74 
A satisfying magazine 
for the satisfactory home 
Publishing office of the 
I Yale Review 
A NATIONAL QUARTERLY 
AS a reader of a magazine like HOUSE & 
il GARDEN, you are not content merely to 
have a beautiful home. You want it as well- 
furnished intellectually as artistically. 
Your library should be the meeting ground 
of the best minds of the times. 
The Yale Review brings you this finer touch 
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and in its remarkable group of contributors, 
this National Quarterly stands alone among 
American periodicals. The January number 
is a masterpiece of magazine achievement. 
January Contents 
GERMANY SINCE THE REVOLUTION, 
by the Author of “J’Accuse!” 
A prophecy of civil war in Germany and 
failure of the Republic, in the most remarkable 
magazine article of the year. 
| . THE JEW IN PALESTINE, by Israel 
g Zanyivill 
WOMEN IN THE ELECTION, by A. 
§g Maurice Low 
ROBERT LOUIS STEVENSON IN 
SAMOA 
SOME NOVELS OF 1920, by Wilbur Cross 
1 > THE MASTERFUL PURITAN, by Agnes 
Rcpplier 
also 
John Drinkwater, Robert Frost, Dean IV. R. Inge 
of St. Paul's; etc., etc., and authoritative book 
reviews on Wells’ “History”, etc. 
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House & Garden 
The Princely Cabinet 
( Continued. Jrom page 72) 
This last was one of two of the Car¬ 
dinal’s cabinets known as Cabinets de 
la Paix by reason of their having been 
ornamented with figures representing 
Peace. They stood some 8' high, were 
S' 3" wide and 19" deep,—princely cabi¬ 
nets, indeed! 
Dutch Work 
The ebenistes and the marqueteurs of 
g the first half of the 17th Century, espe- 
§j dally the Dutch cabinet-makers, pro- 
11 duced a quantity of massive furniture 
B and the lines of the cabinet followed 
S the trend of contemporary taste, the 
g key-note of which was sounded by such 
§§ designers as Paul Vriedeman de Vriessl, 
= Crispin de Passe, Serlie and others. 
In Germany the cabinet assumed a 
§1 monumental cumbrousness. One made 
S for Philip II, Duke of Pomerania, be¬ 
ll tween 1611 and 1617, designed by Philip 
§ Heimhofer of Augsburg and made in 
S the shop of Baumgartner in the same 
S city required some twenty-five workmen 
g in its production. This cabinet is now 
B in Berlin. 
The English have always given much 
g attention to the adornment of their 
J homes. What could not be found in 
S England they sought abroad. In the 
g Verney Memoirs, for instance, we find 
jj Sir Ralph Verney recording how “My 
B lady Lisle desires an Ebony Cabanet 
g and for Dores or none, she leaves it to 
U me and I cannot meet with an Ebony 
g Cabanet, that’s good, I can have choice 
of torties shell, garnished out with very 
g thin silver or gilt brass, which I like 
- much better”. As early as 1SS0 an 
H J English inventory lists “a fayre large 
§j cabinett, covered with crimson velvet 
g with the King’s arms crowned”. 
Dutch marquetry furniture was in the 
g ascendency early in the 17th Century 
g and many marquetry cabinets were im¬ 
ported by the English during the reign 
of William and Mary. From Queen 
Anne onward the cabinet in English 
furniture followed the styles of other 
English furniture. Chippendale’s hang¬ 
ing cabinets and standing cabinets in 
the Chinese style are especially inter¬ 
esting. French cabinet-makers were, of 
course, greatly patronized by English 
collectors, and the old pieces inspired 
by Andre Charles Boulle had been 
eagerly sought for. But, in the 18th Cen¬ 
tury, those tall wall cabinets adornec 
with carving and marquetry, pride oi 
the dwelling, were now banished to ante¬ 
chamber and dressing-rooms, their 
grandeur being out of harmony with 
the lightness of the newer styles of 
Chippendale, Hepplewhite and Sheraton. 
The delicate cabinets of the later styles 
took their place. In the Georgian Period 
the glass-front cabinets of satinwood 
and of tulipwood came into great vogue. 
In France and America 
In France the cabinet followed the 
styles of the Louis and received equal 
attention from the designers of the Em¬ 
pire. The first quarter of the 18th 
Century had seen the French ebenistes 
launched successfully with their imita¬ 
tions of oriental lacquer, and then fol¬ 
lowed the marvels in ormulu ornament, 
continued in the Empire furniture. 
In America the cabinet has always 
been a favorite piece of furniture. Be¬ 
fore the year 1700, cabinets were 
brought into the Colonies and not a 
Colonial mansion but possessed one or 
more. To the collector of objets d’art 
the antique cabinet is a delectable pos¬ 
session, a veritable retreat for one’s 
treasures, a shelter for one’s hobbies, 
and an object which collectors will do 
well to make note of in the year’s 
resolutions. 
Rose Notes from the Department 
of Agriculture 
T HERE are right and wrong ways 
to cut roses. The choice of the 
latter may seriously injure the blos¬ 
som-producing properties of the plants. 
This applies particularly, of course, to 
rose plants chosen and grown especially 
for cut-flower production. Such roses 
will be largely of the perpetual bloom¬ 
ing sorts. 
When a rose is cut from such plants— 
tea roses or other perpetual bloomers— 
only two or three eyes of the current 
season’s growth of that branch should 
be left on the plant. This should give 
the roses very long stems. Succeeding 
blossoms should be cut close to the 
ground. It will seem like destroying the 
bush to take so much off it, but if the 
object is the production of roses, the 
cutting away of the surplus wood will 
attain the desired end. 
If the spring pruning has not been suffi¬ 
ciently severe the plant is likely to have 
long, naked stalks and short stems to 
the flowers. With this character of 
growth only one or two strong leaf 
buds should be left on the branch when 
the flower is cut, so as to stimulate as 
much growth as possible from the base 
of the plant. 
The greatest temptation to leave wood 
is where there are two or more buds 
on one branch, some being small when 
the terminal one is open. This tempta¬ 
tion to follow a bad practice can be 
avoided by pinching off all side shoots 
after a bud has formed on the end of a 
branch. This prevents the formation of 
two or more buds on one stalk. This 
summer pruning will encourage addi¬ 
tional blooms on varieties which bloom 
more than once a year. 
Roses are not particularly well adapted 
to hedge making, but are sometimes 
used for this purpose. The briar roses 
make a good hedge if severely and fre¬ 
quently pruned, but most roses are 
neither sufficiently compact nor suffi¬ 
ciently branched to make a really good 
hedge. The Rugosa rose makes a hand¬ 
some summer barrier, but is so poorly 
branched that even in summer it does 
not give protection against small ani¬ 
mals, and in winter it does not have a 
hedgelike appearance. It may be found 
that some of the untried rose species 
will be valuable for this purpose. 
Hedges need to be closely pruned. 
This is probably best done twice a year, 
in the winter or spring and again after 
flowering time, pruning severely for 
outline and compactness. 
Most so-called rose hedges are rows 
of cut-flower roses, usually pruned for 
mass of bloom, with little of the ap¬ 
pearance of a hedge except at the height 
of bloom. Where a few weeks’ appear¬ 
ance of barriers is all that is needed 
hybrid perpetual and hybrid tea roses 
may be used as well as other species 
for this purpose. 
The hedge should be planted in a 
trench 3' wide and 2' deep, filled with 
soil prepared as for a bed of cut-flower 
roses. 
The use of low growing or trailing 
roses as covers for certain plots of 
ground about homes or in parks often 
adds greatly to the attractiveness of 
such places. Rosa lucida can be used 
to advantage for covering poor banks 
with foliage to a depth of 2' to 3'. 
Rosa nitida may be used in the same 
(Continued on page 76) 
