52 
House & Garden 
A COZY, ARTISTIC COTTAGE ALREADY 
BUILT FOR YOU 
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THE TOGAN-STILES COMPANY 
GRAND RAPIDS, MICH. 
Collecting Antiques of India and Persia 
(Continued from page 50) 
pos of Persian ornament it may be re¬ 
marked that the native artists have al¬ 
ways delighted in varied and symmetri¬ 
cal patterns of great intricacy. External 
beauty, too, seems rather to have been 
sought than intrinsic thorough excel¬ 
lence of fabrique, excepting, of course, 
the products of the Persian looms and 
the works of the masters in metal. 
As to Persian pottery, it has always 
been more or less of a puzzle to anti¬ 
quarians. The ancient pieces in per¬ 
fect state of preservation are exceed¬ 
ingly few and rare, and all have been 
recovered from ruined areas. There yet 
remain vast areas to be excavated by 
enterprising antiquarian expeditions and 
later efforts are sure to be productive. 
Old Lustre Faience 
The ancient lustre faience dates back 
many centuries. Its genre was carried 
down as late as 1586. The finest Persian 
ware resembles Chinese porcelain some¬ 
what, having a white ground with azure 
blue decoration in bold free designs. 
The paste is hard and the color is not 
blended with the glaze. Later speci¬ 
mens of this genre have less good design, 
blending color, and a glaze showing 
greater vitrification. 
A second sort of Persian faience is 
thicker, shows a departure from Chinese 
influence somewhat, has a softer and 
more porous paste, is brighter in the 
blue, a less even glaze and less well- 
drawn design. Red enters, as also re¬ 
lief and gauffrures. 
A third sort of ware is denser and 
harder, of blackish color on a white 
ground, thick glaze, and some pieces 
have been varnished with single color. 
Such pieces in this genre as exhibit fig¬ 
ures in the decoration show these with¬ 
out faces, which would suggest that this 
class of pottery was the product of 
Persian potters of the Mussulman Sunni 
sect, a sect more rigidly opposed to pre¬ 
senting the human face in art than that 
of the Shiahs. 
A fourth sort of ware is white and 
translucent of still harder paste, and 
bearing no marks or makers. I have 
only seen this ware in small pieces. It 
is rare and is usually styled porcelaine 
blanche de Perse. 
A fifth sort of faience is also trans- 
lucid, very thin and ornamented with 
lacey designs. 
The ruins of Rhages have yielded ex¬ 
amples of the sixth sort of faience, a 
common pottery of reddish clay var¬ 
nished with single color, and all some¬ 
what in imitation of the celadon porce¬ 
lain of China. The green and bronze 
varnish is often very beautiful. Some 
of these pieces have designs in relief 
and gauffrures. 
The faience tiles of Persia are among 
its most interesting and beautiful ceramic 
remains. Most of these tiles date from 
such Seljuk or. Moghul rulers as Malik 
Shah (1072), Hulaku Kahn (1256) and 
Ghazan Kahn (1295). 
India has never produced anything 
like a porcelain. Even pottery of the 
glazed sort rarely appeared previous to 
the Mussulman tile products, which tile 
products were the forerunners of the 
modern glazed wares fabricated in Mul¬ 
tan, Jaipur and Bombay. However, un¬ 
glazed pottery has been common 
throughout India for countless centuries. 
In speaking of Hindu and of Buddhist 
art Ananda Coomaraswamy writes, “I 
do not forget that in almost every art 
and craft, as also in music, there exists 
in Hindustan a complete and friendly 
fusion of the two cultures. The non¬ 
sectarian character of the styles of In¬ 
dian art has indeed always been con¬ 
spicuous; so that it is often only by 
special details that one can distinguish 
Jain from Buddhist stupas, Buddhist 
from Hindu sculpture, or the Hindu 
from the Mussulman minor crafts. The 
one great distinction of Mughal from 
Hindu art is not so much racial as 
social; the former is an art of courts 
and connoisseurs, owing much to indi¬ 
vidual patronage; the latter belongs as 
much to the folk as to the kings.” 
The alluring arts of the East are well 
worth one's study, well deserving of 
one’s enthusiasm. Perhaps the illus¬ 
trations of some of the antiques of 
Persia and of India here reproduced 
from photographs of some of the fine 
examples to be found will awaken an 
interest in the subject in some who 
chance upon them. I only hope the 
world holds more Major Kyttyles of 
revered memory, and that you, too, may 
have the good fortune to be brought 
into communion with such treasures as 
made the major’s home vie with our 
conceptions of the palace of Aladdin, 
treasures which in time brought even the 
Pickhams to forgive the major his dia¬ 
phanous-tailed goldfish, to feel no longer 
the sting of the insignificance of their 
poor little gilded minnows. 
The Cottages and Houses of French Canada 
(Continued from page 25) 
stopped against well molded corbels on 
the gables, often the only pieces of cut 
stone in the building. The chimneys 
are sometimes finished with little molded 
copes of quite Gothic character. If 
there is a single chimney, it occupies the 
apex; if the house is double, the two 
chimneys rise up on each side of the 
gable, and are connected by a parapet 
wall. The gable parapets are very high 
and are boarded or shingled on top. 
Wrought iron “S” anchors are often 
used to bolt in the principal roof and 
floor beams. The cottage from Mon¬ 
treal shows the double chimney and 
anchors. The Chateau de Ramezay has 
quite a row of anchors along the front. 
The gable form is not really well 
adapted to a snowy winter climate and 
the high parapet is probably a tradition 
from the town houses, where it was of 
value as a fire partition. So in the later 
cottages we find that it is discarded 
and the roof is taken over the gables to 
form a deep verge. The whole gable 
end, above the line of the eaves, is now 
often lined in wood and shingled. Along 
with this verge treatment comes a great 
extension of the bellcast eaves. Back 
and front they are stretched out to the 
utmost limit of practicable construction 
and form a roof over the narrow gallery. 
The next step was to stretch a little 
further and support the eaves with posts, 
when we get the typical deep verandahed 
priest's house of so many Quebec vil¬ 
lages. Quebec has a good verandah 
climate. Here is shelter from snow in 
winter, and in summer, a gathering place 
for old and young. Sometimes the gal¬ 
lery is double, and there is an interesting 
type found in the Ottawa valley in 
which a narrow gallery, sheltered by the 
deeply projecting eaves, is taken right 
round the house. 
The attic room is lighted by small, 
plain dormer windows with pitched 
roofs, either gabled or hipped. They 
are set low on the slope of the roof 
and so do not break the skyline of the 
house. The roofing is usually of shingles. 
Many of the churches and of the larger 
houses, however, have rooms covered 
with squares of tin, laid diagonally. This 
weathers with time to beautiful shades 
(Continued on page 54) 
