180 
of the simplest devices. It is typical of the whole house 
that this individuality should have been acquired in this 
way, and the quiet beauty thus produced is equally typical 
of the whole. 
A semicircular form is given to the terrace beyond the 
north porch by the circlet of flower borders and mountain 
laurel that surround it. In the center is an immense chest- 
nut tree and without is a row of small Scotch pines. The 
barns and farm buildings are at some distance beyond, and 
are so well hidden behind a mass of trees that scarce more 
than their tops are visible. 
Almost at the point where the circle inclosure on the 
north touches the house wall is the studio chimney. Surely 
never was a chimney given happier form than this! It is 
completely external to the house and has the real value of 
a tower. It is built of flat stones, laid with wide joints. 
It has a great square base, 
surmounted with a shin- 
gled roof, slightly in- 
curved, from the center of 
which rises the shaft, 
somewhat irregular in out- 
line, but loftily dignified. 
Just above the roof a 
small bas-relief is let into 
the shaft wall. Slabs of 
stone laid in the grass, 
and steps further on, lead 
down through a_ rustic 
arch to the broad green 
terrace upon which rests 
the western (and most pic- 
fulcesiquie)) side of the 
house. 
The studio is the largest 
room in the house, and has 
a floor area of thirty by 
forty-two feet. It is a 
vaulted apartment some- 
what freely modeled af- 
ter a refectory in a mon- 
astery in Ragusa, in Sicily, 
that had long appealed to 
Mr. Clarke as an ideal 
room. ‘The adaptation to 
his needs here has been 
highly successful. It is 
but justice to the architect, 
however, to add that this 
adaptation is one of idea 
only and not of details; 
this room is quite as indi- 
vidual as any in the house. 
It is placed at a lower level than the other parts, and is 
four steps below the hall and the north porch, from either 
of which it may be entered. The walls are completely plain, 
with a low base board, and are treated with ecru paint. The 
windows are somewhat varied in size and form, but all have 
frames with broad lower shelves, and long, bracket-like 
treatment of the sides, with a top shelf above. At the en- 
trance end is a balcony, hung from the ceiling by heavy 
rods of twisted steel, and reached by a stair within the room. 
Beneath it a piece of old Flemish tapestry is hung against 
the inner wall, and in front, dependent from the ceiling, is a 
fine model of an old Dutch admiral’s ship. The fireplace 
occupies the center of one of the longer sides, and stands 
within an inglenook. The whole of this space is lined and 
faced with red brick. Each side wall is pierced for a small 
leaded window, below which is a low stone bench. A vast 
AMERICAN HOMES AND GARDENS 
The library mantel and fireplace 
May, 1909 
oak beam carries the wall above the inglenook. There are 
numerous rugs on the hardwood floors, and the windows 
have sash curtains of pongee silk. There is a host of curious 
and beautiful things in this room; old jars of pottery and 
brass, Japanese and other armor, basket and bead work, 
copper vessels and plaster casts, and numerous sketches in 
oil and water colors by Mr. Clarke, for his achievements in 
these arts are quite as well known as in his chosen profession 
of sculpture. It is the treasure-trove of an artist, the gather- 
ings of many wanderings in foreign lands, and here charm- 
ing and delightful contributions to the harmony and interest 
of this fine room. 
And now the terrace. It is the chiefest of the beauties of 
this very beautiful house. The garden work here, as else- 
where on the estate, was designed and carried out by Mr. 
Clarke, and in the open terraced court at the back of the 
house he had Mr. Eyre’s 
interesting grouping and 
detail as his foundation 
and background. Very re- 
markable results might 
well be looked for in work 
of two artists under the 
circumstances that ruled 
here, and it is but the sim- 
ple truth to say that re- 
markable results were 
obtained. 
And by the simplest 
means. This is the sur- 
prising and _ gratifying 
fact that presents itself in 
every. patt of >a iem- 
brook.” Everything here 
is so charming, simple and 
delightful! There has 
been no building with 
costly marbles; no equip- 
ment with expensive fur- 
nishings; no sumptuous 
planting or elaborate gar- 
dening. But there is 
beauty everywhere; there 
is the artist’s touch and 
soul; nature has not been 
forced but trained, gently 
molded, as it were, to 
meet the highly sensitive 
taste of the artist owner. 
Nowhere else could this 
be so completely mani- 
fested as in his own home 
and nowhere here is it so 
clearly shown as in the inner court or terrace. 
A glazed door from the hall leads to it and admits to the 
pergola. The space is brick-paved, laid herringbone-fashion, 
with an outer parapet of flat field stones, with wide mortar 
joints. Cedar posts stand on this and support the open roof, 
which is thickly overgrown with bittersweet and actinidia 
and grape-vines. A-top the parapet are all manner of de- 
lightful pots and jars, variously sized, shaped and colored 
and containing many growing plants. Stone steps, between 
low stone walls, lead to a lower level; at the base are jars 
of red terra cotta containing dwarf apple trees, mimic little 
things with real apples ripening on them. Enclosing this 
space are the wings of the house, the studio on the right, the 
service wing on the left; below the latter is a grape-vine per- 
gola. A second parapet encloses its outer margin, and bushes 
of golden elder glow at the opening to the lawn below. 
