70 
House & G arden 
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Kohler “Viceroy” Bath Recess Pattern 
KOHLER 
Also MEANS 46 YEARS’ EXPERIENCE 
Kohler leadership in the realm of plumb¬ 
ing ware is the result of forty-six years of 
doing things well. 
And the Kohler idea of “doing things 
well” means imparting to the unseen de¬ 
tails a value as marked and permanent as 
that which distinguishes the superiorities 
that are visible and readily apparent. This 
value is assured by the Kohler name glazed 
inconspicuously into the enamel. 
Whether it be the famous “Viceroy” 
Bathtub installed in some fine home or 
hotel, or a complete plumbing equipment 
for a great factory, or a kitchen sink, it is 
a worthy Kohler product through and 
through, the result of this forty-six years 
of well-doing. 
Kohler quality, the direct result of this 
experience, has a particular significance 
for the architect, plumber, and Kohler 
users, to whom lasting value is a para¬ 
mount consideration. 
May we send you, with our compliments, 
an interesting and well-illustrated book 
which describes the method employed at 
the great Kohler community factory in 
the making of a complete line of enameled 
plumbing ware unusual in beauty and 
service 
KOHLER of KOHLER 
Kohler Co., Kohler, Wisconsin 
Shipping Point, Sheboygan, Wis. 
AND TWELVE AMERICAN BRANCHES 
MANUFACTURERS OF ENAMELED PLUMBING WARE 
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The Patio—An Architectural Heritage 
(Continued from page 68) 
This style, which is extremely bril¬ 
liant and very beautiful in certain build¬ 
ings, is very appropriate and adapts 
itself to the patios of private residences. 
All the patios of Latin America can be 
said to follow this design. In Cuba 
and Mexico especially this can be easily 
proven. 
In the old houses of the wealthy 
classes in Havana we still find most in¬ 
teresting patios which give a very good 
idea of the true value and importance 
that they have had as far as Spanish 
architecture is concerned. In Mexico 
and in South America the patios are 
likewise most interesting, and in Lima 
(Peru), Bogota (Colombia) and La Paz 
(Bolivia) many patios of classic style 
are still to be found. 
The Works of Herrera 
The most noted architects of Spain 
were responsible for these patios. Accord¬ 
ing to the chronicles of those by-gone 
days, the wonderful Herrera, author 
of the “Escorial,” resided in America 
for a long time and left the imprint of 
his genius in many cathedrals, churches 
and palaces, besides leaving a large 
number of architects who continued the 
traditions of Spanish architecture in all 
Latin America. 
The only difference existing as a rule 
between these patios and those of Spain 
of the same time is shown in the ma¬ 
terial with which they are built. Those 
in Spain were always made of stone and 
those of Latin America of rubblework 
recovered with lime. The patios of 
America as well as all those of Greco- 
Roman style are completely uncovered 
like those of Castile. In Andalusia 
(Spain) the patios are covered with 
awnings during the warm months, but 
this custom was never followed in Latin 
America. 
In conclusion, we may state, as we 
did at the beginning of this article, that 
the patio is one of the main charac¬ 
teristics of Spanish architecture, of the 
greatest beauty, and gives you a perfect 
idea of the spiritual expression of the 
Spanish people, who still retain in their 
souls Greek and Roman paganism, the 
mysticism and austerity of mediaeval 
times and the day-dreams of the Arabs. 
Hence the reason why Spanish patios 
are impregnated with the tranquillity of 
monastic cloisters and the gaiety of 
Pompeian impluviums. 
Furniture for a Bachelor’s Room 
( Continued, from page 46) 
How usually beauty-starved are our 
bachelors, unless they boast interpretive 
souls of their own! How uncomfort¬ 
able we make them with our precon¬ 
ceived idea of high minds that scorn 
mere charming surroundings ! How irri¬ 
tating it must be when we kindly pro¬ 
vide them with feminine fripperies and 
furnishings, dimly sensing that they 
must appreciate colorful comfort as we 
do, but failing to incorporate the mas¬ 
culine raison d’etre into the scheme. 
Who cannot picture a man's sheer dis¬ 
gust at frilly curtains, embroidery, and 
heart-pincushions in white over blue, a 
silly bed, and inane Madonna pictures! 
Any real man would stay out to 
escape it! 
What a Man Likes 
Aside from estheticism, what a man 
wants is a place to put his ashes; nice 
clear windows to let in the light for his 
shave, and no ruffles to pull aside to see 
if he has to be bothered with an um¬ 
brella that day. He also wants an easy 
place to write letters; a bed that does 
not look like a bed, but that feels 
mighty good to get into at night; a soft, 
squashy lounging chair and a good read¬ 
ing light, and plenty of room to stretch 
in. A man hates to have no room in 
which to walk. He abominates having 
to sidle round the bed to get to the 
bureau, where he at last deposits what 
is left of his falling ash on the pin tray. 
He likes things clear cut and to the 
point, without any fuss and, above all 
things, easy. He likes decent, manly 
places to keep his things. He hates to 
grope around desperately in a needle- 
case for his collar buttons, or in a work- 
bag for his razor; to have to thread his 
neckties through one of those asinine 
beaded affairs, or to stow away his 
handkerchiefs in a folding case that 
laces. 
So in the more generalized room sur¬ 
roundings, a man appreciates any source, 
either suggestive or actual, that pro¬ 
vides him with a nice dingy tan or gray 
wall covering that improves in appear¬ 
ance as his waves of tobacco smoke 
beat against its surface. A thick, soft, 
dust-colored rug, with only hints of 
other color in it; window bare to the 
light and the sun; furniture that will 
not scratch, since it has not an over¬ 
polished finish; adequate storing places 
for raiment—a tall-boy, a chest, a chif¬ 
fonier, if all of these by chance are 
needed. A couch bed or a day bed that 
is not only comfortable at night, but 
masculinely good looking in the day¬ 
time. A number of soul-satisfying 
chairs, well made enough to withstand 
that weary flop of familiarity after the 
day’s work is done; plenty of mirrors, 
few pictures, and many books. These 
things, in their various combinations, 
accomplish the proper and satisfying 
background for a man. 
Less frequently do we find a man 
grinning sheepishly when caught on a 
furniture quest: he knows what he 
wants and he knows that we know that 
he knows it. More often do we see 
masculine shoppers wandering through 
aisles of mahogany, or bachelors in 
their oldest clothes “doing” the antique 
shops in search of a bargain. Nor do 
we impute them with matrimonial in¬ 
tentions. However, if that fateful day 
does dawn, a lovingly collected group of 
fine furniture pieces will rob house 
furnishing of some of its financial terror. 
The Cretonnes 
In this particular masculine sanctu¬ 
ary, cretonne was responsible for what 
followed. Some man-creatures have an 
abhorrence for cretonne, dating probably 
to their infant days when their little 
souls wriggled in disdain at the forget- 
me-not indignities and the blue satin 
bows with which they were besprinkled. 
Chintz closely resembling this, that 
mother used to have in her bedroom, 
persists in dangling itself before their 
mental vision at the mention of the 
word cretonne. This is unfortunate, 
for you can get as much man-sized cre¬ 
tonne as you can afford to pay for. 
This particular piece was made to its 
last thread, and looked in spots like an 
old block print. Its mysterious cogno¬ 
men, “Ardoise and Grey,” was well in¬ 
terpreted by the wide dull greenish-blue 
stripes alternating with those of a 
lighter greenish-gray. Sizable diamond 
shapes of a light greenish-blue, cut at 
intervals into the dark stripes, and were 
connected by a vine of the same tone. 
On the diamonds of greenish color were 
bowls of kochi-red tulips, and baskets 
(Continued on page 72) 
