H ouse and Garden 
ir. DESIGN FOR STENCIL HY CLIFFORD MELONFY III. A BEAUTIFUL CLOSE DESIGN 
at nearer view. Carried out in browns it could by 
its quiet, rich tone, take its place in any room. 
Fig. 4, a rose design with 
trellis suggestion, was sten¬ 
ciled upon a fine, sell-col¬ 
ored burlap, the trellis lines 
pleasantly breaking the stir- 
iace upon which the roses 
fell in delicate tones of red. 
I'he upper border, fine and 
hold, appears in the group 
of stencils, but is not easily 
seen in the close lolds when 
the curtain is hung. Fhe 
lower border is a geometric 
rendering of the forms used 
and the narrow leaf-border 
surrounds all. 
Other patterns are also 
to be found among the 
wall-stencils, applied 
for instance on a founda¬ 
tion of a very beautiful 
piece of voile. The colors, 
though varied, may he rich 
yet soft tones of old 
pink, violet and delicate 
greens. With the transpar¬ 
ent ground the result is 
almost a fairy-land of 
color. Again the pattern 
is stenciled flat in one 
color and the pattern 
applied. The foundation material is in this case 
a billiard-cloth green. Exposure had induced a 
golden tone over it which 
greatly added to its charm. 
The design was stenciled 
in buffi and blues with a 
result that was both rich 
and quiet. 
When the possibilities of 
the stencil are realized and 
further progress desired the 
first necessity is, of course, 
a training in design as 
a basis unless one is for¬ 
tunate enough to have 
already had this. 
Then, on the one hand, a 
study of Japanese stencil 
patterns for technique, and 
at the same time a study of 
our native flora with the 
conventionalizing of it for 
decorative uses. All the 
familiar flowers will then 
more and more bewitch- 
ingly entice and appeal to 
the sense of constructive 
design. 
The simple window 
drapery of white cheese 
cloth shows a stenciled 
design which any amateur 
can easily follow. 
IV. ROSE DESIGN STENCILED CURTAINS PROP¬ 
ERLY MADE AND HUNG 
