8 AMERICAN HOMES AND GARDENS 
is surrounded by paths on all sides, a hedge of hemlock 
inclosing the space on the south. About half way to the 
woods it is broken by a pergola, a small square brick struc- 
ture, with brick piers, low brick walls and white marble cop- 
ing and capitals. It has a pebbled floor and is completely 
overgrown with grapevines and Virginia creeper. At the 
furthest extremity of the hemlock hedge is a white marble 
pedestal and bust. Just beyond it are woods, very dense and 
thick-growing. Turn to the right, and at the extremity of 
the other path are two Ionic columns, at the entrance to the 
wood. Within, under the dense shadow of the trees, is a 
marble pedestal supporting a colored terra-cotta bust of a 
lady by Mr. French’s brother sculptor, Mr. Herbert Adams. 
It is a veritable little open temple in the woods, an art shrine 
in a very literal sense. A 
path into the woods begins 
here. It is very dense and 
wild, with gigantic lich- 
ened rocks and much 
underbrush. The path ad- 
vances in an unkempt, 
woody sort of way, then 
loses itself in a circular 
clearing, grassed from 
edge to edge, with splen- 
did trees uprising all 
around it. Then, with 
low fieldstone steps, it 
moves on anew, rising to 
a higher level, twisting and 
turning without apparent 
meaning, but more wildly, 
more woody, darkly, 
damply—if I must say it 
—with more great trees 
and many ‘lesser ones. 
Suddenly it emerges, but 
hugs the woods to its left, 
while on the other side 1s 
an open field of wild 
flowers; far off on the 
right is the studio and the 
bright tops of its gay 
flower border. The 
glimpse is for but a mo- 
ment, for the path im- 
mediately joins the grassed 
path that starts from the 
exedra before the studio 
cee 
door. Ionic columns, with bust by Herbert Adams, N. A. 
Dense and more dense 
are the woods, with many lofty hemlocks and tall, slender 
black birches. Then, all at once, one finds oneself in a 
silent open space; the birds scarcely chirp, even the insects 
are stilled; the air seems charged with serenity and charm 
and silence. In the center of a circle rises a splendid maple, 
a gigantic tree with lofty bole that, could it have been pos- 
sible, might have been transplanted from the forest of 
Fontainebleau. It is a tree so high and lofty that its branches 
begin only above the tops of the surrounding trees. Right 
in the center, and where the woods are densest, is a great 
sculptured seat, new-made by Mr. French, of white cement, 
with solemn faces of sphinxes graven on the arm rests. 
Around and behind it are small hemlocks, standing as still 
as young soldiers, watching and guarding the secluded spot. 
Truly this is their duty, for across the clearing from the seat 
lies the figure of a sleeping child, a sculpture of Mr. Edward 
Potter, long associated with Mr. French in some of their 
most important works. No wonder it is still and quiet here, 
for this charming slumber must not be disturbed, and all 
January, 1909 
nature holds its breath while the child sleeps on, day and 
night, in the safe seclusion of the forest! 
The path that has brought us to this exquisite spot does 
not stop here, but is renewed beyond. ‘The mountain side, 
which at the beginning was below one, is now above, rising 
sharply, with rocks more gigantic than the great ones below. 
The path breaks into two; one arm mounts the heights, the 
other goes onward, and is presently crossed by a rustic fence. 
And still it goes on. But enough! Long before this point 
has been reached the eye has been sufficiently saturated with 
woodland and decoration without penetrating further into 
the wilderness beyond. 
I have described the house as simple and unpretentious, 
but some space must be given to its description, for its gentle 
beauty is quite of the same 
type as that which distin- 
guishes the whole of the 
outlands and gardens. The 
little entrance porch is sup- 
ported by two Roman 
Ionic columns, and_ has 
steps and floor slabs of 
white marble. You enter 
immediately into the hall, 
for as the house is used in 
summer only, no vestibule 
is needed. ‘The hall runs 
straight through from 
north to south. It has a 
hardwood floor and a low 
wainscot of wood painted 
ivory-white; the upper 
walls are covered with a 
charming greenish tapes- 
try paper, and there is a 
plain cornice and ceiling. 
There is much old furni- 
ture here, as throughout 
the house. An old-gold 
mirror hangs above a pine- 
apple table, and on the op- 
posite wall is a fine old 
Flemish portrait. To the 
right of the entrance is a 
recess behind two columns 
with capitals of Indian 
| corn. ‘The stairs to the 
second story rise within; 
in an arched recess is an 
old tall clock. Under the 
stairs is the door to Mr. 
French’s room, a small apartment that he feels he can rightly 
call his own. It has the low white wainscot of the hall, with 
a dark steel-blue paper above. ‘The fireplace has red brick 
facings and lining and a whitewood mantel and paneled over- 
mantel. 
Further on is the drawing-room, entered through a ma- 
hogany door. The woodwork is ivory-white, with low wain- 
scot and striped paper in two tones of green. The cornice 
has little slit-like notches arranged in groups of four; the 
ceiling is plain. The fireplace has facings of red Numidian 
marble, with lining of red brick. The overmantel is of wood, 
paneled, and the mantel ornaments are chiefly antiques. Op- 
posite is a triple window with dotted Swiss ruffle sash cur- 
tains and inner curtains of cretonne with stripes of roses. On 
each side are two silver antique girandoles, with candles 
within glass shades. The furniture is chiefly Colonial. This 
room opens on to a side porch; the doors are glazed to the 
floor and curtained like the window. ‘The porch ‘3 stuccoed 
on sides and ceiling and is contained within three elliptical 
DOE it as ~ 
a TS... 
