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I ý. ý ý I 1. ý. I -, I I- ý... -. I ý. I ý.. I - I -. ý ý I. I I. I I,.....,. I I I I I -.. ý ý.. ý - ý I I..,., I. - -. - I, I - I I... I I ý I I -.. ý., ý, -. ý i ý ý. ý I. I ý. - ý. I. I I... ý. -. j I I I. I ý.. - ý I I I ý ý I I I I.., ý, " I,ý 1. ý. I, I -, ý, I.. I I I. I - ýý.., ý I... -. - L ý -,l I - I ý ý I I... ý I.... ý I I. ý. I,ý ý. I I ý I -, I I. ý. I - - I I I I. ý - - ý, I -. I I I. ý. - I - I -. I I I... I I.. I I. ý. I ý 7 i,-, -1 I - j I.. -. - ý.. ý I I ý - I - - - I I. I. I - ý. I,. I ý I. ý. I - I. I I. ý ý I I ý, ý ý I, L -,, I I L.. I. I I ý - I I ý,,, - - I, I ý I I I - - - I.. ý ý., I I - ý I I I I ý. I I. ý - I - I I. I L I. I I I ý L I. I I -..,ý. 1ý - I - ý I '-. 11 - ý I I L, ýý I I - I.,. I I.. I.... I ý., ý. I 1. ý ý ý I.. -- I I I - I I I I ý I ýý I - 1ý I. ý. -. I ý ý.. I ý - ý. I. -.... I. -... ý - " - r ý,.ý I. - I ý I ý I I. ý - I I.. 1,. I ý " I - I I I 1, I I. I.,., ý ý ý I. ý. ý I ý I ý I I I - ý.. ý I ý,... I. I.. I ý ý, -.. -.. I I ý. I ý ý ý. I... - ý. ý ý.,. I. I I. I I.. I 11 I ý I. I -... I. I I I. I. ý ý ý. I I - I I I.1 ý. I. I.. ý I. - I I.. ý I. -,..,ý I I. -.ý ý, I ý, I.. 1....... I I. ý I - - -.. I I ý. Distinctive Homes of M.oderate Cost THE HOME OF MISS ALGER AND MISS FULLER, GREAT NECK, L. I.-WILSON EYRE, ARCHITECT A striking object lesson upon- the- power-of vines to give a house that harmony with its surroundings that is the first essential of a hm I LL DISTINCTIVE HOMES OF MODERATE COST BEING A COLLECTION OF COUNTRY AND SUBURBAN HOMES IN GOOD TASTE, WITH SOME VALUE IN SUGGESTION FOR THE HOME-BUILDER Edited by HENRY H. SAYLOR A NEW YORK McBRIDE, WINSTON & COMPANY 1911 Copyright, 1910, by IMCBRIDE. WCINSTON & COMPANY Copyrigbt, 1910, by MCBRIDE, wl N-STONY & COMPANY Copyright, -zgo5, zgo8, 1909, by THE JOHN C. WVINSTON CO. SECOND EDITION PRINTED APRIL, 1911 CONTENTS INTRODUCTION...................................................................................... PART ONE CHAPTER I THE HOME-BUILDER AND THE ARCHITECT... ALEXANDER BUEL TROWBRIDGE...................... CHAPTER II BUILDING MATERIALS: THEIR RESPECTIVE MERITS, DEFECTS AND COSTS...H. H. S.................... CHAPTER III SOME DETAILS OF CONSTRUCTION..................................................................... Roofing Materials and Methods....CHARLES EDWARD HOOPER Windows... CARLETON MONROE WINSLOW The Cellar... GARDNER TEALL CHAPTER IV 9 1I 24 27 THE PORCH AND THE PAVED TERRACE...H. H. S................... 35 The Porcheversus the T errace The Sleeping-porch Enclosed Porches for Winter Use CHAPTER V THE FIREPLACE...H. H. S................................................. I...... 44 CHAPTER VI HEATING SYSTEMS AND WATER SUPPLY......................................... The Installation, Maintenance and Cost of Heating Systems... H. H. S. Methods of Securing and Storing Water for the Country Home... HAROLD WHITING SLAUSON CHAPTER VII LIGHTING AND LIGHTING FIXTURES.................................................... Independent Plant Systems for Lightin~g the Country Home... H. H. S. Lighting Fixtures of Distinction CHAPTER VIII BUILT-IN CONVENIENCES, BOOKCASES AND WAINSCOTING................................ Possibilities in Built-in Furniture... MARGARET GREENLEAF Built-in and Portable Bookcases... H. H. S. Types and Costs of Wainscoting... H. H. S. CHAPTER IX FLOORS AND FLOOR COVERINGS....................................... Floor Materials and Furnishings... MARGARET GREENLEAF The Cost of Fitting a House with Rugs... LOUISE KING Oriental Rugs of Low Cost... GEORGE LELAND HUNTER CHAPTER X WALL COVERINGS..................................................... The Available Materials and Methods..MARGARET GREENLEAF Choosing Wall Papers... MABEL TUKE PRIESTMAN CHAPTER XI FURNISHING AND FURNITURE........................... The Available Types... MARY M. HODGES Furniture for the Living-room, Dining-room and Library... H. H. S. Furnishing the Bedroom.,, MARGARET GREENLEAF 49 54 59 69 78....001c0a.0 84 5 CHAPTER XII PORTIERES AND W INDOW DRAPERIES.......................................................................94 Some Portieres of Character... LOUISE SHRIMPTON Window Draperies for the Country Home... MARGARET GREENLEAF CHAPTER XIII PICTURE HANGING AND ORNAMENTS................................................ 99 The Art of Hanging Pictures...SHERRIL SCHELL The Place and Character of Ornaments... KATHERINE POPE CHAPTER XIV THE GARAGE... CARLETON MONROE WINSLOW.............................................................. 104 PART TWO A HOUSE DESIGNED FOR ITS SITE.. H. H. S............................................. 107 The Home of Mr. Alexander B. Trowbridge, Port Washington, L. I. "WELDACRE"...MARY H. NORTHEND....................................,.......................1 The Home of Mr. George E. Smith, Phillips Beach, Mass. "UPWEY"...GARDNER TEALL............................................................................ 13 The Home of Mr. Ernest E. Calkins, Elmsford, N. Y. "H AW THORNE LODGE"...H. H. S...................................................................117 The Home of Miss Maria Grey, Grosse Pointe, Detroit, Mich. A GARDENER'S COTTAGE ON THE SHARPLESS ESTATE, NEAR WEST CHESTER, PA.............................. 120 THE HOME OF M R. JOSEPH Y. JEANES, VILLA NOVA, PA.................................................... 121 THE HOME OF MISS ALGER AND MISS FULLER, GREAT NECK, L. I......................................... 122 A HOUSE ON THE SHARK RIVER, N. J.................................................................. 124 The Home of Mr. A. Durant Sneden, architect "P R IN C E SSG A T E "................................................................................1 25 The Home of Mr. Eldred Bates, Wyoming, N. J. "BISHOP HOUSE," ON THE SHARPLESS ESTATE, NEAR WEST CHESTER, PA...................................... 126 "WRANGLEY LODGE," ON THE SHARPLESS ESTATE, NEAR WEST CHESTER, PA..............................127 THE HOME OF MRS. E. A. PERPALL, PLEASANTVILLE, N. J........................................... 128 THE HOME OF M R. J. L. BAILY, ARDMORE, PA.............................................................128 THE HOME OF MR. E. H. JEWETT, ENGLEWOOD, N. J................................................ 129 THE HOME OF MR. WALTER W. PARSONS, GREAT NECK, L. I............................................ 129 THE MAKING OF ONE COUNTRY HOME...JEANETTE L. GILDER............................................. 130 The Home of the Author "WILLOWDALE"-AN OLD-FASHIONED HOUSE................................................................. 133 The Home of Mr. Harry B. Russell, architect, Pocasset, Mass. THE HILLSIDE HOME OF A PttYSICAN...MARY H. NORTHEND................................................ 136 The Home of Dr. Benjamin Tenney, Manchester, Mass. A CALIFORNIA CHALET...HELEN RAY.......................................................................... 139 "Felsengarten," in the Ventura Valley, California. A HOUSE AT GROSSE POINTE, MICH............................................................................ 141 THE HOME OF MR. Louis STARR, JR., TENAFLY, N. J................................................. 142 THE HOME OF MR. LAWRENCE BUCK, ARCHITECT, ROGERS PARK, CHICAGO, ILL............................. 143 6 THE HOME OF MR. JOHN A. GURD, ARCHITECT, RIVER EDGE, N. j....................................... I44 A COUNTRY H OUSE AT W YNNEW OOD, PA............................................................... 45 THE HOME OF M RS. S. A. COOLEY, GROSSE POINTE, M ICH............................................... I46 A REMODELED FARMHOUSE NEAR N EW YORK.......................................................... 147 THE COUNTRY HOME OF MR. F. D. SHERMAN, PORT WASHINGTON, L.............................. 148 THE HOME OF MR. ALFRED T. TAYLOR ARCHITECT, NEAR SYRACUSE, N.,o... THE RECONSTRUCTION OF AN ABANDONED FARMHOUSE, SEA GIRT, N. J................................... i51 A H OUSE AT C AM BRIDGE, M ASS....................................................................i 2 A H OUSE B UILT FOR A V IEW...H. H. S................................................................ I5 The Home of Mr. George V. Bates, Mamaroneck, Conn. A NEW HOUSE INSPIRED BY AN OLD ONE... HENRY LORSAY, 3RD........................................... 156 The Bishop House at Norwalk, Conn. "H ILLCREST", PORT HOPE, O NTARIO...J. Le. SCHWARTZ................................................... 58 The Home of the Author A STUDIO OF CHESTNUT SLABS AND CEMENT...EDWARD FESSER........................................... l6I The Home of the Author A SOUTHERN CALIFORNIA HOUSE AND ITS GARDEN...ELISE GALLAUDET..................................... 64 " T H E W IG W A M "... H. H. S.............................................................................. 16 8 The Summer HoMe of Mr. Edwin R. Keller, Wawa, Pa. A H OUSE B UILT FROM A STABLE... H. H. S............................................................. 7 "BOND HOUSE", ON THE SHARPLESS ESTATE, NEAR WEST CHESTER, PA.............................. 173 ) I-N RO DUC IONO T? has been said of the United States that while it may boast many large homnes, both in city and country, of real architectural mer-it, the mass of the country's small houses--the homes of moderate cost--are with few exceptions almost uniformly lacking in any serious attempt at refined design. The charge is well founded, unfortunately, as you who look critically at the homes about you will, Ibelieve, agree. The reason for this is ob-vious. Wihen a m~an sets out to build a home of rather elaborate scale he feels at the very outset the imp~erative need of a goodl architect, and he has the means to emzploy one. On the other hand, the man1 wh-o can afford only a small home realizes that it is only through the exercise of the most r~igid economy that he canl hope to secure in his home even the few necessary -roomls, with the simplest finish. Probab-ly the mr-ajor~ity of men in these circum-stances determine at the start that they will " economize'' by building without the services of an architect. The architects themlselves are largely responsibole for this Ltate of affairs, too, though in a perfectly natural andd rather indirect way. Many of the more prominent men in the profession avoid rather than seek commissions for building small houses. There is little money in this work for them, at best, while the rewards o~f the larger domestic work and buildings of a commercial or monumental character are far greater. The work in making drawings and in sup~ervision is nearly as great on a. small house as on a larger one, with the f ee varying in direct proportion to the cost, unless, as is more frequently being- done of late years, the architect has established- a sliditig scale of charges which calls for a higher percentage on the smnaller work. Undoubtedly, however, the chief` cause of the nonemployment of an architect by the prospective smallhome builder, and therefore of the lack of real architec-4-- _ - 1..1 4 _d h uss, s ue to a is He errs in thinking that he will economize by plannnig the house himn~self, giving loo-se instructiolns to a con-- tractor, or attempting to buuild fron- cheap~ r-eady-made plans. In thinking that he canl really secure the sort of home he wants at less cost, he is making ju~st as great a. mistake as he wvould make in attempting to save doctors' bills b~y p~rescrib~ing for his own illness. This is true to-day as never before, because the science of building has become far more intricate with the greater choice of availab~le ma~rteriazls and methods. The man wvho purposely refrains from availing bili-self of com~petent technical skill in the design. and supervision of his home is not only ge-gto have a less convenient, less attractive and less well-built house, but he is also going to spend 1-ore mroney in getting it than he can possib-ly save in the architect's fee. I am inclined to think that the solution of thiss problemn lies in~ the more freqjuent employment of the younger architects for this small work. These -men are less experienced, to be sure, but they are almnost certain to brinlg to the task more enthusiasm and a far greater amount of conscientious personal attention. than can be had from the busier, better known p~ractitioner, whose larger and more important work makes a more insistent demand upon his time. It may be asked, what is the use of such a botok as this if the brest course for a prospective horne-builder to pursue is to engage an. architect at the start and allow him to solve the problem.m inl a distinctly individual way? The answer is that the architect, in. ord~er to be able to design a home that will meet the practical requiremlents of the owner and, as well, the far more subtle ones that will reflect something o~f the latter's personality an~d taste, must work with a b~asis of ideas and preferences that are really crystallized in the owner's mlind. And it is with the purpose of effecting that crystal~lization---of helping the owner to know more definitely what he does want and~ need, tha~t this book. ý,, I 'Y -Tr * '1 11 *.1 1 /_, 0..1 *tiv 93 owner is ready to have an architect assimilate, revise and mold that conception into concrete form. If this book can in some measure assist the layman to form his preliminary mental picture of what he would have his future home to be, through the presentation of current building practice, the m-ain principles of furnishing and a survey of completed homes of various types, in which the general principles of good taste have in the main been followed, it will have achieved its purpose. H. H. S. I THE HOME-BUILDER AND THE ARCHITECT IRST CONSIDERATIONS -THE THINGS YOU WILL HAVE TO PAY FOR EVENTUALLY IN ADDITION TO A HOUSE -A CHECK LIST OF ESSENTIALS THE prospective home-builder is often ignorant of the many conditions which should control his choice of property and assist in the preliminary calculations of expense. Carried away by his enthusiasm, by his desire to see the fulfilment of a long cherished dream, he is often impelled to begin work sooner than is desirable. Not until the house is well under way and he begins to learn of many important items which should be included in his contracts to insure the comfort of his family, does he realize that he has acted too hastily. So let us start in with the first problem that should come to the home-builder's mind, namely, the preliminary considerations in connection with the search for a piece of property. The writer has in mind the owner who expects to build in the suburbs or in the open country. He who chooses the former location is spared the necessity of bothering about many of the questions which are here presented, but the builder in the open country or in the newly developed communities that are springing up, mushroom-like, all over the country must consider them all. Therefore to such I would say: Don't be carried away by the clever wording of an advertisement or the plausible story of a salesman; by the ease of payment offered as an inducement; or by the most alluring and difficult to resist of all influences, the beauty of the site under consideration and its environs. Instead, write on a piece of paper the following eleven questions and apply each question to the site which attracts you. This will guide you in a selection and if the property does not possess all of the advantages inferred in the questions and you still feel like purchasing, you will at least be able to conclude negotiations with eyes wide open. i.Is the property provided with a good water supply, or must a well be driven and engine, pump, tank, etc., be installed? 2. Are the schools in the vicinity modern, sanitary and in charge of trained teachers? 3. Can good milk be obtained easily or will it be necessary to buy a cow, build a cow barn and provide for the cow's pasturage, daily care and milking? 4. Can clean ice be bought at a fair price, or must an ice-house be included in the calculations for total cost? 5. Are you to have the use of a public sewer or must a sewage disposal plant be installed? 6. Is the site so far from the nearest railroad station as to compel the use of horses or an automobile, thus rendering necessary a stable or a garage? Remember that if you visit the property in the real estate agent's automobile, the distance from the station to the property will seem about one-half its true distance. 7. How does the railroad rate compare with other roads? 8. How does the local tax rate compare with that in other communities? 9. Will electric light be brought to the property or must you count upon installing a gas generator? io. Does the proposed site need much grading, planting, seeding, etc, with numerous loads of new top soil? ir. What road building, if any, will be needed on the property? It would be possible to add other pertinent questions referring to the character of the ground, its exposure to the sun and to the prevailing breezes, etc. These questions are omitted because it is assumed that a piece of property would not be under consideration which was not high and dry and had not good exposure toward sun and breezes. It will not be possible here I D discuss in detail all of the eleven questions. The most important to emphasize is that concerning water supply. No matter how attractive a location is found it will be a total failure without good water and, many would say, plenty of it. If it comes from a country lake bordered by farms and cottages, avoid it as you would the plague. If it is pumped up from driven wells or comnes from flowing wells, as it does in many parts of Long Island, it is likely to be the l)est that can be had. Also, if one has children to be educated, what greater mistake can be made than locating a home in a place where the children must attend an unsanitary, badly lighted and badly ventilated school, in charge of partially educated teachers? One cannot expect to change these things by agitating the questions locally. The schools are supported by local taxation and many rural communities are unable to raise the money 11 12 Distinctive Homes of Moderate Cost - I L- -- I- - - I- - L- -- I A side entrance on a plastered stone house. Cope & Stewardson, architects The "Dog trot" entrance to a house and enclosed garden in a Wisconsin home. Howard Shaw, architect An old-time Salem "stoop" with its blinds and brass knocker The wrought iron fence treatment marks this old Charleston entrance The front entrance of a thatched cottage in Sussex. England The curved hood roof is unusually effective here. Guy Lowell, architect The latticed porch and built-in seats lend an air of informal hospitality The stately classic entrance of a Southern Colonial stone mansion A small porch usually marks the country house entrance. Dwight & Chandler, architects NINE TYPES OF ENTRANCE DOORWAYS Distinctive Homes of Moderate Cost 13 Ditntv Homes ofMdeaeCot1 needed for improvements. The milk question is also of importance, particularly where young children are concerned. How many families have gone to the country only to resort to the absurd custom of sending to the city for milk at fancy prices! In connection with the ice problem the writer has in mind a commuter whose ice bill in a certain rural community, not many miles from New York City, varied during the six warmer months of the year from $14 to $28 per month. This was due to local high prices and to an inadequate and totally unsatisfactory manner of keeping the ice after it was delivered. It is cheaper and better to build an ice-house and to stock it in winter, but the cost must be included in the first calculations if one wishes to guard against this form of unexpected expense. The question relating to sewage disposal is the next in importance, as it also concerns the family health. The old-fashioned cesspool should not be used, no matter what the farmer neighbor says on the subject. The health of your family demands that, in case you have not the use of a public sewer, a modern sewage disposal plant be installed. Such plants may be built for moderate amounts and ought to be a part of the general estimate. The remaining six questions are important even though they do not directly concern the family health. Any suggestion which will aid an owner to see ahead clearly the various steps in his home-building project, will contribute to his peace of mind and incidentally to his health of body. It will not do to put off these considerations through recourse to the old saying "Sufficient unto the day is the evil thereof." If they are left to be solved when they arise, an embarrassing situation is sure to occur. The owner will find either that he is located in the wrong place or that he is obliged to go much deeper. into his pocket than he had expected. HE INTIMATE CONNECTION BETWEEN SITE AND STYLE-WHY THE FORMER SHOULD GOVERN THE CHOICE OF THE LATTER WE have been guilty of preferring fashion to fitness in house designing. There was a time when "Colonial" was all the rage; another when half-timber work was the favorite of the hour. It is apparently necessary, though irritable, that women should follow fashions in dress, even if, in many cases, the styles do not suit the wearers. But suppose every woman expected to wear her gowns continuously for twentyfive years! Is it conceivable that she would follow fashions? Not at all. The cut and color of the clothes would be chosen with strict attention to the propor tions and character of her figure and the color of her face, eyes and hair. So it is with home-building. A house should be built to outlive fads and fashions, and inasmuch as family life in the American country home is largely out-of-doors during at least half the year, the conformation of the site, the color value of the background which Nature has prepared and the character of the foliage, all are matters that should enter into the critical examination of a site before the architect is instructed to proceed with designs. It is of the greatest importance to examine every available house site on a property so that the final choice will be made only after every defect and every advantage have been considered. Many a homebuilder makes a mistake at the outset in deciding upon the location of his house without taking the trouble to learn the opinion of his architect. If the latter is both intelligent and conscientious he will insist upon seeing the site before he makes any drawings. If the owner is intelligent he will invite his architect to visit the property before the site is finally chosen in order to avail himself of any helpful hints the architect may offer. It is not imperative that this advice be followed, but it should have careful consideration, as it is vitally necessary that the owner be in full possession of all of the facts in the case before attempting to reach a decision. This advice should be paid for at a price per hour or per day agreed upon before the journey is attempted. From the architect's standpoint a charge is necessary to guard himself against the danger of wasting time in choosing property before the architectural work is assured. Architects have often been imposed upon by speculators and by well-meaning but over-zealous searchers for property, hence the custom of charging for such service. From the owner's standpoint, the expense is justified on the ground of economy. Often an architect is able to point out to the owner how a substantial sum may be saved either in the selection of property or through the choice of a site for the house. Architects of the best class charge fees varying from $20 to $100 per day, plus expenses, for personal trips calling for inspection and report. In the case of small investments when the owner cannot consider so large a payment, it would be well to invite the architect's co-operation after the property is purchased but before the site is chosen, It is usually not within the imaginative power of the average home-builder to be able to form a mental picture of a house on a sloping piece of ground. He is accustomed, at least in most communities, to see conventional structures with the first floor just high enough from the ground to admit of basement windows, and with the grade at a more or less constant level on all sides of the house. In fact, it may be asserted that if he is contemplating a hilly site his first thought is " How much will it cost to grade up to the house and how much cutting and filling will be needed?'' Occasionally a picturesque house is built upon a flat lot, but the great majority of houses on level sites are sober and staid rather than picturesque. The character of the site suggests, to the artist, the kind of house best suited to the problem. A true designer goes to the site with an. open mind and with no preconceived con victions. The owner should do as much. Very many of the failures in architecture are caused by a lack of this open-mindedness, shown occasionally by architects but more often by owners. DON'T make up your mind long in advance of the 14 Distinctive Homes of M~oderate Cost 14 Ditncie oe o odrteCs F ~1 A huge chimney of painted bricks that dominates the end of a Colonial house A chimney of common bricks, laid Flemish bond, that seems particularly appropriate It is common practice in Colonial work to carry up the chimney flush with the wall Here the chimneys are of brick with inset plaster panels and cornices to match the gray plaster of the walls A symmetrical arrangement of chimneys has been here secured-usually a difficult thing to do-and they are of cement Chimney pots of terra cotta are more frequently A stone chimney that composes particularly well On half-timber work the chimneys are usually used in English work than here in America with the gable end of which it is a part of an intricate pattern in brick or terra cotta EIGHT TYPES OF CHIMNEYS Distinctive Homes of M~oderate Cost 15 Ditntv Hoe f oeae ot1 purchase of your property as to the kind of house you purpose to build. Or if, because of the possession by your family of a valuable set of Colonial furniture, you would deem it best to have a Colonial or Georgian house, let that fact dominate you in your search for property. If you have a level site well back from the main road with stately elms and oaks to serve as background for the house, you do not want picturesque architecture. Above all else you should choose a style that suggests dignity and repose. If, on the other hand, your property has a wild character and the ground is irregular with hills and valleys, rocks and ridges, and an assortment of medium-size trees, it is possible that picturesque architecture with gables, turrets, dormers, etc., may be the only type that will seem appropriate to the setting. If you approach this irregular site with a determination to fit to it the formal house which has been the ideal of your imagination for years, you will only create a condition that will render a good solution impossible. Set aside your preconception and enter enthusiastically upon the labor of evolving, with your arohitect, a house that fits so truly its environment that it shall seem the one thing that was needed to produce a unified composition. Owing to a very general inability to picture in the imagination the type of house that will fit a difficult site, it will be found that such properties are held at lower figures than those requiring less imagination. This is a point very little understood by the public. The writer has in mind a house which was planned to secure two noble panoramic views so related to the site as to make necessary a floor plan having a peculiar angle greater than ninety degrees. While the house was being framed the visiting neighbors passed summary judgment upon the architect (who was also owner) and came to the definite conclusion that he was crazy. Why? Because a house was being erected which was unlike any these neighbors had ever seen. When it was finished, and large plate glass windows framed the two superb views, the neighbors were honest enough to take their hats off to the architect who dared to depart from tradition and plan with regard to the local conditions. This illustrates the point, namely, that in any problem where there is a little more than a flat suburban lot to deal with, and views, grades, trees, etc., are important parts of the governing conditions, it would be folly to approach the problem with fixed notions as to the style of the architecture. C HOOSING AN ARCHITECTURAL STYLE THAT WILL BE IN HARMONY WITH THE SITE AND WITH THE HOMES OF YOUR NEIGHBORS ENTHUSIASM for one style in preference to others has long been a tendency among architects. It is not intended in this short talk to take issue with these individual advocates, but to point out how, under certain conditions, each is right but that none is correct if he seems to advise the use of one style for all cases. In choosing a style the external environment and the internal equipment should dominate any tendency to follow fashions or abstract advice. By environment is meant the character of surrounding buildings, if the site be in a somewhat crowded suburb; and the nature and contour of the ground, as well as the character of the trees and foliage, if the site be in the open country. Thus, if an owner intends to build on a suburban lot and finds that his neighbors have already established a formal atmosphere through the use of symmetrical houses of a classic or Colonial type, it would indicate better taste not to introduce a jarring note by building a picturesque, unsymmetrical house in vivid colors. Some owners, without giving careful thought to the matter, are inclined to think that something new and original in such a community is not only an owner's right but is what would be welcomed by the neighbors. As well expect a community of typical New Englanders who live and dress quietly, to welcome into their midst the family of a Bowery sport. An owner should pay some heed to the tastes and the characteristics of his neighbors if he intends to become a useful and considerate member of his community. If he builds in the open country with plenty of land and an abundance of trees, the style should be chosen through a study of the most successful houses that have been built upon similar sites in this country and in Europe. In one instance a quiet white or Quaker gray farmhouse would be fitting, while in another, a free composition in cement or half-timber work would seem the most appropriate. While these considerations are of great importance, the internal equipment should receive even greater thought. For example, an owner possessing Colonial portraits and good Colonial furniture should not allow an architect to insist upon a modern European house or even a modern cement house. We cannot escape the influence of tradition, and, try as we may, it is out of the question to place Colonial furniture entirely successfully in a house trimmed in oak, cypress, chestnut or any of the popular dark finishes which form an important feature of modern country houses. Portraits, settles, tables, sideboards, etc., if they are worth keeping, should have much to do in determining the character of a house interior and its plan. A severely plain Colonial portrait looks foolish and ashamed in a Louis XV salon. Yet so great has been the desire in some instances to acquire ancestral portraits, and at the same time to be in the prevailing fashion with respect to style, that similar incongruities have been frequent. If the furniture possessed by an owner is not really distinguished yet represents a costly outlay, the situation is trying and needs courageous action. The house should then be designed with regard both to its external environment and its future interior equipment. If the owner does not feel like disposing of his furniture at once let the house be designed in harmony with furniture of the best type, with the understanding that the change in equipment will be made at a more convenient date. It would be better to do this and live for a period in the midst of inharmonious sur 16 Distinctive Homes of Moderate Cost Modern English plaster houses are frequently seen with this curious fiat-roofed type An upper bay should usually have some apparent support, even if only brackets Thle home of Mr. J. W. Dow, architect, hlas this light and graceful bay over the entrance.e ranect-in nat root ot tins iay is noored and used for outdoor sleeping In this country house the bay has been employed to break the long roof slope The half-brick jog back before the angle sides start lends character to this bay Biay-windows seem always to fit well in-to a half-timber house An unusual two-story bay on a rather narrow gable end This five-window cement bay must make an attractive end feature for its room NINE TYPES OF BAY-WINDOWS D~istinctive Homes of Moderate Cost 17 __ ___ roundings than to permit the entire character of the house to be determined by the costly, inartistic furnitur eThere are -many owners who have no special fondness for traditions and who care more for soft tones, strong useful furniture and home comforts than for surrounding's possessing pedigrees. These may as well frankly eschew historic styles and c~all upon the architect to produce an artistic ensemble, in which case he should advise in the selection of the entire interior equipment. If such an owner settles in a Colonial neighborhood, yet has no intention of imitating his neighbors, the proper solution would be a quiet cement or stucco house with dignified proportions, formal rather than picturesque mass, and with quiet colors. This would not disturb the character of the neighborhood and the interior may be worked out in as modern a spirit as the designer may wish to use. Sometimes notable results in good color and charm of design may be achieved in a house of this sort for the reason that there are no hampering traditions, and the great freedom, permitted the designer serves to stimulate his imagination. There is one other point of view which should enter into this discussion, namely, the type of garden, if any, which should accompany the house. The architect, even if he be not an expert horticulturist, can give good advice as to whether a formal or an informal garden would fit in well with the type of house decided upon. If, on the other hand, the owner is an enthusiast in garden, work and has made it a study, the architect should find out the, kind of garden the owner intends to develop so that he may be sure that the house will be designed in entire sympathy with it. For example, many people care more for the old-fashioned garden of informal shape and semi-wild flowers than for the neatly trimmed sophisticated formal type. To the sensitive mind there is a vast difference between the sentiments expressed by these two widely different types of gardens, and the houses fitting them should be fully as different in sentiment. It is of the greatest importance that the architect should acquaint himself wvith the various tastes of his clients and it would be a material hel-P to him if they would take the initiative and tell him, with entire frankness, their tastes in colors, books, pastimes and somethiniý of their home HE ARCHITECT'S FEE - WHAT IT COVERS - THE DESI[RABILITY OF A WRITTEN AGR EEM ENT SBETWVEEN CLIENT AND ARCHITECT ONE of the important items of expense which should be included in the sum total of a home-builder's,calculations 'is the architect's fee. If the owner is the kind of person who is easily satisfied with readymade clothes he can buy ready-made house designs and working drawings from plan factories. These factories state in their catalogues the cost of each house advertised and they gravely assure the resident of Michigan as well as the man in Florida that the dwelling will cost so and so, disregarding entirely the differences in cost of materials and labor in these communities. if, on the other hand, the owner wants a home to fit the especial needs of himself and family and particularly if he wishes to take into account the many seemingly extraneous items that must of necessity be included in a complete home, he not only needs an architect but he should employ a good one at a good price. It is no longer possib~le to secure a first-class architect for the fees that were in common use fifteen or twenty years ago. To-day the minimum charge of the leading architects for all services, including supervision, is six per cent of the finished cost. Many architects charge from seven and one-half to ten, per cent for country house work and have no trouble in collecting such fees. A mistake is often made, equally by client and architect, in avoiding a frank discussion of fees during the first negotiations. This may be due to the assumption on the part of the architect that his fees are well enough known, or it may be due to a notion on the part of the client that the old fee of five per cent is enough to cover all matters which may arise. Most architects have a printed schedule of charges which gives in detail the fees for various types of buildings and states the manner in which payments are made. Because these schedules are not uniform' throughout the offices it; would be bnetter for the client to ask at the outset for a copy of his architect's schedule. It would be helpful also if client'and architect would discuss frankly in the beginning the application of the schedule in case the cost vrows beyond the amount proposed to be used or in case the owner cuts down the size of the house after bids have been received. It not infrequently happensý that disappointment arises through the diffficulty of reconciling what an owner asks for, with the amlount he wishes to pay. Often an owner brings to the architect an outline plan indicating Athe number of rooms he wishes and their dimensions. It is here he should be explicit regarding the sum of of labor and materials, and does not find it possible under existing conditions to keep an estimating departmentt. T~here are timnes when contractors' estimates will vary as much as fifty perecent, with all bidders figuring from the same plans and specificat ions. if 18 Distinctive Homes of Moderate Cost - I A typical dormer of the Colonial or Georgian style. There are often delicately carved pilasters on the front These dormers are somewhat unusual in that they break through the eaves. Ellicott & Emmart, architects in a gambrel root the most appropriate dormers have for their roofs a continuation of the upper slope These broad, high-gabled dormers would be out of place on any roof other than one with such a broad low sweep The rounded-top dormer, as on this Rochester house, is not very common in moder work Claude Bragdon, architect The continuous dormer is an ingenious device for gaining space in the second story. Aymar Embury, II, architect Sl X TY PES 0 F AMERICAN DORMER VV I N 0 WV S Distinctive Homes of Moderate Cost 19 builders disagree so radically it can hardly be expected that an architect can make a closer estimate than some of these builders. The usual method employed in an architect's office is to calculate the cost on the t asis of a price per cubic foot of volume of the entire house, or per square foot of the area of the principal floor. Such calculations are only reliable when the architect is able to compare the proposed building with one already constructed of.similar materials. High estimates are very frequently caused by additions to the size or quality of a building as the drawings and specications are being developed. An owner will start with economical ideas and will be carried away by his desire to build "for all time." The estimates come in and are high. The client is amazed and frequently blames the architect. The usual custom, when bids are high, is to see what can be cut from the specifications in an effort to reduce the estimates. Sometimes this can be done successfully when the original specifications have been especially complete, with only the best materials included. If the estimates are as much as twenty or twenty-five per cent high the best solution is to order a new set of plans with a house three-quarters the size and volume of the original. In cases like this the owner is likely to find fault with the architect, and, it must be admitted, there are times when the blame is deserved. Yet the situation is likely to produce friction if the question has not been frankly threshed out in the beginning. The writer believes that the most satisfactory procedure is to make a contract with the architect for preliminary sketches, and to require an approximate estimate from some reliable builder as a part of the contract. The fee for preliminary sketches is usually' one-fifth of the total commission, which, for a house costing $17,000 would run from $238 to $340, according to New York City prices. For this fee an owner may expect careful studies of all floor plans and elevations, an outline specification and a perspective sketch. The fee would be considered a payment on account in case the working drawings were made. The estimate thus obtained would not be a bona fide bid but it would serve excellently to show the owner what his outlay would have to be. He might then decide to reduce the size of the house or to add to it. These matters can be far more satisfactorily adjusted in the sketch stage than through alterations to working drawings. These agreements between client and architect would better be made in writing. Often the architect will mail his printed schedule to the owner and ask his acceptance of the terms therein contained. While this has many times been entirely satisfactory, it still seems evident that something should be said by the owner to the architect with reference to the charges in case the cost, for one reason or another, runs far beyond the original proposed cost, and by the architect to the owner in case cuts are made, involving much time and trouble to the architect for which he may receive only a reduced fee. The system of charges is not ideal, but is the best that has been devised by many generations of able men. The difficulties may be largely avoided by a simple agreement, entered into at the start, which will either accept without question the schedule as printed or will describe the interpretation that will be given to the schedule in the event of changes. THE PROBLEM OF AVOIDING EXTRAS-PROVIDING FOR SCREENS, STORM SASH, HARDWARE, AND SUCH THINGS IN THE SPECIFICATIONS MANY a home-builder, entering upon a building project for the first time, is not fully alive to the need of good business methods and habits in his dealings with architect and contractor. There are many occasions when misunderstandings arise which may be avoided through very simple means. The most frequent cause of trouble is due to the fact that instructions are given verbally by the owner to the architect, over the telephone or in office conversations. If instructions could always be in writing and the owner could retain a copy, the chance of trouble would be reduced to a minimum. For women, this requirement would be not only irksome but often impossible of fulfilment. The best way to proceed, in case the owner finds it impossible to keep a record of his instructions, is to always request the architect to confirm a telephone message, a conversation or even a written communication, by letter as soon as possible after the receipt of instructions. This increases the work for the architect, but he would generally prefer to add to his labors if by so doing he can feel in perfect accord with his clieht and place himself on record regarding his understanding of his client's wishes. Sometimes a client is disappointed because a certain finish or a color is not what he expected. There is one good way to guard against this difficulty and that is for the owner to request samples and to sign his name on those which he wishes to have followed. If the finished result is not like the sample, the contractor will be obliged to do the work over again. The question of extras is of great importance and, rightly handled, may present little or no difficulty. When the time comes to sign plans and specifications, it would be well if the owner would ask the architect to give him a list of the items that have not been included in the contract, but which are usually a necessary part of the equipment of a comfortable home, such as: blinds, storm sash, screen doors, screens for windows, awnings, flower boxes, hanging shelves in cellar, hardware, lighting fixtures, kitchen range, laundry stove, water heater, mantels, tinting, wall-papering, etc. These are the principal items that are quite frequently omitted from the specifications. It is perfectly legitimate to leave them out, provided the owner has taken them all into account and knows approximately what they will cost. The writer believes the better way is to include them in the specifications and obtain estimates covering every necessary item. If, then, the estimates are high, omissions can be made to reduce the cost. It is 20 Distinctive Homes of ~Moderate Cost 20 Distinctive Homes of Moderate Cost This scheme of double-hinged blinds cuts off the sun without keeping out the air An old window on which divided blinds permit easy regulation of light An unusual division of the blinds on the old Wilson house (1807), Baltimore Battened shutters are best Simple and dignified solidsuited to windows in farm- panel shutters on an old house types stone house TYPES OF OUTSIDE SHUTTERS Modern shutters are seldom built on these simple sturdy old lines An unusual pattern of cut-outs on a Flemish bond wall in Washington Solid panels in the blinds give a more substantial effect. Aymar Embury, II, architect A heavy battened type with wooden bolt and fixed lower panels. Alfred C. Cass, architect The crescent seems to be overworked as a cut-out pattern Distinctive Homes of M/loderate Cost 21 Ditntv oe o oeae Cs2 well known that loosely drawn specifications will secure low bids. The estimators see at a glance that there will be a large bill of extras and they plan to make their main profit in that way. They do not feel responsible for the loose specifications and they do not feel called upon to advise the owner to the disj paragement of the architect. Specifications are much more important than owners generally realize. Drawings occupy his chief attention and when the bulky sheets of typewriting are put up to him for approval he very naturally is inclined to feel that here is a technical side of the subject of which he knows nothing and which he is entirely willing to leave to his architect. It is not necessary for the owner to read the specifications with the intention of criticising the phraseology or the technical points. If he is a lawyer he will possibly run over the pages to test their legal strength. If he is an engineer or a builder he will possibly wish to see whether his architect has followed the prevailing customs regarding methods of construction. But the chief reason why an owner should study the specifications is to ascertain what omissions, if any, have been made. Although the specifications may have been written with great care, extras may easily arise through the wish of the owner to change the building more or less radically, during construction. Such changes should be ordered by the owner in writing and he should keep a copy of his order. In the case of hardware and lighting fixtures it is not feasible to list them in specifications in such a way as to secure a final estimate of the cost upon which a contract may be signed. A very common practice is to insert an allowance in the specifications. For example, the architect can estimate approximately the cost of hardware and state in the specifications, "Contractor shall allow the sum of dollars for hardware."' The specifications usually list all common building hardware and state that the above sum is for finishing hardware only. The owner and architect visit the hardware show rooms and either have a competition among several companies or make a selection outright from one company, adjusting the cost with the contractor in case the allowance mentioned is more or less than the final cost. In the case of lighting fixtures a good way to proceed is to decide upon a sum, for example $400, to cover the cost and installation of fixtures. Then invite several companies to take from the plans a list of the light outlets and to propose or exhibit to you the best selection they can offer for $400. This places the competition on a basis of quality rather than price. If the cost is all important the owner will not feel like following the above method but will prefer to invite several companies to compete on price. It is sometimes difficult to obtain good results through com petition in price. The writer has known of instances where an over-zealous salesman has submitted a bid that was too low, leaving to his factory associates the problem of making a selection which would avoid a loss to the company. These factory officials may perhaps have believed, from the low estimate, that the owner had agreed to accept "seconds"-i. e., goods that are strong and serviceable, but having slight flaws in appearance. In this way much trouble occurs because the architect is obliged to refuse to accept the seconds, they must be crated and sent back to the factory and, after a long delay, the owner receives what he contracted for. All this can happen without the general contractor being in any way to blame. The selection of goods that are furnished by a sub-contractor is usually made by the architect and owner dealing directly with the manufacturer or his agents. The moral of all this is that the lowest bid is not always the safest to accept. Trouble may be largely avoided by limiting the bidding to only first-class contractors and by requiring the successful general contractor to submit the names of his sub-contractors to the architect for approval. UILDING A HOME UNDER ONE CONTRACT OR UNDER A DOZEN-THE ADVANTAGES OF EACH METHOD AND THE COMPARATIVE COSTS CONTRACTS are usually written by the architect, who follows well known customs regarding payments, etc., unless requested by builder and owner to substitute special agreements. The wording of an ordinary building contract was determined several years ago at a convention of builders and architects and is now issued in printed form with blank portions reserved for filling in with names, amounts, dates, etc. This form, called the "Uniform Contract," may be purchased at any well supplied stationer's carrying architectural materials. As in the case of specifications, it is not necessary for the owner to read the contract with the intention of criticising its phraseology, but rather to acquaint himself with the obligations he assumes. Contracts for a house may be let in two or three different ways. A contract may be signed with a carpenter who agrees to complete the entire work; that is he stands responsible for the installation of heating, plumbing and lighting as well as for those branches more nearly allied to his own trade, such as masonry, plastering and painting. The advantage in this method is secured through placing the responsibility for everything in the hands of one man or firm, thus reducing the possibility of complications which might arise if each tradesman worked independently. The disadvantage becomes apparent when it develops that the general contractor is carrying on his business with little or no capital. He is then apt to make his sub-contractors wait for their pay while he applies what he receives to settle the debts of some previous building operation. In this way liens are filed against the work and the owner finds himself in an embarrassing position. Again, a separate contract may be signed with each tradesman. This has a decided advantage, as the owner saves whatever profit a general contractor would receive if the first mode of procedure were followed. That is, the owner lets contracts on a competitive basis with mason, carpenter, plasterer, painter, steam 22 Distinctive Homes of Moderate Cost I- - - - - - - - - - - - - -- - -~ --- Here is a curious screen effect that serves to lend an air of greater privacy to the upper floor e better forms of Colonial stairways have the balustrade and handrail end at the bottom in a volute A very simple and inexpensive form of stairway that would be well suited to a house of the Craftsman type. W. D. Brinckle, architect There is nothing that gives such a broad spacious appearance as a stairway separating at the landing and continuing up on both sides it usually results m a oetter appearance ana requires less space to change the direction once or twice rather than having a straight run in the more elaborate Colonial stairways the balustrade alternates in three patterns. The hand-rail should be of mahogany SIX TYPESS OF AMERICAN S T A I R A Y S Distinctive Homes of Moderate Cost 23 Ditictv Hoe of Moert C ot 2 I fitter, plumber and electrician. In large operations the number of sub-contractors will be three times as many as those mentioned. It must be noted, however, that this mode of procedure requires " canny"' specifications. The architect is obliged to describe, in words that will not admit of two meanings, the duties of each contractor, so as to effectually prevent any tradesman from evading his obligations by shifting to another what is really his own work to perform. The separate contracts must receive the same kind of care in writing. Whatever points are not covered by the specifications must be cared for in the contracts. This method of building requires the services of a "clerk of the works"-a man who spends his entire time on the job. He not only acts as a superintendent in assisting the contractors to interpret the drawings, but he keeps the architect in daily touch with the progress of the work and gives preliminary notice to the contractors as to the dates for commencing work and when to ship their materials. A clerk of the works is employed by the architect at the expense of the owner. Good men may be secured at salaries varying from $25 to $50 per week. For complicated operations involving the supervision of many trades and many men, a high-priced man is a necessity. Whether the work is done under a general contractor or through many sub-contractors, a clerk of the works is an assistant of value. The architect's ordinary fee, covering superintendence, does not include constant supervision. It generally is interpreted to mean visiting the work several times a week in order to explain drawings, pass upon the appearance of completed work, etc. He does not agree to stand over the concrete workers, for instance, and watch with minute care the proportions of cement, sand and stones that are being mixed together. A clerk of the works, however, is able to give this kind of careful scrutiny and is often the means of securing dependable, honest construction. A third mode of procedure is a compromise between the two foregoing. An owner may let the masonry, carpentry, plastering and painting in one contract and let heating, plumbing and wiring or gas piping separately. The chief advantage in this is the saving of the general contractor's profits on such contracts. It is customary to insert in a contract a date for the completion of the work. As this clause is hedged about by counter agreements relieving the contractor from personal obligation in case of strikes or other unforeseen calamities, it is almost impossible to enforce the usual "time clause." If, however, a separate clause is written calling for a forfeit for each day of delay after the proposed date of completion and a bonus for each day gained through rapid work, the courts have a definite agreement upon which to argue and a decision may be reached. In the question of city contractors versus country contractors, the writer's experience leads him to state that if the owner is not in a hurry and is not expecting the highest grade of finish in the work, he can profitably engage a country builder. Their prices are generally much lower than those of city builders and their work is good enough for all ordinary house construction. If speed is important, the country builder must be eliminated. One reason why they are compelled to work slowly is because the mills favor the tigger contractors in turning out mill-work, and the country carpenters are obliged to wait the pleasure of the millmen. This is merely because the city contractors bring much work to the mills and usually on the condition that the work be delivered quickly. The city contractors usually have better organizations with up-to-date methods of handling correspondence. Their larger volume of business develops in them a capacity for speed which is usually not found in country builders. The writer has found that the saving through using a country builder is large enough sometimes to warrant the custom. For example, a house which came to $12,ooo in city estimates was built for $9,000 through five different contracts with country contractors. It would have been possible to employ a clerk of the works for even this small job at a salary of, say, $30 per week; to have used up twelve months in building the house, and to have been a gainer by approximately $i500. In this small operation the architect increased his fee as follows: The regular fee for the work was seven and one-half per cent of the cost. By dividing the work into five contracts the architect increased his own office work and his supervision, but he saved the owner, it was estimated, at least ten per cent on the amounts paid to the heating contractor, the plumber, the painter and the electrician. The architect therefore added to his regular fee an amount equal to one-half of this saving, which in this case amounted to one-half of $198.83. This is an arrangement which is well worth the careful consideration of every owner. It can be just as profitably undertaken with city contractors. In fact, as general contractors in cities often obtain more than ten per cent on the sub-contracts under their care, the saving would be proportionately greater. ALEXANDER BUEL TROWBRIDGE II BUILDING MATERIALS: THEIR RESPECTIVE MERITS, DEFECTS AND COSTS NOT very many years ago, before the present epoch of easy transportation and aggressive invention, the problem of selecting a material for the walls of the house bothered home-builders of that day little or not at all. A man employed the one or two materials that were nearest to hand. In the stone districts he found all his neighbors' homes built of the local building material; the builders knew how to handle it better than any other, even if it were available, so the natural thing to do was to follow his neighbors' examples. In other localities stone was a scarce material and wood prevailed; in clay districts brick kilns formed the source of material for the walls. Not long ago I was driving along a road in central Vermont when, to my astonishment, I noticed that the foundations and underpinnings of houses, barns, outbuildings, and even the roadside walls were built of white marble, almost as flawless as the statuary marble of Italy. It was the material nearest at hand, to be had from the outcroppings merely for the gathering, so it had been used. Among the old cottages of England this employment of local building materials is one of the most striking and attractive features of that most picturesque architecture. In one county the cottages are all of plaster, roofed with thatch; again, they are of halftimber construction; in another district-the Cotswold, for example-stone is used with heavy slates on the roof. Here in America, too, we have progressed far enough to be able to look back upon that period when local materials gave a distinctive character to every village and country district. Consider the wooden homesteads of New England; the stone, plaster and wood in combination that marked the homes of the Dutch settlers in northern New Jersey, New York and Pennsylvania; the stately Georgian mansions of brick in Virginia. Even to-day there remains here and there a wholesome and affectionate regard for the local building Shingles for walls have a reasona regard for the local building in a creosote shingle s traditions. In the vicinity of Germantown, for instance, where the local gray, mica-specked stone has remained for years the favorite building material, the houses have an air of neighborliness and harmony that sets the whole community upon a higher plane. There is no doubt whatever that one of the chief causes of the heterogeneous, inharmonious character of the bulk of our modern American homes is the recently widened choice of building materials now open to us. Transportation and modern invention have brought too generous a contribution to our doors. We are handicapped by an embarrassment of riches. In the first place we have wood-shingles, clapboards or siding. It has long held an enviable position among the building materials by reason of its low cost and the facility with which it may be erected. The former quality-low cost-is probably soon to be won by stucco or by concrete. Lumber has more than doubled in price during the last decade or so, and so long as we continue to burn up untold millions of it year after year, with little or no provision for renewing the supply, the price seems likely to rise even more speedily in the future. Then, too, in building a house we must keep in mind the fact that first cost is not the whole matter. Wooden houses require paint and frequent repairs, to say nothing of insurance. It is a question even now, taking into account initial cost, maintenance, and depreciation, whether in many localities the advantages of cost are not on the side of stucco on a wood frame, or on hollow terra cotta tile. There seems little doubt that the latter materials are soon destined to becorre the least costly of all, excepting, of course, in places where some local material holds an undisputed field. Stucco is a wonderfully adaptable covering for the walls, and one that has leaped into popular favor here in America almost at a single bound. Plaster, bly long life, particularly if dipped rough-cast, pebble-dash, nam before bemg put on and cement are other names it -Wýý ýW-Wý%o FW%,Aik&b jrAýw wAl.^ 24 Distinctive Homes of Moderate Cost 2.5, YV Stone walls give an appearance of enduring solidity that other materials only approximate given to this coating of cement plaster applied to wood or metal lath on a stud frame, or applied to terra cotta blocks, to monolithic concrete walls, to common brick walls and occasionally to stonework. Brick has the advantage of being readily obtainable in most communities; workmen can always be found who know how to lay it up, and it makes an attractive and durable wall. Of late years architects and manufacturers have developed the artistic possibilities of the brick wall to an amazing extent. Variations in the size of the brick, their texture and color, the bonding and the character and color of the mortar A combination of gray shingles with local stone laid in white mortar makes a cheap and effective house all, unless wood huts came before stone caves. Stone houses have an air of solidity and permanence that other materials cannot give. And there is no lack of possible variety, both of texture and color, in a stone wall. You can use large irregular stones with wide joints or you can use smoothly cut stones with almost no joint at all, though the latter style is far better adapted to the city than to the informal countryside. Stone is usually of a pleasing enough color and texture to stand on its own merits. Where it is not, a thin, almost transparent coat of white cement plaster will redeem it and not rob the material of its appearance of enduring solidity. Walls F HOUSE WALLS PER of cobblestones are seen in IEAR NIw YORK increasing numbers, particastered.................. $o.41 ularly as the underpinning ed.......................56 of shingled houses. The maid rough-cast...............65 terial is not well suited to and rough-cast...........58 such Uses, and always bears I rough-cast..............37 a look of instability-as if plastered and rough-cast.38 t el o un st one sw il -hed and shingled..........27 the round stones would hed and rough-cast.......32 easily roll apart. Where hed and clapboarded........26 cobblestones are too cheap ied, and false half-timbered..37 d, plastered and rough-cast..45 to be overlooked they may joints-all these elements may be so disposed and studied as to give every brick house a distinctive character of its own. Brick walls never need paint; if shabby they maybe washed down with a brush and a weak solution of muriatic acid. Finally, there is stone, the oldest material of them COMPARATIVE COSTS O0 SQUARE FOOT N Local stone, furred, lathed and plC Brick, furred, lathed and plaster.Brick, furred, lathed, plastered an Concrete, furred, lathed, plastered Terra cotta blocks, plastered and Terra cotta blocks, furred, lathed Stud wall, lathed, plastered, sheat Stud wall, lathed, plastered, sheatl Stud wall, lathed, plastered, sheat] Stud wall, lathed, plastered sheath Half-timber wall, brick-filled, lathe( Clapboards in most localities make the cheapest wall in a first cost, but the repainting brings up the total Plastered walls are warm and need no paint, and the surface may be given a variety of color and texture 26 Distinctive Homes of Moderate Cost 26Distinctive Homes of Moderate Cost be cracked and laid up in pieces to much better effect. First cost is but one of the considerations that enter into a choice among the available building materials for the outsidewalls. Consider also the cost of maintenance and wear and tear. Will the added cost of building a fireproof house be paid by reduced insurance premium s? We cannot-or at least should not-select a material that will be out of harmony with the homnes of our neighbors. Availability of materials will necessarily be a factor in determining the choice, and, judging from the past, it will lead in the right direction. The style of architecture may settle the matter for us, provided we are not willing to let the material govern the style-we would not build a New England farmhouse type of stucco, nor an Italian villa of shingles. Whatever material is chosen, however, make up your mind that in your own house it will have a treatment that is consistent, harmonious and having a distinctive character of its own. H. H. S. Brick is obtainable in most localities and the walls may be given variety through the bonding and color of mortar If the place is large enough to present nearby architectural features in the landscape work, the material of which the house is built may be effectively echoed in these SOM E DETAILS OF CON STRUCTIION HE PROBLEM OF THE ROOF--WH-1AT THE AVAILABLE MATERIALS ARE, WHAT THEY COST, HOW STHEY MAY BE EFFECTIVELY USED AND PUT ON THE problem of the roof--and it is a problem--is one that the average house-builder is called upon to solve for himself. To the man of unlimited means there are inore ways of escape than are offered to the fellow with the slender pocket-book, who often is obliged to take what he would prefer not to have, on the score of economy. The most common roof covering is the wood shingle. This should not be laid on a roof with a pitch of less than thirty degrees, and it stands to reason that, with any covering, the steeper the pitch the quicker the water will run off, and consequently the less liability of leakage. The old-time hand-shaved shingle, which.presented a wearing surface following the wood-fiber, had a much longer life than the modern macbine-made shingle. The latter, while following thne grain in a general way, frequently cuts across it slightly in such a way that, through the agency of sun and rain, its life is greatly shortened. Thus, the mod~ern shingle has distinctly a right and a wrong side and should. be laid accordingly. Owing to the tendency of modern shingles to curl under the hecat of the sun, they should be laid with a comparatively small portion of their sixteen inches of length ex-posed to the weather--say four and one-half inches. Even if the roof be steep it is not advisable to lay more than five inches to the weather for the above reason. The life of a shingle roof is hard to fix absolutely; from ten to fifteen years might be a fair figure. Near salt air it deteriorates quicker than when inland. Being absorbent, the alternate wetting and drying, freezing and thawing cannot help but hasten decay. It is really economy in the long run to resort to some preservative. Such may be found in creosote stain; the creosote acting as a penetrating as well as a preserving agent, carrying with it into the pores of the wood much of the painty body of the coloring matter. Dipping is the only effective method of application and this should be for two inches mnore than the weatherage -of two courses. A brush coat may be applied in addition, after the roof is laid, with excellent results. If ready-made stains are not readily obtainab~le a good substitute may be made fromt paint mixed with an equal amount of creosote oil. The paint should be of the desired color and. of ord~inary consistency. In this form with. the creosote it ma~kes a somewhat thicker stain than one can buy. To thin the above add more creosote oil; this will also cheapen it. It will cost ab~out two dollars and a half, using the The asbestos shingle is a modern fireproof roof covering handled very much like slate Wood shingles are the most common roofing material. The rounding off of edges is called 11weaving 1 27 28 Distinctive Homes of 1Moderate Cost 28 Distinctive Homes of Moderate Cost Thatch is very picturesque, but too unsanitary for modern America Slate is a trustworthy roof covering. It is obtainable in reds and variegated grays in addition to the common varieties An English trick of roofing with slate is the use of graduated weatherage above formula, to stain one thousand shingles, outside of labor. Of course if one wishes to collect his roof water in a cistern, creosote is out the question. The alternative is to paint each course of shingles as laid, rubbing it well into the joints. As it is a nasty job and is bound to be more or less rubbed, a final brush coat is necessary. The two great faults of a shingle roof are its comparatively short life and its inflammability. The cost of the former we may count on, but the latter is a constant menace. This is more particularly so in the country where there is no fire department, and where flying sparks, combined with dry weather, high winds and no water, make fire-fighting a hopeless task. Some experimenting has been done in the line of fireproofing shingles by dipping them in a mixture of lime and hot oil. As far as we know the practice has not been common enough to judge definitely of results. Lime is a preservative and the chances are that a newly treated roof would resist fire. The question lies in its durability. We are used to thinking of a tin roof as a cheap affair and so it is at seven dollars a square (ioo square feet). A good tin roof, however, is a different proposition. It is indispensable on flat pitches, where it is laid in sheets with a single lock joint, soldered and cleated and painted on the back. On such pitches as might be properly shingled or slated, the standing, double lock joint is used without solder, except the top and bottom of the vertical joints and perhaps the ridge joint. Such roofs have been known to last fifty years and over. Being put together practically without solder, they are not handicapped by that less hardy material which wears faster than tin and is apt to give with the frost. Do not use paper under tin, as it invites condensation of moisture, and be sure that there is sufficient drip to the turndown at the eaves and the rakes to prevent moisture from backing up under it. A tin roof in itself will soon deteriorate and become useless; it needs to be painted in order to last. Use the best of paint, and preferably a regular tin paint. It will cost about three dollars per square, applied, and will last about five years. It should not be put on, however, until all resin and grease are washed off and that means the new tin should be left to the weather for a short time, but not until it rusts. The modern pressed metal shingle made of galvanized iron makes a lasting roof. Be sure, however, that they are not made of steel, for the latter metal is usually not sufficiently well galvanized to stand the weather. Copper as a roof covering will hardly be seriously considered by most builders owing to its expense, which is about four times that of tin. Owing to its considerable expansion and contraction it should be laid in small sheets, and it should never be soldered to another metal on account of the unequal expansion between the two. Naturally long lived, it is seriously affected by salt air and by the various gases to be found in the large cities. Slate is an old and tried friend. It has been used so long that it has tested itself out. On a steep roof it is excellent, although as the pitch decreases the rain is apt to work in under the butts and, in freezing and thawing, break the slate. This is its serious drawback, as the cost of replacing a single slate is all out of proportion to the area involved. Slate of the familiar grayblack tone costs but a little more than one-half the price of red slate. It is also stronger and less brittle. The ordinary size is ten by fourteen inches, laid five and one-half inches to the weather. Slate is laid on roofing felt, which insures a better bed with less liability of breakage, both in laying and in wear. When speaking of tile we generally mean the "Spanish tile. " The English type is little used and in size and shape is like a large slate, from one to one and one-half inches thick. Sometimes slate of these dimensions is used as a substitute for tile. The cost is about two and one-half times that of the ordinary gray-black slate. Spanish tile makes a good roof, although it is heavy. Its usual color is a healthy brick red, but the same patterns are to be had also in green. What might be its great objection-that of taking in water at its joints Distinctive Homes of Moderate Cost 29 Distinctive Homes of Moderate Cost 29 -is largely obviated by bedding it in oil cement. The form of this tile has been imitated in copper and has the advantage of lightness together with the disadvantages of that metal - susceptibility to damage in certain localities. The asbestos shingle, which is made of asbestos and cement, is a comparatively new article. In its simpler forms it is like ordinary slate, but lighter. Its manufacturers claim for it a certain amount of elasticity, little tendency to cracking and less lia- Spanish tile, obtainable in red bility of exfoliating when roofing for some t: exposed to fire than slate. In applying it is handled very much after the manner of slate. In the selection of a roofing material we must bear in mind, besides the initial cost, the lasting qualities, the non-burning qualities, the fire-resisting qualities and the cost of up-keep. Tin demands and shingles are the better for a periodical treatment; other materia!i are supposed to take care of themselves. Tin soldered is non-burnable, but the solder melts under continuous heat. The standing lock joint therefore has the advantage, but it cannot be used on a flat roof. Slate will not burn, but it will crack and exfoliate under fire. Tile, being a fire product, will naturally stand more heat than slate. In the asbestos shingle, which is naturally non-combustible, the asbestos is an important factor, but the cement deteriorates under great heat. Whether its lasting qualities under such conditions are better or worse than tile we are unable to determine without comparative tests. The initial cost of the various roof coverings, laid and complete, per square, are not far from the following:-best shingles, four and one-half inches to the weather, $6.75; best tin (painted), $I 2.oo00; Maine slate, five and one-half inches to weather, $12.00; Spanish tile, $50.00oo; asbestos shingles, $14.00 to $17.00 according to pattern. But the above is not conclusive, for the weight and character of material determine the character and strength of the roof. It takes a stronger and consequently more expensive roof for slate than for tin although the initial costs of coverings are the same. Then, too, shingles are laid on a rough board roof-even on open A curious old Georg strips; but the best roof board- wood" (1803 ing for all other materials is a tongue-andgroove, with a reasonably smooth and true upper surface. While the lighter roof rafters are usually nailed "at the plate and stayed with rough board collar beams above head room, the heavier roof often requires trusses to get the necessary strength, and oftentimes the heavier Southern pine is used instead of the commonly used spruce. All this means added expense. Further, the flatter the roof, the heavier the rafters, as the strain direct. CHARLES EDWARD HOOPER and green, seems the one logical ypes of country home upon it is much more W INDOWS-DETERMINING THEIR TYPE ON THE BASIS OF PRACTICAL CONSIDERATIONS AND WITH SOME THOUGHT FOR BEAUTY THE problem of proper windows for the house i-s certainly a practical one, but as the practicability of any household problem involves quite as much a satisfactory solution of harmonious appearance and the possibility of good decorative adorning as it does its utility, we must weigh these different elements and harmonize them all. Windows are the natural openings into a house for letting in light and ventilation; besides this they are placed to get the advantage of views and vistas from inside the house. Sometimes they combine these purposes with that of egress and ingress from rooms to verandas and terraces. The first consideration, that of position and size seems to be a practical one. Housekeepers often say, "You cannot get too much light into a room. " Such a housekeeper is, of course, a sunlight enthusiast and speaks strongly, but it is better to have too much than too little light, providing the area of fenestration does not ruin the architectural character of the house. The fault with most of our American houses to-day is that the windows are too large in proportion to the size of house. If the size of the windows could be reduced and their number increased, the path of the conscientious house designer would be made much easier. Generally the house can be designed so that [ian window in "Home), near Baltimore 30 Distinctive Homes of Moderate Cost _ __ __ I __ __ The circular window ventilates a closet, the "eyebrow"~ window above lights the attic Leaded glass becomes wearisome unless the design is very simple and rectangular Diamond-paned windows are not pleasingg to look: through from inside the house the windows can be grouped and sep~arated only by mullions. Outside blinds interfer-e with this grouping, but the use of exterior blinds seems to be wanting. Awnings or Venetian blinds may be used in the summer time to temper the brilliant sunshine and yet allow adequate ventilation. In the winter one wants all the sunshine he can get. Shutters should always be provided for such houses as have to be closed for any length of time during the year. These shutters should be made with solid wood panels and fastened from within.. If the house is to-be occupied during the -winter and storm-windowvs are needed--and they generally are needed upon the more exposed. sides of our houses in the northern states -- rebates for the shutters should be made sufficiently deep to accommodate the storm-windowss in place of the shutters, and a metal ventilator or sliding panel provided for at least one of the panes of cllass. Nuow comes t~he -much discussed question of whether the windows should. be in large single sheets of glass or divided into smaller ones bry the use of wood, lead or othe~r metal muntiins. It is quite true that in the early days of wvindow glass manufacture the sash had to be ~divided into small panes in order to glaze.it at all. Gflass was expensive and the muntins and bsars were f requently scribed and gouged away to accommodate the irregularities of the glass. The mere fact that we can-if we wish get a sheet of glass ten by twenty feet in size does not warrante the inar'tistic practice of designing large windows~ glazed with single sheets of stariggas These large sheets tend to reduce the apparent size: of a house from the outside and destroy the "'scale,' that fugitive quality all good designers strive so earnestly to achieve.. Then there is the appearance inside the house to consider. It is well known that windows divided Csmnsral a into smaller panes of glass tend to ramn aj increase the apparent size of a room. They certainly add to the home character of a house--why, i~t is difficult to explain, possibly because of association of ideas and traditional custom. Notice the beautiful home character of the casemented and muntined windows in one of the accompanying photographswhnat windows could be imagined having more charm! Does the conventional usage obtaining in Wall Street office buildings give more? Furthermore the appearance inside the rooms is just as charm-ing. The practical housekeeper is apt to say, " But these windows are mnore difficult to wash and keep clean. The servants will not s~tay with us if they have to wash all these little panes of glass. ' Is that quite true? The writer has never heard anly particular case of such domestic difficulty; in fact, has never heard the objection made by any housekeeper who has had experience with them. After all, would it not be worth the troub-le? W~ie have many things about the house which are quite unnecessary to our comfort, but we dust them and we wash them without complaint, and would not think of doing without them, and these are sometimes things which do not add in the least to the artistic appearanc.e of the home. Throw out the unnecessary bric-a-brac and spend the time used in its care on the windows, if they need it. Moreover, if the pIanes of glass are set in lea~d or metal m-untins, the wh~ole sash carn boe washed with the same ease as if it were all in one sheet. Then there is the question of expense. The first cost is about the same, but windows are liable to b~reakage and the upkeep of the nuzuntin~d window is naturally lower- than that of the sash with the single pane. Another m7inor point is that it is easier for the glazier to set a new pane of glass in wood munt~ins than in metal. The question of muntined )e ad tgh aaist windows suggests that much d wind mooted one of casement sash, L b.nd Distinctive Homes of Modern Cost 31 Metal casements with lead divisions or "Imuntins", long used in England, are now available here The gable window of this Garden City house is a Palladian adaptation When windows are designed for muntins or leaded glass, care should be taken that the style of design conforms to that of the house and rooms. One never tires of the windows divided into oblong panes by simple horizontal and vertical lines. The honey-comb appearance of the leaded glass window in the photograph shows the character of the thing to be carefully avoided. The saw-tooth lines are restless and fussy in the extreme. Diagonal lines cutting the sash into diamondshaped panes give hardlybetter results, nor do interlaced curves-besides the resulting frames are unpleasant to look through. Care should be taken that leaded glass windows are tasteful and appropriate, both as to design and location. When properly -used they add much to the charm and individuality of a house. Simple, geometric designs seem best-frequently medallions of glass in bright soft colors set in the middle of a leaded sash of clear glass give fine results. Such medallions can be designed to order, while the ones imported from Germany and France show a wide range of subjects and are often charming. The most earnest enthusiast of the picturesque has to admit the practical advantages of the double-hung sash windows, with blinds or shutters on the outside, shades, curtains or portieres on the inside of the windows, which can be adjusted with the minimum of interference with any of them. On the other hand, the person who seeks the more beautiful arrangement of having casement sash swinging either inward or outward readily finds some advantages practical as well as all of artistic. Why do we need shades upon rollers if the sashes swing inward? Is there not some other method of concealing our private life from the gaze of the passerby? The writer remembers a particularly delightful Venetian blinds are beir sitting-room in a little hotel in in place o England, with the metal casements swinging.inward, where straight, simple curtains of deep brown red hung from a brass rod which ran across just above and. to clear the top of the casemen8s when they were swung in. The ordinary arrangement of cords adjusted the curtains, and when the windows were desired open and the curtains drawn, they were easily tossed over the top of the casements and drawn together. These casements were of wood with metal leads and had extra curtains of white, tiny-figured suisse hung from the top rail of the sash. The writer str,-,gly recommends the metal casement sash long common in England and now being increasingly used in America. These casements can be set in either wood or stone window-frames without difficulty. They can be procured to swing either in or out, hinged at top or bottom or pivoted to revolve in alnost any direction as desired, and give absolute satisfaction in time of bad weather. The cost above that of wood sash is not great, about ten to fifteen per cent more, but the charm and attractiveness they give a dwelling cannot be estimated. One practical advantage of these windows among many others is that the upper panel, say for about one or two feet in depth, can be hinged to swing at bottom or top and made to ventilate the upper part of a room, at the saome time being conveniently adjustable from below. Generally speaking, windows should go up fairly near the ceiling. Anyone "who has climbed a step ladder in a heated room knows of the irremovable bed of foul air lying there. The alternative of a proper ventiilating system of flues and registers is too expensive for the house of moderate cost. The appropriateness of windows to location is a subject more pertin-ent to the planning of a house g more frequently used and the use of the rooms than to shutters the purpose of the present ArSticle, ag 32 Distinctive H-omes of Moderate Cost - -I I but a few remarkcs may.not bue out of place. In a country house the windows of a room giving out upon a 'arder should be ample, and wherever desirable and practicable, French casements carried to or nearly to the floor. For windows letting out upon porches, by all means have the windows run down to or near the floor--for obvious reasons. The French casement is the most satisfactory, but double-hung sash may be used, hung in three sections if necessary. Basement and cellar windows are often a necessary evil in the design of a, house. If the house be built upon sloping ground, it is not difficult to have most of the basement windows of ample size and still keep the main floor near enough to the ground to avoid a stilted appearance. But in the house upon level ground this is more difficult;. Basement windows we mustt have to ensure dryness and cleanliness. The ordinary window hinged at the top, f airly close to the cei~ling, seems to be the most satisfactory. In regard to attic windows, they are frequently more useful for ventilating the attic space than for any other purpose. Care should be taken to have them conveniently opened and closed. Often they can be adjusted by a simple arrangement of two cords extending down to some convenient room in the floor below. The practical housekeeper wvould appreciate this saving of steps. CARLETON MONROE WjINSLOW. HE CELLAR--SOME OF THE PITFALLS TO AVOID --HINTS ON THJE WVAY CELLARS SHOULD BE SWALLED, PAVED AND KEPT LIGHT AND DRY No labyrinth of ingenious confusions, no maze of perilous passages ever quite equaled the inconveniences of a poorly planned cellar or one that has not been planned at all. In warm countries the cellar has been wont to be regarded merely as a necessary hole in the ground; in cold countries as a hiding place for the Leviathan-like furnace heating-plant, whose myriad of bewildering pipes overhead continually conspire to brain the unwary explorer of the cellar's depths, who, groping hither and thither in a half light more useless fhnli Rtvorinn dnrlkneoq_ attributes a cellar should long ago have taken unto itself. Let the man w;Cho contemplates building a house free himself fromt a: The old houses frequently had P_.,,ovjra4n imrsir htusually under only a a cellar is an unavoidable evil, and realize, instead, that it is a very necessary good. His first consideration will be the fact that one may not always choose the precise site on a lot that would be the best suited to building conditions, since necessity quite as often as choice dictates the exact location for the house. But let it be borne in mind that the qluestion of drainage is much simplified if the house can be built on high ground, and also that water passes through a gravel-and-sand soil much more quickly than through clay soils, an important thing to remember because every cellar should be absolutely water-tight in its construction. Apropos the matter of soil the prospective house owner will not regret it if he has specified in the excavat-ion contract that at least twelve inches of the top soil be removed and piled by itself as an after dressing when the lot comes to be graded. It is generally agreed that the excavation for a cellar should bne about two feet wider on all sides than the cellar itself. A tile drain with open joints will offset the chance of dampness. This drain should be run along the outside of the walls, at least six inches below the cellar bottom, and it should be connected with some waste pipe that leads awcay from the house. T~he trench should. then be filled in with broken stone to a depth of fully eighteen inches. The old-fashioned pole drain, made by laying poles of wood lengthwcise in the surrounding trenches, should long ago have been superseded by modern methods, inasmuch as these poles soon rotted, defeating their purpose. The same objection may be advanced against the box-drain. Because a rock or clay soil holds the water, more or less, cellars dug in such soils must be made especially water-tight. In such a soil a four-inch concrete floor should be laid on an eight; or ten-inch foundation of broken stone. This serves to keep the damp from rising into the cellar. With a sandy, or gravel soil the concrete may be laid on an inch foundation of Portland cement. Portlan~d cement is considered aboutt the mnost effective coating for the exterior walls of the cellar, also, but carelessness on the part of the workmen who 1i n in i -a+1;Q rin -r + n- o Iien. outside the wcalls and over the concrete bottom, which may then receive another layer of concrete. As for the wvalls the7mselves, concrete is superseding, to a v e ry great ark, damp, ill-ventilated cellars, exntnaulsoead ortion of the building brick. Brick, all the way da PC Distinctive Homes of Moderate Cost 33 - I Do not obstruct cellar windows by too close planting If the house sets low on the ground, areas will allow larger cellar windows Lead the water from rain conductors away from the foundations through, should never be used for the cellar walls except in very dry countries. Limestone is probably more nearly impervious for walls than any other native material, but when using it a mason who knows his business will take good care that no single stone runs through the depth of the wall. If it did it would serve as sort of "frost-conduit," in winter weather. Just here it is well to give a warning against the practice of permitting rubbish to accumulate between cellar walls and surrounding earth during the course of the house construction. If this matter is overlooked it is more than probable that storm water will accumulate in this "sponge" and effect permanent dampness. Cellar dampness causes mold, decay, and rust, and produces an environment no more fit for a human being to step into than that of the Black Hole of Calcutta Even if old walls are damp, sanitary engineers have devised ways of correcting this peril, and the householder cannot afford to neglect investigating the matter. As one must always anticipate and obviate the possibility of a new house falling into an unsanitary condition as years go by, it is best to have all the horizontal house drains and connections thereto laid in conduits that will have been left in the floor of cement. Cast-iron cover-plates, flush with the floor level, can cover them, thus leaving everything where it may easily be accessible and inspected at a moment's notice. In fact, nothing should be placed under the cement floor, generally speaking, but the open-jointed tile drains for the sub-soil. Cellar pipes that have to be run anywhere through the cellar or along its walls should never require protective coverings such as asphalt, coal tar, etc. Pipe should not rust in a dry cellar. The drainage of the cellar floor is also a matter of the greatest importance, and the level should be so graded and drained as to permit the floor to be cleansed frequently. How many people in old-fashioned houses wash their cellar floors? And yet they would be horrified at the thought of a speck of dust in the drawing room. Above all things plan for a cellar floor that can be scrubbed often and conveniently. The ancient and decrepit practice of letting the furnace turn everything else in the cellar topsy-turvy is vanishing from the list of home-building abuses. There was a time when vegetables, preserves, food, milk, and butter had to take a back seat and yield their throne to clumsy coal-bins, overflowing ash barrels, and all the debris the nether world of the oldtime cellar could attract through the course of various generations. Now all that is different. The heating-plant is given plenty of room, but modern systems have been kind to the needs of the potato as well, and the designer of a modern heating-plant works in harmony with the architect, no matter how small and unpretentious the dwelling is to be. Thus there is always left proper room for a well planned dark closet for winter vegetables, a fruit closet and a food room, a laundry, and often store and other rooms. Indeed in one hillside house that has come to the writer's notice there is a fine play-room for the boys of the family, built on the side of the higher wall. This suggests that, in the properly constructed cellar, it is often advantageous to place a work-bench and tool-chest, especially if there is no outbuilding that can be utilized in this way. There is always much "puttering" and amateur carpentering of all sorts to be done around a house, month after month, and it is, therefore, convenient to have a place where work of this sort may be carried on. Your architect should plan for the storage of fuel if this is to be kept in the cellar. If you have a tenroom house your bin for furnace coal should have a capacity of twelve tons, if you plan to put in your Brick foundation walls are practicable only in dry climates Terracing in front will offset the stilted effect of a high cellar On steep slopes the cellar becomes as important as any story 34 Distinctive Homes of Mloderate Cost 34 Ditntv Homes of- Moert Cs winter's supply at one time. The iron-lined chute should, when possible, be built into the house, to conduct the coal to the center of the bin. This chute will have to be planned with reference to its being accessible from the street when the coal wagon drives up. The old practice occasioned dumping the coal in through a window over the bin, but this is anything but a tidy or convenient mode of handling fuel. Let the walls of the coal-bin be dust proof, as well as the ceiling overhead. The additional cost, if added before the contract is awarded, is very small. Another thing to plan for is the sloping of the floors of coal-bins towards the opening, so the fuel will "flow" to the front of the bin as needed. The cellar's outdoor entrance should, of course, be as near the ash-barrels as possible, in order to facilitate their removal. We often see cellar windows all grimy and dusty, if, indeed, they let in enough light to enable us to see them at all. Moreover, lighting from the outside should never be permitted to be interfered with by the training of vines over the window openings, although this is often done. Then every cellar window should move easily upon its hinges, preferably swinging in and up, to facilitate proper ventilation. Of course the problem of remodeling the old cellar is one that quite as often confronts us as that of planning a new cellar for the house-to-be. If one has an old-fashioned cellar and cannot go to the expense or inconvenience of extensive remodeling, at least a great deal can be done by making up one's mind to clear every particle of rubbish out of the old one, and to bring forth into the merciless light of day all the "junk" that has been allowed to accumulate in the limbo deserted by all sensible Lares and Penates. A householder once declared that you can forgive an attic its sins of accumulation, for things in it can get no higher, but you cannot forgive an untidy cellar its mussiness, for things could get no lower! A little thought, a little planning, a little work, a little paint, whitewash, putty and cement, and a great deal of housecleaning, will lead one to discover how to make the most of a cellar and to take some joy in doing it. GARDNER TEALL. " """ c' rro ~...' ".," a--. -a"- ".. The home of Bartram, the well-known botanist, Philadelphia, Pa. Dra'wn by Jonathan Ring IV THE PORCH AND THE PAVED TERRACE THE PORCH VERS US THE TERRACE-THE ADVANTAGES AND DISADVANTAGES OF EACH-WHY THE PAVED TERRACE IS GAINING ADHERENTS THE porch is so distinctively an American institution that it seems heresy indeed to say that it is losing its hold and will some day be seen only on old houses. Considering the fact that we Americans are coming to live outdoors more than ever before, and also that we are building our houses out in the country, where the porch has for so long reigned supreme, my first statement needs some explanation. It is not that we are losing our taste for living in the open but that we have something that better fills our needs for an outdoor living-room. The paved terrace, uncovered or sheltered from the sun by awnings or by a vine-covered pergola, has all of the advantages of the porch with none of its disadvantages. Excepting shelter from rain, you say?-but you do not sit on the porch in the rain, or if you do you may just as well sit inside the open French windows leading out upon the terrace. The great trouble with the porch is that, as usually located, its roof darkens the best rooms of the house. It is almost essential that the porch be built out from the living-room, and if it does occupy this position- it mneans that one-half or one-third of the light for that room is almost shut off entirely, to say nothing of the same effect upon the hall and perhaps upon the diningroom as well. Occasionally architects have avoided this handicap to some extent by building the porch out from one end of the house with its shorter dimension against the house wall. A porch standing free, as it were, is the kind to build if you really want a porch. The question is, though, does not the terrace fill every function that the porch does and in a better manner? There seems little doubt-if you are convinced that a terrace is the thing to have-that it should be paved with brick or some durable material of that kind. Wooden terraces or deck porches, built to shed the water and properly protected by paint, will last many years. Paving, however, of brick, of square red quarry tiles or of cement, or of a combination of two of these, seems more appropriate. Awnings are perhaps the most commonly used devices for sheltering the terrace when the sun is too strong. There are other ways of securing the desired effect, however, one of which is shown at th~e top of the next page, where a pergola motive has been used. Another scheme of somewhat similar nature is that shown in the first picture at the top of page 37, where Mr. John Kendrick Bangs has sheltered his terrace with a lattice at the sides and merely the open rafters above. The latter, of course, will in. time be partly covered with vines. T~his terrace has a splendid suggestion. also in the little garden at the end, which comes very near making the ideal outdoor living-room. Another development of the terrace, resulting from the need for vines, has been carried out in several New England homes. A lattice, either flat on the wall at the side of the front entrance, or sheltering the latter in the form of an arbor, has been put up, anda hole The porch is often the tail that wags the dog, darkening besides the important first-.story rooms of the house A wooden-floored deck porch 'is durable if sloped and well protected by paint, but brick, tile or cement paving is more suitable 35 36 Distinctive Homes of Moderate Cost - I-,n interesting corner porcn, WIrn an upper ilue ou-Lmuc sutLIU ~.L.utIIa.I putrILi, CAexLte- Ixt i uViecIug iiticas.iigiy uiiuIuI LU I~av balcony and a Germantown hood. George ing through two stories, is an expensive type, either an uncovered terrace or one that is Spencer Morris, architect but unsurpassed for stateliness shaded by a pergola -O - Ir one can swing out a generous octag- mr. Unauncey utcot-s nome at oaratoga opriigs suows mne mne sman stone enaunce purcc marn~ onal or circular corner, comfort is modified Dutch Colonial type, where the long sweep of the center of a long open terrace. gained with less darkening of the the roof comes down to cover the porch. Keen & Mead, Andrews, Jacques & Rantoul, arfirst-story rooms architects chitects One too infrequently sees second-story Many of the old Colonial homesteads had compara- On this quaint Dutch Colonial house may porches such as this one. Myron Hunt & tively small entrance porches, usually showing a be seen the prototype of such porches as Elmer Grey, architects wonderful delicacy of woodwork Mr. Olcott's above A PAGE OF PORCH SUGGESTIONS Distinctive Homes of Moderate Cost 37 4ý Mr. John Kendrick Bangs has a lattice-sheltered terrace with a garden at, one end on his Ogunquit (Maine) home some two feet square left in the brick or tile paving just at the side of the foot of the lattice, in which vines may be planted. It is a rather common impression that a brickpaved terrace is an expensive luxury. As a matter of fact it may be no more costly than a porch of the same size. The filling in for the paving may well be of cinder and if this is well tamped down and covered with several inches of sand, the paving bricks may be laid upon this without cement. This makes a thoroughly satisfactory job, particularly if the bricks are laid to slope slightly towards a drain at one or two points. This drain may consist of a piece of terra-cotta pipe extending down through the cinder filling and covered at the top on the paving level with a perforated iron strainer. This will not appear nearly so con With the open terrace the mid-day awning shelter may be rolled back leaving the place open to the breezes and stars at evening spicuous as it sounds. If the terrace is not very wide, it may be sloped to the outside edge so that it will drain off. If wood is used for the floor it will be necessary to slope it in the same way. Unless the terrace is almost or quite flush with the level of the ground some sort of a boundary wall is needed. This, of course, would have to be laid up with mortar and will look much better usually if broken at intervals and at the corners by Piers of slightly greater thickness. The top course of bricks may extend slightly over the wall to give a drip, or a capping of bluestone or cement may take its place. Cement used as a paving material for the terrace is rather monotonous and cold if used alone. There are ways of getting around this, such as using cement panels between brick thorders. Red. quarry tiles, too, There can be no practical objection to a porch when the adjoining room is lighted on both sides as well Leaving the porch roof uncovered excepting by the vine-bearing rafters insures a more cheerful interior The paved open terrace will in time supplant the porch. "M'axwell Court," Charles A. Platt, architect ,~" c. o u O 0 0 O P4 0 P4 0 P41 04 0 -4 -CD.0t 4-A -6 odJ 0 cd C Cd wa-- 4'CL cd Cd,.I 4) cd 0 s:f. 00 4)) P4 0a 38 Disinctive Homes of Moderate Cost 39 Raising the canvas panels makes of this summer home an outdoor sleeping-room The vertically pivoted sash screens the bed from the wind A whole corner of the second floor may be left open for outdoor sleeping will serve as a framework for the cement, and occasionally the latter itself is colored by the addition of dark sand or mineral coloring matter. As a general rule, however, it is better to depend upon a companion material to supply the required warmth, leaving the cement in its natural color. H. H. S. HE SLEEPING-PORCH OF THE MODERN HOME AND THE ADVISABILITY OF PLANNING FOR IT IN NEW BULDINGS SLEEPING outdoors seems to have progressed well beyond the fad stage. The practice appears to require but a single trial to convince even the most skeptical that " night air, " that bete noir of our grandmothers, is in reality a pretty fine thing to get into one's lungs in large quantities. Why is it that a camping trip has upon most of us the effect of setting us up on our feet again with a new joy in living? Is it the diet of sodaraised " sinkers,"7 poor coffee and half-fried bacon that works the miracle, or is it, perhaps, the sleeping outdoors in pure invigorating air? Outdoor sleeping has come to stay, so let us recognize the fact and build our houses accordingly. The thing has taken us unawares; we are forced to drag a cot out upon the fire-escape, or rig up a bed-annex so that we can sleep with our heads at least outdoors, shutting the window-sash down on our necks. These makeshifts are perfectly good, as such, t-ut when we come to build our new house there is a chance to have a sleeping-porch that will be to the old. n-akeshift what a cot and a wooden floor are to camnping. In the first place the porch should open from. a bedroom or dressing-room, so that the sleeper r1ay have a conveniently near and warm place in which to dress and undress. A comfortable adjacent dressing-room robs the sleeping-porch of its one sting. Most of those who sleep outdoors seemi to feel the need at times for a shelter of some sort against the wind, and even the most enthusiastic advocate prefers to have the rain and snow and hail kept off his bed. A roof for the porch seems advisable, therefore, and a set of windows pivoted at top and bottom to revolve sideways. This form of window will obstruct little or all air as desired, provided some. device is attached by which the sash -may be clamped firmly in any Iosition. An arrangement of p~ulleys and cords, the latter brought to the side of the bed'., makes the ol,-perating of the sash a sim-ple and easy matter without leaving the shelter of the w-arm covers. Be sure that the sleeping-porch connects with a warm dressing-room .40 Distinctive Homes of Moderate Cost _ _I Enclose your porch with glazed sash, furnish it informally and make use house during the winter months Insect screens mray replace the sash in summer provided these are needed, and a canvas drop curtain wvill shut out the driving rain. Whether the sleeping-porch is to be built directly over the lower porch, or as a balcony, or as an open corner under the main roof, depen~ds entirely upon the conditions of each case--architecture, prevailing winds, etc. The point is that when one is building, the:sleeping -porch should not be overlooked, either for immediate use or as a desirable feature of the, home in the future. H. H. S. NCLO)SING THE PEORCH WITH GLASS TO MAKE OF IT A SUPPLEMEN~TARY LIVING-ROOM~C FOR THEI W VINTER MOQNTTHS IlTis a very strange thing, when you come to think of,it, that we Americans have, in the mlain, been perfectly satisfied to give up the use of our porches for the greater part of every year. In no other country in the world has the porch been accepted as such an indispensab~le part of home life as in the United States. We' spend upon? it the greater part of our wvaking hours from J'une thr~oug-h Selptember--not to mention the increasingly great use we make of the porch in our sleeping hours as well. And yet, when the cooler days and chilly eveni~ngs of October come around we give it up with scarcely a mu~rmur, and take refuge in the darker, less cheerful and less healthful portions 'of our homes on the othecr side of t~he front door. One would think that our Yankee ingenuity would long ago have devised some means of getting around our climnate in this regard, and yet the instances where this has really been done are so few as to be actually noteworthy. And the strangest part of it all 'is that the solution of the problem is so very easy. In the mosquito -inf ested parts of the country it has long since become the customary thing to do to enclose the whole porch, or a portion of " it, with screens to keep out the insects, yet the et-closing of the same space with glazed "J. ash in winter to keep out the cold--or, to be more accurate, to keep in the warmth--is ~I _~IIremarkably uncommon.. I suppose that a study of a numbe'r of typical house plans wvould disclose the fact t~hat from one-fifth to one-quarter of the area occupied by the first floor of a house is occuple~d by porch space. Leaving out of consideration the up-~ per stories, for the reason that of hi ipotat ar o yur they are used primarily and of hi imD'a~tpat o yur almost exclusively as sleeping quarters, this borings the realization that wre are actually losing the use of about eight per cent of our house during the hours when we are up and about. An eight per cent loss on any other kind of investment would surely not have gone unchallenged this long. Why it is almost, if not quite, as bad and without reason as that verv amusing custom of our not far distant ancestors, when they kept closed and musty and dismal the largest and best located room of the house--the front p~arlor, excepting upon the occasions of weddings and funerals. Probably our own children will smile indulgently while enjoying the comforts of their sunlit outdoor living-rooms and say to themselves, " And this is the part of the house that our fathers were content to have put out of commission for eight months of the twvelve! "' Of course, some porches can be much more easily enclosed with glazed sash than others. If your porch has square posts supporting the roof, rather than round _ __ _1 *- JA - t tl_ -1 - _ 1 ___ A - 7) *_ - A 1.1 1 1 casements, or to slide one behind the other, for there will be many times throughout the winter when the porch w~ill be the more comfortable and enjoyable for being open to the outside air. Have at least several single panes arranged to slide open for the sake of ventilation. Where there is an open balust~rade, and round columns for the uprights, the problem is not so simple, but Distinctive Homes of Moderate Cost 41 -- - --- -- it may be solved no less completely, and you will then have an additional area of glass, which means more sunlight. In this form of construction the most satisfactory way to enclose the porch is to put the strips or "stops" on the floor, along the porch ceiling, and up along the wall of the house proper, setting the longer sash up against these inside the line of balustrade and columns. At the corners the sash may lap, one over the end of the other, with another upright strip to make tight the inside corner. The sash, in either case, should be held in place by screws or, better still, by brass turnbuttons, so as to leave no disfiguring marks on the permanent woodwork Where the porch has an open I during the summer when boards on the inside, wit the sash are taken down and stored. It is, of course, an easy matter to have "the fittings arranged so that insect screens may take the place of the sash when warm weather comes. The screens are usually built up of thinner wood, but the turn-buttons may be made to engage in the same slots )alustrade or railing it may either be sheathed with tongue-and-groove th a sash above the hand-rail, or else the sash may extend from floor to ceiling inside the railing by the simple expedient of mounting them on strips that will make up the greater thickness of the frames. The enclosing of the porch area, however, is not all that has to be done to make the place an outdoor sun room that will be comfortable enough to ensure constant occupancy throughout the cold weather. The bare, uninviting enclosure alone would be little reward for the work of fitting it up with sash, and we would perhaps conclude that the aforesaid eight per cent loss was irretrievable after all. In the first place, it is well to make some provision for keeping the floor from being constantly cold and barn-like. A tight sheathing of tar paper nailed to the under side of the porch floor joists will give an air space beneath the floor proper that will do much towards accomplishing the desired result. Weather-stripping on the outside edges of the sash will prove to be another factor in the comfort of the enclosure. The door in the glass partition will almost never need to be as wide as the opening left at the head of the porch steps. Make it about three feet wide and place it in the center of the opening, flanking it on either side with narrower glazed sash. To gain the tter to put in requisite rigidity, both at the hinge and latch side of the door, it will be well to If there is a chimney on the porch side of the house it is not a difficult ma an outside fireplace. Here the dining-porch is enclosed with glass as a winter breakfast room. Guy Lowell, architect 42 Distinctive Homes of ~Moderate Cost 42 Distinctive Homes of Moderate Cost nicely, or one of the type that is woven from grass would be eminently serviceable - Orientals are never out of place, but the tracking in of dust and snow upon the enclosed porch floor is not conducive to their usual long life. Willow furniture always looks well on the porch, whether the latter be open or enclosed. If it is stained a dark green, so much the better, for the natural color of the willow or white paint will look too cold. Sturdy oak furniture, of the craftsman or so-called " Mission" type, is also well suited to a room of this kind. Whatever you do select, do not make the sun room a repository for all the cast-off furniture that has been banished from,asiest thing in the world to fill various other rooms inside space is not put out of the house-that is perhaps the very surest way to make the place a disappointment from the start. Have in it a table, by all means-there are few things that will make a room more inviting and livable than a fairly large table in the middle, bearing a few good books, a stock of the current magazines, and a Where a solid parapet and square piers support the porch roof it is the e the opening with glazed sash so that one-quarter of your floor! commission for eight months of the year introduce a couple of two by two-inch uprights against the outside of the partition at these points. And if any of the spaces between the permanent uprights is greater than six feet or so, it would be well to divide the space with several sash instead of using only one, putting the same size uprights-two by two inches-against the outside of the dividing lines. Small panes are better than large ones in a partition of this kind for two reasons: one is that the breakage that is almost certain to occur when the sash are being taken down or put in place will be less expensive, and the other is that small panes, because of the additional amount of woodwork in the frames, give a more substantial and pleasing effect from both inside and outside of the enclosed room. Perhaps the most important factor in securing for the sun room the inviting and hospitable quality that will ensure its constant use and enjoyment is the furnishing. Consider the porch as enclosed a room, and treat it accordingly. Its open, semi-outdoor character will demand a certain informality in floor covering and furniture, and surely a number of potted plants. For the floor a domestic rug of coarse but substantial weave would do have it nta ire seems to belong naturally to the enclosed porch. It is well, however, to ined a dark color in order to prevent its making the sun room look cold Distinctive Homes of Moderate Cost 43 _ large bowl of cut flowers. - It has a peculiar form of magntet~ism that makes one want to turn aside from his way., throw himself down in the big easy chair by the tab1LC_,'S side and luxuriate. And, by the way, do not omit the big easy chair; the table alone or the chair alone will not suffice; you must provide the combination. Then you will want plenty of chairs, a settle or two, with cushions that one does not have to handle tenderly, and plenty of growing things. With the whole outdoors in its winter sleep, the precsence of some real, live green will be appreciated as at no other time. Have some ferns, on the window ledge and in bangilig baskets; some primroses and begonias in h-rass bowls or pottery, and some narcissus bulbs forced into winter bloom in a bowl of pebbles and water. Butt this is not all. If the sun room, is to be of use at all times throughout the cold months there will have to be some provision for heating it. That sounds difficult, on the' face of it, but in reality it is not such a hard thing to accomplish after all. If you have hot water or steam heat, it will be a matter of no great moment to have a couple of new radiators connected up to stand along the inside wall. Few hot; water or steam boilers are utilized to the limit of their capacity in the amount of radiation installed. Even with hot air as the system in use, the difficulty is not hard to overcome; for the duct may be led from the furnace through the cellar wall and up through a register in the porch floor, provided the distance is not over twenty feet; if greater, a hot water coil may be put in the furnace and the porch heated by a radiator. If you are fortunate enough to hatve a chimney on the porch side of the house, you are to be envied, for a new fireplace canl be built on its outside face and the heating problem solved at; once in the mtost satisfactory way of all. Wilould you like to know how much it would cost to enclose your own porch and save that eight per cent loss year after year.? You can readily figure it out for yourself. The under sheathing for the floor may be set down at one cent a square foot, including the labor. The sash, all glazed, weather-stripped and framed in. place might cost about forty-five cents a square foot. A radiator of average size, and fitting up, would perhaps bring up the am~ount by $40 or $6o. Mlaking a connection with a hot air furnace with duct and register would cost, say, $25. And if the chimney is at hand a new fireplace could be built on and ventilated through an existing flue for ab~out $50. So there you are. Add it all up, allow for rugs and furniture and see how long it would take that eight per cent loss on the cost of your house to balance the account, not forgetting to put on that side of the ledger the cash value of the enjoyment you and your family and your friends are going to have in the enclosed porch or sun room?. HI. H. S. Both porch and awning-sheltered terrace are provided in this house designed by Guy Lowell, architect V THE FIREPLACE E SSENTIALS IN THE DESIGN AND CONSTRUCTION OF THE MOST IMPORTANT FEATURE OF LIVINGROOM, BEDROOM AND HALL BACK in the fifteenth and sixteenth centuries our ancestors built their wood fires on the stone floor of the great halls and let the smoke find its way out as best it might. The experience of many a new homeowner to-day, coaxing along the first fire on his new hearth, prompts the thought that we might suffer less from the smoke if we did it that way now. It is a curious thing, when you turn it over in your mind, that in three centuries of chimney building we have yet to learn, as a race, how to construct a fireplace and flue so that it will do the work expected of it. There are fireplaces that do not smoke, of course, but they work in spite of their designers, not because of them. It is an easy matter to make a fireplace draw; simply make the flue large enough and it will draw not only the fire but the fire-tools and a rug or two for good measure. That is the sort our Colonial ancestors built. On a cold night they blistered their toes before the mighty blaze and developed rheumatism and influenza through the mighty wind that rushed past them on its way up the chimney. Ninety per cent of the heat went up the chimney-but then cordwood was to be had for the cutting. If we are to take real comfort and enjoyment out of our fireplaces we have got to give up this almost universal desire for a big fireplace. I have yet to find the man-about-to-build who does not ask at once for "one of those fine big fellows--the kind that burns whole cordwood." I suppose this is based on the assumption that if a small fireplace is a good thing, a great big one is that much better. Well, it isn't. Have your big cordwood blaze, if you like, in your summer shack or seaside bungalow, where the cheer of a roaring fire is the sole desideratum rather than just plain solid comfort. But a big fireplace is too powerful a ventilator for the home living-room; it needs aira great quantity of it, and the fire will draw it into the room through every crack and crevice of doors and windows to feed the flames. And that means draughts. So take my advice and be content with a fireplace about three feet in width and two and a half feet high. You can construct such a fireplace along scientifically correct lines so that it will not smoke. Moreover, you will get the maximum amount of heat from it into the room instead of up the chimney. There are two great essentials in a good fireplace. One is the relation between the opening into the room and the flue area-the latter should be one-tenth of the former area; the other is what is called the " smoke chamber," a part that corresponds to the dome on a fire-engine, which is designed to take up and equalize the force of the stream that is pumped intermittently through it. In much the same way the smoke chamber takes up the inequalities of draught and down In the Middle Ages they lighted the fire in the middle of the hall and listened to the minstrels in the gallery A fireplace about 2 ft. 6 in. high by 3 ft. in width will give greater efficiency than a very large one 44 Distinctive Homes of Moderate Cost 45 The seats here are rather too close to the fire for comfort. Make the inglenook seats of box form, with hinged lids, so as to have a convenient space for firewood A reinforced concrete beam separates this broad inglenook from the living-room The owner has had a lot of enjoyment in making the oak mantel facing and copper hood himself draught and keeps the smoke going steadily up the chimney. A glance at the diagram will make this clear. The brickwork at the top of a fireplace, just above the opening, is drawn forward to form the "throat"-an opening into the smoke chamber three or four inches deep and the full width of the fireplace opening. This throat contains a cast-iron damper, with a hinged lid as shown. The narrowing of the natural exit passage for the smoke and gases causes these latter to pass through under some pressure and therefore with a distinct force. When the fire is first lighted the column of warm air rises at the front of the flue, causing naturally the down draught of the cold air at the back. If the way were open to it this descending column would reach the fire on the hearth and force the smoke and gases into the room. The "smoke shelf" prevents this, and by its form swirls the cold air around until it is carried into the path of the rapidly ascending warm column and on up the chimney. It is the simplest and most logical thing in the world, yet if you entrust the building of your fireplace to the village mason he will build it any other way but the right one. Many of the Colonists' fireplaces had cavernous smoke chambers above them, and there was usually a door at the side Dspo of the chimney breast through which the hams and bacon went to hang in the smoke until cured. When this func- JP tion of the chamber was no longer employed the chamber itself gradually disappeared and the flues were made larger and larger in misguided efforts to Trimmew prevent the fireplace from smoking. arch Although the proportion between iI opening and flue and the construction N1a2 of the smoke chamber are the prime This vertical se, essentials, there are other minor details center of a fis of the fireplace that must be provided scientifically maximum ei for 'if we are to have the maximum smke efficiency. The depth-of the fire chamber-should be, one-half the width and the sides and back should slope so as to reflect the heat out into the room. To, secure the proper slope for the sides make the width of the back two-thirds of the front, letting the sides. first run straight back for the width of a brick to save. beveling them at the front edge. Allow the back to, rise perpendicularly for about a foot before it begins to slope forward towards the throat. A fireplace can be built without the iron damper, but its presence is a guarantee that the form and size. of the throat will be right. Then, too, its front ledgesupports the flat-arch brick of the front which without, it would require an iron angle bar. See that the opening into the flue proper, whichý latter is best lined with terra-cotta forms made for the, purpose, is over the center of the fireplace, in order to, ensure equal draught throughout the fire'chamber. From this central point the flue may swerve to either side to get around a Toya fireplace above. Let the brick hearth extend sixteen or eighteen inches beyond the opening-the brickwork pattern is a matter of taste. It is supportedl! SmAC, i on a "trimmer arch" or "rowlock arch, "' Cbaynbtr as shown in the diagram, sprung between a pair of floor joists and the chimney foundation. See to it that no wooden timbers run through the brick masonry under the hearth or close to the sides of the fire chamber. The heat will eventually set these on fire. The chimney itself should run a foot or so above any nearby roof ridge, and it. should work without any cowl, whirlgig or other tin toy on the top. Bricks for lining the fire chamber, hearth and smoke chamb>er should be hard burned tion through the,place shows the and laid in the best cement mortar. orrect form for Ordinary lime mortar will not stand. idiency and no the heat of these exposed locations. ct re cQ Bfi OA"WVj6% 46 Distinctive Homes of Moderate Cost THE STUDIO FIREPLACE IN " THE HOUSE OF TH-E SEVEN CHIMNEYS," SOUTH YARMOUTH, MASSThe brickwork facing is corbelled out to support a thick wooden shelf--a type of mantel eminently well suited to the informal scheme of the room Distinctive Homes of Moderate Cost 47' -.. Do not make the mistake of having an ash-drop in the hearth, nor take out the ashes at all until the accumulation leaves no space for fresh logs. The presence of a glowing mass of embers under and back of the blaze is one of the wood fire's greatest charms. Bury the unconsumed wood each night under the ashes and it will furnish the best kind of a starter to light the next evening's fire. With our scientific fireplace completed there remains the problem of the mantel or plain shelf that is to embellish the chimney breast. There is an infinite variety of possibilities here, from. the unadorned breast of brick, stone or cement, to the delicately carved white painted mantel of Colonial times. Usually the treatment is governed by the architectural character and finish of the other woodwork in the room-a rough stone chimney breast is out of place with the delicately molded trim belonging to the Colonial style of interior, nor would the slender columns supporting a classic order and shelf of the latter type harmonize with heavy oak furniture and trim. Select the mantel to fit the character of the interior. Charming mantels of Colonial pattern are obtainable ready to set up and finished with the first coat of white paint. Or, if your interior is of the so-called craftsman type, make the mantel shelf and its support of waxed oak in plain lines to correspond. Throughout the discussion of a fireplace's essentials in construction the assumption has been that brick would be used. This is by no means necessary, though it is easier, perhaps, and more appropriate to Keep the ashes on the hearth-an accumulation of them contributes largely toward a better fire build a fireplace of this size with that material. For the facing, however, tiles are occasionally used to excellent effect--not the highly glazed, raw-colored tiles that we associate with the gas log and the sham fireplace, but dull, hand-made tiles that are not necessarily precisely true to size and square edge, tiles that show forth something of the fire that made them. The square ones, three inches on a side, are obtainable in plain dull squares and variously modeled raised patterns. A border of the latter around a plain field, or a diaper pattern in dull reds or greens makes, either of There are few combinations more pleasing and appropriate for the majority of rooms than rough red brick with wide white joints and white-painted wood mantel and facing, as in the dining-room in the house of Mr. Frank Miles Day, architect 48 Distinctive Homes of Moderate Cost - ---- -- -- ----- --- I The cavernous kitchen fireplaces of our Colonial an- A large stone projects to form a hob. The oldt-time builders usually took advantage of all cestors were picturesque but needlessly large The hearth is of cement anl stones waste space around the flue by putting in closets them, a charming fireplace facing. They are set in cement against the brickwork. But what of the fireplace that is already built and is never used because of its mistsehavior? There is at least a good chance that it can be remedied. T'he fireplace expert represents a new profession that thrives on the follies and ignorance of past and present builders. Here, however, is sorre- The extended line of mantel shel thing to try, first. Many gives a fine place for fireplaces smoke for the reason that the flue is too small for the opening. You cannot increase the size of the former but you can easily decrease the latter. Take a pair of thin boards, six inches wide and cut to fit snugly into the opening along its top. Wedge one in at the top, light a fire, and draw the other board down over the outside of the first until the openi ng is reduced sufficiently in area so that its flue can take care of the smoke. Perhaps you will not need even the six inches reduction. When the working combination is found, have a copper or sheet iron curtain made to replace the boards. against the white wood paneling the pewter collection Still another common fault is a throat that is too wide. Remedy it by laying across the top of the throat opening an iron plate that can be pulled back and forth, until the throat is the proper size. H. H. S. If:t VI HEATING SYSTEMS AND WATER SUPPLY T HE PROBLEM OF KEEPING WARM-WHAT THE VARIOUS SYSTEMS COST, BOTH FOR INSTALLATION AND MAINTENANCE. No matter how carefully you have thought out the complex matters of architectural style, no matter how deeply you have gone into the subject of building materials, no matter with what care you have selected your furnishings and interior decorations, your house may be the keenest sort of a disappointment if it is not comfortably warmed in the winter time. It is astonishing how very little people know about the various methods of heating the home. Of course it is a technical matter associated in many minds with such intricate details as the proper strength of beams for a certain span, or the laying out of a plumbing system. As a matter of fact, this matter of heating is not so complex as it seems-that is, the fundamental principles are easily understood and one may readily learn to know the essentials of each system in common use. Of course, if you do not want to take the time for this, the thing to do is to leave the matter to your architect or go to a heating engineer and commission him to install whatever system he considers best, and if you do this you will doubtless have a comfortable home at a not very much greater cost than if you make your own investigations. For some reason, however, the majority of home-builders have an almost insatiable desire to "see the wheels go around " themselves-to know the why and wherefore of the whole matter. If you are one of these, let me outline briefly the fundamental principles of each of the common systems ilsed in heating homes and add a word or two as to their re- The Direct-indirect system d( rooms. The air is warmed lpective costs of installation the cellar and brought into and of maintenance. In the in the Hot Air system first place there is a system known as Hot Air and it is, perhaps, the system that is in most general use at the present time in houses of moderate cost. It is the cheapest system to install. It does away with bulky radiators which so often, if not carefully disposed, disfigure the rooms. It has the advantage of bringing into the house a continuous supply of fresh air-the feature which recommends the system very strongly over the use of Steam or Hot Water, which latter two systems heat over and over again the air that has remained in each room since it was last ventilated. So much for the good qualities of I-ot Air. On the other side of the case there is the objection that the inflow of air brings with it a great deal cf dust-a fault that is not inherent in Steam or Hot Water. The cost of maintenance is higher than either of the other two systen: s. This is because you naturally have to burn more coal in heating a steady supply of fresh cold air. On one side is the cost and on the other side the advantage of having fresh air. To get down to actual figures, which, however, can be only approximate, a hot air furnace will burn, say, thirteen tons of coal a year in a house which would be heated by a steam heater burning ten tons or by a hot water heater burning nine. Hot Air heating has been very much improved within the last few years. The older form of furnace was merely a red hot stove in a box. The air from the outside was drawn into the bottom of the box, passed over the red hot iron and was forced into the rooms, usually at a very high temperature, and devitalized through the loss of oxygen, or "burned" as it was commonly known. Nowadays the better qualities of furnaces have much larger,s away with radiators in the radiating surfaces and they wver coils heated by steam in ie room through a register, as warm a much greater volume of air in a given time, but to oe th 49 50 Distinctive Homes of M~oderate Cost 50 Ditictv Homes of- Moert Cost An example of careful planning in the location of a register in a Hot Air system It is often possible to conceal the radiators ot Steam or Hot Water systems under a seat a lower temperature. One of the common objections offered to the use of a hot air furnace is that it cannot be made to heat one or two faraway rooms against the wind. This is to a certain extent true, and it is unquestionably better to use Steam or Hot Water where a house is large and not compactly planned, approximating a square. The best types of hot air furnaces provide for this oft-quoted difficulty in two ways. One type of furnace has vertical serpentine tubes surrounding the firepot, instead of a continuous space. One or more of these separate tubes may be connected with the duct leading to a difficult room and the warm air will have to go there. The advantage is also solved occasionally by putting a hot water coil over the firepot and heating the refractory room by means of a hot water radiator. Steam heating for houses is given the additional name "low pressure,"'' to distinguish it from the high pressure system used in office buildings. It consists of a boiler, usually made up of tubes, heated by coal in a firepot, and a system of wrought iron pipes through which the steam is forced to the radiators located throughout the house. The whole system is closed, air pockets being vented by means of air valves on the radiators. Then there are two classes of low pressure Steam heating systems. One has its radiators connected to the system by but one pipe, through which both the inflowing steam and the returning water of condensation flow. The other system has the inflow entering one end of the radiator at the bottom and it has also an outlet pipe at the other end. The latter type is very much like the Hot Water system, but there is always the fundamental difference that Hot Water heating always requires radiators of about thirty per cent greater area. The advantages of Steam are that it requires less coal than the Hot Air system and less radiating surface than Hot Water. It responds quickly to firing and is easily controlled by shutting off the valves of individual radiators, separating them from the system. It has the advantage over Hot Air of being readily carried to remote rooms. On the other hand, Steam has the disadvantage of not producing heat until the fire has been made hot enough to bring the water in the system up to two hundred and twelve degrees. This in practice means that the whole house becomes quite cold at night and has to have the fire started early in the morning to heat things up again. Hot Water is a system that has come into very much wider use in recent years. Although it costs more to install than either Hot Air or Steam, it has the advantage, of burning less fuel in a given time. In this system the boiler, pipe system and radiators are similar, in a general way to the system installed for Steam, but the whole thing is full of water instead of merely the boiler as with the latter. Hot Water has the advantage of producing heat at low temperatures so that the fire does not have to be forced so hard at any time. A much more even heat is the result and the water in the system does not become cold in the night. This same factor, however, makes the Hot Water system a difficult one in which to bring about quick changes, for the reason that all the water in the system has to be heated or allowed to cool, and this takes considerable time. The ideal system, of course, is that known as the Indirect, or, sometimes, as the Direct-indirect. It does away with bulky and at times unsightly radiators in the rooms and also provides for a constant flow of warmed air into the rooms. The radiating surfaces are grouped together, usually below the first floor joists and, through the enclosed space around these, fresh air is drawn from the outside, warmed by contact with the coils and passes up through heat ducts into Distinctive H-lomes of M/Ioderate Cost 51 __ _ _ ___ the various rooms through registers. The system is not only the most expensive, however, to install, but it burns approximately as much ccal as a hot air furnace. Still another nomenclature for the availa~le heating systems recognizes three kinds: the Direct, the Semidirect and the Indirect. In the first of these comes heating by air and also the system that is at~ove refer-red to as the Direct-indirect, in 'which air is warmed by passing around radiating surfaces heated by steam or hot water in the cellar. The Semi-direct uses radiators in the rooms themselves, heated, of course, by the circulation of steam or hot water from the boiler in the cellar. The Indirect system provides radiators in the rooms, but instead of heating the air -that is in the rooms it draw-s fresh air from outside through openings in the outside wall rr- ade t~ack of and at the base of each radiator. It is astonishing what liberties people will take with furnaces or boilers installed for heating, when they would be afraid to touch any other piece of machinery without a working knowledge of its make-up. See to it that the person who manages your furnace or boiler is thoroughly familiar with its details. It would do you no good to have a satisfactory system if the operator does not know how to manage it. Practically, all of the better knowcn manufacturers supply with each furnace a printed set of rules and suggestions which should be nailed up on the coal-bin as a permanent record in case of a change of operators. One detail of furnace management is not w-ell covered in most of these p~rinted instructions. It has to do with the cold-air duct which brings the fresh air in to be warmed. Have, a, door in thi~s duct, which, by the way, should b-e made of galvanized iron rather than. of wood--so that in stopping the passage of air from the outside it opens a side of the duct into the cellar. This is for use only at; night or when there is a high wind blowing directly into the duct opening. Do not get into the habit of taking the air in from the cellar at alltimes. It isnot healthful. Some heating experts counsel against taking air from the cellar at all. They usually provide an arrangement of dampers Ly which you can draw the air down from a large open register in the main hall. This means economy in ftiel but it also means giving up the great advantage of the Hot Air system, and that is the introduction of fresh air from the outside. If the dust brought in by the air is too much of a nuisance you can shut out a great deal of it by the use of a cheese-cloth screen across the outside of.the cold-air duct.7, This necessitates a larger duct than the usual one having a cross section equal in area to three-qluarters of the total area of the hesat pipes. And by all means see that the cheesecloth is frequently renewed or it will defeat its ownn purpose. HE. H-. S. HE WATER SUPPLY FOR THE COUNTRY ROMEVARIJOUS METHODS BY u WHICH P'URE WATER SMAY BE HAD IN ABUNDANCE: THERE is nothing which more facilitates comfortable living than an abundance of clean., fresh running water always at hand and supplied. directly thro-tihout the house by means of well arranged systems. Not only is it needed inside the house, either, for unless you have a plentiful supply of water, especially during dry seasons, you cannot hope to keep your lawn looking well.. OfEten. too little water on the lawn during. droughts is positively more harmful than n o ne, b e a s it causes the growth of the roots towards the surf ace, and consequently the gr-ass p~lants are weakened. Therefore in dry seasons the lawn. must be thoroughly wetted, so that a sufficient, quant~ity of water will reach thle lowest roots of the sod. Thus, it will be seen that; in plannzing the water supplly for the house that is to have a la-wrhn, this im~portant req~uirement must n~ot be overlook~ed. See to it that the well stands on high ground and is deep Picturesque,.but the wind usually fails in dry seasons Sink new wells onily where contamination is impossible 52 Distinctive Hotnes of Moderate Cost I _ _ _ ~_ __ __~_ ~_ ___~____ Building a windmill as part of the house is not comrmon but it is well work~ed out here The water supply for the stab le should be as pure as that for the house. D~o not for a moment suppose that animals can thrive on dirty water. One should always be suspicious of oldwells that he knows nothing about, but it is just as im~portant that the new ones should not be sunk in positions that subject them to the least p~ossib~ility of contamination. If one has the least doubt as to the absolute purity of the water supply he should send samples of it to the agricultural experiment station of his state, to state boards of health, or to anyone authorized to analyze waters. WGTell aerated basins of sand and brick-filtered rain-water hold the safest w~ater supplies. While great depth in the well generally insures against objectionable matter of an organic nature it may lead to the introduction of mineral elements that make the water hard or even unhealthful. Shallow well-water is almost never safe from a well of only fifteen to twenty-five feet in depth, for surface water invariably flows instead of filters into it, after a drought has dried and cracked the soil. So the well should be p~laced on high ground when possible, and one should remnembrer that man's dependence on a pure drinking-wnater supply makes any avoidable economy connected with obtaining it an absolute folly. Happy is the possessor of an artesian well. HeI who drills through solid rock from high ground to the base of the water supply will find, in the long run, that his drilled or artesian well is one of the least expensive methods of obtaining water when one takes into account a perpetually adequate supply. Although springs, wells and streams of clear, pure water abound in the country, many of the houses there are without equipment for any running water supply; consequently they are without one of the chief conveniences which add so much to the advantages of living inl town, where water-taps in several rooms and a bath on every floor have come to be considered as necessities of modern living. Of course, windmills have been used for centuries, their principal work having been to pump from wells for the purpose of supplying water for cattle. However, in late years their field of utility has been enlarged and the windmill is now often erected for the purpose of pumping a supply of fresh running water into the house--tank for family use. Nevertheless, owing to its dependence on a brisk wind for performing its duty, and to the fact that in summer, which is not the season of frequent winds, the greatest amount of water is needed, and as the capacity for pumping by this method is at times limited and uncertain, entire dependence upon a windmill for household water supply on a large estate is apt to be somewhat precarious, although it may do very well for the smaller place. When, at all seasons of the year, a stream of running water is available near the house, an hydraulic ram is an economical means of obtaining a private water supply. The ram is entirely automatic in action, and requires no fuel or outside source of power, inasmuch, as the energy necessary for its operation is obtained from the water of the stream on which the apparatus is situated. By this means a comparatively large amount of water falling a short distance is made to force a much smaller stream to a far greater height, and is a convenient method of utilizing water which otherwise would be wasted. The ram practically stated, is that air, when heatedl will increase in volurne and in so doing is made to force up the piston whicli operates a flywheel to which the pump is connected. Such an engine is generally installed either in the barn, the cellar, or in some small outbuilding near the sourcci of supply, and pumps the water into a tank located iii the top of the building or elevated on a framewrorl-I nearby. An engine of this sort can run all day witt] A plentiful supply of water wiltl make possible manry desirable,garden features Distinctive Homes of Moderate Cost 53 Distinctive Homes of Moderate Cost 53 no other attention than the supplying of fuel at proper intervals, practically lasting a lifetime, and requiring but a small expenditure for repairs. One design of hotair engine is made especially for pumping from artesian wells where the height from the source of supply to the ground exceeds twenty feet--a distance above which it is difficult to obtain a satisfactory vacuum sufficient for raising the water. In one model the pump itself is placed on a long rod, and can be operated- much nearer the surface of the water than the location of the engine would ordinarily permit. In consequence of this, various styles of this engine are adapted to almost any kind of pumping that might be required in city or country. Another convenient water pump is of the centrifugal form, which can be operated at a comparatively high efficiency when connected directly to a small electric motor. In case no electric current is available the pump may be belted to a gasoline or kerosene engine, and although a certain amount of power will be lost,by this system of transmission, the decreased efficiency is probably overbalanced by the increased economy obtained by the use of these fuels, unless a private electric lighting-plant is installed. The amount of power required for supplying an ordinary house with water is so small that many persons who have given the matter but little thought are greatly surprised when they come to study it. One horsepower expended for one hour will easily raise one hundred gallons of water to a height of 100o feet, and as half of that distance furnishes enough pressure for the ordinary country house, two hundred gallons would be available at the end of an hour's pumping. This is a sufficient amount for the daily domestic use of an ordinary household, and in this manner an ample water supply could be obtained for a small family at a cost not exceeding three or four cents a day for fuel and oils, plus the proportionate cost of installation, attention, housing and wear and tear. The height to which the water would be raised is taken as the distance from the surface of the main supply to the top of the tank. Another private supply system which is becoming very popular obtains its pressure without the use of an elevated tank. In this system the tank, pump and engine may be situated in some out-of-the-way place -under the cellar stair, in the barn, or in fact in any convenient location where there is no danger of freezi-ng. The pressure is obtained by forcing the water to be used into a heavy steel tank, having no air outlet. As the water is pumped into this tank the air is compressed in proportion to the increase in the volume of water. The service water outlet is at the bottom and the tank is so designed that the pressure is sufficient to raise the required amount of water to the desired height as needed. This supply system entirely does away with the danger of a collapsing tank, and furthermore has the advantage of furnishing abundant pressure to the upper floors of the building, which would be located ordinarily, at such a short distance below the elevated style of tank as to make a suifficient flow of water impossible without the use of excessively large pipes. HAROLD WHITING SLAUSON. There are few successfully designed water towers, one of which is this example near Philadelphia-Price & McLanahan, architects VII LIGHTING AND LIGHTING FIXTURES C ONVENIENT SYSTEMS FOR LIGHTING THE COUNTRY PLACE THROUGH A PLANT GENERATING ACETYLENE, ELECTRICITY OR GASOLINE NOT many years ago a great draw-back to country living lay in the fact that it was necessary to put up with the nuisance and disagreeable odor of kerosene lamps. To-day one can build a country home with no fear whatever of trouble on the score of proper lighting. There are numerous systems, all having their enthusiastic advocates, any one of which will do the work that is required of it. In selecting a system there are several important considerations to be kept in mind. In the first place, the cost of installation must not be given too much weight. The initial cost of installing a thoroughly reliable generator will be distributed over many years, and if one makes his selection solely for the reason that a plant is cheap he may be disappointed in a very short time to discover that it must be torn out to make way for a new one. The cost of maintenance, of course, includes the fuel that is used, the repairs to machinery, and the labor involved in caring for the plant. With the use of electricity, also, it must be remembered that the lamps will have to be bought from time to time. In a case of a country place where not only the lighting problem must be solved but an adequate supply of water must be provided, it would probably be well to install electricity, for "the reason that the same engine used for producing current through the dynamo could be coupled up to a pump for a part of the day and both problems solved more economically in that way. ACETYLENE GAS Acetylene gas is coming to be more widely and favorably known through its use The "Bubble Blower, a lighting in automobile headfixture in the Lawson home lights as well as for lighting the isolated country home. The gas is made from calcium carbide, a product resembling crushed granite and made by melting together in an electric furnace ordinary lime and coke. Until brought into contact with water the carbide is non-combustible and actionless. An acetylene generator takes the place of the ordinary gas meter that would be had in districts supplied with common illuminating gas through street mains. In this generator the carbide and the water are brought into contact to produce acetylene gas. In some forms the carbide is dropped into the water, in others the water drips upon a pile of carbide, but in all types there are three parts to the generator-the carbide receptacle, the water tank and the gas tank. And in each type there is an automatic device for bringing the carbide and the water together just fast enough to make the needed amount of gas. From the generator, which is usually set in the basement, wrought iron pipes lead the gas to the various rooms, and the gas is delivered through a special form of burner which consumes about one-half cubic foot per hour--about one-tenth the amount burned at a common illuminating gas outlet. Calcium carbide costs, delivered, about $4 per one hundred pounds, and this amount should make from four hundred to five hundred cubic feet of gas. A generator of reliable make, with piping, brass fixtures, globes and burners for thirty-five lights costs from $200 up, and the cost of producing a 24-candlepower light is about four-tenths of a cent per hour. West of the Rocky Mountains the increased freight charges on the carbide bring the cost up about twenty-five per cent. ELECTRICITY There is no doubt that electricity has a strong hold upon popular favor for lighting purposes. Where a pub- The iridescence in the glass suglic service supply is not gests the real soap bubble 54 Distinctive Homes of Moderate Cost 55 1 _ r __ 4 ACli means that an individual power plant operating one hundred 16-candlepower lights costs ten cents an hour (figuring the gasoline at eight-cents per gallon). It is claimed that the Tungsten lamp, which is rapidly replacing the old-style carbon lamp, is about sixty per cent cheaper in operation., One advantage of the electric equipment run by a gas or gasoline engine lies in the fact that the engine can be uncoupled from the dynam~o and used for pumping water. The fivehorsepower engine will p u m thirty-six hundred gallons two hundred feet in height at a cost of five cents per hour. By installing storage batteries the engine can be run fo~r as long as needed to charge these for a day's supply of cur-rent, then shut dowvn. For small homes there are on the market electric generator plants as low as twohorsepower, with switchboard; storage batteries (wvith a capacity of burning eight 16 -candlepower Tungsten lampstwenty-seven volts--fo~r eight hours,' or eleven lamps for five hours); fifteen Tungsten lamps, w~ire and fixtures for a house. of say twenty by forty feet in size, of two stories, all at a lumP sum Of $300. With ordinary use, this system wo-uld need recharg-ing by running its engine and dynam~o but tw~ice a week a week through the summer Tplant of double the capacity The improvement Mi the design of lighting fixtures has been very marked within the last few years. One can now find excellent patterns to go with any type of interior treatment obtainable a plant may be installed in the cellar, stab-le or out-house. It consists of a dynarr-o, a switch-board and some form of engine to run the former. A combination consisting of dynamo, gasoline engine, switchboard and all equipment except wiring anld installation,' costs) in the five-horsepower sizeý about $850; a ten-horse-powerplant about $jlioo; and a twenty-horsepower plant about $i,75o.~ A ten-horsepower plant will operate one hundred lights, and for every horsepower added, ten more 16-candlepower lamps can be lighted. Using what is known as sixty-two-degree gasoline, which is even better for th~e purpose than a more refined grade, and which costs from eight to ten cents a gallon in'barrels, the cost per 16-candlepower light per hour is about one-ten~th of a cent. This means that every seven to ten old-style carbon incandescent lamps can be operated for an hour for one cent, or it in wiinter and once months. A similar costs $400. GASOLINE VAPOR Perhaps you have been accustomed to using ordinary illuminating gas in a city home and wvould prefer to continue to use a similar illuminant, even though there are no public service mains available near your country place. The solution of your problem is to install a miniature gas plant in your cellar. Such a plant consists of an air pump actuated by wvater pressure, a tank for the storage of air under a fixed pressure, a supply tank of gasoline located underground at a distance' from the house, and a carbureter in which the air is forced through an absorbent material holding gasoline, vaporizing the latter and carrying it into the 56 Distinctive Homes of Moderate Cost pipe system to be burned at the regular gas outlets. The gas is generated only as it is required, automatically, and as soon as the fixtures are turned off the surplus gasoline runs back into the supply tank underground. It is claimed that with this vaporized gasoline system of lighting a flame of 25 -candlepower can be kept burning forty hours at a cost of five cents. What seem to be two iridescent turtle backs A house containare set in a green bronze frame throw- A hon ing the light directly down ing from ten to fifteen rooms would require, say, twenty-five lights, which could be adequately supplied by a plant costing about $200 to install. A N OBJECT LESSON IN THE POSSIBILITIES OF SPECIALLY DESIGNED FIXTURES-THOSE FOR DREAMWOLD HALL, THE FARM OF T. W. LAWSON OF all the problems of furnishing a house the question of lighting is, perhaps, the most difficult. To, be practical, to be beautiful, to be original, and still not to be bizarre. The fixture is intended primarily for light, but for the greater part of the time it is not in use, and it must then be considered apart from its chief charm of light itself. The accent of shape is often changed entirely by the introduction of light, and the fixture that is one thing by daylight is an entirely different object when seen illumined by its own light. It has a dual existence and consequently is difficult to design. Not only is there this difficulty of change of shape, but the lamp colors that appear crude by daylight have sometimes all the perfection of ripe and luscious fruit--when l seen illumined from within, and vice versa. Stuffs that by absorption appear one color in daylight appear an entirely different shade when seen under artificial light, and this night shade itself varies materially as the illuminating source is candle, oil, as or one of the various forms The conservatory la gacloisonn6 in oran of electricity. Just what these and gre effects are would form a chapter by itself, but this sketch deals entirely with the various devices in Dreamwold Hall for concealing the ugliness and glare of the incandescent electric light. For rooms of some height it is generally agreed that the invisible source of light is the best. This means a continuous line of concealed lights, high above the eye, that reflect upon the h Similarturtle backs have been used in ceiling, and then, the small hall brackets set against in a soft, diffused the panels of dark woodwork light, down over the whole room. The trouble is that for most domestic work high rooms are not used, and this form of lighting is impossible. It becomes, then, a question of an artistic fixture, and the even more difficult problem of the bulb (the source of light) and the shade. It is obvious that the fixture best adapted to a particular place can be most satisfactorily obtained by a special design. Ready-made designs, like readymade clothing, can, at best, only fit approximately. Moreover, the financial success of such work depends upon duplication, and duplication is the foe of originality, as well as an obstacle in the way of individual excellence. It is more essential to the factory fixture that it can be reproduced cheaply than that each piece should be produced perfectly. It follows that excellency in fixtures means special designs by skilled designers, means craftsmen, not laborers, means artistic supervision, not the hurried orders of a foreman. Could anything fulfil its purpose better than the little bronze by Louchet that at the same time is an inkstand, a paper weight and a writing lamp, shaded by the cluster of blossoms held in the hands of the dainty figure that gives the clou? The base is of very dark bronze, almost black, this bronze gradually growing lighter and more golden in color until the head and shoulders of the figure are almost illurrined in the daylight, while at night the head catches just enough of rentern is of bronze and flected light to give the charm of ge reds, blue greens v whites mystery. e - f.. --- - - Distinctive Homes of Moderate Cost Z " _ _~__ Perhaps more beautiful still is the Pandora's Box by a Parisian modeller, its grace and drapery suggesting that it was done by an ancient Greek working under modern condi- j tions. The box itself is of gold, and the light within shines throutgh f:'tinted alabaster, that in the dadlight shows the trees on the b~ox against a light sky, while at night they stand silhouetted batre and black against a sky illumined by the harvest moon. So the box shows a sunlight scene by day and a moonlight scene at night. The turtle-back reading lamp by Tiffany shows what in this Viennese lamp the seem to be two rough irides- at the baseq turning- to g cent turtles set in a green bronze frame that recalls Pompeii in color. Clustered around the hase are jewcels that reflect back the lightl hidden under the turtles. The shade can bhe turned at any angle so as to aleb throw light on a book or a vertical sheet of music. Similar turtle backs have been skillfully used in the small hall b~rackets that hang like fairy lanterns against the curly-grained, almost black wooodwork. In a well designed house no detail or fixture must be too prominent, too insistent, while the house itself should b3e one consistent scheme -rather than the succession of histori- The sile wall bracki cal styles now so common.1 What show golden puii~:~ can be more illogical than the Louis C XV I. library, the Louis XV. den, the Louis XIV. billiard room, all more or less historically cr-rrect, and all a~pishly stupid. *AM1 Oriffinalitv in c_10eZiCY:I (IM go. and as original as anly produced by ~the masters of the Renaissance. WNe are only at the b eginning, and these illustrations are chiefly interesting as showing the direction of new thought and design. But to return to D~ream-l wcold. Imagirne a room capable of seating forty guests and still cosy. A farm dining-room in a house three hundred feet long, its cupboards filled with the choicest of old cut glass and M, lim b china, its friezes with mural decorations of farmnyard and n ~ anl n hetal ddor~locornfield, while each individual igure is a dull bluish green has on it, burnt and paintced in AId at the arms and head conventional design, an. ear of corn, at cluster of grapes, or~otbher fruit, and so on around the room to the great fir-eplace that swallows cords of four-foot wvood and cries for m-~ore. The tile hearth showcs a grassy bank, and resting on it two large golden pumpkins whose tendrils climb over the fireplace facing and show, n~ow a blossom., now a leaf, in the most n ýturalistic manner. The pumpkin gives the key to the room, and so it was again taken for a motif in the great central ligyht that hangs over the table. A huge golden pumpkin with the light inside, it glows at night with all the mellowness of a Hallowe'en lantern, while around- it and over it, cling the ts in the dining-room vines and leaves that, hanging fromn Lpkin blossoms, each the ceiling, supp~ort it and the cluster idesent ulbof golden pumpkin blossoms, each with its little light inside. All the colors are those of nature, soften~ed to the tone of the room. The wall brackets showv the same idea, the same golden blossorrs hidinlg inl their pendan~ts the 14,rhts within. while in. the breakfast roo~m the conceit is,eb ml The base of this small writina, lamp is of dark bronze that gradually grows more: golden in color towards the head of the graceful figure~ The organ lamp is a bit of sculpture almost worthy of Rodin, but the shade seems out of place 58 Distinctive ~Homes of M/loderate Cost 58 Ditntv oe o oeaeCs quaint freak is pardonable, such as the ship's lantern hung over the terrace doors, its skeleton resembling the earth's meridians and parallels, while the blown glass gives a succession of peculiar bulging forms that seem anything rather than stubborn glass. The door in the bottom ais formed of a 1 ar ge turtleback, while the fixture itself is in a soft greygreen. No form of electric bulb The central fixture in the dining-room is a clus- has yet been deter of pumpkin blossoms with a huge pumpkin vised that in its containing the lights inside of its shell unshaded form is beautiful. The imitation candle needs a shade, the ordinary bulb a covering that will give beauty. The shade then becomes a necessity and its own beauty must be its apology. The fixture should then be an ornamental piece of table sculpture or wall or ceiling decoration, but it must also always be an illuminating fixture. Perhaps the bubble blowing fixtures here illustrated are as near an approach to perfection as can be hoped for. For here the daylight iridescence in the glass recalls the actual soap bubble, while at night they are artistic fixtures pure and simple. Even here the real bulb is inside the bubble. The Viennese lamp is an illustration of how a most excellent fixture can be hurt by its shade and by the exposed bulb. Here we have a figure of a dull bluish green at the base, turning to gold at the arms and head--a masterly composition that fulfils its functions perfectly, but the shade is too formal and would be better if it were a great sea leaf, or a clustering armful of drooping blossoms that would hide the too prominent bulb. The organ lamp is a bit of sculpture almost worthy of Rodin, but again the shade should have some relation to the straining figure. Glass spun into a whirlwind or a great breaking wave would be better. The long and graceful polished iron support for the library reading lamp is hurt by the prosaic The dark green bi shade. A little bell blossom that would made by Johei seem to have grown out of the slender stalk would have been better. The Tiffany shell lamp is better,. and when t he shell form is made of a real shell,then we have an ideal fixture. TheJapanese lantern and lamp shown in the illustrations are j u s t as they should be. They were carefully combined and adapted by Hermann Murphy, and show electric lamp lighting at its best. The Osaka lantern in the conservatory is of gold bronze and subdued tones of cloi- In the "Pandora's Box" table light the sonn6 in orange reds, box itself is of gold and the light with-, in shines through tinted alabaster blue greens and grey whites. It is lined with silk fibre paper toned with water color to repeat the color of the Grueby tile on the walls. The lamps were planned to carry out the color scheme of the rooms for which they were intended. The large lamp in the hall has a base of dark green bronze made by Johei who lived in Kioto about i8oo. It has a beautifully modeled Hoo bird on each side. This bird is the Japanese Phoenix and is the forerunner of peace. The shade of this lamp is half of a Japanese ball lantern, made of thin brass cut and engraved with a design of the chrysanthemum and kiri, which symbolizes the imperial coat of arms. This was also made in Kioto. The brass is toned to a deep rich gold tone. As the light coming through the perforations would be too bright and not be concentrated on the table as desired, the shade was lined with a deep dragon'sblood tone of silk. The smaller lamp has a base of rich gold bronze made in Tokio about I825, and has the design of chrysanthemum and kiri on it in cloisonn6 of dull white and grey greens and reds. The shade is similar to that of the larger lamp in the hall, but lined with a grey green to harmonize with the tone of the living-room. While many of these criticisms may seem severe, it is not because the fixtures are poor, but because they are so nearly perfect that it seems a pity that they should not have been pushed to that end. Originality is almost as rare as the roc's egg, but here we have a whole nestful of ideas developed almost to the flying point; in fact, some are even ready for that. Messrs. Coolidge & Carlson, of Boston, are the architects under nze lamp base was whose direction Dreamwo 1d Hall rho lived about 18oo was built. r W. VIII BUILT-IN CONVENIENCES, BOOKCASES AND WAINSCOTING UGGESTIONS THAT COST LITTLE WHEN INCLUDED IN THE MAIN CONTRACT BUT HELP GREATLY IN THE FURNISHING OF THE HOME THE value of built-in furniture from the standpoint of economy, and as useful and decorative adjuncts to the home, must be experienced to be fully appreciated. Such pieces should, to give the best effect, conform closely in color and finish with the standing woodwork of the room of which they are practically a part. When the house plans are in the making and before contractors' estimates are asked, such window-seats, inglenooks, bookshelves, corner cupboards, and buffets as may be deemed desirable should be included, for at this time they add but little to the estimate as a whole, whereas if they are later figured upon separately, or put in as separate jobs, the cost runs up decidedly. There are now many good architects who specialize upon the small house, and some of these make much of quaint and effective built-in pieces in the interior arrangement. When looking over a completed house in which such features are included--and where the color and finish of the wood trim and the tint of the sand-finished walls are harmonious and attractive, the prospective occupant will feel that the house as it stands is almost livable, and be encouraged to think that the trouble and expense of furnishing and decorating will be small. Frequently when a man is about to build the house which will be his permanent home, his desire is to embody in it all of the good features of his neighb ors' homes, and those which he has gleaned from long and careful study of the published plans and pictures of exteriors and interiors. It is then a large part of his architect's work to eliminate and choose for him the possible features from the chaotic selection offered. When once the type of house has been determined, it is much easier to decide the detail and finish which will be appropriate, and while in the designing of the Yuiltin features it is the effort of the good architect to escape from the ordinary stereotyped styles, he can often find some suggestion in a house of another man's planning which will prove acceptable embodied in his own, and as it is especially true of architecture that "there is nothing new under the sun," this adaptation is by no means unusual. As representative of the Craftsman style of house which is much favored to-day, the living-room shown in the first photograph at the bottom of this page is of A fireplace usually gives an excellent opportunity for building in seats and bookcases This Southern California home shows an unusually successful built-in buffet and seat 60 Distinctive Homes of Moderate Cost 60 Distinctive Homes of Moderate Cost Even the bearooms neea not be witnout ounit-min conveniences, such as a combination window-seat and shoe closet particular interest. The wood trim and furniture of oak are stained and finished in weathered effect, the delightful gray-brown color toning well with the oatmeal shade of the tinted wall. The atmosphere of the room suggests comfort of living, its harmonious color and well chosen and suitable furnishings rendering it thoroughly homelike. The built-in seat at the left of the fireplace, with the high paneled back, and the glazed bookcases set in the wall at the lower end is distinctive and pleasing. Also the simple, sturdy mantel is typical and good. A frequent pitfall to the inexperienced is the finish given this built-in furniture. Often it seems desirable to the amateur to make these pieces appear as furniture rather than as a part of the room. With this idea such pieces are treated with a different finish from that used on the standing woodwork, and always with disastrous effect. If the corner cupboard in a room, where ivory finish woodwork prevails, is stained mahogany and is complemented by a mahogany mantel in the same room, this will stand out aggressively, and the room will present a restless effect which is most unsatisfactory. In the true Colonial house the doors are frequently all mahogany, while the standing woodwork is all enamel, showing the beautiful ivory tone which is so typical, but the mantel is always finished in the same ivory tone, and with the exception of the hand-rail of the balustrade there is no mahogany introduced save in the doors as mentioned. The effective use of white enamel, as a finish for the interior trim, including the built-in and glazed bookshelves, iswell evidenced in the library shown in the adjoining photograph on this page. The quiet restrained treatment of this room is very pleasing, and the architectural detail of the mantel, bookcases, and other standing wood- In buildin work is satisfying, t In the interior of houses designed upon other lines than the Colonial, white enamel finish for the woodwork may be correctly and effectively introduced as, for instance, in the bit of a hall with stairway which is illustrated in the photograph at the top of the next page. The built-in seat here is particularly interesting, and, while taking up' but little space, it is practical and also well supplements the stairway of which it is really a part. The detail of the balustrade of this stairway, by the way, is attractive and unusual. The corner cupboard illustrated on page 68 is from a Colonial house built in Portsmouth, New Hampshire, antedating the Revolution. The beautiful carving over the door and the columns which frame it, with the Gothic type of the inset panels are a part of the interesting standing woodwork of this room. The open doors of the cupboard show the practical possibilities of three-cornered shelves. A very unusual design for a built-in buffet and window-seat is shown in the dining-room of the Southern California house shown at the bottom of the preceding page. Much of the wall space here is devoted to buffet and china closet. Where the paneled wainscot is unbroken it is topped by a wide shelf holding decorative steins and choice bits of pewter and brass. The low windowseat is fitted with a deep drawer, and, set beneath the sunken window, serves to connect the two sections of the buffet which flank it, filling the end of the room most effectively. Where one must live in a house planned for another's needs it is often possible to introduce some pieces of built-in furniture advantageously. A window-seat, for instance, may be put in by an amateur or unskilled workman, and, properly upholstered, it will present a good effect and serve all purposes. If there be certain crudeness of construction which must be hidden, a valance, either plaited or plain, which will extend g in bookcases, or any other features, it is a safe rule always to have hemi of the same wood and finish as the standing woodwork Distinctive Homes of Mloderate Cost 61 Ditntv oe o oeae Cs6 from the seat line to the floor, will be correct and cover a multitude of sins. The style of valance used should be determined by the valance of the window draperies; that is, if the window shows a plaited valance the same should appear on the seat. If inglenook seats are desired and the fittings of the room are along the Craftsman or Mission lines, high-back benches, such as are yet used in some country school-houses, could be utilized, stained like the standing woodwork of the room, and the seats made comfortable by a mattress pad covered in some suitable material. The window-seat is an acceptable feature in the bedroom also, A built-in set thel and can be made a serviceable part of the room. In the photograph shown on the opposite page a very charming arrangement of window seat, and window draperies is shown. Still another convenience that should be arranged for in the drawings, or while the house is being built, is a full-length mirror panel for the closet door of a bedroom. MARGARET GREENLEAF OOKCASE SUGGESTIONS FOR THE LIBRARY, LIVING-ROOM, DEN AND STUDY--BUILT-IN SHELVES, WITH DOORS AND WITHOUT THE saying, " Show me a man's books and I'll tell you what manner of man he is, " is an old one, and well worn by much use. Its present-day descendant is, " Show me a man's library and I'll tell you whether he is a true book-lover or a mere poseur."' A mere array of titles on a bookshelf means absolutely nothing in these days of material prosperity and cheap printing; the marks of wear and the manner in which the volumes are cared for are the true indices that bear a message. Most of us have too high a regard for the purely decorative value of well filled bookshelves and not enough reverence for the true worth of the contents between the covers. " Books furnish a room so well, " we say, and lay them in by the yard. How much easier it would be to judge a man's taste for literature if books in themselves were repellent in appearanceand how less attractive would be our libraries and living-rooms in their absence. But this is to be a chapter on bookcases, not a dissertation on the ethics of library-making. Let me say just one thing more, and I will have done with my preaching: Have about you only the books that you really want and that truly represent your tastes; success in arranging them in an attractive manner does not depend on the number of volumes. To satisfy yourself that this theorem is true look at the illustration at the bottom of the next column. The combination of fireplace, seat, window and built-in bookshelves, small though the latter are, conveys the impression that here dwells one who loves books--loves them to read, not for the sake of their decorative quality as mere furniture. A large li irary, completely walled in by crowded shelves, may conhavl e vey the imfnressicn that the dweller therein owns quantities of tbooks, but does it proclaim the true book-lover any more insistently? Which of the two impressions would you prefer to h a v e your own library or firecorner convey? Let us admit, then, that the actual quantity of books is a negligible factor in the success of our efforts to make those we have appear to best airway, with a lid, is a advantage. With that question out of the way there are several other factors that will have more weight in determining the strength of the impression our library will convey to its visitors-- accessibility of the books, shelf-room that is too small for the volumes in hand rather than too large, and the matter of protection. As to the first factor of these three, have your books within easy reach. Nothing is more conducive to making the most of odd moments for reading than immediate accessibility. I would almost rather have some of my books in the attic than stacked away on shelves up just under the ceiling. Imagine, if you can, getting down a book from one of the two shelves over the doorway in the library illustrated at the bottom of page 62. You wouldn't get it down, you would select another book nearer at hand. Do not run the sti cc This combination of fireplace, seat, window and bookshelves, designed by Lawrence Buck, architect, is very near the ideal 62 Distinctive Homes of Moderate Cost 62 Ditntv Hoe fMdeaeCs In the living-room of Mr. Reginald De Koven in Washington, the low bookshelves circle the room shelves all the way up; have longer cases and make them lower. A top wide shelf about five feet above the floor is wonderfully useful. Not nearly so inconvenient but at least somewhat unhandy is the common practice of having bookshelves extend down to an inch above the floor. There is a very easy way around this: have the lower foot or two filled by cupboards or drawers. You undoubtedly have a lot, of drawings, photographs, maps and such utiwieldy things that need a known resting place. Lockers with doors hinged at the bottom and held d fast when partly open by chains make wonderfully convenient receptacles for such things. Then there is the choice between open shelves and glazed doors to be considered in this m a t t e r of accessibility. Open shelves have two advantages: they are cheap and they extend a more cordial invitation to come and look over their varied burden. On the other hand, they compel frequent dusting. Glazed doors are just e reverse ey seem Putting bookshelves up over doorw the reverse-they seem surely not libr to shut one out from their contents even though they do take better care of these. It seems to me that there should be both kinds of cases in the library -open shelves for the good old thumb-marked favorites, glass doors for the better dressed though perhaps less loved volumes. Then we come to the matter of he amount of shelfroom as compared with the number of volumes. Few things are more dismal and depressing to my mind than a lot of empty bookshelves. Have too many books for your cases rather than too few. In one library of my ac - quaintance the books have overflowed shel f, bookracks and table s, until now there are several piles of the larger volumes on the floor under the table, yet the effect is not in the least objectionable. T h e r e arises at once the question, "But shall we not in our new house allow for a reasonable expansion of our library?" Personally, I would not. One can always have - additional cases built to ys may be wall decoration, but it is work; rv convenience match the old w o r k ra3 *a: Distinctive Homes of 1Moderate Cost: 63 Ditictv Home of_ Moeae ot6 Sliding rather than hinged doors are necessary here and are very convenient on any case The President's office in the White House also contains the leather flap-protected adjustable shelves let them come when they are actually needed. Just here is where the unit system: of sectional bookcases comes to the fore w i t h its unanswerable argument that y o u r bookshelves may grow along with your librar y. Incidentally, the way in which these varied units may be built along walls, under window-sills, surrounding desk sections, cupboard units and drawers is positively amazing. The matter of doors comes The sectional bookcase's unans to the front again under the it your shelf space may gro-,. your volumes. Units for c next factor of protection. But forth, make possible a great there is a choice even here. Most of the bookcase glazed doors one sees are hinged to swing out. Occasionally one finds doors that slide, one outside of its neighbor. The first illustration at the top of this page shows built-in cases that could not have hinged doors on account of the adjacent seats, but the convenience of such an arrangement makes one wonder why the doors are not oftener built this way. The sectional bookcase door, sliding back over the top of the books and prevented from slamming by the natural cushion of air in the case, is an ingenious and convenient protection. Curtains over shelves neither really protect the books nor have they any excuse for extene on the score of The adjustable shelves and leati tstence on the score of mainrinvo Pr1edi Usw CU V beauty. Adjustable shelves will go far towards keeping the books in better condition if the latter are grouped according to their height. The distance between shelves may then be made very slightly larger than the height of the row, with a resulting protection against dust. An ingenious improvement upon this idea is seen in the shelves in the President's office, illustrated above. A scalloped rerable argument is that with leather stri]p has been fastreadily with the number of ened with ibrass tacks to hang pboards, drawers, desk and so ariety of arrangement down from each shelf, effectually keeping out dust without impeding the taking out of any volume. You may have built-in cases to match the woodwork, shel]ves sunk back into the walls, an antique secretary, a comtibination of unit sections, or portable cases to match your furniture woodwork and finish- --according to your taste. And there is a great opportunity for an expression of your personal taste here-..the choice and finish of wood, the design and grouping of the cases as a whole, the patterns of the door s, with square or diamond panes, the choice of hardware. In any of these your books may be properly cared for and made to reflect in their ranks your individuality. r protecting flaps go far towards your individuality.,ors unnecess. v H. H. S. iei d AAACOLZLJAAS SACL,%.OA %16%RW&%J 64 Distinctive Homes of M/oderate Cost: 64 Dstictie Hmesof odeateCos W AINSCOTING COMPARATIVE EFFECTS, MERITS, DEFECTS AND COSTS OF BEVELED OR STRIP PANELING ON WOOD OR PLASTER IF THE question is asked, " When Shall We Wainscot the Walls?" this text matter might well have begun and ended with the answer "'Whenever we can afford it." I have tried hard to think of some room, downstairs or up, or a hall between, that would suffer in effect from the addition of suitable wainscoting, but not one solitary instance occurs to me. Wainscoting seems to be the exception among all features of interior furnishing and decoration, in that it alone can be used to the improvement of a room of any style or type. Even a factor of interior furnishing with as broad a scope as wall covering, does not possess this universal fitness. I can picture many types of rooms that would be better without wall covering; and you will agree that, for example, a study floored with handmade tiles might be more effective without a floor covering, even The shelves are set back into the wall here, and there are no shelves set uncomfortably near the floor illustration on page 66, or it may be simple enough to be in perfect keeping with an $8,000 home as in the hall illustrated to the right. In British usage the word wainscot means a superior quality of oak imported for fine panel work. That is the original meaning, from which, naturally, the term came to be applied to panel work of that material or another, applied as a covering to interior walls, but especially when of somewhat elaborate workmanship. Here in America the word is undergoing a still wider stretching, for it is coming to be employed as an equivalent of the word dado, meaning a continuous lower portion of a wall surface marked off horizontally by base and cap moldings. That is, if we mark off the lower portion of our dining-room wall by means of a baseboard and chair-rail, painting white the woodwork and the plaster wall between the two boundaries, we frequently call the?lace of result a wainscot. In order to be a wainscot, for the purist, the wall surface between baseboard and chair-rail or cap-molding should be covered with wood. Or, again we frequently cover The combination of desk and flanking Making the bookcase fill the I shelves suggests a real working a low wall is economical library 'ning though Oriental rugs were available. But take any living-room, bedroom, dining-room or hall, whether it be in an English half-timber house, a rough summer camp, a Colonial homestead or in just an ordinary yellow-dog house; can you imagine any one of these that could not be made more attractive with the addition of a suitable type of wainscoting? Of course, that word "suitable" is the crux of the whole matter, and also in large part the explanation of the eternal fitness of the wainscot. You would not put an intricately paneled, white-enameled wainscot in a summer shack of battened hemlock boards. Neither would you agree for a moment that a brownstained series of wood strips over a rough board backing would add to the consistent beauty of a Colonial dining-room. But the wainscot's great merit lies in its adaptability to any environment; it has many strings for its bow. It may be of a material and design in keeping with the most sumptuously furnished diningroom, such as the one illustrated in the lower left If bookcases are built in, they should match the standing woodwork rather than the furniture Distinctive Homes of Moderate Cost 655 carried and also upon the length of the wall srae AZvery nice judgmel -t *s needed to determin, po ~;d~~-::,,::::~:i -j~...proport~iol - of panels that will appear neither towd nor too long, and at the same tin-e be ab~out 1h sm size as those of an adjoining wall, where a ifrn total length will 1-ecessitate a redivision of aes Wiainscoting of this type is e:..pensive, eve tog Jthe wood need. not be one of the hardwoods h i~~;--~~~ ~joinery entails a lot of rather costly labor Otn however, one can secure the same effect, or al qal satisfactory one, by utilizing old doors (or n(woe); ~~laid upon their sides. M/any doors have fileo i panels of the same size, with a larger rail at th( otm By sawing part of this off to make it equal in wdht the top rail the door will cover the central poito o wall space. Another similar door, sawed d(wwl Carrying the wainscoting around the room at the height of the mantel perhaps be enough to piece' out evenly at b(t ns is effective; the over-mantel paneling adds greatly the joints being covered with a molding or Iltsrp the lower portion of a wvall with burlap, book linen, grass cloth, or some such fabric of pronounced texture, dividing up the surface so covered by means of a pattern of wood strips, three or four inches wide, covering the vertical joints of the textile with perhaps an intermediate horizontal division as well. It is not wainscoting, literally, but it has much the same effect and r it will in all probability be accepted under that term even by the dictionary makers before long. For your Colonial home there is the good old white-enameled wainscot--a work of real joinery rather than plain carpentry. The panel surfaces are beveled off and the tongue thus made is wedged tightly into the surrounding stile or rail. (A stile in paneling is a thicker vertical member, as the parts of an ord~inary door containing the hinges and the lock. A rail is a similar horizontal member.) To give the panel thus mortised a better finish, Strip paneling in red oak that has The most expensive waison f a small molding is run around covering the inter been given a soft browrn finish all is made up of vertia nge section, and neatly mitred at the corners. Of without gloss by means of oil and and-groove boards, slce o 7 wx. The wall. above is covexred grain, without strips ta ih course, the size of the panels, and their shape, de- with a green burlap. C. E. Barott, conceal careless joints od8 pends upon the height to which the wainscot is arhtcHeltrhics and the whole finished with a quarter-roun( * lin along the floor and a cap molding of some sor ln the top. I know one resourceful man whose raoa? ý*P ahe ttop, will make a very presentable wanc i ~~~ ~'~~P ~ ~ p"prper~ly capp~ed. Such a forl a reseni h 451 top illustration on this p~age. I~~ The cheapest of a~ll wood wyaiiiscoting is a o ordinary tongue- and-groove piles~ahncpe and finished with abase. Usually it is built of 'hae' A fairly satisfactory and cheap substitute for wainscoting is secured by badwihsre ocm~eeams omnlc 'Puttinz wood strips over the ioints of burlap, or other tex~tilesborswhcsevstcmpteaot m r -~ `~-----~IT- -~-- --- J-~- - r 66 Distinctive Homes of Moderate Cost The drawing-room in Dr. Marsden's home at Chestnut Hill, Pa., indicates the splendid possibilities for achieving dignified home-like effects through the use of carefully designed wood paneling and built-in features. Charles Barton Keen, architect In the dining-room at "Fairacres," Jenkintown,- Pa., the quartered oak paneling covers the side walls to the ceiling. Wilson Eyre, architect Disinctive Homes of Moderate Cost 67 - effect. If the sheathing were not beaded, and had a panel pattern of quarter-inch strips laid over it, the result might be not unpleasing, though never so good as wainscoting with solid panels. Cheaper still is the effect obtained by using wood strips over a textile wall covering, and though inexpensive, the resulting wall may be particularly harmonious with crafts furniture of oak and a solid-color paper of lighter tone above. For the summer camp or bungalow an effective and inexpensive scheme of treating the studs that are left exposed inside is to cover the lower portion with plaster board or compo board, over which may be stretched burlap, and upon this a panel pattern of wood strips. In all wainscoting it is well to carry around some marked line for the top boundary-the line of mantelshelf or of window-sills. Sometimes the wood covering is carried to the ceiling, but most of us, perhaps, will be satisfied with a less ambitious treatment. H. H. S. A very clever semblance of wainscoting has been secured by painting white the plaster between baseboard and chair-rail, and running the upright wood members across Paneling that involves real joinery is closely associated with Colonial work. The cut-out star is most unusual A simple wainscoating of battened oak boards. By choosing the boards for attractive grain a splendid effect is obtained 68 Distinctive Homes of Moderate Cost The beautiful shell-top motive of Colonial. days can scarcely be improved upon The simple rectangles of the glazed door nanxing the fireplace are too seldom used in china cupboards This mahogany, frame is in striking and effective contrast to its contents and background At the, right the cupboard is built in so as to be flush Even without doors the builtwith the woodwork in cupboard is attractive Leaded glass doors occupy the ends of this builtin sideboard and cupboard combined ithis dining-room designed by Lawrence Buck, the china is displayed sparingly over the builtin sideboard It is curious how the Colonial builders hid delicately carved interiors with solid wood doors A combined sideboard and china cabinet in white enamel and leaded glass that saves space and makes an effective feature in a bay NINE TYPES OF BUILT-IN CHINA-CUPBOARDS Ix F OORS AND FLOOR COVERINGS HOW TO FINISH NEW FLOORS--HOW TO RESTORE OLD ONES -- PRACTICAL SUGGESTION'S FOR I I HARMONIOUS FLOOR COVERINGS WHERE the floors are new and of hard wood, to stain and finish them properly should be a very simple matter, but even under such apparently easy conditions they are frequently so wrongly treated as to be a continual trouble to the housewife, and to present an irregular and unbeautiful surface showing either a too high gloss, or a stickiness and a tendency to hold the dust.,One important point to bear in mind when selecting the color for floors is that it should be uniform in all rooms directly adjoining. This will be found to make for spaciousness of effect. The door-sill is more frequently omitted than not, and the unbroken, softly polished surface of the floor exten-ds from room to room without break, save that supplied by the rugs used in the different rooms. A good plan, where, the general color scheme of the house will permit it, is to leave the wood in the natural color or unstained.; with the passing years this will darken most agreeably. If the floor is of oak or any open-grain wood, a paste filler should be used to give a perfectly smooth surface which will not hold the dust., In laying the floor the b;oards, of course, should be perfectly fitted and made from well seasoned lumber to avoid any shrinking. Three coats of the best floor finish obtainable should be applied, allowing each coat to dry thoroughly before putting on, another. The final coat may be of wax applied over the tough elastic surface produced by the two undercoats, or the same material may b~e used for the final coat and rubboed to a dull or semi-gloss stirface with powdered pumice and crude oil. This latter treatment supplies a floor finish which is beyond compare the best as it has the full beauty of wax but is not slippery and does not spot with water. It can be wiped up with a. damp cloth and does not require the polishing and constant attention a wvax finished floor demands. Another method is to, use, ov~er the first two coats a finish which shows, a ýs'bft polishn like wax. Such a finish gives very satisfactory results, though it is not so enduring as the one above recom' mended, requiring renewal at least once a year; otherwise it is entirely satisfactory. This treatment is recommended, however, where the first cost is an item, as the labor of rubbing brings up the cost of application. The same method of finishing should be employe d where a stain is used. The filler must be colored with the stain, and when the floor is filled the coat of stain is carefully applied; this should be allowed to dry thoroughly before the first coat of finish is p~ut on. Forty-eight hours is not too long: a time to allow b~etween each coat. While thze wearing qualities of the best floor finisbes are unaffected b~y the use of stain, footprints and dust marks showv much more readily on a dark floor than on a light one. With sombre walls or dark wainscoting the floor covering shot be pronounced in design or coloring Beautiful Persian rugs supply the variety of color here; the walls are painted mulberry red, the woodwork finished brown 69 70 Distinctive Homes of Moderate Cost __ _ _ __ s _ _I Georgia rift pine makes an excellent flooring and is less expensive th North Caroline pine is cheaper still In determining upon the stain the general colcr treatment of the rooms must be kept well in mind. Ordinarily a light stain of brownish tone is found ef fective with the greatest variety of standing woodwork, decoration and furniture. This stain should be deep enough to remove all crudeness of color from the wood, supplying such a tone as it would naturally acquire with time. Southern or yellow pine is a wood very generally used for floors in houses of moderate cost. This wood does not require to be filled, as its grain is close. If stain is desired (and owing to the strong yellow tone it frequently must be used) the specification should be: one coat of stain applied to the bare wood, followed by three coats of the finish selected; the final coat to be rubbed or to be of the material which will produce a semigloss surface. In the treatment old floors there are very many difficulties t o overcome, b ut with patience, labor and good material, surprisingly satisfactory results are often obtained. If the floors have been previously finished they miust be thoroughly cleansed from the old stain, wax or varnish, using for this purpose some one of the varnish removers now upon the market. These are of varying degrees of efficiency, but if one secures the best, and carefully follows the directions for application, a good job may be depended upon. Where the floors are of oak or any other wood which has been filled, it is well to use a brass wire brush in applying the remover, as this will greatly facilitate the wAvork. WAihen the bare wood hais been reached and is perfectly dry it may b>e treated as a newv floor. If the floors are of soft wood:, such as white pine, poplar, etc., the b~est method of treatment -s to give them three coats of flor paint; a good choice of color is Stone of soft brownl. Wlhen the last coat is perfectly dry and pr> sents a smnooth surface, two~ Ccats of some floor finish should te applied as to a new floor. Such a floor will wear and look fairly natter is used in the well, and afford a good backrkfloors ground for rugs. The several With white woodwork the floors look best when little or no coloring n filler and finish. Incidentally they show less dust than da Distinctive Homes of Moderate Cost 71 I - I _ Strips of blue and white oilcloth have been used to make this bath mat; these are woven as in a rag carpet coats of paint give firmness to the soft wood and render the floor much more durable. There is now manufactured a wood covering for old floors known. as wood carpet. It is ohtainable in a variety of For the bedroom with craftsman furniture a bungalow rug was used parquetry patterns and, when laid over the old floor and securely fastened in place, is practical and serviceable. Such a floor may be given any finish desired. The choice of floor covering is affected by so many conditions that it is not easy to lay down any definite rules as a guide. The rugs or carpets selected should, so far as practicable, be inconspicuous. Obtrusive and unsuitable rugs or carpets will render an otherwise beautiful room unpleasant to live in. The less prominence given the floor of the room the better for the completed effect. The rugs selected should, in color and design, as well as in their placing (which is not the least important feature in good floor treatment), fit like nrosaics into 'the picture. Where a rug of large and pronounced design is used upon the floor the side walls should be plain and show at least two tones of the same color. In rooms where a high wainscot is employed rugs showing pronounced figure and design look well, as in the dining-room presented in the first illustration at the bottom of page 69--in the Boardman residence, Washington, where the Tarts stayed just prior to their occupancy of the White House. In the illustration adjoining the latter, showing a hall, the very beautiful Persian rugs supply the variety of color. The walls here are painted a shade of mulberry red which harmonizes well with the rich brown of the woodwork. Among the best domestic rugs are those made in two tones, the central color being lighter than the marginal border. These rugs have a deep pile and are closely woven. They are particularly suitable to use in rooms where there is pronounced figure and color in the wall treatment or draperies. To0 select the dominant color in the wall covering and reproduce it in a darker shade in the two-toned rugs goes far towards making a restful and attractive room. Objection is sometimes made that these solid-color rugs show dust and footmnarks too For the billiard-room a runner of grass painl fTherekis ta matting was found most serviceable plainly. There is a sure remedy for this trouble, and that is to keep the rugs scrupulously clean; foot-prints will not be obtrusive where this rule is observed. MARGARET G'REENLEAF UGS FOR THE WHOLE HOUSE FOR $400..----WHAT ONE HOME-MAKER BOUGHT AND THE ITEMIZED COST AN ARTISTIC, enthusiastic, but inexperienced young matron furnishing her new home (an attractive threestory house) was supplied with a definite sum for this purpose, and a great point was niade of her ability to keep within the amount. The walls were decorated, the furniture ordered, and the curtains on the way. On these a generous sum had been expended, when she discovered there was but $4oo available for the floor coverings throughout. In disconsolately taking count of her requirements in this line, the well polished hardwood floors seemed to reflect discouragemnent, and the balls, living-room dining-rooni, three second-story bedrooms, third-floor billiard-room and adjacent bachelor's chamber intruded themselves insistently. She had never thought of any effect other than. that supplied by the soft rich and enchanting color combinations of rare Oriental rugs, for her first floor, and these seemed to her absolutely necessary. She found the living-room alone would require one rug at least eight and one-half by eleven or twelve feet and a runlier in addition-to sufficiently cover its fourteen!:)y eighteen dimensions. A hasty calculation showed her that she could not purchase an Oriental rug of the weave and colors she wanted for less than 83oo even if she was lucky enough to strike an unusually good bargain. She felt she could not spoil the rest of her furnishings 72 Distinctive Homes of Moderate Cost 72 Distinctive Homes of Moderate Cost with inferior rugs, and some one suggested auction sales as the solution of her problem. She attended one and for $25 purchased a Sarebend for her hall, which upon investigation she found at one end badly worn and for which she had bidden against herself, raising the price from $20 (her own bid) to $25, when a kindly neighbor warned her of her mistake. However, she made the best of a bad bargain, although it left much of the floor unmuch of the floor un- If you cannot afford an Oriental, there covered. "I will go good colorings, ai to no more auctions and I will give up my Oriental dreams," she decided, and proceeded to look up other weaves. She found Wilton carpets in lovely soft colors and small designs which could be made up into a rug of the desired size. When she had almost determined upon devoting $100 of the remaining $375 to the livingroom floor, trusting to luck-to see her through on the other rooms, she heard of some domestic rugs of excellent weave and soft colors, reproducing, it was said, beautiful Oriental designs. The pile of the fabric was deep and insured a long life to the rug. The walls of the living-room were covered with a tapestry paper, dull old blue, olive green and brown in tone. Her mahogany furniture was of good lines reproducing the quaint and delicate Sheraton style. The woodwork of the room had been enameled in a very deep tone of ivory which harmonized with the background of the paper. The rug she selected was a nine by twelve size for $50o--in color a deeper shade of gray blue than the wall paper and showing a mosaic, Oriental border, brown, dull olive and smoked gray in color.. With this she used a runner of the same design and color for which she gave $15. In the dining-room adjoining, the upper wall was covered in two tones of sage green above the English oak wainscot. A A blue and white rag ru ready made rug of Royal Wilton old mahogany furniture ar t o in nine by twelve size, costing $35, showed a ground of dull green with small blue figures. The Oriental draperies of raw silk were of dull blue and the portiere between the living-room and dining-room was of tapestry, of similar color and design to the living-room wall paper. This, however she used on the dining-room s i de. The living-room side was of old blue wool damask. The scheme of blue, brown and smoke gray extended to both rooms. e excellent American rugs now made in )ne-sixth the cost The hall walls were covered with a soft golden brown, Japanese grass cloth, and the woodwork was finished with the same deep ivory enamel. The Sarebend rug showed old rose, blue, ivory and green in its design and was harmonious. The ceilings throughout were tinted a lighter shade than the ivory white woodwork and extended to the picture rail. In the principal bedroom on the second floor some fine old pieces of mahogany were used; real heirlooms these were, and the young mistress of the house particularly desired to provide a setting for this furniture which would be characteristic. On the walls she had used a small diamondpattern Colonial paper in two tones of oatmeal color, and at the windows dainty white muslin embroidered curtains, made with two and one-half-inch frills, were hung next the glass, with over-draperies of dull blue flax. The same muslin used for curtains draped the four-poster and for the floor covering she had planned a Wilton velvet rug of the same small design as the wall paper, completed by a border of larger pattern. But this, it was found, would have cost $85 or $90 and was, therefore, quite out of the question. A body-Brussels rug was the next choice; this cost $35, but some how when laid on the floor, although various designs and colors were tried, seemed crude and quite "out of the picture." Finally some one suggested that she try was selected to go with, n the principal bedroom a rag rug. Her dealer explained 1g Distinctive Homes of Moderate Cost 7.,, ~ I to her that such rugs could be gotten in any shade or combination at a very modest cost of $18. She selected a clear blue-andwhite without border, the blue exactly matching the blue of her curtains. In the adjoining chamber, her husband's room, the wood trim of oak was stained dark brown and the room furnished in craftsman or mission furniture of the same tone. The walls were covered in stripe paper in soft sage green shades. In this room there would be no muslin curtains used at the windows, but self- colored pongee, finished with a conventional stencil design as a border, was chosen. The bedspread was also to be made of the pongee, with the same design, and there was a flat slip for the bolster of the same material. For the living-room a don The appropriate floor covering here, it seemed, was a bungalow rug with a plain sage green center and lighter tone border, costing $26.50. The guest chamber on this floor was fitted with white enameled furniture. The wall covering of oysterwhite dotted paper had a narrow floral border, and gay rose-flowered cretonne was used for curtains and cushions. Through the design of this fabric ran and twisted a blue ribbon. The rug, it was decided, must show this same blue. A so-called tapestry Brussels supplied her with this color in the background and at intervals showed quaint little pink rose buds in the pattern. This rug was cheap but decorative, and well suited to this room as it would receive less than ordinary wear. Now there remained the billiardroom and the bachelor's room on the third floor. The former room was simple in design, the hazel woodwork being stained to a warm effect of Circassian walnut, corresponding with the frame of the billiard table---a wedding gift. The other furniture was made up of easy lounging chairs of wicker, two wing chairs upholstered in tapestry of rich color and effective design and built-in window seats. The walls were tinted in a shade of golden yellow which This armnizd dlig y with t y This Kermanshah, harmonized delightfully with the yel- in. by 3 ft. 5 in., ae low and rich brown tones of the woodwork. At the windows, curtains of green Singapore lattice were hung, but the floor! what could be used to take the place of the Oriental runners she had pictured to complete this room? By this time her resources were considerably dwindled, and there was but very little money to spend. After much indecision she finally decided upon single widths of grass matting, the strong green and tan of this fitting perfectly into t h e color schenmes of the room. It was used around the billiard table and in front of the long window-seat and seemed to supply all that was needed to make the dark brown floor appear sufficiently covered. In the bachelor's room a gayly colored large-figured stic rug, 9 x 12 ft., cost $50 p a p er, with a design of green paroquets disporting themselves amid the brown branches and pink blossoms was found most effective as a wall covering. Green flax curtains, exactly the shade of the birds, were hung over white curtains next the glass, and outlined the casement windows. The same material was used to cover the cushions in the wicker chairs and on the chaise-lounge. The brown stained bed, birch chiffonier, bedside table, dresser and Morris chair completed the furniture. The floor and woodwork were stained a moss green and several small Brussels rugs, showing a mingling of brown tones, were used in front of the bed, dresser, and chiffonier at a cost of $8. The floors of the two upper halls still remained uncovered, and for these dust-brown filling was selected as not readily showing footprints, and also harmonizing with the brown wall covering. This was purchased for seventy-five cents a yard. Three dollars and sixty cents remained in the exchequer, which amount was promptly expended for a blue-and-white bath mat. The moral in all this experience of floor furnishing is: plan out the character and cost of each room in advance. 0.4 silk prayer rug, 2 ft. 2 could be had for $40 LOUISE KING 74 Distinctive Homes of Moderate Cost 74II~lll Ditictv Hoe of Moert Cos Here is a Belouche, 4 ft. i i in. by 2 ft. 7 in., that would bring about $io O RIENTAL RUGS FOR $50 AND LESS-HOW TO KNOW THE VARIOUS TYPES, THEIR SOURCE AND THEIR CARE IN USE HAVE you ever received or given an Oriental rug as a holiday gift? Probably not, for the reason that there is a wide spread mrisconception that there is no such thing as an inexpensive Oriental rug. Of course you cannot buy a large rug for little money, but there is always a place in any house for a small one, and two or three of these will furnish a floor very acceptably. It would be hard to find any more welcome gift. Then, too, there is such an air of permanence about an Oriental, and in the selection of a design you can express to an exceptional degree your appreciation and understanding of the recipient's taste. Everyone knows, of course, that vegetable dyes are better on wool than aniline dyes, and that the color superiority of Oriental rugs is due to the use of only vegetable dyes, as is the case with European handwoven tapestries. However, everyone does not know that before wool will take aniline dyes well, the natural oil of the wool has to be scoured out of it, leaving it dead and dull as in many European and American products. Sometimes after dyeing, an application of oil is given such dead-wool rugs to produce a lustre, but this lustre at best is only temporary, and does not compensate for the fact that the wearing qualities of the wool, in such cases, are gone beyond restoration. In the Orient they do not scour and bleach the life out of the wool. Instead they give it a gentle washing that removes little of the natural oil, which secures life to the rug. This living wool they dye with vegetable dyes that are not as fast as aniline dyes, and which run somewhat when wet, but that do, in the course of years, cooperate with the substance of the wool without destroying it. The process known as "washing" removes the loose dye and silvers the surface of the rug. Skilful washing improves a rug while bad washing kills it, just as "scouring'' kills wool, before it is woven. Among Oriental rugs commonly sold unwashed are those known as Anatolian mats, two of which we You can have a Kelim, alike on both sides, 6 ft. 3 in. by 3 ft. 9 in., for about $23.50 illustrate. Both weave and wool are coarse, and the colors are crude. But one may improve upon these colors by washing such rugs carefully with Castile soap and rainwater, taking care to get the "loose dye'' out without permitting the stain to penetrate where not desired. A friend of mine who had a rug of extraordinary color ugliness said he made it beautiful by leaving it out on the roof all winter in the snow. I should hesitate trying such heroic experimrent except in a hopeless case as a lat resort, but there is no doubt that in winter snow sprinkled on a rug and swept out (always sweeping with the nap) cleans the rug safely and helps it to grow old gracefully. The statement once made that "rugs over fifty years old may properly be called antiques" may now be amended by saying instead, "rugs over twenty years old, or that look it. " In buying small and inexpensive rugs the ordinary shop use of the word "antique" should be disregarded. Instead select rugs for their excellence of design, color and weave and the quality of their wool. Anatolian and Hamadan mats are certainly inexpensive. The two Anatolians here illustrated are good value for their price. Their designs are above average, for the word Anatolian is used to cover a The Sarebend has a fairly smooth, firm back. This one, 5 ft. 2 in. by 3 ft. 2 in., would sell for about $25 Distinctive Homes of Moderate Cost 75 i multitude of sins ---job lots of si all rugs from anywhere in Asia Minor. Among the m o s t interesting rugs in the world are those that come from the Russian Caucasus, once Persian territory, but acquired by Russia in 18 13, 1828, and 1878. The designs of these rugs are rectilinear a n d A Khatchli Bokhara-the first name signifying a cross design in the middle of the geometrical, even rug, 4 ft. 2 in. by 4 ft. 6 in., costs $45 when animal and human forms are introduced in the design, as often happens in Kabistans. As a rule Kabistans are softer and more like Persian rugs than Daghestans or Shirvans, which are the other two principal types from the Caucasus. The Daghestan rugs-receiving their name from the province where they are woven-represent the extremes in rectilinear convention-stars, squares, hexagons, tile and trellis effects, exquisitely balanced. Red, blue, green and yellow, with plenty of intermingled white and cream to silver the tones, are the dominant colors. For small Colonial rooms, and for all other rooms of classic simplicity, Daghestan rugs are recommended. "The finest rugs in the world are woven in territory that is still under Persian dominion, and that has been Persian for centuries. Back in the days of ancient Rome it was the same. Therefore the weaving of rugs in Persia is an industry that is fostered by national pride and encouraged by national and local governments. Indeed, it was the decisive action on the part of the officers of the Shah that prohibited aniline dyes beirg adopted by any Persian weavers, since it was felt that to permnit Persian rugs to deteriorate in excellence would be equivalent to a national calamity. Among Persian rugs the most interesting are those that come from the desert province of Kerman, that has a population of only 250,000 with an area exceeding that of the State of New York. The colors of these rugs are wonderfully delicate, and their designs are plant, flower and bird forms, treated less geometrically and more naturalistically than those of any other Oriental rugs. Many of them resemble the designs of the French handwoven rugs they are said to have inspired three centuries ago. The wool of Kerman is unusually soft and silky. The Kermanshah, or Royal Kerman, that is here illustrated is well worth the $40 asked for it. Sarebend rugs are woven in the mountains of Western Persia in the province of Sarawan, from which it derives its name. The field is usually filled--as in the rug here illustrated---with rows of small cones, the stems of alternate rows facing alternate ways. The cones are commonly in blue or red, on red or blue or ivory ground. The borders are frequently very elaborate and interesting. Sarouk rugs, also woven in Western Persia, are noteworthy for their quaint medallion effects, with This antique Anatolian mat, 3 ft. 3 in. by This Daghestan, 2 ft. 6 in. by i ft. Ix in., makes Here is a modern Anatolian mat, 2 ft. ro in. I ft. 9 in., could be had for about $8 a most acceptable gift, costing about $8 by i ft. io in., that would probably cost $6 76 Distinctive Homes of Moderate Cost _ I __ _ __ Kerman florals freely introduced. The colorings are delicate and the weave admirable. Tabriz-the ancient Tauris-is an important city in Northwestern Persia, famous as a center of rug weaving and of the rug trade, and also because it is on the main caravan route that connects Central and Western Persia with Turkey. Tabriz rugs are masterpieces of the weaver's art and are made of the finest wool. But in response to European and American demand many of the designs are losing their true Oriental individuality. The colorings are very light and delicate and large center medallions are common in the pattern-often on an ivory field. Bokhara, one of the most remote countries in the world, seven hundred miles east of the Caspian Sea, but on a Russian railway, was assimilated by Russia in 1868 and is three times as large as the State of New York, with less than half the population. Bokhara rugs abound in octagon- and diamond-shaped figures, in blue and white on rich red grounds. The long gray wool fringes and wide selvages-usually at both ends of the rug, and frequently figured in tapestry weave or embroidered-are most interesting and absolutely prevent Bokhara rugs from fraying. Still the colors are strong, and we would not particularly recommend Bokhara rugs for the decoration of a boudoir. Belouche, the French adjective for Beluchistan, is used to designate rugs woven in that country and in thatpart of Persia adjacent to it. Belouches are beautifully fringed and selvaged like Bokharas, but come in softer colors, often with interesting tones of buff and camel's hair. While they are not masterpieces either of weaving or design, they represent good values, at their prevailing low prices, as do any of the other small Orientals. About the weave of Oriental rugs there is no mystery, nor does the process of weaving require long individual experience or great individual skill. But it does require expert direction and, above all, cheap labor. The women who weave rugs in Sultanabad, in Western Persia, are paid only five cents a day, a wage cost of $20 for a ten by twelve feet rug of average fineness. Cashmeres have no pile, and in w e ave are diametrically different from other rugs, They start with a simple warp of longitudinal threads like the rest, but thie weaver, instead of inserting a row of cut knots thbat b~inds w~ith one or Ymore weft threads, simply,twrists his. threads over and under warp threads so that each twist hides two. Cashmere rugs are very durable and have a shaggy back, because of the loose threads left where colors end. They are woven in the province of Shirvan in the Rusian Cau- For $45 you can sec rouk, such as this casus, and probably get their name by 3 ft. 4 in. from the resembiblance of their backs too those of Cashmere The $50 limit is reached by this beautiful Tabriz s h a w 1 s. rug, 5 ft. io in. by 4 ft. 3 in. Light blue is a dominant color, with light red and cream or white to form the pattern. Kelims are going up in price every year--those woven in Turkey and the Caucasus as well as those woven in Persia. In weave Kelims are primitive tapestries, like Mexican serapes and Navajo rugs, but the wool is harder, the weave finer, and the designs a thousand times more interesting. Where colors meet parallel with the warp, Kelims show an open slit (like Gobelin and Flemish tapestries) before they go to the rentraiteuse to be sewed up--but in the Kelim illustrated wide slits have been avoided by having the colors meet diagonally. Kelims are too thin for use as rugs except in summer, but for couch and table-covers, and. as portieres, they are admirable. Kelims show a few loose yarn-ends on the back, but fewer than Cashmeres and still fewer than tapestries of fine weave. Rug salesmen consider it extraordinary-but I do not--that so many persons seem unable to tell. an Oriental rug from a domestic one in Oriental design. Not that the resemblance is close, but at first sight the imitation rugs seem to possess many qualities of the originals. But if you turn the Oriental over and trace the mosaic of patterr clearly outlined in color on the back, mre an antique Sa- and then notice that the design of V, Wne, measuring 5 ft. Wilton, an Axminster, or a Brusseli: cu I1 Distinctive Homes of Moderate Cost 77 a r d 1 y shows on the back of it at all, or if you look at the fringe and notice that most of the domestic rugs -except rag rugs-are fringeless, or have mere, applied fringes, then you will have in mind the more obvious distinctions. GEO. LELAND HUNTER The Cashmere rug may readily be distinguished by the very shaggy back. This one is 5 ft. 8 in. by 3 ft. 1i1 in. and costs $25 There is a widespread impression that a room cannot be successfully furnished excepting with a very large rug. The fact is that a number of small Orientals are sometimes more appropriate, if well chosen, and incidentally this method is much cheaper X WALL COVERINGS ROUND-UP OF THE MATERIALS THAT MAY BE EMPLOYED TO SECURE EFFECTIVE WALL TREATMENT---THE COMPARATIVE COSTS IT is only in very recent years that there has been any real variety in the materials and methods of treating the interior walls of the house. When one thought of wall treatment the one material that came to his mind was wall paper, and perhaps this state of things is even now rather general because of a lack of knowledge on the part of home-makers regarding the many other available materials. There are so many new wall coverings that enable us to secure distinctive effects with our rooms that it seems well worth while to set them down here w th a word or two regarding the character, the proper place and the cost of each. Frequently it is found desirable to leave the side walls uncovered for the first year in a new house, as there are few buildings which do not settle to some extent and this of course affects the plaster more or less disastro'usly. Where it is the intention to have -the walls left unpapered, the sand-finish or rough plaster is advised. I is may be coated with water color wvashes, such as kalsomine, etc., or painted in. oil colors. However, if ipaper is to be appllied at a later date the rough plaster does liot present a good surface for this treatry-ient, so that sn-iooth plaster is advised. The effect of this is less pleasincg than where the surface has a rough texture, but in any case, as temporary treatment, it is better tinted than leaving the barren coldness of white walls. It is undoubtedly true that the charm of the unfigured wall makes a strong appeal to many people, and as supplying easily reconciled backgrounds, and permitting much latitude of choice in draperies, rugs and upholstery, there is much to be said in favor of it. If, however, even temporarily, wall covering is desired there are inexpensive papers on the market from which -if one looks long and carefully--a selection may be made that is good both in color and design, though this is not an easy task. Unfortunately most of the cheaper domestic papers are still very inartistic in pattern and crude in color. It is not, however, intended here to deal at length with wall papers, but rather with t'nted and painted walls, and those covered with fabrics and other materials. Where the walls are sand-finished or rough, the ceiling, down to the picture rail, should be smooth in surface. The slight contrast of texture this gives is agreeable, and, besides, the smooth surface is less apt to catch and hold the particles of dust which drift upward. When the color for the side walls has been deterinined, the mixed color -,ith which it will be finished should be tried out before it is appl-ed, to insure the One of the most expensive ways of decorating a wall is with molded plaster paneling hung with figured silk For a dining-room an effective but expensive wall treatment is in white painted wainscoating below plaster paneling 78 Distinctive Homes of M~oderate Cost 79 In this $ iooo, bungalow the upright Iboards of the walls were merely battened inside and out between the studs, then stained It is hard to find a more sumzptuous wall treatment than high wainscoting, but it is exrpensive, particularly with the modeled plaster corre ct shade, and thus save much disappointment. This rule should apply, equally, to cases where the ready-mixed color is used, or where the painter prepares it. Some of the water color tinting materials do not require a coat of size or glue, but in most cases this is necessary, and when trying out the sample to obtain the finished effect, the glue should be added to the mixture of whiting and powdered color, which should show while moist a much deeper shade than is desired when it is dried, as it comes out much lighter in color. A good plan is to apply the mixed color to a piece of sandpaper or rough shingle. To hasten the drying process this rpay be held over artificial heat. When the right color is secured the sample should be carefully retained as a working guide. If oil paint is to be used it is particularly desirable to finish it with a dull surface. This may be procured by mixing a quantity of turpentine with the last coat. It is possible to purchase such a finish for walls in oil paint ready-mixed, and a wide selection of good colors and delicate tints is offered. This paint; is so mixed as to give a perfectly dull surface which is washable. WValls treated in this way may be decorated by an applied stencil design u.sed as a frieze, or forming a paneled decoration about the room An advantage that ~the wat;er color tint holds over the oil finish lies in rLt~he small first cost, the 'liaterial being very inexpensive, and also in -the ease with whnich it can be ý-.Ipplied. There is a water rolor finish which is pa~r"1-1cularly liked because of i sanitary qualities, and (:ýIso because of the factt lliat it may be obtained....... "eady-mixed in some Cxcellent colors. it makesasplendid bb",,,~" There are a number of delightful textiles offered in wall coverings. These have, in a measure, followed the sized burlap which pioneered in this field, and which is yet used largely under its own or other titles. Indeed, the many fabrics of coarse weave now so much in vogue bear close relation to the burlap. A few years ago, only strong reds, greens, and yellows, with an occasional muddy brown, were obutainable in burlap. Now the range of colors is great and there are many tones and shades of the same colors off~ered, so that these fabrics can be fitted to almost any color scheme. Japanese grass cloth is a most beautiful anzd effective wall covering. It has a soft satin-like sheen which is highly pleasing. The slight irregularity of its weave is also a great point in its favor although this does not always appeal at once to the amateur. All shades of tan, gray, golden brown, yellow, soft dull reds, and. blues, with an occasional green., are found in this delightful wall material. It is not w-ise, however, to allow an inexperienced workman to put this in place unless he can be depended upon to follow carefully the directions which accompany each roll of the grass cloth. In hanging this, the same paste can b-e used as that prep'ared for wall paper, but itmusuft 1- e applied to the side wiall, and not to the back of the grass cloth, as in the latter case it is litcely to brlister. W~here a paneled tipp'er third is uscd, as in ali~iaj~~;one of the illulstrati.Gns, strip:s of -";ood. like the stan~ding woodwot'lk are set at thirty-six inch in-, tervals, th-us allowing each strip to cover the joining of the grass cloth.' This. treatment greatly Simplifies putting the a number of harmonious colors and quently whe n there is no-,ckground for pictures qetywe hr sn n 4 ýa( ~ "`80 Distinctive Homes of M/oderate Cost - ---- - ---- L 111111~ _ _ __ Unt~l recent years wall paper was almost the only common covering. This small-figured pattern seems particularly effective in the bedroom This wall covering of prepared canvas with a raised thread lends itself well to stenciling wainscot of wood, the lower wall is covered v,,-ith grass cloth, canvas or burlap and three-in~ch strips of th-.wood trim are set at eighteen-inch intervals about the room, extending fromt the baseboard to a height varying from five and one-half to seven feet, as the proportions of the room may require. AZ plate rail or heavy molding should cap these paneled strips and the effect is handsome and dignified. Jap~anese grass cloth sells in plain colors for eighntyfive cents a square yard. It comes in rolls of eight yards, or may be purchased by the yard. This is much more expensive than the burlap, canvas, etc., which retail from forty-five cents to sixty cents a square yard. Where a metallic eff~ect appears on these the cost is a trifle higher, and in libratries, dinling-rooms and certain types of living-rooms, such wall covering is suitable and harmonlizes well wiith the dark woodwlork The metallic effect is very slight, in some lights hardly discernible. In a dinin-g-room wvrhere the woodwoC1C~rk, including a five andi onehalf-foot wvain-scot, is of ash, stainedi a, greenish bov dull (Yreen burlap> with a slight effect of gold upon it vives a vecry stcunni ng upper walla1. Thei ceiling should be treated with a canfe-att-lait wash, and the windoww drap~eries repeat the tone of the. ceiling. In this room either oak or mahogany willl bne fEound tto harmnon- A neetn pe hr ra ize with this background. pnitrsig' pe hr ra the joints of the fabric r Among the many prepared canvases there is one showing an irregular surface with a raised thread. The line of colors offered in this material is particularly interesting. The weave of the fabric is firm and it may be used to cover the entire wrall or combined with paper or p~lain tint. It also lends itself well to stenciled effects. Any of the burlaps or canvases, when once in place, if properly put on may be retained indefinitely; in changing the color scheme of the room, the walls may be treated with water color or oil paint. The advantage of canvas-covered walls over rough plaster is that the wall surface remains unbroken, whereas the rough plaster mars readily and any break or spot upon its surface means that the entire wall m~ust be retinted or the joining of the new color would show.' For baathroomns, kitchens, and the service portion of the house there is a material which is practical and very satisfactory where a wall covering seems desirable. This product 1-1 very like oil-cloth, and. in a tile effect makes a neat and attractive wall. It may be purchased also inz plain tints. It is tbol^ oughly washab~le and serviceabule. It comes iii rolls of twielve yards al:id is forty-seven inches it' width-equal to four roill of wall pap~er. This i frequently used to cov,1i.` ceilings which are in bc-ýd N condittion. It makes a perfect butt job rrý d nent with woodwork: strips covering sosfwrsastý, id forming a cornice line some other mat~eria~is; an Distinctive Homes of M1Loderate Cost 81 _ _I __ _ I_ while its costt is comparatively I ow. The material takes p~aint well or paper may te appIlied to it. In many houses of the brungalow type, ceiled! walls or walls of tongued+ and grooved boards are L used. These can be: so treated as to be characteristic and interesting. If the studding is exposed the effect is more pleasinlg. The panels between the studding should be stainled. some desirable tone, and the ceilng a~ov givn a The plain wall, finished with water light shade or else left appeal to a gre in the natural color of the wood, finished with a semi-gloss varnish. The side walls should show a finish entirely without gloss. The beams and studding could be stained a darker shade, harmonizing and contrasting agreeab~ly with the side wall and ceiling colors. If the height of the room permits it, a very good effect is obtained by setting a shelf about eighteen or twenty inches from the ceiling angle. The space between this shelf and the ceiling angle and between the studding may be filled with some figured material, Chinese or Japanese. cotton crep~e, or any print of strong decorative design, may bue used. Where for any reason it seems desirab~le to add to the thickness of the wvalls and obtain a plain surface, there are materials manufactured wvchich are very servicea~ble f or this. Made from fibers of wYood and also from a plaster composition, these products are strong and durable, yet light in weight and easily set in place, and may be PC)Ae wthpOer r aife a 1:fl and authentic old F'lemish, PFrench and Italian designs in fiich soft colors. If the room Uinder conlsideration wilhave donor curtains, furniture uphol- A poster -frieze in red a, Stery and rugs of pronounced gr r ( color and design, it is a good plan to finish the tipper wall in plain " color, either painting or using grass cloth or canvas or some one of t h e fazbrics describ ed. T'his should b:e slightly deeper in tone than the ceiliný, color, so that the latter wcill take its rightful p'lace and not appear heavy. Consideraition.. of tthe -nnany av cilable mnaterials and the ways in. wblich. these mlay be n-ost effeetively used will always color or flat oil paint, has a strong be well repaid. it many people MARGARET GREENLEAF ALL PLfAPERS-HELPFUL AND TIMELY SUGGES-.'-IONS UPON 'rEKCHOICE AND USE-T-IHE TREND OF TH--E NEW DESIGNS CHOOSING wall papers is not an easy task and cannot be entered upon without much forethought and a firm resolve not to be side-tracked by effective novelties. Many of these attract the eye, when seen in a small piece, but may become a, source of worry and discomfort. One reason why it is difficult to choose wall papers is that there are such hun-dreeds of deplolrably igly papers; ~exhibited for sale, especially in the large wall paper stores. The mnajority of people have bad taste; this is a sad statement to make, but one has only to talk to a manufacturer of paapers to find that it i s true. H~e has to cater to the large m--ajority and this is why there are so many more ugly things than good. It is not necessarily that he ad.,rires them, -)t -that ~there is a demand for must. govern the choice; the am~ount of light will also determine the quality of color that~ the id ren n ta cevot room requires; then the use to )Und w n anchvot uhich the room will be put tn W ý..-~ 82 Distinctive Homes of Moderate Cost 82 Distinctive Homes of Moderate Cost This kind of floral design becomes exceedingly tiresome through repetition A strong peony frieze that would be suitable for lower hall, dining-room or living-room should also govern the selection. If the furniture and floor covering have already been selected, they will materially influence the decision of color; draperies play an A tan cheviot paper b important part; and last, but not outline patter least, the colors of the adjoining rooms must also be taken into careful consideration. If a woman possesses no imagination as to how a room will appear when papered and furnished, it is imperative that she go to a good decorator, where the choice of wall papers has already been sifted and unsuitable wall coverings eliminated. This will save her much confusion and time, and the professional help at her disposal can be relied upon at a first-rate house. Papers cost the same whether they are bought at a cheap or at an exclusive house, as the manufacturer decides the prices; so, when there is nothing to be gained by going to a second-rate place, it is only false economy not to go to the best. Another point in favor of the decorator is that he frequently can control certain papers because of the quantity that he buys, and in this way an exclusive and beautiful wall paper can often be obtained which could not be seen elsewhere. A good decorator never puts into stock a wall paper that he cannot furnish up to; his fabrics will all be selected to harmonize with the wall papers, and this in itself is a great help to the amateur. Of late the note of simplicity prevails-inconspicuous stripes, small patterns, cheviots and fabric papers An effective Chine hold sway; and when these are used d n ewctive hin a C ea rn with the right kind of hangings S the effect is most restful. We are apt to forget that our walls produce the atmosphere of our homes ring an Art Nouveau and should not, as a rule, stand out ring an Art Nouveau in brown too strongly in relief. Little jasper stripes at twenty-five cents are charming for bedrooms, and when used with the gay chintzes, in which birds predominate, the effect is beautiful and requires little in the way of pictures, or small bric-a-brac, to adorn the room. Some of the choicest little bedrooms have been covered with cream white wall papers of two-tone stripe, and their daintiness and beauty cannot b e surpassed, especially with mahogany furniture and white paint, or even with furniture to match the woodwork; with a chintz pattern for chair seats and cushions, there is enough pattern in the room to make it bright and attractive. Although French paneling in paper has gone out, the French panel treatment in wood is very much used, especially in city drawing-rooms, or for a boudoir; but it should be the genuine French panel wall treatment carried out in wood, and not a tawdry imitation in paper. For years we felt that a tapestry dining-room, with mahogany furniture and white woodwork, could not be improved upon, but more recently broad two-tone stripes and plain papers have almost taken the place of tapestries. There are, however, one or two new papers which suggest the old tapestry. One design thatwould paper is two-tone until it reaches daial bedroom within four or five feet of the ceiling; se o1~ Distinctive Homes of Moderate Cost 83 __ I _____ An interesting pattern in blue on a tobacco brown fibre paper here it is orna-mented with fruit an-id flowers, in colors so soft and seductive that it still possesses the background effect. A good bedroom paper for a room furnished One of these in Colonial style Oeo hs new papers, with also a two-tone background effect for the lower walls, shows a wealth of Dutch tulips falling from the frieze line. No picture molding could be used on such a paper, because the cords could not run through the frieze, and a severe line of woodwork coming just below the frieze would spoil the charming un1ibroken effect; so, in a room papered in this style pictures might well be omitted. Plain hangings, or hangings with a fruit border, would be correct for such a room. Gone are tile effects in bathroom papers, and tiny Colonial figured papers have entirely taken their place. A small diamond pattern, in soft color, is particularly charming for a bathroom wall; but one lady has used this pattern in yellow for her halls in a large Colonial house in the country, and all who see the paper realize that it might have been designed especially for that place. It has a slightly polished surface, so is easy to keep clean. Stripes are wider than ever, but there is so little difference in the color value of the two tones that they give almost the effect of plain paper, andAT what would be aggressive in a two-tone stripe is in perfect taste in these new papers. A well balanced floral paper that does not Very beau give an irritating geometric pattern tiful is the striking pattern and strongly colored bird paper intended for a large room; when used on the upper walls above a plain base it is distinctly decorative, whereas, if the same paper were used all over the walls of a tiny room, the effect would be overpowering and aggressive. The English poster friezes still hold their own, especially when used with sturdy oak furniture. Plain hangings of course, and plain paper of cheviot or silk fibre, must be used beneath these friezes, but the strong coloring introduced in the friezes niust be carried out in the color of the hangings, and in. the rugs; they also require strong woodwork treatment. All-over designs are still seen; those on heavy cheviot paper are the most pleasing of the big patterned papers. One of our illustrations shows a. heavy tan: cheviot with an outline design in brown; with plain brown hangings, and walls judiciously broken by doors and windows, this paper can be successfully used, but it requires a large room. MABEL TUKE, PRIESTMAN xi FURNISHING AND FURNITURE HE AVAILABLE M~ATERIAL--ANTIQU ES AND REPRODIUCTI IONS -GOOD0 LINES, GOO OD WOODD SGOOD CRAFTSMIANSHIP THE ESSENTIALS "To furnish a house" is a phrase which until more or less recently broug-ht to mind "'the upholsterer, " " the parlor suite, " the " dining-room set " and other phrases which are still enshrined in many cabinetmakers' catalogues; but fortunately are fast becoming obselete with even the uninitiated. To-day a house is usually furnished by a professional decorator whose scheme of decoration is supposed to be wholly uninfluenced by any commercial consideration; or, by its owner. And though one cannot maintain that the taste displayed is alw~ays good, or that th~e results are satisfactory, still, the f act that this method is growing more popular has caused a widespread and personal interest in affairs decorative, and is emphasizing the thory that a dwelling should b-e an expression of the taste. of its occupants. InI a modern novel, "The Spenders," there is a chapter entitled " The West against the East, " in which the furnitu~re of a room. is described as indicative of the mental attitude of its occupants. Writing of this room, in which a conflict is waged between opposing factions on a matter of vital importance, the author skilfully lays before the read-er the attitude of one of the factions, hitherto not introduced, merely by a descrip-- tion of the furnishings of the room. The " what-not, " the " Verni Mlartin" cabinet, the clumrsily upholstered chairs, the w~orked mottoes, and wax flowers under glass, all combine to create in the reader's mind the degree of mental and artistic development of the people who are responsible for their indiscriminate assembling. The complacent acceptance of avoidable ugliness which characterized the middle of the last century, both in architecture and furniture, is gradually being supplanted by a brisk battle for the beautiful. Even in the smaller and less expensive home the influence of this is visible in the architecture of the house, the furniture with which it is fitted and the pictures which hang upon its walls. This crusade against " the upholsterer " has done more than add attractiveness to ~the home. It has opened up to many women an interest beyond the narrow range of petty household cares. ICt is as fi~rst aid to those who are seeking practical knowledge on poi~nts of house furnishing, to those who desire to know what the market aflfords that is really good of its kind, where specified articles may be found and at what cost--this chapter is proffered. Some fifty years ago a passion for collecting old furniture was rife in England and eventually reached America. Old furniture which had been consigned to the attic was hauled down by " those who knew " and. given a prominent place in the house. Each piece atdded a visible twig to the family tree, so to The rather unusual combinatiorn of mahocrany furniture built on M~ission lines is found in this spacious living-room A sample of the over-decorated gaudy "'parlor" of a decade azo, includiM`;the ubiquitous "Lwhat-not, 'I which, fortunately, we have lefft far behind 84 Distinctive Homes of Moderate Cost 85 Colonial furnishing is sometimes accused of being too austere for com-. fort, but this consistent living-room disproves it No type of furniture would harmonize so well with the architectural character of this dining-room as the so-called Craftsman type speak. Then came the period when they were drawn from some one's else attic and if by silence or discreet prevarication they still added "a twig," was the sin an unpardonable one? All of this gave rise to the wily "iantique dealer " whom we all know, and the era of the reproduction,-the genuine, honest, value-giving reproduction. There is, of course, a sentiment attaching to a piece of furniture that has been used by one's ancestors, and there is interest undeniable in a piece that has been used by a noted person. While to a real lover of things artistic, no reproduction can be quite so satisfying as the genuine antique with its delicate graceful lines so full of meaning, its well seasoned wood so carefully treated in the finishing process, its cabinet work so exact, honest and skilful, it is true and will always remain true that it is only to the few that the antique has a real value; to the many, the reproduction, given symmetry of outline, the same standard of integrity in materal and workmanship, will-be quitý as satisfactory. Fortunate it is that this is the case, else the art of furnishing must come to an end, for there is necessarily a limit to the supply of old furniture that can be brought into market, and that limit h as virtually been reached. Luckily, there is no need to place old furniture on a pinnacle of unapproachable merit. The causes which have made the furniture of the nineteenth century so unsatIsfactory can be pointed r'ut and in themselves are not beyond remedy. It is not essential that it le pretentious and covered with meaningless ornaQent, nor is it essential i0nat the cabinet work be,Jishonest and the finish E nso I ý. e cheap and glaring. originals of these two are in the T Time was when old furniture could readily be distinguished from new by superiority of workmanship. The table stood more firmly, the drawers slipped more smoothly, and more care generally was given to detail. Now, however, these conditions are reversed. If anything, the nmechanical construction of some of the furniture made in America is more accurate and exact, and it is true that there are particular classes of furniture in which new requirements or new invention have given birth to real improvements. This is particularly true of upholstered furniture,--- the davenport and sofa of to-day and the wing chair--- though old lines have been retained, are in their mechanical construction far more comfortable than are the old ones, and many an old bed about which one may use the most enthusiastic expressions of admiration would be shunned, and wisely, as a resting place, until it has been modernized as to its springs and mattress. One of the merits of old furniture is simplicity of design, and another, seasoned wood, and while there may be no way of definitely determining the latter point except by waiting to see whether the furniture warps by use, still as the cablinet-maker finds his work judged by these conditions, he will be e trolportioniately careful to meet the requireierits. Allowing that these advantages of sound w()rkmanship, simplicity of design, and. integrity (f material may be secured in new furniture, is it not then oclual to old, an 1d for all practical and decorative purposes, quite as effective? There are, of course, in New York and other centers wood-carvers and ndale chairs are obtainable. The useum of Science and Art, Dublin cabinet-makers who can )ei Ml r 86 Distinctive Homes of M/loderate Cost 86 Ditncie oe o odrteCs lower them to the popular level. The rranufacturer, however, is awakening to the fact that the consumer as well as the dealer is a factor to be counted, for, as a matter of fact, there is a strong impulse, though itbe blind, in the buying public toward the beautiful, and the concessions it must make to the dealers' taste is one of necessity and not of choice. This dealer, who comes every six months with his money in his hand and his dem and for something new-the dealer who knows no sin in furniture, save the " sin of sameness," as he expresses it, and who drives the designer to distraction by his unending demand for something new, is responsible for the prevalence of the type of furniture found in the ordinary furniture shop. To him no contortion of line, no wooden goitre appearing in unmeaning ugliness is offensive-if it be a new contortion or a new goitre. For the ordinary dealer declares and believes that what the people want is novelty, and he who would have intimated a few years since that the dealer might not after all be the " last word"' and that a demand could be found for furniture made year after year on the same lines, would have been relegated to the limbo of theorists-that class so utterly scorned by the commercial mind. Of late, however, the manufacturer has discovered that he can make good furniture and sell it too, and as a consequence the output of some factories to-day shows a very growing recognition of the best models and a disposition to eliminate all others. The dealer being unappreciative of their value fills his floor with the types he considers salable; and the better models, though quite as available were he discriminating, are left for the " initiated'' buyers who are comparatively few and who make the consumer pay them for their knowledge. Most frequently they are sold as " our own hand-made furniture" by professional decorators and house furnishers, whose name, perhaps, together with the exorbitant price attached, lends them an alluring exclusiveness. This same dealer was responsible for the style of cabinet-work put out in the Early Victorian period when the cabinet-maker deviated only from the ugly A reproduction ot the Field eao, a type tnat was iouna in many early New England homes and do construct furniture in exact replica of antiques, this work showing the most finished craftsmanship. Many of these men, who for the most part are Germans and Italians, are employed constantly by decorators and frequently are under contract with them. They are skilled workmen and often artists and work under the supervision and from plans and detail drawings of draughtsmen, who, from travel and study, as well as experience with the commercial side of their work, are well prepared to put out designs worthy of the most careful execution. The price of furniture produced under such collaboration is, of necessity, prohibitive to the person of ordinary means and it is only within the last few years that the great purchasing public, who are quite as eager for good designs as are their richer neighbors, but unable to possess them at such cost, have found within their reach furniture really worthy both from a standpoint of art and construction. When the trade became assured that the passion for old furniture was not a mere caprice and was quite different from the taste for collecting antiques, and had its root in a genuine preference for certain designs familiarly made a century ago, it prepared to meet these needs; and how well it has succeeded is evidenced in the examples shown here. The fact that the best models of factory-made furniture are not easily to be found, and frequently, when seen in a completed house, pass as a special design of the decorator, made for that special niche and that special house, is due to the " dealer" who controls to a great extent the policy of the manufacturer. For furniture is made to sell and there is no room in the trade for that passionate devotion to art which leads an artist to keep his pictures unsold rather than Reproductions of two Georgian chairs, the original set of which, six i all, cost $14,500 Distinctive Homes of Moderate Cost 87 - - --- design he had used, to offer something different, though equally bad and this solely for the sake of change. His idea of design alternated between extravagant eccentricity of outline and profusion of ornament, being apparently actuated by a vague feeling that he must offer variety, and not, as with the earlier workmen, with an intention of doing a particular thing with a particular reason. It was in such furniture as this that the dealer revelled, and not until the interest in antiques (which was of itself educational) was widespread and the antique dealer was lured by the profits offered into launching reproductions on the market under the guise of the "genuine antique"-and often very dishonest reproductions at that-that the manufacturer saw his opportunity. America is charged with divorcing art from her everyday living, but the furniture manufacturer suspects that if it does it is from necessity and not from choice and with the courage of his convictions is feeling the public pulse for himself and determining its requirements as he sets about meeting them. The originals of the Georgian side and arm chairs shown here are now at Biltmore, N. C. There are six in all and they were a part of a Baltimore collection, Mr. Vanderbilt paying $14,500 for them at a sale. These reproductions are entirely accurate. Excellent reproductions of the Field bed are to be had and this is one of the best. It is a type of bed found most generally in early New England houses; the quaint tester lending itself to a graceful and effective treatment, is very adaptable to a modern bedroom. The originals of this type of bed usually show two carved posts and two plain-the head-posts being covered by the curtains, were often plain and uncarved, a concession of our thrifty ancestors, no doubt, to economy of labor. In many of the best examples the posts are simply fluted. m U A chair of the Sheraton type, The shield back is distinctively the original of which is a Heppelwhite feature, but now in St. Michael's Church, unfortunately it is not well Charleston, S. C. adapted to sturdy construction The Sheraton chair illustrated, which is a particularly good example, is now in St. Michael's Church in Charleston, S. C. The Colonial corner chair is a reproduction of the one in which Patrick Henry died, with the exception of the seat which in the original, now in the State Library at Richmond, Va., is a flat, leather seat. The originals of the Chippendale chairs are in the Museum of Art in Dublin. There are factories in America where the plastic secrets of old design are being used freely and wisely by artistic designers and there are factories where slavish reproductions of charming old models are being produced-a practice which is much safer than an effort at originality, though to discourage the former would be to discourage creative genius, and it is just such effort that will sooner or later culminate in a national type cf furniture. Such a type is most devoutly to be hoped for; for after all it is rather a foolish thing to have one's house furnished as one of the Louises, the Jameses or the Georges had theirs furnished, if one had no reason for using those types of furniture other than that they had been used by them; for one's dwelling should above all things be an expression of one's individuality, of one's thoughts and of one's mode of living. Goethe says, in speaking of strict period decoration, " One cannot praise the man who fits out the room in which he lives with these strange things. It is a sort of masquerade, which must have an unfavorable effect on the man who cladopts it. Such a fashion is in contradiction to the age we live in and will only confirm people in the empty and hollow way of thinking and feeling wherein it originates." The tendency in America to-day in house decorating is distinctly toward a others Adam "modified period" treatment which gives Sir Spencer,n scope for greater individuality; and in A reproduction of Patrick Henry's chair now A chair made by the Br in the State Library, Richmond, Va. in the collection of Ponsonby Fane, Londc 88 Distinctive Homes of Moderate Cost 88 Distinctive Homes of Moderate Cost time, through the effort of the manufacturer to embody all the best of all the periods in their models. MARY M. HODGES URNITURE FOR THE LiVING-ROOM, LIBRARY AND DINING-ROOM --THE AVAILABLE STYLES AND HOW THEY SHOULD BE USED WHAT an important factor furniture is in our home life, and not only as regards mere surface matters--the joy to the eye that comes from beautiful lines and harmonious colors, or the dissatisfaction arising from the sight of crude and unsuitable examples. That is but one side of the matter; the other and deeper effect is much more subtle. Have you ever visited the home of a friend and felt in his living-room a sort of soothing peace that was of such a subconscious nature that it never occurred to you to formulate it or investigate the reason therefor? That feeling was in all probability aroused by your friend's thoroughly harmonious furnishings--not only the furniture, of course, but the entire scheme, the coverings of wall and floor, the hangings, the pictures and their frames, the ornaments (or the lack of these), and the color scheme of the ensemble. I sincerely hope that you have had this pleasurable experience, but surely you have had its opposite-the mental jarring produced by an assemblage of reprehensible design, unsuitable combinations and garish colors. Unfortunately the latter condition of things is too common to have escaped the attention even of the least observant. Now a great many people have the idea that the only satisfactorymethod of furnishing a room so far as the furniture is concerned, at least, is by holding steadfastly to one of the socalled Period Styles, letting no incongruous note find its way nto the room. It sounds reasonable enough, to be sure, but practically it doesn't work out just that way. There is a good deal more to furnishing a room-and particularly a living-roomi ---than can be squeezed into a formula. The room that has in it nothing but Louis XVI. furniture may look well in a building devoted to the interests of some historical society, but it will in all likelihood not make a living-room in your home that will attract you into it and make you want to sit down and be comfortable. A year or two ago I had the privilege of seeing the living-room in the home of the late Grover Cleveland at Princeton. You can buy a secretary built There was nothing that of mahogany along the lines remotely suggested pe- of the old work for $115 riod furnishing about it. In it were great easy chairs, upholstered in unobtrusive tones, chairs of mahogany of several periods, chairs of wicker, an old English chest-I cannot give you an inventory of the entire contents, but in some mysterious way its elements from different lands and various periods dwelt together in perfect harmony and seemed to lend, each in its own degree, a portion of the quiet, restful distinction that made the room seem like a true haven of rest. The part played by the furniture itself in a successful living-room or library is, of course, one of the most important elements that go to make up the whole. It is a surprising thing to find how great an improvement has taken place during the last few years in the furniture that is being made by American manufacturers. Three or four years ago it was a difficult thing to find in the stores enough furniture of good design and careful workmanship to furnish the whole house. One could pick up a stray piece or even a set at times, but there was no consistent note of merit running through all the various kinds. The situation is very different to-day. It is possible to find in the stock of the better manufacturers furniture that instantly impresses one with its grace of design, its soft, beautiful finish and its honest craftsmanship. The day of the flimsily glued furniture has gone by, at least so far as the better known manufacturers are concerned. No doubt the recent developed popularity of antiques has been largely responsible for this improvement. In fact, a visit to the principal manufacturers in New York shows that the majority, perhaps, of the modern work is patterned after old pieces of historic note or of established excellence of design. The "Colonial" is chiefly in evidence-reprof oak furniture ductions or adaptations of the rather There is now a marked tendency to lighter construction in the type o originally known as Mission Distinctive Homes of M/3oderate Cost 89 Ditntv Hoe of- Modrat Cost 8 The woodwork, ceiling and furniture are all in perfect keeping in this English sitting-room Gothic detail in fireplace, ceiling, furniture and even the table lights, characterize this living-room Many people take deep satisfaction in furnishing and decorating their Colonial bedrooms true to the very letter of the style Individuality, consistent to the smallest detail, runs riot in this Western interior designed by Frank Lloyd Wright, architect Col. A. A. Pope's library demonstrates that a room may be thoroughly harmonious without slavish adherence to any period style Period decoration as found in France. In America most of us are perfectly content with a less literal interpretation SIX CONSISTENT INTERIORS 90 Distinctive Homes of Moderate Cost 1 heavily built furniture that was used by our grandfathers, iu; although, of course, oldler periods known by the name of Sheraton, Chippendale and a~~ Adam are well reprresented in the modern reprodulctions. Still another tendency in ~the availab-le furniture is not so r pronouncenc d but nevertheless Ssurely there. It is the r~ecognition of the suita~ility of old Englishz furniture, particularly fo~r the dining-room, bult to some extent for the library as One of the modern ten- w~. I hs erdcin dencies is a growing are included representations poplarty f te E- rom the E~lizabethan, Jacobean glih ok frniure and the William and M1ary periods, stan-,-ped wctith thle m~ark of a rugged honesty of purpose and executed always in dark oak. Thecre is also still another tendency in the availabrle furniture for libr:rary or living-room. That is the modern English which has been associated with various names, including those of Morris and Voysey. In this general type the woodwcork of the room itself and the furniture are alike in material and finish. The furniture is usually associated with p~lain p~aneled woodwork bearing little or no carved detail but depending for its effectiveness on the beatuty in the grain of the wood and in the finish given it which serves to accent and display to best advalntage rather than to gloss over the beauty of the grain, and retaining the wood's natural color. There Iis app~arently Ino lesseninlg in the appreciation accorded another type of furniture wh~ich is distinctly American---t h at known. as ~the Craftsi-an........... typ'e. I-t is nolct unlikee the mode~rn E;nglish wor-k excep~ting in an entire freedom. from t~he fainltest suggestion of Art Nou This furn-iture, like its Einglish conitemporary, depends for -m~uch of its value upFlon the finishi that serves to bring out t he One is eo~no~st obliged beauties, of the grain. Inc low g cost ses It is imnpossib-le, of I ic eghcs course, to formulate all the elements tha 't go to make tip a successfully furnished living-room or library. There are, however, one or two suggestions that may help. In the first place, do not b~e afraid to> use furniture of different kinds in ei~ther of these rooms, and particularly in the living-room. There furniture of a single kind often serves to dispel rather than to create the desired atmosp~here of hospitality and attractiveness. It is usually an. advantage to use several of the old-fashioned, heavily upholstered easy chairs that belong to no particular period, p~rovided only that their covering is made harmonious with the other furnitur-e and with thne wall and floor coverings and the hangings. Chairs of willow usually hel~p in creating that informal. atmosphere that makes a living-room attractive rather than stiff and repellent. See that these have cushions of the same upholstering material or of a m~aterial that harmonizes with the rest of the room. One word of warning: do not use mnahogany with a pronounced color scheme of reds. That particular color will serve most effectively to kill all the beauty in the mahogany. By all means have a center table in the living-room, around which is gathered an easy chair or twoO as an invitation to pause and,.rest,: or read some of the current magazine literature or books. Noth~ing else will do so much for the room. Securing a. suitable equipment of furniture for the dinincy-room is much simpler. If one goes to a reliable dealer there is usually to be found a, choice between several excellent patterns of mahogany chairs, with seats of leather or rush. Tables, sideb>oardis, chinaclosets and serving-tables may readily be found that will harmonize with the chairs, or, as is probuably I any longrer to buy gaudy machine-carved pieces when -ntial. This solid oakr sideboard, for instance, in sixty-;ts but $35 Distinctive Homes -of Moderate- Cost* -f Ds"---tinctive--H-me-of-Moderat---Cost---- I Although the paneled wainscoting and much of the furniture is of the Elizabethan period there is no apparent incongruity in the introduction of the upholstered easy-chairs more likely, these larger pieces will be chosen first, after wh'ch it will not be difficult to find suitable chairs. Antique sideboards, china-closets and serving-tables are still to be had, with an occasional chance to acquire a pair of old tables. The atter, however, are not so eagerly sought, for the reason that the modern pedestal table is far more substantial and comfortable for actual service than the rather shaky old pieces whose many legs are always just where one would wish them not. The chairs of long ago, of course, being put to harder service, have survived in such small numbers that the task-and expense--of getting together a complete set of one pattern is too great for most of us. In the dining-room, as well as in the living-room, the sturdy oak furniture known by the name of Cra'tsman is with some types of architectural treatment the best possible choice, matching preferably the woodwork of the room itself. English oak furniture, patterned after models of the late seventeenth century, is still another satisfying possibility. Here, as indeed with the foregoing types, there are poorly made pieces, in which poor wood has been used, badly finished, as well as pieces resulting from good craftsmanship and good design. H. H. S. HE BEIROOM-SUGGESTIONS FOR ITS FURNITURE, FLOOR COVERINGS, WALL COVERINGS, WOODWORK AND COLOR SCHElME IN the bedroom the individuality of the occupant is more in evidence than in any other room of the house, as such rooms or suites are complete in themselves and need not necessarily bIe considered relatively. Where the house has the marked characteristics of any period the architectural detail of the wood trim in the bedrooms as well as that in the other apartments will, of course, express this and must in a measure influence the furnishings, but even under these conditions more latitude is permissible in the chambers than in the living-rooms. A room in which no period idea is dominant may be For the bedroom have some restful white or plain color in e wall coverings or hangings 92 Distinctive Homes of M/joderate Cost 92 Ditictv Hoe fMdeaeCs A fairly successful attic bedroom, though a plain tinted treat] molding would probably have improved made very charming, and the individual taste of.the occupant may influence the entire scheme of decoration. A very dainty and attractive room is shown in the second illustration at the top of the next page. The floral paper used on the side wall here is beautiful in color and design, and the crown of this has a cutout extension of flowers and leaves that is applied directly to the ceiling proper. The furniture of ivory enamel finish has been painted with clusters of the same flowers as those shown in the wall paper. Much of the green of the foliage in this design is repeated in the two-tone rug upon the floor. The curtains and bedspread are made of ivory white linen taffeta and bordered with four-inch bands of cretonne showing the same floral design as the side walls. Much of the comfort as well as the attractiveness of a bedroom depends upon the arrangement of the furniture it holds. The space for the bed is usually indicated by the architect in the first drafting of the plans, and shou d be adhered to unless the room is unusually large. However, the other furniture may be arranged and rearranged until the right position is found for each piece. Where a couch is included this may be placed- near the window with the bookshelves conveniently at hand, or it may be set directly across the foot of the bed. The reading- or work-tables and easy chairs should find their permanent place, as their proper grouping adds much to the livableness of any room. The English idea of placing a dressingtable directly in front of a window is not especially favored here as we are loath to sacrifice so much of direct sun and air as the closed window would necessitate, atlhough by such an arrangement we secure e'picture a good overhead light. The placing of the lighting fixtures should also be given some careful study. Side or drop lights should be near the dressing-mirror, and a convenient stand or drop light, well shaded, should be placed near the head of the bed. And a well arranged table light for reading and sewing is of great convenience in a large bedroom which is used at all as a sitting-room. However small the room, the light must be well arranged for the dressing-table. A central light for a bedroom is a very objectionable feature and should never be included. Light and crisp colors are more acceptable in the decorative scheme of the bedroom than any other room of the house. Where plain walls and figured cretonnes or chintzes are used in combination the latter should appear generously, that is, not only in valanced curtains at windows, but as slip covers, or cushion covers for chairs, window-seat or lounge. The old-time idea of a blue, a pink, a green, and a yellow room is falling into disuse, although any one of these colors may be brought out prominently in the scheme of the room, or, as is even more usual, all may be combined in either wall covering or drapery material. The dominant color should appear again in the plain or two-tone floor covering. Plain and embroidered muslins for window draperies and covers for dressing-tables are effective and dainty, and by having two sets for a room it may be kept always delightfully fresh and clean, as these muslins launder well. A small coin-dot of color on a very sheer, though not fine, white ground can be purchased from twenty-five to thirty-five cents a yard and gives a dainty charm to a room in which it is freely used that few other fabrics at the same cost will supply. Where the decorative scheme must be very inexpensively carried out, a floral paper on an ivory ground can be purchased for twenty-five cents a roll of eight yards. In these cheaper papers one finds abetter selection in yellow and old rose than in other colors; greens, too, are usually soft and attractive. If plain colored The white walls and straight-hanging curtains make an excellent setting for the fine old mahogany Distinctive Homes of Moderate Cost 9 93 The purists' C~olonial bedroom is stately andi restful, though too austere for many people The wall paper pattern has been extended across the cove to the ceiling by cutting out the floral design over-draperies are desired for the windows these may be made from cheese-cloth which has been dyed to the desired shade, matching the color of the flower in the wall paper. It is not a difficult matter for the amateur to do this successfully..There are now made some very attractive cotton crepes showing a variety of floral and other patterns. Some of these are beautiful in color and good in desigrn, and, with plain tinted walls, a room in which the curtains and slip covers for cushions and pillows are made from this fabric is &46 ~ ~ very attractive. Old fur#1 A niture may be revamped "*~' ~ ~ and given a fresh coat of ivory white enamel, and a central rug or a. number of small rugs made after the old-fashioned rag carpet in one or two colors makes a satisfactory floor covering for use in such rooms. If the woodwork cau be painted ivory white the scheme is more successful, as this is an important f actor in the completed whole. In fact for bedrooms there is no better finish than the ivory white enamel. It is easy to apply and durable, and har.. monizes with almost any scheme of furnishing one -may desire to bring outin the room. PM MARGARET GREENLEAF Cuirtains and valance stenciled in blue for the bedroom Here is an odd type of low secre tary in beautifully selected mahogany veneer for $61 A cut-out cretonne appliqug on taff eta for curtains and coverlet XII PORTIERES AND WINDOW DRAPERIES UGGESTIONS FOR HANGINGS MADE FROM INEXPENSIVE MATERIALS FINISHED WITH SIMPLE DESIGNS IN APPLIQUE AND EMBROIDERY THERE seems to be a sad lack of originality in the hangings one sees to-day. It is nearly always the same old velour or the same old rep, guiltless of any relieving color in the way of an edging or an appliqud design. Why not get some distinction into these important elements of home decoration? After all, the portieres in a home are just as important factors contributing to the success or failure of the whole as are the wall covering or rugs. Because they occupy less area than the things we put upon the walls or floors, they are only too frequently passed over without their due of consideration. Their importance and value in carrying out a comprehensive scheme of decoration in color and design is something that may well be reckoned with. It should be understood at the outset that in the short space allotted to this section it is quite impossible to cover the whole subject of portihres. It goes without saying that the designs illustrated herewith would be utterly incongruous in an Empire drawing-room, for example. In rooms, also, in which other French or Georgian period styles have been carried out in the architectural details and in the furniture, the hangings should, as a matter of course, be along the same lines. There are many beautiful fabrics from which to choose portieres for rooms furnished in period styles -and at prices to suit The trees are of apple-green everyone; velours, linen, velvet on a fabric of deeper upholsterers' v e 1 vets, tone, with couching of em- ilk-crinkled tapestries, broidery cotton silk-crinkled tapestries, brocades, corded silks, goat's hair, Armures, figured tapestries--each of which may be found the one suitable material for a certain purpose. It is for the everyday American living-room, den, library, or hall, however, that the designs here shown would solve the problem of hangings--rooms where no period style has been permitted to assume its jealous reign, but where the furnishings are of the simple, unassuming character that marks modern American work of the best type. In such a room the note of individuality and distinction that any of these designs strike will be a welcome and unobstrusive one. The portieres that are described and illustrated herewith are all made from inexpensive materials and decorated with very simply executed designs. Patterns for the work can easily be made by anyone possessing only a very slight knowledge of drawing. The embroidery requires acquaintance with but few easy stitches. Of the portiCres illustrated at the bottom of page 95, the first is made from a material called Arras cloth, in color a light goldenbrown. Jute and linen are used in the composition of this fabric, resulting in a weave that has an unusually pleasing variety of texture and color. It is imported material and costs eighty-five cents a yard. To break the monotony and to give the hanging a distinctive character, the conventional tulip design in appliqud has been used. The flower itself is in appliqud and made from linen of a burnt-orange color. Inexpensive linens may be used for this purpose with good effect, but in Some of the more costly Cream-yellow rep, couched in a kinds there are to be pastel blue the discs are of kind t hr ea r t ob e hmo. liP+..... h,..... ulot_a FJA V Vy AL A A."V 11 CL JAU Ai ILL W 1 3 t qio v 94 Distinctive Homes of Moderate Cost 95 _ __ ___ ___ L _ __ __ _I_ found changeable tones that are really worth the difference in price. The conventional leaves at the bottom are of pale gray-green linen, and the stem joining the two pieces of applique" is indicated by lines of couching. The second illustration at the bottom of this page shows a portiere of heavy linen, Pompeian-red in color, and costing $i.8o a yard. The design in this case, which is not so startling perhaps in its character, is embroidered in gray silk. It will be noticed that there is a feather-stitch edging along the inside edge and across the bottom at the top of the hem. Russian crash is the material that has been used in making the third hanging illustrated at the bottom of this page. Since crash comes in rather narrow widths, two were required for the example shown in the illustration. It must be borne in mind that it is always essential to plan so as to get a whole set of portie"res from one piece of crash. The reason for this is that the pieces, containing several yards each, vary considerably in color and texture. The fabric is not at all expensive, probably for the reason that it is woven by Russian peasants at hand looms in their huts. It shows a far greater variety of weave and color, for this reason, than any machine-made product possibly could. A conventionalized pattern, worked out in a series of squares and lines, is used for the applique" Pieces of linen in rose and green are used, and the embroidery is done in pale green worsted. Of the two examples illustrated on page 94, the first one has the conventionalized trees worked in the so-called " peasant embroidery. " They are in applique' of apple-green velvet or velvetine, with couching of embroidery cotton, pale gray-green in color. The fabric of the portiere shows a similar color in a deeper tone. The other illustration at the bottom of page 94 is made of plain rep, costing fifty-five cents a yard. It is instructive to see how much more interesting it has been made merely by the addition of the five spots of decoration. The material is a cream yellow and the deep hem is couched on the top with worsted in a soft pastel shade of blue, the line of couching extending around the inner edge of the portie're. For the decoration, discs of applique are used, stiffened with buckram, and emibroidered in blue worsted. These are tacked to the hanging after the work on them is completed. In this example the discs measure six and three-fourths inches by eight inches. The buckram is cut out in the desired shape and covered with a coarse brown linen, after which.it is buttonholed around the edge with the heavy worsted. In the center of the discs, the pattern A portiere of golden-brown Arras cloth with the conventionalized tulip in burnt-orange linen Pompeian linen, costing $i.8o a yard, embroidered in gray silk Russian crash makes an inexpensive and effective portiere, embellished with linen-and-worsted appliqu6 96 Distinctive Homes of: Moderate Cost L Darks blue draperies accent the bliue and white coibr scfteme ana are: kept narrow so as to insure a sunny dlining-room is also in blue worsted. It may readily b~e imagined that the cream yellow contrasts pleasingly wvith the blue spots of diecoration, a combination which is further improved by the glimpses one gets of the brownl linen. It should be remlembered of course that mnuch of the success of portie'res of this kind depends up~on the proper plazcing of thesebits of applique. The best way to~ determine how they should be put on is to lay the poiifietre out,upon the floor and, with markers, try variou-' ~combinations. All of these desi,ý,ns, however, will serve their best purpose if they are accepted as suggestions rather than as arbitrary patterns, to be taken as a whole or rejected. One must always keep- in mind the color scheme of the room in which the haznging is to be used; it may be one that would be ab>solutely spoiled by the introduction of anty of these designs. The point is, however, that there is a splendid chance for distinctive originality somewhat along these lines; the details must be altered to fi-t individual cases. LoUISE~ SHRIMPTON W INDOW DRAPERIES OF SIMi:PLE MILATERIALS FOR COUNT1RY AND SUBURBANJ HOMES OF M~ODERATE COSTT--METHODS AND COSTS IT is intended in this sub-division of the chap~ter to deal with the correct wrindow treatment for homes of moderate cost, giving particular consideration. to the simple country house, the mountain bungalow or the seaside cott-age. In deciding upon the window draperies one should view the question from both sides--that is, the effect f rom. the exterior as wvell as that of the interior. To have the curtains of a material and style entirely suited to the rooms in. which they are hung goes far toward insuring success to the completed w~hole. For mnany types of rooms, the fab~ric employed for its draperies is of decidiedly less importance than the manner in which this 'is n-ade up and lhung. As a2 rule, it is possible to hang net curtains close to the glass, in which case they show fro~m the outside. Occasionally;, owing to the use One can never go far wrong in choosing fish-net for the living-room windows, hung in straight lengths of in-side blinds or some unusual construction of the window, the reverse is the case, but ordinarily it is becst to have the general effect of the windows of an entire floor the same. If straight hangings of lace or net are used. for the living-rooms, ruffled m~uslin draperries may. be selected for the bedrooms. These must be so arranged that a certain uniformity of treatment will be presen~ted in the windows which are in line. Where full length sash curtai's-:tht is, curtains hung directly against thee glass:a'hd extending from the top of the window to the sill line-a-are used these may be of ecru Arabian net of medium mesh and firm quality. They may be simply finished by a, two-and-one-balf-inch hem at the bottom and the edges com~pleted by a narrow lin~en tape, fancy edge braid of the same color, or by a narrow hem. Occasionally a one-inch, or an inch- and-one-h alf insertion of Arabuian lace may be set -about two inches from the edge all around, or a corner motif may be used. Such curtains can be made at home by an amateur--as the material lies straigbt-if care is taken in the measurements. Remember to allow ~for the bottom hem and the turn-in at the top to form the casing by which the curtain will run on the small rod. WVhen tthe accurate measurements of the windowss are secured from rod to sill, the reqluisite number of: inches required for hem and casing must; be added. When the material is laid out for cutting., four widtbs may be carefully basted together, keeping the goods p~erfectly straight by the selvage and mesh, and pinninor with long needle tacks at three corners. It may tbeilbe cut., using very sharp shears. All hems should be, folded by a, card measure and basted. Before stitchino' the curtain it should be tried on the rod a~t ~the window.; One- and-three-quarters the width of the window is, sufficient allowance for fullness and all ordinar~y windows should. have twoO curtains at each. Point d'esprit or small-fig-ured cream or ecru netr_ make at;tractive curtains, and scrim3, wichite batiste, u.,` colored and figured madras and silk grenadine are alsc" Distinctive Homes of M~oderate Cost 97 Ditntv Home ofMdeaeCot9 successfully used. The cost of the Arabian net first mentioned is ninety cents a yard, one hundred and eight inches in width. The point d'esprit is sixty cents for forty-eight inches width, and the other fabrics vary from twenty-five cents to $2.00 a yard, and in width from thirty-six to fifty-eight inches. For the bedrooms, dotted muslin or organdy curtains, ruffled or plain, are dainty and suitable. These may be caught back about the center of each curtain and tied in place by hemmed strips of the material, or with a cotton cord and tassel. In some cases it is more effective to allow bedroom curtains to hang straight to the sill, but these should not then be ruffled. Where no cretonnes or other inside draperies are used, printed muslins showing floral and other designs in charming colors are attractive and very inexpensive. Among the plain fabrics (other than thin silks) suitable for window draperies, there are crash and linen effects in coarse and fine weave, which come in a full line of colors. There is also a material of coarser weave which is sold under the various trade names of Craftsman, Arras, and Monk's Cloth. This textile is like a thick burlap; it is fifty inches wide, and for door curtains and over-draperies is particularly well suited to houses designed along craftsman lines. The price is $1.25 a yard. The crash and linen mentioned above vary in price from sixty cents to $1.o1 for fifty-inch widths. With plain walls, figured fabrics can be used, or plain curtains with or without border may be equally good. But where the wall covering is figured, plain or, at most, two-tone materials should be always selected; otherwise the effect is chaotic and restless. For rooms in which the wood trim is dark in tone and the furniture built on heavy lines, a good choice in figured drapery material is some one of the cotton fabric tapestries which reproduce in soft dull tones many of the most beautiful old-world designs; and if this material is used to cover a davenport and wing chair or to make cushions for the window-seats, it adds greatly to the effect. Very many people must live in rented houses, and, for this reason, often live with structural effects that are anything but pleasing to them. A frequent fault in the inexpensive house built some years ago was the lack of width in windows and doors, and the too great height of these. Fortunately this fault can be remedied by the arrangement of the curtains. For instance, at a narrow window the rod holding the over-draperies may be set so that it will extend from two to three inches beyond the trim, allowing the curtain to push well back to the end of the rod, thus covering the trim entirely. A valance, from eight to ten inches deep, can be used to complete this and will be found to take decidedly from the apparent height of the window, while the width is materially increased. Nothing is taken from the light as these heavy curtains practically end where the glass begins. A similar method can be followed for door curtains with good results. There is a domestic cotton crepe which sells for twenty-five cents and is twenty inches in width, from The pronounced figure patterns on walls and in the rugs make plain window draperies necessary here which draperies, as well as bed and pillow covers, may be fashioned. Some charming designs are found in this fabric, dainty and delicate in color. One in particular, of sweet pea blossoms and tendrils, is especially pleasing if used with a wall paper having a crown ground of clusters of these blossoms in pink and dull violet, over a lower wall showing a dull gray trellis against a paler background. Another pattern in this crepe shows clusters of fresh pink roses on a white ground, and others, m.ore conventional in design, poppies and leaves forming an all-over pattern outlined in black. These latter come in dull red and green, with but little white showing, and dull blue and green, and are found very effective for the casement windows in the living-room and dining-room of a simple bungalow, or a den or smoking-room, where the walls are ceiled with wood or otherwise plain in color. The dress counters will sometimes supply to the clever shopper suggestions for window draperies at very small cost. Among these are Chambray ginghams in plain or crinkled effect, in beautiful tones of old rose, yellow tan, and delft blue. Curtains of this latter color and material, made with narrow valances and used in a dining-room where the walls show a blueand-white paper, serve to accentuate the decorative This unusual treatment of window covering was adopted to shut out an unpleasant prospect 988 Distinctive H~omes of M~oderate Cost ___ ____ I I I scheme of the room. Under these draperies and next the glass, sheer book muslin curtains made with threeinch hems at the sill line will complete a delightful treatment for such windows at a very little cost. The Chamb~ray sells for twventy cents a yard and the muslin for twyelve and one-half cents a yard. Where but a single set of curtains for the windows are to be used, madras is often found acceptable, introducing color and design in a semi-transparent material.;In purchasing madras one must avoid alwvays the crude color combinations and too pronounced figures. But choosing well, one can make the windowrs of the livingroom of a house very colorful and decorative with this material.. W~ith sage green walls, madras curtains of dull old blue showinlg a fugitive design of sage green leaves and flowers outlined in black, would be found harmo~nious; or, with brown walls, dim yellow madras with brown figures looks well. Some of this material comes with beautifully designed borders which give to the finished curtains a much handsomer effiect. On the whole there is no inexpensive curtain material which can give so rich an effect if the right color and pattern be chosen. The price for this material ranges from eighty cents, for the unbordered, to $2. oo a yard, and it is fifty inches wide. I Over-draperies of figured cretonne, linen, taffeta, or chintz have a quaint charm which complements wrell certain styles of furnishing. In a room typical of no particular period a most attractive scheme shows a quiet two-tone wall covering as a good background for fresh colored linen taffeta draperies. These repeat in crisper and stronger tones the colors that appear in the rug. The same taffeta covers the cushions on the window-seat. An uncrowded and airy effect in a room of this kind is not the least of its charms. MARGARET GREENLEAF Itta or chintz With norai patterns in, rathner strong colors are always effective in the summer homee XIll PICTURE HANGING AND ORNAMENTS BACKGROUNDS, GROUPING, AND SELECTION OF PICTURES FOR TH--E WALLS OF THE HOMEL~ THE Most imrportant factor in the decorative treatment of walls is the wall coverinor, for without the right kind of background the most carefully thought out scheme of picture grouping will prove unavailing. Nothing can so dispel the harmony of an otherwise agreeable room as an unsuitabule wall paper; the most enchanting pictures appeal in vain and only succeed in arousing one's irritation if the walls are out of tune. The rooms we use most, particularly the living-room, should each have a. paper whose values are closely related, that is a paper whose colors are not inl violent co ntr ast. Best of all is the covering of solid tint of some soft and restful color; this makes -the happiest background for all varieties of paintings, prints and photographs. Grreen and brown in their softer tones are invariably successful in this capacity, and harmonize readily with the best rugs and furniture. Brown is a gracious color on which to hang etchings, colored prints and photographs. Green makes a pleasing wall covering for oil paintings and water colors and greatly enhances the beauty of gold frames. Some of the new designs in wall paper are decorative enough in themselves with out the added embellishmnent of pictures. This variety of wall covering can I e used to the best advantage in bedrooms providing~ it is of restful pattern. A4 few pictures, can now-c and. then be effectively placed against such a paper, but they should be large, simple in outline and bnold in color, if they are to vie with their setting. As a rule it is b-etter not to place" any pIlictures on a patterned paper of florid design as it creates a confusion of line, and the effect of both pictures and paper is destroyed. First in the decorative scale should come the wall ornamentation, that is, as a rule, pictures. Then. should follow after in regular gradation, furniture, walls, floor. When a, paper of bold design is used, the background pushes itself 'into first place, and the pictures take on an inferior and false relation in the sch em e. Before there is any.y attempt at picture grouping it is always best to study each picture carefully to judge whether or not it is worth hanging. We Americans more tthan any other people have a tendency to overload our walls with such a quantity of pictures that our rooms often suggest the art shop rather than the home. People who travel a great deal err most of-ten in this direction and their walls fairl~y groan with a multitude of souvenirs, mind-distracting and dust-collecting. The frame should be selected not only with consideration for its r-elation to the ~picture, b~ut also its K~eep the wall covering in subdued desigyn or solid color, and balance the pictures for each wall space in a group Wall papers of strong contrast distract the eye from almost any type of pictures and are better without them. 100 Distinctive Homes of Moderate Cost --- -I relation to -the roorm. A framee may be in key with its picture, but it~ts tone 11. may be discordant on certa'n n back k grounds, or, if it is intu n. e with the b~ackground, its design may dissipate the harmonious group-- This artist's studio shows an unusual method of n t al framing sketches by the-woodwork j acent pictures. The frame shou'd never be of too b~riglit a color nor should it be very ornate in design as it -w~ill then distract the eye fromn its intended interest. Mlats should always be wider than the frame. W~hen two pictures containing ma~ts are hung together it is importantt that the mats be of similar values and that they be no0t in contrastinlg tone to that of the background. Oval pictures often make uncongenial neighbors if they are of different proportions. Bright and. dull ý,old frames should not be hung together as Lnoth suffer by close juxtaposition; one becomes dingy and the other garish by this arrangement. Gold frames are usually best for oil paintings. but it; often happens that a black or a dark brown frame will greatly heighten the brilliance of some tones. Another thing that requires caution is the selection of a frame that belongs to some particular period of decoration. One must studfy the different styles carefully before he attempts to make use of a frame of strongly individual des~ign. In spite of our familiarity with the different French periods, for example, there are to be found not a fewr who make the mistake of placing some masterpiece of the style of Louis Quinze in an Empire ~frame. All pictures should lie close to the wall and should not b-e tilted forward, as in the latter case a di~squieting painting~s, however, have such a ponderous appearance, andd are so heavy in f act;, that it is.Acsatisfying groupulg of two pictures with a iii mirror in ak formal beidroom b~etter to hang them from. the molding. In this case the wire should b e as unobtrusive as possible. A better effect will be gained by fastening a wire at each end of the frame and -carrying t h e straight to the moldhing, as thne acute angle formed by one wrire will not harmonize withi the vertical lines of the r oo m.. The two wvires also keep the A better grouping~ would result if the lower leftharnd picture were lowered a trifle or the oval frame straight. raised The lines and tones of the wall should also be carefully studied before there is any tentative grouping, and the pictures separated in reference to their particular environment. Every picture should be chosen as a factor in the general compositio* n in its relation not only to the wall but to that of the furniture, floor covering and ornaments. A dainty stipple print, for instance, is decidedly out of place in a room filled with heavy Mission furniture and Nava~jo rugs, as is a drawing of Aubrey Beardsley in the vicinity of an Empire c ab in et. A good way to try different groupings, is to lay the pictures chosen for a certain room on the floor, where diff~erent combinations can L-ýe tried until exactly the right balance is gained. By this plan one will not only save a great deal of time and patience but the wall paper also. Usually the most important picture, not always the largest, should occupy the center and should be the keynote'of the group, as one's natural instinct is to look at the middle of the wall ~for some satisfying ornamntTlip nflipthr Tpioturpo, Osh11M nclaniat borne in mind that dignity and. repose will be unattainab~tle if there are any petty ornaments on the wall or ill close proximity. The general rule is to so hang a, picture that its~i center comes within easy range of the eye, and whenever possib~le the wall space of a room should present C t p C f C: efe ~*,*P C % ar C O L obf3 CL Distinctive Homes of Moderate Cost 101 a unity of proportion in this regard. Often a mantel or a piece of furniture will compel one to place a picture a little higher, but this seldom creates a poor effect. Pictures representing an Ascension, for instance, and many religious subjects, can be placed a trifle higher than others as this ermphasizes the idea of worship intended by the artist. Landscapes showing mountain scenery can also be effectively handled in this way. Interior scenes can be placed a little lower than others as they Mats should be wider than the frames and are better apprecinot contrasting in tone with the back- ated when one is ground ated when one is seated, and are then on a level with the eye. When the pictures are nearly of a size the spaces between them should be equal. The space usually occupied by a mirror over a mantelpiece can be happily filled by a large picture, particularly by an oval one. If a long horizontal picture is used it should always be a trifle shorter than the width of the mantel. Oval pictures are often satisfactorily placed against certain striped papers and a particularly striking effect can be gained by a sparing and skilful use of them. Colored prints should not be placed near oil paintings as the difference of treatment destroys the effect of both kinds of pictures. Some who are clever enough in arranging pictures, frequently make grievous mistakes in grouping them in relation to the furniture and bric-a-brac. In New York we find a house in which the owner had gained an unusually graceful and dignified effect by his skilful grouping of some fine carbon copies of Velasquez's Infantas. His labor was set at nought, however, when for some reason he allowed his rooms to accumulate framed cards bearing the trite and wearisome maxims of the day. The appropriateness of certain pictures to a room is another point that seems to be overlooked or mis understood by many. The Princes in the Tower, The Death of Richelieu, or various Martyrdoms, even if they are from the brush of some great master, are not conducive to pleasant thoughts and are most decidedly out of place in the sleeping-room. Leonardo's Medusa or Rembrandt's Anatomy Lesson, wonderful as they are, become almost offensive in the dining-room. Landscapes, marines and flowers are subjects that are always pleasing in a dining-room, although one need not confine his choice to them. The hall should never be hung with many pictures and a certain feeling of gracious formality should be sought for in the arrangement of few. As this part of the house is often not well lighted, it is better to select large pictures that are bold in outline or those that have broad masses of color, so that their significance can be read at a glance. Another thing to guard against is the picture that has become banal through its almost universal appearance throughout the land. For instance there are many appropriate and beautiful subjects to place over one's piano besides Saint Cecilia, Sargent's Prophets, Watts' Sir Galahad and others too numerous to mention, which by their u.biquitousness have become the household bores-the pictorial bromides of the American home. Now that good reproductions of great masterpieces cost so little there seems to be no excuse for this monotony of selection, for of late even the cheaper magazines are printing reproductions in black and white that are well worth framing. SHERRIL SCHELL ASES OF THE DAY THE POSSIBILITY OF FINDING POTTERY OR GLASS ORNAMENTS OF GOOD COLOR AND DESIGN. HIDEOUS indeed were our vases of but a few years back, beautiful indeed are many of those of the present day. We lately loitered in the art rooms of a famous dealer, and there studied various exquisite forms, studied them near at hand, and also viewed them from a distance; the while getting realization of their part in the beauty of a home. And we found that even in this expensive day, this "dear" land, one can procure really good vases and jars at expenditure of only a modest sum. The combination of beauty and simplicity we, alas, had too often found of a prohibitive costliness, but in the way of vase and jar they are offering to-day some really good cheap things. We have in mind an inexpensive pottery of simple, classic forms, the color a shade of green reposeful and exquisite, the finish a satiny smoothness. And we have in mind a still lower priced pottery, honest, artistic, a rough green surface, the There are splendid possibilities of finding good vases in unexpected places. The first of these is a modern jar from a Chinese grocery shop; the second an old Korean jar from a Japanese art store; and the third another Chinese grocery shop provision jug 102 Distinctive Homes of ~Moderate Cost. 10 Ditntv Hoe o odrteCs shapes harmonious with the general intent of vase and bowl. The vases and jars of these illustrations of modern pottery are usable; their unobtrusiveness, the lovely green of the one, the retiring brown-mottled green of the other, just the setting needed to bring out the beauty of blossom and branch. In the silky sleek pottery burnished autumn leaves seem very much at home; a low bowl of the rough green seems fashioned on purpose for the sturdier of our field flowers A vase of Art Nouveau -goldenrod and frost daisies and type which seems particularly fitting for white and purple asters. And the shelf on which it speaking of the right receptacle for stands sturdy wild growths, did you ever see one of those black-brown Indian jars holding a wealth of golden-rod? The brown-black contrasts splendidly with the yellow of the weed, the bold curves of the pottery stand out strong below the great sheaf of field beauty. Some vases are meant for utilitarian purposes, some should have asked of them no service save to stand alone in their beauty-it being full excuse for theirl being. One of the vases we studied, a vase from the pottery regarded as the glory of American ceramic art, it would have been sacrilege to lessen by placing therein distracting flower and leaf. It was a fairly large jar, the shape simple and graceful. The form was attractive, but the coloring! An iris-colored backgr.ound, that indescribable purplish-gray; the only decoration, two swirling bronze peacock feathers. We are well aware that the Japanese of late years have imposed on us to a degree, sent to the American markets-and European too-hideous, inartistic, impossible things. And they can produce such beautiful wares so cheaply. Let us hope the wily Oriental ere long will realize he has gone too far, will cease offering us the garish products of his land, give us more of simple beauty. Now only here and there are to be had good examples of Japanese art, among these a few vases that furnish illustration of the national worship of beauty. Though their bad things are very, very bad, their good things are very, very good. And in their flower receptacles they have been such true artists, realizing, as we did not until recently, that a vase must be subordinate to the blossom it holds. As a rule, flower vases are better without special decoration, and the Japanese at his best can give us a variety of this sortforms of classic simplicity; what decoration there is, irregular and indefinite; the vase colors, those that intensify flower beauty-greens and browns, neutral grays, yellows, and blues. In looking for really good Japanese vases you will probably find what you want in the obscure shop rather than the much exploited "Japanese department." We one day bought at a tiny Jap place a lovely little flower-jar for half a dollar, the coloring soft blue-gray, soft green, brown and white-gray, the vase unglazed, the design indistinct figures, one losing itself in another-the effect as a whole, blue-gray and white. The little vase was shapely, the sub- dued color beautiful-it has proven just right for flowers of nany seasons, many kinds. Formerly, coloring in vases accessible to the average person, was garish, obtrusive; in addition to the simple fornm.s preferred to-day, soft tones are to the fore, "grave For a vase of graceful and subdued color. " In pottery Foutlivane here ois granceununiform color is liked, but mo- usual and clever setnotony avoided by range of hues, ting on an extended noo n mantel-shelf mayhap dark slate gray melting into mellow blues and violets. A rough green surface will show streaked and speckled, more pleasing than the unbroken color giving light and shade. There are changeable sea-greens, there are dark reds melting into warm browns. And as to indicate the taste of the day, decoration is suggested rather than;oldly outlined; in one class of pottery, flower and leaf are beautifully indistinct in color and form, seem to melt back into the background, seem hesitatingly to emerge therefrom, a very part of the vase---not something stuck on, obviously "decoration.e" The backgrounds also are never emphatic, buffs and browns and blues of such softness one scarce knows whether to name them buffs and browns and blues. Another illustration of decoration softly emerging from background is seen in a vase of bluish-green whereon purple berries and a leafless branch are suggested. Quiet in color and of a loveliness, are white chrysanthemums out of a pale lavender background. Not only do the admired Japanese vases show beautiful blue-gray and white-gray harmonies, but one of our American potteries is widely known for its use of grayish-white and subdued blue. Another soft and pleasing conjoining of tones is seen in vases of dark gray and dull green. The wonderfully beautiful iridescent and opalescent glass of the day should be given its full value, all the evanescent color be searched for and revealed. Do not place therein water or posies; let vase or jar or bowl stand out in its full exquisiteness. In addition to the joy that arises in our hearts when gazing at these beautiful creations in art glass, we are able to take keen patriotic pride therein, rejoice that America can show in an ancient art such individuality and originality. And keener becomes the patriotic pride when we dwell on the fact that to-day our country holds highest place in the manufacture of glass for art purposes. Nowhere else is made the wonderful iridescent glass, which seems to have been fashioned by one that has mastered the mystery of the sea-shell's staining-such wonderful marine blues and greens, flush of pink, all secrets of the opal. And, too, there is strong color, garishness avoided by the use of a dull surface. Distinctive Homes of Moderate Cost 103 L_ ~ _~ Each year sees new marvels;to-day there are offered ruby tones of glow and richness, sapphire melting into emerald, sunshine caught and held and called topaz, the milk-white translucence of pearls. In looking at a collection of the iridescent and opalescent glass, one must ever be reminded of jewels and metals- the flash and color of ruby and topaz, emerald and sapphire, pearl and mother-of-pearl, gleam of gold, red-gold, of copper, repeated in vase and jar of wondrous beauty. Not alone in palatial surroundings are these beautiful objects to be placed, for in the home of simplicity one of the more delicate pieces might easily find itself in harmony, give soft emphasis to the refinement. And how very much better to save on the usual gim-cracks and pretty-pretties and indulge in one perfect piece of glass or pottery, letting it well be the only 64"ornament " in the room. And that word "ornament" gives us a text on which we would enlarge, moves us to be didactic, proffer advice, assume authority. But so firmly rooted in our minds is the idea that decoration should not be something apart, separate, distinct, we cannot help speaking warmly on the subject, positively. Whatever unutilitarian thing one has in one's room, should modestly express itself part of the whole. On mantel or bookcase a huddle of articles-though they be articles of virtu-becomes wearisome; so much better three, or two, or one beautiful piece of pottery or glass, drawing and holding the eye but not obtruding. But the one piece from the hand of the acknowledged master, rr-any women of good taste must forego, many must be content with lowly beauty of very modest cost. And some vases they need not repine; by aid of faith and cally so b( ' they shol the seeing eye, effects of true artistic used as worth may be attained. Buying a thing most of ever, are for the sake or semblance of costliness is for servin one of the worst crimes committed by her or him who carries the responsibility of what shall be purchased fEor the home. A certain sensitive person goes so far as to declare" As I pass in the streets, the raised curtains of an apartment house displaying gift and glitter, silk cushions and imitation of E~uropean porcelain, will depress, or anger me for hours."' Surely, most of us have suffered from " insim-plicity"' like unto this just suggested; most of us are eager for better things. And no better way can the work o-f reform be begun than in the discarding of all the hypocritical, pretentious bric-a-brac we iay happen to be burdened with, by not allowing the invasion of any more false glitter. And, most important, not to be above appreciation of good articles of low~ cost; to be able to pick out good form and color on shelves apart from those devoted to vase aristocracy. While searching the shops some time ago for a number of inexpensive jardlneres (to put on the radiators all about and fill with water that the dry air of our steam-heated rooms would be bettered), we came upon two very pleasing pieces--a most happy surprise, for it occurred in a place better known for its cheapness than attention to esthetic values. We had almost given up hope of finding something both cheap and passable when amid a wilderhess of ambitious and outrageous bowls we saw2r two that more than filled our idea of what was wanted. And the price of them more than passable, fifteen cents! Both pieces were green in color, one much darker than the other. The one was a Mlack-green flecked with silver and brown, the surface rough and cut regularly by perpendicular depressions. The other was smooth, and would have been spoiled for us by its rampant green had not this been toned down by a Japanese treatment in decoration: silvery and coppery swirls and crescents. And these fifteen-cents- apiece jardinihres have shown themselves companionable, improved with acquaintance. In the inexpensive glass one can get very charming flower-holders, a wide variety of forms suited to a wide variety of blossomis. The lily-like shapes are most attractive, and the spreading of the top allows of loose disposal of blossoms. Finger-bowls we all doubtless have made use of for our posies, and they are just the thing for lowgrowing flowers with stems that want showing. If vase or jar at hand do not exactly please for particular blossom, or vase or jar of almost any sort be wanting, cupboard and pantry shelf may offer goodly,re intrinsi- possibilities, yield bowl or pitcher or glass xutiful that that will answer admirably. Id not be eceptacles; You remember Morris, who revolutioniem, how- ized England from her early Victorian uglias such hess, in describing a sitting-room for an average person, m e n t i o n e d among the needful things a vase or two. A vase or two! How we like to dwell on the freedom of that, the blessed unencumb~ered space, the restfulness for eye and mind. Of course there are times when wve wish to give particular festal air to our rooms; we want them to be bower-like, b~lossomls showing everywhere; but for everyday wve n:eed not marshal ant array o-f flower receptacles, a museum collection of vases. A!owYtoned jardiniere with thr-ifty fern or umbrrella p-lant, a couple of vases harmonious with the room, is good and. sufficient decor~ation.. Cottage or 1i-Inansion need not lack in these days of awakening to art, vase of grace of color and form, suitable receptacle for Mlosso'm and greenery. The potter, the artist in glass, each is doing his part; the vases of the day are good. KATHERINE POPE a ea ul r tb Lg xIV THE GARAGE TS" PRACTICAL REQUIREMENTS FOR THE COUNTRY ACCOMMODATIO'N A`ND EQUIPMENT THER E was a time ~when the city man, if inveigled from his customary habitat into visiting his subur'ban or country friend, was invited sooner or later to inspect the stables, see the horses, and look over the'. vehicles and other paraphernalia of comfort-o able or uncomfortable country road travel. From this era, we are passing to, the newer one, that of garage, motoring and. automobile, which supplants in the co~nversation between host and guest,' talk of carriage, horse and stable. In many country places the stab~le is still kept and the private garage is erected as an addition or extension to it, the new garage being built frequently as an entirely separate building; and agzain in new places, particularly when the area of the lot is limited, the garage is planned as a part of the dwelling. The garage lends itself delightfully as an architectural element in planning the group of buildings of a country place or town house. The plan of having it but one story high subordinates it to the house. The garage should always be in keeping with the architectural style of the house, and its position on the lot carefully thought out as well as the problem of its relation to the landscape. The former, unfortunately, is usually fixed by necessity. The plan for the contemplated garage is the first matter to think. about, unless it is the site. It should not be too large to accommodate the number of cars that will occupy it, and the ease with which they are enabled to enter or leave it, as well, as planning for easily accessible work-shop and bench., washing place, store closets and other accessories, must be taken into serious account in the initial stages of planning. It is seldom wise to plan only a one-car garage, unless there is a definite reason for so doing. There are occasions when one will wish to put up a visitor's car, or otherwise house 'a second motor. HE-owever, the garage is sometimes a mere shed or enclosure, and as such can be reduced to nine feet by fifteen feet inside measurement for an ordinary roadster, with a height of niine feet four inches to the top of the plate for the roof rafters. Such a one was built for a physician in Asbury Park, New Jersey, and with its outside covering of cream colored siding and red shingles, glass lizhts w ith heavy panels in the doors, it is by no means unattractive and was built at a complete cost of $250. Generally, the garage should be planned so that the cars can stand against the back wall with the door or doors directly opposite; one door nine feet six inches wide, and of about the same height, is generally suffi 'D""gh field-stone walls are backed up with reinforced concrete, and theberoof is of thte latter material Cement walls and red tile roof matre an attractive combination for the private garage 104 Distinctive Homes of Mloderate Cost 105 _ ____ found a great convenience for lifting th-ese heavy articles and can be put in at a small cost. There seerrs to be a difference of opinion as to the usefulness of the repair pit. The alternative is a chain tackle arranged to lift one end of the motors to get at the under side, and geared to wvorke easily by hand power. But the pit has ar number of advantages in spite of its extra expense. If the garage is built upon sloping: ground there should be an outside escape from the pit with glass in the door. Suitable dimensions will be found to be ten feet by three feet six inches, with a dep~th of four feet six inches. Seats twelve inches wide and eighteen inchbes high, arranged on both sides of the pit, will be found a great comfort to the mechanician. A drain in the floor and an, electric light upon a cord are practically necessities. Other questions of planning are involved with the very important one of making the bi-iiding as fireproof as possible. Regulations as to construction materials and arrangement of the gaarage vary considerab;ly in The plan of the garage pictured below, showing the desirable equipment of a f our- or five-car house cient, providing the room is about twenty feet deep, to allow for making the necessary curve for rolling the car into place. These dimrensio~ns apply to a garage to hold two cars. For a still larger garage two doors aree better, or one sliding-door of three sections m~aking an opening of nine feet on one side or the other of the door as desired. A small door, either sep~arate from the large doors or built into them, will be found convenient in the winter time for accessibility and keeping in the warmth. Unless there is a separate work-room a work-b~ench about four feet wide at one side of the room is a necessity. A window should be over it with an electric light conveniently arranged for night rep~airs, and. a sink with hot and cold water connections built in at one end. This will be found a great convenience while repairing tires. A shelf below i-akes a suitatlle place to store' tires, and a closet for storing gears, springs and other duplicate and sunldry parts should be near at hand. The location of the wrashing stand follows generally the arrangement of a carriage wiash in a stable. It is advisable, however, to have the whole floor ofE the garage slope to the one or more floordrains. A revolving overhead w~ash, fitted with an electric light will bre found most useful. Closets with poles, hooks and drawers for the storage of rugs, coats and other accessories should be at hand. The attic can be arranged for the storage of tops, usually, and other large parts not in use. A hand, elevator will be Provide in your garage for either a repair pit or a hoisting tackle various localities. Outside of the city limits of the more important cenlters, there are few restrictions, except those imp~osed by the Board of Fire Underwriters and the owner's own desire for security. It naturally follows, however, that the building should be constructed in the safest mlanner, both to secure the best insurance rates and 'to anticipate 1riore strict regulations for house and -machine which will undoubtedly comec in the future. The floor should be of concrete, the walls of b-rick, concrete or porous tile plastered.~:a:_Iupon the outside. If the walls are of wrood the st~uds should he dressed and exposed on the inside. If the floor alone is of wood the ceiling should be con. structed of sh~eet mr7etal olf thie sim. plest design. A better floor than this, p~articulazrl~y if there are living-apartmnents a~ove, is of reinforced concrete of one of the approved systems. The regulations for the garage built within thbe city lim~its of N~ew York are strict and somewhat comp~licatedl. Some rs, acqus & slight niodification is allowved for the rS) aequs $ private garage where no gasoline is Mr. WP. D. Denegre's garage at Manchester, Mass., designed by AndrewR Rantoul and built for approximately S51oool 106 Distinctive Homes of Moderate Cost _ are other practical accessories of ila a good storage tank. This latter device is particularly advantageous; it leaves no unfilled space at the top of the tank just above the liquid to become filled with inflammable and explosive gas. The arran ement: i of having two tanks of equal Scap~acity is also good. The owvner is then automatically notified ~to replenish his supply of gasoline long brefore it has run short.. As to the cost: it is difficult; to advise or suggest in an article of this sort. The prices of labor and bnuilding material vary so in different localities and at different timnes that estimates here would not be of 'Particular value and might even be misleading. And then again the cost increases the same material as the fireproof.qualities of the stru~cture improve. The simplest form of a shelter f or -the motor, just large enough to house one machine, built upon brick piers with fram~e walls, shingle roof, wood floor, glass in the doors, no heating nor plumbing, costs about $2 50 in the vicinity of New York, and less in most more distant points. From this the price runs tip. The so-called portable garages are not bad looking, but they seldom harmonize with the style of the house, are not inexpensive and their very name tells of their appearance of instability and their temporality. In conclusion the writer would suggest. to the man who is building a new place, that he build a garage with a capacity of at least two cars. You may not own a motor, -you may even dislike automobiles, but the time may come when you wi~ll acquire one, or if you sell the place its value is greatly increased over the additional first cost. And you can secure a better contract price if you put up the house and garage at the same time. CARLETON MONROE WVINSLOW Wlhenever possible it i-Z far more satisfactory to build the garage of as the house and other outbuildings kept in storage and where the fuel tanks of motors are neither filled nor emptied, but this is, "only allowed on special permit from the Fire Commissioner. The architect plantCLCJ~rning a garage LI "e;within the city - limi ts should,, have these garage regulations C~uru~,, _h_ at hand. They are easily pro-,, c-cr, 61I curable at the The plan of the garage below and to the right. Fire DepartWhere a repair pit is planned it should have etadur an outside escape etadur ters and the writer is of the opinion that they should serve' as a guide in planning a garage to be built at more remote points. The heating of the garage should be of steam or hot water preferably, brought from the d-welling in pipes laid in a trench. Wjhen this is not possible the heating room should be' kept entirely separate from the rest of the building. A small coil can be put in to supply the hot water to the washstand and sink and to the living apartmlent if there be one. SOnly incandescent; electric lighting should be installed.. Gasoline should alwaysj~ be stored in a tanke underground and at least ten feet awnay fromn the walls of the garage. The N~ew Y'ork City regulations require the tanks to be enitedded in twcelve inches of concrete. A suction -pump fitted with hose connection and cyaucfe are inside the building; vent, convenlient syp~hon filler and a device for keeping: the tank filled by water flowing in automatically as fast as the gasoline is pumped out An abundance of windows makes the interior of this Syracuse garage a convenient repair room. Aflred T. Tay~lor, architect PART TWO A HOUSE DESIGNED FOR ITS SITE THE HOME OF MR. ALEXANDER B. TROWBRIDGE, ARCHITECT, AT PORT WASHINGTON, L. I.-A HOUSE WHOSE UNUSUAL PLAN WAS DETERMINED BY THE SLOPING GROUND t NE hears a great deal these days about designing a house in this or that architectural style, but very little about the far more important matter of designing a house to make the most of the chosen site. After all, the matter of architectural style is largely a secondary one: if the house is so planned that it takes advantage of every peculiarity of the site and its surroundings it matters little to those who are to occupy the house as a home whether the porch has Georgian columns as supports for the roof, or dark stained rough-hewn timbers, plaster and half-timber for its walls, or white painted clapboards. A study of the available site for a house is as necessary a preliminary to the building of a home as a physician's diagnosis of a case is necessary for a successful treatment of the patient. If a home is to be practically successful we cannot merely say that we shall have the dining-room here and the library there, basing our decision on the fact that such a disposition of these rooms has worked out well in another house of our acquaintance. The points of the compass in relation to the site, the direction of the available view, the location of approaches, the presence of existing trees and other buildings, the The house is of cement plaster on wood construction, with a rough tile roof. Trowbridge & Ackerman, architects 107 Mr. Alexander B. Trowbridge's home at Port Washington, L. I., where the entrance is at a rear corner and the front looks out over Manhasset Bay Distinctive H~omes of Moderate Cost 109 L _I tcopography---all these things will have to enter into our calcu- b r::~~oky~slationsin planin Perhaps the lastnamed consideration receives as a rule less attention than any of the others. If the sit~e we have obtained ~~r~ is not level, or nearly olour, impulse is to cut and fill until the face of N atur e has been ~transformed into a level plateau in the immediate vicinity of the building itself. Now this course is expensive, and it is frequently as undesirable as it is unnecessary. just here, in the perfectly frank and logical course that lies open to us, will be found one of the greatest opportunities to secure individuality and, distinction in our future homm.e. W'hy not make the house to fit the site, A covered brick-paved terrace rather than making the site conform to an arbitrary plan through grading? Mr. Trowrbridge, whose house illustrates this point so admirably, being an architect himself, did not make this common mistake of people who find it a difficult inatter to visualize either a topographical map or a house plan. I have no doubt that during his years of study and preparation for his profession and in the early years of his active practice Mr. Trowbridge had developed many a mental picture of the home he '01 nifri nn" A -xr 1-vil1A ID-1-1 UO conform to the lay of H 'the land as he had finally J ilound it. It wvas evident a-t tthe titset that the house must -la~ve the importan-t rooms 'ýo placed that they w~ould All of the main living rooms are A flight of twFelve steps lea command the all-i-mportan-t view over the water. It was equally evident that if these wrere placed on the headland level and far enough back 1~1 fromn i~ts edge to allow for a reasonable space it front of the b tildiing from -which to w~alk out and enjoy ~,p;,::.~:!td the view from out of of doors, the rear portioi- of the house Oil the first-floor level would beconasider-;:al tly -t--ove ground. -i f'actt this difference in levels 1) etween ism front; and rear was greater than the height of the baseP~~"ment;. From these peculial-itiese of the site the plan was evolved. The drivewcay approach camee naturally to the rear of ~the butilding rather than to the front. Incidentally it may be,xtends across the water front noticed tchat this in itself was an advantage, for in that wvay the gratnd viewv is kept back as a. surprise until the visitor has entered the house and come out into tihe living-room. In order that the climb to the first-floor level inay not be unduly long fromn the drivewray, the entrance porch was placed at on.e corner of the building in t~he. rear and at a higher level than the entrance to the. basement at grade. The excavated dirt from thecellar or basement was used to raise the level. of this. entrance Torch. so that but. KITCHMends of the bu~ildii-ig until it 14" a 1,, finds the lowrer levels in therear.. At the far rear end of the m;AM.DltrnWT MOOR.~ j building the service rooms. a~re. locat~ted. convenientlv re ý i;*Wc V-MWAý on the front overlooking the water. ads up to the entrance loggia lated both ~to the main en. 110 Distinctive Homes of M~oderate Cost 11 itntv oeso oeaeCs trance door, and, through the pantry, to the diningroom. The outside stairway to the rear level leads down from a narrow porch outside the servants' diningroom, through a door immediately adjacent to the kitchen. On the second and third floors there are seven bedrooms and three bathrooms. As to the construction, twelve-inch brick walls, well waterproofed, were used for the basement, while the superstructure was built up of the following mate rials, commencing with the inside finish: plaster on wood lath, two by-four-inch studs, seven-eighths-inch sheathing, waterproof felt, two-by-two-inch wood strips, galvanized wire cloth, in one-half-inch mesh, bearing three coats of best cement stucco. It will be seen that this construction gives two air spaces in the walls, making the house cooler in summer and warmer in winter. The roof is sheathed, covered with tar paper, wood strips, and a red tile having a shaggy surface. H. H. S. "WELDACRE" THE SUMMER HOME OF MR. GEORGE E. SMITH MASSACHUSETTS--GUY HE "North Shore" of Massachusetts has come to be known over the whole country as the location of many of the most charming summer homes of Eastern people. "Weldacre,"' the home of Mr. George E. Smith, stands well back from the main highway that leads from Swampscott to Marblehead, in the midst of smooth-shaven lawns, bordered at the front with clumps of free-growing shrubs. Beds of bright flowers are planted at intervals about the grounds, and serve to relieve the monotony of such broad expanses of solid green. At the rear the lawn slopes to a broad stretch of marshland, overgrown with the quaint little bog plants that love to riot in swampy places and this in turn sweeps to the borders of the ocean. The house itself is constructed of red brick, with trimmings of pure white and blinds stained a dark green and the steep pitched, roof is shingled, Groups of dormer windows, inserted at the front and rear of the roof, render the third floor chambers light and airy, and. in addition, serve to relieve the severe simplicity of the roof line. A unique loggia, arranged at the right of the entrance door, is an interesting exterior feature, and forms a comfortable place in which to lounge and contemplate the parade of carriages and automobiles that con stantly passes along the highway on summer afternoons. A broad covered veranda, supported by Ionic columns, extends across a "Weldacre" is a striking example of the p, portion of the rear carefully studied variety in AT PHILLIPS BEACH ON THE NORTH SHORE OF LOWELL. ARCHITECT of the house, and it is comfortably fitted up as an outdoor living-room. It connects at one end with an open veranda, shaded by an adjustable awning, which serves the purpose of a breakfast-room whenever the weather permits, surrounded as it is by sloping stretches of grass, with unobstructed glimpses of the ocean in all its varying moods, and constantly permeated with the fragrance of honeysuckle, rambler roses and wistaria, which climb upon trellises arranged just without. The approach to the house from the highway is a broad graveled path that winds past lawns and flower beds to the entrance, flanked on either side by handsome bay trees set in large green tubs. This entrance is worthy of a moment's consideration, for it is one of the most interesting bits of architectural detail to be found along the entire shore. Its deep rounded hood is shingled and supported by fluted columns, painted white, the whole in charming contrast with the red tones of the house and the varied green tints of the surrounding lawns and shrubbery. The simple door, ornaSmented with a beautiful old -time brass knocker, is Salso fitted with an oblong light of glass. This door opens upon a vestibulewhich connects at the right with a narrow passageway, lighted by an odd little window, and fitted with a comfortably cushioned settle, fromy the end of which two broad lov1 steps ascend to a little platform that leads in turn upon: the loggia. The main hallossibilities in securing attractive walls by a y is located on a the bonding of brickwork way is located on IC I Distinctive Homes of Moderate Cost ill_ Ditntv Hoe of Moert Cot1 slightly higher level than the vestibule, from which it is reached by a short flight of oak steps. It opens directly into the stairway hall, of which it really forms a part. The stairway is a most graceful winding one, rising in an elliptical wella landing half way up coming directly over the entrance doorway. This stairway is painted white, except the hand - rail, which is of mahogany. The stair hall is separated from the reception-hall by carved columns. The reception-hall is charmingly equipped with rare Colonial furnishings, and opens at the rear upon the open veranda, with its pleasing outlook and dainty appointments. Like the hallway and vestibule this room is finished in white wood, with wall hangings in tones of gray and has a polished hardwood floor, partly covered with several small rugs. The hallway opens at the right Throughout the reception hall and the stair hall just beyond, the woodwork is painted white with walls of gray into the living-room or library, a spacious apartment, connecting at the front with the woodwork. A plate-rail, on which are displayed some loggia, and at the rear with the larger veranda. It beautiful Staffordshire plates whose deep blue and is finished in white wood, with low paneled wainscot and wall hangings in tones of red, bordered at the top with a deep wooden cornice. The floor is of polished oak, adorned with Oriental rugs of warm, rich tones. An interesting feature of the room is the great open fireplace, built at one side, and fitted with a handsomely carved Colonial mantel. Low bookcases, painted to match the woodwork, and fitted with glass doors, extend on either side of the room. The broad triple windows, at the rear and side, are shaded by hangings, corresponding in tint and pattern to the coverings of the sofa and a majority of the fine old chairs. Opposite the living-room or library, and leading from the reception-room, is the diningroom, Dutch Colonial in design and furnishings, and one of the "most interesting rooms in the,louse. The paneled wainscot, extendýng around the room is painted A corner of the living-room from which one looks through wide openings across the hall into the white to match the rest of the dining-room beyond. The wall hangings here are red II - I I - I - I 111 -- - I- - I -- r ---~II I -- -~-~~ I C - --I I - - - I-~I I - - - - - - - - C~ T---r---- The dining-room of "Weldacre" shows a wonderfully successful treatment in white-painted Wainscoting and a broad frieze in delft blue, green and autumnal browns. Th Staffordshire plates resting against the wainscoting above the plate-rail repeat the blue of the frieze 0 --- -- I II I rrrr~ *~ I ----r ~r sa - - --- ---- I~Pla-u I I I W-o"Now" Distinctive Homes of Moderate Cost 113 Distinctive Homes of Moderate Cost 113 white tints repeat the color scheme of the room, is placed on a line with the mantel-shelf. Above this rail is a narrow strip of plain woodwork edged with a molding, from which rises a frieze of beautiful design, in tones of delft blue, green and soft autumnal browns, the whole finished with a deep wooden cornice. At one side of the room is a fireplace with a Colonial mantel. The furniture is of Dutch design, hand painted, and is entirely worthy of its beautiful setting. All doors on the first story are of solid mahogany. The service department is located in a separate wing at the rear of the main portion of the house, and is reached from the central hall by means of a broad passageway, which opens at the left. On the second floor are five large chambers and two finely appointed bathrooms, while the third floor contains three additional bedrooms, a bath, and storage-room. The house is lighted throughout with electricity. MARY H. NORTHEND "UPWEY," A DISTINCTIVE COUNTRY HOME MR. ERNEST E. CALKINS' HOME AT ELMSFORD, NEW YORK-A GROUP OF BUILDINGS ON AN UNUSUALLY PICTURESQUE SITE MARKED BY INDIVIDUALITY OF DESIGN AND FURNISHING HE quality of picturesqueness in a Surrey cottage, a Breton farmhouse, or a Swiss chalet is much a matter of Architecture wedded to Landscape. This tendency, fortunately, has entered America, and our modern American country houses are coming to add the element of picturesqueness, almost extinct in the land when the nightmares in lath-and-plaster of 185o were trying to banish the Colonial dwellings of our forefathers. American country house architecture has long since found itself on a foundation of taste and good sense ingeniously welded by our now well developed appreciation of the beautiful, and our understanding of the fitness of things-of the relationship of any building to the site it has been designed to occupy. There is hardly a more successful example of such a country house than one may find in "Upwey," the attractive home of Mr. Ernest Elmo Calkins at Elms ford, New York, built on the crest of a rocky wooded hill, and looking down over the valley across to the hills that flank the Hudson river. It is not a large house, but a wonderfully well arranged one, beside which stands the gardener's cottage and stable, all connected by walls of massive native stone bringing the buildings into harmonious relationship one with the other. "Upwey " is distinctly an expression of the individual taste of its owner, and every line and nook and corner of it indicates the careful thought that he has given to its conception. From northern France, and again from England he has brought back with him a suggestion of their architecture, which one finds in the delightful arched and recessed doorways, as well as in the over-hanging roofs. When the ivy has grown in great patches to cover the native stone and stucco walls of the buildings, the effect of an English cottage The walls of "1 Upwey" are of local stone and stucco, with touches of half-timber work From one corner of the living-room opens the ombra, which displaces the living-room in summer 114 Distinctive Homes of Moderate Cost 114 Distinctive Homes of Moderate Cost Mr. Calkins' bedroom is furnished in oak to match the brown trim; the walls are buff Every bedroom has a fireplace, and all are faced in rough-textured brick White woodwork, blue walls and mahogany furniture mark Mrs. Calkins' bedroom will b) e heightened, especially as here and there a bit of half-timber work peeps out.The house is approached from $DRO the east by a broad brick walk to the main. door, and now the grass U 1 plots are squared off and flanked with native stone walls along the roadside. As you cross the quaint little vestibule, five feet square, and enter a doorway some four and a half feet broad, you may look right through it to a window at the end of the hall, through L which, and across the diningroom porch (though having come from ground level but a step) you see the tree-tops in the rear of Living-room and oml the house to the west, which is the main floor, the feet high occasioned by the fact that the house has been, built on the very edge of the hill's crest. Indeed this house is a home of surprises as well as delights. The three windows, with their medaeival leaded fiveinch panes which you have seen to the left of the front doorway at $ED ROOMyour own height, you will find, once you have entered the large $AT" 1\AH 09" living-room which they light, some n distance above your head, for the exigencies of the site have brought ýOm the level of the living-room floor - 1 six feet, or eight steps, below the DINING MMI entrance hall, which has, in consequence, the effect of a gallery. r-TE ownThe woodwork of the livingL~. room, as well as that of the hall and dining-room, is brown oak, sand rubbed and waxed, a treatiare at a level below ment that brings out the grain of ormer being fourteen the wood in all its beauty. Perpendicular oak planks of various widths, with slightly rounded edges where they are joined, form the wainscoting, and their finish gives Sf( In winter the stucco walls and dark curving roof make a picturesque mass against the bleak trees From the front the house is entered from a grass terrace. At the right is the service entrance Distinctive Homes of M~oderate Cost 115 Distinctive Homes of Moderate Cost 115 There is no wall paper in the house, all walls being tinted rough plaster A heavy wooden hood breaks the high expanse of living-room chimney-breast them precisely the effect of being time-mellowed. The interior walls are all An outdoor dining-porc left in rough plaster, variously most enjoya tinted. Those of the livingroom are a rich pumpkin yellow, and the parti-colored tapestry brick of the great fireplace, which has an opening five feet across, are in harmonious contrast with them and with the woodwork. Perhaps one of the most striking things about this fireplace is the projecting hood above it, which is not a smoke hood, but suggests certain old Tuscan chimney arrangements, made for attractiveness. All the fireplaces in the house-there are five-- have the good fortune to be as useful as they are beautiful, to be part and parcel of chimneys that draw, and keep the hearths cheerful in winter time. They are all of the same order of brick, with tiles of faYence set in, flush with the surface. From the living-room you step out upon the ombra, the great shaded porch that looks directly into the "h bl U1 tree-top-s and miIakes you feel that you( have come into the is one of 'Upwey's" very house of Peter Pan and.e features Wendy! Boxes of scarlet geraniunms add color to the treescape round and about you, and there you may sit all the happy summer long with birds for nearer neighbors than perhaps you have ever had before. But the living-room is not alone in its proud possession, for the dining-rcom too has its distinctive porch, where one may sit between heaven and earth, but undizzily, and enjoy the fat of the land to the music of rustling leaves. Surely it is worth while getting up early to breakfast in such a jolly retreat. The entrance to this porch from the dining-room is through one of its corners, for the corners of the room have been cut off by windows, china-cupboard and fireplace, to an octagon. The arrangement of the kitchen part of the house is one of exceptional excellence. It would be a difficult thing to find a more convenient one the country Sideboard and china-cupboard are built in with the brown-stained oak dining-room woodwork From the ombra one looks out onto the tree-tops and over the valley beyond J! 0 P,) 0 Cl) 0 0 0 H A b.0 6-4) CD 4-4 En 4) 0 to 0 0 4) E4 1~4 V4) V4) 1 1-4 0 -4) 94) 4-) '44 -0 mi 4-b 4-4 In bjD 0 to 4) 0 V4) to 4) 4a4 0 0 U 13 0 Distinctive Homes of Moderate Cost 117 Ditntv oe f oeaeCs 1 over. The woodwork of this part of the house is all finished with an impervious enamel, while the walls are a flat tone of light tan. The door to the north gives access to the gardener's cottage, containing quarters for the servants, thus easily accessible to them. This gardener's cottage contains a large livingroom on the first floor, with two large bedrooms and bath up stairs. All the walls of the rooms here are rough finished and toned with flat colors. The second floor of the house contains three large bedrooms and baths, and a sewing-room. A glimpse of One of the bedrooms is finished in gardenerp white enameled woodwork, with rich porcelain-blue walls; another is in brown oak with buff walls; and the guest room in bog-oak with graygreen flat tones. All the floors are stained and waxed and covered with unusual rugs, in geometric pattern, of a modern sort woven to-day in parts of India, though they are not often met with in American houses. There is also a little extra bedroom in the basement of the house, and this, too, has bog-oak and gray-green in its scheme of finishing. The walls throughout the house have been left so rough and the applied color is so rich in hue that they have the tone that comes to beautiful soft-toned pottery. The stable interior is stained a rich brown, and all the ironwork about it is painted black. Stable-room for four horses has been provided, and the stone ti '5 wall around the stable-yard runs breast high. Summer will bring the garden at "Upwey" into a luxurious profusion of lovely plants, flowers and blossoming shrubs, with here and there the emerald of the evergreens. Every day it is becoming more and more a thing of beauty, and it could not help but be a joy forever. It needs but a glance at the illustrations to see that " Upwey" has been finished, furnished and decorated in a manner that is radically different from the great mass of modern homes. The cause, of he stable and course, lies not only in the owner's taste cottage but to a large extent also in his ability to secure the results that his imagination pictured. In this connection it is interesting to note that a cardboard scale model was made of each room, and the decorative and color schemes tried and changed until found satisfactory. Of course a dozen persons can build the same sort of a house, and each pay a varying cost, according to his selection of the grades of materials, the interior finishing, and according to a hundred and one other things that become divergences from original estimates. Probably under favorable conditions one would expect such a house to cost him from eight to ten thousand dollars, depending again on the lay of the land, or it might cost him materially less if he adopted some of its ideas only to incorporate with others meeting his own peculiar requirements. GARDNER TEALL "HAWTHORNE LODGE" A COUNTRY HOME AT OX POINT is a suburb of Milwaukee and about ten miles north of the city. There is a bluff on the shore of Lake Michigan at this point which is about ninety feet high. For a distance of a mile or more along the shore this bluff stands back several hundred yards, h!aving a strip of meadow l:nd behind it and the Yater. On this wooded bluff stands Hawthorne Lodge, p summer home which h:as many interesting fea FOX POINT, WISCONSIN, ON THE SHORE OF LAKE MICHIGAN-A HOUSE OF INTERESTING AND UNUSUAL PLAN THAT COST $4,200 tures of plan as well as a particularly attractive appearance as a wh o 1 e. The house might stand for a type of the well designed country home of moderate size. One sees so many examples of the more elaborate types of home these days, which are interesting but beyond the reach of nmost of us, that it is particularly gratifying to find how successfully a small home may be worked out if one goes about it in the right way. A wide porch extends across the lake front and one end of the Lodge and right way. forms the outdoor livine-room throughout the summer months A glance at the plan - 0 - - -47 - - 118 Distinctive Homes of Moderate Cost 118 Distinctive Homes of Moderate Cost The garden is on the road or entrance side of the house. On the opposite side the attraction is the view- over Lake Michigan Mrs. Myron Hunt and Elmer Grey were the architects will show just how much has been included and also what has had to be given up. It will be noticed that there is no dining-room but that the living-room has been recognized as the main essential on the first floor, to which everything else has been made subordinate. This room measures fifteen by twenty-four feet, not including the alcove at the front nor the space taken by the stairway and vestibule, nor the alcove leading to the bath. The location of the bath on the first floor is one of those unexpected things which results from the peculiar exigencies of the site. It was impossible to get the water in sufficient force at the height of the second floor. Therefore, although naturally less convenient, the bathroom had to be planned for the lower level. The front of the house, or, to be more accurate, the entrance side of the house, faces the road and looks out upon the flower garden. The opposite side commands a magnificent view down -upon the lake through the wooded edge of the bluff. On this side, too, there is a screened porch which is used throughout the warm weather as a dining-room. In the winter time the dining-table is moved into one end of the living-room. It was, of course, but natural to plan the second story with its three bedrooms commanding the view over the lake, each of the larger bedrooms having also a pair of windows in the gable ends. Throughout the second story the windows are casements, opening out. The woodwork in the living-room is one of the most attractive features of the house. It is of a sturdy, straightforward construction throughout, in perfect keeping with the character of the house. On the ceiling the second-floor joists have been allowed to show, and the fact that these timbers contained the ýl 1 FIRS3T FLOOR PLAN.5F-rOND" FLOOR PLAN In warm weather the dining table is set in the screened porch, convenient to the kitchen. During the winter one end of the living-room takes the place of a dining-room There are three good bedrooms on the second floor, each with a vie% down over the lake, and the end ones have cross ventilatio'nI through the gable windows Distinctive Homes of Moderate Cost 119 V In the living-room the second floor joists have been allowed to show in This end bedroom has a dormer window overlooking the lake and a all the honest ruggedness of straightforward construction group of two windows in the gable' usual assortment of knots and checks was felt to be a recommendation rather than a fault, inasmuch as they are convincing evidence of honest construction rather than mere applied decoration. Shingles were used for the exterior walls, the roof and for the porch.roof supports. In order to secure a more interesting texture, however, lath strips were laid beneath the butts of every other horizontal course of the shingles. The effect was to give stronger horizontal lines by means of the resulting shadows. One of the minor features of Hawthorne Lodge, which serves to show how much careful consideration has been given to every detail, is the walk leading from the road to the entrance porch. Gravel had been used for this walk when the house was first built, but it was found that in rainy weather this was tracked over the lawn and in upon the floor of the house. The obvious solution of the problem was a brick walk, but in this case it would have been unduly expensive, for the reason that there are no brick kilns in the neighbor hood. There was, however, a cel-nent, mill not far distant, and nearer still was the beach with an infinite variety of colored pebbles. These two facts, together with the recollection of a public square at Mentone, Italy, which had 1ýeen paved with colored pebbles laid in a pattern in cement, resulted in working out the same idea at Hawthorne Lodge. Large flat stones and pebbles of dark reds and blues were gathered froin the lake shore. The stones were laid irregularly down the center of the walk and along the edges. The intervening spaces were filled with the pebl-Aes. To protect the walk against frost, a substantial foundation of gravel was laid bseneath the cement, which formed a bed for the stones in the center. It need hardly be added that the walk was not a particularly econon-iical one after all, largely because of the labor involved, but there is no question about its effectiveness and its unique beauty. It may be interesting to know just what Hawthorne Lodge cost. The items were as given below. H. H. S. Carpentry and masonry................. $2718.42 Plastering........................ 95.00 oo Painting and Glazing....... 203-50 Plumbing (including a system of sub-soil sewage disposal).. 522.17 Hlardw are.......................... 50.00 Furnace............................ 94.oo Architects' fees.................... 388.oo T otal.......................... $4.171-09 120 Distinctive Homes of M/oderate Cost An effective mass and greater space in the second story are secured by bringing the long roof slope out over the porch that is iramed at either end with a massive stone arch 1~ A first floor plan that is cut down to It is the essentials. The large beamed roc opening between the hall and living- CIO room gives greater spaciousness to ext the interior the Charlies Barton Keen, arebitect surprising to find five bedom~s with a bath and ample )set space up stairs due to tendingy the second floor over e porch A GARDENER'S COTTAGE-SHWARPLESS ESTATE, NEAR WEST C~HESTER, PA. Distinctive Homes of Moderate Cost 121,-- - ~ --- -96 An excellent example of the perfectly symmetrical, dignified brick house along pure Colonial lines. A brick-paved terrace extends across the whole front, joining the end porches Charles Barton Keen, architect THE HOME OF MR. JOSEPH Y. JEANES, VILLA NOVA, PA. - -~-----i ~-~-- ~~~-~~- -- F 4 U2 o M G'*c (D~r 14.1 or aq " tCD on 00 Zr' 0 0 U) 0'(D0 cD CEn CIA tPV C3 Ce CD 0s g Distinctive Homes of M/3oderate Cost 123 Distnctve omesof odeate ost1 2 ine entrance side ot the Alger-F'uller house is very similar m mass to the garden tront, but it shows more clearly the structural feature of the high brick base on which the plaster walls rest - ~~ - -- ---- -- There is a broad turf court on the garden side, surrounded by a hedge through which one descends a few steps to enter the garden gate. The projection of the diningroom with its three windows overlooking the garden at different angles makes that room most attractive Wilson Eyre, architect THE HOME OF MISS ALGER AND MISS FULLER, GREAT NECK, L. I. 124: Distinctive Homes of IModerate Cost: I _ _ _ _ C I_ _ __; IV~. Saeen' hoe s asoltey I - oo, being built Of stucco on brick, with floors of reinforced concrete covered with tile throughout HOUSE: ONS THET SH-ARK RIVERE~ NEWV JERSEY THE HOME1[ OF A. DURANT SNEDEN ARCH-:ITE CT The large II*Ving-room is the center of the whole plan, open upon both sides. A particularly successful and dignified treatment results from placing the staircase and fireplace opposite The livilng-roo~m is perfectly symmetrical on all four sides. Flanking the fireplace, th~fe right-hand door opens into the dining-room, the left-hand one into the pantry and th-~e kitche~n beyond The entrance front. Throughout the design an effort has been made to let the material-cement-govern the character of the wall surface and detail Distinctive Homes of Moderate Cost 125 The steeply pitched roof comes well down over the first-story windows, and is broken by the distinctive ca.sement dormers The ivy-covered stone end faces the street. At the left is the rear entrance, the front being secluded by the gateway ~2O25 5CALtINFr IT F Abundant closet space is provided in the slope of the roof between the dormers Only the essential rooms are included in the first story, for the house is but 25 x 40 feet From every view-point the house is picturesque and eminently homelike. For its size it is undoubtedly one of the most attractive bits of domestic architecture in America "PRINCESSGATE" Joy Wheeler Dow. architect view of "Princessgate" at twilight on a winter's evening with the terrace gate in the near corner At the end of a row of hollyhocks The wide eaves and the projection of one stone end stands the vine-grown iron gateway containing the gateway shield the terrace OF ELDRED BATES, WYOMING, N. J. THE HOME 126 Distinctive Homes of Moderate Cost A wonderfully attractive wall texture has been obtained by the use of spilt stones of varying color laid with broad white joints, and with larger squared stones on the corners. It would be hard to find a more effective background for evergreen vines. The service wing is of plaster There is a large porch at either end reached from the living-room and dining-room. Although these are roofed over, the rafters project some distance beyond to form, when covered with vines, an effective awning. Four good bedrooms and a bath are found in the main portion of the second floor and there are two large rooms on the third floor Charles Barton Keen, architect "BISHOP HOUSE" ON THE SHARPLESS ESTATE, NEAR WEST CHESTER, PA. jr%... 'rA l r - LJistinctive Homes of Moderate Cost 127 The continuation of the lower slope of the roof across the end stone walls is called the Germantown hood and serves here' partic ularly well in tying together the whole composition. It will be noticed that the wall under the porch roof and between the broad stone walls at the end is merely a thin one of plaster because of its protected location. There is a suggestion here of the practice followed by the old Dutch Colonial builders of northern New Jersey IM: " * * * * i " (L VIr t Og\ iLO ~ ~ ~ m The first floor plan is particularly ingenious in the way the kitchen is brought forward into the wide central space back of the wall in order that one chimney may serve the whole house. Up-stairs the three main bedrooms are all provided with closet space and the maid's room is located in the rear gable Charles Barton Keen, architect "WRANGLEY LODGE," ON THE SHARPLESS ESTATE, NEAR WEST CHESTER, PA. 128 Distinctive Homes of Moderate Cost 12 Ditntv oe o oeaeCs A wide piazza extends across the whole front and along the living-room side, the end opposite being glazed in for winter use. Plain-surfaced light gray concrete blocks were used for the first story walls. Above this the walls and roof are covered with white cedar shingles. Those on the walls, it will be noticed, are laid in double courses to correspond with the masonry below THE HOME OF MRS. E. A. PERPALL, PLEASANTVILLE, N. J. John Cox, Jr., architect Photographs by W. R. Laity.5. The plan is a particularly economical one to build for the reason that it is nearly square. The living-room, 13 ft. 6 in. x 31 ft. 6 in., is particularly large for a moderate size house. Both this room and the dining-room have open fireplaces There are four large bedrooms, a sewing-room and bath on the second floor, all provided with closet space. The main staircase continues to the third floor which, by reason of its gambrel roof, includes more than an ordinary amount of space --- -- -- An example of the larger country house type wherein is employed the so-called Germantown stone with squared quoins at the corers and around the openings THE HOME OF MR. J. L. BAILY, ARDMORE, PA. Baily & Bassett, architects Distinctive Homes of Moderate Cost 129 THE HOME OF MR. E. H. JEWETT, ENGLEWOOD, N. J., Mann & MacNeille, architects A cement house that shows particularly well the adaptabilities of Italian motives to the modern American country home built of this material THE HOME OF MR. WALTER W. PARSONS, GREAT NECK, L. I., Mann & MacNeille, architects A particularly successful adaptation of the New England Colonial farmhouse type. The porch supports are exceptionally interesting "Overwoods " from the north. This is the least attractive view of the house, but it shows the two wings added-the kitchen with the salamandery over, and the maid's room built on later. To the left up the road is the general store THE MAKING OF ONE COUNTRY HOME THE ACQUISITION, RECONSTRUCTION AND OCCUPATION OF AN OLD FARMHOUSE AT REDDING RIDGE, CONNECTICUT-WHAT REMODELING WAS NECESSARY AND WHAT IT ALL COST ANY years ago, in the turbulent sixties, I lived as a small child in the hamlet of Redding Centre among the hills of Connecticut. My family had moved to that place from a village near New York and it was my first introduction to the delights of real country life. About two miles from Redding Centre was Redding Ridge, a hamlet of much the same size but a little higher up in the hills. When we children went out for a good walk our objective point was more than likely to be Redding Ridge, and this for various reasons: one, that at a certain large and hospitable farmhouse we were sure of getting generous slices of cake and all the milk that we wanted to drink. The daughter of the house was a great horsewoman. She rode and drove the horses that she had herself broken to harness. What she did not know about live stock and farming generally was not worth knowing. Naturally she was a great attraction to us youngsters who regarded her as a veritable Di Vernon. For only one short year did we live at Redding Centre, then we folded our tents, like the Arabs, and silently, and I may add, tearfully, moved away. One day about five years ago, and forty since the Redding days, a letter bearing the post-mark Redding Ridge was handed me with my office mail. Although I had not seen the handwriting since I was a young girl I recognized the characteristic chirography of the Di Vernon of the Ridge. The letter contained an invitation for me to make her a week-end visit. I answered by return post that I would come as sure as there was a train to take me, and I went. The next day my friend drove me over the old scenes and to her surprise, and to my own as well, I recognized all the old places and noticed every detail of change. The changes were not many-a "lean-to" added, a barn moved back,-small things but I noticed them all and my love of this country returned tenfold. I must have a place up there among the hills. I had been looking for years for a little summer retiring place, a place where there were no mosquitoes and no malaria and on the main line of a railroad, for I dislike tiresome changes once I am started on my journey. Although on the main line, Redding Ridge is seven miles, five by courtesy, from the railway station at Bethel, but that to me was one of its attractions. I inquired about 130 Distinctive Homes of M~oderate Cost 131 _ I ~r property and was shown farms that could th been bought for a song, but they were not wanted. I wanted something on the Ridge i too far from my friend's farm, for I should upon her for " butter and eggs and a pound of I did not want much land for I did not want sibilities. Something inexpensive where I c care-free, where I might loaf and invite i I found just the place but I could not have it. not more than a pistol shot down the road f friend's farm, a quaint old house in good rep(, four fireplaces and with about two acres of 1, rounding it. The outlying land belonged to m so I would be well protected. But alas! the who lived there had no notion of selling, and wise. She allowed me to go over the house, tantalizing performance, for the -place was what I wanted. She was old and ill and that home; she had lived there for many years wanted to die there. There wias no use in co I let the matter drop; my spirits dropped als, This "Was in the early spring. In May r and I were going abroad for the summer. A before the day of sailing I received a letterI friend on the Ridge saying that the old la owned the house that I coveted, had decided with certain conditions, namely--If I would mortgage, $500, and give her $ioo for herself al was the hard one--let her live there till she ( house was mine. I must decide at once or sl probably make the same offer to some one else a cheque for $6oo by return post, and the e-n week saw me well on my way across the oci In August, while we were at Dieppe, reached us saying that the old lady was de had died happy. The mortgage was paid told my friend, whom she made the custodicfunds, that she envied neither Vanderbilt n( for had she not a hundred dollars of her own, to buy anything that she wanted! That fall, on our return, we went up to Redding Ridge to consult with a builder as to i +%dne-% e A '-%A #- 1 01.1"1 C W i f ri 11 c room that the old lady used as sitting-room and kitchen. The other opened into a tiny little hallway with a narrow wrinding stair, so narrow and so wi~nding that neither a sizable piece of furniture, a trunk, nor a stout person could ascend its almost perpendicular incline. I have a very dear friend whom I was anxious to have visit me and I felt sure that she could never make any headway up those stairs, so 'I built wider and easier ones at the back. The first thing that she did on visiting me was to mount that narrow flight and. regard me reproachfully from its giddy height. The best rooms on the ground floor faced east, south and west. The front one had a large fireplace with a big field stone for a hearth, and a crane with an iron tea-kettle swinging across its generous wvidth. All of the rooms were small so 'I had the partitions chopped down and made three into one. This. gave me a main room fourteen by twenty-four with an L thirteen by fifteen. There was another firep~lace in the L and opposite this I put my stairls, low risers and broad treads, that you would as readily run up and down. as to walk onz a level. Our sitting-room -now has six windows, three doors and two fireplaces. So it does not waznt for velntilation. Across the fro~nt of the: house runs a narrow veranda, but as we do not care to sit facing the road we never use it. At the back of the house there is a drop in the land of fifteen feet and there is where IC built the veranda upon which we live and move and have our being. It is a two-story affair and the second story we use for sleeping. The dining-rooem, which had b-een used for a bedroom, was of fairly g~ood size for a small family and only needed painting and papering. Then I added a butler's pantry and a kitchen, with a room over. This rooml over I intended for a servant's room, but it was so hot that only a salamander could have occupied it. So I built a wing beyond the kitchen, to which I added all the modern, conveniences. There is no cooler or pleasanter room in the house. A view from thte lower corner of the lot, some fifty feet below the house. The upper veranda Iis used as an outdoor sleeping-room 132 Distinctive Homes of Moderate Cost " -- -- One end of the sitting-room showing the old fireplace and the oven clock stands by the foot of the new staircase The second story was cut up into sirall rooms, as was the first, and there was no way cf getting at one without going through the other. I chobIed cut a dark and rmouse-haunted closet, tore dcw-n a partition or two, and rrade a convenient hallway, so that nrow each room is " self-contained," as they say in England. I added a bathroom and put running water in the guest room. Then there was the attic! That I did not tackle the first year, btot later added a rccm with a double dorrmer window looking out over the sunset hills and the woods below, and I do not hesitate to say, once you get there, for view and airiness it beats any room in the house. Considering that our highest ceilings are only six feet seven inches, it is remarkable that we are as cool as we are within doors. One thing, we have plenty of windows and lots of breeze, almost too much at times, for I have found it impossible to keep awnings on the upstairs veranda. When I bought this place it had a picturesque old well with pole and sweep, the old oaken bucket and all. Every one said that it was the finest well in the neighborhood and that when all the other wells ran dry it was as wet as ever. That was a splendid record and I congratulated myself. After I put in a bath and running water generally, I withdrew the congratulation. We used at the least six hundred gallons a day and at the end of the first-- it may have been the secondmonth of our occupancy the well was as dry as Death Valley. "Give the water a chance to run in," our neighbors advised. So wAe hauled water in barrels from a near-by artesian well and gave ours the chance. A few gallons doors. Thetallmay have trickled in, but no doors. The tall * more. A neighboring farmer had a big pond fed by springs on a hilltop about twelve hundred feet up from our place. I besought him to let me dig it out, fence it in from the cattle and smaller intruders, build a proper reservoir and pipe it into my house. " Wait till next year,"'' he said, "and we'll talk it over. " I could not postpone my bath that long, so I took council of local talent and the result was that I widened and deepened the old well with excellent results. The old well was two and a half feet in diameter and twenty feet deep. The new well is ten feet in diameter in the clear and thirtyfive feet deep. Sometimes it has nineteen feet of water in it and again, in times of drought, not more than four, but it has never run dry and I do not think that it will. It cost me four hundred dollars, but if it had been an artesian it might have cost four thousand. At first we used a double-action hand pump, but no one liked the job of pumping, though it did not take more than an hour a day. Now I have installed a hotair engine that I bought second-hand. Now let us see what our country place has cost:-To the first price of $6oo00 add $2,500 and you will about get it to date. That is a little over $3,000 and the work of improving is going merrily on. We could sell for double that price any moment, but "not for gold or precious stones would I leave my mountain (hill) home." It was the best investment I ever made; we have all we want for a very small sum, and we lead the simple life, which we could not do in a more pretentious house. We never have afternoon teas, but we do have corn roasts in the woods, and we have trout S fishing and shooting in season. Only the other day a wild deer jumped our front wall and ran through our meadow into the woods. As for woodchucks, you have only to throw a stone down the hill to start one on the dead run over the vine-covered stones. And all this The south end. This is the best view of the house and its surroundings, I shows the big pine tree and the winding road leading to the Ridge Distinctive Homes of Moderate Cost 133 rural life but an hour and a half by train from New York and then twenty minutes by motor to your door. You can get to your yacht at Black Rock within half an hour, if you want to, and you can motor over, to call upon summer colony in less time. and it is still unspoiled. some of the Redding It is a great country JEANNETTE L. GILDER WILLOWDALE-AN OLD-FASHIONED HOUSE THE COUNTRY HOME OF HARRY B. RUSSELL, ARCHITECT, AT POCASSET, MASSACHUSETTS, ON THE SHORE OF CAPE COD-THE RESULT OF PAINSTAKING REMODELING. HERE is always a certain fascination about the century-old farmhouse, which type abounds in all the seaport towns of New England, and is found 'in large numbers along the shores of Cape Cod. The house which is illustrated here is said to date back to the early time of the Colonies, and was built by the first settlers in Pocasset, who migrated there from Plymouth. The date, however, is not known exactly, but it is supposed to be about J 700. During the past decade or so, it had become quite unoccupied, so that when the present owner purchased it, it had the air of the "deserted farm," yet at once its many possibilities suggested themselves. The effect to be realized was to keep the house old-fashioned and not to destroy any of the old-time feeling by the addition of the wings, which were necessary to make it habitable and convenient. One of these ells was added to the east end and contains three bedrooms and bath, while the other holds the service portion. Modern plumbing was installed in these additions, but not allowed to enter the old house, so that the old effect might not be marred. After these There are wonderful possibilities for distinctive homes in remodeling old Colonial farmhouses. In this one, which dates back to abOUt 1700 every addition and change that has been made was adopted only after it had been fully determined that the result would be in no way antagonistic to the extremely simple mass and detail of the old work 3134 Distinctive Homres of M/loderate Cost ~"-l~'~~-;ly~~~ _r-~ICI- ~.......................;-*) ~"~-^:~ ~ 1"-- ---- --~ - - -~-;~~ ~ --~-~~--~-- I-- 1~~~--~- ~--~---.--;--~:---~~~---~:---- ~~ -: The garden was established on the south side of the house and it is enclosed with a fence of white and green, bordering the planting of old-fashioned flowers. A summer-house breaks the fence on the central axis giving a view over the fields and hills beyond The dining-room of "Willowdale" was formerly the kitchen, extending nearly across the back of the house. The rough-hewn beams, great fireplace and every detail of the furnishing contribute to the delightful flavor of long ago - I I_ _ ILI1 _ __ ~ Distinctive Homes of Moderate Cost 135 arLIIII~llll~llllll111111113~1111111111 sections "were com-,,let ed, came the work of -rest o r i n g the old part, y e t the former term could hardly be applied except as to paper and paint, which had previousl y been applied by ruthless h a n ds. The fine old paneling had beenpainted green in one room and brown in another, and the p apers w ere not the quaint n kind need- In almost all of the old houses of the better class there ed for such in one of the bedrooms there are a number of rooms. Two of the sills were found to be badly rotted, and the dining-room had to have a new floor laid, and, of course, several moldings were lost in sections which needs must be supplemented. After the country carpenter had spent much time "fixing up" what he thought to be an abode hardly worth expending a cent upon, the painter took his turn and it was then that the transformation seemed to take place. Niearly a hundrred years ago the highway running through the village was changed from the front of the house to the back, so a splendid opportunity was given to establish the garden on the secluded south side, upon which give the windows of the living-rooms. This space, as the photograph shows, is enclosed with a2 fence, painted white, having green lattice panels at -the top. The summer-house was placed at the rear <)f the garden, having its axis on the central path!.eading to the front door, and having its outer three ;ides beyond the fence, so that a very interesting view is obtained of the fields, with the hills and woods beyond. The garden is very simply laid out, being divided by means of a wide central walk of grass and a narrow cross path into four large flower beds. The scheme for the planting was carried out on old-fashioned lines, keeping, as far as possible, the taller plants, is an abundance of wood paneling about the great central chimney. Htere doors through this paneling opening up closet space around the flue in the centers of the beds, with the lower ones on the edges. Yet no special color effect has been produced, and there is no attempt at formality in planting. The inside of the fence is quite hidden with a growth of running vines, while a line of hollyhocks borders the interior with masses of Golden Glow at -the lower corners. The grassy walks are kept mown and clipped about the edges, yet the grass grows up between the flat stepping stones of random shape that form the walk to the front door. These add to the delightfully natural effect of the garden, which is not over-ornamented nor over-tended, yet one cannot enter without feeling a certain order and symmetry, although the old-fashioned flowers seem, to vie with each other in their charm of wild entanglement. Scattered about the garden are some old jars that give it scale, and a table and three chairs where tea can be served in the open. The summer-house serves as the out-of-door living-room and is made very comfortable with hammocks, numerous chairs and tables. Upon entering the house, one passes through a small entry, the walls of which are covered with landscape paper, which is a reproduction of an old pattern, to the parlor. The charm of this room is the paneling, with its crude moldings and the small chimney cup 136 Distinctive Homes of Moderate Cost __ __ ____ ___ ____~__ board, placed at the top of the room, quite hidden behind the heavy beam which extends across the ceiling. The windows are very small and are set with deep recesses, having seats which are extremely quaint and interesting. The paper has a gray ground with small pink roses set symmetrically at intervals, and the pink curtains and cushions match in tone. In the corner is an open buffet filled with old pink Bristol cups and saucers which help to carry out the color scheme of the room, The dining-room was formerly the old kitchen, extending nearly across the entire back of the house, and has a very large fireplace, the sides of which are stone, but the old oven has disappeared. The beams are hewn and the rough and jagged appearance adds a decidedly homely feeling to the interior, which has its walls painted white, the woodwork gray, and the whole brightened with gay-flowered chintz curtains at the windows. As the illustration shows, this room contains several old pieces, which are quite unique, although not especially rare, but in keeping with the setting. This plain white wall with the gray makes a decidedly favorable background for the old pewter and glass used in the decorative scheme. The floor is painted a stronger gray than the dado, and the ceiling between the beams is softened in tone to show the effect of age. The bedroom is also paneled on the side toward the chimney and has a dado and heavy beam running across the ceiling. The paper is very old-fashioned, with its design of a slender vine of green ivy running vertically to the cornice. On the floor is a large rag rug in dull tones, and the hangings on the bed and at the windows are of a light-figured stuff. A very narrow and steep stairway leads to the open garret through which runs the big, stone chimney and where repose old chests, with the usual supply of spinning-wheels and looms. On either end of the garret is a bedroom, furnished similarly to that below stairs. Within and without, the place holds together with a decided unity, the effect being simple to a most satisfying degree. Consistency has been the keynote and harmony prevails everywhere. MARY H. NORTHEND THE HILLSIDE HOME OF A PHYSICIAN PICTURESQUE PLASTER HOUSE AT MANCHESTER, MASS., THAT SHOWS A PARTICULARLY INTERESTING AND UNUSUAL TREATMENT OF THE INTERIOR-HOWLAND S. CHANDLER, ARCHITECT. LONG the North Shore of Massachusetts Bay, at a point nearly opposite Coolidge Point, is the town of Manchester, a charming combination of shore and country, rocky headlands and wooded hills, its houses situated near enough to the shore for their occupants to catch the dull murmur of the ocean, and yet at the same time set in the midst of lawns and gaily blooming flower beds, shadowed by wide-spreading trees. Here is situated the summer home of Dr. Benjamin Tenney, of Boston and Manchester. It is located upon a 4 5 C S to,", 12 steep hillside, Scale of Feet 11, which faces the L*: i--l ~ sun and sea, and i At,p affords a superb "~omYH6T'"~ ""or.S3o.. om..oT, view of Salem - Harbor and the quaint old seap port town of SMarblehead, while to the left DN] I N is obtained a b HI_ Okt~g-- fine glimpse of cthe lighthouse on Baker's Island, and the ') I numerous small bungalows that are scattered over the surface A broad piazza overlooks the highway and Salem' harbor, with the entrance at the rear corner _. of Misery Island, as well as the rugged coastline of the opposite shore in the distance. In front, and some distance below its pretty latticed windows, is the main traveled highway, from which the house is almost entirely concealed by means of low trees and dense clumps of shrubbery that have been planted at the front, and which form a most effective screen. TheAmain entrance to the estate is opposite the highway side, and is reached by a long winding driveway, outlined on either side by pretty flowering shrubs and huge old trees, which ends in an open " space, to the left of which is the low, rambling h o u s e, finely Tproportioned,.. and designed to I-J'.- ' =O.bA fit into its surroundings with a 'ijk- d-r. dt.. charming simplicity that renders it most attractive. The exterior of the house is Four of the bedrooms are given the harbor view finished in ce- thrwinv less imnnrtant s.at. f, th- rear j %,A" %A TVAA S JLUIO AAAA.YJ tCLJA( OFCL\r, LU LYr. A V" Distinctive Homes of Moderate Cost. 137 rrrrrrlllrllllllll311111111111. The entrance is reached by a winding drive circling the end of the house. Cement stucco on frame construction is used for the walls, the plaster being left in its natural color which contrasts well with the cypress woodwork and the loaded casements ment plaster, left in its natural tint, and its picturesqueness is further increased by the substitution of heavily leaded casement windows, in place of the more conventional window form. These swing outward upon their hinges to take advantage of all the bracing.sea air. The heavy beams that jut out under the overhanging sections, and also from beneath the eaves, are of cypress, thoroughly oiled, and this same treatment is employed in the finish of the porch roofs, the pergola top of the veranda at the rear of the house, the frames of the casement windows, and, in fact, in all the exterior woodwork. The shingled roof is stained a deep tile red, which contrasts well with the soft gray tints of the walls and the varying greens of the trees and shrubbery. Four broad, low steps lead to the entrance porch, with its quaint, gable roof supported by four massive columns, and flanked on either side by a long, wide seat, for which the high side railings serve as backs. The great entrance door, constructed of cypress with an upper panel of leaded glass, gives directly upon a diminutive hallway, to the left of which is the staircase which rises by low treads to a landing on the second story. The tiny hall is raised higher than the main portion of the house, and three low steps descend from it to the main hallway, which has been designed as a living room. This is a 1-nost attractive apartmelnt, finished like the entrance hall and stairway, in cypress with wainscots of broad molded sidling left in the soft natural colors of the wood, without oil or stain of any sort. A narrow frieze of convenitional. design extends from the wainscot to the edge of the ceiling, which is built of spruce girders and eross-t)eaims, left exposed, their color being slightly toned down with oil to render them harmonious with the rest of the woodwork. At one end of the room. is a great open fireplace, constructed of glazed tiles, above which extends a cypress mantel, finished in the same manner as the woodwork, but very beautifully carved. Numerous bookcases of various sizes, also constructed of cypress, have been inserted around the sides of the room, and also underneath the windows at one end. Large arm-chairs, softly cushioned in dark plush, are scattered about the room; and a low, broad window-seat, also cushioned in plush in harmonious tones and piled high with pillows, extends underneath the windows at the rear of the room that swing outward upon the pergola veranda, and afford glimpses of' the cool woodland depth just beyond. This room opens upon the veranda by means of two narrow, heavily-leaded glass doors, which, when thrown open in conjunction with the casement win.dows, make the veranda and living-room practically one 138 Distinctive Homes of Moderate Cost I __ _ I _ ment window, shaded by simple cretonne curtains, in pink and white. The furniture is of the simple Mission type, and the few rugs scattered over the floor are of pleasing variety and harmonious coloring. The small porch at the right of the main porch is the doctor's entrance, and leads into his reception-room, office, andlaboratory. These rooms, unlike the other rooms found on the,er than the entrance hall. For the interior first floor, are is has been left in the natural of any kind painted white, and the ceilings are plastered. The office and reception-room open upon the veranda, and the window in the laboratory affords a glimpse of the main highway some little distance below. On the second floor of the house are several fine bedrooms, finished similarly to the rooms on the first floor, and two bathrooms. The walls of the bathrooms are shellacked and varnished, as are the walls of the rooms in the service department, which is located in a wing separate from the main portion of the house, and so arranged as to be lighted from all sides and open to a cross draught, most refreshing on sultry summer days. The veranda, at the rear of the house, is a most inviting spot, fitted with comfortable chairs and hammocks, wherein one may lounge, while he enjoys the cool breezes wafted in from the ocean, just discernible through the long vista of' trees. ~MARY ~H. NORTHEND ých is used as the main living-room, is at a level low woodwork strongly grained cypress has been used and thi color of the wood without oil or stain apartment, and allows a free circulation of cool, fresh air. The floor is of hard pine, as are most of the floors throughout the house, and several small rugs, in bright colors, are scattered over the polished surface. To the left of the living-room is the dining-room, most attractive in its simplicity of design and detail. The woodwork is of cypress, and a wainscot, some six feet in height, extends around the walls of the room, in the same manner as the wainscot found in the living-room. A plain field rises from the top of this wainscot to the edge of the ceiling, where it is finished by a narrow molding of cypress. The ceiling is finished like the ceiling of the living-room. At the left-hand side of the room is a very beautiful fireplace, constructed of stone, above which extends a narrow mantel, very simple in design, and slightly carved. A panel of cypress, simply carved, rises from the cear edge of this mantel to the ceiling. On either side of the fireplace, above the wainscot, is a little case Distinctive Homes of M/oderate Cost 139 I _ _ _ _ _ ~_ __ "Felsengarten",*s a remarkable example both of the jud;cious selection of a style and of wonderfully successful composition i conjunction with its rugged site A CALIFORNIA CHALET FELSENGARTEN, A HOME IN THE VENTURA VALLEY, DESIGN\ED BY HUNT &t GREY, ARCHITE(TS WSIHERE A SWTISS TYPE HAS BEEN ADAPTED TO AM/IERICAN N~EEDS conventionality, many novel types of domestic architecture court the eye from out the luxuriant d~rapery of Bougainvillea and Passion Vine. The bungalow and Spanish patio seem especially popular in the towns and cities, and have an inherent propriety in this land of brilliant sunshine. No less adaptable to the rock ridges and green mountains is the style of the Swiss chalet, which in the city seems meaningless. The chalet here shown, designed by H~unt & Grey of Los Angeles, is built in' one of the lovely mountain valleys with which this State abounds. It stands upon a rocky ridge overlooking the long valley, and has the happy, easy look of "'belonging"' which is the reward of careful design<ýs.I nestles between t~wo sheltering live-oaks, seei wvhose boughs almost dip into the window~ss of the living-room; doing the double duty of shading -and decorating the house and a~lso furnishing, rent '-ree, the lea-fy homes of many bird neligbbors. The building lot has 0 een "treated" ~ust as Thie effFective woodwork tha~t ta little as possible in order made of pine boards to preserve the natural and wild look of things. As the picture shows, the boulders have been left to lie just as found, and among them all thle native growth of wild flowers luxuriate in the late winter and early spring; blue Brodiaea, yellow violets, white forget-menots and always the feathery fronds of the coffee fern. After entering the roofed gate, the footpath winds up the hillside over stone steps, cleverly fashioned from rocks found on the hillside, and out upon stepping. stones that land you at the fro~nt door. The pious Tyrolese greeting "Grfis~s G~ott!" is quaintly painted in bright orreen lettering over the door, and from a wrought-iron' arm or b~racket at the side swings a buell wvith chain to announce your~ arrival. On entering you find the same German tthourght carried out in other motives of gay lettering. Between the beani~s one reads the happly wordts F]irischF r e i ----- Frijhlich, "' a n. over a dcoorw ay, the watchw~ord of the ho isehold, I mnmer GemiA-- lich!' In three small panels over the rude door leading from dining-room, es the place of the balustrade is to kitchen, the daughter vvrith sawed-out vattern akf s m a - ^%,&& w%%Yv %ww %o%,Pw r--v--- 140 Distinctive Homes of M/oderate Cost 14 Ditntv Hoe fMdeaeCs of the house has painted a little Tyrolese mou n tain climber w ith alpenstock, a Tyrolese peasant girl, and in the panel between them, the words "Glick auf! " the climbers' cry of "Good lu c k!" Elsewhere little prim green pine trees are painted between the rafters. The living-room is finished with h battened board walls and raft. The living-room walls are of battened board! all of Oregon pine, st< ered ceiling, all of Oregon pine stained a russet brown. The chimney, ten feet broad at the base and six feet thick, is a massive feature done in the rugged style which is the main characteristic of chalet construction. An idea of its massive strength may be obtained from the illustration of the south elevation. In the long, low living-room (26 x 18 ft.) it is a dominant feature, where cord wood logs ablaze furnish cheer and decoration in the cool winter evenings. The hearth, of the rudest masonry of weathered stones, and the great iron hooks mounted in the masonry of the chimney breast, furnish support for a tall iron trident to handle the logs with and a huge bellows of carved black wood. The room is lighted at night by candles in the oddest of rustic sconces and candelabra. A small log is suspended from the rafters by iron chains and fitted with tall wax candles. The light of these and the firelight on the velvety brown wooden walls at night is indescribably beautiful. The primitive quality of the room is further emphasized by the wooden furniture, much of it handmade and hand carved, and by te "whittled" boards s of the balustrade leading to the second story. Draperies of a pale broIn mons cloth p A massfve stone chimney, with a fi brown monks cloth imnev hrat.t distinmlki" s, ai ar e stenciled with conventionalized pine trees in green. They are folded primly over heavy wooden poles set in wooden brackets, simply outlining casement windows, through every one of which are the most enchant i n g views. On the first floor, in addition to the combined living-room and dining-room, show n herethe second floor joists remaining unceiled- with, there is ned a russet brown the kitchen, a pantry between that and the dining-room, a screened porch-considered a necessary part of the kitchen in California-and a bedroom and bath. On the second floor there are four bedrooms, a toilet room and a sleeping-porch. All of the bedrooms are well equipped with closet space. At one end of the veranda is a picturesque well, with old oaken bucket and stone curb. Bamboos and papyrus have been planted at one side, and ivy, destined to cover the timbers that support the bucket. The Deodar cedar, the Irish juniper, the Japan cryptomeria, the Mediterranean heather and the Colorado blue spruce form an interesting setting of conifers for the well plat. An idea of the luxuriance of the live-oak as a winter tree in California may be obtained from the first photograph. The owner has built a platform among the boughs, twelve feet in diamSeter, where afternoon tea is served-a pleasant feature of midwinter life in California. The little chalet has been christened " Fel sengarten," because of the rocky setting to its flower gardens, which unfortunately are so "placed that they cannot be adequately photographed. ýplace measuring ten feet across the photograRAY e nen e nd nf the hbilding HELEN A re he %IAJ4AAAAJ WAVCLO11 %AJO16AAS&&OAAVY Q Wlw V.LL% WJ IAJLL H i "&%&)L--b Distinctive Homes of Moderate Cost 141 - ~ Rough-cast gray plaster walls, brick chimney and base, with lighter plaster in the half-timber gable over the entrance, and flat tile roof, form the rather unusual combination of materials used. In architectural style, the building has a strong suggestion of modern German work A long, narrow house of this type of plan to be light, cheery and well ventilated, it costs more than a square plan There is one servant's room and a bath in the third floor, with abundant storage space C. Howard Crane, architect Four good bedrooms and two baths, with numerous closets, are included in the second story. The closet marked "linen" is a clothes closet. With windows on the long sides and French windows opening upon the paved and latticed porch, the living-room suggests unusual cheer The large reception hall, with its built-in seats and refreshing color scheme of white and gray, has an air of spaciousness and hospitality A HOUSE AT GROSSE POINTE, MICHIGAN 142 Distinctive Homes of Moderate Cost White-painted shingles have been chosen for the wall material, with blinds in green. It would be hard to imagine a better combination to go with the white birches On account of the sloping site the cellar is lighted entirely from the rear, allowing the house to set low into the ground ------- Ihl~ r~e delicately carved Corinthian columnss and pilasters makre a charming front Aymar Embury, ~II., architect etac Rough plaster, tinted, and the dark-stained simple woodwork In thre d* * - rom the side windows are set out above the chair-riil characterize the whole first story, evel, giving a broadf shelf for-house plants THE HOME OF LOUIS STARR, JR., TENAFLY, N, J. Distinctive Homes of Moderate Cost 143 - -- All plaster nouses nave a great aavantage over wooaen ones in that the walls need not be painted. The vine coverings need never be disturbed noo-Foo been gained by having few rooms-the absolute essentials. One chimney serves the furnace and two fireplaces, gas being used for cooking 'he main entrance is at one corner, marked by a simple hood and a small porch A covered veranda extends the whole length of one side, its roof supported by rough treetrunk posts Looking from the dining-room into the living-room. The leaded glass windows are very effective; on the outside these are protected by casements as shown above Moldings and carved woodwork are conspicuous oy tneir aosence; instead, dark plain-surface woodwork is employed throughout to accent structural features THE HOME OF MR. LAWRENCE BUCK, ARCHITECT, ROGERS PARK, CHICAGO, ILL. 144 Distinctive Homes of Moderate Cost Mr. Gurd bought one of the comparatively few old At the rear of the house the land drops sharply Dutch Colonial stone houses in Northern New away, giving an opportunity for an open brickJersey and is gradually remodeling it to con- paved terrace that is reached from the back end form to his needs of the central hall A view from the living-room into the central hall. At the right the partition is carried up only part way between the structural members, giving greater spaciousness to the interior Because of the fact that most of these gambrel-roof houses were rather deficient in space on the second floor two of the bedrooms are located at one end of first floor There is not much of the old-fashioned character retained in the kitchen, with its modern plumbing, heating, glazed built-in cupboard and even the electric bell annunciator tont beatroom on tne nrst noor nas a nreplace facea with a beautiul white-painted mantel and a closet adjoining one jamb In the living-room the large fireplace has a plastered facing without any mantel. The old structural ceiling beams, painted white, remain THE HOME OF MR. JOHN A. GURD, ARCHITECT, RIVER EDGE, N. J. Distinctive Homes of Moderate Cost 145 - --- ---- Residents of Germantown and its vicinity are most fortunate in having an attractive local stone, sparkling with mica, which the Philadelphia architects have learned so well how to use with the broad white mortar joints The first floor plan is of a common type that works out extremely well-central hall, a living -room taking one whole end, and the dining-room opposite, backed by the service wing On the second floor one door closes off the servants' bedrooms with their back stairway. On the third floor there are two good bedrooms, with closets, a bath and an ample storeroom A COUNTRY HOUSE AT WYNNEWOOD, PA. Mellor & Meigs. architects The shingled roof sheltering the first-story windows is a feature commonly called the " Germantown hood " Two built-in seats flank the front door on a brick-paved terrace that is carried around from the porch . ý Distinctive Homes of Moderate Cost J ---- -- __ I I Oarden Cornet"~ iis built of stucco on a wood fkame. The exterior woodwork is of cypress stamied brown- the shingles are silver gray; the sas~h, sage green heol orch on the house "I's in the corner formed by the ell and view over the garden TH~E HO[ME OF; MIRS. S. A. COOLEY GROSSE POI:NTE DETROIT, M/ICHIGAN Carleton Monrozre U5inslow, architect XPCOWva AZOO PIAN5 A IM CI Joj~.4YA4, The woodwork throughout the second floor is enameled white. There are two servants' rooms in the attic 'Thle plot on which 1r6uarden ~ornxer~- st~andrs is i50 it. wide and 125 It. deep. The little tool house was designed for its place under the tree ie house has been completed only!hree years, but the garden has re-. sponded well to the care given it from the very start ýed in a combinat~ion of cyp~ress and Circassian,An arched inglenook is'tfhe main featurre The woodwork M* the first-story hall is chestnut, stained brownt the wall covering between the panels bein gold grass cloth Distinctive Homes of Moderate Cost 147 Distinctive Homes of Moderate Cost 147 Thte front of tne nouse was made lighlter insiae Dy removing the long tront veranda, sthown in tne picture Delow, using the oid columns and moldings of pure Greek contour in a simple entrance porch at the front door REMODELED FARMHOUSE NEAR -NEW YORK Alfred iussellr, architect The living-room and dining-room were each made by tearing out partitions between two rooms. At the right the whole service wing is new 3rC0ND1 fIOY,.PLAN It will be noticed that in the four corners of the old structure where the low roof was maintained the lower height has been given to closets T HE old farmhouse, with its splendid setting of lawn, and grand old trees, with an orchard behind, was substantial but uninhabitable. There was no plumbing, low ceiling, few and stuffy bedrooms, yet the available structure was worth $5,ooo or 6,ooo. Two useless parlors became an airy livingroom, the dining-room.. was expanded in a like manner; on the south end the bedrooms and closets became a library, with a porch facing the orchard. The second floor presented greater difficulties To remove the roof and raise all the walls meant too great cost; but by lifting the center part, front and rear, like tentflaps, the second story yielded four comfortable bedrooms and two baths. A modern wing gave another main bedroom and the servants' quarters. The value of a well established setting, often with mature shrubbery, usually with old trees, suggests possibilities in remodeling many an old house where nature has done her part whether man has kept up his end of it, architecturally, or not. At the near corner an old bedroom and its closets were turned into a library, with a porch on either side 148 Distinctive Homes of Ml/oderate Cost _ ---- I- I C A garden of old-fashioned perennials, filled out with annuals, lies just across the main entrance driveway, with a vegetable garden and garage beyond Illl--lr-laah -.L --~pl-.---. -I THE COUNTRY HOMnE OF\ M/fR. F. D. SHERIMAN PORT WTASHINr~GTON LONG ISLAND 1 obridge &.Ackerman a rchLitects I--.--- II ~-.-i le ~----~I ~~-----II -41r~ Three bathrooms, one containing a showver, are conveniently related to the five bedrooms Large rooms, grouped conveniently around Sspacious hall, make a splendid first story -Fifteen by twtcenty-five feet makes a hall big enough to serve as another living-roora sl ide of the house runs tIhe thirteen-foot-vvide verandat eighty-seven feet long Distinctive Homes of Moderate Cost 149 - - - - -~II A foliage-green landscape paper, in combination with the white woodwork, gives the dining-room a brilliancy approximating outdoors -j A gold wall paper, with brown as the dominant color in furniture coverings and hangings, makes bright the twenty-five-feet-square living-room. French windows, flanking the fireplace, open upon the large veranda - ------ ' "- I 150 Distinctive Homes of Moderate Cost A glimpse of the wild garden, looking from the flower garden along the side of the house iTe house is placed near a front "corner of the 54 x I6o,ft* lot, with its living-rooms at the rear #-,tw On account of its size it was thought best to make the living-room higher by lowering its floor Awiae overnang or tne roor, shelters the main entran ' he yiving-room wnicn measures 14 It. 8 in. by 28 It. 3 in., gives up a part o0 its floor space for dining use. A light brown stain finishes the wood trim Le electric bulbs and cords are suspended from wooden arms on the side wall THE HOME OF MR. ALFRED T. TAYLOR, ARCHITECT, NEAR SYRACUSE, N. Y. Distinctive Homes of Moderate Cost 151 - i' A dilapidated wreck of a house that tradition says is over two hundred years old, and was used by Captain Kidd, has been reclaimed from ruin for a New York bachelor's week-end cottage. Nearly everything but the hand-hewn timbers of oak had to be rebuilt, but the general character of the old work has been maintained Max G. Heidleberg, architect On the first floor the diningroom has an enormous old fireplace with an opening ten feet wide Before remodeling only one room on the second floor was habitable; the others were flooded by every rain E New hand-riven shingles were put on, and new lattice columns ana flower-boxes were added, the latter painted an emerald green In the old house the second and third story floor beams were never covered by lath and plaster. Mud brick filled the spaces between studs THE RECONSTRUCTION OF AN ABANDONED FARM HOUSE, SEA GIRT, N. J. 152 Distinctive Homes of Moderate Cost Le house measures only fifty-six feet in its greatest dimension, by thirty feet deep, yet has the dignity of larger homes with even more charm. The oriel window in the boudoir helps to accent the central entrance porch Although the hall itself is but seven feet wide, spaciousness is gained by making the staircase hall beyond somewhat wider The disposition of the main floor and its connection with the garden and old barn is a convincing argument for the judicious handling along formal lines of even the smallest home The convenient arrangement or tne owner's suite is notaDie. bacn vo the bedrooms has a fireplace and adjoining bath and abundant closet) space. On the third floor are the servants' rooms and a study Guy Lowell, architect he parlor is the largest room in the house and is only seventeen feet square. Very simple bookshelves are built along the walls of the library beyond The dining-room, like the parlor and library, has its fireplace, with wbitepainted woodwork of mantel, wainscot and china closets designed along Georgian lines A HOUSE AT CAMBRIDGE, MASSACHUSETTS The Bates house stands upon a knoll commanding a view over The kitchen and service porch are at the left, conveniently near the Long Island Sound1 street front A HOUSE BUILT FOR A VIEW THE HOME OF MR. GEORGE V. BATES AT MAMARONECK, CONN., AYMAR EMBURY, 2d, ARCHITECT AST summer while driving along a road running parallel with the shore of Lake Minnetonka in Minnesota, my attention was drawn to a house that stood on a slight elevation between the road and the beautiful lake. The site was one of unusual natural advantages, yet the house had been built with its front looking down over a miry cow-yard that bordered the road, while at its back, on the lake side, a dense clump of r a g g e d evergreens effectually shut out the glorious lake below, even from the back door. I believe that this particular house has been torn down to make way for the new home of a man who knows a view when he sees one, yet I venture to say that this same brand of stupidity is to be found--though in a lesser degree, let us hope all over the land among those who are content with stereotyped h o u s e p 1 a n s, whatever may be the character of the acquired sites. If there is one principle that will apply to every home that is being erected to-day, one slogan that needs to be shouted from the house-tops, it is "Design your house to fit its site." Mr. Bates' house at Mamaroneck is an excellent example of what may result when this vital principle is held to, firmly and understandingly, in the making Across the living-room of a home. The site is at the porch is built.red corner of two streets, well above and perhaps a half mile back from a small bay opening into Long Island Sound. From the intersection of the streets the ground rises to a rounded knoll and then drops sharply away towards the east and the water. All over the plot there are occasional outcroppings of rock. The house has been placed on the knoll, with its longer side to the north. The natural - or shall we m say the commonplace?- thing would have been to have the porch running around the north and west sides of the house, so that one might sit out upon it and watch one's neighbors walk along the n e a r b y sidewalks, putting the kitchen and service portion of the house as far away from the street fronts as possible, w h e r e, incidentally, they would have had the view down over the garden towards the Sound. Perhaps a further conventional detail would have been the use of those nice pressed brick for the walls and p i e r s, since stone was so "conmmon around the place. However, Mr. Bates and Mr. Embury, his architect, didn't do it just that way. Stone piers and underpinning grew naturally into the design, as do the rocks nd of the house the view from out of the site itself. The he boys' playrooman beneath it passing of neighbors and an eI 153 154 Distinctive Homes of Moderate Cost. 15 i t n t v o es o o e a e C s occasional butcher's boy did not seem so interesting for a steady diet as did the view out upon the everchanging Sound. So the living-room was put at the back of the house and the kitchen brought to the front. Even then the house did not seem topsyturvy, for the main path to the entrance led naturally up from the corner of the plot and around to the entrance porch on the side, which happened White wainscoating with stencil patterns, and also to front on an effective the other street. A fairly large porch is to be found on the north front, about thirteen by fifteen feet in size, and marked by massive stone piers at the four corners. To the left, as one faces the front door, is the living portion of the house-a large room and its adjoining view porch, which one reaches through French windows in the east side of the former. A glance at the floor plan will show that the view porch may be reached only through the living-room, so that its privacy is assured. And that it differs from the ordinary run of porches is evident in several of the photographs of the exterior, in which it will be seen that the supporting members are not the customary piers or walls, but sturdy brackets of dark brown stained wood, braced against the stonework of the main structure below. On the other side of the central hall lies the dining room, fifteen and a half by fifteen feet in size and with a distinctive character all it s own. A white painted wainsgold and green Japanese paper above, make coting extends lining-room around the room, bearing on its top a plate-rail. Above this, and reaching to the picture molding, the walls are covered with a Japanese paper in dull gold and green, which colors are Iepeated in the stencil pattern that is applied to the upper square panels of the white wainscoting. The furniture is of mahogany, contrasting well with the white woodwork. The table light is rather unusual; instead of a dome light hanging low over the table, this one consists of a shallow dish-like member of opalescent glass, supported by chains, and diffusing the light from the electric lamps immediately above it. The effect is an a d On the first floor the kitchen range and living-room fireplace use the same chimney, A maid's room and storage rooms are in the attic Distinctive Homes of Moderate Cost 155 - The entrance porch, 13 x 20 ft., is on the north side of the house, convenient to the corner of the two streets, and marked by massive stone piers evenly lighted room, with a soft rosy glow over the table itself. The small bronze button on the bottom of the fixture may be removed to uncover a socket for a drop-light connection when one is desired. Immediately back of the dining-room lies the butler's pantry and the kitchen. The first floor plan shows how well and how generously the latter has been equipped with dressers, potcloset, ice-box compartment and windows. An economical feature of the plan is the arrangement by which but one chimney is needed, providing flues for the hot-water heater, a laundry stove in the basement, the kitchen range and the big fireplace in the living-room. Throughout the first floor and in the hall upstairs as well, the woodwork is of cypress, stained a soft brown without the least gloss. The bedrooms and baths, of course, are in white. On the second floor there are four bedrooms and two baths, and, as is shown by the plan, the provision for closet room has been complete. There really is more available room of this kind than becomes apparent in the plan. In the owner's bed- From the porch the view is room, for example, and in the Island just vis: boys' room as well, small closets have been built into the slope of the roof adjoining the dormer windows. They are down near the floor and not very deep, but they do make excellent repositories for shoes, hats and such things. Then, too, in the larger guest room there is a similar closet built into the slope of the roof on the north side--this time about four and a half feet high. To those who object to having gambrel roofs on their houses because of their necessary accompaniment of sloping ceilings in the bedrooms, the possibility of this extra closet space may offset the former exaggerated fault. On the third floor, the presence of which is hardly suslpected from the exterior appearance of the house, there is a commodious maid's room at the west end, lighted and ventilated by two "eyebrow" windows of am ple size, and equipped also with a stationary wash-basin. In addition there are two storerooms, each with its window, and with ceiling boards over the rafters in the interest of a more e v e n temperature and absence of dust. In the basement, which )wn over the Sound, with Long has two entrances on the le in the distance ground level-one leading to do ibl 156 Distinctiv6 Homes of Moderate Cost 156 Distinctive Homes of Moderate Cost the laundry, heater-room and cold-cellar, and the other one opening under the view porch directly into a large room that is ceiled with stained pine boards, heated with hot-water pipes on the ceiling, lighted with wirescreened electric lights, and used as the boys' playroom. In it are gathered all their toys, rods, racquets, express wagons and the thousand and one other necessary parts of their equipment, with plenty of shelves, work-benches and lockers. It is the boys' own room and it looks the part. Variety of materials in the exterior of a house can scarcely be put forward as an invariable guarantee of beauty or effectiveness. Indeed, unless the combination is very carefully thought out, mere variety usually presupposes an uneasy effect of fussiness and a lack of repose.. Roughly laid stonework, dipped shingles, and 'stucco, for the walls, with shingles again, but in a different color, for the rccf, make a variety that sounds rather formidable for a house of comparatively small area, yet the Bates house can surely not be. accused of being lacking in repose because of it. In fact the variety seems here to have given the house a thoroughly agreeable air of distinction as well as an appearance of greater size than it really has. Mr. B3ates takes much pride in the stonework. Many of the pieces he spied out along the roadside, while driving about the country, and brought home because of their attractive qualities H. H. S. A NEW HOUSE INSPIRED BY AN OLD ON THE BISHOP HOUSE AT NORWALK, CONNECTICUT, WHICH IS A DIRECT LINEAL DESCENDANT RO FAMOUS COLONIAL ANCESTOR, SHIRLEY-ON-THE-JAMES IT has been said that genius consists of an infinite capacity for taking, pains. But there is another factor in it-ýthe ability to think of things, and that is what an architect must have, in good store, if he would build a house that really achieves distinction. I think I can claim that the Bishop House at Norwalk possesses the last-named quality without much fear of contradiction. The house is surely not one of the million that we are perfectly content to pass by with never a second look. It compels attention, not because of any eccentricity in design, not because of any weird hybrids among its architectural motives, nor because of any -unusual and dazzling color scheme, but solely because it does have that elusive quality of architectural distinction. It is a gentleman among houses, and a gentleman that traces his lineage back to noble ancestors It is not always profitable to try dissecting beauty of any kind-most of us are content to recognize it, enjoy it, and let it go at that. In this case, however, I think it would perhaps be really helpful to-those of us who' hope one day to build, if we were to try to find just why the Bishop house is good, and deduct therefrom a general principle or two that might well be kept in mind. In the first place, a glance at the floor plans reproduced herewith suggests the idea that the house is not a great success as regards bedroom accommodation. The fact is, however, that the third story is very different from the general run in the extent of its floor space. It contains as many bedrooms as the second floor, and has a bath and a storage room as well. Moreover, these rooms are not made unbearably hot in summer through the close proximity of the roof; A "1Porch Entry " marks the front of the Bishop house, which was designed by Mr. Joy Wheeler Dow, architect The strong horizontal lines in Germantown hood and cornic"e save the proportions by reducing the apparent height Distinctive Homes of Moderate Cost 157 Distinctive Homes of Moderate Cost 157 above the third story ~ there is an air chamber of considerable extent, reached by a scuttle, and ventilated by means of the eyebrow windows visible in the two photographs of the exterior. Ordinarily a house of such comparatively s m a 11 area would be inordinately high with three full stories and an air chamber above; probably it would look more like a shot-tower than a private residence. That the Bishop house does not e v e n faintly suggest At the side of the living-room a min e v 1i. n i s g projection fr such a fault is due to Mr. Dow's able handling of his roof lines and the strong horizontal lines that extend entirely around the house in the Germantown hood above the first-story windows, and in the cornice at the base of the roof. Another feature that will be at once apparent is the lack of a porch in the ordinary sense of the word. In its place there is the Porch Entry at the front of the hall, reached by two short flights of side steps with wide stoops. Its wide opening in front, capable of being closed up with blinds, provides at will either a sitting-porch or a vestibule. In addition the side entrance to the living-room, with its quaint projecting shelter from the Germantown hood, provides another means of egress to the garden. There are parquetry floors laid in a special design throughout the first and second stories excepting in the kitchen, where a maple floor serves the purpose better, and in the bathrooms where tile is used. On the first sto r y the doors are of mahogany with crystal k nob s, excepting in t h e service portion, w h e r e white pine is used, painted white. Upstairs the white painted woodwork is in evidence throughout, including wainscoting in all the prinentrance doorway is sheltered by a cipal rooms. Most of a the hood the rooms are papered from chair-rail to the wooden cornices, and the ceilings show white plaster. The Porch Entry also has a plastered ceiling, this time an interesting texture and.a tinge of gray. The oval dining-room is another point of interest, made more attractive by reason of its fireplace at one end and its two built-in china closets flanking the doorway at the other. And, speaking of fireplaces, the Bishop house has a generous supply of them- in hall, in living-room, and in the owner's bedroom, besides the one that lends cheer to those at table. Two bathrooms appear in the second-story plan, one a private one for the owner, and opening only from his bedchamber, the other opening from the hall. The house is neated by an improved warm-air lor oon OCAPlLr IN E~LT 0 t In addition to the rooms shown on the first and second story plans the third story affords four more bedrooms, a bath and a store-room I 158 Distinctive Homes of Moderate Cost 158Distinctive Homes of Moderate Cost system that provides about double the usual quantity of w~armed air at a temperature low enough to insure its being pleasantly wholesome. Th e re can hardly be said to be a " front " and a " back '" of the Bishop house, for the back has -none of the unpleasant and unsightly features that are c o m mo nIy expected.. Here the service entrance is located unobtrusively at one corner and the main portion of the rear is s c arc el1y less attractive than the front. It is said that there lives a man in Norwalk who has been so fascinated with the rear elevation of the house that he can claim but scant acquaintance with the build.ing from other points of view. H. L., III. White painted woodwork, with wainscoting and mahogany doors, preserve the Colonial atmosphere of the interior "6HILLCREST," PORT HOPE, ONTARIO A REMODELED COLONIAL COUNTRY HOME OVERLOOKING LAKE ONTARIO--A HOUSE IN WJHIC MARVELOUS COLLECTION OF ANTIQUE FURNITURE FINDS AN HARMONIOUS SETTING A Nexcellent climate and a beautiful and cultivated country have induced a number of Americans to establish country homes in Cobourg and Port Hope, Ontario, and their vicinity. This part of Canada -was settled shortly after the Revolutionary War and -now has the appearance of fairly great age. With the -addition of old manor houses and old churches, one,could imagine oneself in England, as the country is rolling and well wooded, with many elms; and the farmhouses are usually substantially built of brick or ýstone. Not the least attraction is Lake Ontario, which -in its coloring often rivals the Mediterranean. Overlooking Lake Ontario there is a high piece of land which is practically a woods of oaks and large Pines. On the highest point is situated " Hillcrest,'',standing about 250 feet above the lake with grounds of.oaks covering some thirteen acres. The house is very appropriately named, as the ground it stands upon is almost the only level land in that vicinity. The original house was well built about thirty years ago, and was L-shaped with no particular architectural features. The old walls were retained in the transformation of the old building into a practically new house, both inside and out, in the Georgian style. First a wing was added at the north side, to correspond with the south wing, and a veranda with Ionic columns was built between the two, making the east front. Later a north front was made by adding to the west end and erecting a portico of Corinthian columns. This faces the road, while the east front overlooks the town and Lake Ontario. All the windows were altered to conlform to the Georgian style, as were all the other details of the exterior-cornice, dormer windows, casement windows and new doors being added. While the Distinctive Homes of Moderate Cost 159 Distinctive Homes of Moderate Cost 159 Hillcrest as it stands is a house remodeled along purely Georgian lines from a nondescript building of the late seventies exterior of the house is very attractive and in good style, the interior, -the magnificent view and situation and the grounds are what make "Hillcrest" a very beautiful country home. The situation is unique and the available view can be imagined when one pictures the possibility of sitting in the middle of the drawing-room on a clear day and seeing over the blue waters of Lake Ontario for thirty -miles. From the verandas a prospect can be had of many miles over town, rolling country and far distant wooded hills, as well as the sight of the ever beautiful lake. The fine oaks and rolling hilly land give the grounds an effect of substantial permanence. The natural beauties have been. augmented by walks and drives, Italian gardens, tennis courts, Georgian summer-house and bridge, and so on. Entering the east door one finds the dining-room The dining-room paper is ivory white with a green pattern, copied from an old house in North Carolina White woodwork and genuine old Colonial furniture prevail in the bedrooms throughout the house 160 Distinctive Homes of M/loderate Cost 160 Ditictv Hoe of MoeaeCs from the hall contains a good stationary Colonial transom, which, with the chair-rail, door leading to the enclosed veranda, the mantelpiece and plaster cornice, are the architectural decorations of the room. In this room, as well as the other rooms, the mantels are those of wood, while, with the exception of the library, the woodwork throughout the house is painted white. The wall paper of the dining-room is ivory white with the pattern in green; it was copied from that in an old house in North Carolina. So many houses are spoiled by the architectural features and the fact that the furniture is not in harmony. Such is not the case at "Hillcrest, " where there exists a fine collection of antique furniture, ninety per cent of The library is the only room with dark woodwork, and the furniture is largely of 17th century which are good English oak which are good American specimens of the eighteenth to the left of the hall and the drawing-room to the century. So far as possible it was attempted to make right. The former is twenty-seven feet in length and each room illustrate a certain style of furniture; thus sixteen and one-half feet in width. The large door the dining-room is furnished principally in the Sheraton style, the chairs, diningtable, one sideboard and a cellaret belonging to t h a t period; while the two other sideboards belong to the style which harmonizes best with the Sheraton, that is the Hepplewhite. The chairs are remarkably fine and are a set which came from an old house in New Jersey. Almost all the pieces on the sideboard are genuine old specimens of Georgian silver and Sheffield plate. The drawing-room is a stately one, sixteen and onehalf feet wide and thirty-six feet in length. The furniture is not so much indicative of one style, but is, however, harmonious and belonging to the English designs of the Georgian Era. Among the treasures is a beautiful pair of large Hepplewhite mirrors (found in Philadelphia) and a splendid Chippendale upholThe octagonal Yellow Room, where everything is Colonial, even to the clasps that hold back the curtains stered arm-chair, the carving Distinctive Homes of Moderate Cost 161 "Dsintv Hoe o odrte Cst6 of which is gilded. On either side of the fireplace is a large Dresden Mayflower vase, between which is seen a handsome old brass fender, five and one-half feet long. Above, on the mantelshelf, is a pair of fine old French bronzes of the time of Napoleon I, one by Deleselle, the other by A. L. Veel. The main architectural features of the drawing-room are the large white mantelpiece, the windowseats at both ends, and a good plaster cornice. The woodwork is white and the wall paper a plain rich green, the upholstery and the hangings being of the same coloring. From the drawing-room one enters the library, a large room, in shape and style resembling an old Jacobean hall, with a length of forty-eight feet and a width of sixteen and onehalf feet. This is the only room which is not in the Colonial" style, the woodwork being quartered oak stained a very dark color, while the wall covering is a plain rich red; the hangings are of a mohair damask of the same color. Most of the furniture was imported from England, being old pieces of the seventeenth cent u r y. There are, however, sorne good American " Queen Anne"' walnut chairs, and a couple of good seventeenth century tables, a very rare one in the foreground. A fine olivewood chest, beautifully carved and of the same century, is shown in the illustration. In the rear of the library is an octagonal room containing some rare specimens of American Chippendale. It is known as the Yellow Room, the wall paper being of that color, while the furniture covering is woolen rep of a medium dark blue. J. L. SCHWARTZ Hillcrest's acres are notable for the growth of oaks and pines A STUDIO OF CHESTNUT SLABS AND CEMENT THE BUILDING OF A SUMMER HOME WITH UNUSUAL MATERIALS AND METHODS-USING WASTE CUTS FROM THE SAW-MILL TO HOLD THE COST DOWN TO $3,000 WHEN I first decided to build a studio in the country my ideas were very modest. I wanted a quiet place in which to work, with green trees all around and something of a view in the distance. I picked out a site on the highest and wildest portion of our old farm and went to work with an ax to make a clearing. When this was done I had a beautiful view of the Bronx valley with Kensico Lake below me in the near distance. I was careful to locate near a good spring which, fortunately, I found at a higher elevation so that the water would reach the cabin by gravity. My first impulse was to build a simple little log-cabin, containing a single large room, a big stone fireplace and a large studio window facing north; but my ideas began to expand when I contemplated the view I had made by chopping down the trees and bushes which had grown in this spot for years. I decided to add two sleeping-rooms--then, of course, I had to have a porch. The expansion continued by gentle gradations and I reasoned that by extending the walls upwards and with the same roof I could, with very little additional expense, have a second story. This would give me a good-size living-room, two bedrooms and a piazza on the first floor and, by running out a gable from the north side of the roof, I could have a large window, eight by ten feet, on the second floor and plenty of room for a studio over the two bedrooms. By this time I had caught the building fever and I finally determined to build an up-to-date rustic cottage, so I set about drawing plans to scale, located the nearest saw-mill and consulted a reliable carpenter. I soon found out that it would be impracticable to 162 Distinctive Homes of Moderate Cost 162 Distinctive Homes of Moderate Cost The outside cuts from chestnut logs were nailed to an ordinary stud frame, the chinks being filled with cement on wire mesh build the cabin of whole logs, as there were very few trees in -my immediate neighborhood that were sufficiently straight and of equal dimensions. The sawmill, however, gave me the idea of using slabs which to all outward appearances would give an effect similar to that of whole logs. A slab, in the vernacular of the saw-mill, is the first outside slice of a log, retaining the bark; hence, in order to cut a square timber, there would be four slabs cut from each log. These slabs are practically useless and are used by farmers for firewood or to make pig-pens or rude fences and they are sold for $ i. oo a double load-all you can haul away on one trip. My first step was to secure a good mason for the foundations to the house, piers under the veranda and for the chimney. As the site chosen was on a side hill there was very little excavatingy to be done for the cellar; aside fromi this, building 'on a side hill always insures good drainage. The next step was to get a contract from a reliable carpenter-after bids had been received from several--for the framework, the roof, floors, partitions, stairways, windows and doors. All the rest of the house I finished myself with the assisttance of a competent man who was handy with tools. The first operation was to sheathe the whole exterior with slabs, nailing them firmly to the studding and leaving a space of from half an inch to an inch between the slabs for the cement caulking. Next I procured some half-inch wire mesh and cut it into strips sufficiently wide to cover the open spaces between the slabs. The wire mesh strips I then tacked over the open spaces from the inside with half-inch wire staples. I next mixed some brown-hair mortar-with a generous amount of hair, and about one-quarter Portland cement, and laid it in with a narrow pointingup trowel both inside and outside over the mesh between the slabs. This forms an unbreakable " clinch" and prevents the cement from chipping off and falling out. The outside of the building will probably have to be gone over after a year or two and patched in places, as the slabs will season and shrink; but this can easily be done with the aid of a long ladder. For the outside cement panels I used any old boards for a background, then beveled two sides of ordina-ry laths in such a way as to form an undercut groove when the beveled edges face the panel. I nailed these laths three or four inches apart on the wooden panel and plastered the whole surface with the same proportioned mixture of mortar, hair and cement as was used in sealing the slabs. After the plaster was thoroughly dry, the panels were tinted red with ordinary shingle stain-the same tint being used for the shingle roof, which will be found very effective to relieve the sombre tone of the exterior. For the piazza posts I cut whole locust trees showing seven or eight inches at the butt end, smaller pieces for the railings and still smaller pieces for the filling in. Locust has a very rough bark and will blend well with the chestnut slabs of the exterior; besides this it is a very hard wood and the weather will not affect it. This completed the exterior, and the work of fitting up the interior was begun. For the stairways white birch was used for making the newel posts, railings and other odd fittings. The Distinctive Homes of M/3oderate Cost 1633 same scheme was carried up right around the open well. W;7hite b~irch. is a soft wcood and I Illil~ may be u~sed o-nly for inter-ior work, but great car-e should be used in handling it when green, as the b-arlk is very tender andcl will curl u p w ~hen bruisedl orcut. After it has thoroughly seasoned, howrever, the b:arkl and wood b-ecom-e hard a n~- d fixed. For the trimming to doors and wit1-dowss I p:icked o-ut r the wood of the younga checstnut, whhichz is a smlooth gray,~~. $ dap~pled with lighter s p o ts. Large, irregular knots, h~ere and there w~ill add mnuch to t h e general eff ect. The whole interior of the cottage was then sheathed with seven-eighths by seven inches tongue- and-groove North Carolina pine, which is. the cheap~est sheathing in the market (the cheap~est slleathin9 can be used as the walls will all be covered up with some White birch stair and gal textile material). If the cot- with sla tage is to be used during any portion of the winter months, it would be well to insert between the studding, so as to leave an air space between it and the slabs, some good felting, several kinds of which are obtainable at reasonable prices. This felting keeps out cold, keeps in heat and, besides Y is sound- and vermin-proof; it will add only about on7e per cent to the cost of the building. Then make a perpendicular wainscoting all around the living-room, four feet high, using the rougher wood with the bark on of chestnut, hickory or oak and cap it with a six-inch shelf. By using different woods for different rooms the samne scheme may be carried out with slight variations throughout the house. If red cedars are plentiful in the neighborhood a very attractive and sweet-smelling den can be wainscoted with +11ýQ ATC-Irl 1 VX7' 10-174 Cr +1.n Cn isizc 1-t- 1!ýJ flir)1104 dlery railings and furniture brighten the living-room, which is wainscoted ibs, the upper wall surface being covered with Java mats The front door wvas patterned azfter the old-fashioned Dutch doors, of massive b~uild, macle in twco p~ieces, cut horizontally in the center, using hard wood-, which is stained a dark bottle-green, causing the beautiful grain of the wood to stand, out; conspi~cuously. For the windows I sp~ecified " casement '' throtighout the house-A--he lower floor square- panes, sixteen to the sash, a-nd for the second flloor the small diamond p~anes. Sp~ecifications for the gr~eat stonlle fireplace and chimnley can-~not b:e too carefully niade; otherwise the chim~ney will surely sm~oke an1d pr~ove to b~e a sourrce of endrless di~sco-n-fort. F'or the hear-th a strong box was b:uilt b-eneath the floori-111ý with cleats nailedl on both sides of the floor b~earns to withstand the weight. This b~ox extends al~ong the whole front of the masonry, i-nealsuring ablout four or five feet w\ide and six inches deep.~ This was filled with concrete an1d the topl floated off smlooth, then the namne of the cottage was laid in in rude mosaic br-y embedding stones inl cement-w\hi-te ones for thbe lettering and dark.j 2d o-nes fo~r the filling-in. The studio Be C1 Floor -/OO is left; open. all the way up>, show12ý X I' qoV ing the peaked roof. A broad CEI)QCYgallery, abo-tit twelve feet wide and ei~ght feet from-1 the floor, is ope bcI ':uilt on th~e south end wiivth a. ug7-r u'9 narrow stairway, newel posts, P-10 balustrade and other pieces all 8'X 1 made of white birch. "The space 0'x22 'ý 7' beneath t he gallery m ay b e Iover all four sides partitioned or. curtained off and The main living-room extends up to the roof, with a gallery around 164 Distinctive Homes of M~Ioderate Cost 16 itntv oeso oeaeCs used for whatever purposes desired. The inside walls of the house, being sheathed instead of plastered, may be covered with a burlap or other textile. I found a really cheap and effective wall covering in the common Java mats, obtainable from almost any of the large coffee-roasting houses for about fifteen cents apiece. They are of double thickness and, when the bindings have been cut, will measure about twelve feet in length by thirty inches in width. After they have been tacked on the walls they will take any of the ordinary wood stains, dark red and dark green being most effective. Owing to the intermixture of both rough and smooth straw fibre in the weave, the stain dries in irregular strips, giving a very pleasing effect. A wide border, or frieze, can be made of the same material and simple Indian designs stenciled or painted thereon. Stains can be used here, or common oil paints well diluted with turpentine, to give the dull finish. The lower part of the frieze is fringed out three or four inches. The stencil design may be extended to the decoration of pillow covers, hangings and even mats for the floor, using the same Java mats. Screens with framework of white birch and panels cut from the mats and decorated with Indian designs, are useful and ornamental. In order to have everything in keeping, the furniture should all be made of the rough natural wood with the bark on. Any man who is skillful with hammer, gouge and chisel, can fashion any piece of furniture to be used in the cottage, and the mere fact that accurate geometrical lines are not to be followed, will make the furniture the more attractive. Avoid spindle-legged furniture, one piece of which, in the living-room, will throw the whole scheme out of harmony The kitchen and servant's quarters are in a separate one-story addition, twenty feet or more from the main building and joined to it by an enclosed passageway. This enclosure is used as a dining-room, except in fine weather, when meals are served on the veranda. The most important items I have left until the last, namely, bath and shower-the question "how to build a bathroom without the aid of a plumber" having required much thought. The cheapest estimated outfit cf any practical value would cost between $350 and $400; but after studying the problem in its essentials, I have put together what I consider, for all intents and purposes, a practical and efficient bathroom. A small space was partitioned off and completely lined with zinc, a small tank being placed as high up on the wall as possible and filled by pumping water from a large tank in the cellar by means of a small hand pump; a shower spray was easily attached. A porcelain tub was picked up for a song from one of the house-wrecking concerns to go under the shower, and a single waste pipe leads directly to the cesspool. An ordinary kerosene stove sufficiently large to hold a good-size cauldron is placed immediately alongside, and by attaching a faucet and a piece of rubber hose to the cauldron the hot water problem is solved independent of the kitchen; the shower spray will do the rest. If your spring has a sufficient elevation so that water will reach the second floor by gravity, a cement tank should be built alongside to insure plenty of water in extremely dry weather. If, on the other hand, there is no spring, an inexpensive wooden tank can easily be made of heavy planks three inches thick, leaving a small space between each and caulking the seams with oakum and white lead, the whole being well bolted together with iron bracing rods. This should be built in the cellar, of sufficient capacity to hold water enough to supply the household for all ordinary purposes. A few heavy rains on the roof will more than fill any tank. The water may be kept perfectly pure if you have not creosoted your shingles, and a quarter-inch wire mesh is used as a covering to the roof-gutters and openings to the leaders. Then a porous stone filter can always be placed inside the tank. The building, complete, could be put up for between $2,500 and $3,000 within a radius of, say, fifty miles of New York, providing, of course, that the owner devotes as much time to the interior decoration and rustic work as I have done on mine. I have named my cottage "Ano-a-tok," an Eskimo Indian word signifying "The Home of the Winds, " and notwithstanding the fact that the house could stand a number of improvements, I am fairly well satisfied with my efforts. EDWARD FESSER A SOUTHERN CALIFORNIA HOUSE AND ITS GARDEN THE HOME OF DR. GUY COCHRAN, PASSADENA, CALIFORNIA, INTO WHICH THE ARCHITECTS, MYRON HUNT AND ELMER GREY, HAVE INSTILLED SOMETHING OF THE SPIRIT OF THE FAR WEST C^ \ BEAUTIFUL house in a fair landscape is the did of Italy, " Sometimes our road led us through groves most delightful scene of the cultivated earth, of olives or by gardens of oranges." and all the more so if there be an artistic But given the most favorable conditions of soil and garden." climate, yet what fearful jungles of gorgeous vegetaThe chief charm of Southern California is conceded tion and what hideous set patterns in the midst of to lie in its perpetual gardenry, and Addison, indeed, superb lawn one may find there. There is no reason might have written of this lovely sunny country, as he why we should not have true art in the garden, nor that Distinctive Homes of Moderate Cost 1 Gi v, - ____ - --, F we should not learn -.-------. from Nature the best use of airy spaces, and the massing and grouping of trees and shrub s, and not accept the varied slopes she may offer. -( That the Italians understood gardening in the purely artistic sense is shown in some of their very old gardens--the Giusti G ardens at Verona for example-where trees in their natural forms are preserved to lend their peculiar beauty. They loved the "divinely settled" form of tree or shrub or flower beyond any possible A broad tile-paved terrace exten expression of man's misguided efforts with shears, such as we see in old Dutch prints, now and then. They realized also the charm a bit of water adds to a garden, and so introduced fountains and pools, being careful to avoid any impression of crowding when vegetation was placed in the water. The aim of this sketch is not only to uproot the idea of a set - garden - pattern at one side of a house, but more especially to show how a mass which is thoroughly artistic may appear to spring of itself out of the very earth. This is the ids across the entire rear of the main portion of the house, giving a view down over the garden inevitable result where house and garden harmonize perfectly. The accompanying illustrations are of a Southern California house fashioned after the English thatchroofed cottage, the thatch idea being very cleverly carried out by the architect in the lines of the main roof. As we approach the house from the street, by the red brick pavement and the bricked terrace, we are reminded of the closed Gentian of far-away New England hills whose inner recesses do not reveal themselves to the casual observer; for it is not until we peep beyond the somewhat formal entrance that we realize its hidden charms. A certain straightforward simplicity an d line of this fascinating home, and the thresholdlonce crcssed, what warmth and hospitality prevail throughout! Somewhat contrary to the prevailing popular mode we find ourselves in a comparatively restricted entrance hall, which leads into a group of living-rooms. Passing through the living-room we come out upon a bricked terrace overlooking the garden at the rear of the house. Here, nestled in the green, are two pools bordered with red that is held up by the brick, full of flamboyant waterieyond lilies, white, pink and blue. The living-room extends up through both stories, excepting for the balcon exposed ceiling beams. The music room may be seen b 166 Distinctive Homes of Moderate Cost 166 Distinctive Homes of Moderate Cost The picturesque mass of the front with its projecting gable and octagonal form of staircase walls is so attractively designed that one would never suspect the former of sheltering the service portion of the house In the dining-room which opens up broadly into the side of the living-room opposite the music room, the same rough tinted plaster and simple dark woodwork prevail Distinctive Homes of Moderate Cost 167 T"%-- From the music room a hall leads to the front of the house and the Doctor's office It would be hard to find a more distinctive feature to any home than the inviting fire-corner and the open stairway leading up out of the living-room to the balcony 168 Distinctive H-~omes of M/~oderate Cost 16 Disinciv Home ofMdraeCs Potted plants and shrubs add their charm to this enchanted spot, and again suggest Italian gardens. What a perfect place for a sun-dial! In the center of this mass of foliage under the deep clear blue of Southern California skies where for at least six months out of every year no cloud intercepts the glorious sunshine; where "the sly shadow steals away upon the dial, and the quickest eye r" can discover no more but that it is gone!" Zinnias, dahlias, cosmos, - 1 roses, daisies, gladioli, chrysanthemums and cacti bloom here in profusion the year 'round. Over beyond the The first floor plan makes clear pools, a pergola, laden down interior effected by opening u] with flowering vines, surmounts the crest of an abrupt hill at the base of which runs the road leading to the garage. The beautiful pepper trees add decoratively to the delightful scene, their delicate lacey outline is silhouetted against the clear sky and their delightful usefulness is plainly demonstrated in the rest and comfort afforded by the shade of their branches overhanging a charming little balcony which looks out upon the side street from which leads the road by easy grade into the "- _I--^ garage. SI The dominant note of the I lower floor is its woodwork, the unique treatment of. which deserves special men[ I.-*- tion. Exposed beams of ~, Oregon pine are used, while 1 the pillars are of California redwood, both pine and redwood having been burned to a brown black, then waxed. They are really charred wood, rubbed down. The walls throughout the house are rough plastered - I. C i and tinted; a delicate gray is used in the living-room, ie unusual spaciousness of the and a warm brown in the together the three main rooms dining-room. In the reception-room, a yellow "oil" stain is used, which is quite irregular and very effective. The hangings throughout these rooms are red in winter and yellow in summer. Much brick-red is used in the living-room, and old blue in the musicroom. Indeed the general color scheme may be said to be old blue, ivory and brick-red, blending most delightfully with the woodwork as described and the hardwood floors, which are dark golden brown, waxed and polished. ELISE GALLAUDET ti p t THE WIGWAM A MODEST COUNTRY HOUSE AT WAWA, DELAWARE COUNTY, PA., THE SUMMER HOME OF MR. EDWIN R. KELLER-A THOROUGHLY AMERICAN TYPE THAT SHOWS UNUSUAL FEATURES OF CONSTRUCTION ALMOST every house that can lay any claim to picturesqueness, almost every house that the owner confidently believes he is going to build for less than it could possibly cost him, almost every house that is being put up in the country districts to-day, is joyously dubbed a "bungalow. " When we in America get hold of a new word that sounds well, and of which few people know the exact meaning, we almost invariably The front of the building is almost hidden by a group of sycamores For the walls and roof cypress shingles have been used, not stained but left to weather Distinctive Homes of Moderate Cost 169 Distinctive Homes of Moderate Cost 169 Over the inside sheathing strips of white-painted cypress divide the wall space into panels In the dining-room blue burlap fills the lower panels over the sheathing, with a figured linen taffeta above work it to death. By the time it has been in use for several years its mother tongue would not recognize it at all. It would be an interesting thing to see a composite photograph of what everyone who uses the word bungalow conceives it to mean. Now as the word is used in India, its own home, it means a house having all of its rooms on one floor; and incidentally one whose roof is a prominent and picturesque feature of the building. Measured by this standard, Mr. Edwin R. Keller's country home at Wawa, Pa., is not a bungalow, for it boasts an attic, but since the latter is a very unobtrusive feature of the exterior-and of the interior too, since there is no stairway leading up to it-probably ninety persons out of a hundred would call it by that name and go unchallenged. However, since it really isn't a bungalow, let me tell you in detail just what the building is. The site of the building is located on the crest of a hill about 150 feet above the level of Chester Creek, which FLOOR PLAN old town of Lenni, and in all directions upon neighboring hillsides, one catches glimpses of other country estates. The site on which "The Wigwam" is built is the highest point of land in a 15-acre tract, a tract that was picked out by a former owner of a large farm, some twenty years back, as a site for his country home. With this purpose in view, he planted all over it fruit trees, shade trees and evergreens, which have now reached their full growth. In fact the site was so densely wooded that it became necessary to cut down several fine old cherry trees, in order to get a space large enough in which to set the house. The first picture at the bottom of page i68, showing the front of the house, indicates how completely sheltered the building is by a group of sycamores and the other trees. The picture of the rear gives a better idea of the lines of the building, which are almost --------------------- the same on the front ex" cepting that a wide low ""... gable end stands out over........... wethe porch. The house stands upon an underpinning of stone,.......v ~sO I... -,..the excavation being carried only to a depth of four feet. This stonework, which is carNrnied out also in the chimneys and fireplaces, is a Srough local stone of a var"- iable dark color, sometimes,_ a little stained with iron. ' It lays up very effectively with the broad white pointS ing which has been used throughout. For the walls. i and roof, cypress shingles have been used, neither dipped nor painted, but left or; the attic is reached through and is used only for storage to w e a t h e r. The trim forms the eastern boundary line of the property. The country 'round about is one of the most picturesque parts of that famous land in the immediate vicinity of Philadelphia-a type of farm land that is celebrated for its rolling character and the abundance of its vegetation. One of Mr. Keller's advantages is the fact that the adjoining property on the north is a famous dairy farm, a fact that brings hundreds of grazing cattle into the vista from any side of "The Wigwam. " In the valley to the south can be seen the All the main rooms are on one flo a trap-door in the linen closet 170 Distinctive Homes of M/oderate Cost 17 Ditntv oe o oeaeCs particularly in the selection of suitable stones for the Sflat arch and the corbels tiid that support the heavy chestnut shelf. Throughout the h o u s e the other rooms are not plastered. A very clever scheme has been followed, dividing the wall spaces into panels over the interior sheathing, using i by 4 inch cypress strips, painted a "dull w h i t e. The panels formed in this way are decorated in various ways in tthe different rooms. Int t h e dining-room the lower panels are filled with an indigo blue burlap, while those above the plate-rail contain a figured The red rug linen taffeta, repeating the ingroomsame color. In the front bedroom the panels are tinted a light green that brings out the grain in the woodwork very effectively. The other bedrooms have the panels finished natural, in each case the doors and trim being white. The attic is reached through a trap-door in the linen closet. While the space up there is large, it is used at present only for storage purposes. Mr. Keller's country home is not an example of how cheaply a house may be built. All the materials that have gone into it have been of the best, and it is now being equipped with a hot-water heating system. Of the total cost probably about three-quarters went for the house proper, the remainder being spent for water-supply, wind-mill, drains, drilling of a well, and making the driveway and paths. H. H. S. Sand finish plaster and dark chestnut woodwork are found in the livJ gives the necessary color around doors and windows and on the underside of the eaves is painted ivory white. The shutters are painted green. In the living-room the walls are plastered, with white sand finish. Upright studs, ceiling beams and all other woodwork in this room are of chestnut finished with a dark stain. The furniture is finished to correspond. The contrasting black and white are subdued to some extent by a rich red Indian rug. Needless to say, Mr. Keller has not forgotten to provide for a fireplace in this room, and a good big one at that. As the living-room photograph shows, it is built of the rough local stone that has been used for the underpinning of the house. The masonry has been very well executed, A HOUSE BUILT FROM A STABLE A REMARKABLY SUCCESSFUL TRANSFORMATION RESULTING IN A COMFORTABLE AND ATTRACTIVE COUNTRY HOUSE OF GERMANTOWN STONE IN ONE OF THE SUBURBS OF PHILADELPHIA O NE hears of all sorts of astonishing building transformations these days, remodeling old barns into modern country homes among them, and one remarkable New Jersey achievement records even the rehabilitation of an abandoned poultry house into a home for an adventurous couple. The striking fact that immediately presents itself to the cold-blooded practical man is that in nearly all of these home-building efforts there has been no real reason why the builder should have made use of the existing structure. It will usually be found upon pointed inquiry that the old building, or what was left of it, supplied no materials for the new home that could not have been bought cheaper in the open market and in such condition as to have bestowed upon the new home a greater measure of self-respect. Such pleasure and reward as the prestidigitator reaps from his skill is apparently the thing that is sought for by the stunt-producing home-builder. The fact that the resulting house lacks a bathroom and that the main stairway leads unabashed into the only guest-chamber, worries its owner not at all. That the house has been painfully evolved from two piano-boxes with the aid of an oyster-knife is the essential fact in the mind of the proud amateur architect. In consideration of these things, therefore, let me explain without more ado that the country home here Distinctive Homes of Moderate Cost 171 Ditictv Home of-- Moert C o s1 The square front portion of the house is the remodeled stable; the service wing at the rear is new, built of long, flat Germantown stone. Messrs. Mellor & Meigs were the architects with illustrated is not of this type at all. There were two excellent reasons why the old stable should have been used as the basis of the charming stone house that has been built, and either of these reasons alone would have been entirely sufficient in itself. The first reason was that the owner of the stable-and of the main house on the property-wanted to provide a nearby home for one of his married children..The plot of ground occupied by the old stable seemed the most desirable spot on the comparatively restricted Germantown estate and, moreover, the stable, as such, had outlived its usefulnessa glance at the illustration will serve to show that it never was distinguished for its architectural beauty. And the second reason for accepting it as a working basis for the new home was that the thick stone walls could be used almost intact for the main portion of the new structure. The sturdy joists that had been set close enough together to support the weight in the hay-loft were also found to be in excellent condition. In the living-room, as the illustration shows The original stable was not an arch front oneninrp have hbeen ret these were not covered up by lath and plaster ceiling, but were stained dark to match the new woodwork of chimney breast, wainscoting and the trim around the windows and doors. In the dining-room, too, the joists were left uncovered, but in this room they and the new woodwork were painted white. A triple casement window affords an abundance of sunlight from the east for this room, which is made still more cheerful in its effect by the white woodwork and ceiling beams. The floor plans indicate very clearly just how much of the walls the old stable supplied. The square front portion marks the extent of the old structure, which, o f course, was not entirely sufficient for the family's needs. The wing that was added at the rear is of stone too, but it will be noticed from the smaller picture of the exterior that it is somewhat different in texture. This new work, as will be seen, is built of the flat Germantown stone that has been so effectively used throughout t h a t part of t h e country in ectural gem. Notice how the two ined in the house as altered recent years. lit ta.......6 It............... V...... 172 Distinctive Homes of Moderate Cost 172 Distinctive Homes of Moderate Cost On this side of the original structure the chimney that serves the living-room fireplace has been added It is particularly interesting to see how the architects have permanently recorded the humble origin of the house rather than follow the obvious alternative of covering up the fact once for all. The two great openings at the front of the first story have been very cleverly incorporated into the design, one being filled by the front door and a window and terrace bench seat, the other opening having been fitted with heavy slidingr glazed doors to make bright the living-room. In the summer time these doors are pushed back into their pockets and the opening protected by a sliding mahogany fly screen. Still another detail indicating a recognition of the building's former use is the conventionalized horse's head upon the upper panel of the front door. From its mouth dangles a pivoted horseshoe that serves as a knocker. Three long hand-wrought hinges of black iron extend nearly across the white-painted massive door. The floor plans indicate the skilful planning which is always called into play by the necessity for dividing up a given enclosure. A living-room, fifteen by twentysix feet in size; a dining-room, thirteen by sixteen; and the stair hall with its coat closet, have been planned to occupy the old square stcne enclosure without wasting a square foot of space. Beyond, opening from the dining-room, lies the service portion of the house, well isolated, and having its own stairway to the servants' bedrooms and to the cellar which extends under the new portion at a depth sufficient for the heating plant -and comfortable head-room. sRYvAeTr Under the old portion of the IQoo0M building, there having been 2 ~.. C no cellar, the excavation ex~RAo tends to a depth of but four oo feet below the bottom of the o -first-floor joists. This space CL. is ventilated by openings through the stone walls and lighted, as well as need be for "RoO oits use as storage space, by two windows. own' The result of the low level TMooM, of the main floor is the 0charmingly hospitable effect gained by the low brick terrace--just a step above the lawn. One often hears the practical builder condemn iginal stable, the service wing the architect's habit of setnew work. The stable having ting the house down low nt is located under the kitchen into the ground, decrying the resulting lack of light in the cellar or the wasted money used in building areaways for the windows. Without going into the unquestioned benefit to the architectural appearance gained by having the house as low as possible, the actual cash saving on a wall for the terrace or a railing for the porch--made necessary if these levels were higher-would surely pay for the area brickwork. On the second floor the sub-division of the old loft space has been just as economically arranged as the first floor. The owner's bath fitted in amazingly well over the small entrance hall, taking its light from one of the symmetrical pair of windows in the front gable end. Fitting into the slope of the roof, the closets in the owner's room and in the child's room occupy space that would otherwise be deficient in head-room. H. H. S. The square front area is the or and brick-paved terrace being had no cellar, the heating pla At the front end of the living-room the nine-foot opening is provided with glazed sliding doors which give place to sliding screens in summer Distinctive Homes of Moderate Cost 173 Stucco on stone walls has been used in this very simple Colonial farmhouse remodeled to fit modern needs. The pergola leading out towards the garden from one end of the large porch is an effective feature that will be greatly enhanced by the addition of vine6 The "1Hall," with its open stairway and large bay jutting out upon the porch, is the largest room in the house. The bedroom at the left in the lower gable is a servant's room, having its separate staircase nearby Charles Barton Keen, architect "BOND HOUSE" ON THE SHARPLESS ESTATE, NEAR WEST CHESTER, PA. (OV 191 f ......., -. "".- -- - - ý -'ý - 'e,,-tý --7ý::",TK,ý,'ý,,-;-ý'ýýýý'-.,ý- - - - ý-,-,-,,,,ý-ý,,,,, ý 1.41, - -,-ý,. I..", ý -ý-, ". 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