66 
House 
& Garden 
“BULL-DOG” Adjusters 
mean satisfactory casements 
Appearance: It is a big part of the 
‘BULL-DOG’S’ merit that it does 
not intrude. In the above installa¬ 
tion the adjusters are invisible when 
sash are at rest—open or closed. 
Strength : At any desired angle the 
‘BULL-DOG’ holds the casement 
noiselessly, surely. 
If you are interested in building we shall be 
glad to mail you gratis a copy of our illustrated, 
interesting Casement Window Handbook. 
The Casement Hardware Co. 
1 SO. CLINTON ST. CHICAGO, U. S. A. 
Pioneer manufacturers of modern casement hardware and 
only organization specializing on quality adjusters 
for out-swung sash 
Efficiency: But when you want to 
change the position of the sash, the 
BLTL-DOG’ is all there. Note 
powerful leverage of telescoping 
handle (patented). No need to 
touch the screen. 
When The Frame Fits The Picture 
(Continued from page 62) 
are Childe Hassam and William H. Met¬ 
calf, each of whom sees to it personally 
that his canvases are placed in a har¬ 
monious setting. In the cases of many 
other artists, the picture dealers take 
the responsibility and co-operate with 
the frame-makers. But it is just as 
much the part of the art-loving public 
to insist on the correct framing of pic¬ 
tures as it is to insist on the good taste 
of anything else that goes into the 
home. 
As has already been said, the ancients 
had no frames at all for their paintings, 
which were executed directly on the 
walls, with lines for demarkations. In 
fact, there is no record of a picture 
frame before the 16th Century, unless 
it can be said that works painted on 
panels in carved altars were framed. 
But when they did come into use, their 
development was rapid and the art was 
soon in full flower. 
At first frames were carved by hand 
exclusively, and pigment of gold leaf 
was applied direct to the wood. This 
was the golden age of frame making, 
when every picture was given an indi¬ 
vidual setting, designed and carved 
especially for it. Most of the so-called 
antique designs now in use—or misuse— 
date back to this time. These designs 
were beautiful as works of art, and 
were quite proper when seen with the 
pictures for which they were made. 
But somebody came along and in¬ 
vented a composition that could be 
molded, then attached to a wooden 
background, after which the laying on 
of gold leaf hid the process and made 
them look very much like carved frames. 
This proved the death knell of origi¬ 
nality in designing frames. Thereafter 
frame making became literally “cut and 
dried”. Henceforth the person with a 
picture to frame could look at an origi¬ 
nal and say, “I’ll take that”, and, presto! 
it was done. The framing of pictures 
by dealers, artists and laymen became 
simply the act of choosing something 
out of a frame-maker’s stock, giving an 
order, waiting a few days and getting 
the frame, ready for the picture to be 
inserted. It was almost as simple as 
buying a pound of cheese. 
Out of this slough of universality such 
men as Whistler and Herman Dudley 
Murphy pulled modern pictures. Stan¬ 
ford White had his share in the good 
work, for, even before Murphy, he 
designed a simple and beautiful frame, 
consisting of row after row of Greek 
ornamentation, with repeat patterns of 
such motifs as darts, scrolls, or laurel 
leafs, with no ornaments in the corners. 
Whistler’s ideal was a reeded arrange¬ 
ment, reminiscent of early Greek design, 
with one terrace after another, the 
whole purpose being to hold the eye to 
the picture and to get light and shade. 
The Hassam frame is likewise quite 
simple, mainly a flat surface with an 
unobtrusive carved and raised molding 
binding it on the outside and a Whistler¬ 
like margin within. The modern idea 
is to get away from ornate moldings. 
The last type of the “stock” frame, 
and one which is much used at present, 
is the Barbizon frame. They consist 
of scroll and leaf forms, worked in high 
relief, and advancing forward several 
inches from the picture. They are in 
almost every home. When the color of 
the gilding is correct, toned so as to 
complement the picture, they are not 
bad, although they could be better. In¬ 
stead of being bad, they are good when 
they surround Barbizon paintings—such 
as works by Corot, Rousseau and Diaz, 
or their American followers, Inness, 
Martin, Ranger, Tryon and men of the 
older school. But when we come to 
impressionist pictures and works by the 
modern colorists, there is nothing in the 
whole past of frame making that is ap¬ 
propriate. For such paintings we can- ] 
not consider old French frames, either 
Barbizon, Empire, or any of the Louis 
periods. Ornate and bold Italian Re- j 
naissance will not do, nor will columned 
Florentine. English, with Hogarth 
moldings are impossible. Nor is Span¬ 
ish, with its exaggerated roughness, nor 
Flemish, nor Dutch, nor sharply-cut 
German, a whit more useful. Gothic 
with its panels and polychrome color- j 
ings, of course, is unthinkable, and so 
is Colonial, which is reminiscent of 
ancient Egyptian design. 
The best frames are covered with 
leaf gold, which is afterwards, by means 
of chemicals, toned to any hue that 
harmonizes with the picture. The use 
of gold provides the “high lights” that 
are necessary in a frame. It is remark¬ 
able what color effects, even, can be 
produced. Some of the old Spanish 
frames are marvelous, rich symphonies 
in color. One striking effect was ob¬ 
tained by the use of red pigment under 
the gold. 
The new movement in framing is in 
consonance with the spirit of the age 
in art. Old things are no longer ac¬ 
cepted simply because they were once 
liked. The moderns demand to know 
for what esthetic reason a work of art 
lays claim to acceptance. It is this that 
is driving solecism and sterility out of 
picture framing. 
An Italian Garden of Content 
( Continued' from page 25) 
but are moved into the lemon house at 
the approach of winter. 
The beds in all four sections are 
edged with low-growing plants, indi¬ 
cated on the plan by the broad lines in 
lighter tone, while the inner portions of 
the beds are reserved for larger plants 
and shrubs. In some cases the edgings 
are composed of violets, of sweet alys- 
sum, or even of strawberry plants, 
while in others they are formed of 
clipped box. The idea of a retaining 
or defining band has been adhered to 
throughout, but the nature of the band 
has been varied. 
At the center of the eastern side of 
the garden is a greenhouse (figure 9), 
of simple but architectural character, 
on axis with the garden gate (figure 2), 
at the opposite end of the east and 
west path, which opens into the vege¬ 
table garden (figure 14). Beds at each 
side of this greenhouse fill the space 
between the wall and the eastern broad 
path. These beds are raised within a 
low retaining wall, similar to that which 
encloses the bed by the wistaria arbor, 
and the earth in them is level with the 
top of the retaining wall.' 
In the southeast angle of the garden 
walls is a great oleander, growing in a 
stepped circular bed with a stuccoed 
brim which is raised high enough to 
carry through the lines of the adjacent 
raised beds. Smaller oleanders are es- 
paliered against the east wall. Nearby, 
and terminating the vista of the eastern 
path, is a stepped platform of stuccoed 
brick (figure 6), against the south wall, 
upon which tiers of potted plants may 
be set. 
The high south wall of the garden, 
formed by the north wall of the lemon 
house (figure 8), is covered with ivy. 
Seven tall clipped yew trees are planted 
close to this wall. Their perpendicular 
lines and their pointed tops rising above 
the coping carry a strong vertical em¬ 
phasis and modify the long horizontal 
(Continued on page 68) 
