62 
House & Garden 
Pathescope 
Flickerless, (c Safety Standard” 
Motion Picture Projector 
Embodies seven years of successful experience 
gained in the world-wide sale and use of over 
10,000 former models in exclusive City and 
Country Homes, Schools, Churches, Clubs and 
Commercial Establishments. 
The iV ew Premier is as great an improvement over the 
former models as the modern self-starting, high-powered 
limousine is superior to the auto of ten years ago. So simple 
that anybody can operate it. So exquisitely built that its 
pictures amaze and delight the expert critics. So safe with 
its narrow-width, slow-burning film that it is labeled by the 
Underwriters, “Enclosing booth not required.” 
Can be used anywhere without a licensed operator or insur¬ 
ance restrictions. The ideal projector for outdoor evening 
entertainments on the lawn. 
Weighs only 23 pounds with universal motor. Fits in a small 
suitcase for the traveler or can be mounted on a handsome 
cabinet. 
Through the Pathescope Film Exchanges already established 
in principal cities the Pathescope owner may rent or exchange 
reels as often as desired. 
Nearly 1,500 reels of the world’s best Dramas, Comedies, 
Animated Cartoons, Scientific, Travel, Educational, and War 
Pictures now available and more added weekly. 
Think of having Mary Pickford, Charlie Chaplin, Wm. S. 
Hart in your own home ,—or you can 
Take Your Own Motion Pictures 
with the Pathescope Camera, as hundreds 
are doing, and preserve a priceless record 
of loved ones in living, fascinating action 
on the screen. 
Choice of the exacting 
We number among our patrons Vincent Astor, Mrs. J. Ogden 
Armour, Frederick G. Bourne, Geo. W. Baker, Mrs. Edwin 
Gould, Mrs. Pembroke Jones, H. O. Havemeyer, Jr., Otto 
Kahn, Chas. S. Mellen, Henry C. Phipps, Mrs. Jacob Schiff, 
Mrs. Alfred G. Vanderbilt, F. W. Woolworth and others. 
Clubs, Churches and Schools 
Find in the NEW PREMIER PATHESCOPE 
just what they need to entertain, interest and 
instruct. 
The Pathescope Exchange contains over 1,100 
different subjects, to suit every taste, every mood, 
any age and all occasions. 
Visit the Pathescope Salon or write or call for literature. 
The Pathescope Co. of America, Inc. 
Suite 1810, Aeolian Hall, New York City 
Agencies in Principal Cities 
Venetian Blinds and Their Kin 
(Continued from page 39) 
less usage rather better—and its edges 
cannot get crumpled and frayed if it 
is not pulled up straight. The great 
durability of Venetian blinds is amply 
attested by many that have been in use 
for nearly a century or even longer. 
As to the second objection, it may be 
answered that whatever floating dust 
collects on the surface of the slats soon 
becomes visible and clamors for re¬ 
moval, which, on sanitary grounds at 
any rate, is much better than having 
it absorbed into, or encrusted upon, the 
texture of a roller shade. It is perfectly 
easy to clean Venetian blinds thor¬ 
oughly by drawing them all the way 
down and then tipping the slats verti¬ 
cally down and next vertically up, thus 
exposing in turn each side of the slats 
to be dusted with a brush or wiped 
clean with a cloth. 
Hanging Blinds 
The practical details connected with 
the hanging of Venetian blinds naturally 
demand some attention. In a window 
constructed with a sufficiently deep 
jamb, the box at the window head may 
be set within the jambs and as close to 
the glass as may be desired. If glass 
curtains are used, hung close to the 
sashes, or separate sash curtains at¬ 
tached to the upper and lower sashes, 
the Venetian blind box may be set back 
from the glass far enough for the slats 
to fall free of them when the blind is 
lowered or raised. If the curtains are 
hung farther in from the sashes, then 
the blind may be moved close up to 
the glass and occupy the same space 
that a roller shade, similarly hung, 
would take. If one wishes to confine 
the blind rigidly to one vertical plane 
of movement so that it may not in any 
way interfere with curtains or hang¬ 
ings, a grooved strip may be attached 
to the jambs, in which the small ends 
of guide rods, set at intervals among the 
slats, slide freely up and down. 
When the blind box is set within the 
window jambs there can be no inter¬ 
ference with the arrangement of hang¬ 
ings. When the window jambs are not 
deep enough to receive the blind box at 
the window head, it may be set on the 
window trim and the hangings may de¬ 
pend from a rod projecting slightly 
from the trim and enclosed in a detach¬ 
able valance box or cornice. 
When Venetian blinds are used with 
ranges of windows or with casements 
that open inward—casements ought to 
open outward, but sometimes do not— 
they can be managed with just as little 
difficulty and rather more grace than 
roller shades under the same conditions. 
The roller shade attached to a casement 
or to a so-called French window is a 
decorative abomination and need not 
be considered. 
Akin to the Venetian blind—it may 
even have been its remote ancestor— 
is the split-bamboo shade, which has 
this advantage, that it is thinner and 
takes up rather less space than the ordi¬ 
nary Venetian blind. It has not, how¬ 
ever, the same powers of adjustment 
and when lowered it only modifies the 
light and never wholly excludes it. 
Neither does it permit the direction of 
the light to be regulated. The strips 
may be of various widths and also may 
be either stained or unstained or else 
painted any color desired. For rooms 
where there is a semi-Oriental note in 
the furnishing or where less of elegance 
or of formality in the appointments is 
permissible than in rooms of a more 
carefully studied scheme, the split- 
bamboo shade may often be found an 
acceptable alternative to the more 
courtly Venetian blind. 
Kwa-Cho — The Flower and Bird 
Prints of Japan 
(■Continued from page 27) 
Hishikawa Moronobu’s Book of 
Flowers and Birds issued in 1683 under 
the title of Shimpan Kwa-Cho Yezukishi 
is an example of the earliest sort of 
Japanese wood-block Kwa-Cho. Mor- 
onobu (1625-1694) was the first to ap¬ 
preciate the possibilities of the wood- 
cut, and to initiate the Japanese Yehon, 
or picture-book, in which the illustra¬ 
tion was given a place of greater im¬ 
portance than the text. His Yehon 
Gusa Awase, too, presented pictorially 
a collection of plants accompanied by 
poems upon them. Thence onward the 
Kwa-Cho prints developed. We have 
Isoda Koriusai (1760-1780), Kitawo 
Shigemasa (1739-1819), Kitagawa Uta¬ 
maro (1753-1S06), Utagawa Toyohiro 
(1763-1828), Katsushika Hokusai (c. 
1760-1849), Ichiryusai Hiroshige (1797- 
1858), followed by Keisei Yeisen and 
the later artists of Yedo (Tokyo), Kyoto 
and Osaka, also including the Kwa-Cho 
subjects of the masters of the Suri- 
mono prints (prints of occasion), all of 
them designing exquisite Kwa-Cho. But 
of them all the Kwa-Cho prints of 
Hokusai, “Old Man Mad with Painting,” 
as he liked to style himself, and of the 
incomparable landscapist, Hiroshige, 
stand forth pre-eminent. Though rich 
in power and invention, the Kwa-Cho 
of Hokusai suggest the Chinese ancestry 
of the art more than do the Flower- 
and-Bird subjects of Hiroshige. 
I recall going to the galleries of a 
dealer in Japanese prints with a friend 
who wished to send a Kwa-Cho print 
of fine quality as a wedding present. 
The choice was between A Camellia and 
Blue Bird and A Pink with Butterfly 
and Bird, both being equally beau¬ 
tiful. The matter was settled by the 
Japanese attendant, who suggested, with 
many apologies for his presumption, 
that perhaps the pink, butterfly and 
bird would be more lucky than camel¬ 
lia and blue bird if one was to follow 
the Japanese superstition that since the 
camellia flower was so easily broken 
from its stem it was not suited for 
wedding decorations, but was considered 
highly appropriate for funerals. As to 
the pink, it was an emblem of love just 
as the cho (butterfly) was the emblem 
of joyful union. 
Symbolism in Kwa-Cho 
The Japanese are very particular 
about these matters. With them every¬ 
thing is symbolic or emblematic, and 
they would not think of combining the 
opposed “elements” except with a defi¬ 
nite “literary” intention, or as subtly 
conveying particular allusion. 
The “etiquette” of flowers is of an¬ 
cient foundation, while certain flowers 
are invariably associated with certain 
birds. Thus the Bamboo and Crane 
symbolize longevity and happiness. 
The Plum Blossom and the Nightingale 
are pictured together, for the Japanese 
remember that it has been said “the 
voice of the nightingale is the perfume 
of the plum turned to music.” Laf- 
cadio Hearn wrote “Though the plum 
flower is certainly a rival in beauty of 
the cherry, the Japanese compare 
woman’s beauty—physical beauty—to 
(Continued on page 64) 
