66 
House & Garden 
If You Would Have 
England’s Wonderful Garden 
Plant Sutton’s Seeds 
Y ou know there was a time, years ago, when 
travelers returning from England, filled 
witli the charm of her wonderful gardens; 
thought it was impossible to have like results 
in America. 
Happily for you, the facts are exactly to the 
contrary. 
Surely, nowhere, for example, are there love¬ 
lier gardens than at Lenox and Tuxedo. 
Gardens filled with the choicest things; the 
unusual things; such as are the continual pride 
of their possessors. 
In these gardens, Sutton’s Seeds are used 
extensively. The one below at Lenox, Mass., 
is a delightful instance. 
Aside from the wonders of Sutton’s Ray 
.Asters, Phlox, Giant Antirrhinum of gold 
medal fame; this year’s catalog contains the 
usual number of interesting new things. Every¬ 
one has been painstakingly tested and has 
abundantly proven its merits. 
No seeds, so it is commonly acknowledged; 
are tested quite so vigorously as Sutton’s, 
lhat is^why they are uniformly dependable. 
Send 3.Sc for Garden Guide. With $5 pur¬ 
chase of seeds, the 35c will be promptly re¬ 
funded. 
A 
GENERAL 
UTILITY 
PUMP 
FOR 
THE 
HOME 
MYERS SPRAYING OUTFITS 
HANDY PORTABLE SPRAYER 
This uniqvie, neat and attractive sprayer is just the 
outfit to have about the home for use in the garden or 
greenhouse. For spraying fruit and shade trees, shrub¬ 
bery, vines and flowers it cannot be equalled. Its com¬ 
pact, convenient and proven construction makes it most 
desirable for any kind of inside or outside work—white¬ 
washing, disinfecting, cold watei painting, etc. Adapted 
for any use and always ready for service. 
Our new Catalog for 1917, showing 
all styles and sizes of M Y E R .S 
SPRAY PUMPS from the small 
Atomizer to the largest Power Rigs: 
how, when and what to spray, to¬ 
gether with much valuable spraying 
information, etc., will soon be ready 
for distribution. Shall we reserve a 
copy for your particular reference? 
F. E. MYERS & BRO. 
350 Orange Street ASHLAND, OHIO 
Ashland Pump and Hay Tool Works 
Color Schemes in Exterior Paint 
{Continued from page 64) 
country house will always appear 
most attractive garbed in white, 
showing in charming glimpses from 
a distance through its environment of 
trees and shrubbery. It also affords 
a pleasing picture when the leaves 
have fallen, for the bare boughs will 
tend to soften the wdntry aspect. 
There is a style of house which we 
may properly designate as nonde¬ 
script, or ugly, and for such the greys 
and browns are suitable, only observ¬ 
ing to have the greys on the yellow 
shades, rather than on the cold blues. 
Very few greens are suitable for 
the walls of houses of any kind, 
though an artist has suggested terre 
verte with white trim, with a touch 
of yellow, as a pleasing combination. 
Slatey greens do very well, however, 
but in a:ty case wdiere there is much 
shrubbery or green leafage green 
paint should be used sparingljv The 
best plan is to use such colors as w ill 
agree best with the natural setting. 
A low posted cottage looks attrac¬ 
tive with a white body and trim, the 
porch floor a mossy green, the roof 
stained olive color, and the brick 
foundations and chimneys red. A 
good alternative scheme would be a 
white body with copper red roof, giv¬ 
ing a crisp and attractive color effect. 
A small house may be painted with 
the low'er story chocolate and the 
upper part a lighter shade of the 
same color, wdth the brickwork red; 
trim white, sash deep maroon, roof 
stained browm, and porch floor and 
steps a deep dtill yellow. For the 
body of a simple house a rather deep 
j-ellow may be used, with white trim, 
l)lack sash, a soft harmonizing green 
for the gables, moss green roof, and 
red chimnej's. This color scheme 
looks well with a background of 
shade trees and shrubbery. 
An attractive color scheme shows a 
green shingled effect with white trim 
throtighout; if siding is used, lay the 
chimneys in cream bricks. Stain the 
roof a golden browm, paint gables and 
body tan, bordering on the chocolate, 
make the sash a deep browm, porch 
floors dust color, while the brick 
foundation may be made to match 
the body color. 
Here are a dozen color combina¬ 
tions from which to pick a scheme 
that will suit your particular style of 
house, perhaps. The colors are ar¬ 
ranged for body, trim and sash, as 
given. The house should be colored 
to fit into the place it occupies, so that 
house, shrubbery and all shall form a 
perfectly appointed picture. You 
must take into account its style of 
architecture, the presence or absence 
of trees and shrubbery, the distance 
between it and neighboring houses 
and the coloring of the latter. 
1. Pearl grey, pure white, maroon. 
2. Cream, light brown, dark bottle 
green. 
3. Ivory white, pure white, maroon. 
4. Pure white, dark bottle green 
black. 
5. Medium drab, ivory white, 
maroon. 
6. Chocolate brown, pure white, 
white. 
7. French grey, pure white, maroon. 
8. Colonial yellow, pure white, 
white. 
9. Bronze grey, pure white, maroon. 
10. Fawn, pure white, maroon. 
11. Stone color, ivory white, choco¬ 
late brown. 
12. Slate, pure white, maroon. 
Here is another useful table of 
color schemes. 
Colonial or formal house. Body, 
wdiite, yellow or grey; trim, white; 
roof, natural wood shingles, or slates; 
blinds, moss green, bronze green, or 
medium chrome green, or dark 
chrome green. 
Picturesque or irregular. Bod}', 
red; trim, red; sash, w hite; roof, 
natural wood shingles; blinds, dark 
green; or, body brown, trim creamy 
white, roof moss green, and blinds 
medium chrome green. 
Hansard roof. Body, yellowish 
grey; trim, same; blinds, green; roof 
usually slate. 
Small cottages. Body, red; trim, 
if not much of it, white; shingles 
natural wood. Never use red when 
the slate is blue; make blinds a dark 
green tone. 
Upper and lozver stories different. 
Lower story body red, upper body 
grey; trim in either case to be self 
colored; sash, white; roof, natural 
wood shingles; blinds, dark green. 
Cement and stucco. Body, white; 
yellow or grey; trim, brown stain for 
wdiite and yellow body; roof red in 
all three cases; blinds for first two 
schemes green of medium shade, and 
for third case a pale blue-green. 
What Is Good Taste? 
{Continued from page 31) 
will be comical in your rimless, in¬ 
conspicuous glasses. 
No doubt fashion dictates taste, 
to some extent, as well as its own 
acceptance, but the thing goes deeper. 
W'e not only feign to like what 
fashion sends us, we actually do like 
it (for the time being) and we like 
it because of its newness. This year’s 
Derby hat—oh, incomparable! But 
how we should shudder, this year, 
could we see the Derby hat that is 
even now designed for next year! 
It presupposes a reaction, and the 
hour for reaction has not yet struck. 
But, dear me, are there not styles 
odious in and of themselves? Can 
we not say, for example, that it is 
bad taste to mix two arts, or to mix 
tw'o types of design, or to violate 
known “principles of color-harmony,” 
or to indulge in sheer humbug? 
Paint a statue at your peril. Never 
combine Gothic and Renaissance. Die 
in your tracks rather than put crim¬ 
son next vermilion. Never, if you 
value your reputation, simulate one 
material wdth another. But the 
Greeks painted their statues. Saint- 
Btienne du Alont is superb, though 
both Gothic and Renaissance. In Fra 
Angelico’s best altar-pieces, crimson- 
robed angels consort amiably with 
vermilion-robed angels. As for hum¬ 
bug, it had its day of glory, not 'long 
since, w hen, according to the esthetic 
formula then prevalent, one could 
say, “Twenty horse-tails make one 
mattress, twenty mattresses make one 
head of hair, twenty heads of hair 
make one girl.” W'e now see clearly, 
or think we do, that all sham is mon¬ 
strous. When we observe a mansion 
built of wood to imitate stone, we 
laugh. But what w'as classic archi¬ 
tecture but the knack of erecting in 
marble an imitation of wood? The 
wooden temple came first. The 
classic architects then copied it in 
marble. That row of pretty cubes 
along the cornice imitates the ends 
of wooden beams. Throughout the 
structure, humbug reigns. 
Well, well! Shall we con¬ 
clude, then, that there is nothing 
{Continued on page 68) 
