82 
House & Garden 
(pU- 
gg 
TTZouldn V you like to have 
W a garden like this? 
Jt looks so entrancing, so opulently beau¬ 
tiful, that the first impulse of many home- 
loving folks will be to say, “It’s too expensive.” 
But that’s just the point—it isn't! Not lavish 
spending but excellent taste, and expert skill 
in selecting the right plants — so that they 
blend and will grow just so high and give 
certain effects of foliage and bloom and shade 
and mass— these are the factors that produced 
the above result, and will produce just as good 
a result for you. 
Indeed, you might spend three or four times as 
much as this home-owner spent and get much worse 
results—if you spent it “hit-or-miss” without availing 
yourself of the knowledge that is freely offered to you, 
if you will but take advantage of it. 
So there’s money to be saved as well as the assur¬ 
ance of a charming result if you rely upon experts. 
We claim that title because of our long experience. 
Now we are at your service—without charge for our 
skill and knowledge—with a reasonable charge only 
for the trees, shrubs, flowers or fruits you buy—from 
a nursery known to every landscape and plant expert 
in America for its size, its resourcefulness, its re¬ 
liability, and its helpfulness. 
Write us to-day and tell us about your 
lawn and home—we can surely help 
you to make them even more beautiful. 
Moons Nurseries \ 
! THE WM. H. MOON CO. 
MORRISVILLE PENNSYLVANIA 
which is / mile from Trenton, N.J. 
1 » ' 
Color Scheme 
I N designing the five curtains on 
page 48 I tried to show how the 
woman with needle skill can ap¬ 
proximate the best tailored work if 
she will only provide herself with the 
proper equipment. 
The curtain in the upper right hand 
page could be used for either living 
rooms or, according to the material, 
bedrooms. It has a French valance 
which gives a good finish to the win¬ 
dow. This valance is made by sewing 
the gathers onto a narrow tape. -Across 
the top the fullness is taken in a.tuck 
between each tape. This allows the 
rest to droop naturally. The curtains 
themselves should be plain and hemmed. 
In sea green silk gauze the effect is 
light and shimmery, and an old-fash¬ 
ioned gilt cornice would look well above 
the French valance. Voile or mercerized 
crepe might be substituted for the silk 
gauze. 
Across from this is shown a valance 
with a double ruffle used with a cur¬ 
tain that has a triple ruffle. These 
ruffles are each 12" deep with two 
or three 3" ruffles applied and edged 
with rickrack. For this curtain I 
would suggest dotted white grenadine 
curtains with light blue rickrack braid 
on the ruffles of the valance and the 
lower edge of the curtains. The shade 
should be decorated in blue and green, 
with a long blue tassel. 
The curtain in the middle of the page 
is very interesting. It calls for a 
painted valance board on the bottom 
of which is tacked a 3g>" band with 
three full taffeta ruffles, pinked on the 
edge. The tie-back has the same ruffles. 
The knob for the tie-back is a little 
s for Curtains 
porcelain placque set into wood that 
matches the valance board. The cur¬ 
tains have large dots, but the ruffle is 
plain muslin of old-fashioned quilling. 
The valance board for this curtain 
might be painted green with a cream 
center and old-fashioned flowers. The 
panel would be outlined in black. The 
valance ruffle and tie-back are strong 
colored blue taffeta, very crisp. The 
curtains are Swiss with large dots and 
the ruffle is plain. The porcelain flowers 
of the tie-back knot are brilliant and 
match the valance board decorations. 
A very simple curtain is shown at 
the lower right hand corner of the page. 
The valance consists of two 3/8" band¬ 
ings applied 2 l />" apart. The valance 
and curtains are picoted. For color 
schemes I would suggest a rose dimity 
with deep red taffeta bindings and red 
picoting. This, of course, suggested a 
delightful little bedroom or even a 
breakfast room. 
The valance for the fifth curtain is 
built up on buckram or rather on a 
semi-circular wire frame. Striped ma¬ 
terial is used, running vertical on the 
valance, with ruffles top and bottom 
of stripes running horizontally. The tie- 
back is the same. The ruffles on the 
curtains match those on the valance, 
that is, a strip of gathering between 
two horizontal stripes. I would sug¬ 
gest coffee color thin sunfast for the 
curtains. Trim them with sateen or red 
and coffee color in a 3/8" stripe. Val¬ 
ance and tie-backs use the vertical stripe 
with a horizontal striped ruffle, thus 
showing a line of plain red. The win¬ 
dow sash could be painted red to match. 
—Agnes Foster Wright. 
R ock Gardens and Their Allies 
(Continued from, page 52) 
Care should be taken in the time of 
planting the Alpines, or failure will re¬ 
sult. Late spring is the best season. 
If they are propagated from seeds sown 
in the spring and summer of the first 
year, they will flower the second year. 
July is not a good month to sow the 
seeds, as it too dry. Plant in May, 
June or the first week in August, and 
transplant when the first character leaf 
appears. The young plants are put into 
their permanent positions in the rockery 
the following May. 
The arrangement of the flower plants 
should be in groups of one variety, 
massed for effect, and also for the pur¬ 
pose of keeping the strongest growing 
kinds from overrunning the weaker va¬ 
rieties. Under conditions of mixed 
planting many of the weaker varieties 
perish. The small shrubs give the rock¬ 
ery an appearance of stability and fur¬ 
nish a suitable background and wind¬ 
break for the flowers. The heathers, 
andromedas, azaleas, cotoneasters and 
dwarf rhododendrons are especially suit¬ 
able for rock gardens and should be 
planted in clumps rather than as indi¬ 
vidual plants. The tall, upright va¬ 
rieties of evergreens should not be used, 
as they are not in keeping with the 
rock garden. All evergreens with golden 
or silvery foliage should also be omitted. 
A few of the dwarf evergreens, how¬ 
ever, such as Juniperus sabma tamaris- 
cifolia, a distinct trailing variety of 
juniper; Picea excelsa Maxwelli; Picea 
remonti; and Retinospora obtnsa nana 
may safely be used. 
The Alpines, bulbous plants, shrubs 
and evergreens do not all lend them¬ 
selves equally well to the same type of 
rock garden development. The best 
plant material for certain situations, 
such as the rocky bank and open, sunny 
valley, the dry wall, the stony steps and 
walks, and the bog and water gardens, 
is listed in the accompanying tables. 
Colonial Portraits as Decorations 
in Moder 
(Continued 
So-and-So, at the sign of the Swan” 
(or the lion, or the stag or the crow 
or some other easily distinguished ob¬ 
ject), was the favorite way of directing 
customers, as can be seen from a perusal 
of the advertisements appearing in the 
periodicals of the day. Some of these 
signs were real works of art, and plenty 
of them were executed by painters who 
at the same time were making a part 
of their living by turning out portraits 
to order. 
So it will be seen that many of these 
early American artists were self-taught. 
This is nothing to be scorned, but rather 
something to engender pride. Two of 
our later artists, whose work is im¬ 
mortal because of its individuality, R. 
n Homes 
from page 41) 
A. Blakelock and Albert P. Ryder, were 
self-taught, and an even greater ex¬ 
ample in the realm of literature is the 
incomparable rhetoric of Abraham Lin¬ 
coln, acquired by solitary study. 
The first American artists came to 
the New World as immigrants, along 
with the other Colonists. The first to 
arrive was Gustavus Hesselius, Swedish 
painter, who came in 1713. Peter Pel¬ 
ham, portrait painter and mezzotint en¬ 
graver, reached America four years later, 
and in 1720 there arrived John Smi- 
bert, who painted the first portraits in 
this country which have survived. 
Smibert, who was a native of Edin¬ 
burgh, was himself a graduate of car- 
(Continued on page 84) 
