70 
HOUSE & GARDEN 
Dreer’s Roses 
For the Garden 
S TRONG, two-year- 
old, pot-grown Rose 
Plants that will 
give a full crop of 
flowers this season is 
one of our most im¬ 
portant specialties. In 
our Garden Book for 
1916 we offer and de¬ 
scribe over two hun¬ 
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varieties, including the 
latest introductions of 
the world’s most 
famous Hybridisers. 
Special: The “Dreer Dozen” Hybrid-Tea Roses, a collection 
of high-grade sorts that always do well—for $5.00. 
Or, send for a copy of the Garden Book free, and make your own selection. 
Please mention this magazine. 
HF1VD V A Rose 714-716 Chestnut St. 
lilLlN rv I A# JUKLLK Specialist Philadelphia, Pa. 
TVot a sound 
beyond th& 
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Motts QUIET ACTION Closets 
Mott’s 112 page 
“Bathroom 
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For fifteen years Mott’s SILENTIS 
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THE J. L. MOTT IRON WORKS, Fifth Ave. and 17th St., NEW YORK 
1828 Eighty-eight years of Supremacy 1916 
tBoston.41 Pearl St., Cor. Franklin 
Pittsburgh.Peoples Building 
tChicago.104 S. Michigan Ave. 
Minneapolis.Builders’ Exchange 
Atlanta.Peters Bldg.. 7 Peachtree St. 
tPhiladelpliia.1006 Filbert St. 
Seattle.406 White Building 
Cleveland.846 Leader-News Bldg. 
tDetroit.Penobscot Bldg. 
tDes Moines.205-211 W. Court Ave. 
tToledo.430-434 Huron St. 
Portland, Ore.Showrooms. Sherlock Bldg. 
fWashington, D. C.Woodward Bldg. 
Columbia, S. C... .Showrooms, 1533 Main St. 
New Orleans.622-640 Baronne St. 
Denver.1S34 Blake St. 
•fSan Francisco.135 Kearney St. 
fSt. Louis.Century Bldg. 
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t Montreal, Can.134 Bleury St. 
San Antonio.431 Main Ave. 
f Showrooms equipped with model bathrooms. 
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[TITUTlLLLLiJ-L! 1 
Collecting Japanese Color Prints 
(Continued from page 68) 
find the heyday of the figure-print 
at its close. On the other hand, a 
marvelous school of landscape ap¬ 
peared now with such masters as 
Hokusai and Hiroshige. 
Plebeians for Beginners 
The Japanese word ukioye, which 
we are told means “Passing-world 
Picture,” came to be applied to the 
countless color-prints whose subjects 
were inspired by contemporary Japa¬ 
nese plebeian life as distinguished 
from those classic subjects of their 
predecessors. It is these that the 
general collector most often meets 
with, and which will make the be¬ 
ginning appeal. Only from handling 
Japanese color-prints can one come 
to know them, to sift their wheat 
from their chaff. 
One should look in each print he 
considers buying to see if he can 
find the desired qualities (in addi¬ 
tion to design) of color, fine print¬ 
ing and excellence of preservation. 
All of these make for a treasure to 
be proud of and happy with. Bad 
impressions of early prints are not 
common prior to 1776. After that 
date indifferent prints (though gen¬ 
uine) are often to be met with in 
the work of even the foremost art¬ 
ists. You will probably encounter 
more poor Hiroshige prints than 
good ones. A good impression 
should show sharp, clean-cut lines 
printed in perfect register, the blacks 
rich and not “dusty.” Before 1800 
each color-block was (generally) 
uniformly covered with color, pro¬ 
ducing flat and unshaded impressions 
of it. Later, gradations of tone 
were produced by skilful wiping, as 
in Hiroshige’s prints. Prints dam¬ 
aged or discolored in any way are 
seldom advisable to collect. The 
tone imparted by age to a genuine 
early print is one that can not be 
imitated perfectly. This tone is not 
merely a matter of color but of at¬ 
mosphere. 
Let the amateur also be warned 
that a fresh and luminous genuine 
print is far more lovely than one 
yellowed by age. Lucky is he who 
picks up a “brilliant” example of a 
fine Japanese color-print! As many 
Japanese color-prints were reprinted 
from the original blocks at a later 
date, and lack both in color and reg¬ 
ister, the amateur will wish to study 
the differences between originals and 
reprints. Of course early reprints, 
as Mr. Ficke points out, may be con¬ 
sidered as late editions. Modern re¬ 
productions usually disclose them¬ 
selves by being on paper of a more 
brittle quality than the soft, fibrous 
papers of the originals. Such prints 
feel differently to the touch than do 
the genuine ones. The colors of 
modern reproductions lack the soft, 
brilliant tones of originals, the blacks 
and the blues being noticeably defi¬ 
cient in proper qualities. 
Your All-Year Garden 
(Continued ft 
them 3" deep or so in the moistest, 
heaviest soil possible. 
To get the earliest summer squash, 
start in paper pots and protect them 
from the attacks of the striped beetle 
and the squash bug. If space is very 
limited, plant bush varieties or those 
which are suitable for both summer 
and winter use, such as Delicata and 
Fordhook. 
The most common mistake in set¬ 
ting tomatoes is not to get them deep 
enough. Get strong pot plants, if 
possible, enriching the holes with 
compost, fine bone or guano, and then 
set so that the first blossoms are only 
two or three joints above the soil. If 
turnips are wanted through the sum 
mer months, make a second planting 
now. 
Flowers from Seed and from Pots 
Flowers for the various uses about 
the place may be most readily con¬ 
sidered in three groups; those to be 
planted from seed; those which, 
while they may be raised from seed, 
are preferably set out as growing 
plants; and the bedding sorts, which 
are practically always set out as pot- 
grown plants. 
Sow from seeds African daisies, 
bachelors’ button, balsam, calendula, 
caliopsis, California poppy, castor-oil 
beans, clarkia, cockscomb, corn flow¬ 
ers, cosmos (early strains), globe 
amarynth, gypsophila, annual lark¬ 
spur, lavatera, lobelia, love-in-the- 
mist, lupin, marigold, mignonette, 
morning glory, nasturtium, nicotianas, 
petunias, poppies, portulaca, salpig- 
lossis, scizzanthus, phlox, sunflowers, 
sweet peas and, for late blooms, ver¬ 
benas and zinnias. 
From either seeds or plants, agera- 
tum, asters, celosias, late cosmos, lobe¬ 
lias, moonflowers, pansies, petunias, 
annual phlox, salvias, stock, sweet 
alyssum and verbenas. 
From potted plants for bedding 
purposes, abutilon, begonias, caladi- 
ums, cannas, geraniums, coleus, helio¬ 
trope, salvias, vincas, lemon verbena. 
•om page 50 ) 
The smaller flower seeds should be 
pressed firmly into the soil with a 
small piece of board or the back of a 
hoe and covered with a very thin scat¬ 
tering of light soil, or, better still, of 
humus or leaf mould. Prepare the bed 
as carefully as possible, and give it a 
thorough watering. After the sur¬ 
face dries, rake it over again and sow 
the seed. Usually it is best to plant 
the seeds in rows. To get the best 
results the plants should be thinned 
out when quite small; most of them 
will transplant readily to fill up gaps. 
Mark each variety carefully, imme¬ 
diately upon planting it. 
Swat the Weed 
Another advantage of planting in 
rows, particularly if you are not fa¬ 
miliar with the various forms of flow¬ 
ers planted, is that you can more 
easily and successfully keep them 
clear of weeds. It should always be 
your aim to kill weeds just as they 
get above the ground or just as they 
break through, while they are still 
seedlings. If you do this, all that is 
necessary is thoroughly to stir the 
surface of the soil with whatever tool 
may be found most convenient. In 
the vegetable garden, most of the 
work can be done with the wheel-hoe, 
and with the flowers, a light hand 
hoe or a hand weeder. But the main 
thing at all times is to keep the sur¬ 
face of the soil stirred up. With the 
great majority of flowers and vege¬ 
tables, it is best to begin this work 
before the seeds have sprouted, going 
over the soil between the rows once 
or twice before they have come up. 
Summer Blooming Bulbs and Late 
Coldframe Work 
The bulbs for spring planting and 
summer bloom have one great ad¬ 
vantage besides their beauty, and that 
is their long period of bloom. Even 
the gladioli, which are the quickest to 
go by, last longer than most of the 
(Continued on page 72) 
