86 
House 
& Garden 
Assure heating comfort 
by using foresight now 
Economy) 
The first cost of a 
Jenkins Valve may be 
more than the light 
weight valve, but its 
absolute dependability 
and the satisfaction it 
gives make a genuine 
Jenkins Valve the least 
expensive in service. 
The mark below ap¬ 
pears on every Jenkins 
Valve—it is a guaran¬ 
tee and sign of genu¬ 
ineness . 
I N THIS season of building and remod¬ 
eling, to get the best out of your heat¬ 
ing system, have the radiators equipped 
with Jenkins Valves. 
A heating plant may be the best, but it will 
not give the utmost in comfort and satisfaction 
if the radiator valves are of the light, cheaply 
made type which cannot stand the strains of 
expansion and contraction of piping, and leak 
and develop trouble after installation. 
For over half a century Jenkins Radiator 
Valves have been used where it is the desire to 
have a heating system the best in every way. 
They are heavier valves—contain more and the 
best steam metal, and can be opened easily, and 
closed tightly. Made in various attractive 
finishes. 
Permit your architect to specify and your 
steamfitter to install genuine Jenkins “Diamond 
Marked” Radiator Valves. Send to us for inter¬ 
esting booklets on Plumbing and Heating Valves. 
JENKINS BROS. 
Srt White St.New York 
524 Atlantic Ave.Boston 
133 No. Seventh St.Philadelphia 
646 Washington Blvd.Chicago 
JENKINS BROS , Limited 
Montreal, Canada. London, England. 
FACTORIES : Bridgeport, Conn. ; Elizabeth, N. J.; Montreal, 
Canada. 
2294-J 
Decorative Tiles Inside and Out the House 
(Continued from page 84) 
tiled floor, a wall, a fountain, attain a 
dignity and a richness of artistic ex¬ 
pression that lifts it out of the realm of 
the commonplace. Used on a loggia 
floor, the warm, harmonious tones 
rather prepare one for the gay hues of 
flowers and shrubs outdoors, and the 
stretches of velvety lawns are reflected 
indoors in all the tones which appear in 
the tiled pavement. 
Tiles sound a warmer, more personal 
note than marble, they can better ex¬ 
press the sentiment of the craftsman, 
but splendid results have often been 
achieved by using these two materials 
in combination, as is exemplified in the 
delightful hall shown on page 47 where 
the floor is of marble with tile inserts. 
But we are just beginning to turn our 
attention to the use of color on the ex¬ 
terior of buildings—to study minutely 
color location, to experiment with color 
when it is applied to other then geo¬ 
metric form and to try to achieve with 
it a real and vital decorative result. 
Because tiles are so well adapted to out¬ 
door use, and because almost any color 
note can be sounded by them, they will 
more and more play a large factor in 
helping toward the solution of this new 
problem. 
In gardens, the use of applied color 
must be restrained if flowers fling out 
their gayest banners, but where there 
are gray walls and dusky paths and long 
stretches and bowers of green, what 
could be more delightful than to come 
upon a fountain whose blue tiled basin 
and walls seem to reflect the azure of 
the sky, or green tiles the cool of the 
ocean? Another ingenious way of in- 
An Afternoo 
troducing colors to crown a neutral 
toned garden wall with a coping of 
shingle tiles which can be glimpsed here 
and there between vines. 
For interiors, the more utilitarian uses 
of tiles are becoming popular. They are 
made to take the places of wood or 
stone in door trims for instance, con¬ 
necting them perhaps with some other 
architectural feature in the room, and 
they are also used in a decorative way 
to conceal registers and radiators—the 
pierced arabesques of the design allow¬ 
ing the full volume of heat to enter the 
room. Much can be said of mantels 
and fireplaces and hearths and the ap¬ 
propriateness of the materials from 
which they are constructed. Stone and 
brick have long been successfully used 
but many delightful conceptions are now 
being carried out in dull toned tiles in 
which as much or as little color can be 
used as one desires. 
These Chinese, Persians, Spaniards, 
Moors, Italians and Dutch realized to 
the fullest the possibilities of these bits 
of clay that they colored and baked with 
such magic skill, and we of today turn 
to the old Persian tiles for inspiration 
when we wish to achieve beautiful pas¬ 
sages of color. When the problem calls 
for more restrained tones we may study 
those of the Italian Renaissance. But 
we cannot successfully utilize exact re¬ 
productions of classic types because the 
scale of our ornamentation differs from 
that of the ancients, so we can only try 
to grasp the essence of their art and 
adapt it as far as we can in spirit, 
changing size and dimensions to suit our 
own forms of embellishment. 
n In A ready 
(Continued from page 35) 
so the track rules say— 
To pass him then if I could from 
that place;— 
Unless he distanced me by driving 
past 
Until his wheels were clear in front 
of all 
My horses’ heads—why then—just 
with the vicious 
Trick that is often done with timid 
men 
To force them to the rear, he swerved 
a little 
To the left. I saw this forearm more. 
But I 
Was keen, and closely watched his 
unfair trick. 
I lashed my horses forward to the 
narrow 
Gap, when my axle struck his full. 
His horses 
Felt the blow; it turned them just a 
little 
To the right. Their speed just drew 
the chariot far 
Enough aside to open half a hand’s 
length. 
Small you may say—but wider by 
the width 
Of your two little thumbs, as I was 
driving. 
Then I lashed them through, and beat 
his trick by my 
Own skill. The case was plain 
enough. Had I 
Not risked a fall, his dirty, low-down 
trick 
Might have succeeded. It was plain 
enough 
To all the crowd. They turned 
against him, jeered him, 
Hooted, threw things—and the girl 
was mine! 
Melitta ( yearningly ): Would any 
man do so for me! 
Agathon: Now, see. You made me 
tell the tale I would not! 
You have some craft within that 
head of yours, 
That might make lovers do great 
things for you—- 
But none are here. 
Melitta: I wish some man would do 
great deeds 
To win me! 
Agathon : Here, with farmers, shep- j 
herds, wood-cutters? (He laughs). 
Melitta: Now tell me how you sailed 
to Egypt! 
Agathon: I’ve done! You get no 
more of me. 
Melitta: Please, just that tale! 
Agathon: No;—I want to sleep. (He 
looks about to see where shade is and 
will be, puts down his staff, and pre- ! 
pares to lie down.) 
Melitta (with her usual device): When 
news arrived 
That all good soldiers who had spent 
a year 
In Egypt were allowed to keep one- 
half their spoils, 
You could resist no more. (She 
pauses.) 
Agathon: Well, I can resist you now. 
I’m not caught twice. (He stretches 
out, partly concealed from view.) 
Melitta ( persevering ): Then when 
you fought the Abyssinian Prince, 
And seized his treasures. (She 
pauses. There is no response.) Re¬ 
member how the silk-stuffs glittered? 
(No sound.) The food? (The best 
bait.) The golden and ruddy wines? 
(There is not even a grunt. She ap¬ 
proaches. She picks up one of his 
feet. It drops heavily.) Are you 
asleep? (He gives a protesting grunt, 
rolls further over, emits a heavy 
snore, then sinks into blissful silence.) 
He’s just as good as dead now. 
But when he wakes he’ll yearn to tell 
me that, 
And scores of others. Oh, if some 
such thing 
Could stir my blood to want some 
man! Small chance, 
(Continued on page 90) 
