62 
HO USE & GARDEN 
Send Postal for Free Bulb Book 
Describes in detail our plan whereby we supply you with 
bulbs direct from Holland at prices you have always paid 
for ordinary Stock. 
Choicest Spring Flowering Bulbs Grown 
TULIPS—HYACINTHS—NARCISSIS 
—large, sound, and full of vitality, no disappointments. Every 
bulb guaranteed. Sure to bloom early and true to name. 
Orders for fall delivery must reach us by July 1st. So send 
now for full description of our Import Plan and Catalogue 
of our many varieties. 
QUALITY BULB COMPANY, 825 Chamber of CommerceBldg., ROCHESTER,N.Y. 
Do You Like Birds? 
Bugs and insects make trouble 
for the gardener. Birds de¬ 
vour bugs and insects. A happy 
little bird-house or two will 
help rid your garden of these 
bothersome pests. 
Place a cosy little bird house in 
one of the garden shade trees. 
You’ll love the feathered little 
visitors. Let them mate there 
this season and then see them 
come back year after year. 
Do you know that there are prac- k , ( 
tical ready-built bird-houses that/ 
will attract particular kinds of 
birds? Perhaps we can help you] 
find just the right one for your! 
lawn or garden. 
Write our Information Service and se¬ 
cure, without cost, concise, practical 
information about beautiful, useful and 
artistic bird-houses. Address 
The Bird House Information Service 
HOUSE & GARDEN 
440 Fourth Avenue New York 
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Crex Carpet Company 
HICHEST AWARD 
CRASS 
FLOOR COVERING 
OFFICIAL 
AWAR D 
RIBBON 
PANAMA PACIFIC 
INTERNATIONAL 
EXPOSITION 
SAN FRANCISCO 
1915 
GRAND 
PRIZE 
MANUFACTURESAND 
VARIED INDUSTRIES 
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Durability of CREX 
A Well-Known Feature 
You will find CREX rugs amaz¬ 
ingly durable. Strongly and firmly 
woven of selected, long, pliant, 
jointless wire-grass by our own patented 
processes, they effectually withstand a 
great amount of wear. Being reversible 
their life and service is doubled. Their 
wear-resisting qualities and adaptability 
the year-round for any room or porch 
should appeal strongly to the thrifty 
housewife. They are artistic, sanitary, 
economical, easily cleaned by light shak¬ 
ing and brushing with damp broom. 
To protect you against imitations and dis¬ 
appointments the name C-R-E-X is woven 
in the side binding of every genuine rug. 
Look, for it when you buy. 
Dealers detected of wilfulsubstitution with 
intent to defraud will be prosecuted under 
U. S. Govt. Copyright laws by which 
CREX is protected. 
Send for 32-page catalog No.28. Illus¬ 
trated in natural colors. Free on request. 
CREX CARPET COMPANY 
212 Fifth Avenue New York 
Originators of wire-grass products. 
A Limoges enamel casket by Pierre Courteys. 
Second half of the l§th Century. From the 
Morgan Collection 
European Enamels 
(Continued from page 26) 
enameller’s palette at different periods 
in the history of the art: 
Colors and Periods 
Greek Work: The colors used by 
the Greeks were opaque white, blue 
and green. 
Barbaric Work: British, Gallic, 
Celtic and Roman-Provincial enamel- 
lers used scarlet, cobalt blue, dark 
green, yellows through light shades 
to orange and to ochre, white, black 
and possibly turquoise. 
Early Byzantine Work: Employed 
opaque scarlet, coral, white, black and 
translucent sapphire blue, emerald 
green, ruby red and manganese violet. 
Later Byzantine Work: Added to 
the above colors, toward the 11th 
Century, cobalt blue and turquoise, 
pale yellow and a flesh tint. 
Early Limoges Work : Relied upon 
blue, green, red, with purple and iron 
grey, and the lighter halftones known 
before in the 12th Century. 
Later Limoges Work: Whose full 
palette is composed of deep blue to 
lapis-blue and light blue, scarlet, a 
red approaching chocolate, green, 
greenish yellow, white and a semi- 
translucent manganese purple. In 
13th Century work blue is the domi¬ 
nating color. The 12th Century 
translucent colors give way to the 
consistent use of opaque ones in the 
years following. 
Germanic Work contains less co¬ 
balt blue, but employed the colors of 
the Limoges workers, introducing, 
however, a great deal of turquoise 
and much more green and pale yel¬ 
low than the Lrench enamellers used. 
They also were fond of black. 
The Historic Background 
Every writer upor enamels quotes 
the convenient commendation of the 
Greek sophist, Philostratus, who went 
to Rome in the reign of the Emperor 
Severus, about 200 A. D., to teach 
rhetoric. In the description of a 
boar hunt in his “leones,” wherein 
he describes the trappings of the 
horses of the barbarians (Gauls or 
Britons), Philostratus wrote, “Lor 
the barbarians of the region of the 
ocean (islanders?) are skilled, as it 
is said, in fusing colors upon 
heated brass (copper?) which be¬ 
come as hard as stone and render 
the ornament thus produced durable.” 
The Romans in Italy knew noth¬ 
ing of such things. Labarte and 
other authorities would have it that 
this passage refers to Gallo-Roman 
work though such is rarely to be met 
with; while others claim for it refer¬ 
ence to the work of British crafts¬ 
men, perhaps under design-influence 
of the Romans. Probably enamelling 
was known to the Celts and to the 
Britons independent of Roman oc¬ 
cupation. Certainly the Scoto-Celtic 
and the Britanno-Celtic tendency in 
design has little in common with that 
of the ancient civilized world of 
Greece, Rome or of Egypt. It is 
just possible the ingenious Celts in¬ 
vented champleve. 
Byzantine Work 
With the rise of the Eastern Em¬ 
pire in the 4th Centuiy A. D., with 
its capitol at Byzantium, came in 
that style of art known to us as the 
Byzantine, just as the North Italians 
produced the Lombardic style and 
Western Europe the Gothic. Byzan¬ 
tine enamel was always cloisonne, 
rigid and conventional in design, but 
rightly decorative and symbolical. At 
first the direct influence of Greek 
and Roman art affected their pic¬ 
torial representations, as we see the 
Christus in earlier work depicted as 
a clean-shaven, beautiful young man, 
an ideal that soon gave way to the 
sad representation of the Man of 
Sorrows. From the 10th Century on 
Byzantine ecclesiastical art was bar¬ 
ren of new invention. 
With the waning of the Empire in 
1057, the art of the Byzantine enamel¬ 
lers declined, and that of the Italians 
and the West Europeans blossomed 
forth untrammeled by stiff conven¬ 
tion. Lombardic architecture and 
Gothic carving had helped to pave 
the way for the broader art of the 
Middle Ages which no longer con¬ 
fined itself to cloisonne, but began to 
put forth champleve enamels of great 
beauty likewise. Indeed, in Gothic 
times Western craftsmen rarely made 
use of cloisonne except for personal 
ornaments and jewelry. The famous 
Lindauer Evangeliar exhibits upon its 
covers superb examples of early en¬ 
amelling. 
(Continued on page 64) 
