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and casings within the house are stained green, as also they 
are on the outside, except in the corner closed off with cur- 
tains, where all-the woodwork was stained gray, including 
the built-in seat and drop-leaf work-table. 
The long seat with shelf above near the fireplace is also 
stained gray to harmonize with the color of the chimney 
cobbles, and this seat is brightened and made comfortable 
with many cushions of large flowered chintz. Window cur- 
tains of small-patterned cotton print (the India prints of 
black on white) serve both to ornament the small windows 
and as shades when drawn together. Naturally, from early 
spring to late fall one may decorate such a studio with 
masses of wild flowers in profusion. The large white 
blossoms of the Dogwood, which bloom with the pink Azalea 
in season, are always looked forward to with joy by the 
artist-owner. With the succeeding Laurel, Wild Roses, and 
brilliant autumn foliage it is possible to have their added 
grace at all seasons in decorating various corners of the little 
lodge. As for the furnishings of the lower floor of the house, 
some old hickory chairs and a table with drop-leaves were 
acquired from neighboring houses, whose owners were only 
too glad to supply their places with more modern furniture. 
The walls of the living-room on this floor and the small 
bathroom opening from it were ceiled with pine and the 
whole finished with a green stain, variously modified by the 
natural color of the wood. The rafters of rough wood 
also took the stain very well, and on a hot summer day 
this cool color is very pleasing. Built into the living-room 
walls were seats beneath the wide, low windows which fill 
two sides of the room. ‘The door, again, was of the Dutch 
AMERICAN HOMES AND GARDENS 
November, 1911 
sort, opening above and below. ‘The dishes on the living- 
room shelves were chosen from blue and white, and not to 
be too conspicuous against their setting of green above the 
white enameled sink. A small bedroom is tucked away in 
the southeast corner of the living-room floor. ‘This is also 
finished entirely in green stain, and a cold closet, having the 
natural rock for a shelf, is beneath the stairway. In the 
planning of ‘“‘Laurel Lodge” every effort was made to utilize 
such conveniences of modern comfort as may be had in the 
country. Spring water was piped to the house for house- 
hold use and the supply of the bath. 
The stone-paved space on the south side of the house 
offers possibilities for a vine-covered pergola. Here are 
the stone steps descending to the level of the great maple 
tree, whose shade invites a hammock lounger on all summer 
days. The slope of the hillside, with its sparsely covered 
rocks, demanded the wild-flower garden wherein all kinds 
of Perennials, Pinks, Sweet-William, Phlox and Canterbury 
Bells bloom with little care. ‘To keep all that was possible 
of the original wilderness of the place unspoiled, its natural 
growth of Azalea, Laurel, and Wild Roses has not been 
disturbed. A few benches and garden seats were made for 
the shady places beneath the large trees, for the outdoor 
life of the place lends it great charm at all seasons of the 
year, and even winter, with its blanketing of snow, finds the 
open fires defying its cold winds, while looking forth from 
the security of the cosy interior the frosty prospect outside 
is like a fairyland of glittering crystal, full of interest in 
the unceasing changes of color wrought upon the landscape 
by the frequent shifting of the sun and the moon. 
“Sunshine” 
A House of Distinction at Great Neck, Long Island 
By Ralph de Martin 
UILT on the summit of a cliff above the 
waters of Long Island Sound known as Lit- 
tle Neck Bay, a great white stucco house, 
designed by Messrs. Little & O’Connor, 
architects, of New York, but actually a re- 
building of an older structure, is a dwelling 
of distinct originality. It is ample and generous in size, 
broadly planned and built—a house of strong lines and firm 
character. ‘There is a massiveness and strength in every 
portion of its exterior, due partly to its considerable size, 
but more generally to the absence of external features. Thus 
the windows everywhere are sunk in the deep thickness of 
the walls and are without external frames; the cornice is re- 
served for the main building, and in the subsidiary parts 
its place is taken by the projection of the tiled roof. The 
stepped and curved gables, and the turret-like treatment 
of the corners are the most characteristic features of the 
exterior, these and the great roofs of brilliant red 
Spanish tiles. The last give the character-note to the ex- 
terior, but the delicate pea-green of the door and window 
frames and of the blinds is an essential part of the outer 
color scheme. 
The entrance front is an eminently massive composition 
of quiet dignity. The body of the house is a vast rect- 
angular structure, to which wings are applied on either side. 
The larger of these, on the right, is devoted to the kitchen 
and the service-rooms; the smaller, on the left, has been 
chiefly erected to provide space for the great smoking- or 
billiard-room located within it. In the center is a massive 
porte cochére, with a great arch on either end, and a 
slightly smaller one in the axis of the doorway. The house 
wall on either side is long enough to provide room for three 
windows—actually four on the right—spaced in ample wall. 
The roof contains four dormers, two on each side, with a 
small stucco gable in the center. 
The glazed entrance doors are provided with handsome 
bronze grilles, and immediately within is the vestibule. Its 
area is considerable for a space devoted to this use, and 
at once sets the scale for the ample dimensions observable 
everywhere in this large house. Its floor is laid with small 
green tiles, largely covered with a rug, whose predomin- 
ating shade is red. The walls are paneled in wood, painted 
white, and the ceiling is gilded. Immediately beyond is a 
small passage or recess, with two pairs of columns, front 
and back, and separated from the vestibule by curtains of 
rich red velvet. On each side of this space is a semi- 
circular domed recess, containing a tall electrolier stand- 
ing on a circular base. 
It is but a step into the hall, which is a splendid room 
with windows giving on the open court on the water front. 
The stairs rise on either side in graceful curves to a bal- 
cony immediately above the point of entrance. “They have 
mahogany treads, newels and handrails, with balusters 
painted white, and are covered with a rich crimson carpet. 
Both balcony and upper hallways are entirely open, and 
their white walls, paneled ceilings and red panels present a 
picturesque appearance as viewed from below. 
The lower hall is treated in ivory white, the walls, for 
the most part, being faced with great panels of tapestry. 
The ceiling is beamed, with closely placed girders with 
white plaster panels between them. A fine old lantern of 
gilded wood hangs from the upper ceiling. The floor is of 
hard wood, with many rugs. The window curtains are of 
pink satin with borders richly embroidered in white, hung 
over white lace curtains. The central opening is a door to 
the court and, like the other door openings, is provided with 
— a 
