132 
House Garden 
The charm 
of perfectly shaded windows 
"beautiful Brenlin cofts so 
little—yet adds so much 
There is a freshness about 
well shaded windows which 
lends cheer and cleanness to a 
whole room. 
Study the furnishings of 
your living room—table, 
chairs, rugs, pictures, drapes 
—and then turn to the shades 
at the windows. Do they 
hang straight and 'graceful, 
in pleasing color harmony 
with their surroundings? 
Or are they limp, filled 
with little cracks and pin¬ 
holes, unsightly from the dis¬ 
coloring action of sun and 
rain? 
Interior designers agree 
that no single element will 
more quickly enrich or mar 
the beauty of a well appointed 
room than the window shades. 
At very small 
cost you can give a 
new and perma¬ 
nent charm to your 
windows, and to a 
whole room, with 
shades of beautiful 
and durable Bren¬ 
lin. 
Made of flexible, 
finely woven fabric 
that is much like 
linen, Brenlin is 
finished and col¬ 
ored by hand. The 
many soft, rich Brenlin colors 
remain unfaded by the sun, 
unspotted by the rain, and 
bring a perfect color harmony 
to every room. 
The life of Brenlin is several 
times that of the ordinary 
shade. For the heavy Brenlin 
fabric needs none of the chalk 
or clay filling which, in the 
usual mesh-like shade, soon 
falls out, leaving it ugly with 
cracks and tiny holes. 
Know the pleasure of hav¬ 
ing your windows perfectly 
dressed—with Brenlin. Look 
for the name Brenlin, per¬ 
forated or embossed on the 
edge of every shade. If you 
do not know where to get it, 
write us; we’ll see that you 
are supplied. Write also for 
a free copy of our 
instructive booklet, 
“How to Shade 
and Decorate your 
Windows,” with 
which will come 
samples of Brenlin 
in several colors. 
For windows of 
less importance, 
Camargo or Em¬ 
pire shades give 
you best value in 
shades made the 
ordinary way. 
Scratch a 'piece of ordinary 
window-shade material lightly. 
Tiny particles of chalk or 
clay ^'filing’'fallout. BREN¬ 
LIN has no filling — it out¬ 
wears several ordinary shades 
The Chas. W. Breneman Company, 2055 Reading Road, Cincinnati, Ohio 
“The oldest window shade house in America” 
Factories: Cincinnati, Ohio, and Camden, N. J. Branches: New 
York City, Philadelphia, Dallas, Texas, and Portland, Ore. 
Owner of the good will and trade-marks of the J. C. Wemple Co. 
COLOR SCHEMES for BEDROOMS 
{Continued f rom page 130) 
green blue, and light yellow, came from a 
pair of French curtains made of tiny pin 
stripes of blue and yellow which give the 
efiect of green. These curtains have a 
bordering of black woven into them in 
true Empire style, and this black is an 
often repeated accent of color plan in the 
room. The walls are painted light yellow. 
The floor is covered with a greenish blue 
carpet. The narrow bed is really a day- 
bed with arrows forming head and foot¬ 
boards. The bedspread and pillow cover 
are made of changeable blue and j^ellow 
silk decorated with a narrow yellow rib¬ 
bon sewn on in a large diamond shaped 
design. At each end of this narrow bed 
there are two little walnut cabinets which 
are very useful, because they are just the 
right widths for the hats, shoes, under¬ 
clothes, etc., of the week-end guest. 
There is also a commode painted in a 
greenish-blue with black medallions for 
larger things. 
The dressing table in this room is very 
small. It is a fine old Empire one with 
brass mounts, and is placed betw^een two 
long mirrors set in the wall. Instead of the 
usual moldings these mirrors are framed 
with bluish-green moldings with tracer¬ 
ies of vines painted upon them. The one 
easy chair in the room is covered with a 
bluish-green linen of Directoire design, 
and the small desk chair has a scrap of 
old blue silk on it. The dressing table 
stool and the writing table are covered 
with an Empire stuff of a black ground 
figured with wEite stars separated by 
pale green stripes. This Empire touch of 
black is also found in the tole lamp which 
stands on the desk and a number of small 
objects in the room. A number of pic¬ 
tures are hung from French ribbons of 
green with yellow threads through it. 
The glass curtains in the room are of a 
thin white net, but over them are very full 
curtains of yellow gauze which can be 
drawn to temper the light. 
A little girl’s bedroom in this house 
might be said to have a color scheme of 
the orange of old maple, and the fresh 
pinks and blues found in early American 
glass and in old chintzes. The room itself 
is practically colorless, with a pale gray 
striped paper, white woodwork, and a 
beige colored carpet. The furniture is of 
old maple of a warm and delicious 
orangy tone. The curtains are of light 
blue glazed chintz, just the blue of Bristol 
glass, finished with box pleated ruffles of 
the plain chintz and with a valance of 
white chintz covered with branches blos¬ 
soming with pink and red flowers. This 
blossoming chintz is also used to make a 
very simple dressing table and stool. 
The color, most repeated in this room is 
the sharp blue of old glass. There are 
several blue glass vases and the most de¬ 
lightful lamp shades made of white paper 
and bound with blue stripes. One of these 
lampshades is hexagonal, each section 
having a brilliant colored flower appli- 
qued. Another has a procession of ladies 
and children from “Godey’s Ladies” 
around it. The shades for the wall lights 
are also made of white paper with little 
flower pictures appliqued and bindings of 
the bright Bristol blue. A most unusual 
pair of maple pole screens stand guard be¬ 
side the fireplace, a little girl holding a 
dog, and a little boy holding a rabbit. 
Above the mantel hangs a quaint old pic¬ 
ture of a little girl and a little boy, and 
just beneath it is a stuffed pigeon. There 
are a pair of beds of yellow maple with 
plain blue chintz valances, beneath old 
cream colored candlewick bedspreads. 
The whole room is as blue and rosy as a 
garden bouquet. 
FOR THE BUILDER’S NOTE BOOK 
{Continued from page 116) 
chimneys cease to play any part in the 
composition. In Egypt and North Africa 
the roof of the house is a flat above the 
topmost rooms, in the countries bordering 
on the Mediterranean to the north— 
Italy, the South of France, and Spain— 
we find it either flat or of a very low pitch. 
It is only as we travel northwards through 
France that we find the roof becoming 
steeper and steeper, until in Northern 
France and England its form and line are 
dominant and dictate the form and plan¬ 
ning of the building. In the composition 
of these steep roofs the chimneys, too, 
play an important part. They necessarily 
rise in height above the topmost ridge of 
the roof, and so, for convenience, are gath¬ 
ered together into stacks and become a 
very prominent feature. 
The shape and form taken by the roof 
in these different countries was governed 
by two things. First, the climate, and 
secondly, the materials at hand for cover¬ 
ing in the building. In England we have 
much moist and wet weather, and it was 
essential to develop a form of roof that 
carried off the water quickly; hence the 
steepness of the pitch. Also, in our north¬ 
ern climate, fires are wanted for warmth 
for more than half the year, and so the 
chimney became a matter of importance 
for the comfort of living. What was more 
natural than that these essential factors 
should have been seized by the builders, 
who ordered and controlled them in such 
a way that they added beauty and gave 
particular character to the design of house 
and cottage? 
LAYING UP STONE WALLS 
TONE should always be laid in the 
wall on its natural bed; that is, it 
should be placed in the same way in the 
wall as nature laid it down in the ground. 
It always looks better laid in some sort of 
courses rather than each stone being put 
into the waU at any angle. That has an 
uncomfortable and unworkmanlike look 
and gives no feeling of repose. Many a 
stone wall will be improved in appearance 
by using larger stones at the base and 
letting them decrease in size as the wall 
rises, until at the top the stones are quite 
small. This one will often find done in 
old work, and, besides giving a look of 
strength, it is also a very practical device. 
It means that the stones that had to be 
raised high on the scaffold were always the 
smallest. 
THE COST OF STONE HOUSES 
I T is no use blinking the fact that a house 
built of stone will usually cost a little 
more than a similar house built of brick. 
This unfortunately is so, except in rare 
instances, even if the stone is dug near the 
site and the brick has to be transported a 
fairly long distance. There is greater labor 
in quarrying and dressing stone, and also 
the greater thickness of the wall means 
more time in laying and more mortar. It 
is this greater cost that has done so much 
to destroy the local color of our stone 
districts, where once all the buildings, 
both small and large, were of the material 
nature provided near at hand. Brick 
houses introduced in a district where 
stone is in common use are inclined to 
have a shoddy and incongruous effect, 
unless the brick is very carefully chosen 
so that it will harmonize with the local 
color. 
Certainly if stone is at hand in the dis¬ 
trict where one is going to build, the pos¬ 
sibilities of its use should be explored. 
I 
