106 AMERICAN. HOMES AND GARDENS 
than appear to have been made in the figure, although liter- 
ally used in the waves, they really are there, but have been 
cut so small they do not give strength enough to the drapery, 
Oil colors or fresco colors should be used on walls in 
preference to dyes; oil color, of course, is the most durable, as 
itcanbewashed without injuring the stencil decoration. Small 
geometrical patterns can be stenciled round the trims of the 
February, 1906 
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For Dining-Room Sash Curtains on Scrim or Bobbinet 
Natural Colors and Coarse, Unbleached Muslin 
Give the Best Effect 
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turned to account: sometimes a shadowy effect is given by first 
stenciling a strong design and afterward applying a second 
stencil of a series of vertical lines. “The Japanese are so far 
ahead of the westerners in attaining good results that few 
have attempted the intricacy of their designs. 
For curtains, a simple continuous border design looks 
better than one with isolated figures. A running vine, or a 
geometrical pattern, or a composition of waving lines all 
The Curtains are Scrim; the Pillow Hand-Woven 
and Stenciled in Deep Blue on Blue and White 
doors and windows of a room, but usually it is best to employ 
make good borders. 
a painter to apply them, as an unpractised person is apt to 
Designs for friezes should be very bold and decided, and 
the ties further apart than in curtain designing. In the 1l- 
lustration of a flower motif used as a frieze decoration, the 
design is so ingeniously adapted to its method of reproduc- 
tion that the carefully introduced ties have become part of 
the design. 
The frieze of waves and mermaid requires more “ties” 
find the work very tiring, holding the stencil in place with one 
hand and applying the color with the other; it needs practice 
to get good results. ‘This difficulty can be overcome by 
stenciling on burlap or muslin, and afterward having the 
work put in place by a paper hanger or upholsterer. The 
work is full of interesting surprises and becomes absorbing. 
A “Double” Chrysanthemum 
F THE growing of new chrysanthemums and of 
the development of new types and forms there is 
scarcely an end. Each year brings forth its new 
series of new varieties, many of them comprising plants 
of extraordinary beauty, and most of them thoroughly 
well deserving the attention of the plant lover and of the 
plant grower. That the chrysanthemum has improved 
under this stimulating rivalry is one of the most interesting 
facts in contemporary horticulture. It repeats, of course, 
what has been the history of other plants in popular favor. 
Quite the newest development of the chrysanthemum 
was included among the exhibits at a recent horticultural 
show in Paris. It was a new and magnificent flower: 
‘“new’’ by reason of the structural form of its great blooms, 
and “‘magnificent”’ because of its size and its color, which is 
a beautiful rich pink. For want of a better description the 
flower has been designated as “‘double.”” As a matter of 
fact, the ordinary chrysanthemum is of the kind popularly 
termed “‘double.’’ But this new flower introduces a new 
type of double flower, since its form is that of two flowers, 
one superimposed above the other. It has been named 
“he okio. 7 
