72 
House & Garden 
Electric and Gas Range designed 
for S. W. Williams, Paris, Texas. 
Give Careful Thought 
To Your Kitchen 
Give at least as much thought as you give to in¬ 
terior decorations or the selection of furniture. 
Your kitchen is the heart of your home and your 
range the most important item. Choose your range 
with special care. A built-to-order 
Deane french. Kamrie 
is designed to meet the conditions peculiar to your 
home. The number in family, the extent to which 
you entertain, the fuels obtainable and the floor 
space available are four important factors that help 
to fix the type of range you need. No two homes 
are alike. The range that serves one excellently 
may not give equally good service to another. 
The range illustrated was designed to fill special re¬ 
quirements where electricity and gas are both obtainable. 
The electric section has a cooking top with four eight- 
inch discs and a large oven, all controlled by “three 
heat” switches, and a broiler. The gas section has four 
single burners under removable, corrugated bars, a large 
oven, a roll oven and a broiler. Ovens and broilers have 
platform drop doors. 
The range is built of Armco rust-resisting iron, with 
polished, hand-forged, wrought-iron trimmings. There’s 
nothing fussy about it, and it’s surprisingly easy to keep 
clean. 
If you want further information about Deane French 
Ranges, give us the information called for in the second 
paragraph of this advertisement and ask for “The Heart 
of the Home,” our portfolio of specially designed ranges. 
Bmamhall, Beane Co* 
263-265 West 36 th St.,New York. N.Y 
Crops to Grow In the Cellar 
( Continued, from page 70) 
as the plant grows it bursts through the 
envelope. 
In the same category with mushrooms 
are found the Lycoperdaceoe or puff 
balls. These are a species of fleshy fungi 
that are extremely edible. They grow 
in gardens and meadows and frequently 
attain a diameter of 16". The flesh is 
pure white until practically full size is 
attained. Lycoperdon cyathiforme is a 
beaker-shaped puff ball varying in color 
from creamy white to pink-brown with 
white flesh. With the formation of 
spores, it becomes purplish throughout. 
This puff ball has perhaps the highest 
flavor. 
French Endive 
Brussels whitloof, or French endive 
as it is more generally known, is com¬ 
paratively simple to grow. This makes 
a delicious winter salad and can be 
grown successfully in the cellar. 
The seeds should be sown an inch 
deep in May and June in drills about 
IS" apart in good garden soil. When 
up, cover lightly and thin out to 8" or 
10" apart and water well. One ounce 
of seed will plant one 100' of row. 
In the fall they should be taken up 
carefully and the roots shortened to 
about 8". It is well to keep a ball of 
earth around each plant and they 
should then be placed close together in 
fibre, moss or some similar loose soil 
in boxes in the cellar. The tempera¬ 
ture should by from 50° to 60° F. 
and there must be plenty of air. To 
blanch, tie the tops of the heads to¬ 
gether to keep the light from the heart, 
or place an empty box over them. The 
shoots should grow to about a height 
of 6". If proper temperature is main¬ 
tained, in three or four weeks the roots 
will produce a head of whitened leaves, 
tender, crisp and of excellent flavor. 
A continuous supply of this is possible 
from December first to April first. 
American Prints and Their Uses 
(Continued from page 46) 
Painter-Gravers of America, in New 
York, held under the management of 
Walter Monroe Grant and Mollie Hig¬ 
gins Smith, approximately one hundred 
etchings, lithographs, wood block prints 
and engravings were sold for about 
$1,600, or an average of $16 apiece. 
The quality of these prints was so high 
that they inspired extensive reviews by 
every art writer in the city. 
The Painter-Gravers’ Work 
Each of these prints is an individual 
work of art, and each bears the pen¬ 
cilled signature of the artist. In many 
cases they are the work of men and 
women who are well known as painters, 
for in the list of members are found 
such names as George Bellows, George 
Elmer Brown, Ernest Haskell, Childe 
Hassam, John Marin, Albert Sterner, J. 
Alden Weir,Mahonri Young and Jerome 
Meyers. From five to one hundred 
proofs are made of each subject; then 
the plate is destroyed. This adds rarity 
to the charm of a print and, if it is an 
especially good one, causes it to be 
worth more and more as the years pass. 
For instance, a Weir etching that three 
or four years ago could have been 
bought for $20 is now worth $100. 
The artists in this society call them¬ 
selves “painter-gravers” within the ex¬ 
act meaning of the term, because all of 
them are painters who simply use en¬ 
graving as another means of expression. 
There are two other organizations whose 
members are doing similar work in the 
popularization of true art in this coun¬ 
try. One is the Brooklyn Society of 
Etchers and the other is the Chicago 
Society of Etchers, and both give an¬ 
nual exhibitions in the effort to draw 
the public’s attention. By far the 
greater number of prints, however, find 
their way to the ultimate consumer 
through the activity of the art stores. 
Just why is it that an etching or other 
individual print bearing an artist’s sig¬ 
nature is superior in art value to a 
reproduction? It is because it carries 
the individual “touch” of the artist. A 
reproduction does not cause a thrill of 
pleasure to the esthetically inclined be¬ 
cause it is a process that speaks, not the 
voice of the author himself. This is 
best illustrated, perhaps, by a reference 
to music of the variety that in the ver¬ 
nacular is called “canned”. A musical 
composition may be reproduced me¬ 
chanically exactly as the composer wrote 
it and then rolled off on a player piano 
—every note and every stop absolutely 
perfect—but it will strike the truly 
artistic ear with no emotion whatever. 
But if the former premier of Poland 
should sit down at the piano and play 
the same composition, the same hearer 
would be lifted into ecstasy by the soul 
of the artist. Just so with pictures. 
The interpretation of the printing press 
leaves the beholder cold, but the etcher 
by means of his pencil touches the very 
artistic nerve of the owner of the com¬ 
pleted print and gives him the esthetic 
thrill that all true art must give or fail 
in its mission. 
No one has ever been able to explain 
this esthetic thrill that is stirred by art. 
It defies all analysis. Old Aristotle said 
that it springs from the nobility of the 
work of art. Clive Bell, who is the 
greatest exponent of the new school of 
Post-Impressionists, positively says the 
thrill is caused by “significant form” 
and gives it as his further opinion that 
this “significant form” springs from the 
emotion felt by the artist. Volumes and 
volumes have been written about this 
thrill of the esthetic, but for our pur¬ 
pose it is sufficient to know that the 
common man and woman can get it 
from the $15 or $20 print of the con¬ 
temporary artist just as the multi-mil¬ 
lionaire can get it from the old master 
he purchases for $500,000—and perhaps 
more of it, because the emotion of the 
contemporary artist is a living thing, 
whereas that of the old master may 
have belonged to the soul of an age 
now dead. It cannot be had from re¬ 
productions except in a very slight de¬ 
gree. Reproductions may appeal to the 
memory, or to patriotism, or to the in¬ 
tellect, but they cannot impart the es¬ 
thetic thrill which true art should give. 
The person who has decided to sur¬ 
round himself with prints that can ad¬ 
minister to his emotional being, should 
go about it by considering three things: 
What to Look For 
First—He should look for a print he 
likes without any regard to who else 
likes it or to who did it. It should 
satisfy his own taste. It should give 
him individual pleasure. It is not neces¬ 
sary for him to try to analyze the work, 
to find just why it appeals to him. It 
is enough that it give him a thrill of 
pleasure to behold it. If it does this, 
perhaps an acquaintance with it will so 
develop his power for pure esthetic en¬ 
joyment that he will afterward be able 
to get even keener pleasure from works 
he does not at present comprehend. 
Second—He should make sure the 
work is technically good. To this end, 
if he has not confidence in himself, he 
should call in friends who know. How¬ 
ever, he should not confuse technical 
(Continued on page 74) 
