86 
House & Garden 
Your right to full value in the tire you buy 
is protected by the one-quality policy back of 
the Goodrich Silvertown Cord. This protec¬ 
tion is increased by the exacting standards 
to which the Silvertown is built. You are 
further protected by the Goodrich Dealer, a 
merchant you can rely on, whose service is 
on a plane with the tire he makes his leader 
—the Goodrich Silvertown Cord. 
THE B. F. GOODRICH RUBBER COMPANY 
ESTABLISHED 1870 
In Canada—The B. F. Goodrich Rubber Company, Ltd. 
Toronto r Montreal r Winnipeg 
Goodrich 
Silvertown Cord 
SOLD BY COODIVICH DEALEAS THE WORLD OVEPc. 
A GARDEN UNDER a HILL 
{Continued j\ 
cuts across it on the bias; yet this is one 
of the misdemeanors which garden ama¬ 
teurs most persistently perform. The 
proper grading of a site is nearly always 
a troublesome task, but without it there 
can be no such thing as a successful 
garden. Besides, there are no more de¬ 
lightful features of a garden than those 
which generally come with a thought¬ 
ful disposition of the grades—walls, 
steps and leveled terraces. All these 
things have been worked into the gar¬ 
den here, but none of them has the 
air of having been made simply for 
the sake of a wall, a flight of steps 
or a level space. They have grown 
naturally out of the conditions of the 
site, and the stones for the walls and 
steps were probably gathered on the 
spot. 
This upper garden makes a delight¬ 
ful place for perfect leisure. It has 
shade, seclusion and a view. The ten 
foot hedge of clipped yew not only 
affords privacy from the road but it 
forms a splendid rich, deep green back¬ 
ground for the riot of color in the 
upper border. The vine covered wall 
of the house on one side and the heav- 
■om page 5 7) 
ily massed planting of flowering trees 
on the other complete the enclosure 
and create the shade. 
From this pocket of a garden on 
the high ground of the place the lower 
garden slips down to the water. It 
is frankly nothing but a path against 
which have been planted irregular 
clumps of larkspur and lupines, lav¬ 
ender and lilies and low, spreading 
junipers, together with small flower¬ 
ing shrubs to give body to the scheme. 
Taken all in all, this little country 
place in Sussex is one of those rare 
establishments which must always be 
the despair of every homebuilder who 
wants the most livable and unpre¬ 
tentious thing obtainable. Of course, 
this particular house and garden 
achieved those qualities so delightfully 
because the generations with which it 
grew up wanted livableness more than 
anything else and pretentiousness not 
at all. And with a perfect site at 
their disposal, and good taste as well, 
something has been evolved which is 
even finer than the clever counterfeits 
that the movie geniuses create at 
Hollywood. 
HOW to KNOW REAL WATERFORD 
(Continued from page 45) 
cutting for which the Waterford glass¬ 
house was famous, and later the lav¬ 
ish use that was made of decoration. 
Certain pieces, too, are associated with 
the factory; the fine elaborate chan¬ 
deliers and candelabra of the period, 
for example, though luster cutting itself 
is said to have originated in Cork. 
The lovely boat-shaped fruit bowl on 
a stand, which is a rare prize today, 
and scent bottles of various patterns 
may also be taken as typical of Water¬ 
ford in connection with, strawberry 
diamond, hob-nail, and step-cutting of 
inimitable beauty and skill. Now and 
again the glass has a damp shiny look, 
as if it had been dipped in water and 
not dried, and this may also be taken 
as peculiar to Waterford. 
All Irish glass is heavy, solid, and 
tough to a surprising degree. The 
decanters of that roystering age with¬ 
stood many a hard knock and many a 
fall, and made on occasion formidable 
missiles. The quantity of table glass 
that survives speaks well for its dura¬ 
bility. Cork glass is rather lighter, 
on the whole, than Waterford, but 
heavy in comparison with modern 
standards. 
Authentic Irish glass can also be 
distinguished from fakes which other¬ 
wise have passed the tests by the 
“ring”. This sound may be described 
as a deep musical humming with 
a sustained vibration, unlike the clear 
sharp note of ordinary glass. It 
must be heard and compared, since no 
description can be adequate, but it is 
quite unmistakable to a keen ear, and 
the old phrase, “Singing Waterford”, 
is not inept. 
Gilding, or traces of gilding, are 
often found on Irish glass. Fine en¬ 
graving played a considerable part in 
its decoration, and work from the 
south of Ireland would be sent to 
Belfast, where most of the finest en¬ 
graving was done. With the excep¬ 
tion of blue glass and green, there was 
but little colored glass made at that 
period. The old glass-cutters relied 
upon cutting and patterns and beau¬ 
tifully designed shapes for the needful 
variety. The great householders in 
Ireland would have whole table ser¬ 
vices designed after their own patterns 
so that exact similarity or mechanical 
copies were not seen in the best work. 
Opinions differ about the care of 
Waterford and old Irish glass. Some 
hold cleaning it to be a sacrilege, 
and count the bloom and the irides¬ 
cence that appears on the surface an 
asset to be guarded and preserved, like 
the patina on old furniture. Others 
maintain that Waterford should be 
cleaned and polished, and kept, so far 
as possible, in its original condition. 
This is done by washing it in hot 
soapy water and polishing it with dry 
chamois leather. Thus, treated, the 
glass emphatically does not “look like 
new”, but radiates a luster that is more 
akin to the black shine of silver than 
to the prismatic diamond glitter of 
modern cut-glass. 
The craze for Waterford and the 
big prices that collectors are ready to 
pay for it have had the usual result, 
and a flood of imitations have been 
made with such consummate skill as 
to deceive where deception seemed 
impossible. Less clever fakes betray 
themselves in various ways—they ex¬ 
aggerate, for example, a certain large 
quality of Irish glass into clumsiness, 
while failing in the matter of weight. 
Or, again, the cutting is done with 
rectangular precision, whereas the old 
work was often irregular, with lines 
that deviated from the exact straight¬ 
ness. The color is either too white or 
too obviously tinted. The faint yel¬ 
low tinge that characterizes some of 
the old glass from Cork is exceedingly 
hard to imitate, and the gray-blue 
tinge becomes, in the faker’s hand, 
crudely cobalt. Where authentic dishes 
vary in thickness, the second-rate fake 
wilt be uniform; the spiral, or air 
thread, in a wine-glass is of betraying 
evenness. Holland and Germany, 
Austria and France, produce extraor¬ 
dinarily good imitations. The final 
quality that still eludes the cleverest 
imitatot is that of touch. The expert 
can detect in genuine Irish glass a Hnd 
of softness, almost a warmth that is 
not present in any modern glass. 
