66 
MONARCH 
METAL WEATHER STRIPS 
Monarch Floating Con¬ 
tact Strip Keeps Out 40% 
More Cold Air Than Any 
Other Weather Strip 
There’s no guess work about the extra comfort in 
a home stripped with Monarch Metal Weather 
Strips. Test after test by foremost building en¬ 
gineers has proved the fact that Monarch Strips 
are 40 % more efficient than any other weather 
strips. 
The reasons why are easy to explain 
First: The floating contact provides a constant 
weather-proof fit of windows, doors and transoms, 
regardless of any swelling, shrinking or warping 
of the wood to which the strips are attached. Every¬ 
one knows that wood expands and contracts with 
changes in the weather. No other strip follows 
the wood and keeps the contact over the crack con¬ 
stant and even. 
Second: Windows, doors and transoms are made 
to open and close without the slightest sticking 
or binding. The metal tube within a metal tube— 
a further distinction from strip which fits in a 
wooden groove—makes double-hung windows slide 
like they had ball bearings. 
Monarch Metal Weather Strips soon pay for themselves 
in comfort, health and saving in 
fuel. They make a house weather¬ 
proof against wind, rain and dust. 
Any Monarch dealer can prove to 
you that they keep out 40% more 
cold air than any other weather 
strip, no matter what its cost. They 
are easily, quickly and economical¬ 
ly installed, because they are fitted 
in the factory ready for attach¬ 
ment. 
Look up Monarch in the telephone 
book. If you shouldn’t find it, 
write direct to the factory, and 
we’ll mail you full information. 
MONARCH METAL PRODUCTS CO. 
5000 Penrose St., St. Louis, U. S. A. 
Canadian Branch: Canadian Metal Window 
Co., Toronto, Canada. 
An illustration of the ex¬ 
clusive Monarch tube with¬ 
in a tube. The metal 
tube on the frame fits over 
the metal tube on the 
sash. Frictionless and 
weather-proof contact be- 
tween them floats and is 
kept constant , regardless 
of any swelling or shrink¬ 
ing of wood parts of the 
window, because of the 
flexible construction of 
the strip on the frame. 
House & Garden 
Reviving The Lavabo 
(Continued from page 42) 
■ 
The symbolism suggests the possibility 
that this particular bit of sculpture (evi¬ 
dently brought from some other source) 
may at one time have served in some 
connection with the drawing of wine. 
At the bottom of the niche the stone 
is hollowed out into a basin, whence 
the water is carried away by a drain. 
The peculiarly crisp and minutely de¬ 
tailed carving of the frieze, and of the 
capitals above the fluted pilasters, is 
thoroughly characteristic of the early 
Renaissance both in design and exe¬ 
cution. 
Of an altogether different type is the 
Venetian Gothic lavabo of three decks 
carved in white Istrian stone, now pre¬ 
served within the loggia of an 18th Cen¬ 
tury villa on the Brenta. Here the 
water was poured into the stone reser¬ 
voir and drawn thence through faucets. 
The 16th Century (1520) Tuscan lavabo 
in a semi-circular niche, with coved 
scallop shell head and the basin and 
drain of vase form, presents a bolder 
and more coherent design. 
The other Tuscan lavabo shown has 
long been disused, its decorative faucet 
removed, its place plastered over, and 
the basin filled level with cement, but 
the design is full of suggestion and the 
graceful treatment of the scallop shell 
in the coved top deserves examination. 
The portable lavabo was made either 
of metal or of pottery and hung on the 
wall, or else consisted of a metal or pot¬ 
tery reservoir and basin, contained in a 
setting of cabinet work, and stood upon 
the floor, movable at will like any other 
piece of wall furniture. There was no 
end to the diversity of forms in which 
such portable or movable lavabos might 
occur, and no limit to the varieties of 
decoration that might be bestowed upon 
them. Some of the 17th and 18th Cen¬ 
tury Dutch, French, Spanish and Italian 
lavabos of pewter, faience, wrought iron, 
copper, or brass are particularly en¬ 
gaging either for simple grace of form 
or for the excellence of the decorative 
craftsmanship they display. Not a few 
of them are still to be picked up in an¬ 
tique shops on both sides of the water. 
The small portable lavabos can 
scarcely be expected to fulfill more than 
a decorative function nowadays. They 
are usually too small to serve as water 
coolers, and it would be a foolish waste 
of time and labor to carry water and 
fill them for other purposes. With the 
older form of built-in lavabo, however, 
the case is quite different. Its decora¬ 
tive potentiality as an architectural fea¬ 
ture is as great as it ever was, and with 
modern plumbing attachments, it can be 
made, as it once was, a really useful 
dining room accessory, either for cooled 
water or a general supply, or both. 
The Bold Colors of An Autumn Garden 
(Continued from page 38) 
perfect marvel at staking, and staking, 
which is a much neglected art, is pe¬ 
culiarly necessary to the success of the 
aster garden. Staking seems to me a 
painstaking process and is one that de¬ 
mands an intimate knowledge of plant 
forms. It is all the more pity, then, to 
see asters tied tightly to stakes and 
hopelessly strangled. In the matter of 
asters I saw the staking well done once 
on Long Island where the gardener had 
resorted quite simply to ordinary to¬ 
mato plant hoops. The hoops, well 
hidden by the foliage, held the stems 
sturdily upright and yet they left the 
bushes free to express their own loose 
branching character. 
I think I like the perennial asters 
best when they are intermingled with 
other flowers. I have seen the White 
Queen asters used in a white garden 
where they were luxuriously intermin¬ 
gled with anemones, phlox, boltonias, 
snapdragons, gladiolus and verbenas. I 
have seen the lilac-blue Climax, inter¬ 
spersed with buddleias, used as a back¬ 
ground for lavender larkspurs and 
lavender scabiosa. And I have planted 
these same Climax asters with lemon 
marigolds and secured quite a delicate 
color effect. If grown well there is no 
aster quite so luxuriant as the low 
Aster acris that grows in big flat umbels 
and looks particularly well with sturdy, 
close-planted lavender stocks. The New 
England aster is such a common garden 
flower, not always pleasing in a garden 
of mixed colors, that I was astonished 
to find it once combined with carmine 
zinnias in a color effect altogether 
unique and Frenchy. 
And, then, there are the chrysanthe¬ 
mums—glorious, showy chrysanthe¬ 
mums. The harvests are well-nigh in, 
the shrubs are fruiting, the foliage is 
turning when the chrysanthemums make 
the last great crescendo of the garden. 
Chrysanthemums bloom so late that 
they are apt to look a little lonely in 
the garden where the other flowers are 
already cut down. For this reason I 
like a separate garden for them. This 
garden should, of course, be near the 
main garden so that it is easily reached 
in the autumn season, but just r little 
out of the way so that it can be easily 
overlooked at other seasons of the year. 
Separate gardens for chrysanthemums 
have another use, for to show themselves 
off to advantage they should be able to 
develop into well-formed plants, and it 
is desirable to have a fine background 
for the flowers. They are especially 
effective against arborvitae or cedar. 
When chrysanthemums are wanted in 
the all-year garden I often plant them 
in the foreground—in fact, right in back 
of the edging so that they will not be 
crowded too much by other plants. 
This keeps the foliage from becoming 
brown and injured, which often happens 
when they are interplanted with other 
flowers. However, such rules cannot be 
set, for one of the most beautiful effects 
I have ever seen was a garden where 
the chrysanthemums were planted at the 
very back. Had I not seen the garden 
at other seasons, I should have thought 
it especially designed for chrysanthe¬ 
mums, so lavish was the bloom all 
around the garden. What really hap¬ 
pened was that the plants, carefully tied 
up and out of view all summer, had 
been untied and had thrown themselves 
with full abandon across the borders. 
This garden had only white chrysan¬ 
themums—silvery gray-white they seem 
to me now in retrospect—and altogether 
charming. One color chrysanthemum 
gardens are rare and restrained but very 
choice. For little gardens it is often 
better to limit the color. I have 
planted a tiny square garden where yel¬ 
low chrysanthemums make a frame for 
the white ones in the center. I have 
kept them potted outside the garden 
and have set them in for late autumn 
effect. This is particularly favorable for 
small gardens, for then the chrysanthe¬ 
mums have taken up no room during 
the summer, their foliage and shape 
are much better than if they had been 
left in the tangle of the garden, and 
they can be set as thickly as need be. 
But even a small garden can have a 
fuller range of chrysanthemum color. 
Borders on either side of a narrow path 
can have a sequence of color; beginning 
with pink and white varieties, they can 
merge into yellow, orange and red ones. 
In a large garden these color sequences 
can be elaborated to the Nth degree. 
