264 
The Garden Magazine, June, 1921 
swing back to nature, the application of simpler and sounder 
principles, less ostentation, and more taste is everywhere ap- 
parent. Even plantings somewhat formal in conception, such 
as Charles Downing Lay’s delightfully “Livable Garden,’’ have 
the convincing ring of truth. The cleverest landscape architect 
can after all do no more than suggest; the ultimate decision is 
nature’s as to what shall grow, and where, and when, and how! 
This the successful landscapist immediately recognizes and 
bends his wits to meet her whims. “The Heather Garden” 
(Oyster Bay) by Olmstead Brothers is a conspicuous example of 
tactful compromise, very happy in concept and execution. 
Sear’s (Thomas W.) “The Walled Garden” and Pond’s 
(Breamer W.) “Garden Deceit” are two quite diverse and in- 
genious treatments of limited areas in the semi-formal manner. 
Artificiality of effect has been reduced to its minimum in the 
“Wild Garden” designed by William Pitkin, Jr. for Mr. J. B. 
Crouse at Grosse Point, Michigan, and in the plantings on Mr. 
Farrell’s estate (South Norwalk, Conn.) by Vitale, Brinkerhoff 
and Geiffert, where pool and walks are charmingly set in natural 
growth. 
The ill-placed greenhouse is always an irritating landscape 
feature, and to place it well considerable of a problem. Prentice 
Sanger’s solution, felicitously described as “Glass, Sky, and 
Water” (at Babylon, L. L), is full of suggestion for the designer 
who has at his disposal landscape material somewhat similar in 
quality. 
Robert Wheelwright’s composition: “Sylvia and Her Pool,” 
furnishes further proof of the essential interdependence of the 
arts. The very soul of the woodland seems focussed in this 
aptly ensconced little figure by Mahonri Young! [Garden 
Magazine readers will find “Sylvia” in the August issue accom- 
panying Mr. Wheelwright’s interesting article on “Small Nat- 
uralesque Pools.” Ed.] Force and point are frequently gained 
by so pivoting the outdoor picture on a piece of statuary fitly 
chosen to match the mood of nature in that particular spot. 
Edith Barretto Parsons’s “ Duck Baby Fountain” and “Frog 
Baby Fountain” epitomize the gleeful in captivating fashion 
and would radiate mirth on the gloomiest of garden days. “Joy 
of the Waters” (Harriet W. Frishmuth, sculptor) on tiptoe 
among Iris-like leaves, is a beautifully modelled, utterly alive 
young figure that seems literally to soar upward in ecstasy — 
what a thing to come upon some spring morning in a wooded 
glen near singing waters! 
For sterner moments there is Anna V. Hyatt’s “Jaguar” de- 
signed for an Iowa garden. It is vigorously executed and, though 
in subject at variance with the garden mood as ordinarily con- 
ceived, may well prove in harmony with a landscape still domin- 
ated by the tameless spirit of the mountains. 
Quite at the reverse end of the gamut stands Edward Berge’s 
“Violet,” a tiny, sprite-like figure done in bronze, redeemed 
from banality by freshness of handling. The spectator turns 
to Helen Sahler’s “Garden Figure: Wood Notes” with satisfac- 
tion — and lingers, arrested by the depth of feeling, the haunting 
elusive charm of this piping, ivy-draped youth! 
A batik curtain, “ The Jungle” (to the casual observer a some- 
what misleading description) is rather an unusual piece of work 
by Lydia Bush-Brown, a riot of butterflies and colorful exotic 
bloom amid which the friendly Wisteria is readily discernible. 
Maud F. Berneker’s decorative “ Flower Arrangement” has ap- 
peal for the lover of Calendulas; and the gardener who grows 
Lilies will be arrested by Emma Fordyce MacRae’s curiously 
tile-like treatment of the “Pink Lily.” Stained glass proves 
an effective medium for the rendering of Iris, which lifts vibrant 
purple blossoms at the base of a charming memorial window 
designed by George Pearse Ennis. 
It is manifestly impossible to do full justice to an exhibition 
of such magnitude and diversity within the limited space of an 
editorial; we can only stress some of the aspects of special inter- 
est to the gardener. The astonishing thing about it all is the 
number of points of contact apparent and the constant inter- 
action of house and garden; or, perhaps more accurately, the 
pervasive invasion of the house by the garden. Flowers are 
scattered everywhere — on furniture, wall papers, and chintzes; 
panels, screens, and fire screens; tapestries and batiks — the pre- 
dominating motif in all sorts of household decoration as well as 
a sparkling girdle about the house itself. 
THE OPE^ j C olum: K. 
Readers’ Interchange of Experience and Comment 
Hundred-Pound Water Melons 
To the Editor of The Garden Magazine: 
CIRST, put the ground in good condition for cultivation. Then, 
1 where you want the hill, dig a hole thirty inches deep, three feet 
long and eighteen inches wide. Set a joint of tile upright in the centre 
and fill the hole with well-rotted manure to within six inches of the 
top of the ground. Finish filling up with rich sandy loam in which a 
shovel of stale manure and a pint of rock phosphate have been thor- 
oughly mixed. 
Plant a hill on each side of the tile, putting five or six seeds in each 
hill. When the plants are well up and have gotten a good start, thin 
out to one strong plant in a hill. 
Pour a bucket of water in the tile every day (except, of course, in 
rainy weather) until the melons begin to ripen when the watering 
should cease. By this method of irrigation enough water comes up 
around the rootlets to keep the plants growing. It is far better than 
irrigating on top as it does not water-soak and bake the soil so that it 
cannot be worked at any time. 
At least two applications of nitrate of soda — about a teaspoonful ' 
around each plant — should be applied during the growing period. 
Not more than two melons, and better one, should be allowed to 
grow on each vine. All the laterals should be kept cut off and only , 
the vine which is to bear the fruit allowed to grow. All weeds and grass 
should be kept cleaned out. 
By this method I have grown melons that weighed more than one I 
hundred pounds. 
The same plan is equally goodffor growing prize pumpkins. — J. M. 
Smith, Fort Gibson, Oklahoma. 
Garden Problems That Puzzle 
To the Editor of The Garden Magazine: 
M R. FOREMAN’S suggestion about Grape raising appeals to me, . 
The editor’s note in the March Magazine is excellent for artists i 
who know it all, but I am the veriest tyro. I’ve fallen heir to about a 
dozen little vines each one of which resembled a spider, it has so many 
legs. My wife and I puzzled over everything we could read and 
finally we cut down our vines to the two strongest (?) arms with three 
or four buds each; in short they look like letter Y’s. They are tidy little i 
objects now, and I suppose I must get me up early some A. M. to chase 
off to a lumber yard before I run for the seven-thirty-eight, as lumber 
kings don’t toil Saturday afternoons. Will some kind soul tell me 
in words of one syllable (I have a dictionary) what I must do next. 
I’ve cow-manured my letter Y’s also. And when, oh, when do I spray? 
What, too, must I spray my little Peaches and Plums with? They 
have flowered now, and an imposing government book says eight 
gallons this, eight gallons that, fifty gallons water and be sure every 
thing is a certain kind. Gracious, you could cover my real estate with 
a pocket handkerchief — sixty-six gallons — I feel aghast. Can’t I buy 
a little can of something to squirt into my blossoms? One man “who 
sells insecticides” sold me Bordo-Lead and now I notice the label reads: 
“ Don’t use on Peaches or Plums.” May I use it now on Pears and 
Apples? 
Once in a while I find a reference to Hybrid Tea Roses and Hardy 
Chrysanthemums in my Garden Magazine. I wish there were more. 
Is there any hardy really yellow Rose for the garden besides Persian 
Yellow? All I’ve come across so far are almost single, and white in the 
sunshine. Also will someone please tell me if there is a cure for Black 
Spot? I tried bordeaux last summer in vain. — C. A. G. 
— Let’s see now, what have we? Twelve little Grape vines, each roughly 
Y-shaped, with each branch of each Y bearing three or four buds; age 
and variety unknown, which is unfortunate since the information would 
help in determining the treatment needed. However, the following sug- 
gestions, based on general principles, are reasonably safe to offer. 
