54 
HO USE & GARDEN 
THIS COULD BE A CORNER 
IN YOUR HOME 
—If you used Minnet Willow Furniture, the smart furniture which 
has done more than its share to bring woven furniture of all kinds 
in vogue among modern home owners. Minnet Willow Furniture 
is distinctly a furniture of the better kind. It is woven entirely of imported 
willow and specially made for the inside of the home. Call or send for 
our interesting catalog. 
Just as Comfortable 
as it Looks— 
Is the Old Chester lounging chair illus¬ 
trated at the left. The height of the seat 
from the floor is 10". The seat is 26" 
deep. Hack 27" high from the seat. Price 
$12.00 natural and $14.00 stained. Seat 
cushion of imported cretonne or solid color 
repp. $3.50. Back cushion of above mate¬ 
rials, $3.00. 
This Self IVatering 
Plant Stand 
Will insure your success with plants in the 
home. Special metal lining and self water¬ 
ing system that prevents dripping and re¬ 
quires a minimum of care. Width 12". 
height 30". Depth of metal lining is 10". 
In natural color willow $13.50 and stained 
any color, $15.00. 
Makers of High Grade Willow Furniture 
362 Lexington Avenue 
Bet. 40th and 41st Streets 
NEW YORK 
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| Farr’s New French Lilacs I 
Grown on Their Own Roots 
1 Lilac-time is spring-time at its best. Everyone loves 
the Lilac, but only a few have seen the wonderful cre- 
| ations of Lemoine, with their immense clusters of 
| double and single flowers more than twice the size of the 
| older kind, and with colors that range from soft shades 
| of pink, mauve, azure blue to the darkest violet, purple 
| and maroon. | 
| Combine with these, the beautiful new forms of 
Philadelphus Virginale and Conquete, and the splendid 
new Deutzia crenata magnifica, and the drooping dwarf 
| form; in front of these plant Daffodils, Primroses, | 
Irises, etc., and you can have a wonderful “spring 
| garden” if you plant now; if you delay until spring you 
| will have to wait another whole year for bloom. Lilacs 
start to grow early, so that fall planting is always best. 1 
| In my book | 
Farr’s Hardy Plant Specialties 
| You can find out all about them. This is a book of nearly a 
= hundred pages, with several illustrations in natural colors. | 
= Mailed free on request. § 
[ BERTRAND H. FARR—WYOMISSING NURSERIES CO. I 
j 106 GARFIELD AVENUE | 
| WYOMISSING, PENNSYLVANIA 
= P. S. If you are interested in great heavy specimen Tree Peonies, 10 = 
= to 15 years old, write me for particulars about the wonderful Brochet col- = 
= lection, Chatenay, France, which I have just purchased in its entirety. = 
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Living With Good Sculpture 
(Continued from page 23) 
position and order ‘Pittsburgh En¬ 
lightening the World,’ ” have been 
quick to see the possibilities of this 
new remunerative market. You can 
run downtown, any day, and purchase 
a Saint-Gaudens masterpiece reduced 
instrumentally. You can purchase a 
Dallin masterpiece reduced by Dal- 
lin’s own hands. There are shops 
where you cannot go wrong, as the 
dealer furnishes nothing but first-rate 
productions by first-rate men. Puz¬ 
zle: To find those shops. Answer: 
Keep away from department-stores. 
Of course, one may whip out one’s 
jackknife, scratch an ungodly god¬ 
dess, and discover what she is made 
of, though salesmen object, as a rule, 
and, with universal military training 
so near that we can almost see the 
whites of its eyes, this is not a safe 
habit to form. Moreover, one may 
get nicely fleeced even if the bronze 
turns out more than skin-deep, for 
a lot depends on the patina—that is 
to say, the acid complexion-wash al¬ 
ways bestowed upon indoor bronzes. 
That gives them their color; you 
might almost say their texture. 
Straight from the foundry, a bronze 
has a harsh, raw glisten. It remains 
to tone that down. Weather will 
do it. Sufficient weather will con¬ 
tribute a green patina romantically 
suggestive of age. Indoors, however, 
a bronze owes half its charm to the 
artificially developed surface, and de¬ 
partment-stores possess the secret of 
marketing quite the vilest patinas 
known to unhappy science. 
Also of marketing enamel-ware¬ 
looking marbles of the Powers school, 
not only mediocre in effect, but chill. 
Dallin jeers at all that. No wonder! 
The great technical advance modern 
sculpture has made is in the intelli¬ 
gent, sympathetic, interpretative 
treatment of surfaces. The Powers 
school know nothing of that. They 
give flesh, hair and draperies the 
same finish. The result is a staring 
surface with keen outlines and no 
atmosphere—exactly the result that 
seems atrociously out of place in¬ 
doors. No matter where you stand 
the icy image, it is out of key with 
the room. If you end by relegating 
it to the garden, it is out of key there. 
A charming wax head 
of a child “ Fifine ” 
loould fit in perfectly 
on a desk or table. It 
was executed by 
George Conlon 
But do marbles belong in gardens? 
Are they not too fragile to resist our 
American climate? Dallin wound up 
his chat with me by divulging a trick, 
and the mysterious air he had, as he 
divulged it, reminded me somewhat 
of Mr. Dooley?s disclosure, “Have 
ye heard the" divilish inginooty 
young Harrigan impl'yed t’ break 
out iv jail? He wint over th’ wall.” 
With equal cunning, you are to box 
up the marbles in winter—that is, 
provided that they are worth the 
lumber. To make sure that they are, 
apply to a reputable art-dealer. 
Furniture and Its Architectural Background 
(Continued from page 35) 
is necessary if one is going to fur¬ 
nish successfully with a more or less 
miscellaneous collection of objects, 
which is a perfectly admissible thing 
to do and opens up a wide range of 
possibilities stimulating both ingenu¬ 
ity and good taste in adjusting the 
pieces to their setting. It is, of 
course, vitally necessary to know 
the dominant architectural modes, 
and if that knowledge can partake 
somewhat of an historical character, 
so much the better. It is likewise 
vitally necessary to know thoroughly 
the several period styles in furni¬ 
ture. Then it will he possible to 
adapt and combine understandingly, 
when one knows the nature of the 
units with which he is working, with 
some assurance of a successful out¬ 
come to his efforts. 
The Master Examples 
In dealing with both architecture 
and furniture, one must go back and 
study the best achievements of the 
old architects and cabinet makers 
for inspiration and then make adap¬ 
tations as needs require. It is fu¬ 
tile to study the newer work for 
ideas. Neither in the realm of 
architecture nor in the realm of fur¬ 
niture has any wholly new form 
been evolved independently of the 
old prototypes, that is to say, any 
new form that is really meritorious. 
Another reason for knowing thor¬ 
oughly the old work in the manifes¬ 
tations of its several strongly dis¬ 
tinctive styles is that it must needs 
be disastrous to the result to attempt 
combinations without knowing the 
nature of the elements being com¬ 
bined. And it is impossible to learn 
the nature of those component ele¬ 
ments from contemplating the fin¬ 
ished combination just at it would 
be utterly impossible for a person 
who did not know the nature and 
properties of either peaches or sugar 
to learn the properties and nature 
of one or the other by examining 
the contents of a jar of peach jam. 
Keeping clearly in mind, then, the 
nature of an Adam architectural 
background or of a more austere 
background in whose composition 
Adam principles play a dominant 
part, and keeping also in mind the 
requirements for correspondence 
between the furniture and its back¬ 
ground in (1) point of contour and 
proportion, (2) in point of design 
(Continued on page 56) 
