HOUSE AND GARDEN 
□ 
September, 
1912 
I 1& * 
Use Vitralite for White Rooms 
PRATT & LAMBERT VARNISHES 
Established 63Years Fe Cl 
American Factories 
New York Burr*io Chicago* 
6RIQOCB1JRG CanaOa 
LONG-LIFE WHITE ENAMEL 
I F you want the white enamel finish de luxe, tell your painter 
and architect to use Vitralite, The Long-Life White Lnamel. 
This beautiful, porcelain-like white finish is durable and 
water-proof. May be used inside or outside, on wood, metal 
or plaster, whether old or new, and may be washed indefinitely. 
Vitralite is pure white and stays white — 
will not turn yellow, nor crack. It is eco¬ 
nomical because it covers so much surface; is 
so easy to apply, and will not show brush 
marks. Write for the two 
Free Booklets on Vitralite and 
Decorative Interior Finishing 
also sample panel finished with Vitralite. They 
will interest you. Vitralite can be tinted to 
any shade desired and may be rubbed to a dull 
finish when the rich natural gloss is not 
preferred. 
On your floors and linoleum, old or new, 
use “61” Floor Varnish. It is heel-proof, 
mar-proof and water-proof. Will not turn 
white, show scratches nor heel marks. Prove 
this. Send for 
Free Floor Booklet and Sample Panel 
finished with “61.” Test it yourself. Hit 
it with a hammer. You may dent the wood 
but the varnish won’t crack. Pratt & Lam¬ 
bert Varnish Products are used by painters, 
specified by architects and sold by paint and 
hardware dealers everywhere. 
Address all inquiries to Pratt & Lambert-Inc., 117 Tonawanda Street, Buffalo, N. Y. 
In Canada, 61 Courtwright Street, Bridgeburg, Ontario. 
Want a really fine lawn ? 
Start it Now with Iff I /j /f 
Start your lawn this fall. L=a Fh 1\ Fh 
I ful'next sprhfg at'th^time FERTILIZED GRASS SEED 
' when otherwise you would j ust be seeding it. For 
! fall seeding, it’s important to sqiy Ivalaka—notordi- 
nary seed. Kalaka "rows quickest and surest, and gets well 1 
rooted before cold weather comes. It's easier to sow and goes 
j further, too. No waste to Kalaka. It’s the choicest of carefully 
| cleaned prime seed—mixed with a strong concentrate ot rictf 
manure—draws moisture, quickens germination and nourishes 
. the sprouting grass into a thick,-sturdy turf in a brief time. 
Now is the time to tone up the thin lawn and brighten up 
bare spots. $1.00 for 5-lb. box. $1.25 West of Omaha, express paid. J 
MTgnagSk 19/nnlr f "How to Make a LiUvn" will 
® C? • l»e given you by any Kalaka 
dealer. Ask your dealer for it. If lie doesn’t 
handle Kalaka, write us his name* and we 11 send 
you the book. 
The Kalaka Co., 16 Union Stock Yards t Chicago 
MOST ARTISTIC PLACE IN NEW YORK.' 
m t 
A A 
N B 
T L 
E E 
L S 
S 
2Q0 Building 
MacLagan’s Suburban Homes is 
a big book of over 200 Building 
plans of Bungalow. Suburban and 
Country Homes, actually erected 
costing from $400 up to $10,000. 
Price 50c. The best book pub¬ 
lished for the home Builder. 
P. I. MacLagan, Architect, 
45 Clinton Street. - Newark, N. J. 
kill them." Since this is the case there 
is all the more reason for rendering the 
mat less conspicuous, more a part of the 
picture itself, and this may be done by 
using tinted mats in the lightest tone of 
some color in the picture, such as the 
lightest sky tint sea green or a sunset tint, 
and so on. If you cannot find these mats 
in suitable tints purchase the white ones 
and tint them yourself. There is a wall 
paper provided for ceilings that has a 
smooth surface not unlike water color 
paper and comes in exquisite tints of 
green, pink, cream, violet, a delicate gray 
and yellow. It takes a wash as if it had 
been made for an artist’s use and is 
cheaper than any water color paper or 
mats, costing only twenty-five cents for 
eight yards — the smallest quantity sold— 
but as there are many other pretty uses 
for this paper it can certainly be made up 
to advantage. A water color handled with 
vigor will look well in a gold mat, or it 
may be treated as any oil painting the size 
determining whether or not it should be 
matted. 
Water color paper dipped in coffee 
gives a tint that is an excellent imitation 
of old-paper color and this harmonizes 
charmingly with the soft golden brown 
tints of carbon prints. 
Picture frames should be as wide and 
varied as the pictures enclosed. A large 
picture should have a heavy frame and 
a small one a delicate frame. A strong, 
firm line separating the picture from the 
wall is the essential thing. A serious sub¬ 
ject should be framed in a quiet, digni¬ 
fied molding and a light and airy sub¬ 
ject may have a more ornate frame. Sim¬ 
plicity, however, is the rule in these days 
of artistic perceptions and we are begin¬ 
ning to understand that the frame should 
be in beautiful harmony with the picture, 
but less conspicuous. Their mission is 
merely to enhance the value of the pic¬ 
ture, not to attract attention, however 
favorable, to themselves. 
Gold in frames as well as in mats is 
of a neutral tone and tones well with any 
color. There are different shades of gold 
that are adapted to different pictures, as 
lemon tones or those that suggest green, 
rather than the pink tint, which is un¬ 
desirable because not so effective. 
White frames are never desirable and 
black is a color to be used with great dis¬ 
cretion. The exceptions for its use are 
highly colored scenes like sunrise or sun¬ 
set on the sea, or other paintings in which 
brilliancy of color is given. When the 
picture is a monochrome the color of the 
frame should be the darkest note in the 
picture. The reason for this is that it 
is the best way to limit the panel effect 
and keep the vision from wandering out¬ 
side the field of interest. If the back¬ 
ground should be too dark for this rule — 
the frame not showing enough against it 
— try a flat gold frame with a narrow mat 
tinted in the shade the frame should 
have been. However, there are few walls 
with paper or tinting so dark but that 
In writing to advertisers please mention House and Garden. 
