature  in- 
tended. 

All  over  the  house  are  textiles,  and  over 
these  one  spends  anxious  hours.  The  first 
in  order  of  necessity  are  the  rugs.  If  the 
purse  is  big,  the  matter  simplifies  itself  into 
selecting  the  most  temptingly  beautiful  an- 
tique rugs  from  the  Orient.  But  setting 
this  idea  aside,  the  choice  hes  between 
coarse  but  artistic  modern  rugs  and  squares 
of  solid  color  carpet.  China  is  sending  us 
cheap  rugs  full  of  character,  with  plain 
fields  broken  with  an  ornament,  and  bor- 
dered with  a  swastika  repeat.  They  are 
made  of  jute,  of  wool,  of  cotton — the  latter 
for  the  bathroom.  Plain  carpets  are  woven 
in  extraordinary  widths  for  rugs  without 
seams,  and  make  tasteful  floor  coverings  of 
great  durabihty. 

After  the  feet  have  a  soft  surface  under 
{Continued  on  page  698.) 

683 


TWO  UNIQUE  AND  PRACTICAL 
DESIGNS  FOR  CRAFTSMAN 
COUNTRY  BUNGALOWS 

WITH  the  increasing  interest  in 
country  living  there  has  come  a 
corresponding  enthusiasm  for  the 
bungalow  style  of  architecture. 
And  this  is  very  natural,  for  several  rea- 
sons. The  further  one  gets  from  the  city, 
the  more  reasonable  becomes  the  cost  of 
land,  and  with  the  possession  of  a  larger 
lot  there  is  no  longer  the  necessity  for  a 
narrow  design  and  several  stories.  It  be- 
comes possible  to  spread  out  one's  rooms 
over  a  comfortable  area, 
thereby  gaining  not  only  in 
indoor  freedom,  but  also  in 
that  homelike  appearance  of 
the  exterior  which  is  so  apt 
to  result  from  low  roof 
lines.  Moreover,  so  many 
women  today  are  doing 
their  own  housework  that 
they  prefer  to  have  most  of 
the  rooms  on  the  first  floor, 
to  eliminate  stair-climbing 
as  much  as  possible,  and 
keep  the  household  labors 
light.  Hence  their  prefer- 
ence for  the  bungalow  plan. 


Since  the  majority  of  our  readers  who 
are  contemplating  the  building  of  summer 
or  all-year  homes  in  the  country  are  inter- 
ested in  bungalows  and  cottages  not  more 
than  a  story  and  a  half  high,  we  are  pre- 
senting this  month  two  designs  of  this  char- 
acter. And  although  they  are  both  simple 
and  economical  in  arrangement  and  con- 
struction, they  are  quite  different  in  ap 
pearance  and  interior  layout,  each  having 
distinctive  and  unusual  features  which  give 
it  an  individuality  of  its  own.  This  origi- 
nality is  the  result  of  planning  for  variety 
of  outlook,  advantageous  exposures  and 
pleasant  views  of  garden  and  landscape,  as 


CRAFTSMAN 
BUNGALOW   NO. 
203  :   MAIN  FLOOR. 


684 


Custav  Stickiey,  Architect. 


BRICK  AND  SHINGLES  ARE  USED  IN  THIS  HOMELIKE  CRAFTSMAN  BUNGALOW,  NO.  203:  MUCH 
OF  THE  CHARM  OF  THE  EXTERIOR  RESULTS  FROM  THE  IRREGULAR  ROOF  LINES,  AND  THE  CURVE  OF 
THE  ENTRANCE  PORCH  HOOD  WHICH  IS  ECHOED  BV  THE  EYEBROW  WINDOW  ABOVE  AND  THE  SIM- 
PLE WOODEN  GATE  III  THE  FOREGROUND:  THE  HOUSE  IS  PLANNED  FOR  A  COUNTRY  SITE,  WITH  ALL 
THE  ROOMS  FOR  THE  FAMILY  ON  THE  GROUND  FLOOR.  AND  AN  EXTRA  BEDROOM  AND  BATH  FOR  THE 
MAID  IN  THE  ATTIC. 


4  8^' 


THIS  SHINGLED  CRAFTSMAN  BUNGALOW,  NO.  204,  IS  UNIQUE  IN  BOTH  EXTERIOR  DESIGN  AND 
INTERIOR  arrangement:  IT  IS  PLANNED  FOR  A  RIVERBANK,  MOUNTAINOUS  OR  WOODLAND  SPOT 
WHERE  THE  OWNERS  WISH  TO  TAKE  FULL  ADVANTAGE  OF  THE  SURROUNDING  VIEWS,  AND  THE  WIDE 
VERANDA  THAT  EXTENDS  AROUND  THE  BIG  OCTAGONAL  ROOM  OFFERS  PLENTY  OF  SPACE  FOR  SHEL- 
TERED OUTDOOR  LIVING,  SUPPLEMENTED  BY  THE  BALCONY  ABOVE:  AS  THE  PLANS  SHOW,  THIS  CEN- 
TRAL ROOM  EXTENDS  UP  TO  THE  SECOND  STORY,  WITH  AN  INDOOR  GALLERY  CIRCLING  IT,  REACHED 
BY    A    STAIRCASE   IN    THE   ROOM    AND   LEADING  TO  GENEROUS   STORAGE  SPACE  IN  THE  ATTIC. 


CRAFTSMAN  BUNGALOWS  WITH  NOVEL  FLOOR  PLANS 


well  as  for  interior  comfort  and  conveni- 
ence. We  feel  that,  in  many  respects,  these 
two  houses  are  the  most  unique  and  satis- 
factory, of  their  particular  type,  that  we 
have  ever  designed. 

THE  first  bungalow.  No.  203,  is  of  brick 
veneer  on  frame,  above  a  stone  foun- 
dation, and  the  roof  is  shingled.  The 
stone  is  repeated  in  the  low  garden  wall  with 
coping  of  cement,  and  the  brick  is  used 
again  in  the  entrance  posts.  The  wooden 
gate  completes,  in  its  design,  the  curve  of 
the  lifted  hood  over  the  entrance  porch, 
and  the  latter  in  turn  is  echoed  by  the  line 
of  the  eyebrow  window  in  the  roof  above, 
— details  which,  though  simple,  contribute 
much  to  the  charm  of  the  exterior. 

The  rooms  are  all  planned  on  the  ground 
floor,  except  the  maid's  room  and  bath, 
which  occupy  the  space  above  the  dining 
room  and  porch,  and  this  allows  the  roof 
to  be  kept  comparatively  low.  If  no  maid 
is  kept,  this  upper  bedroom  may  be  used  as 
a  playroom  for  the  children,  or  as  an  extra 
guest  chamber — or  if  the  owner  wishes  to 
economize  in  the  construction,  the  room  and 
bath  may  be  omitted  altogether. 

In  making  the  layout,  two  main  points 
have  been  kept  in  mind — variety  of  expo- 
sure and  outlook,  and  the  provision  of  a 
sheltered  angle  at  the  rear  where  the  gar- 
den may  be  brought  up  close  to  the  house. 

As  we  have  indicated  on  the  plan,  the  build- 
ing is  intended  to  face  the  east.  This  al- 
lows   the    living    room,    dining    room    and 

kitchen  to  have  the  morn- 
ing sun,  while  the  western 

windows    in     the    kitchen 

and  dining  room  will  also 

make    these    rooms    sunny 

toward  the    latter    part  of 


the  afternoon.  The  portion  of  the  garden 
lying  in  the  angle  of  the  house  will  be  pro- 
tected from  both  north  and  east  winds,  and 
will  have  plenty  of  sunshine,  while  the 
porch  in  the  corner  will  provide  a  shady 
and  secluded  spot  for  outdoor  life. 

Entering  the  front  door  one  finds  the  liv- 
ing and  dining  room  on  either  side  with  the 
openings  between  them  so  wide  that  the  ef- 
fect is  of  one  long  room.  At  the  same  time 
the  arrangement  of  the  partitions  leaves  an 
open  passageway  through  to  the  hall  in  the 
rear. 

The  fireplace  with  built-in  bookcases  on 
each  side  and  the  pleasantly  grouped  case- 
ment windows  combine  to  make  these  two 
rooms  very  attractive,  and  if  the  door  lead- 
ing from  the  dining  room  to  the  rear  porch 
is  of  glass,  a  vista  through  the  garden  will 
be  provided.  Moreover,  as  the  kitchen  is 
so  convenient  of  access,  meals  may  be 
served  on  this  porch  with  very  few  extra 
steps.  An  unusual  feature  of  this  plan,  it 
will  be  noticed,  is  the  location  of  the 
kitchen,  which  has  a  window  overlooking 
the  street  and  another  group  of  three  fac- 


attic    plan    showing    arrangement    of 
maid's  room  and  bath  and  storage  place, 

ALSO   construction    OF   THE   ROOF. 


craftsman  BUNGALOW  NO. 
203  :  THE  EXTERIOR  VIEW  IS 
SHOWN   ON   PAGE  685. 


687 


CRAFTSMAN  BUNGALOWS  WITH  NOVEL  FLOOR  PLANS 


CRAFTSMAN  BUNGALOW   NO.  204  :    MAIN   FLOOR  PLAN. 

ing  the  rear  garden.  The  staircase  like- 
wise has  double  windows  high  in  the  front 
wall.  A  small  service  porch  in  the  comer 
provides  a  convenient  entrance  for  trades- 
men, and  may  be  made  attractive  by  a  lat- 
tice screen  and  by  the  planting  of  vines. 

The  rest  of  the  ground  floor  is  devoted  to 
the  three  bedrooms  and  bathroom, 
which  are  shut  away  from  the  liv- 
ing rooms  by  the  central  hall.  Win- 
dows in  two  sides  of  each  bedroom 
insure  plenty  of  cross-ventilation 
and  views  of  garden  and  country. 
In  addition  to  the  closets  on  this 
floor  there  is  plenty  of  space  for 
storage  in  the  attic,  beyond  the 
maid's  room  and  bath. 

THE  second  house,  No.  204,  is 
also  shown  on  a  foundation 
of  field  stone,  but  in  this  case 
both  walls  and  roof  are  shingled. 
We  have  pictured  this  bungalow  at 
the  edge  of  a  stream  or  lake  in  hilly 
country,  with  an  informal  stone 
pathway  leading  from  a  little  boat 
landing  up  to  the  front  porch ;  but 
the  design  is  suitable  for  any  local- 
ity where  it  is  desired  to  take  ad- 
vantage of  wide  views  from  the 
generous  windows,  encircling  porch 

688 


and  narrower  balcony  overhead. 
Both  the  construction  and  inte- 
rior arrangement  are  distinctive 
and  unusual,  as  the  plans  and  per- 
spective view  indicate.  The  main 
feature  of  the  bungalow  is  the 
octagonal  room  in  the  middle  which 
serves  as  living  and  dining  room 
combined.  Directly  opposite  the 
front  door  is  the  fireplace,  on  one 
side  of  which  is  an  entrance  to  the 
kitchen,  and  on  the  other  one  to 
the  bedrooms,  while  the  staircase 
ascends  on  the  left  to  a  gallery  that 
runs  around  the  entire  room  and 
leads  to  the  storage  space  in  the 
attic.  This  gallery  receives  light 
and  headroom  from  the  bay  win- 
dow which  projects  from  the  roof, 
and  a  door  in  the  front  leads  to  the 
balcony.  Aside  from  its  practical 
purpose,  this  inside  gallery  forms 
a  very  interesting  feature  of  the 
living  room,  giving  an  appearance 
of  coziness  around  the  walls  and 
about  the  fireplace,  and  permitting 
a  decorative  use  of  the  structural  wood- 
work. At  the  same  time  the  open  space  in 
the  center  gives  an  unusual  height  to  the 
room,  and  the  windows  in  the  upper  f)or- 
tion  flood  the  place  with  air  and  sunshine. 

Particularly  convenient  is  the  arrange- 
ment of  the  other  rooms,  for  the  kitchen 
communicates   with   the   living  and   dining 


A  LOVER   OF   WILD  FLOWERS 


room  through  a  short  passageway  and  is  en- 
tirely shut  off  from  the  bedrooms,  which 
are  reached  by  a  separate  hall  on  the  oppo- 
site side  of  the  fireplace.  Three  good-sized 
bedrooms  and  bath  are  provided  here,  with 
closets  that  make  the  utmost  use  of  the  ir- 
regular corner  spaces.  The  kitchen  equip- 
ment is  especially  compact,  a  built-in 
dresser  occupying  the  front  wall,  with  sink 
and  drainboards  beneath  the  double  case- 
ment window  at  the  side,  the  ice-box  in  the 
rear  corner,  the  work  table  opposite,  near 
another  window,  and  the  range  nearby.  A 
door  at  the  back  leads  down  to  the  garden. 
There  is  also  a  door  leading  from  the 
kitchen  passageway  onto  the  side  porch,  so 
that  meals  may  be  served  in  this  sheltered 
outdoor  spot  whenever  the  weather  permits. 

A  LOVER  OF  WILD  FLOWERS 

(.Continued  from  p2ge  i;5.1 

There  a  few  blossoms  were  carefully  culled 
and  in  a  short  time  they  were  resting  on  the 
pillow  of  the  sick  woman,  giving  such 
happiness  as  only  a  flower  laden  with 
memory  can  bring  to  the  human  soul.  The 
3'oung  man  himself  wept  with  joy  as  he 
picked  the  flowers,  and  his  wife  iri"  turn 
shed  tears  as  they  were  put  in  her  hands. 

Such  episodes  as  these  are  not  rare  in 
Mr.  Lincoln's  life  and  neither  are  the  inci- 
dents few  in  which  he  is  compelled  to  turn 
away  schoolchildren  and  even  parties  of 
botanists,  who  he  finds  do  not  protect  the 
plants  and  flowers  they  imagine  they  love. 
Much  of  his  life  is  spent  out  in  search  of 
new  flowers,  new  shrubs,  whatever  may  add 
to  his  interest  and  delight  in  New  England 
flora.  And  his  books  on  the  Wild  Flowers 
of  New  England  are  recognized  authority 
on  a  subject  dear  to  the  heart  of  all  real 
lovers  of  the  New  England  country.  Prob- 
ably no  text  on  flowers  has  ever  been  so 
completely  and  beautifully  illuminated  as  in 
these  volumes  which  stand  at  once  as  works 
of  art  and  floral  text  books. 

The  Craftsm.an  has  had  the  good  for- 
tune to  secure  from  Mr.  Lincoln  a  series  of 
pictures  of  the  flowers  which  bloom  in 
April,  May  and  June  throughout  our  North- 
east country.  These  will  appear  in  our 
magazine  in  the  months  in  which  they  ap- 
pear in  the  New  England  wild  gardens  and 
we  feel  sure  that  they  will  meet  with  the 
response  that  such  simple  beauty  must  al- 
ways win  from  Nature's  true  lovers. 

Mr.  Lincoln  tells  a  sad  little  story  of  the 
ginseng,  which  is  very  rare  in  any  country. 


and  for  which  today  the  Chinese  pay  large 
sums.  There  is  one  spot  in  the  Berkshire 
hills  where  it  grows,  which  he  has  known 
for  years  and  where  he  has  gone  an- 
nually to  make  photographs.  There  were 
just  five  plants  growing  there  when  he  first 
discovered  the  hiding  place,  and  in  1914  the 
number  had  increased  to  twenty.  He  was 
very  proud  of  this  little  ginseng  garden  and 
often  spoke  of  it  to  other  flower  lovers, 
though  never  in  any  way  identifying  the  I07 
cality.  Last  June  he  made  a  second  visit 
to  these  little  friends  for  further  illustra-j 
tions  which  he  needed,  and  discovered  that 
not  a  plant  remained.  The  flowers  had  apj 
pealed  to  the  casual  interest  of  some  pas? 
serby  and  the  whole  twenty  plants  had  beet) 
pulled  up,  not  a  stalk  left  to  propagate  and 
beautify  the  place  for  future  generations. 

Whenever  Mr.  Lincoln  speaks  of  his 
flowers  he  makes  an  urgent  plea  that  all 
people  who  gather  wild  blossoms  or  plants 
should  do  so  with  all  possible  care,  that 
they  should  go  out  to  the  woods  with  pen- 
knives or  with  scissors,  gathering  only  the 
stalks  bearing  the  flowers,  even  as  they 
would  in  their  own  gardens.  He  finds  it 
hard  to  understand  why  people  will  treat 
the  great  free  garden  of  nature  with  such 
utter  lack  of  respect  and  courtesy,  when 
they  tend  their  own  little  flower  plot  often 
with  so  much  affection  and  love. 

Mr.  Lincoln's  work  in  connection  with 
the  wild  flowers  of  New  England  we  think 
will  not  only  bring  great  pleasure  to  the 
world  through  his  really  beautiful  photo- 
graphic studies,  but  will  also  in  time  awak- 
en toward  flowers  that  wonderful  New 
England  conscience,  which  up  to  the  pres- 
ent has  never  been  appealed  to  in  vain  for 
the  protection  of  any  principle. 


"T  NEVER  had  any  other  desire  so  strong, 
so  like  to  covetousness,  as  that  one 
which  I  have  had  always,  that  I  might 
be  master  at  last  of  a  small  house  and  large 
garden,  with  very  moderate  conveniences 
joined  to  them,  and  there  dedicate  the  re- 
mainder of  my  life  only  to  the  culture  of 
them  and  study  of  nature.  .  .  .  But  several 
accidents  of  my  ill  fortune  have  disappoint- 
ed me  hitherto,  and  do  still,  of  that  felicity ; 
for  though  I  have  made  the  first  and  hard- 
est step  to  it,  by  abandoning  all  ambitions 
and  hopes  in  this  world,  and  by  retiring 
from  the  noise  of  all  business  and  almost 
company,  yet  I  stick  still  in  the  inn  of  a 
hired  house  and  garden."  A.  Cowley. 


FURNISHING    YOUR    GARDEN 


..^^' 


^^mmm^x^mM^m 


A  GROUP  OF  bEMI  RUbTIC  GARDEN  FURNISHIN  s  OF  NtW  AND  DECORATIVE  DESIGN,  IN  WHICH  SMOOTH  BOARD 
SEATS  ARE  USED  FOR  THE  CHAIRS  AND  SETTLE  THE  PHOTOGRAPHS  WHICH  ILLUSTRATE  THIS  ARTICLE  WERE 
SUPPLIED    BY    COURTESY    OF    THE    NORTH    SHORE   FF.RNERIES  COMPANY. 


FURNISHING  YOUR  GARDEN: 
STUDY  TO  ACHIEVE  COMFORT 
AS  WELL  AS  PICTURESQUE- 
NESS  IN  OUTDOOR  FITTINGS 

No  matter  how  beautiful  one's  gar- 
den may  be,  with  lawns  and  flow- 
er-beds, shrubs,  vines  and  shady 
trees,  it  is  incomplete  without  some 
form  of  seat,  some  resting  place  where 
owner  and  guests  can  enjoy  the  surround- 
ing loveliness.  No  one  would  consider  fin- 
ished, a  room  with  tastefully  tinted  walls, 
well-placed  pictures,  curtains  and  rugs 
however  charming,  if  chairs  were  absent — 
unless  perchance  it  might  be  a  visitor  from 
the  Orient  who  would  prefer  a  few  mats  or 
cushions  on  the  floor. 

Yet  how  often  does  one  see  a  garden 
which  has  inadequate  provision  for  rest — 
or  even  none  at  all !  Such  an  omission  im- 
plies either  that  the  owner  has  considered 
the  place  merely  one  in  which  to  grow  flow- 
ers for  decoration  of  the  table  and  vegeta- 
bles for  use  in  the  kitchen,  or  that  he  has 
planned  and  planted  the  grounds  as  a  pic- 

690 


torial  setting  for  the  house,  overlooking  the 
fact  that  a  garden  only  attains  its  full  value 
and  significance  when  it  not  only  fills  these 
practical  and  aesthetic  needs,  but  also,  and 
above  all,  provides  a  pleasant,  comfortable 
place  for  open-air  living.  And  this  it  cer- 
tainly cannot  do  unless  it  contains  an  occa- 
sional bench,  chair  or  arbor-sheltered  seat. 

The  first  thing  is  to  decide  just  where,  in 
one's  garden,  such  resting  places  are  most 
desirable — whether  on  the  lawn  beneath  a 
wide-spreading  tree,  in  some  sheltered  cor- 
ner against  a  wall  or  background  of  shrub- 
bery, beneath  a  group  of  fragrant  ever- 
greens, beside  a  pool  or  fountain,  or  on  a 
knoll  or  hillock  from  which  a  pleasant  view 
of  the  landscape  can  be  seen. 

Then,  when  the  location  is  decided  upon, 
comes  the  question  of  materials  and  design 
— which  will  be  answered  partly  by  one's 
pocketbook,  and  partly  by  the  general  style 
and  materials  of  the  house.  When  a  some- 
what rustic  type  of  furnishing  seems  most 
appropriate,  seats  and  tables  of  the  kind  il- 
lustrated above  will  be  found  both  durable 
and  decorative.  Although  these  are  made 
of  logrs  with  the  bark  left  on,  thev  are  not 


FURNISHING  YOUR   GARDEN 


so  rough  as  most  rustic  ware ;  the  lines  are 
straight,  the  designs  symmetrical,  and  the 
seats,  made  of  planed  boards,  present  a 
smooth  surface  that  will  not  injure  the 
most  fragile  of  summer  frocks.  At  the 
same  time,  they  hold  a  sufficient  suggestion 
of  the  woodland  spirit  to  be  in  place  beside 
the  friendly  foliage  of  evergreens.  They 
can  be  had'  with  the  seats  stained  either 
green  or  brown,  the  former  shade  present- 
ing a  pleasant  contrast  with  the  natural 
tones  of  the  supporting  logs  and  cross- 
pieces. 

Another  instance  of  this  modified  rustic 
construction  is  to  be  found  in  the  gable- 
roofed  arbor,  in  which  logs  are  used  for 
the  main  structure  and  boards  for  the  seat. 
The  design  is  especially  practical  as  it  com- 
bines a  seat,  a  shelter  and  a  support  for 
vines  all  in  one.  and  when  placed  in  some 
appropriate  garden  spot— in  the  center  of 
a  rustic  fence,  at  the  edge  of  a  little  copse, 
or  beside  a  pathwa) — and  planted  with 
wistaria,  honeysuckle,  trumpet  vine  or 
other  flowering'creeper,  it  will  prove  a  ver> 
distinctive  as  well  as  inviting  retreat. 


A  .SEMI-RUSTIC  .\KBOR  WHICH  COMPKIM 
SHELTER  AND  SUPPORT  FOR  VINES  .\LL 
STRUCTURE. 


FOR   THE   GROU.VDS   OF   A   COLONIAL    HOUSE   THIS   LAT- 
TICED  .«BOR    WOULD   T!E   ESPECIALLY   APPROPRIATE.     ,■ 

In  the  grounds  around  a  formal  house, 
and  especially  one  of  Colonial  design, 
where  rustic  furniture  would  seem  a  little 
unconventional,  smooth  wooden  arbors, 
seats  and  tables,  with  paint  finish  to  protect 
them  from  the  weather  and  to  give  them 
coloring,  will  be  found  in  keeping.  Above 
is  an  arbor  of  this  character,  planned  to 
arch  a  garden  walk,  with  a  seat  on  each 
side  having  a  lattice  back,  and  a  rounded 
roof  of  pergola  construction.  The  struc- 
ture is  shown  here  before  the  vines  have 
been  planted,  but  one  can  readily  imagine 
what  a  charming  bower  it  will  present  when 
crimson  rambler  or  some  other  garden  fa- 
vorite has  softened  the  lines  with  foliage 
and  flowers.  This  arbor  can  be  had  painted 
A  bite,  light  green  or  dark  green,  to  match 
he  trim  of  one's  house. 

The  last  illustration  shows  a  group  of 
particularly  attractive  pieces  which,  while 
-Lilidlv  built,  are  distinctly  decorative  and 
-race'ful.  In  the  backs  of  the  chair  and 
-cttle  and  the  center  of  the  table  the  wood 
■  >  used  in  a  latticelike  fashion,  forming 
l)0th  a  firm  brace  for  the  rest  of  the  con- 
struction and  an  ornamental  asset  in  the 
design.      .\  very  interesting  efTect  could  be 

691 


VINE-CLAD  BOWERS  AND   GARDEN   VISTAS 


ARMCHAIR,   TABLE   ANU   SETTLE  OF  WOOD   SHOWING    AN    UNUSUALLY    DECORATIVE    LATTICELIKE    DESIGN:    THESE 
PIECES  CAN  BE   HAD  PAINTED  WHITE,   LIGHT  GREEN    OR    DARK    GREEN    TO    MATCH    THE    TRIM    OF    ONE's    HOUSE. 


produced  by  repeating  the  same  pattern  in 
a  nearby  trellis,  fence  or  gateway.  Like 
the  arbor  previously  described,  these  pieces 


can  be  obtained  painted  white,  light  green 
or  dark  green,  according  to  the  surround- 
ings in  which  they  are  to  appear. 


VINE-CLAD  BOWERS  AND 
GARDEN  VISTAS 

(ContivHcd  from  page  642.) 

need  rich  soil  and  are  benefited  by  heavy 
mulching  in  summer  and  fall. 

The  bittersweet,  with  its  clusters  of 
orange  and  crimson  fruit  which  brighten 
the  days  of  autumn  and  winter — the  hand- 
some trumpet  vine  with  its  scarlet  flowers 
—  the  old-fashioned  honeysuckle  —  the 
beautiful  purple-flowered  Chinese  wistaria 
— the  decorative-leaved  hop  vine,  the  wild 
cucumber,  the  tiny  smilax, — and,  of  course, 
the  rose — these  are  a  few  others  which, 
planted  about  arbors,  well  repay  the  gar- 
dener's care.  Nor  must  we  forget  the 
graceful  Allegheny  or  maidenhair  fern  vine, 
which  looks  the  first  year  like  a  clump  of 
ferns,  and  starts  again  the  second  season, 
making  a  fast-growing  covering  for  a  gar- 
den shelter,  with  its  lacy  veil  of  leaves  and 
tiny,  fairylike  blossoms. 

The  canary-bird  vine  also  deserves  con- 

692 


sideration;  it  bears  a  dainty  yellow  flower, 
with  a  tiny  hook  that  resembles  a  bird's 
beak.  Both  the  wild  and  cultivated  grape 
form  luxuriant  coverings  for  garden  struc- 
tures of  all  kinds,  and  if  they  grow  too 
slowly  the  first  season  it  is  a  good  plan  to 
plant  gourd  vines  beside  them.  A  five-cent 
package  of  these  seeds  will  make  an  attrac- 
tive mass  of  foliage  in  a  short  time,  and 
later  on  the  gourds  can  be  hollowed  out  and 
converted  into  sugar  bowls,  dippers  and 
other  useful  objects,  with  or  without  decor- 
ation. 

One  of  the  most  inexpensive  and  swiftly- 
growing  vines  is  the  morning  glory,  and  its 
cousin  the  evening  glory,  and  if  these  are 
planted  with  the  moonflower  vine — the  big 
white  blossoms  of  which  unfold  at  night — 
a  delightful  succession  of  bloom  is  insured. 
Like  the  gourd  vine,  these  three  may  be 
used  with  excellent  effect  to  cover  a  garden 
structure  while  one  is  waiting  for  more 
slowly  growing  vines,  such  as  roses,  wis- 
taria, grapes,  etc.,  to  mature. 


NEW   DESIGNS  IN   CLAY  FERN-HOLDERS 


A   CLAY    FERN-HOLDER    WHICH,    WITH    ITS    REMOVABLE  ZINC   BOX,    IS   EQUALLY   SUITABLE   FOR    WINDOW    SILL  OR 
table:    the    LENGTH    IS    FOURTEEN    AND   ONE    HALF   INCHES. 

and  is  lined  with  a  zinc  box  in  wiiich  the 
ferns  are  planted.  This  box  is  provided 
with  handles  at  each  end,  so  that  it  can  be 
easily  inserted  into  or  removed  from  the 
holder.  The  other  jar  is  6^  inches  in  di- 
ameter and  4J/4  inches  high — a  convenient 
size  for  the  average  flower  or  fern  pot. 

This  pottery  looks  especially  effective 
when  filled  with  ferns,  for  the  delicate 
green  of  the  overhanging  fronds  finds  a 
pleasantly  contrasting  background  in  the 
antique  buff  finish  of  the  jars,  the  irregular- 
ity of  which  gives  an  eft'ect  of  age. 

A  point  that  may  be  of  interest  to  our 
readers  is  that  the  long  fern  box  shown 
above  may  be  obtained  without  extra  charge 
with  a  year's  subscription  to  The  Crafts- 
man, and  the  round  jar  illustrated  below 
with  a   tour  months'  subscription. 


NEW  DESIGNS  IN  CLAY  FERN- 
HOLDERS 

FLOWERS  and  ferns  have  so  much  to 
commend  them  to  the  home-maker 
that  it  is  surprising  we  do  not  use 
them  even  more  in  our  rooms. 
Aside  from  the  note  of  outdoor  friendh- 
ness  which  they  always  bring,  there  is  their 
value  from  a  purely  decorative  standpoint. 
The  simplest  or  severest  room  is  lent  a 
touch  of  grace  by  the  presence  of  spreading 
leaves  and  opening  fronds,  or  the  more 
ephemeral  buds  and  blossoms,  while  the 
rich  restful  green  of  the  foliage  or  gayer 
note  of  flowers,  seen  in  the  right  spot, 
against  a  fitting  background,  may  prove  just 
the  detail  needed  to  complete  and  empha- 
size one's  color  scheme.  And  needless  to 
say,  the  selection  of  an  appropriate  pot  or 
jar  is  of  importance. 

We  are  showing  here  two  new  design- 
in  clay  fern-holders  that  will  please  those 
who  like  modem  adaptations  of  antique- 
classic  motives.  Indeed,  the  old  Greek  ami 
Roman  mythologies  were  so  closely  allied 
with  the  whole  outdoor  world  of  nature 
that  there  always  seems  a  peculiar  kinshi]j 
between  flowers,  ferns  and  vines  and  the 
decorative  designs  of  that  period.  In  the 
present  instance  the  tiny  figures  in  high  re- 
lief that  encircle  the  pieces  are  those  of 
children,  some  with  garlands,  others  with 
musical  instruments,  others  dancing — all 
symbolizing  the  joy  of  youth  and  outdoor 
freedom. 

The  fern  box  at  the  top  of  the  page  is 
1414  inches  long  by  5  inches  wide — out- 
side measurements — and    4^    inches  high. 


A  CIRCUIAK  llH-.-IAlc,  InliK  AND  ONE  HALF  INCHES 
HIGH,  WHICH  SUGGESTS  IN  ITS  DESIGN  AND  SOFT 
BUFF  FINISH    SOME  ANTIQUE  CLASSIC  PIECE. 


693 


WILD   GARDENING 


WILD   GARDENING 

iCotitinued  from  page  639.) 

the  underview.  Shrubs  can  be  chosen  so  as 
to  give  flowers  enough. 

Grouping.  But  the  finest  use  of  shrub- 
bery is  to  tie  your  trees  into  groups  or  pic- 
tures. One  reason  why  your  woods  look 
bare  after  thinning,  is  that  there  are  no 
groups,  for  the  trees  are  isolated,  unrelated 
objects,  like  so  many  lead  pencils.  They 
will  compose  better  if  you  have  a  clump 
here  and  a  specimen  there.  A  good  way 
to  plan  these  groups  is  to  put  a  conspicu- 
ous string  around  say  three,  five,  or  seven 
trees  that  ought  to  be  seen  as  a  unit.  Then 
plant  viburnums,  or  other  native  shrubs,  in- 
side this  string  and  the  unrelated  tree- 
trunks  will  be  tied  into  a  group  that  has 
some  meaning. 

Edging.  Few  of  us  have  the  money  to 
carry  out  all  these  ideas.  We  would  like  to 
fill  our  woods  with  shrubs  and  flowers,  but 
we  may  have  to  content  ourselves  with  edg- 
ing the  paths,  where  we  can  enjoy  to  the 
full  all  the  work  we  have  done,  and  let  the 
colonies  spread  gradually  and  naturally  to 
the  depths  of  the  woods.  It  is  very  pleasant 
to  get  a  wagon  load  of  maidenhair  ferns 
and  plant  big  colonies  of  it  near  the  path. 
This  same  method  may  be  employed  with 
partridge  berry,  ground  pine,  club  moss, 
wild  ginger,  hepaticas,  bloodroot,  and  other 
carpeting  plants.  Virginia  creeper  is  very 
pretty  as  a  ground  cover  and  it  is  pleasant 
to  have  the  birds  carry  the  berries  of  this 
and  other  desirable  plants  to  all  parts  of 
the  woods. 

Birds.  It  is  easy  to  fill  the  wild  garden 
with  music  by  planting  shrubs  that  will  fur- 
nish edible  berries  the  year  round — vibur- 
nums, shrubby  dogwoods,  and  hawthorn. 
The  longevity  and  health  of  your  trees  de- 
pends largely  upon  woodpeckers — the  great- 
est enemies  of  borers — and  it  pays  to  send 
to  the  American  Association  of  Audubon 
Societies,  nineteen  hundred  and  seventy- 
four  Broadway,  New  York,  for  Hies'e- 
mann's  book  on  attracting  and  protecting 
wild  birds,  with  a  list  of  dealers  who  are 
authorized  to  make  the  Von  Berlepsch  bird 
houses  and  apparatus. 

Wild  flowers.  Big,  nature-like  masses  of 
wild  flowers  require  little  or  no  care  after 
planting — no  staking,  watering,  or  any  sign 
of  the  spade.  It  is  best  to  have  ninety-five 
per  cent  of  the  planting  composed  of  spe- 
cies that  are  most  abundant  within  ten 
miles  of  one's  own  house.     It  is  allowable 

694 


to  use  foreign  species  that  have  run  wild 
in  America,  like  sweet-briar,  orange  day 
lily,  and  sweet  rocket ;  also  a  few  others 
that  have  proved  their  ability  to  increase 
without  care  in  wild  gardens — daffodils, 
snowdrops,  poet's  narcissus,  and  English 
bluebells.  But  it  is  contrary  to  the  spirit  of 
wild  gardening  to  use  any  horticultural  vari- 
eties that  seem  artificial  or  man-made,  such 
as  double-flowers,  Darwin  tulips,  plants 
with  purple,  golden,  silver,  or  variegated 
foliage,  or  cut-kaved  and  weeping  varieties 
of  familiar  trees  ind  shrubs. 

Shall  we  collect  native  plants  or  buy  them 
from  the  nurserymen?  The  joys  of  collect- 
ing are  very  great,  especially  since  the  ad- 
vent of  the  automobile,  which  is  an  ideal 
instrument  for  "scouting,"  or  locating  all 
the  best  available  species  within  twenty 
miles.  Also  it  is  possible  to  fit  up  an  auto- 
mobile so  that  you  can  bring  home  in  it  a 
considerable  quantity  of  plants. 

A  code  of  ethics  for  collecting  is  now 
growing  up.  It  is  considered  wrong  to  take 
any  plants  from  public  property,  and  it  is 
the  proper  thing  to  offer  remuneration  to 
owners  of  private  property.  For  example, 
farmers  will  often  sell  ferns  at  a  dollar  a 
wagonload,  if  you  dig  and  carry  them  away. 
Again,  it  is  not  right  to  take  rare  plants 
from  the  wild.  One  great  advantage  of  col- 
lecting is  that  you  can  get  much  larger  col- 
onies than  you  can  afford  to  buy  from  nur- 
serymen. There  are  also  professional  col- 
lectors in  all  parts  of  the  country  from 
whom  you  may  secure  practically  every  tree, 
shrub,  and  flower  native  to  America  which 
is  suitable  for  wild  gardening. 

Conifers  or  narrow-leaved  evergreens  are 
attractive  the  year  round,  and  are  invalua- 
ble for  screens  and  shelter.  Many  of  them 
grow  tall  and  are  long-lived,  and  since  they 
are  relatively  slow-growing  and  costly,  it  is 
well  to  consider  this  list  first.  In  limestone 
regions  some  of  these  are  to  be  preferred  to 
the  broad-leaved  evergreens,  most  of  which 
are  lime-haters.     The  conifers  include: 

Balsam  fir  (Abies  balsatnea),  hemlock 
spruce  {Tsitga  Canadensis),  white  pine 
(Finns  Strobus),  red  pine  (Finns  resin- 
osa),  pitch  pine  (Finns  rigida),  red  cedar 
(Juniperns  Virginiana),  trailing  yew 
(Taxiis  Canadensis). 

Ground  pine  and  club  moss  are  ever- 
green, but  are  rather  difficult  to  transplant 
successfully.  They  are  excellent  for  edging 
woodland  paths  and  match  the  texture  of 
several  evergreen  trees. 


PERMANENT  GARDEN  FITTINGS 


CONCRETE  GARDEN    FURNITURE   SHOWN    IN   ONE   CORNER  OF  THE  GARDEN   FLOOR  OF  THE  CRAFTSMAN    BUILDING. 


CONCRETE    FURNITURE  AND 
FITTINGS    FOR    GARDENS 

ONE  of  the  most  interesting  problems 
which  the  garden-maker  has  to  con- 
sider, is  the  provision  of  outdoor 
seats  and  practical  as  well  as  orna- 
mental fittings,  which  add  to  the  comfort 
of  the  place  and  by  their  architectural  char- 
acter help  to  link  house  and  garden  to- 
gether. And  those  who  are  seeking  to 
add  to  the  friendliness  of  their  grounds  this 
spring,  or  who  are  planning  and  planting 
new  gardens,  will  find  many  attractive  con- 
crete designs  from  which  to  choose. 

There  are  concrete  benches,  some  of  them 
severely  simple  in  design,  and  suitable  for 
Colonial  and  very  formal  places,  while 
others  are  adorned  with  egg-and-dart  bor- 
ders, conventionalized  leaf  and  flower  mo- 
tives, and  patterns  suggestive  of  the  Italian 
Renaissance.  Some  of  the  seats  rest  upon 
curiously  carved  lions — those  useful  and 
decorative  beasts  which,  tamed  and  petri- 
fied by  craftsman  and  builder  into  various 
classic  poses,  have  upheld  through  the 
architectural  ages  so  many  burdens  of  mar- 
ble, concrete  and  stone. 

Those  who  feel  that  their  garden  would 
be  incomplete  without  the  old-fashioned 
presence  of  a  sundial,  will  find  concrete 
pedestals  for  this  purpose  made  in  various 
simple  and  elaborate   forms.      One  of  the 


most  unusual  has  around  its  base  several 
turtles  which — if  the  designer's  intention 
may  be  humorously  interpreted  — -  seem 
eager  to  climb  up  and  find  out  the  time. 

Many  good  designs  can  be  found  among 
the  big  jars  and  vases,'  some  cast  in  simple, 
lotuslike  forms,  others  festooned  with  con- 
crete leaves,  flowers  and  grapes. 

Fountains  and  bird  basins  also  come  in 
concrete,  some  low  and  shallow,  others  of 
more  pretentious  air  held  high  on  pedestals. 

An  original  and  charming  use  to  which 
one  of  these  concrete  bowls  may  be  put,  is 
to  place  it  on  a  support  in  the  center  or  cor- 
ner of  the  porch,  fill  it  with  ferns,  and 
drop  into  it,  among  the  foliage,  a  single 
electric  light  bulb,  stained  a  rich  blue,  rose 
or  orange.  Then  at  night,  when  the  light  is 
turned  on,  a  soft  rich  glow  will  be  diffused 
through  the  ferns,  shedding  a  wonderful 
radiance  over  the  whole  porch. 

Such  pieces  as  we  have  just  described 
may  be  found  among  the  furnishings  on  the 
Garden  Floor  of  tlie  Craftsman  Building, 
and  the  visitor  will  discover  upon  examin- 
ing the  concrete  surfaces  that  they  have  a 
pleasant,  rich  and  lustrous  quality,  due  to 
the  fact  that  ground  marble  is  included  in 
the  mixture  before  it  is  cast.  The  ware  can 
be  had  in  three  shades — light,  medium  and 
dark  gray.  Another  point  of  importance 
is  that  rain,  frost  and  changing  tempera- 
tures have  no  disastrous  effect  upon  it. 

695 


RUSTIC   FURNITURE   AND   GARDEN  SHELTER 


OLD    HICKORY    RUSTIC    FURNITURE    AND    GARDEN      FITTINGS      SHOWN      ON     THE     CRAFTSMAN      GARDEN      FLOOR. 


RUSTIC       FURNITURE      AND 
GARDEN    SHELTERS 

THERE  is  a  curiously  appealing  and 
picturesque  quality  about  rustic 
work.  More  than  any  other  type 
of  wood  furniture  or  architecture 
it  seems  to  hold  the  spirit  of  the  forest.  Its 
sturdy  lines  recall  the  solidly  built  cabins 
and  rough  chairs  and  benches  of  the  pio- 
neer. Its  frankly  uncivilized  surface, 
whether  stripped  of  bark  or  left  with  the 
original  brown  covering  of  nature,  con- 
jures up  visions  of  the  woods  from  which 
it  came,  and  the  irregular  decorative  designs 
to  which  the  logs  and  branches  lend  them- 
selves so  readily  suggest  the  friendly  infor- 
mality of  the  woodlands. 

It  is  no  wonder,  therefore,  that  rustic 
work  is  ])opular  around  our  country  homes, 
for  both  porch  and  garden,  and  fortunately 
it  is  possible  to  obtain  today  furnishings 
anrl  shelters  of  almost  any  kind — from  the 
simplest  ciiairs  and  tables  to  the  most  elab- 
orate tea  house  or  bungalow. 

One  of  the  most  satisfactory  forms  of 
rustic  work  we  know  of  is  the  hickory,  a 

696 


group  of  which  we  are  reproducing  here. 
These  furnishings  and  garden  structures 
are  made  from  sturdy  young  hickory  sap- 
lings, cut  in  the  fall  so  that  the  bark  will 
adhere  to  them,  and  the  various  parts  of  the 
frame  are  mortised  firmly  together. 

In  addition  to  the  chairs,  armchairs  and 
rockers,  the  long  settles  and  swinging  seats 
that  add  such  a  livable  air  to  porch,  sun- 
room  and  garden,  there  are  taborets  and 
tables  of  various  shapes  and  sizes,  suitable 
for  innumerable  uses  around  the  home — 
some  to  hold  ferns  and  flowers,  others  that 
are  just  the  thing  for  sewing,  and  others 
still  that  are  handy  for  books  and  maga- 
zines or  for  the  serving  of  afternoon  tea. 

Rustic  arches  and  arbors  with  inviting 
seats,  gates  and  fences  with  trelliswork  of 
branches,  pergolas,  bridges,  and  sundials 
can  all  be  had  in  portable  condition,  ready 
to  put  in  place  wherever  they  are  needed 
in  the  garden  scheme.  And  it  is  even  pos- 
sible to  order  an  entire  portable  log  bunga- 
low of  this  character,  which  can  be  put  up 
for  the  summer  in  some  woodland  place  and 
taken  down  and  stored  away  until  the  fol- 
lowing season. 


'HOW  DOES  YOUR  GARDEN  GROW?' 


A  CORNER  OF  THE  GARDEN   FLOOR  OF  THE  CRAFTSMAN  BUILDING  WHERE  SEEDS,  TOOLS   AND  VARIOUS   FORMS  OF 
GARDEN    EQUIPMENT   ARE  TO   BE    FOUND. 


"HOW  DOES    YOUR    GARDEN 
GROW  ?" 

"r  I  ^HEY    say    you    have    such    a    fine 

I        garden,"  somebody  remarked  once 

-M-       to  a   friend.     The  man  with  the 

garden    smiled    a    bit    wistfully. 

"It    is    a    mighty    nice    garden,"    he    said, 

"but  I  merely  own  it — I  don't  possess  it. 

You    see,"  he    added,  "I  haven't    time    to 

work  and  play  in  it  myself,  and  until  I  do 

it  will  never  be  really  mine." 

It  is  not  always  the  man  with  elaborate, 
well-kept  grounds  and  a  hired  gardener, 
who  gets  the  most  enjoyment  out  of  his 
property.  It  may  be  a  source  of  satisfac- 
tion and  pride,  but  it  can  never  give  him 
that  thrill  of  personal  achievement,  that  ab- 
sorbing interest,  and  that  sense  of  adven- 
ture which  comes  with  the  mingled  difficul- 
ties and  joys  of  the  amateur  home  gardener. 
To  dig  and  hoe,  plant,  weed  and  tend  one's 
owTi  place,  however  small,  means  to  work 
hand  in  hard  with  Nature,  to  assist,  how- 
ever humbly,  in  her  endless  miracles  of 
growth  and  unfoldment.  .'\nd  surely  it  is 
only  human  to  discover  a  superior  flavor  in 


the  fruits  of  our  toil,  to  deem  the  fragrance 
of  our  own  flowers  doubly  sweet! 

The  outdoor  gardening  season  being  now 
at  hand,  the  matter  of  tools  and  other 
equipment  is  one  of  timely  interest,  and 
those  of  our  readers  who  are  within  reach 
of  the  Craftsman  Building  will  find  some 
helpful  suggestions  on  this  subject  by  visit- 
ing a  certain  corner  of  the  Garden  Floor, 
a  glimpse  of  which  is  shown  above.  Here 
they  will  see  some  of  the  newest  and  most 
practical  devices  for  the  aid  of  the  garden- 
er— especially  for  women,  who  want  things 
that  are  light  and  easy  to  manipulate,  mak- 
ing the  work  a  pleasant  task  rather  than  a 
heavy  labor.  First,  for  the  protection  of 
her  frocks,  there  are  linen  smocks  of  blue, 
gray,  pink  and  buflf,  stoutly  worked  in  va- 
rious charming  patterns,  while  serviceable 
gloves  of  Oxford  tan  are  ready  to  cover 
her  busy  hands.  Nearby  will  be  found  the 
various  tools  essential — steel  spades  with 
light  wooden  handles,  plain  steel  rakes  and 
others  that  are  made  reversible,  with  the 
teeth  arched  for  leaves ;  wooden  rakes  for 
the  lawn ;  weeders  and  cultivators  of  hard 
steel  wire,  strong,  light  and  durable :  some 

697 


PROPERLY  APPOINTED  DWELLINGS 


with  short  handles  for  working  around 
flowers,  others  with  long  handles,  and  some 
with  weeder  and  hoe  combined.  Then 
there  is  the  ever  useful  trowel ;  the  garden 
reel  in  three  sizes;  raffia  for  tying  up 
growing  plants  and  vines ;  scissors  for  flow- 
er-gathering that  hold  the  cut  blossoms ; 
neat  labels  on  which  one's  writing  is  pro- 
tected from  the  weather  by  a  transparent 
covering;  pruning  knives  of  many  sizes; 
small  lawn  mowers,  light  and  convenient 
garden  sprinklers,  rubber  hand-sprinklers 
and  brass  syringes  for  spraying  plants  and 
destroying  insect  enemies.  There  are  also 
wheelbarrows,  large,  medium  and  small, 
and  willow  baskets  of  sundry  shapes  and 
sizes,  the  deep  ones  for  vegetables,  the  shal- 
low ones  for  flowers. 

The  watering  pots  are  enameled  in  gay 
tones,  decorated  with  old-fashioned  flowers 
and  figures,  and  brightly  painted  flower  pots 
may  also  be  had.  But  perhaps  the  most 
captivating  of  all  are  the  painted  sticks 
upon  which  perch  brilliant  wooden  birds  to 
mark  some  special  seed  bed  or  planting. 

PROPERLY  APPOINTED 
DWELLINGS 

(Continued   from  page  68s.) 

their  tread,  we  think  poignantly  of  the  star- 
ing windows  which  cry  for  screening  drap- 
ery. Dressing  the  window  is  not  much  of 
a  problem  if  one  keeps  in  mind  the  simple 
scheme  of  sheer  net  sash  curtains,  and  col- 
ored hangings  outside  of  these,  which  give 
coziness  and  comfort  to  the  room.  The 
fashion  of  the  moment  is  to  be  commended, 
that  of  hanging  a  short  valance  across  the 
top  with  a  long  breadth  falling  straight  at 
either  side.  It  gives  color  and  decoration 
without  detaining  much  light — for  after  all 
a  window  is  primarily  for  the  purpose  of 
admitting  light. 

A  country  house  may  be  fitted  entirely 
with  block-printed  linens  and  cottons,  those 
attractive  fabrics  which  are  shown  us  in 
new  designs  every  few  months.  They  are 
full  of  feeling,  as  the  artist  expresses  it ; 
they  are  quaint  and  reminiscent  af  more 
romantic  times  than  ours.  So  we  love  to 
have  them  about  us.  The  schools  of  Vienna 
and  Paris  which  started  the  new  movement 
in  color  and  design  in  these  fabrics  being  in- 
capacitated by  the  present  war,  the  inspira- 
tion has  come  to  our  own  artists  to  carry  on 
the  work,  so  we  now  have  block-printed 
fabrics  designed  by  American  artists  and 
executed  by  American   workers.     Without 

698 


prejudice  we  may  say  that  our  goods  now 
equal  the  foreign  in  originality  and  beauty. 

A  glance  at  the  photographs  illustrating 
this  article  will  reveal  many  new  and  charm- 
ing things  in  the  way  of  furnishings  and 
draperies.  Block-printed  linens  hang  their 
richly  patterned  folds  at  the  windows,  their 
brilliant  colors  mellowed  by  the  light.  Gaily 
flowered  cretonnes  and  chintzes  give  both 
comfort  and  decoration  to  the  softly  stained 
willow  chairs ;  plump  and  inviting  cushions 
give  an  air  of  homelike  restfulness  to  the 
upholstered  couch,  while  Scotch  wool  and 
Uriental  rugs  add  their  notes  of  warmth  and 
color  underfoot.  The  lamps,  whether  rising 
from  the  floor  on  a  tall  willow  standard,  or 
resting  with  their  wood  or  pottery  bases  and 
soft  silk  or  cretonne  shades  on  desk,  book- 
shelf or  table,  all  show  that  they  are  made 
and  placed  for  real  comfort  and  service. 

Among  the  window  curtain  materials  not 
included  in  the  pictures  must  be  remem- 
bered the  various  plain  filet  nets  of  white, 
cream  and  ecru,  and  those  that  carry  borders 
in  darned  work — a  form  of  embroidery  that 
seems  particularly  appropriate  for  this  pur- 
pose, since  it  provides  a  pleasant  pattern 
along  the  edges  without  being  too  heavy  for 
such  thin  material.  Fortunately  for  the 
permanency-loving  home-maker,  practically 
all  modern  curtain  and  upholstery  fabrics 
are  being  made  in  sunproof  colors.  Plain 
striped  and  figured  papers  can  be  had  with 
decorative  friezes  that  are  repeated  in  vari- 
ous fabrics,  so  that  one's  walls,  curtains, 
portieres  and  cushions  can  all  be  brought 
into  close  harmony. 

The  furniture  question  has  already  been 
spoken  of  in  a  preceding  article,  but  a  word 
about  the  willow  is  in  place  at  this  season. 
It  comes  in  many  delicate  shades  of  green, 
brown  and  gray  as  well  as  the  natural  color, 
with  cushions  of  velour,  linen  or  cretonne 
in  colors  and  patterns  to  harmonize  with  the 
rooms.  One  of  the  most  striking  combina- 
tions recently  evolved  is  the  black-stained 
willow,  upholstered  in  burnt  orange  velour 
— a  contrast  that  gives  a  peculiarly  warm 
and  vivid  touch  to  a  dark  corner.  Among 
the  more  solid  types  must  be  mentioned  the 
new  gumwood  furniture,  built  on  simple, 
graceful  lines,  with  mellow  gray-green  finish. 

These  are  merely  a  few  suggestions — 
those  who  wish  practical  help  may  turn  for 
advice  and  aid  to  the  Department  of  In- 
terior Furnishings  in  The  Craftsman  Build- 
ing, by  which  the  illustrations  for  this  article 
were  supplied. 


PLANTING  PRACTICAL  GARDENS  FOR  BEAUTY 


PLANTING  PRACTICAL  GAR- 
DENS FOR  BEAUTY:  BY  HAR- 
OLD D.  PHELPS 

MOST  gardens  are  made  for  the  use- 
ful things  which  may  be  grown  in 
them,  vegetables,  fruits  and  flow- 
ers ;  but  that  is  no  reason  why 
they  should  not  be  beautiful  at  the  same 
time.  Just  as  it  is  a  principle  of  Craftsman 
homes  to  obtain  the  beautiful  by  the  proper 
treatment  of  the  structural  necessities 
rather  than  by  added  ornamentation,  so  in 
our  gardens  we  should  strive  to  use  the 
things  we  grow  for  utility  in  such  a  way 
that  they  contribute  an  additional  crop, 
beauty.     And  this  beauty  should  be  a  con- 


ments  and  the  space  available.  Making  a 
plan  insures  consideration  for  the  garden  as 
a  whole.  This  is  the  keynote  to  success. 
When  your  whole  garden,  rather  than  some 
particular  spot  or  planting,  brings  favorable 
comment  from  those  who  see  it,  you  may 
know  you  have  achieved  unity  and  har- 
mony. So  in  starting  your  plan  consider 
how  things  will  look  and  grow  in  relation 
to  each  other. 

The  boundaries  and  paths  of  a  garden 
are  its  framework,  and  attention  should 
first  be  given  to  these.  Paths  should  be  as 
many  only  as  are  necessary  to  aid  in  the 
garden  work,  and  should  be  arranged  to 
lead  the  gardener  where  he  desires  to  go  as 
quickly  as  possible.    If  the  garden  has  but 


I 

il- 


POUE   BEANS 


OR 


BOSH 


PEAS 


O     E 


_LATjE   ^WEETCORN _     

EARLY     SWCE.T     CO_RN_ 

_»*E_A5_     roi-uowto    By     .TUPINiP5__ 

early  ptas      _  ••_    _  ••_  la7e_cabba3e 

IsummerI 
'sqluashi 


CUCUMBERS 


MELON-S 


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FLOWERS 


M 


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11 


m'y 


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FLOweRs 


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STRAWBERRIES 


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FLOWERS 


^ 


ONIONS 

-  ^^rfucE^.  ~1 

BEETS 
STRING   BEAMS 
EARLY    CABBAGE 


I 
"I 

A!>f*RAbUS  . 

ARBOR 

A«P«RA6USl 


<i. 


SWEET        PEA5 


OR 


DaMLI  A-S 


TYPICAL     GARDEN 
SCALE 

A.  GRAPEVINES 

B.  CURRANTS  BUSHES 
6.    BLACKBERRY    HEDGE 

stant  crop,  changing  in  its  charm  as  the 
plants  develop.  Even  the  humblest  patch 
of  vegetables  may  have  artistic  merit,  as 
many  of  our  tiny  school  gardens  show.  But 
when  the  garden  is  extensive  enough  to  in- 
clude fruits  and  flowers  for  cutting,  its 
beauty  should  be  one  of  its  valuable  har- 
vests. 

The  surest  vvay  to  have  a  beautiful  gar- 
den is  to  begin  now,  before  it  is  warm 
enough  for  outdoor  work,  and  make  a  com- 
plete plan  suited  to  your  individual  require- 


50X80  FELT 

D.  STAKED    TOMATOES 

E.  PAISLEY    BORDER 

F.  RHUBARB     ROOTS 

one  entrance  the  main  walk  will  usually 
lead  from  there  to  the  opposite  side  of  the 
garden,  and  its  terminus  is  a  good  location 
for  some  permanent  feature.  From  this 
side,  paths  may  be  made  to  divide  the  gar- 
den into  plots  for  the  various  crops.  Plots 
of  different  sizes  should  be  made  for  con- 
venience. If  a  wheel  cultivator  is  to  be 
used  often,  long  rows  lighten  the  garden 
labor,  but  the  length  of  the  rows  should  al- 
ways be  proportioned  to  the  habit  of  the 
crop  and  the  quantity  grown.    Each  variety 

699 


PLANTING   PRACTICAL  GARDENS   FOR  BEAUTY 


should  have  at  least  one  full  row  the  length 
of  its  plot. 

Boundaries  should  always  be  strength- 
ened and  emphasized  with  tlie  tallest  grow- 
ing crops,  unless  there  is  one  particular  spot 
from  the  outside  of  which  it  is  desired  that 
a  partial  or  complete  view  of  the  garden 
be  obtained.  In  such  a  case  plants  should 
be  chosen  which  do  not  impede  the  view  be- 
yond. Whenever  we  plant  the  largest  grow- 
ing things  other  than  at  the  edges,  with 
something  else  beyond  them,  we  at  once  cut 


variety  of  each  crop  must  be  studied  in  re- 
lation to  the  locality.  Advice  on  this  point 
may  usually  be  obtained  from  some  reliable 
person  in  the  vicinity  who  has  tested  sev- 
eral varieties  under  similar  planting  condi- 
tions. If  the  area  is  limited,  staple  crops, 
such  as  potatoes  and  onions,  of  which  good 
supplies  may  be  purchased,  should  give 
place  to  the  more  perishable  crops  which 
taste  so  much  better  from  one's  own  gar- 
den. 

Garden  plans  should  always  be  made  for 


V 


>— >'-  ^■■,;. 


-.^It^^"-^  '^  v^  Sl>  J5^_^ 


E;A^J_  _  _  

EARLY      ToTATOe-A 


Tcrr^-ra  fs 


BLAC  KBEKRIE3 


"PUOT         3  0'><.60' 
CAB-BAG  e^  ,      MEUOMS, 
■B03H      UIIVIA     -BEANS. 

Torv>A"roE:a ,    etc. 


-M-t- 

AHBOR 


TLOW/eWi 


"PLOT   J50'X32 
BEETi>,  CATil\»T5 
UFTTucr,ONioN 


RtD  ■RAsTaEntvitb 


PLOT    3o'x6o' 

5)TR  INC.  -BeANS  _      fE-AS). 
CeUERV    ,    GfeUASH. 


TYPICAL     GAT^DEN 

A.    DWA-RT   CHERKIES 
*  :B   DV/A-RV   "PEA'R-S 

the  garden  into  two  parts  and  destroy  its 
unity. 

Often  the  boundaries  of  the  garden  may 
be  used  permanently  for  trellises  on  which 
grapevines,  beans,  peas  or  flowering  vines 
may  climb,  or  for  rows  of  dwarf  fruit-trees 
and  cane  fruits.  Such  planting  as  this  adds 
interest,  because  it  gives  height  to  the  gar- 
den. In  larger  spaces,  where  the  frame- 
work is  more  complex,  it  should  be  remem- 
bered that  the  borders  of  the  paths  are  the 
boundaries  of  plots  and  may  require  special 
treatment  as  such.  The  borders  of  the  main 
walk  are  often  the  best  places  for  such  flow- 
ers as  will  not  hide  the  crops  beliind  them. 

The  choice  of  vegetables,  fruits  and  flow- 
ers to  be  grown  will  depend  upon  family 
preferences,  while  the  selection  of  the  best 


-FQ-R    AKEA    lOOXltOKT. 

C.     DVVA"Rr     ATPLES 
O      D\-R'r     -PAXrt^. 

the  individual  area  they  are  to  occupy  and 
for  the  family  they  will  supply.  Two  typi- 
cal plans  are  given  here  to  illustrate  the 
principles  set  forth  and  serve  as  guides  on 
which  to  base  a  plan  or  as  foundations 
which  may  be  changed  to  meet  special  con- 
ditions. 

A  Plan  for  a  Garden  50  by  80  Feet. 

The  typical  plan  for  an  area  50  by  80  feet 
is  designed  for  a  fairly  complete  garden  in 
a  limited  space,  but  may  be  lengthened  or 
widened  as  desired  to  give  additional  vari- 
ety or  quantity.  In  this  plan,  permanent 
boundaries  are  used  at  the  ends ;  on  one, 
blackberry  hedges  at  each  side  of  the  en- 
trance, and  on  the  other,  a  simple  grape 
trellis  of  posts  and  wire  construction,  with 


PLANTING  PRACTICAL  GARDENS  FOR  BEAUTY 


an  arbor  of  the  same  material  terminating 
the  main  walk.  Room  is  atYorded  for  six 
grapevines,  which  may  be  of  one  or  more 
varieties.  The  blackberry  hedges  should  be 
supported  by  setting  posts  at  each  end  on 
which  have  been  spiked  crosspieces  of  2  by 
6  material  about  i8  inches  long,  3  feet 
above  the  ground,  from  which  stands  of 
No.  10  galvanized  wire  run  along  each  side 
of  the  row.  If  the  new  shoots  are  kept 
pinched  back  to  a  height  of  about  4  feet 
during  the  summer  and  the  old  canes  which 
have  borne  fruit  are  cut  out  at  the  ground 
in  winter,  no  further  pruning  will  be  neces- 
sary to  maintain  an  attractive  hedge,  well 
trimmed  for  fruit  production.  At  the  sides 
of  the  garden  the  tallest-growing  crops  may 
be  raised,  and,  if  a  permanent  support  for 
these  is  desired,  posts  supporting  a  wide 
woven  wire  fence  may  be  used.  Woven 
wire  fencing  is  preferable  to  chicken  wire, 
but  for  peas  a  close  meshed  fencing  should 
be  selected. 

At  each  side  of  the  main  walk  a  3-foot 
border  for  flowers  is  reserved,  broken  at 
the  corners  where  the  work  paths  diverge 
by  currant  bushes ;  low  growing  flowers, 
either  annual  or  perennial,  may  be  used. 
Space  for  permanent  crops  such  as  aspara- 
gus and  rhubarb  is  obtained  at  the  ends,  and 
the  remaining  space  on  one  side  is  given 
over  to  long  rows  of  the  largest  growing 
crops.  On  the  other  side,  where  the  smaller 
crops  may  be  grown,  shorter  rows  will  be 
found  more  convenient,  so  an  extra  path  is 
used,  dividing  this  area  into  two  equal 
plots.  Both  may  be  used  for  such  crops, 
but  if  a  strawberry  bed  is  desired  one  plot 
may  well  be  devoted  to  that,  using  the  hill 
system  of  culture  and  the  following  rota- 
tion. 

Starting  with  the  vegetables,  as  shown  in 
one  plot  on  the  plan,  as  these  crops  should 
all  mature  by  August  i,  potted  strawberry 
plants  may  be  set  at  that  time  about  18 
inches  apart  each  way.  These  should  give 
a  moderate  crop  the  first  spring  and  be  left 
for  another  season,  no  new  bed  to  be  set 
the  second  year.  This  allows  the  other  plot 
to  be  left  free  for  vegetables  that  entire 
year,  and  a  late  crop  of  celery,  beets  or  cab- 
bage may  follow  tlie  early  vegetables.  The 
following  year  the  strawberry  plants  will 
again  be  set  to  follow  the  early  vegetables, 
while  the  late  vegetables  may  follow  the  old 
strawberry  bed  after  it  has  fruited  and  been 
turned  under.  Some  other  rotations  which 
can  be  used  to  secure  two  crops  from  the 


same  ground  are  indicated  on  the  opposite 
side,  and  experience  will  show  many  tricks 
of  this  kind  by  which  a  skilled  gardener  in- 
creases his  harvest.  Only  the  commonest 
plants  are  used  in  these  typical  plans,  that 
they  may  be  simple  and  easy  for  the  ama- 
teur to  experiment  with. 

Plan  for  a  Garden  100  by  150  Feet. 

The  larger  garden  is  planned  for  an  area 
of  almost  one-third  of  an  acre,  and  is  espe- 
cially arranged  to  permit  house  cultivation 
if  desired,  as  well  as  plowing  all  the  area 
except  that  devoted  to  permanent  crops. 
This  means  a  great  saving  of  hard  labor  in 
a  garden  of  this  size.  Dwarf  fruit-trees 
are  a  feature  of  this  garden;  at  the  back  a 
full  row  of  dwarf  apples,  which  may  be 
grown  as  standards  or  trained  to  a  trellis ; 
the  dwarf  cherries  and  pears  at  the  front 
do  not  form  a  continuous  boundary,  as  it  is 
intended  that  partial  view  of  the  garden 
may  be  obtained  from  outside.  Hence  the 
trees,  which  should  be  standards  in  shape, 
are  spaced  at  sufficient  intervals  to  allow 
vistas  between  them,  and  these  intervals  in 
the  rows  are  utilized  for  currant  bushes, 
which  will  not  grow  tall  enough  to  obstruct 
the  view. 

Small  fruits  of  considerable  variety  and 
quantity  are  included,  and  additional  rows 
paralleling  these  may  be  added  if  desired. 
This  fruit  border  partially  obstructs  the 
crops  beyond  it,  just  sufficiently  to  hide  de- 
tails and  show  distances.  Because  of  the 
provision  for  house  cultivation  there  are  no 
real  boundaries  at  the  sides,  but  if  desired 
the  ingenious  gardener  can  provide  these 
by  planting  at  the  end  of  each  row,  where 
it  will  not  obstruct  cultivation,  one  or  more 
staked  tomato  or  other  plants  of  desired 
height. 

Will  not  gardens  laid  out  in  this  manner 
be  more  attractive  than  those  which  are 
planned  at  the  time  of  planting,  the  seed  at 
hand  being  used  with  little  or  no  thought 
for  the  appearance  of  the  plants  grown  or 
for  the  later  planting  ?  And  will  not  a  plan 
made  now,  before  outdoor  work  can  be  at- 
tempted, save  us  labor  during  the  growing 
season,  when  the  gardener's  time  is  so  pre- 
cious? Surely  by  taking  thought  now  we 
can  add  beauty  to  utility  without  detracting 
from  our  harvests  or  adding  to  our  labors. 

And  if  we  lay  out  our  garden  with 
thought  for  attractive  grouping  and  harmo- 
nious color  schemes,  the  hours  spent  in  its 
cultivation  will  prove  doubly  pleasant. 

701 


ANY  GARDEN  YOU  LIKE 


YOUR  OWN  GARDEN:   ANY 
KIND  YOU  LIKE 

TO  encourage  the  making  of  gardens, 
one  of  the  most  dehghtful  pleasures 
of  Hfe,  we  have  collected  and  classi- 
fied seeds  and  plants  in  certain 
groups  with  a  view  to  covering  the  needs  of 
city,  suburban  and  country  garden  makers. 
This  list  of  ten  gardens  includes  flowers  of 
the  easiest  culture  to  those  requiring  trained 
experience  in  management.  In  this  way 
readers  may  make  choice  of  any  garden 
that  comes  within  the  scope  of  their  abiHty 
to  handle.  That  these  gardens  may  be  set 
ofT  to  advantage  we  include  the  lawn,  with- 
out which  a  home  is  never  seen  at  its  best. 
Flowers  should  be  planted  as  borders  to  the 
paths  and  roadways,  about  the  base  of  the 
house,  or  as  irregular  borders  around  the 
outside  of  the  lawn.  Only  under  the  rarest 
circumstances  should  a  lawn  be  cut  up  with 
flower  beds. 

We  are  also  offering  cash  prizes  for  the 
most  successful  garden  grown  from  one  of 
these  groups.  Practical  planting  directions 
are  here  given,  but  the  arrangement  is  left 
to  the  pleasure  of  the  individual  gardener. 
The  photographs  of  gardens  must  accom- 
pany a  short  description.  Reports  of  sales 
of  vegetables,  the  quantities  of  seeds  saved 
for  the  following  year,  will  all  be  taken  into 
consideration  when  the  prizes  are  given.  A 
committtee  of  experienced  gardeners  will 
pass  upon  all  work  sent  in  and  an  account 
with  photographs  will  be  printed  in  the  No- 
vember issue  of  The  Craftsman.  De- 
tailed account  of  this  cash  offer  will  be  sent 
on  application. 

Ten  Craftsman  Gardens. 
The  Beginner's. 
Both  annuals  and  perennials  will  be 
found  in  variety  in  this  collection,  that  the 
beginner  may  gain  garden  experience.  A 
generous  mass  of  blossoms  will  give  quick 
reward  the  first  year,  and  some  will  return 
spring  after  spring  to  remind  the  owner  of 
the  first  experimental  days.  Perennial 
plants  are  to  be  recommended,  for  once  the 
roots  are  established  they  require  compara- 
tively little  care  except  giving  winter  pro- 
tection, digging  about  the  roots  in  spring, 
and  division  of  tubers  for  increase.  They 
are  the  showiest  and  most  satisfactory  of 
all  flowers,  but  are  more  difficult  to  grow 
from  seed  than  annuals. 

But  every  gardener  loves  the  annuals,  for 
they    supply   all    deficiencies    with    magic 

702 


quickness.  They  make  excellent  borders 
for  the  perennials  and  fill  in  spaces  left  be- 
tween perennials  that  have  finished  blos- 
soming. Hollyhocks  do  not  bloom  until 
July  of  the  second  year.  Since  they  are  un- 
sightly immediately  after  this,  cosmos 
should  be  started  to  take  their  place.  They 
attain  to  an  equal  height  and  are  selected  to 
blend  with  the  same  color  scheme.  The 
seeds  of  hollyhocks  taken  from  middle  of 
the  stock,  soaked  in  water  until  they  burst 
and  planted  as  early  as  the  season  will  per- 
mit, will  bloom  late  in  the  fall.  By  this 
management  the  blooming  time  of  holly- 
hocks may  be  prolonged  until  the  coming  of 
frost. 

Wild  Flower  Garden. 

The  wild  flower  garden  collection  can  be 
used  in  several  ways.  The  best  of  all  is  a 
natural  planting,  that  is,  an  avoidance  of 
rows  or  formal  borders.  Larkspur,  black- 
eyed  Susan,  lupin,  delphinium,  asters,  gold- 
enrod,  and  the  packet  of  mixed  wild  flower 
seeds  can  be  carelessly  scattered  in  the 
early  spring  while  the  ground  is  soft  and 
rains  frequent — out  in  sunny  fields,  along 
the  driveway,  at  the  edge  of  a  grove. 
Phlox,  sweet  William  and  evening  primrose 
look  at  home  in  fence  corners.  Wild  pinks, 
mimulus,  columbine,  campanula,  forget-me- 
not,  monk's  hood,  saxifrage,  lobelia,  make 
wonderful  additions  to  the  rock  garden. 
Pyrethrum,  with  its  twice  a  season  bloom- 
ing, its  striking  pink  and  deep  red  blos- 
soms, will  grace  almost  any  sunny  location. 

On  each  packet  individual  planting  direc- 
tions will  be  found.  Every  one  with  a  gar- 
den space  of  any  size  should  aid  in  the  na- 
tional movement  for  the  preservation  of  our 
native  wild  flowers  by  giving  them  shelter 
of  gardens,  gathering  the  seeds  and  scatter- 
ing again.  The  roadways  of  New  England 
will  once  more  be  a  mass  of  color  and 
beauty  as  they  were  in  the  early  days.  This 
collection  forms  a  generous  nucleus  for  a 
wide  circle  of  beauty,  and  when  planted  in 
ravines,  fence  comers,  roadways,  sunny 
pasture  or  boggy  fields  will  spread  and  in- 
crease without  measure. 

Vegetable  Garden. 

Plant  the  lettuce  in  rows.  When  well 
started  thin  out  and  transplant  the  young 
plants  about  18  inches  apart.  A  sowing 
should  be  made  every  three  weeks  to  pro- 
vide stock,  part  of  the  bed  covered  with 
brush,  tent  fashion.  This  will  retard  growth 
of  covered  part  so  that  the  period  of  white 


ANY   GARDEN   YOU   LIKE 


and  tender  heads  will  be  extended.  Let- 
tuce and  radishes  sown  in  alternate  rows 
can  be  started  in  cold  frames,  thus  advanc- 
ing the  season  several  weeks.  Enough  seed 
has  been  included  in  this  collection  to  pro- 
vide salad  for  the  whole  season  if  planted 
as  per  directions.  But  few  turnips  should 
be  planted  for  a  small  family,  as  they  are 
apt  to  become  wormy  and  pithy  unless 
grown  quickly  and  not  allowed  to  remain  in 
the  ground  too  long. 

For  winter  use  we  have  added  parsnips. 
They  are  late  bearers  and  will  keep  well  for 
the  winter.  Salsify  is  easily  grown  if  di- 
rections on  packet  are  followed.  Boiled, 
grated  finely,  rolled  in  small  oblong  patties, 
they  make  excellent  imitations  of  oysters. 
Okra  must  be  sown  in  rows,  transplanted 
about  3  feet  apart  to  give  chance  to  branch 
out  well.  Melons  and  cucumbers  must  be 
planted  in  opposite  ends  of  the  garden  so 
that  the  pollen  will  not  mix.  Rocks,  brick 
or  a  pan  placed  under  the  melons  while 
young  will  not  only  keep  them  from  getting 
stained  with  earth,  but  enable  them  to  ripen 
evenly,  be  more  perfect  in  shape.  Frames 
placed  over  the  early  sown  melons  give  pro- 
tection from  possible  frost  and  hasten 
growth.  Squash  should  be  planted  with  the 
corn ;  between  every  five  hills  is  a  good 
average.  We  have  not  included  tomatoes, 
peppers,  cauliflower,  egg  plants,  cabbage 
and  celery  in  this  list,  for  it  is  better  to  pro- 
cure young  plants  than  to  attempt  to  raise 
them  from  seed  without  the  aid  of  a  cold 
frame. 

Children's  G.a.rden. 
This  collection  provides  the  children  with 
enough  vegetable  and  flower  seeds  to  make 
a  practical  as  well  as  beautiful  garden.  It 
follows  the  list  recommended  for  school  ex- 
periments, so  that  the  children  may  use  the 
knowledge  gained  at  school  in  their  home 
work.  We  hope  many  of  the  children  re- 
ceiving this  collection  will  try  for  the  cash 
prize  offered  for  best  garden  grown  from 
the  seeds,  but  we  make  no  suggestion  as 
to  the  best  way  to  plant,  for  we  wish  each 
child  to  exercise  its  own  taste  in  arrange- 
ment. The  vegetables  can  be  grown  in  the 
center  with  flowers  as  border,  in  alternate 
squares,  in  rows,  in  different  parts  of  the 
garden  or  in  showy  borders.  Good  reports 
of  sale  of  vegetables  to  parents  or  neigh- 
bors and  the  amount  of  flower  seed  saved 
for  future  seasons  will  weigh  favorably  in 
the  balance  for  prizes,  for  we  wish  to  en- 
courage practical  gardening. 


\'iNEs  .^ND  Creepers. 
All  the  vines  of  this  collection  are  rapid 
growers  except  the  lovely  Allegheny  vine. 
This  vine  puts  forth  no  runners  until  the 
second  year.  The  first  year  it  resembles 
lu.xuriant  clumps  of  maidenhair  ferns,  the 
second  year  it  early  begins  to  climb  and 
very  swiftly  makes  a  delicate  lacy  curtain 
hung  with  dainty  white  bells.  It  is  one  of 
the  most  beautiful  vines  grown  and  com- 
paratively little  known.  The  Japanese  hop 
is  excellent  for  kitchen  door  screens.  Lin- 
eria  with  its  violet  flowers  is  fine  for  the 
rock  and  wall  gardens ;  so  also  is  the  pink 
and  white  lathyrus.  The  free  flowering 
hyacinth  bean  hung  with  rich,  red-bronze 
seed  pods  does  well  on  an  arbor  or  trellis 
for  the  garage  or  stable,  for  it  covers  the 
surface  quickly.  The  balloon  vine  also  has 
curious  decorative  seed  pods  and  quickly 
forms  a  dense  shade.  The  morning  and 
evening  glories  with  the  moonflower  pro- 
vide fairy  blooms  at  all  hours  of  the  day 
and  ni^ht.  Cobsa  scandens  is  valued  for 
its  rare  blue  flowers ;  the  canary  vine  for  its 
odd  orchidlike  flowers  of  a  clear  canary 
yellow.  The  ice  plant  will  thrive  in  sandy 
soil  and  the  trailing  nasturtium  is  a  reliable 
standby  for  terrace  covering.  The  gourds 
will  cover  an  arbor  and  hang  it  with  dec- 
orative fruits,  both  useful  and  ornamental. 

Fruit  Garden. 

This  stock  has  been  carefully  selected  and 
inspected  for  scale  and  blight.  The  rasp- 
berries bear  their  fruit  on  the  cane  of  pre- 
vious year's  growth.  After  bearing  it  dies, 
new  canes  springing  up  each  year.  Plant 
where  sun  can  reach.  Support  on  wire  and 
keep  top  down  to  5  or  6  feet  in  height.  Re- 
move dead  canes  each  year.  Grapes  will 
give  much  better  result  if,  after  fruit  sets, 
they  are  enclosed  in  paper  bags  that  no  bugs 
or  fungus  can  attack.  The  bunches  will 
then  be  full  and  sound.  Apple,  pear  and 
peach  when  received  must  be  cut  back  one- 
third  to  encourage  low  heading.  This 
makes  picking  easier  and  there  is  less  liabil- 
ity to  damage  by  heavy  gales.  Keep  some 
bees  if  possible,  as  they  are  a  great  help  in 
setting  the  fruit.  A  few  bird  homes  near 
the  fruit  garden  will  keep  down  possible 
scale  and  rid  the  tree  of  injurious  insects. 

If  old  trees  are  already  in  your  posses- 
sion and  do  not  bear  good  fruit  take  scions 
from  the  apple  and  pear  of  this  collection 
and  graft  on  old  trees  as  follows:  Saw  off 
limbs  not  over  4  inches  in  diameter  and  2 

703 


ANY   GARDEN   YOU   LIKE 


lu  3  feet  from  the  main  bole.  Split  down 
3  or  4  inches  across  center.  Cut  scion 
wedge-shaped  on  one  end,  place  in  cut  made 
so  the  outside  bark  and  the  inner  skin  ex- 
actly meet  that  of  the  tree.  Cut  scions  in 
5-inch  length,  graft  just  as  the  sap  starts 
flowing.  Do  not  try  to  graft  the  whole  tree 
in  one  year.  Do  one-half  one  year  and  the 
other  half  the  next.  When  the  scion  is 
placed  cover  all  cuts  with  grafting  wax.  A 
full  article  on  the  difTerent  methods  of 
grafting,  budding  of  hard  and  soft  woods 
will  follow  in  an  early  issue  of  this  maga- 
zine. 

Hekb  Gakdkn. 

Spearmint  prefers  moist,  heavy,  black 
soil.  Plant  in  a  frame,  12  inches  deep  in 
ground,  to  prevent  spreading  too  much.  It 
increases  by  layering.  From  peppermint 
and  spearmint  a  good  oil  is  easily  distilled. 
Chives,  so  desirable  for  flavoring,  should 
not  be  allowed  to  seed.  Blossoms  should 
be  cut  as  soon  as  they  appear.  It  is  in- 
creased by  division.  It  can  be  potted  for 
winter  use  and  brought  in  the  house.  The 
thyme  and  sage  should  be  picked  in  the  fall 
before  frost,  dried  in  the  sun  and  hung  in 
bunches  in  a  dry  attic  where  they  cannot 
mildew.  Seeds  should  be  saved  for  the  fol- 
lowing season's  planting.  The  lavender 
stem,  leaves  and  flowers  should  be  dried  in 
the  sun  and  air  and  used  for  sweetening 
linen  closets.  Oil  for  perfume  can  be  dis- 
tilled. 

Hyssop  should  be  cut  before  the  frost, 
dried  and  stored  in  the  herb  closet.  Medi- 
cinal tea  is  often  brewed  from  hyssop,  as 
well  as  from  rue  and  balm.  Tarragon, 
closely  allied  to  dill,  is  valuable  for  flavor- 
ing vinegar.  It  needs  plenty  of  sun  while 
growing.  Cut  while  in  bloom,  tie  in  bun- 
dles, hang  in  the  attic  out  of  the  sun.  It 
can  stay  there  until  used.  Seed  should  be 
saved  for  next  season's  planting.  We  sug- 
gest that  all  these  herbs  should  be  planted 
near  the  kitchen  door,  so  that  the  housewife 
may  take  her  flavoring  from  the  fresh 
plants  instead  of  from  inferior  goods  pur- 
chased from  the  grocer.  All  do  well  in  any 
soil  which  will  grow  the  garden  vegetables. 

Rose  Gardens. 

On  receipt  of  plants  cut  the  stems  back 
to  two,  three  or  four  eyes,  to  equalize  root 
and  branch  growth.  Dip  the  roots  in  water 
and  spread  them  out  naturally  in  a  hole 
deep  enough  to  cover  the  mark's  left  by  the 
nursery    planting.      Sprinkle    finely    sifted 


soil  over  the  roots,  then  fill  in,  packing  firm- 
ly by  treading.  If  planted  early  in  the  sea- 
son heap  the  dirt  into  a  mound  about  the 
stock  to  save  from  too  heavy  rains ;  if 
planted  late  leave  the  soil  lower  than  sur- 
rounding ground  so  as  to  hold  all  moisture. 
The  soil  should  be  well  sifted,  mixed  with 
well  rotted  manure.  Cover  the  American 
beauty  with  straw  or  rough  litter  for  win- 
ter protection,  not  too  deeply,  however,  else 
mice  will  nest  and  destroy  the  plant.  When 
blooming,  a  generous  handful  of  bone  meal 
increases  their  perfection ;  for  mildew  use 
sulj)hur. 

The  rambling  roses,  often  miscalled 
climbing  roses,  if  left  to  their  natural  incli- 
nation do  not  grow  upright.  The  buds  are 
borne  stifily  erect,  and  as  they  mature  grad- 
ually tip  down,  preventing  destruction  of 
[jollen  by  rain.  When  planting  select  a  pro- 
jecting rock  ledge  or  hillside,  plant  at  top 
and  allow  to  grow  over  and  down.  They 
will  spread  in  all  directions,  and  you  have 
the  combined  efYect  of  gray  rock,  grass  and 
roses.  If  planted  in  this  manner  as  trailers 
instead  of  climbers,  the  blooms  will  last 
longer,  the  leaves  be  less  liable  to  mildew, 
and  there  will  be  very  little  blind  wood. 
Giving  the  plant  its  natural  swing  it  will 
build  a  thick  screen  about  its  roots  and  so 
conserve  moisture  for  dry  weather,  and 
provide  a  snug  and  safe  home  for  our  song 
birds,  as  no  predatory  animal  will  brave 
this  retreat. 

Water  Garden. 

This  collection  will  be  delivered  only  be- 
tween May  I  and  June  15,  because  the 
tubers  cannot  be  supplied  in  dormant  state 
after  June  15  and  are  not  ready  before 
May  I.  The  pond  must  be  in  readiness  to 
receive  them  the  moment  shipment  is  made. 

All  the  plants  in  this  group  prefer  still 
water  and  full  sunshine.  They  are  not  at 
their  best  in  pools  where  a  fountain  plays 
or  where  outlet  and  inlet  is  very  percepti- 
ble. They  will  thrive  in  tubs  sunk  in  the 
ground  when  a  natural  or  artificial  pool  is 
not  available.  Pools  should  be  graded  to  a 
depth  from  3  to  4  inches  to  about  2  to  3 
feet.  Plant  the  water  lilies  in  the  deepest 
part  of  the  pool.  Soil  covering  the  bottom 
of  pool  should  be  about  i  foot  deep  of  rot- 
ted vegetable  matter  from  swamp  if  possi- 
ble. If  this  is  impossible  to  obtain,  then 
mix  good  leaf  mold  with  well  decayed  cow 
manure.  Water  hyacinths  float  upon  the 
surface  in  colonies.  Flowers  are  beautiful 
lilac  rose  in  color.     The  water  poppy  also 


ANY   GARDEN   YOU   LIKE 


Boats  upon  the  surface  and  bears  3-ello\v 
flowers  like  the  California  poppy.  Water 
lotus  forms  velvety  rosettes  and  light  green 
leaves.  Parrot's  feather  extends  long  trail- 
ing stems,  clothed  with  whorls  of  fine,  lace- 
like foliage.  At  the  edge  of  the  pond  plant 
the  water  arum  and  the  wild  rice  that  fur- 
nishes food  to  water  fowl  in  graceful  pani- 
cles of  seed.  Marsh  marigold  will  grow 
also  at  the  edge  of  ponds.  Each  pool  and 
tub  should  have  a  goldfish  or  two  to  keep 
the  water  pure.  If  these  plants  are  grown 
in  a  tub  the  water  must  be  drained  off  and 
roots  covered  with  leaves  or  litter  and 
boarded  for  winter  protection.  In  spring, 
litter  must  be  removed,  plants  given  top 
dressing  of  bone  meal  and  a  little  sand  over 
this  to  keep  it  from  floating  away. 

Old-f.'\shioned  Gardens. 

It  is  impossible  for  horticulturists  to  cre- 
ate more  lovable  flowers  than  those  old- 
fashioned  ones  made  dear  to  us  through 
personal  memory  or  through  the  romance 
clustered  around  first  Puritanic  efforts  to 
make  this  new  land  like  the  gardens  of 
home.  Plant  breeders  have  created  mar- 
velously  lovely  flowers,  importers  have  in- 
troduced wonderful  new  ones,  nurserymen 
have  doubled  the  size  of  old  favorites, 
trebled  the  number  of  petals,  increased  the 
brilliancy  of  colors  and  given  us  valued  ad- 
ditions to  our  list  of  garden  frames,  yet 
nothing  can  displace  those  old-fashioned 
ones  loved  by  our  grandmothers. 

So  we  have  arranged  for  an  old-fash- 
ioned corner  in  our  garden  plans  made  up 
of  a  generous  amount  of  the  old-time  fa- 
vorites that  can  be  propagated  from  seed. 
This  collection  will  provide  masses  of  bloom 
from  spring  until  late  fall.  Planting  direc- 
tions are  on  each  packet,  but  no  general 
plan  of  arrangement  is  suggested  because 
there  is  no  one  way  better  than  all  others  to 
plant  a  garden.  Individual  taste  fortunate- 
Iv  differs  widely.  Yet  we  have  inade  selec- 
tion of  varieties  graded  in  sizes  to  give  suc- 
cession of  bloom  for  a  planting  of  a  wide 
blue  and  vellow  border  and  a  pink  and  red 
border.  Cosmos,  a  late  bloomer,  should  be 
planted  among  the  hollyhocks,  which  finish 
iilooming  in  July,  at  the  back  of  the  border 
where  they  are  the  tallest.  Sweet  alyssum 
anrl  mignonette  make  good  borders,  then 
antirrhinums,  dwarf  phlox,  larkspur,  fox- 
glove, cornflowers,  love-in-a-mist,  nicoti- 
ana.  The  sweet  peas  should  be  planted  in 
a  row  by  themselves ;  poppies  also  make  a 


better  showing  in  a  bed  of  their  own  or 
scattered  thickly  in  a  fence  corner  or  down 
a  sunny  slope,  among  the  grass.  Nasturti- 
ums, marigolds,  gaillardias,  make  satisfac- 
tory borders  for  paths  and  driveways.  Sal- 
piglossas,  one  of  the  showiest  of  annuals, 
should  be  given  a  conspicuous  slope  to 
themselves.  From  July  until  frost  they  put 
forth  a  profusion  of  yellow,  crimson  and 
purple  funnel  shaped  flowers.  Nicotiana 
makes  an  excellent  flower  for  indoor  use. 
Lineas  also  are  fine  for  cutting,  as  they  last 
a  long  time  in  water  and  brighten  a  room 
with  their  rich  colors. 

The  Lawn. 

A  top  dressing  of  about  2  inches  of  clay 
mixed  with  manure  must  be  used  as  a  sur- 
face to  receive  the  seed  of  a  sandy  soil. 
The  soil  excavated  from  the  cellar  that  is  so 
often  spread  upon  a  lawn  to  level  the  sur- 
face of  ground  supplies  no  valuable  plant 
food,  consequently  never  should  be  used  as 
filler.  A  top  dressing  must  be  put  over  it. 
Under  no  occasions  should  soil  from  exca- 
vation of  cellar  or  ponds  be  spread  upon 
the  surface  of  ground  expected  to  bear 
lawn  or  flowers.  A  strong  clay  loam  or  a 
sandy  loam  with  a  clay  subsoil  is  the  best 
possible  condition.  It  can  be  artificially 
provided  with  little  expense.  No  lawn 
should  be  exactly  level,  not  only  because 
the  grass  does  not  grow  so  well,  but  because 
a  slight  grade  increases  the  apparent  extent 
of  the  lawn.  This  should  be  carefully  con- 
sidered. A  rise  of  only  a  few  inches,  al- 
most unnoticeable  to  the  naked  eye,  will 
make  a  great  difference  in  the  health  of  the 
lawn  and  its  impressiveness. 

If  the  ground  for  the  lawn  be  well 
plowed  up  in  the  fall  and  allowed  to  remain 
in  the  rough  condition  the  soil  will  have  be- 
come well  aerated  and  in  good  condition  for 
final  harrowing  and  seeding.  Of  course,  all 
stones  should  be  removed  and  ground  raked 
finely,  rolled  so  that  the  uneven  spots  will 
become  apparent.  Too  much  stress  cannot 
be  laid  upon  this  first  preparation  of 
ground.  Good  draining  for  soil  is  absolute- 
ly necessary.  Seeds  should  be  sown  early 
in  the  morning  or  about  sundown,  when 
there  is  no  wind  to  scatter  it  unevenly. 

Take  one-half  of  the  seed  to  be  sown  and 
sow  in  parallel  strips  until  the  whole  lawn 
is  covered.  Then  take  the  remaining  half 
and  sow  equally  in  the  other  direction.  Soil 
should  be  rolled  immediately  after  sowing 
of  seed.     The  first  clipping  of  grass  shonld 


INCREASED  EFFICIENCY  IN  OUR  GARDEN  DEPARTMENT 


be  done  with  a  scythe  instead  of  a  mower 
because  the  mower  is  apt  to  uproot  tender 
young  plants.  Future  cutting  should  be 
performed  frequently  enough  to  allow  the 
clippings  to  remain  on  the  lawn  to  form  a 
mulch  around  the  plants  without  being  too 
heavy  to  bleach  them.  Cuttings  must  be 
made  very  often  in  the  formation  of  a  lawn. 
Additional  seed  should  be  applied  at  least 
every  spring  to  give  the  lawn  a  rich,  velvety 
thick  growth.  Chemical  fertilizers  are 
sometimes  used  to  advantage  after  the  grass 
is  well  started,  but  should  never  be  applied 
at  the  seeding  time.  Since  there  is  no  hu- 
mus added  to  the  soil  with  the  application 
of  fertilizer,  soil  is  never  improved.  It  is 
simply  a  food  stimulant.  The  best  forms 
are  fine  ground  bone  and  wood  ashes. 

INCREASED  EFFICIENCY  IN 
OUR  GARDEN    DEPARTMENT 

WE  take  pleasure  in  announcing  that 
the  Craftsman  Outdoor  Garden 
Department  is  now  in  charge  of 
Mr.  Frederick  Hollender,  a  gar- 
dener of  wide  experience,  who  understands 
every  phase  of  practical  horticulture  and  of 
landscape  gardening.  He  will  be  glad 
through  correspondence  or  personal  inter- 
view to  give  help  to  all  our  readers  desiring 
aid  in  the  laying  out  of  country  estates,  plan- 
ning formal  or  informal  gardens,  large  or 
small.  With  a  varied  knowledge  of  garden 
experience  back  of  him  he  is  able  to  help 
you  with  planting,  pollenizing,  pruning  and 
grafting,  in  short,  give  practical  help  in  the 
outdoor  garden  department.  Instead  of  por- 
ing over  seedsmen's  catalogues  trying  to 
determine  how  much  grass  seed  is  needed  to 
cover  a  lawn,  say  80  by  100  feet,  how  many 
rows  of  corn  should  be  planted  to  supply 
a  family  of  five,  what  flowers  to  plant  that 
will  provide  succession  of  bloom  throughout 
the  season,  what  roses  will  do  best  in  the 
north,  east,  south  and  west,  what  vines  to 
plant  over  sunny  or  shady  arbors,  what 
hardy  or  flowering  shrubs  to  use  about  the 
base  of  the  house,  what  to  plant  in  a  rock 
garden,  how  to  prepare  the  water  garden, 
how  to  treat  retaining  wall,  the  north  side 
of  the  house,  how  to  remedy  too  clayey  soil, 
write  to  our  Garden  Department  and  Mr. 
Hollender  will  give  you  practical  advice. 

The  first  of  March  will  find  our  Garden 
Department  in  readiness  to  supply  every 
need  of  the  garden,  not  only  the  seeds,  bulbs, 
plants,  stock,  tools  and  implements,  but  the 

706 


furniture  and  fittings  to  make  it  beautiful. 
Here  you  may  make  selection  of  bird  basins, 
dogs'  drinking  basins,  sundials,  gazing 
globe,  rose  arbors,  both  iron  and  wood, 
screens  for  the  kitchen  gate  and  Colonial, 
rustic,  willow,  rattan,  concrete  and  terra 
cotta  furniture. 

Free  lectures  will  be  given  on  gardening, 
and  exhibit  of  wonderful  photographs  by 
Edwin  Hale  Lincoln  of  our  New  England 
wild  fiowers,  that  people  may  not  only  enjoy 
their  decorative  beauty,  but  become  ac- 
f[uainted  with  the  names  of  the  flowers  that 
belong  to  our  natural  wild  New  England 
gardens.  Garden  and  flower  books  from  the 
best  authorities  are  to  be  found  on  our 
tables,  books  that  cover  every  phase  of  the 
garden  subject,  including  commercial  grow- 
ing, books  that  identify  the  birds  and  tell 
how  to  attract  them  to  the  garden,  how  to 
build  homes  for  them,  how  to  provide  nest- 
ing sites,  etc.  In  addition  to  the  portable 
houses  to  supply  the  needs  of  campers  we 
have  the  outdoor  couches  covered  with  in- 
dividual tents,  those  suitable  for  sleeping 
porches,  those  that  give  comfort  and  are 
easily  packed  for  transportation. 

We  will  be  glad  to  welcome  visitors  and 
give  any  aid  within  our  power  toward  the 
beautifying  of  city  or  country  home. 


"(~]ITY  men  can  make  farming  pay,  and 
they  should  heed  the  call  of  the  soil. 
In  view  of  the  social  and  economic  questions 
involved,  a  shift  of  population  from  town 
to  country  is  greatly  to  be  desired. 

''For  many  years  the  towns  have  been 
growing  at  the  expense  of  the  country. 
People  born  and  bred  in  the  farming  dis- 
tricts have  been  deserting  the  land,  so  that 
in  numerous  rural  communities,  and  even 
in  whole  States,  the  migration  has  resulted 
in  a  decrease  of  farm  population.  Senti- 
ment now  appears  to  be  ripe  for  reversing 
this  situation.  Not  only  are  many  of  our 
large  cities  excessively  crowded,  so  that 
conditions  are  almost  unbearable,  but  agri- 
culture has  become  highly  attractive,  and  is 
strongly  appealing  to  urban  residents.  The 
high  level  of  prices  for  all  farm  products, 
improved  transportation  facilities,  and  a 
general  increase  of  the  advantages  of  rural 
life  make  farming  both  pleasant  and  profit- 
able. At  least,  the  possibilities  are  there  to 
a  greater  extent  than  ever  before,  and  it  re- 
mains for  practical  men  and  women  to  work 
out  a  substantial  success." — From  Wealth 
from  the  Soil,  by  C.  C.  Bowsfield. 


PLANTING   IN   RELATION   TO   COLOR 


PLANTING    IN   RELATION  TO 
COLOR 

THE    best    color    furnished    by    each 
class  of  plants  for  every  month  in 
the  year  is  listed  here.     The  color 
may  be  supplied  by  flowers,  berries. 
twigs  or  foliage. 

This  chart  was  prepared  for  a  gentleman 


in  New  England  who  wished  to  show 
graphically  the  foreign  plants  and  plants 
out  of  his  range.  Therefore,  names  in  ital- 
ics signify  plants  not  native  to  New  Eng- 
land or  common  enough  to  collect  there. 
Names  in  capitals  signify  those  foreign 
plants  that  have  run  wild  in  America  or 
proved  their  ability  to  multiply  indefinitely 
without  care  in  woodland  wild  gardens. 


BBOAD-LEAVED 

DEcmuotrs 

MONTH 

EVEBGBEENS 

TREES 

SHBTTBS 

VINES 

PERENNIALS 

BULBS 

Mabch 

Trailing 

Red  maple 

Spice 

RUSSIAN 

r>og-tooth 

arbutus 

bush 

VIOLETS. 

Hepatica, 

Bloodroot. 

lily. 

Scilla. 

GRAPE 

HYACINTH. 

GLORY  OF 

THE  SNOW, 

S.NOWnROP. 

April 

Leucothoe 

Piuxter 

Bellwort, 

TRUMPET 

flower. 

Wild  blue 

DAFFODILS, 

Shadbush, 

phlox. 

CUP  DAF- 

Aromatic 

Shooting 

FODILS. 

sumach. 

star. 

JONQUILS. 

Vaseu's 

White 

Mountain 

azalea. 

violets. 

Mat 

Flowering 

Highbush 

WIS- 

American 

POETS' 

laurel. 

dogwood. 

cranberry, 

TARIA 

bluebells. 

NARCISSUS, 

Catawia 

Cockspur 

Arrowwood, 

Mocassin 

ENGLISH 

rose  hay. 

thorn. 

Mountain 

flower. 

T.LUEBELLS. 

Mountain 

Washington 

azalea, 

LIEY-OF- 

SPANISH 

fetter  lush. 

thorn. 

Flame 

THE- 

BLUEBELLS. 

Mountain 

azalea. 

VALLEY. 

IRILLIUM. 

ash. 

STAR-OF- 

Wintergreen. 

Sheepberry, 

BETHLEHEM. 

.TrNE 

r.ocust. 

Allegheny 

LEMON 

Cnuada 

Partridge 

Tuhp 

Hobblebush, 

vine. 

LILY. 

lily. 

berrv, 

tree. 

Siceethriar. 

Sweet- 

WHITE 

American 

Prince's 

Japanese 

scented 

FOXGLOAT^S, 

Turk's 

pine. 

flowering 
dogwood. 

wild 
grape. 

Yellow 
ladv's  slipper. 

cap  lily. 

Great  rose 

Lupines. 

.TtTLT 

I,ily-of- 

Shining 

Trumpet 

ORANGE 

Canada 

bav. 

the- 

siimach. 

creeper. 

PAY  LILY, 

lily. 

Gal(ur. 

valley 

Single 

Wild 

Bugbnne, 

American 

tree. 

hydrangea, 
Tree 

clematis. 

Bee  balm, 
Solomon's 

Turk's 
cap  lily. 

Heather, 



azalea. 

seal. 

AtJOUST 

Ground- 

Scotch 

AUTUMN 

Yucca. 

nut. 

bluebells. 
Closed 

CROCUS. 

Septembeb 

Flowering 

Witch 

Virginia 

dogwood. 

hazel 

creeper. 

gentian. 

(autumn 

and  other 

colors  and 

autumn 

berries). 

colors  and 
berries. 

Summer, 

October 

Bay  berry 

Oaks  and 

Autumn 

(half- 

other 

colors 

fox.  and 

evergreen). 

autumn 
colors. 

and 
berries. 

frost 
grape. 

WrNTEB 

American 

Washington 

Red 

Bitter- 

CHRISTMAS 

hollv. 

thorn. 

chokeberry. 

sweet, 

ROSE. 

inkberrv. 

Cockspur 

Yellow 

Partridge 

FIRRTHORN. 

thorn. 

willow. 

berry. 

EVKRfiREKN 

Mountain       i 

Winterberry, 

Winter- 

BITTER- 

ash. 

Red  and 

green. 

SWEET. 

Birch.             ' 

silky  dogwood. 

707 


GARDENS    AND  THE   UNEMPLOYED 


ALS   IK   KAN 

GARDENS  AND  THE  UNEMPLOYED 

I  DO  not  see  how  the  "problem  of  the 
unemployed"  can  continue  to  exist  after 
the  sap  begins  to  run.  Lately  the 
newspapers  have  been  full  of  all  the 
troubles  and  sorrows  of  people  out  of  work, 
and  it  seems  to  me  that  this  question  of  un- 
employment is  largely  a  metropolitan -one. 
We  cannot  get  opportunities  for  labor  in  our 
cities  sufllciently  great  and  varied  to  meet 
the  immense  number  of  inefficient  laborers 
who  complicate  city  statistics.  There  never 
has  been  and  never  can  be,  as  I  see  it,  labor 
enough  to  meet  the  demand  of  unskilled 
laborers  in  any  seaport  town ;  least  of  all  in 
a  town  like  New  York  which  holds  out  such 
tremendous  inducements  to  workers  from 
foreign  countries  and  to  our  own  rural  com- 
munities. 

All  our  societies  and  personal  efforts  and 
public  charities  to  adjust  the  problem  of  the 
unemployed  are  born  of  a  more  or  less  un- 
thinking impulse, — an  effort  to  accomplish 
an  impossible  philanthropy.  We  may  be 
able  to  help  support  the  unemployed  in 
cities,  but  at  no  time  can  we  find  sufficient 
work  for  them  there.  To  me  the  solution 
is,  and  always  has  been,  the  Garden  and  the 
Farm.  Once  the  frost  is  out  of  the  ground 
there  is  labor  enough  in  our  orchards  and 
vineyards  and  fields  for  every  unemployed 
worker  in  our  entire  land.  It  is  an  extraor- 
dinary fact  that  the  farmer  has  as  much 
difficulty  to  get  the  laborer  into  the  country 
as  the  laborer  has  to  find  work  in  the  city, 
and  if  all  the  societies  would  form  them- 
selves into  a  bridge  to  connect  the  metropol- 
itan poor  with  farmers'  employment  bu- 
reaus in  rural  districts  we  should  have  a 
flourishing  condition  in  the  country  and  a 
less  harrowing  one  in  our  cities. 

In  spite  of  the  fact  that  Shakespeare  be- 
lieved that  "there  is  no  ancient  gentlemen 
but  gardeners,"  most  of  the  newcomers  to 
American  soil  seem  to  prefer  the  peanut 
stand  to  the  plow,  and  this  phase  of  the 
question  has  to  be  coped  with.  Most  of  the 
new-born  "Americans"  imagine  that  their 
chance  of  progress  lies  in  the  city,  and  they 
seem  willing  to  sacrifice  health,  happiness 
and  family  life  for  a  quick  return  from  the 
little  cart  on  the  side  street.  What  we 
really  need  in  our  cities  is,  in  place  of  char- 
ity organizations,  an  educational  campaign 
directed  toward  the  immigrant,  not  only 
when  he  first  arrives  in  this  country,  but  as 

708 


iiis  chilflren  are  growing  up  and  as  his  boys 
are  coming  out  of  our  public  schools  unpre- 
pared for  practical  existence.  In  addition 
to  teaching  the  people  the  advantages  of  the 
country,  we  should  plan  actually  to  help 
those  who  are  not  needed  in  cities  out  to  the 
land ;  we  should  make  this  effort  so  wide- 
spread, so  intelligent,  so  practical,  that 
America  would  become  one  great  garden, 
supplying  all  her  own  needs,  and  those  of 
foreign  countries  as  well,  with  ho  more  ef- 
fort than  is  made  today  to  cope  with  deadly 
city  conditions  and  depleted  faiimsteads. 

Of  course  something  is  already  being 
done  along  these  lines.  Towns  and  cities 
have  cooperated  with  the  State  in  forestry, 
in  park  making,  in  road  construction,  all  of 
which  means  employing  labor.  1  The  State 
and  the  Federal  effort  to  preserve  our  water 
supplies  and  natural  landscape  jbeauties,  to 
develop  college  and  experiment  stations,  the 
splendid  work  of  the  Department  of  Agri- 
culture at  Washington,  all  mean  an  under- 
standing and  a  widespread  effort  to  improve 
rural  conditions  by  preventing  the  devasta- 
tion of  our  natural  wealth  and  beauty. 

But  not  to  any  great  extent  as  yet,  has 
the  surplus  population  of  our  cities  been 
forced  out  into  wholesome,  sane,  practical 
and  profitable  country  life.  Our  city  schools 
have  made  occasional  efforts  to  interest  chil- 
dren in  gardening ;  here  and  there  a  city  has 
casually  organized  a  society  for  window- 
box  and  vine-planting  and  for  garden-mak- 
ing in  the  poor  quarters ;  but  these  sporadic 
efforts  rather  tend  to  make  life  more  endur- 
able for  the  poor  in  the  city  than  to  get  them 
away  from  degrading  metropolitan  condi- 
tions. And  the  whole  matter  as  it  stands 
today  is  absolutely  uneconomic.  A  supply 
of  labor  far  beyond  the  demand  is  allowed 
to  remain  in  cities  and  city  suburbs,  the  re- 
sult being  that  the  price  of  labor  is  forced 
down,  the  price  of  food  forced  up ;  children 
sent  into  the  factories,  boys  into  the  crim- 
inal courts  and  girls  into  the  sweatshops. 

Garden-making,  from  my  point  of  view, 
can  change  all  this.  Indeed  it  seems  to  me 
that  the  redemption  of  the  world,  the  social 
and  economic  world,  can  only  be  achieved 
through  gardening.  It  has  been  shown  by 
statistics  that  if  the  one-half  million  chil- 
dren who  now  work  in  factories  were  al- 
lowed to  cultivate  gardens  they  could  pro- 
duce (with  very  much  less  effort)  an  an- 
nual income  of  more  than  two  hundred  mil- 
lion dollars,  earning  more  in  a  summer  than 
they  at  present  can  during  the  entire  year; 


GARDENS  AND   THE   UNEMPLOYED 


thus  reserving  their  winter  months  for  ade- 
quate study  and  progress,  leaving  factory 
work  for  grown  men  and  women ;  and  gain- 
ing not  only  their  living  through  their  gar- 
dens, but  health  and  that  sure  mental  and 
spiritual  development  which  labor  with  na- 
ture rightly  wrought  is  bound  to  produce. 
This  would  release  all  our  children  from 
the  factories  and  solve  three  economic  prob- 
lems, indeed  a  fourth — the  health  of  the 
child,  the  high  cost  of  living,  the  value  of 
the  factory  product  better-made,  and  in  ad- 
dition an  increase  in  our  farming  output 
sufficient  literally  to  change  conditions 
throughout  America.  If  in  addition  to  re- 
claiming for  the  garden  the  factory  chil- 
dren, whose  bodies  and  souls  are  being 
stunted  today,  we  should  add  a  working 
force  of  all  the  unemployed  of  our  cities 
and  villages,  we  should  have  a  standing 
army  of  farmers  great  enough  to  convert 
America  into  one  blooming  garden,  to  in- 
crease our  export  trade  beyond  easy  calcu- 
lation, to  increase  the  health  and  happiness 
of  the  people,  the  strength  and  beauty  of  the 
nation. 

If  the  miracle  which  the  garden  could 
work  were  fully  comprehended,  if  it  were 
taken  in  the  right  spirit,  it  would  not  only 
furnish  occupation  without  sentimentality, 
but  it  would  lessen  throughout  the  world 
that  thing  most  subversive  of  morality — 
idleness.  The  unemployed  are  likely  sooner 
or  later  to  accept  idleness  as  a  necessity. 
The  two  most  disintegrating  evils  in  modern 
civic  conditions  are  idleness  and  charity, 
for  idleness  forces  charity  from  the  senti- 
mental and  charity  produces  idleness  in  the 
ignorant.  Dionysius,  the  elder,  must  have 
realized  this  when  he  replied,  to  one  who 
asked  him  whether  he  were  at  leisure,  "God 
forbid  that  it  should  ever  befall  me." 
There  can  be  no  development  in  civic  prog- 
ress where  any  number  of  the  citizens 
are  idle ;  whether  the  idle  are  rich  or  poor, 
makes  no  difference.  Always  when  the 
body  and  mind  and  soul  are  unemployed  the 
nation  sufTers. 

We  must  see  work  in  its  true  light,  we 
must  see  "that  honest  labor  bears  a  lovely 
face,"  if  we  are  to  meet  our  problems  in 
America  by  the  development  of  gardens  in 
America.  If  we  are  to  reduce  complexities 
and  anxieties  of  civilization  to  order  and 
beauty  it  must  be  through  something  as  sim- 
ple and  natural  as  garden  making.  "Come 
forth  into  the  light  of  things,  let  Nature  be 
your  teacher,"  wrote  Wordsworth,  and  we 


shall  find  after  all  our  mistakes  and  our 
wanderings  that  as  a  nation  it  is  to  the  uni- 
versal mother  we  must  go  if  we  are  to  find 
a  wise  and  sane  fulfilment  of  our  democrat- 
ic aspirations. 

Here  in  America  it  was  through  our  orig- 
inal great  need  of  organization,  of  capital, 
or  machine-made  commodities  that  forced 
upon  us  a  world  of  cities,  of  machines,  of 
books,  of  things;  and  this  has  become  so 
powerful  (in  answer  to  our  great  need)  that 
we  are  almost  in  the  position  of  being  man- 
aged by  the  terrific  forces  that  we  have 
created. 

But  alas,  when  we  turn  to  this  dynamic 
storehouse  of  food  necessities,  of  shelter,  of 
mechanical  energ}-,  and  ask  it  for  beauty  of 
mind,  for  spiritual  wisdom,  for  strength  of 
body,  for  inspiration  that  our  poets  and  ar- 
tists may  live,  we  are  astonished  and 
wounded  to  find  that  it  gives  us  no  response, 
that  it  stands  above  us  and  about  us,  im- 
measurable, implacable,  immovable.  It  is 
only  when  we  turn  away  from  this  man- 
made  world  and  move  back  into  our  gar- 
dens, when  we  get  up  with  the  sun  in  the 
morning,  and  till  the  soil,  when  we  watch 
the  seeds  develop,  the  stalks  springing  up, 
blossoms  opening,  that  we  find  again  real 
loveliness,  real  solace  for  our  spirits,  and 
"thoughts  that  often  lie  too  deep  for  tears." 

All  over  America  today  there  is  an  enor- 
mously increased  demand  for  the  product 
of  the  groimd ;  Nature  is  in  need  of  laborers 
as  never  before.  We  ourselves  are  com- 
plaining of  the  cost  of  living,  we  need 
more  fruit,  more  garden  truck,  an  enor- 
m.otisly  increased  wheat  production,  we  need 
the  quick  raising  of  poultry,  live  stock  that 
will  give  us  speedy  returns.  There  has 
never  been  a  time  in  America's  history  when 
such  enormous  and  profitable  opportunities 
have  been  offered  to  the  gardener  and  the 
farmer.  If  we  could  turn  the  tide  of  all 
our  surplus  city  population  toward  our  rural 
districts,  labor  would  be  found  for  everj- 
man,  woman  and  child,  profitable  labor,  and 
in  addition  to  that,  a  better  way  of  living, 
— health  for  the  children,  good  schools  and 
the  use  of  humanity  for  the  actual  better- 
ment of  the  whole  world.  And  yet  we  hesi- 
tate and  we  form  societies  and  organizations 
to  support  the  people  out  of  work,  instead 
of  forming  societies  and  organizations  to 
teach  them  where  work  lies,  to  help  them  to 
get  to  it,  to  train  them  to  understand  and 
believe  in  it. 

It  is  our  own  fault  if  our  cities  are  over- 

709 


GARDENS  AND  THE  UNEMPLOYED 


populated  with  the  poor  and  the  weak.  We 
do  not  tell  them  the  truth,  we  do  not  make 
them  understand  what  the  Garden  holds  for 
them.  We  are  forever  talking  of  our  fac- 
tories, we  take  our  beautiful  young  life  and 
thrust  it  into  our  sweatshops,  we  destroy  by 
these  very  sweatshops  and  by  our  charity 
bureaus  what  we  should  develop  for  the  na- 
tion's wealth.  And  when  I  say  the  nation's 
wealth,  I  mean  the  mental  and  spiritual 
wealth  of  America,  as  well  as  the  increase 
of  her  gold.  We  need  schools  and  societies 
and  lectures  to  remind  the  people  of  every 
city  in  the  Union  that  America  is  essenti- 
ally an  agricultural  land,  that  we  should  be 
a  people  of  the  vastest  agricultural  interest 
in  the  world  and  that  our  foremost  citizens 
should  be  our  gardeners,  our  shepherds,  our 
laborers  in  the  vineyard. 

We  cannot  expect  our  poor,  our  sick,  our 
unfit,  our  hungry  in  the  city  to  get  together 
and  say  how  fine  a  thing  it  would  be  to  live 
in  the  country,  to  train  their  children  to  be 
contented  farmers, — this  is  quite  beyond 
them ;  we  have  only  to  realize  how  far  it  is 
beyond  ourselves  even  as  thinking  people. 
It  is  our  business  today  if  we  know  how  to 
think,  to  go  among  these  people  with  the 
message,  to  find  out  just  what  openings 
there  are  throughout  the  country,  just  what 
can  be  done  with  the  city's  hungry  surplus, 
to  form  a  connection  between  them  and  the 
new  rural  life  and  to  see  to  it  that  not  only 
it  is  made  possible  for  them  to  become  a 
part  of  this  life,  but  to  help  them  see  the 
truth  so  that  they  want  to  get  there,  and 
that  after  they  reach  the  promised  land,  it 
shall  in  truth  make  good  to  them. 

It  would  be  impossible  to  imagine  any- 
thing more  horrible  than  that  we  should 
awaken  in  the  poor  and  needy  a  love  of  the 
country,  that  we  should  tell  them  the  reali- 
ties of  what  it  holds  for  them  and  then  in 
some  dreadful  way  gather  them  up  and  take 
them  away  to  Nature's  heart  only  to  ex- 
ploit them  for  man's  gain.  This  has  been 
done  many  times  to  the  poor  who  come  to 
us  from  other  lands  full  of  hope  and  cour- 
age. We  have  exploited  them  in  our  mines, 
in  our  railroads,  in  our  sweatshops ;  but  let 
us  make  good  to  them  in  our  Gardens ;  let 
Nature  recompense  them  and  reward  them 
for  coming  to  us;  let  Nature  feed  them 
when  our  cities  fail,  let  our  Gardens  grow 
to  be  not  only  the  hope  of  the  poor,  but  the 
hope  of  the  nation. 

At  the  very  start  we  could  begin  this 
work,  in  fact  it  has  already  been  begun,  by 

710 


finding  vacant  city  lots,  roofs  and  backyards 
in  which  the  city  poor  may  work.  This  can 
be  done  with  profit  to  the  city,  with  wages 
for  the  poor;  and  if  such  work  is  properly 
supervised,  the  first  lesson  in  gardening  to 
men,  women  and  children  can  be  given  in 
the  environment  of  the  city  in  which  they 
have  been  starving.  Already  this  has  been 
proved  practicable,  and  if  the  mayor  of 
every  town,  the  civic  improvement  societies, 
the  schools,  the  employment  bureaus,  the 
owners  of  vacant  land,  the  public  spirited, 
young  and  old,  would  join  hands  in  a  Uni- 
versal Garden  Movement,  nothing  could 
stay  the  success  of  the  work.  The  bread 
line  would  become  an  ugly  tradition  and 
charity  organizations  a  forgotten  blight  on 
our  civilization.  It  is  not  necessary  to 
speak  of  what  would  be  accomplished  in  the 
way  of  actual  health  and  strength  and  con- 
tentment. Every  child  belongs  in  a  garden 
and  every  woman  who  is  doing  her  own 
housework  has  a  right  to  look  through  the 
window  of  her  kitchen  out  into  her  garden, 
and  every  man  who  cares  for  his  wife  and  his 
children  should  eventually  become  a  land- 
owner with  his  house  resting  on  the  soil 
which  he  has  won  by  his  own  activity.  We 
have  come  a  long  way  from  such  a  condi- 
tion as  this,  but  the  final  prosperity  of  the 
country  demands  a  return  to  it,  or  possibly, 
an  advance  to  it,  for  we  do  not  wish  to  see 
again  the  old,  sordid,  sad  New  England 
farming  days  in  which  the  people  and  the 
soil  seemed  struggling  one  against  the  other. 
We  want  the  new  garden  spirit,  where  the 
people  cultivate  what  the  world  needs  and 
the  world  in  return  gives  abundantly  to  the 
source  of  its  comfort  and  profit. 

"jyjY  garden,  with  its  silence  and  the 
pulses  of  fragrance  that  come  and  go 
on  the  airy  undulations,  affects  me  like 
sweet  music.  Care  stops  at  the  gates,  and 
gazes  at  me  wistfully  through  the  bars. 
Among  my  flowers  and  trees  Nature  takes 
me  into  her  own  hands,  and  I  breathe  freely 
as  the  first  man.  It  is  curious,  jxithetic  al- 
most, I  sometimes  think,  how  deeply  seated 
in  the  human  heart  is  the  liking  for  gardens 
and  gardening.  The  sickly  seamstress  in  the 
narrow  city  lane  tends  her  box  of  sicklier 
mignonette.  .  .  .  The  author  finds  a  garden 
the  best  place  to  think  out  his  thought.  In 
the  disabled  statesman  every  restless  throb 
of  regret  or  ambition  is  stilled  when  he 
looks  upon  his  blossomed  apple-trees." 

Alexander  Smith. 


index  to  Vol.  XXVII  of  The  C  raftsman 


7// 


TOPIC  INDEX 


Absence:  A  Poem — By  Ethel  Marjorie 
Knapp,  515. 

Adam  Style  as  Applied  to  Furniture  and 
Fittings,  The — By  James  Thomson:  The 
Adam  Style  for  the  few  rather  than  the 
many;  Adam  Brothers  beautified  every- 
thing they  touched ;  Adaptation  of  an- 
cient classic  forms  to  modern  needs ; 
Adam  architectural  influence ;  Adelphi  in 
London  and  its  distinguished  tenants ; 
The  Adam  furniture ;  Cabinet  workers 
turning  to  the  Adam  Style  for  inspira- 
tion, 470. 

After:  A  Poem — By  Charles  Hanson 
Towne,  418. 

Als  ik  Kan— By  the  Editor:  "Made  in 
America,"  109;  America's  Thanksgiving, 
231;  Is  culture  a  commodity?  344;  The 
New  Word — Democracy,  451 ;  Real  Es- 
tate and  a  Home,  587 ;  Gardens  and  the 
Unemployed,  708. 

America :  The  Test  of — By  Will  Levington 
Comfort :  America  the  temple  of  the  new 
spirit ;  Sins  committed  in  the  name  of 
patriotism ;  America  must  reanimate  the 
world  after  the  war ;  A  vision  of  the  fu- 
ture, 351. 

Are  We  Training  for  War  or  Peace? — By 
Gustav  Stickley :  The  war  germ  latent  in 
every  nation ;  America  now  thrown  upon 
her  own  resources :  A  democracy  in  spirit 
as  well  as  in  name  should  be  the  aim  of 
the  United  States,  29. 

Architectural  Tournament,  An :  Successful 
Designs  for  American  Suburban  Homes : 
Interesting  competition  for  designs  of 
fireproof  suburban  cottages,  held  by  The 
Brickbuilder ;  Terms  of  the  competition ; 
The  jury;  The  successful  drawings,  516. 

Ballad  of  the  Wise  Men — By  Margaret 
Widdemer,  246. 

Basketry,  Unique  and  Simple,  A  Lesson  in 
— By  Carrie  D.  McComber :  Wrapped 
twining  and  the  Porno  tee  weave;  Reed 
and  raffia ;  Tools  needed ;  How  to  make 
the  baskets,  449. 

Baskets,  Reed,  Their  Many  Uses  and  How 
to  Weave  Them — By  Mertice  MacCrea 
Buck :  Reed  baskets  suitable  for  country 
use ;  Methods  of  starting  and  finishing 
the  weaving  of  baskets ;  Color  decoration 
on  baskets,  86. 
Beauty:  A  Poem— By  Phillis  Ward,  178. 
"Beauty-Letters" :    The    studio    of    Torres 


Palomar  in  Mexico  City ;  The  mono- 
grams by  Palomar  full  of  refreshing  in- 
dividuality ;  Letters  made  to  suit  different 
personalities,  97. 

Beehive,  The :  Feminism  Contrasted  with 
the  Zenana — By  Rabindranath  Tagore: 
An  Oriental's  estimate  of  Feminism ; 
Woman  in  the  Zenana  compared  with  the 
women  of  Europe  and  of  the  West,  364. 

Belgium,  tlie  Hero  Among  Nations :  A  na- 
tion which  has  grown  upon  the  founda- 
tion of  its  own  ashes  ;  The  destruction  of 
Louvain  and  its  art  works  by  tlie  Ger- 
man army ;  The  great  cathedral  of  St. 
Pierre ;  A  forecast,  59. 

Best  Books  About  Birds,  Gardens,  and 
Flowers,  36a. 

"Between  the  Poison  and  the  Worm" — By 
Will  Levington  Comfort :  The  Great  War 
and  the  New  Era,  119. 

Bird  Corner  of  Our  Garden  Floor,  The — 
By  Eloise  Roorbach,  583. 

Bird  Houses  and  How  to  Build  Them — 'By 
Ned  Dearborn :  The  practice  of  erecting 
bird  houses  and  the  attractions  offered  to 
the  birds ;  Plans  for  bird  houses,  216. 

Bird  Sanctuaries  All  Over  America,  A  New 
Plan  For— By  T.  Gilbert  Pearson:  A 
movement  to  convert  cemeteries  through- 
out the  country  into  bird  sanctuaries ; 
Beautifying  the  cemeteries  for  bird  oc- 
cupation, 394. 

Book  Reviews :  "Midstream  :  A  Chronicle 
at  Halfway" — By  Will  Levington  Com- 
fort ;  "The  Concrete  House  and  Its  Con- 
struction"— By  Maurice  M.  Sloan  ;  "Let- 
ters from  a  Living  Dead  Man" — Written 
down  by  Elsa  Barker ;  "Something  to 
Do" ;  "Ancient  and  Mediaeval  Art" — By 
Margaret  H.  BuUey,  112. 
"Forty-four  Turkish  Fairy  Tales" ;  Col- 
lected and  translated  by  Ignace  Kunos : 
Illustrated  by  Willy  Pogany :  "The  Raft" 
— By  Coningsby  Dawson ;  "The  Gypsy 
Trail" :  An  Anthology  for  Campers : 
Compiled  by  Mary  D.  Hopkins  and  Paul- 
ine Goldmark ;  "The  American  Boy's 
Workshop" — Edited  by  Clarence  B.  Kel- 
land ;  "Colonial  Mansions  of  Maryland 
and  Delaware" — By  John  Martin  Ham- 
mond; "Chats  on  Old  Copper  and  Brass" 
— By  F.  W.  Burgess  :  "Every  Man  His 
Own  Mechanic" — By  John  Barnard,  345 ; 
"Etching  and   Other   Graphic   Arts" — By 


TOPIC  INDEX 


George  T.  Plowman ;  "The  Book  of  Little 
Houses";  "Manual  of  Play" — By  William 
Byron  Forbush  ;  "Personality  Plus" — By 
Edna  Ferber ;  "Pottery  for  Artists, 
Craftsmen  and  Teachers" — By  George  J. 
Cox ;  "Art  Metalcraf  t  with  Inexpensive 
Equipment" — By  Arthur  F.  Payne ; 
"Stories  from  Wagner" — By  J.  Walker 
McSpadden ;  Bulfinch's  "Mythology" ; 
"Soul-Spur" — By  Richard  Wightman, 
453- 

Brasses,  Old  English — By  James  Thomp- 
son :  Cabinet  metal  trimmings  of  the  sev- 
enteenth and  eighteenth  centuries,  445. 

Bungalow,  A  California — Unique,  Practical 
and  Picturesque — By  Charles  Alma  By- 
ers ;  Home  of  Joseph  M.  Maidenberg  in 
Pasadena ;  Designed  by  Edward  E. 
Sweet;  Contract  price,  $5,000;  The  house 
described,  206. 

Bungalow  Court  Idea  in  Practical  Opera- 
tion— By  Charles  Alma  Byers :  The  bung- 
alow court  or  community  court  as  a  sub- 
stitute for  apartment  life ;  A  bungalow 
court  in  Pasadena,  California ;  Apart- 
ment house  service  furnished ;  A  practi- 
cal and  delightful  variation  in  modern 
architecture,  317. 

Camp,  Helpful  Facts  in  Building  a  Sum- 
mer :  By  a  Woman  Camper  Who  Knows 
All  About  It,  567. 

Carlisle,  Thomas,  and  the  Thirty  Soldiers 
of  Dumdrudge,  197. 

Chickens,  Turkeys,  Ducks  and  Geese,  Mod- 
ern Methods  in  Raising — By  Frank  W. 
Gaylor ;  Egg  production;  Cost  of  feed- 
ing ;  The  broiler  market ;  Capons ;  Se- 
lecting the  breed  ;  Baby  chicks  ;  The  duck 
industry  ;  Turkeys  ;   Incubators,  326. 

Chicks,  Feeding  and  care  of,  333. 

Christmas  Garden,  The :  The  beauty  of 
Christmas  decorations  and  where  they 
are  to  be  found,  266. 

Christmas  Rose,  The :  A  rose  that  loves  the 
snows  of  winter  as  other  roses  do  the 
suns  of  summer;  Ancient  beliefs  in  re- 
gard to  it :  Its  appearance  and  habits,  239. 

Christmas,  The  Miracle  of  :  A  Greeting — 
By  Coningsby  Dawson  :  Men  and  women 
walk  as  children  through  a  world  that  is 
kind ;  One  white  day  of  unselfishness, 
235- 

Chrysanthemums,  The  Crest  of  the  Mikado 
and  the  Favorite  of  the  Little  Garden : 
The  sixteen  petaled  chrysanthemum,  the 
crest  of  the  Emperor  of  Japan ;  How  one 
American  woman  was  invited  to  be  pres- 
ent at  a  "viewing" ;  The  Emperor's  gar- 
den party  and  his  wonderful  exhibition  of 


chrysanthemums ;  Advice  as  to  the  care 
and  growing  of  chrysanthemums ;  The 
wonderful  changes  which  growers  have 
made  in  this  flower ;  A  few  words  of  ad- 
vice, 125. 

Civic  Center  for  the  People  of  Santa  Bar- 
bara— by  Marion  Craig  Wentworth :  The 
new  recreation  center  of  Santa  Barbara 
well  in  accord  with  the  social  movement 
of  the  day;  The  old-fashioned  New  Eng- 
land town  meeting  to  be  revived ;  What 
this  well-built  and  artistic  center  is  doing 
for  Santa  Barbara,  320. 

Cold  Frame — How  to  Make  a — By  David 
Don,  577. 

Color :  The  Magic  Spirit  in  the  Home — By 
Marie  Hall ;  Color  values ;  The  effect  of 
different  colors  in  light  and  dark  rooms ; 
How  the  home-maker  may  introduce 
cheerfulness  and  charm  into  the  most  un- 
promising rooms,  419. 

Command  of  the  Earth,  The — For  Prosper- 
ity We  Look  to  the  Farmer,  Not  the 
Warrior :  Farmers,  the  peacemakers  of 
humanity  ;  The  new  agriculture ;  Experi- 
ments of  Luther  Burbank,  150. 

Cottage-Bungalow :  A  New  Development  in 
Intimate  Home  Architecture :  Photo- 
graphs by  Helen  Lukens  Gaut :  A  new 
type  in  which  the  most  desirable  traits  of 
a  cottage  and  bungalow  are  combined ; 
Architect,  Sylvanus  B.  Marston,  209. 

Dwellings,  Properly  Appointed  and  Becom- 
ing :  Home  Decoration :  Some  things 
which  may  be  expected  in  the  forthcom- 
ing series,  309. 

Number  Two:  Permanence,  simplicity 
and  individuality,  the  American  home- 
maker's  ideal ;  The  background  most  im- 
portant ;  Suggestions  for  walls,  floors, 
ceilings,  and  woodwork ;  Stains  prefer- 
able to  varnishes ;  The  Japanese  feeling 
for  woodwork ;  Color  schemes  for  walls ; 
The  use  of  suitable  rugs,  409. 
Number  Three :  After  the  Architect : 
Furniture  and  Fittings :  We  fear  to 
buy  furniture  because  we  know  too 
little  of  it ;  How  to  select  furniture 
that  has  the  proper  silhouette ;  How  to 
avoid  choosing  high  novelties  of  the  mo- 
ment in  furniture ;  Requirements  of  the 
living  room,  the  heart  of  the  home ;  A 
good  chair  is  good  anywhere ;  How  to  re- 
gard class  and  line  and  color,  547. 
Number  Four :  Comfort  From  Small 
Fittings  in  Homes;  A  Satisfying  house 
resolves  itself  into  corners ;  How  these 
corners  may  be  treated  to  give  a  desired 
welcome,  672. 


TOPIC  INDEX 


7/3 


Exercise — By  Gertrude  Russell  Lewis:  The 
housewife's  day,  478. 

Fairies,  The  Value  of :  What  Arthur  Rack- 
ham  Has  Done  to  Save  Them  for  the 
Children  of  the  Whole  World— By  Clara 
T.  MacChesney  :  Can  people  afford  to  sac- 
rifice the  fairies?  A  talk  with  Arthur 
Rackham;  This  artist  a  gentle  satirist; 
His  studio;  His  works,  248. 

Fern-Holders,  Clay,  New  Designs  in,  693. 

Flower  Lover,  A  New  England :  Mr.  Ed- 
ward Hale  Lincoln  a  flower  lover ;  Mr. 
Lincoln's  work  in  connection  with  the 
wild  flowers  of  New  England,  630. 

Flowers,  To  Protect,  from  Jack  Frost: 
How  various  plants  and  shrubs  may  be 
carried  over  the  winter,  334. 

Fountain  Sculpture — By  Edward  Hale 
Brush :  The  charm  of  a  simple  fountain 
in  a  garden ;  A  fountain  not  necessarily 
an  expensive  luxury-;  Some  interesting 
fountains  near  New  York,  612. 

Furnishing  Your  Garden :  How  to  achieve 
picturesqueness  and  comfort  in  outdoor 
fittings ;  Garden  furniture  of  a  serai-rus- 
tic type,  690. 

Furniture  and  Fittings  for  Gardens,  Con- 
crete, 695. 

Furniture  and  Garden  Shelters,  Rustic,  696. 

Garage,  Fireproof,  A  New  Type  of  :  An  ab- 
solutely fireproof  structure,  so  simple 
that  the  owner  can  erect  it  himself  if  he 
wishes,  230. 

Garden,  A  Japanese,  in  America — By  Eloise 
Roorbach :  A  Japanese  garden  a  direct 
appeal  to  poetic  fancy ;  Objects  represent 
some  poetic  thought ;  Japanese  tea-garden 
of  Mr.  G.  T.  Marsh,  of  San  Francisco ; 
Simulation  of  nature  in  handling  small 
spaces ;  A  fine  reverence  for  rocks,  620. 

Garden,  The  Wild,  A  Plea  for :  The  beau- 
tiful stimulus  of  a  garden ;  New  England 
wild  flowers ;  Not  easy  to  find  the  haunts 
of  our  wild  flowers ;  An  effort  to  improve 
the  incomparable  American  flora,  597. 

Garden,  Your  Own :  Any  kind  you  like, 
702. 

Gardening,  Indoor :  How  to  Keep  Summer 
the  Year  Round ;  .Architects  kept  busy  de- 
vising wa\-s  of  including  garden  rooms  in 
house  plans ;  Carefully  selected  plants 
will  provide  bloom  throughout  the  win- 
ter ;  Plants  best  adapted  to  indoor  life ; 
Raising  vegetables  indoors,  520. 

Green  World  in  Winter,  The :  A  Garden 
the  Year  Round :  Why  evergreens  should 
have  welcome  places  in  our  gardens  and 
homes  and  what  varieties  are  most  desir- 
able, 386. 


Gun,  The  Wild  Bird  and  the  Boy,  The— By 
T.  Gilbert  Pearson :  Work  of  the  Junior 
.A.udubon  Societies;  Methods;  Results, 
213. 

"Hai,  Joe,  Where  Are  You  Marching?"  A 
Study  of  the  War — By  Will  Levington 
Comfort ;  The  peasantry  of  the  world 
marching  forth  a  last  time  to  find  its 
prophet,  3. 

Happy  Dead,  The — By  Marjorie  Suther- 
land, 265. 

Harts,  The— By  Gertrude  R.  Lewis,  68. 

Harvests  from  Field  and  Forest  for  Win- 
ter Decoration — By  Antoinette  Rehmann 
Perrett :  The  decorative  value  of  forest 
plants;  Suggestions  for  home  decoration, 
33- 

Heppelwhite,  the  Artist  and  His  Style — By 
James  Thomson :  How  famous  chair 
makers  have  wrought  into  their  prod- 
ucts the  thought  of  their  time;  The 
work  of  Heppelwhite;  Heppelwhite  a  me- 
chanical rather  than  a  free  hand  design- 
er; Some  examples  of  his  work  consid- 
ered, 158. 

Hero,  The :  A  Russian  War  Story — By 
Evgeny   Tchirikov,    16. 

Hilda's  Pillow — By  Dr.  Mary  Lawson  Ness  : 
How  the  insane  may  be  cured  by  an  oc- 
cupation which  is  a  self-expression,  99. 

Home  Furnishing  Founded  upon  Beauty, 
Comfort  and  Simplicity,  The  Develop- 
ment of  an  American  Style  of :  Economy 
as  a  basis  of  beauty;  The  importance  of 
elimination ;  Knowledge  of  color  har- 
monies a  necessity  in  furnishing;  Object 
of  the  Craftsman  Movement  to  create 
beauty  by  the  elimination  of  the  super- 
fluous, 69. 

Home,  A  Comfortable — What  Two  Thou- 
sand Dollars  Will  Accomplish  in  Build- 
ing— By  Charles  Alma  Bj'ers  :  A  charm- 
ing five-room  house  at  small  cost ;  How 
economj-  and  comfort  have  been  studied 
in  this  California  bungalow,  571. 

Home,  Your  Own :  Twelve  Lessons  in  Prac- 
tical House  Construction  :  Number  One : 
The  House  and  Its  Site :  "A  place  of  per- 
manent family  abode" ;  The  home  an  ex- 
pression of  ourselves,  our  tastes  and  con- 
victions ;  America  now  building  for  sanity, 
utility,  comfort  and  beauty ;  The  Crafts- 
man Homebuilders'  Exposition,  an  au- 
thentic source  of  advice  and  information ; 
What  the  home-builder  may  expect  from 
this  series  of  articles,  279. 
Number  Two:  Planning  for  Comfort, 
Economy  and  Beauty :  Some  practical 
suggestions  as  to  how  to  give  the  house 


TOPIC  INDEX 


a  hospitable  and  homelike  look ;  How  to 
utilize  the  porch  in  winter  and  make  of 
it  as  a  "glass  room" ;  "Every  bit  of  space 
should  earn  its  own  living" ;  There  should 
be  no  unused  corners,  no  rooms  not  nec- 
essary for  comfort  and  happiness,  402. 
Number  Three :  Selecting  the  Materials 
for  Durability,  Economy  and  Pictur- 
esqueness :  Beauty  must  rest  on  the  prac- 
tical basis  of  utility;  Advantages  of  vari- 
ous building  materials ;  Comparative 
building  costs  of  different  systems  of 
building,  534. 

Number  Four :  The  planning  of  the 
Grounds :  Knowledge,  energy  and  enthu- 
siasm go  to  make  up  a  garden ;  Path- 
ways, architectural  features,  shelters, 
trees ;  The  background  of  the  home,  660. 

Home-Making  in  America :  Homebuilding 
the  most  important  form  of  individual 
human  expression ;  Future  home-builders 
should  gather  all  possible  ideas  and  sug- 
gestions before  beginning  to  build;  How 
to  get  authentic  information  before  con- 
sulting architect  and  builder ;  The  Crafts- 
man Homebuilders'  Exposition  and  what 
may  be  seen  there,  193. 

Homes.  Modern  Suburban,  Bringing  Old- 
Fashioned  Charm  into — By  F.  G.  Lippert : 
Houses  planned  by  Mr.  Lippert  showing 
the  influence  of  English  dwellings ;  The 
houses  described,  275. 

Homestead,  The  Winning  of  a — By  Harriet 
Joor :  The  writer  gives  her  personal  ex- 
perience as  a  homesteader  and  advises  on 
important  details  in  taking  over  a  claim ; 
Homestead  expenses;  Food  and  clothing; 
Prairie  folk,  436. 

House  with  a  Garden  Room,  A;  A  San  Di- 
ego house  designed  by  I.  J.  Gill  for  Mrs. 
George  T.  Fulf ord ;  The  garden  room 
described,  564. 

Houses,  Craftsman :  Craftsman  Stucco 
House  with  Unique  and  Interesting  Plan 
to  Secure  Sunlight,  Air  and  Outlook : 
House  No.  194;  Planned  with  unusual  ar- 
rangement and  irregular  outline  for  the 
sake  of  ventilation,  sunshine  and  cheer, 
81  ;  A  Craftsman  Bungalow  with  Glass- 
Roofed  Garden  Room :  Bungalow  No. 
195  ;  Built  of  field-stone  and  having  a  cen- 
tral court  or  garden  which  is  glass  cov- 
ered, 198. 

Rustic  Cabins :  A  New  Method  of  Slab 
Construction  Designed  by  Gustav  Stick- 
ley  :  A  cabin  for  week-end  use  in  the 
mountains  or  woods ;  Could  be  used  for 
every  season  if  desired ;  Plans  for  play 
house  and  dog  kennel  also  described,  312; 


Craftsman  Cottages  Designed  for  the 
Practical  Housekeeper  Who  Wants  Sim- 
plicity and  Comfort :  Two-story  shingled 
cottage  No.  199;  Five  rooms  and  a  living 
porch  which  can  be  glassed  in  for  winter ; 
Stucco  bungalow  No.  200;  A  homelike 
dwelling  of  five  rooms  with  ample  stor- 
age, 425 ;  Comfort  and  Economy  Com- 
bined in  Small  Craftsman  Homes  :  Shin- 
gled Bungalow  No.  201  ;  Six  rooms ; 
Craftsman  concrete  and  shingle  bunga- 
low No.  202 ;  SLx  rooms,  two  floors,  55S. 
Two  Unique  and  Practical  Designs  for 
Craftsman  Country  Bungalows ;  Crafts- 
man Bungalow  No.  203  of  brick  and 
shingles ;  Six  rooms ;  Shingled  bungalow 
No.  204,  planned  for  a  river-bank ;  The 
bungalows   described,  684. 

How  the  Farmer's  Daughter  Can  Earn  Pin 
Money,  105. 

Imports.  Living  without  Our — By  Joseph 
French  Johnson :  A  survey  of  goods 
which  we  have  been  importing  and  how 
they  may  be  supplied  in  our  own  country ; 
A  table  of  imports  considered,   187. 

Landscape  Forestry  and  Wild  Gardening 
Increase  the  Beauty  and  Value  of  the 
Farm — By  Wilhelm  Miller  :  Beautifying 
the  farm ;  How  this  is  being  done  in  Illi- 
nois, 650. 

Laughter,  The  City  of — By  Coningsby 
Dawson,  42. 

Listening  for  the  Lark !  A  Story — By  Will 
Levington  Comfort,  643. 

Lotus,  Symbol  of  the  World,  The :  The  lo- 
tus a  sacred  thing  to  the  Buddhist ;  Leg- 
ends of  the  lotus  ;  How  it  may  be  grown 
in  our  own  water  gardens.  605. 

Love:  A  Poem — By  Ethel  Marjorie  Knapp, 
401. 

Market  Basket,  The  Return  of  the:  The 
public  markets  in  New  York  City ;  Mar- 
kets at  Fort  Lee  Ferry  and  Harlem 
Bridge ;  Work  of  the  Housewives' 
League ;  A  friendly  meeting  of  house- 
wives and  farmers  to  their  mutual  bene- 
fit, 194. 

Milt's  Wisdom :  A  Word  to  the  Nations — 
By  Will  Levington  Comfort,  260. 

Muir,  John — By  Eloise  Roorbach :  Muir's 
love  and  appreciation  of  the  majesty  of 
Nature ;  He  walked  the  earth  in  charmed 
safety ;  A  word  as  to  his  daily  life  and 
writings,  479. 

"My  People" :  The  Indians'  Contribution  to 
the  Art  of  America — By  Charles  A.  East- 
man :  The  Indian  alone  in  his  sense  of 
the  aesthetic ;  The  totem  pole  a  sincere 
expression  of  the  Indian  Craftsman ;  Sig- 


TOPIC  INDEX 


II  y 


nificance  of  the  clan  emblems ;  Danger  of 
losing  the  secret  of  Indian  art  and  crafts- 
manship ;  Modern  Indian  art ;  Work  of 
Mr.  and  Mrs.  William  Dietz  among  their 
people;  Music  and  dramatic  art;  Useful 
arts  and  inventions,  179. 

"My  People" — By  Robert  Henri :  Freedom 
must  be  the  sign  of  reason ;  The  great 
artist  frees  himself  from  family,  nation 
and  race;  Technique  a  mere  language 
and  this  language  should  be  clear,  sincere, 
and  simple ;  Mr.  Henri  e.xplains  his 
search  for  greatness  wherever  and  in 
whatever  form  it  may  be  found,  459. 

Orchid,  The  Mysterious — By  Alice  Louns- 
berry :  A  flower  rare,  proud,  mysterious 
and  a  parasite ;  A  flower  of  the  air ;  Four 
types  of  orchids  described ;  The  orchid 
enthusiast  and  his  work,  481. 

Orphan,  The  New  Home  Ideal  for  the : 
Cottage  colony  for  children  established 
by  the  Hebrew  Sheltering  Guardian  So- 
ciety at  Pleasantville,  New  York,  441. 

Painting,  Water  Color,  Children  and  War : 
Water  color  most  closely  associated  with 
the  presentation  of  youth ;  The  Twenty- 
fifth  Annual  Exhibition ;  Beauty  achieved 
through  love  of  peace,  through  joy  in  it, 
358. 

Palace  for  Our  Presidents,  A  Mountain — 
By  Robert  H.  Moulton :  A  granite  castle 
on  Mount  Falcon  in  Colorado ;  President 
Wilson  to  lay  the  corner  stone ;  Site  and 
general  plan  described,  494. 

Passing  of  the  War  Virtues — By  Jane  Ad- 
dams,  79. 

Peonies,  the  Sweet  Witches  of  the  Garden 
— By  Eloise  Roorbach :  The  history  and 
charm  of  the  peony ;  Superstitions  and 
legends  connected  with  it ;  Advice  as  to 
its  planting  and  care,  20. 

Planting  in  Relation  to  Color.  707. 

Planting  Practical  Gardens  for  Beauty — By 
Harold  D.  Phelps :  How  and  when  to 
plant  a  fruit  and  vegetable  garden,  699. 

Planting  Your  Garden  to  Attract  the  Birds, 
S63. 

Plants,  Our  Friends,  The :  Plants  the  best 
means  of  ethical  training;  Plants  suitable 
for  indoor  growth ;  How  to  care  for 
them,  498. 

Plants.  Shrubs  and  Vines  for  Winter,  How 
and  When  to  Protect — By  Adeline  Thay- 
er Thomson,  202. 

Potters  of  America :  Examples  of  the  Best 
Craftsman's  Work  for  Interior  Decora- 
tions :  Number  One  :  Whistler's  account  of 
how  the  Craftsman's  art  rose,  flourished 
and    fell ;    In     the     past     the     craftsman 


worked  for  the  love  of  fashioning  a 
beautiful  thing;  New  developments  in 
pottery ;  Fulper,  Grueby  and  Rookwood 
among  the  earlier  potteries  in  America, 
295 ;  Craftsmen's  Work  for  Garden  Dec- 
oration :  Number  Two:  Interesting  types 
of  garden  pottery;  Unique  pieces  made 
by  E.  E.  Soderholtz ;  "Sharonware"  also 
suitable  for  indoor  and  outdoor  use,  377. 

Profit,  Health  and  Happiness  from  Idle 
City  Land :  Work  of  the  Philadelphia  Va- 
cant Lots  Association.  106. 

Properly  Appointed  and  Becoming  Dwell- 
ings.     See  Home  Decoration,  p.  409. 

Rain-Song :  A  Poem — By  Charles  Hanson 
Towne,  124. 

Remembrance:  Greek  Folk  Song:  A  Poem 
— By  Margaret  Widdemer,  8. 

Roads,  Good,  and  Their  Building:  Modern 
Progress  in  an  Ancient  Art :  The  earliest 
road-making  ;  Road-making  in  America  ; 
Why  good  roads  pay,  Z-i- 

Russians,  The  Singing :  Slav  Music  Born 
of  Folk  Song :  Slav  melodies  as  old  as  the 
memory  of  the  people ;  Russian  opera, 
drama  and  dancers ;  The  very  quality  of 
the  people  pours  through  their  music,  166. 

Santa  Claus,  The  American,  and  His  Gifts : 
Christmas  suggestions,  338. 

Seed  and  Garden  Department  on  the  Fifth 
Floor  of  the  Craftsman  Building,  Our, 
580. 

Slav,  The :  His  Splendor.  His  Misery,  and 
His  Place  Among  the  Nations  of  Tomor- 
row :  For  the  first  time  the  Slav  is  wel- 
comed in  the  heart  of  Europe ;  The  "Slav 
peril"  and  Slav  culture :  We  think  of 
Russia  as  picturesque  and  terrible ;  Rus- 
sian music  and  art ;  Her  prophets ;  A  new 
civilization  in  Russia;  Literature,  music, 
sculpture,  painting,  dancing  are  distinctly 
Russian  setting  forth  the  life  of  the  peo- 
ple, 135- 

Strength  and  Beauty  Are  in  His  Sanctu- 
ary: A  Poem — By  William  Allen  Wood, 
424. 

Talachino:  A  Home  for  Russian  Folk  Art 
— By  K.  R.  Cain  :  Russian  folk  art  in  old 
and  new  forms ;  Talachino,  a  remarkable 
art  center,  the  property  of  the  Princess 
Tenichef ;  The  decorations  of  Talachino 
and  its  buildings ;  The  work  of  Maliou- 
tine,  92. 

Teaching  Mothers  and  Children  How  to 
Market,  223. 

Tiles  from  the  Potters  of  Tunis  :  Sugges- 
tions for  the  American  Landscape  Gar- 
dener :  The  potter's  art  handed  down 
from  father  to  son  ;  The  ancient  ceramic 


TOPIC  INDEX 


art  as  seen  in  palaces  and  religious  edi- 
fices; The  introduction  of  faience  work 
into  our  own  land ;  Suggestions  for 
American  gardeners  and  architects,  584. 

Toys,  The  Make-Believe  World  of :  Hu- 
morous Dolls  and  Merry  Animals :  Ex- 
amples of  new  American  toys  designed 
by  Helen  M.  Speer ;  The  spirit  of  the  new 
toys  a  combination  of  simplicity,  friendli- 
ness and  humor,  286. 

Vegetable  from  Japan,  A  New :  Udo,  the 
new  vegetable ;  How  to  raise,  use  and 
cook  it,  104. 

Vine-clad  Bowers  and  Garden  Vistas :  The 
garden  of  today  a  place  in  which  one  can 
live  and  work ;  The  use  of  arches,  bowers 
and  arbors  for  framing  vistas  through 
the  garden  ;  Trelliswork  and  lattice  gates ; 
The  question  of  vines,  636. 

Vintage,  Nineteen  Fourteen :  A  Story — By 
Will  Levington  Comfort,  508. 

Violets :  The  World's  Favorite  Flower — 
By  Eloise  Roorbach :  Origin  of  the  title 
"Caporal  Violette" ;  The  habits  of  the 
violet ;  How  and  where  it  may  be  culti- 
vated, 369. 

War,  Creative — By  John  Ruskin,  294. 

What  Will  the  War  Bring  to  America  ?— By 
Francis  Grierson :  An  eminent  English 
musician  and  man  of  letters  dis- 
cusses the  after  effects  of  the  great  war ; 
No  imagination  or  skill  can  suffice  for 
lack  of  spiritual  vision  ;  Time  to  throw 
off  the  European  yoke,  145. 

Why  I  Am    Interested    in    the    Craftsman 


Kitchen — By  Alfred  W.  McCann ;  Re- 
print from  New  York  Globe,  530. 

Women,  American,  and  Housework :  Effect 
of  the  European  war  on  the  servant  ques- 
tion ;  Can  no  longer  cull  servants  from 
immigrants ;  Will  the  American  woman 
once  more  face  the  problem  of  managing 
her  own  household?  53. 

Wonder-Stone,  The  Artist's :  How  Baron 
de  Meyer  Sees  Modern  Spain :  Only  in 
the  hands  of  an  artist  does  the  camera 
give  things  their  true  value ;  Baron  de 
Meyer's  interpretations  of  Spanish  life ; 
How  the  camera  finds  the  soul  of 
things,  46. 

Working  for  Play:  The  Country  School 
Developed  into  a  Social  Center — By  Wal- 
ter A.  Dyer :  The  need  in  rural  communi- 
ties for  cooperative  community  life ; 
Work  of  the  Social  Center  Association  of 
America;  The  country  school  the  logical 
nucleus  for  social  activities ;  Farragut 
School  at  Concord,  Tennessee,  a  good  ex- 
ample ;    Other  civic  center  schools.  304. 

Youth,  Art,  and  the  Lovely  Old  Luxem- 
bourg Gardens — By  Mary  Fanton  Rob- 
erts :  Europe,  as  a  whole  bound  hand  and 
foot  to  the  formal  and  classic  in  art ; 
France  has  the  Luxembourg  Gallery  open 
to  the  men  of  today;  We  have  been  slow 
in  letting  the  greatness  of  today  stand 
erect  among  us ;  France  has  been  a  true 
republic  in  art  and  letters ;  Artists  of  to- 
day humanitarians  as  well  as  technicians ; 
The  spirit  of  the  Luxembourg,  9. 


INDEX  OF  PERSONS 


7/7 


PAGE 

Adam,  James  47^ 

Adam,  Robert   472 

Adam,  William   472 

Adams.   Maurice   B 432 

Addams,  Jane   79 

Addison,  Joseph    649 

Agar,  Madeline  662 

Albright,   A.   E 359 

Aronson,  Naoum    (Frontispiece) 

opp.  p.  119 

Babcock,   Orville  E 660 

Bakst,  Leon   i73 

Barker,  Elsa  "4 

Barker.  Granville   473 

Barnard,  John   348 

Barnes,  J.  H 668 

Barres,   Maurice   i47 

Barrie,   James  M 473 

Bates.   Carlos   G 657 

Bell,  Anning   (Frontispiece) opp.  p.  23s 

Benedict,  James  B 495 

Bernstein,   Ludwig  B 443 

Betts,  George  H 305 

Bloche,   Roger    11   et  seq. 

Bourdelle    i4 

Bowdish,   B.   S 396 

Boyd,   David   Knickerbacker    539 

Boyer,  Michael  J 328 

Brewster.  Robert  S 618 

Bridge.  Robert  C 281 

Bright,   Mrs.  Joseph    665 

Brown,  Frank  Chouteau 517 

Brush,  Edward  Hale 612 

Brown,  Mrs.  Walston   588 

Buck,  Mertice  MacCrea  86 

Bulfinch,    Thomas    456 

Bull,  Jerome  C 544 

BuUey,  Margaret  H 115 

Burbank,   Luther    150 

Burens,  Miss  M.  L 215 

Burgess,  F.  W 347.  448 

Burroughs,  John   587 

Burroughs,  John   (Frontispiece) 

opp.  P-  591  et  seq. 

Burroughs,  Julian   587,  S9i 

Burton,  Frederick    184 

Byers,  Charles  Alma 206,  317,  571 

Cain.  K.  R 92 

Carlisle.  Thomas   197 

Carpenter,  Edward   45 1 


PAGE 

Carriere,  Eugene  12 

Clialiapine  136 

Chesterton,  G.  K 279 

Chippendale   158 

Claxton,  Hon.  P.  P 215 

Coffin,  C.  A 542 

Comfort,  Will  Levington, 

3,  112,  119,  261,  351,  508,  588,  643 

Converse,  Atherton  t) I90 

Coursos,  John   '6 

Cox,  George  J 455 

Cui,  C 169 

Culpin,  Ewart  G 573 

Curtis,  Natalie  184 

Dahler,  Jerauld  5i9 

Dawson,  Coningsby 42.  235,  249,  345 

Dearborn,  Ned  215 

de  Berg,  Clara   44i 

de  Meyer,  Baron    46 

Dietz,  Angel  de  Cora 182 

Dietz,  William  H 183 

Dillard,  J.  H 619 

Dix,  James  H 106 

Dolbear,  C.  E 191 

Don,   David    577 

Drew,  R.  H 571 

Dyer,  Walter  A 304 

Eastman,   Charles   A 179 

Elder-Duncan,  J.  H 432,  543 

Ferber.  Edna   454 

Filmore,   Prof.  J.   C 184 

Fletcher,  Alice  C 184 

Forbush,  William  Byron   454 

France,  Anatole   147 

French,  Daniel  Chester opp.  p.  35i 

Fry.  Sherry  E 615 

Fulford,  Mrs.  George  T 564.  667 

Galsworthy,  John   473 

Gaut,  Helen  Lukens   209 

Gaylor,  Frank  W 333 

Gibbons,  Grinling  477 

Gill,  L  J .564,  667 

Gimson,  Ernest  403 

Glazounow,  A 172 

Glinka,  M 170 

Goldmark,  Pauline  346 

Gorky,  Maxim  136 

Graves,  Nathan_  R 386 

Gregson,  Naomi  B 361 

Grierson,  Francis   I45 


PAGE 

Hall,  Marie   419 

Hammond,  John  Martin 347 

Hanks,  A.  K 618 

Heidelberg,  Max  G 444 

Henri,   Robert    459 

Heppelwhite  158  et  seq. 

Holmes,  John  Haynes  in 

Hopkins,  Mary  D 346 

Hugo,    Victor    147 

Humphrey,  Phoebe  Westcott 614 

Hyatt,  Miss    619 

Ibberson,  H.  G 404 

Iwanoff,  M.  P 139 

Jacobs,  Harry  A 444 

Jackson,  F.  Ellis  517 

James,  Dr.  Walter  B 619 

Johnson,  Joseph   French 187 

Joor,   Harriet    436 

Kauffmann,   Angelica    161 

Kauffmann,  Cipriana  161 

Kelland,   Qarence  B 346 

Kennard,  Frederick  H 400 

Kent,  Robert   477 

Kiessling,  Calvin  518 

Kinne,   Lynn    518 

Kipp,  Karl   338 

Kline,  W.  Fair   360 

Knapp,   Ethel  Marjorie   401,  515 

Konti,   Isidore    618 

Koiiznetzow,   N 171 

Kunos,    Ignace    345 

Laloux,  M.  Victor 566 

Lewis,   Gertrude   Russell 68,  478,  493 

Liapounow,  S 173 

Lincoln,   Abraham    150 

Lincoln,  Charles   588 

Lincoln,  Edwin  Hale  631 

Lippert,  F.  G 27s  et  seq. 

Logan,  Helen  M 226 

Loring,  Harold  A 184 

Loti,   Pierre   147 

Lounsberry,  Alice   481 

MacChesney,  Clara  T 248 

MacNeil,  Mrs.  Carol  Brooks 615 

Maidenberg,  Joseph  M 206 

Malioutine,   S 94 

Manning,  Warren  H 659 

Manship,   Paul    619 

Marsh,  G.  T 622 

Marston,   Sylvanus   B 209 

Mather,  Frank  Jewett   59 

McArtan,   Edward   619 

McCann,  Alfred  W 530 

McComber,  Carrie  D 449 

McSpadden,  J.  Walker  4i;s 

Merrill,  H.  C 362 

Mill,  John  Stuart  305 

Millards,  E.  L 6,6 

Miller,  Wilhelm   588,  650 

Mitchell,  Arnold   406 

Morris,  William    409 

Moulton,  Robert  H 494 


PAGE 

Moussorgsky,  M 136,  167 

Moyer,  Albert   114 

Muir,  John   (Frontispiece) opp.  p.  459 

Neill,  J.   W 534,  669 

Ness,  Dr.  Mary  Lawson gg 

North,  H.  L 485 

Northend,  Mary  607 

O'Hara,  Geoffrey  184 

Oppenheimer,  Miss  Elsa  444 

Orr,  Henry  S 543 

Ovtchinnikof,  J '. 94 

Palomar,   Torres    97 

Parker,  E.  W 192 

Parsons,  Samuel,  Jr 664 

Pasternack,  L 142 

Payne,   Arthur  F 455 

Pearson,  T.  Gilbert 213,  394,  583 

Pecke,  M.  H 343 

Pennell,  Joseph   60 

Perrett,  Antoinette  Rehmann 33 

Phelps,  Harold  D 699 

Pietro,  Sciarrino  Caraino.  .587,  opp.  p.  591 

Plowman,  George  T 453 

Pogany,  Willy   345 

Pool,  J.  Corbley  320 

Pope,  John  Russell  535 

Powers,   Richard   M 519,  575 

Price,  William  L 402,  588 

Purwitt    141 

Pyle,  Howard  255 

Rackham,  Arthur   250  et  seq. 

Rantoul,  William  G 51S 

Repin,  Ilja 140,  168  et  seq. 

Rimsky-Korsakow,  N 168 

Roberts,  Mary  Fanton 9 

Roerich,  N 94 

Roorbach,  EIoise..2o,  228,  369,  479,  583, 

588,  620 

Roosevelt,  Theodore   657 

Roy.  Basanta  Koomar 364 

Rubinstein,  Anton    140 

Ruskin,  John   165,  294 

Rust,  E.  B 571 

Schmidtkestner,   Erich    3 

Scott,  Mrs.  Arthur  612 

Scriabine,  A 174 

Scudder,  Janet    612 

Serow,   T 172 

Shaw,  George  Bernard  473 

Shearer,  T 164 

Sheraton    160 

Short,  Sir  Frank  453 

Sloan,  Maurice  M 1 14 

Smith,  W.  H 308 

Soderholtz,  E.  E 383 

Speer,  Helen  227,  292,  342 

Spofford,  Harriet  Prescott   477 

Squires,  Frederick   543 

Stafford,  Miss  Edna   213 

Stickley,  Gustav 29,  312,  530,  539  et  seq. 

Storer,  Maria  Longworth 302 

Sutherland,  Marjorie   265 


7li 


PAGE 

Sweet,  Edward  E 206,  317 

Tagore,   Rabindranath    364 

Tchaikowsky,  P 17 

Tchirikov,  Evgeny   16 

Tenichef,  Princess   92 

Thomas,   W 477 

Thomson,  Adeline  Thayer 202 

Thomson,  James  158,  445.  470 

Thorsen,  J.  H 537 

Tilden,  Samuel  J 618 

Towne,  Charles  Hanson 124,  418 

Untermeyer,   Samuel   613 

Verhaeren,  Emile   59 

Walker,  F.  R 518 

Walker,  John  Brisben  494 

Warburg,  Felix   616 


PAGE 

Ward,  Edward  J 305 

Ward,  Phyllis   1/8 

Wentworth,  Marion  Craig   320 

Wheelock,  Dennison   184 

Wheelock,  James   184 

Whelpley,  Mr 138 

Whistler,  J.  McNeil   295 

White,  Charles  E.,  Jr 54' 

Widdemer,  Margaret   8,  246 

Wightman,  Richard   456 

Wiley,  Harvey  W 532 

Wilson,  Margaret  Woodrow   306 

Wilson,  Woodrow   307,  494 

Wood.  William  Allen   424 

Youmans,  Donna   320 

Zinovief,  A 93 


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