116 
House fe' Garden 
..... 
Thelnsignia of the 
World's largest 
maker of All-Clay 
Plumbing Fixtures 
TEPEGO 
PLUMBING 
FIXTURES 
Will Not Stain or Wear 
I N choosing the plumbing equip- 
ment for the new home or when 
remodeling old bathrooms, you 
should consider, first—how long will 
it last in presentable condition. It 
is not economy to install plumbing 
fixtures which may cost a little less 
initially if they fail in service and 
must be replaced after a few years. 
The difference in cost is too slight. 
“Tepeco” Fixtures are true china and 
porcelain, gleaming white, but far more 
important, sanitary beyond any other 
material from which plumbing fixtures 
can be made. The scientific reason for 
this is because glaze can be fired or baked 
on clay at such a high degree of temper¬ 
ature. Instead of merely coating the sur¬ 
face it fuses into the body itself, making 
chipping and peeling impossible. This 
high heat also means a close, impenetrably 
hard surface which resists the adhesion of 
soil. “Tepeco” All-Clay Plumbing Fixtures 
are not affected by the action of cleansing 
preparations, medicine, fruit or ordinary 
acid stains. A dampened cloth quickly 
removes any trace of dirt. 
It will pay you to specify “Tepeco.” Our trade¬ 
mark will be your means of identification. Send 
for a copy of our instructive booklet, “Bathrooms 
of Character.” It contains many useful hints on 
bathroom arrangement. 
THE 
TRENTON POTTERIES CO. 
TRENTON, NEW JERSEY, U. S. A 
Boston New York ‘ San Francisco 
World's largest makers of All-Clay Plumbing Fixtures 
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THE HOUSE THAT IS MINE 
{Contimtcd from page 114 ) 
a squirrel as a finial to a window post. 
This he finished in good shape and 
signed it “Bob Catto.” Next day he 
made a monkey finial for the house cor¬ 
ner, and did it exceedingly well. Now 
life blossomed for him. He had found his 
job. He planned to go to night school, 
learn to draw, and launch out as an art- 
plaster-man. But alas! next week, at the 
age of twenty-five, he caught the flu and 
the Grim One took him. 
When it came to my bam, I found it 
easy to follow absolutely my rules. 
First, an ample ha}- barn, 25'x6o'; 
at the end a stable with stalls for two 
cows and four horses, with feed room in 
the rear. Next over the stable a gable 
window that might light a room in case 
one needed such space for store room or 
groom’s bedroom. Next a large gable 
opening to a spacious pigeon loft. The 
timbers were cut in the woods, and used 
as they came, except that all bark was 
removed and all bumps that took from 
the usefulness. When the inch roof 
boards were nailed on the round massive 
poles that served as rafters, the result 
was a variable heaving and winding of 
lines that certainly was very strong and 
very pleasing to the eye. The final roof 
cover was heavy tar paper of the green 
slate-covered style. 
Thus I got my barn, so picturesque 
that it is often called theNativity 
Barn” after Durer’s engraving; so pic¬ 
turesque that it has furnished more than 
one artist with the motive for a painting; 
so strong that it will outlast three ordinary 
frame barns; and at a price just half of 
the builder’s estimate for an ordinary 
stock stuff barn of the same size. 
A delightful and unexpected endorse¬ 
ment was received from the air. My 
pigeon house was ready. I had no 
pigeons. But one morning a fine big 
white fellow appeared and took posses¬ 
sion. After a week, my man got a white 
female and released her after a few days 
in the loft. They paired, others came, 
and now a stock company of some fifteen 
pairs furnish a small but continuous sup¬ 
ply of squabs. 
Soft, pretty colors, personal touches, 
broken lines and pleasant masses are 
characteristic of my buildings; untooled 
trees in natural groups are about them. 
They are serviceable and full of beauty. 
And what do I mean by beauty? To 
define beauty is an ancient and pretty 
nearly hopeless task. Yet avoiding the 
difficulty, here is a test that we may 
apply to any building or view. Is it one 
that a trained artist will deliberately 
select as the subject for a picture? If 
so it has beauty—for the whole training 
and life-long search of an artist is to 
discover and record beauty. Thousands 
of artists have portrayed the Doge’s 
Palace. I never heard of one selecting 
a New York brownstone front for a 
subject. 
The uninstructed say of my results: 
“They look so charming, so old.” By 
which they really mean that they have 
the beauties that are usually associated 
with strong old buildings—buildings of 
the Golden period. But they certainly 
do not look old. They are not old. They 
are brand new, and I don’t want them to 
look anc'thing they are not. But, em¬ 
bodying the principles set forth, they 
have evident kinship with the buildings 
set up by the honest, simple old builders 
of the long ago. 
FOR THE BUILDER’S NOTE BOOK 
THE BUSIXESS OF THE .4RCHITECT 
T is generally supposed that the archi¬ 
tect is employed merely to draw out 
plans of ideas originated by his client, 
possibly to surmount some of the difficult 
problems, such as staircases and roofs, 
and then to beguile the builder into under¬ 
taking a contract at less than he would 
otherwise demand for the work. Such 
collaborations have existed: they are, as a 
rule, unfortunate while they last, and dis¬ 
astrous in the result. The client blames 
the architect for defects which are really 
his own fault, while the architect consoles 
his professional pride by the reflection 
that the owner has to live in the house. 
'In reality the business of an architect 
is a very different matter. He is really the 
master builder, and his success depends 
largely on his power of controlling both 
his employer and the building which is 
being erected. That the building must 
be sound and convenient is obvious, but it 
must have other qualities which the pub¬ 
lic are able to appreciate—that portion of 
the public whose opinion the owners are 
likely to value, so that a building may 
please not only the o\\’ner, but also pro¬ 
spective owners. It is only thus that an 
architect acquires a reputation. 
THE ARCHITECT OF TODAY 
HE architect today has a more diffi¬ 
cult problem to surmount than had 
his predecessor. Our modern require¬ 
ments necessitate more intricate parts to 
the plan than were wanted two hundred 
years or so ago. Rooms cannot open one 
through the other as they did, and also, 
under the stress of modern conditions and 
expensive labor, the plan has to be com¬ 
pact, with no waste room at all. These 
conditions in the planning of the house 
add difficulty to the arrangement of the 
chimneys, and more ingenuity is needed 
to arrive at a plan that is convenient 
within and seemly without. The design¬ 
ing of a small house so that all its parts 
are right is one of the most difficult prob¬ 
lems that comes the architect’s way, and 
yet amateurs, ejuite unversed in the ele¬ 
ments of design or construction, wiU be 
found ready to embark on the planning 
of their houses. The builder, equally ig¬ 
norant of design, then puts things into 
such shape that they can be built and an 
inept house is the result. The position 
and appearance of the chimneys will give 
away the untrained designer every time. 
If the chimneys grow out of the roof 
properly, if they give balance and interest 
to the design and look ordered and well 
disposed, we shall know that the designer 
knew something of his work. 
Real charm in a house depends on a 
hundred and one such small and elusive 
matters as the right designing and putting 
on of the roof, the proper grouping and 
arranging of the chimneys, the right 
choice of materials, good in color and tex¬ 
ture. Perhaps the most important of all 
is an eye for the right setting and layout 
that will make the house take a happy 
place amid its surroundings. 
Fortunately, there are many architects 
today who, besides knowing about the 
technical side of their craft, have given 
much attention to these things. They 
have recaptured the details and require¬ 
ments in workmanship that invested our 
old buildings with their attractive quali¬ 
ties. They know the value of texture and 
right use of material and, what is more, 
are versed in the means required in build¬ 
ing to bring about the desired effect. 
CLIMATE AND ROOFS 
N England the roof has always been a 
characteristic feature of the house, and 
with the roof we may include the chim¬ 
neys. As we go to southern or eastern 
countries we find the roof becomes less 
and less a feature of the design and 
{Continued on page 132 ) 
