“ The Orchard" at Southampton , L. I. 
woodwork, all painted white, cause this 
effect. The ceilings are very low, but what 
has thus been lost in interior effect, the 
Especially drawn for House and Garden 
owner felt would be more than gained in 
keeping the exterior lines of the house from 
the stilted appearance of so many modern 
country places. The ceiling level of the old 
house has been retained, but of that former 
structure, all that is left are the partitions and 
heights of one or two rooms. In the studio 
the room runs up to the total height of the 
small building, which it nearly fills. 
The dining-room and hall, though not 
finished, are shortly to be completed in white 
wood panels. Several of the doors in the 
house are old, inlaid mahogany ones, splen¬ 
didly marked by the grain. The studio is 
entirely finished in California redwood of 
pieces stunningly grained. The present con¬ 
servatory is one of the latest alterations to 
the house, originally having been a broad 
arched driveway, through which one entered. 
Its sides were filled with glass, walls and 
floors covered with old Japanese glazed tiles 
and the ceilings with groined arched lattice 
work. Entering the house now by a straight 
axis to the main entrance door, gains far 
more in logical straightforwardness than may 
have been lost by the picturesqueness of the 
old scheme. Both to the west and the south 
of the studio are Colonial entrances of the 
purest type. The architect, with his genius 
for drawing nourishment from old examples, 
picked them up tor the owner, and the small 
Ionic columns and panels and leaded glass 
side and head lights look as if they had stood 
in their present place for the last century. 
Over the little Tuscan portico of the studio, 
and clinging to the sides and corners of the 
building, is a profusion of wonderfully grow¬ 
ing white clematis, the varied colored English 
varieties soon to be added. Honeysuckle, in 
between, has even climbed the gutter, and the 
lowest portion of the building is hidden by a 
mass, running wild with geranium, hydrangeas 
and formal and informal labernums. 
In the rear of the house, stretching to the 
north, lies the formal garden. It centers on 
the main house, a straight axis running as a 
path the full extent of it. The principal 
portion of the scheme is as admirably sym¬ 
metrical as the house proper. Immediately 
back of the house comes first the rose gar¬ 
den, “where parting summer’s lingering 
blooms delay” late into autumn. The beds 
are all skirted by small box borders, and the 
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