78 
House & Garden 
House of Mr. Chauncey Olcott, Saratoga^ N. Y. Charles Barton Keene, Architect, Philadelphia. 
F itness for the particular use to 
which they are to be put should 
be your guide in selecting the woods 
for your home» 
Almost any wood will prove satisfac¬ 
tory on the inside of the house; but 
this is not true on the outside, where 
the wood is exposed to heat and cold, 
sun and wind, rain and snow. 
That’s why it is important for you to get 
the right wood on the outside. The wood 
you use there will determine your repair 
charges and the appearance of your house 
—both vital matters. 
White Pine 
The many old houses in all parts of the 
country—in New England dating back to 
early Colonial times—attest the durability 
of \\diite Pine. 
It does more than just last. It holds its place per¬ 
fectly without warping, splitting, rotting or opening 
at the joints, even in the most delicate mouldings 
and carvings. 
That is why it has always been the preferred wood 
in this country-—why it is the 
most economical. 
“White Pine in Home- 
Building’’ is beautifully illus¬ 
trated with old Colonial and 
Modern homes, full of valuable 
information and suggestions on 
home-building, and gives a 
short, concise statement of the 
merits of White Pine. Send 
for it now. There is no charge 
for it to prospective home¬ 
builders. 
JVlllTE PINE BUREAU, 
1504 Merchants Bank Building, St. Paul, Minn. 
Building the Hardy Border 
{Continued jrom page 76) 
white, light and deep blue, crimson, and always that simplicity is a chief aid to 
purple. Many of the newer varieties that end, A half-dozen plants each of 
grow to be larger plants and bear larger three or four colors are far better than 
dowers than those most of us know. the same number of plants, each in a 
My own border is perhaps too far different color. Use white to separate 
north for them; at any rate, I have so jarring tones. 
far failed to get really satisfactory re- 4. Whenever practicable, obtain the 
suits with the hardy chrysanthemums, best quality of plants, in named varie-. 
The plants are invariably ruined by ties. 
heavy frosts just as they are begin- 5. Give a reasonable amount of 
ning to bloom. Under happier climatic labor and fertilizer in preparing the 
conditions the chrysanthemum.s would ground. Such preparation as any gar¬ 
bring into a border the glint of gold den ground should have is enough, 
which autumn plantings seem to need. After a border is once well planted. 
The heleniums and golden-rod I have the care is comparatively simple. I 
tried did not quite please me, on ac- spade the soil carefully between the 
count of their somewhat wild and plants in early spring, working into the 
weedy appearance, I fancy. ground the light dressing of stable 
The border in which the accompany- manure applied the previous autumn, 
ing photographs were made has been Hoeing two or three times during the 
established some years. It went through summer is all the further cultivation 
various stages of experimentation before usually needed. This keeps the soil in 
it finally settled down into what it now condition and the weeds down. Water 
is, a planting giving a series of seem- is furnished only in times of some 
ingly natural although rather carefully drought. Cutting out the stalks of 
calculated effects. The suggestions I faded flowers makes a fresher looking' 
would make are derived from my own border. 
experience. What I have written here is meant by- 
In building a new border I should way of suggestion rather than any abso- 
start out with these rules firmly in lute dictation. Your garden should be: 
mind: your very own. You may get help, to 
1. Select a location, if possible, in be sure—“Helps shunned are hindrance 
full view from the summer living room, sought and found” here as elsewhere. 
2. Carefully measure the space to Our ideas of the perfect border will 
be planted, and make, to a convenient certainly differ, just- as do our ideasi 
scale, a detailed plan showing the loca- of the Millennium. Every man, and 
tion of every plant to be set. This not every woman too, for that matter, has, 
only makes the actual planting much I suppose, a more or less definite though- 
easier, but makes it possible to get along individual idea of what the Millennium 
without the unsightly and perishable even is going to be like. For my part, 
labels, for if in doubt as to a name one I am prepared to go on record now asl 
merely has to consult the plan. Per- one who hopes that that delightful time} 
sonally, I like to make a series of col- will be characterized by more generally 
ored plans showing the color scheme I attractive houses, each with its own 
am striving for at each season. beautiful garden, the loving handiwork 
3. In arranging the colors try to get and so a true expression of the dwellers 
beautiful combinations, remembering therein. 
A Remodeled Cots wold House 
{Continued jrom page 48) 
refreshing and convincing straightfor¬ 
wardness about the style, due, doubtless, 
in great measure, to the fact that it is 
obviously a product of local evolution 
“growing out of the inherited knowl¬ 
edge of the wants which the builders 
had to satisfy, and of the natural ma¬ 
terial at their disposal.” 
One cannot but admire the ingenuity 
of the old builders who, by the em¬ 
ployment of one single material, suc¬ 
ceeded in creating the most pleasing 
and varied results. That one single 
material was the native limestone to be 
found in abundance throughout the 
Cotswold hills. Out of it they made 
not only their walls but also their roofs, 
using thin stone tiles. As the houses, 
almost invariably, were of one room 
in depth, and expanded lengthwise 
rather than in compact mass, the roofs 
were of neither great height nor span, 
so that stone tiling was physically quite 
feasible. 
With houses commonly of one room 
in depth and ranges of windows, abun¬ 
dant light and air, with concomitant 
cheerfulness, -vi’ere assured. The walls, 
whether of ashler or of rubble face, had 
equally agreeable qualities of texture 
and color which grew more and more 
pleasing with weathering and the ap¬ 
pearance of lichens. Withal, one is con¬ 
vinced on every hand, that the Cots¬ 
wold builders built not only for sub¬ 
stantiality but for delight as well. 
But the Cotswold style needs no jus¬ 
tification either on its own behalf or as 
an example for current work in En¬ 
gland. As a type meet for emulation 
in America, however, there are those 
who cavil on both sides of the Atlantic. 
They are chiefly those who take not 
enough account of the legitimate ele¬ 
ment of delight in architecture. For the 
sake of these folk, with their over- 
zealous obsession for practicality and 
for logical expression in local materials, 
it is worth noting that there are not a 
few places in the States where the local 
materials lend themselves rather better 
to expression in Cotswold mode than 
in other manners that are commonly 
deemed more essentially American. 
This does not mean to say that slav¬ 
ish copying, which is merely an exhibi-i 
tion of archaeological proficiency, is 
either advisable or desirable. It does 
mean to say that the Cotswold type is 
essentially flexible and adaptable and 
that, with certain modifications, such 
for instance as the substitution of slates 
for stone tiles, dictated by common 
sense and the character of local mate¬ 
rials, it is worthy of very serious con¬ 
sideration by those intending to build 
in districts where the general conditions 
are favorable. 
To return to Court Farm, when sur¬ 
veying the combination of old and new, 
one is scarcely conscious of the latter. 
Close analysis, it is true, will reveal the 
fact that the chapel dormers with glass 
cheeks are of recent devising; that the 
bow window on the ground floor, in an 
angle on the road front, was contrived 
to accommodate a passageway and 
avoid interfering with the ancient in¬ 
terior arrangement; and that the living 
room, facing on the garden, is largely 
of modern construction. Such features, 
however, and their happy incorporation 
serve to show the inherent adaptability 
of the style and, at the same time, the 
happy possibilities within the reach of 
an architect who has saturated himself 
with the precedents of a type in which 
he has chosen to work. 
