70 
House & Garden 
INTERIOR DECORATION 
JOHN WANAMAKER, New York 
Au Quatrieme 
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Life As It Is Lived in “The Birdcage” 
(Concluded from page 40) 
living room, a kitchen and a small hall 
from which two bedrooms and a bath 
open. But one could do with less. It is 
possible to live comfortably in three or 
even in two rooms if a disappearing bed 
be built-in or a sleeping porch built-out. 
A house of this size need cost but a 
small amount of money. I am all for the 
small beginnings. Houses are not merely 
the settings, the accessories of our lives, 
but they are of the stuff of life itself. 
And their effect on us is none the less 
powerful for being retroactive. We can 
remember the houses where we lived as 
clearly as we can remember the people 
with whom we lived there. So if one 
must save there is no better objective for 
one’s money than a little house. The 
daily, hourly denial which spells thrift is 
not so difficult if it is for that “island 
in a blue sea,” that “Land of Heart’s 
Desire,” that home, that house! And 
if it is a house where breakfast may be 
eaten at such a built-in table, in such a 
white-walled kitchen as my friend eats 
hers; or a house where dinner in the 
big living room before the open fire be¬ 
comes a fiesta—brightened by flowers 
and lamps and pleasant talk; if it is 
such a house, it has a value far beyond 
the esthetic. These dinners give no¬ 
body mental indigestion, and these little 
homes send very few votaries to cabarets, 
to blatant restaurants, to the world of 
“bright lights,” so largely recruited from 
the world of drab, whose outlook is the 
alley! 
“A woman,” said my friend Four- 
Leaf, “can pin up a colored print and 
make a home out of a hall bedroom, but 
she likes a house. She likes it because 
it grows-” 
She might have added “because it 
gives scope to her changing, creative in¬ 
stinct.” It's a dull day when she can’t 
add a cushion or a teapot to her house, 
or have a wall fresh papered, or move 
the furniture from the blue room to the 
brown. Time was, when that owner 
was erratic, changeful, who ripped out 
a wall or added a new wing to his house. 
That time is past. Women no longer 
think of their homes in static terms. 
They think of them as caravanserais in 
which they stop for a night, a week, a 
month, while they alter the color scheme, 
or change the furniture from Jacobean 
to Louis Quinze. The house in evolu¬ 
tion is the modern way to see it. But in 
my grandmother’s house, once the pic¬ 
tures were hung and the furniture was 
placed, the thing was static. Even the 
candlesticks on the mantel were never 
moved except to dust them. And one 
might travel far—one might cross seas 
and visit outlandish peoples—and after 
the lapse of years one might return and 
find the same portraits staring austerely 
from over the mantel, and above the 
sideboard; the portraits remembered in 
one’s youth. Dynasties might have fallen 
but the same chairs were still placed 
primly back against the big flowered 
wall! 
But in “The Birdcage,” these pictures 
taken to-day, will not look like the pic¬ 
tures taken to-morrow, und as for the 
day after that—my friend Four-Leaf 
will doubtless have planned a hangar 
for aeroplanes on her roof! 
The Balustrade in Garden Art 
(Concluded from page 45) 
ment of one, at least, to its best under¬ 
standing. Through following the intro¬ 
duction of the baluster, in Renaissance 
art (mirroring its architectural exist¬ 
ence), we see how the mind of the artist 
came to accept it and even to seek it as 
a thing good in itself. Architecturally 
it came, too, to be of immense impor¬ 
tance in the eyes of those who applied 
it to their designs. It would now be 
difficult to imagine either an Italian or 
a French garden without it, or a German 
garden (from the Gaethezeit to our own 
time), lacking its use as a modifier of 
stolidity. 
The dawn of the Tudor period found 
English architects beginning to interest 
themselves in the balustrade. The more 
extensive staircases with their many 
landings, of the time of Henry YIII and 
of Elizabeth, offered the architects op¬ 
portunities to display their skill in prop¬ 
erly disposing the newly acquired balus¬ 
ter motif. The direct application of 
Renaissance design was, however, more 
pronounced in Jacobean construction; 
and then the Dutch influence came to be 
felt under the years in which Inigo Jones 
and his contemporaries worked. Finally 
classicism in balustrading marked the 
designs of the Georgian period, and 
settled upon a form which, in the greater 
part of the modern garden balustrading, 
seems most appropriate to our require¬ 
ments, which give preference to stone, 
including cement and wooden, balus¬ 
trades to balustrading of wrought iron. 
As to the details of the many styles 
of balusters forming balustrades, one 
should study such works as Meyer’s 
“Handbook of Ornament,” where ex¬ 
amples of various forms, through the 
different periods, are illustrated. From 
this short outline of the value of the 
balustrade in garden-art the homemaker 
may receive some helpful suggestion that 
will lead him to a deeper study of die 
subject and its application, not only to 
the requirements of the large garden, 
but to the adornment of the smaller. 
A CORRECTION 
Through an error credit for the 
houses illustrating Mr. Bragdon's 
articles on the Colonial House in 
the July and August issues of 
House & Garden was given to 
Messrs. Hollingsworth & Bragdon as 
architects. The name of Oakley & 
Son should have appeared as archi¬ 
tects of all these houses. 
