December, 1912 
well in the hallway, but a collection of small trivial pictures 
has no place there. Brown photographs of old portraits 
or architectural views are especially well adapted for the 
hall. 
Two attractive hallways which the writer saw recently 
seemed to be almost perfect. The walls of one had been 
covered with a plain gray oatmeal paper, which was 
marked off with gray paint into rectangular spaces twenty- 
two inches long by eleven inches wide. ‘This gave the effect 
of a Caen stone wall. All of the woodwork had been 
treated to a coat of gray paint, which was slightly darker in 
color than the walls. The ceiling was tinted a light gray 
and the floor was stained and waxed a dark brown. The 
handrail of the balustrade was of mahogany. With this 
severe wall treatment it was decided to use cement furniture. 
In the long wall space, at the foot of the stairs, a console 
table of ivory-colored cement was placed, the top supported 
by two lions. Opposite it was a long cement bench and 
by the entrance door stood a tall jardiniére of the same ma- 
terial, decorated with a procession of Greek maidens bear- 
ing garlands of flowers. The jardiniére was for use in 
holding umbrellas and canes. All of these pieces were 
copies of old Italian garden furniture, but they combined 
well with the gray walls of this hallway. Over the console 
table was placed a long mirror framed in flat boards and 
painted to match the woodwork. This hallway could have 
been improved if the floor had been laid with pinkish-red 
Dutch tiles. 
The other hallway had the walls covered with a two- 
toned tan paper, having a small inconspicuous design. The 
wood trim had been painted the same color as the paper, 
and the ceiling was cream white. On the floor was an 
oriental rug in tones of olive, brown and tan. The furni- 
ture consisted of a narrow teakwood table and a straight- 
back chair of the same wood. This furniture was not the 
carved-all-over variety, which one frequently sees in oriental 
shops, but was built on perfectly straight lines, without 
any carving, but having simple Japanese fret motifs fitted 
into the angles where the legs joined the table top and seat 
of the chair. A large yellow porcelain umbrella stand 
added to the Japanese spirit, and on the wall opposite the 
table was a framed kakemono, showing a geisha girl pre- 
siding over a tea-tray. As this hallway was rather small, 
there was no place for growing plants, but this difficulty 
was overcome by hanging a pottery wall-pocket on the 
door-frame, leading to the dining-room, to hold flowers or 
foliage. 
When building a new house, it is an excellent idea to 
have the plans one a coat closet a the hall. 
A WASH-HOUSE. STUDIO 
(Continued from page 425) 
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thing and in another season it was an accomplished fact. 
Of course the glorious vine, covering the whole tiny house, 
and a higher building back of it, was a running start and 
really necessitated a garden foreground. Also the old 
brick-paved yard was there, with an open space in the cen- 
ter. It was a comparatively easy matter to let in beds with 
curved borders all around the edge, marking their sides 
with a row of half bricks set on end. 
A slight pergola was built, screening off the half of the 
yard that, according to the agreement, appertained to the 
little house. Over this, morning-glories were trained be- 
cause they grow quickly and with no particular demands 
upon soil or expert care. Ferns were brought from the 
woods and planted next the house in the narrow strip that 
the sun did not reach. The little curved borders held Cro- 
cuses and Daffodils the next Spring, and later stout Calla- 
AMERICAN HOMES AND GARDENS 
439 
diums and Golden-Glow, for, be it remembered, the old 
soil of city backyards does not satisfy the needs of the 
tender growing annuals or that aristocratic queen of all 
gardens, the Rose. 
It seemed indeed ‘‘too much,” as one visitor remarked, 
that the little house should have not only a garden, but a 
view; but so it proved, for when they all sat in the garden 
the next Spring someone discovered “‘the poster,” like a 
drawing in three values, a blue-black pile of broken out- 
line etched against a glowing sky with a neutral and more 
distant mass balancing it on the other side of the picture. 
What mattered it that the castle-like mass was a jumble of 
tenement houses by day, that one knew the glow in the sky 
to be thrown up from the garish illumination of the “‘white 
way of that part of the town? With the coming of the 
all-softening night there it was, as thrilling a picture of 
romance as any towered hill of Loire or Rhine. 
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DOMESTIC RUGS 
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tiful rugs at very moderate cost and bring the beauty de- 
signed for the favored few within almost anyone’s reach. 
‘‘Homemade”’ rugs seem to be more attractive than ever. 
The old-fashioned “‘rag rug’ is popular for use the year 
around in places where its quaintness and simplicity are in 
keeping with its surroundings. The varieties usually seen 
in the shops have a two-band or three-band stripe of some 
strong color across either end, but lately a crudely effective 
border showing flowers, trees or the simpler forms of ani- 
mal life have been produced, but the material is almost 
always cotton of some form. A rug fully as pleasing, but 
heavier and suited to a wider range of usefulness, is the 
“hand-braided mat,” which is likewise a heritage from the 
days when every home possessed its own craftsman. The 
material is of wool and the rugs are oval in shape, often 
woven in stripes of contrasting colors. The prices are 
higher than are asked for the old-fashioned rug, but for 
many uses they are so delightfully quaint that many home 
furnishers will be unable to resist them. 
The mere suggestion of an “art square” recalls the crude 
attempt at rug making which characterized the output of 
American mills a few years ago. The time applies to an 
Ingrain rug which may or may not be reversible, for while 
they are not intended to reverse, it sometimes happens that 
the roughness of weave upon the wrong sides adds to their 
interest. The designing of these art squares is now very 
carefully done, and so highly is the standard of their making 
maintained that for some uses it would be difficult to ob- 
tain a more beautiful floor covering. Those in the differ- 
ent shades of gray are especially beautiful and the varieties 
having as borders conventionalized flower and animal fig- 
ures are particularly interesting. Ingrain, of course, is a 
carpet without pile, and being usually much thinner than 
the heavier Willows and Axminsters is not quite so easily 
kept in place upon the floor unless it be very lightly tacked 
down. It is not always adapted for use in a living-room, 
but in a dining-room or bedroom its use is quite possible, 
and as it is made in some twenty-seven colors and in an 
immense variety of beautiful and tasteful designs and nu- 
merous sizes it is in great demand. It is very inexpensive, 
for the 6xg size may be had for $7. The art square made 
in America compares very favorably with the similar fabrics 
from Scotland, and which are on sale in our shops at some- 
what higher prices than are asked for our domestic pro- 
ducts. The Scotch rugs are woven of native wool, while 
our American art squares are of wool imported chiefly from 
Russia or China, as that obtained in America is too fine for 
the heavy texture required in floor coverings. 
