100 
House 
& Garden 
The Outside 
Tells the Story 
T he outside of every home is sub¬ 
ject to the public gaze—and admi¬ 
ration. New houses are protected, old 
houses regain their youth with one or 
two applications of Bay State Brick 
and Cement Coating. It will make a 
house distinctively beautiful. 
This master coating protects against 
wind and weather. It waterproofs 
walls of brick, cement and stucco. It 
prevents beating rains from seeping 
through, and laughs at winter storms 
or summer sun. 
In white. Or from a number of care¬ 
fully chosen colors you may select a 
favorite tint. We will gladly mail you 
a free sample. Write for our interest¬ 
ing booklet No. 2. It is filled with 
photos of Bay State Coated Homes. 
Mail us a postal today. 
Name any painting job. There is a 
Bay State paint, stain, varnish or en¬ 
amel to do it. 
Try INOROUT 
Varnish. For any 
^ work, indoors or 
out, you will find it 
the finest varnish 
H you have ever used. 
WADSWORTH, HOWLAND Cgl, CO., Inc. 
Faint and Varnish Makers 
Boston, Mass. New York Office: Architects Bldg. 
Philadelphia Office, 1524 Chestnut St. 
The Art of the Golden Age 
(Continued from page 98) 
change. Alexander became a conqueror, 
and after him his generals made the 
world tributary to Greece, and art be¬ 
came grandiose and dramatic. For the 
first time sculptors began to depict phy¬ 
sical suffering, the agony of the flesh. 
Finally there came a long period of 
decadence, in which countless imitations 
were made of the noble works of the 
past. Greek nations sprang up in Asia 
and there arose in them wealthy art 
collectors, who were fond of gathering 
about them the treasures of the pre¬ 
ceding centuries. Rome came with her 
grandeur and her wealth, and her rich 
citizens and victorious generals likewise 
became collectors of Greek art and 
sponsors for Roman artists, who took as 
their models the masterpieces of the 
more ancient nation. 
Such is the centuries old storehouse 
from which the modern lover of the 
beautiful is able to draw. It is a store¬ 
house of tradition, as well, and because 
of this it will have all the more attrac¬ 
tions for those persons who love not 
only the beautiful but that which is 
antique and is surrounded by the 
glamour of past glories. There is whole¬ 
someness about classic art, too. We 
may have a fling with the exotic, if we 
like, and some time or other we may 
feel a bit ashamed of it. But the art 
of Greece and Rome belongs to the 
very best of ourselves. It is coeval with 
the birth of our civilization and of all 
our traditions. 
The Ancient’s Coldness 
Some people will doubtless feel that 
there is a “coldness” about the sculp¬ 
ture of Greece and Rome. “Coldly 
classical” is an expression that has come 
into use. This feeling probably owes 
its origin to the great use which the 
ancients made of- marble. But classical 
sculpture as it appeared in the temples 
and the homes of the ancients was any¬ 
thing but cold. Right here is a good 
Using Rose 
(Continued 
place to make known a fact that is 
familiar to archeologists but which will 
seem startling to most people. 
Every Greek and Roman statue, mar¬ 
ble or otherwise, was painted in bril¬ 
liant colors, every inch of it, before it 
left the sculptor’s studio. The hair was 
painted, the lips were painted, the face 
was made to look exactly like life, and 
even the eyes were put in with colors 
that made them look like living, seeing 
eyes. The bodies were painted like liv¬ 
ing flesh, and if the statue had draper¬ 
ies, these were made to look like the 
fabrics turned out on the looms of the 
faithful wives of old Greece. The ef¬ 
fect of these chromatic statues must 
have been striking. Imagine the awful 
omnipotent features of Jupiter appear¬ 
ing in all the semblance of life. Fancy 
the countenance of the Venus di Milo 
looking as fresh and blooming as the 
goddess herself. 
We think of the Parthenon, most 
beautiful building of all history, as a 
marble temple, shining in its purity on 
the Rock of Athens. But it was painted, 
every inch of it. Each column stood 
out in brilliant pigment, applied once 
every year, and the matchless sculp¬ 
tured friezes by Phidias that adorned 
the fagades, with processions of gods 
and goddesses and heroes appeared in 
all the semblance of life. The great 
Greek masters of painting, Apelles, 
Zeuxis and Parhassius, whose works 
have utterly perished, were renowned in 
their day as “colorists”. There was 
nothing “coldly classical” about their 
art, or of the Romans either, in spite of 
the lifeless grays used by David and the 
painters of the Empire period in sup¬ 
posed imitation of them. Life was full 
of joys, and thrills, and action in old 
Rome and Greece. It had plenty of 
color. 
Knowing this, those moderns who 
have thought classical art “cold” may 
feel better about it. 
s As Shrubs 
from page 39) 
Cathayensis form is a hard-luck rose, 
able to endure with impunity conditions 
which cause the average hybrid tea rose 
to vanish precipitately. My specimen 
is wreathed about six bamboo canes 
about five feet high, and stands next to 
a great forsythia. 
Both E. H. Wilson, the extraordi¬ 
narily acute plant collector who has 
combed West China for the good of 
America through the Arnold Arboretum, 
and Frank N. Meyer, the explorer for 
the Department of Agriculture who died 
in China two years ago, have empha¬ 
sized for us the beauty of Rosa Hugonis, 
which is now coming into Arherican 
commerce. It is a graceful, enduring 
shrub which in the Middle Atlantic 
States is festooned in May with clear 
yellow single flowers about an inch and 
a half in diameter, set just as closely 
on the drooping twigs as are the flowers 
of any spirea. Hugonis might be spoken 
of as a better-looking Spirea Van 
Houttei, but that would not fully de¬ 
scribe its beauty, because after the 
flowers are gone and when the influence 
of autumn begins to be felt, its foliage 
tends to turn a distinct purple, so that 
there is again a season of peculiar 
beauty at the command of its posses¬ 
sor. Rosa Hugonis is not only hardy 
but a vigorous grower, “stooling out” 
into a shrub which will hold a com¬ 
manding place in any proper border or 
along any driveway. 
When I think of what Rosa rugosa 
has done for the parking space in the 
center of the wide dominating State 
Street of Harrisburg, I wonder why 
more people do not use this strong and 
rugged rose for its shrub value. Its 
foliage, deep green and plaited in tex¬ 
ture (for that is what the word rugosa 
means), defies the bugs, the beetles and 
the mildews. Its flowers tend to come 
both early and late, and vary from 
pure white to a deep pink which is too 
close to magenta in certain forms. It 
has been so hybridized as to give us 
double flowers of the utmost loveliness, 
and some of these .hybrids with distinct 
habit may with a little work be trained 
into spectacular incidents of the border 
of the driveway, or indeed carried up 
along the side of a house on a trellis in 
a fashion which might make the Middle 
States home suggest southern Cali¬ 
fornia. All the rugosas are worth-while 
shrubbery roses, and they can be so 
pruned as to remain at any desired 
height. They are entirely hardy. 
.Among the other Chinese forms 
slowly coming into commerce are a 
number of the same shrub value, and 
with individual beauty. Rosa multi- 
bracteata has dainty pink flowers, and 
it has thorns which are also pink in 
their early growth and absolutely devil¬ 
ish in their hooked maturity. I am 
pretty fond of my big plant of this 
rose, but I never hasten by it with any 
disrespectful brushing of its drooping 
canes! It makes a bold object, its 
small foliage giving it unusual dis¬ 
tinction. 
Rosa multifiora makes a magnificent 
shrub and a wonderful hedge. Its 
growth is rapid, and it will reach eight 
(Continued on page 102) 
