HOUSE AND GARDEN 
322 
November, 1910 
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(Continued from page 320) 
well defined growing season, spring plant¬ 
ing is the rule. The conditions of growth 
are simpler here than elsewhere, approxi¬ 
mating in a measure those of the prairie 
States to the northeast. As would be ex¬ 
pected hardy annuals succeed best at these 
altitudes, since the growing seasons are in¬ 
variably cool, though robust summer grow¬ 
ers like zinnias do well. On the other 
hand, such varieties as cosmos, chrysanthe¬ 
mums, cannas, and castor beans are often 
frozen back in early September a short 
time after beginning to flower. In a va¬ 
riety flower garden in Flagstaff, the writer 
noted growing very luxuriantly the fol¬ 
lowing plants : hollyhocks ; sweet peas; 
sweet alyssum ; candytuft; mignonette ; 
snapdragon; foxglove; pot marigold; 
French marigold; China asters; Canter¬ 
bury bells ; sweet sultan; bachelor's but¬ 
tons ; coreopsis; gaillardias; corn, opium 
and California poppies; petunias, annual 
phlox; nasturtiums and morning glories, 
besides a goodly number of perennials. It 
is interesting to note that such perennial 
flowers as bouncing Bet, sweet-william, 
grass and bunch pinks, Shasta daisies, 
phlox, larkspur, golden glow, dahlias, cost- 
marv or rosemary, tansy, gladiolus, and 
day lilies, blue grass and white clover ap¬ 
pear entirely at home with the cool, moist 
growing season of the higher elevations, 
while at the lower altitudes the growth of 
these is practically impossible without pro¬ 
tection. J. J. Thornber 
What the Period Styles Really Are 
(Continued from page 280) 
it became the fashion to place the bed 
sideways, “vu de face.” There was a 
great deal of beautiful ornament in gilded 
bronze and ormolu on the furniture, and 
many colored woods were used in marque- 
trie. The fashion of using Sevres plaques 
in inlay was continued. There was a great 
deal of white and colored marble used 
and very beautiful ironwork was made. 
Riesener, Roentgen, Gouthiere, Fragonard 
and Boucher are some of the names that 
stand out most distinctly as authors of the 
beautiful decorations of the time. Marie 
Antoinette's boudoir at Fontainebleau is 
a perfect example of the style and many 
of the other rooms both there and at the 
Petit Trianon show its great beauty, gaiety 
and dignity combined with its richness 
and magnificence. If one studies the ex¬ 
amples of the styles of Louis XIV, Louis 
XV and Louis XVI that one finds in the 
great palaces, collections, museums and 
books of prints and photographs, one will 
see that the wonderful foundation laid by 
Louis XIV was still there in the other 
two reigns, but that there was more of its 
true spirit during the time of Louis XVI. 
The pose of rustic simplicity was a very 
sophisticated pose indeed, but the reaction 
from the rocaille style of Louis XV led 
to one of the most beautiful styles of 
decoration that the world has seen. It 
(Continued on page 324) 
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