64 
sjttve Musi© R^ot 
"'Space 
the feeling of freedom must be 
apparent in the music room,” says the excel¬ 
lent article which appears in this issue of 
House and Garden. 
“With the Grand piano you have a wider scope for 
arrangement. It is a far more beautiful piece of 
furniture than an upright. Of course it has always 
been argued that an upright takes up less room, and 
when space was an important factor, the grand had 
to be passed by. In the attempt to give lovers of the 
Grand a small space instrument, enterprising piano¬ 
forte makers have evolved miniature grands, zvhich 
most surely measure up to grace and utility.” 
Foremost of these small Grands made to fit in the space 
occupied by an upright, is the Kranich & Bach Grandette. 
It is one of the most popular of the line of 
, . ich-^-BachI 
jJ ltm-Quatity Pianos 
~and Player Pianos 
No matter whether your choice is for the miniature Grand 
or the upright-piano, or for the largest of concert Grand, 
you may rest assured that no more honored name can 
grace your music room than Kranich & Bach. 
may be mentioned that the Scotti Grand Op< 
most touring opera company in the 
world, has chosen the Kranich & Bach 
Piano. , If you would like to read an 
estinig book about the Kranich & 
- - irill be glad to send a 
House & Garden 
May Work Among the Vegetables 
{Continued from page 62) 
side of the plants; and keeping the soil a strong force of water, and while on 
surface well stirred to conserve the soil the ground covered with tobacco dust, 
moisture and to admit air into the lower which will destroy them. In all cases of 
soil to improve its chemical character spraying it is desirable to use a good 
and productiveness. soapy solution, which will help the 
The onion maggot is one of the first spraying material to adhere to the foli- 
pests we have to contend with. The age. 
little white butterfly of early spring de- A great many of our garden crops, 
posits the eggs and the tiny white mag- especially those that occupy the same 
gots will soon destroy a crop of onions; ground for several seasons or more, such 
the tops turning yellow is an indication as strawberries, rhubarb, asparagus, 
of their presence. Pull a few onions and horseradish, artichoke, herbs, etc., as 
examine their roots carefully. If any well as the cane fruits, should always 
maggots are present the rows must be be mulched in fall. The fertilizing ele- 
watered with a strong solution of Scotch ments of this mulch leach into the soil 
soot. As a preventive, scatter some soot and are quickly assimilated by the 
on the ground around the plants. plants. While manure is the best growth 
Green fly and other types of aphis producer we have, it will, if used to the 
will often be found on the under side of exclusion of other fertilizers, make a 
the foliage or on the tips of the new rather soft growth, ideal for quick ma- 
growth, especially on plants that are turing crops, but not for crops that 
crowded or growing in impoverished stand for any considerable time. To 
soil. Spraying with strong tobacco solu-. balance this it is well to give the plants 
tions on three consecutive evenings is a top dressing of bone meal or a good 
the best means of combating these pests, concentrated fertilizer. This should be 
as it destroys subsequent hatchings, scattered on the soil around the base of 
Where infested plants are properly sup- the plant and can be worked in with a 
ported the aphis can be dislodged with fork or hand trowel. 
The Chimney as an Architectural Factor 
{Continued from page 37) 
of air but keep out rain and snow. We 
still see the louver boards in the ven¬ 
tilators of old barns and in church 
towers. Later, when other means of 
drawing off the smoke had been pro¬ 
vided, many of these femerells or 
louvers were glassed in and so became 
• lanterns. In either case, they were 
legitimate objects for architectural treat¬ 
ment and the opportunity offered in this 
direction was made the most of. 
The few chimneys existent at this 
period in castles, abbeys and large manor 
houses, chimneys enclosing real flues 
from the fireplace to the outer air, were 
usually treated as cylindrical shafts 
within or close against the outer walls 
and ended above the roof as pinnacles 
or diminutive turrets with conical, cov¬ 
ered tops, the smoke escaping through 
vertical slits at the sides just below the 
cone-shaped cap. 
The femerell or louver necessarily oc¬ 
curred at the ridge of the roof. The 
chimney shaft Was placed against the 
outer wall. Its top, also, came to be 
accorded a measure of architectural or¬ 
nament. As fireplaces grew more and 
more numerous, chimney shafts were 
added wherever interior necessity dic¬ 
tated, without any especial regard 
to symmetrical exterior composition. 
Throughout the Gothic period this prin¬ 
ciple of utilitarian expediency obtained. 
We find it so in houses of the Cotswold 
type—a phase of English domestic archi¬ 
tecture that has exercised an appreciable 
and agreeable influence upon much mod¬ 
ern American house design—and this 
fortuitous placing of the chimneys con¬ 
tributes no small share to the charm of 
this particular form of architectural ex¬ 
pression. 
During the Tudor and Stuart Renais¬ 
sance phases of architecture—and here, 
again, modern American practice is con¬ 
cerned—the same fortuitous placing of 
chimneys continued, and we all know 
what interest the grouped chimney 
shafts and their decoration imparted to 
the houses of the period. When we 
come to examine the more fully devel¬ 
oped Renaissance expression that began 
under Inigo Jones and the fashions that 
lasted through the Palladian era and the 
Neo-Classic age, we find the chimneys 
contributing to the symmetrical formal¬ 
ity of the composition and playing a 
well-defined role in assisting the balance 
and giving scale. They were regularly 
placed as large rectangular shafts in 
which the flues are massed, instead of 
appearing in groups of separate shafts 
or as single shafts from ■ fireplaces set 
without regard to a formal scheme of 
disposition. 
From the history of the chimney it is 
plain that the factors of position or i 
placement, scab and design, and contour i 
and decoration all developed by a logical 
process of evolution. It is also evident i 
that, through the inherent fitness of 
things, certain types of chimneys accord 
with the genius of certain forms of archi- | 
tectural expression. And this is true i 
alike of position, design and decoration, j 
Furthermore, it is equally evident that j 
the chimney, by right of inheritance | 
from its double line of ancestry, ought [ 
to be a distinct decorative unit as well i 
as an integral factor in the whole scheme i 
of composition. This decorative qual¬ 
ity may proceed from (1) the method 
of placing, (2) the manipulation of the ; 
materials used, (3) the treatment of the ; 
contour, or (4) from the various more . 
specific forms of surface ornamentation. i 
By one means or another the chimney | 
ought to have interest. 
Placing the Chimney 
Let us now examine the concrete I 
methods by which chimney interest may i 
be attained. First of all, with reference 
to position, we have seen that certain i 
types of architecture require certain i 
manners of chimney placement. If the 
architectural treatment be informal, i 
there follows a large latitude in the mat¬ 
ter of position, no matter what the par¬ 
ticular type chosen—Cotswold, Tudor, 
one of the modern British interpreta¬ 
tions, or some one of the early Ameri¬ 
can forms. Chimneys may be set in i 
angles where two walls join and where ; 
a change or break occurs in the roof 
line. They may also be set at gable 
ends or upon the apex of a gable and, i 
in this latter way, made a central fea¬ 
ture of decoration as well as an object ' 
of utility to which the whole scheme of 
gable composition may be made to lead 
up as a climax. They may be placed in 
groups, contributing an aspect of great 
stability as well as a focus of structural r 
interest. They may be set to rise out of r 
the mass of the roof, but should not be i 
so placed that the surrounding structural i' 
lines do not lead up to them. They 7 
may be set in rows rising from the outer I 
walls, with admirable effect, or they ; ' 
may be placed in various other positions I 
that circumstances make possible in in- ( 
{Continued on page 66) 
