94 
House & Garden 
C UT your fuel bills and food bills 
and do away with half the work 
and all the annoyance of cooking and 
you will go far to solve the problem 
every household is facing today. 
“Double” Sterling 
The 40 feature, 2 oVen, 2 fuel range 
actually accomplishes these results. 70 
years’ experience has enabled us to secure 
such perfect combustion in the Sterling fire 
box, grate and flue system, that you have 
absolute control of your heat at all times. 
This banishes cooking annoyances, prevents 
wasting food in cooking and saves fuel. 
(The regular Sterling Range bakes a barrel 
of flour with a single hod of coal.) V 
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The 49 inch wide, 4 hole coal range and 4 hole 
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gas range, all on one level has 2 separate ovens. It 
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enables you to cook easily and conveniently no 
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matter how few or how many you have to serve. 
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We leave it to you if this will not eliminate half 
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the work of cooking. 
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We will send on request a complete descriptive 
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catalog on the “Double Sterling” explaining and 
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illustrating the 40 Sterling features which make it 
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the range for your kitchen. 
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SILL STOVE WORKS 
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(Established 1849) 
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Rochester. N. Y. 
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Makers of Sterling’ Coal Ranges, Sterling- Scientific 
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Combination Ranges and Sterling Warm Air Furnaces 
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If you do not have gas connection write for catalog of the 
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Sterling Range. The Range that bakes a barrel of flour 
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with a single hod of coal. 
Notes of the Garden Clubs 
(■Continued from page 92) 
plished by some of the members. The 
Society publishes occasional leaflets on 
planting, the best varieties for New 
Orleans, of shade-loving plants and 
vines, roses, evergreens, sweet peas, 
chrysanthemums, sweet-scented plants, 
ferns for outdoor use, foliage plants, 
winter-blooming plants, annuals, gar¬ 
den pests, and arrangement of small 
gardens. In May, 1920, there was a 
garden contest. 
Ellen P. Cunningham. 
In order to make complete this rec¬ 
ord of the work of America’s garden 
clubs, we would greatly appreciate it 
if any club which has not already re¬ 
ceived a note from Mrs. Cunningham 
would communicate with her, sending 
the names of the officers and other data 
of interest. Mrs. J. W. Cunningham 
may be addressed in care of the Ed¬ 
itorial Department, House & Garden, 
19 West Forty-fourth St., New York .— 
Editor. 
NEW PAINT FOR OLD FRIENDS 
T HEY were both old. But where 
one was brilliant, interesting and 
different, the other was common¬ 
place, drab and ugly. An Egyptian 
mummy case and a neglected house in 
the Connecticut hills. The link? Paint. 
Paint had transformed a plain wooden 
box, over five thousand years old into 
a thing of exceptional beauty. Most of 
the charm and interest was due to the 
successful use of pigment. What might 
not be accomplished by this same means, 
in the forlorn old house hidden away 
amid sweeping hills? Inspiration had 
come with admiration for the art of 
ancient Egypt. Paint could solve our 
problem and make a house we had 
thought hopeless not only possible, but 
charming and interesting as well. So 
we went to work. 
Fortunately the architecture was good, 
of the rambling farmhouse type that 
is picturesque in spite of itself. The 
shingled walls were painted white and 
the roof, doors, shutters and trim a 
dark, strong green. New red brick steps 
with prim iron railings were added and 
a brick wall flanked on either side by 
borders of bright-hued phlox. 
The small porch was made the most 
of. For at least three months of the 
year it became an outdoor living room. 
Climbing honeysuckle vines grew along 
one end and light, adjustable porch 
shades, stained dark green were added. 
The furniture consisted of old wicker 
pieces, enameled bright yellow. Vivid 
cretonne that had orange, green, black 
and a tiny bit of Chinese red in it 
made the cushions. Some odd tables 
were painted a shiny black and the green 
flower boxes around the railing were 
filled with orange-hued nasturtiums and 
daisies. Sand colored grass rugs were 
on the green porch floor and hanging 
yellow baskets were filled with English 
ivy. It was a spot to rest in. 
The inside seemed utterly hopeless. 
Brown was everywhere—brown walls, 
woodwork and heavy, mid-Victorian 
furniture, in a summer cottage where 
everything should have been light and 
graceful. We could not afford to dis¬ 
card, so there was only one thing to 
do—paint! 
The little entrance hall was dark so 
the walls were painted orange, the 
woodwork and stairs deep ivory. Two 
little chairs were enameled black and 
the seats covered in green and orange 
striped linen. Pale orange silk curtains 
brought a glow of warmth into what 
had been a cheerless, drab interior. A 
long mirror painted black, with jade 
green and gold decorations completed 
the grouping. 
In the living room which was flooded 
with sunlight, we decided on gray walls 
and woodwork and a deep taupe floor. 
All the heavy, brown oak furniture was 
enameled light gray also and two small 
chairs and a table were done in a soft 
yellow. For hangings, cretonne was 
used—a lovely pattern in which gray 
blue was the predominant color, com¬ 
bined with yellow, mauve, a little green 
and gray. A plain rug in a deeper 
shade of blue was on the floor. The 
lamps were brass urns with stiff, yel¬ 
low parchment shades that had a border 
and fine line of blue for decoration. As 
the room needed some contrasting color, 
two Chinese red jars were placed on 
the mantel, flanked by brass candle¬ 
sticks. From a brown monstrosity, the 
room had become informal, graceful 
and restful, the cool, blue-gray coloring 
adding much to one’s comfort during 
the hot, mid-summer months. 
The dining room had some lovely old 
mahogany furniture that demanded an 
attractive setting. We decided on painted 
yellow walls, deep ivory woodwork and 
a dark brown floor. The chair seats, 
originally covered in brown velour, were 
done in a striped green and buff linen. 
Flowered chintz that had lots of cool, 
soft green in it made the hangings and 
as the view of the garden was especially 
lovely from this room, no glass curtains 
were used. A two-toned tan rug com¬ 
pleted a simple, restful color scheme. 
In one bedroom the furniture was 
wicker, enameled light tan. Here the 
walls and woodwork were painted a 
soft greenish blue and the floor dark 
brown. Sand colored pongee made the 
hangings, and the cushions and bed 
spreads were of glazed chintz in mul¬ 
berry, greenish blue and yellow. 
Another bedroom had heavy oak fur¬ 
niture that was thoroughly impossible. 
This was painted a silvery green and 
decorated with nosegays of old-fash¬ 
ioned flowers. Immediately the aspect 
and atmosphere of the room changed. 
The furniture could never be graceful— 
its shape forever prohibited that, but 
it assumed a certain grace and light¬ 
ness which was the next best thing. 
Cream painted walls, mauve, terra cotta, 
blue and yellow chintz and a mauve rag 
rug on a black floor made a room that 
was effective and easy to live in. 
There was a little store room on the 
upper floor that became a den. The 
walls were painted gray, and the wood¬ 
work and floor the same color in a 
darker shade. The hangings were Chin¬ 
ese red silk and some old chairs and 
a bench were painted the same red. A 
jade green tea set was on a small, black 
lacquer table and two brass bowls were 
filled with yellow daisies. 
In a general decorating scheme the 
kitchen is so apt to be neglected. It 
can be one of the most uninteresting 
rooms from a decorator’s standpoint or 
one of the most effective. This kitchen 
was transformed from a dull, brown 
room into one that had color for its 
keynote and immediately became indi¬ 
vidual. The walls were painted butter 
color and the woodwork black. Black 
and white linoleum was on the floor 
and at the windows hung blue and 
white check gingham curtains. All the 
cooking utensils were bright blue. The 
stove also was blue and the cabinet, 
table and chairs, white enamel. Surely 
a room easy to cook in. 
An Egyptian mummy case was re¬ 
sponsible for it all. Without it the idea 
might not have been born. Old things 
had become new, miraculously trans¬ 
formed by hard work and many coats 
of paint. The old house had charm. 
Margaret McElroy. 
