10 AMERICAN HOMES AND GARDENS 
Japanese barberry. 
Without is a low 
stone wall with a 
coping of blue-gray 
marble and_ piers 
supporting red 
Italian pots with 
shaped plants of box 
and evergreens. Be- 
low is the lawn. 
Here are some fine 
fruit trees, and to 
the left, looking 
out, is a well, ir- 
regularly placed as 
regards the house, 
and’ contained 
within a wall of 
built-up stone, that 
belonged to an old 
The studio and its outer porch 
January, 1909 
studio occupies the 
whole of the inner 
portion of the build- 
ing. As a matter of 
fact this is not the 
only workshop on 
the place, for Mr. 
French has another 
studio at some dis- 
tance off across the 
road, on the edge of 
a declivity, which is 
used for work de- 
signed to occupy an 
elevated position on 
a building. On the 
south side of the 
smaller studio is a 
porch, with pergola 
ends or wings. The 
farmhouse that gave place to the present house. The road building has no windows here at all, and but a single small 
is below, but not near, and is quite well beneath the lawn 
level. But to its greater concealment there is an irregular 
planting of shrubbery, roughly semi- 
circular in form, and entirely natural- 
istic in effect. 
There is a wonderful and marvel- 
ous view to be had from the door 
of the terrace front. One looks 
out over valleys and mountains above 
mountains, until, on a misty day, 
the furthermost seems so utterly 
removed that it is scarce believable 
there can be a world beyond it. 
In the foreground is a_ gigantic 
heap known as ‘The Monument”; 
“The Dome,” called Mt. Washing- 
ton in Massachusetts, is the name 
given to the most remote. But mere 
names are unimportant here, exactly 
as mere words are inadequate to de- 
scribe the loveliness and the grandeur 
of the outlook. “It was what brought 
us here,” said Mr. French, and truly 
the whole vicinity contains no more 
superb attraction. 
One naturally begins at “Chester- 
wood” with the studio, and one quite 
as naturally ends with it. A little porch on the side admits the 
visitor to a handsomely furnished reception-room, while the 
Sculptured seat in the woods 
door on one side that opens directly into the workroom. In 
the center of the wall are two piers, each with a figure carved 
and sunk within its surface. On the 
plain wall between them is a delicate 
festoon, and below is a great bench. It 
is a majestic and remarkable decora- 
tion, truly emblematic of the noble 
uses to which this structure is put, and 
finely typical of the artistic sensibility 
of the great artist who works within. 
No one knows the time when the 
Berkshire Hills have not presented 
their wooded summits to the blue vault 
of heaven; one can, perhaps, count the 
time during which they have been 
known to civilized man. Yet immortal 
as these hillsides are, so also is the 
fame of the delightful and cultivated 
gentleman who, in the intervals of 
his professional work, has created 
this charming and lovely place. Of 
nature beauty the Berkshires have a 
plenty and to spare, yet new renown 
and fresh fame must come to them 
because of the noble works of genius 
this quiet artist is silently creating on 
Glendale’s hillside. Mr. French has 
been fortunate in being able to develop a simple estate, ample 
for every demand he might make of it. 
The sleeping child, by Edward Potter, N. A. 
