60 
House & Garden 
LONDON—27-29 Brook Street W. 
Charles of London 
718 FIFTH AVENUE 
NEW Y O R K 
OBJECTS OF ART 
ENGLISH PERIOD FURNITURE 
OLD ENGLISH INTERIORS 
TAPESTRIES 
A Garden of 
( Continued j 
ranged, for the more striking blooms of 
summer blend less delicately together 
than the wild spring flowers. 
One end of the oval turf panel is 
framed by a broad band of the vivid 
orange butterfly weed which blooms for 
a month in summer. This effect is fore¬ 
shadowed in late June by the orange- 
yellow of the meadow lily, interwoven 
with the lace-like wild carrot. Before 
the butterfly weed is quite gone, wild 
chicory overhangs it with sprays of 
somewhat scattered sky-blue flowers, 
while on the extreme edge the early 
white aster will carry bloom into the 
fall. 
On the opposite side of the oval, far 
from the orange, is the rich yellow black- 
eyed Susan. The edge is bordered with 
butter-and-eggs, its flowers of clear yel¬ 
low spotted with orange resembling mini¬ 
ature snapdragons. Just around the cor¬ 
ner from them, in a shady spot beneath 
the shrubs, the deep red bee balm rears 
its aromatic heads, safe from jarring 
discord with the orange and yellow of 
the main garden. Still farther along, its 
feet actually in the brook, stand the 
blood-red spikes of the cardinal flower. 
One end of the main garden is de¬ 
voted to pink, where are combined the 
showy rose mallows; the purplish heads 
of cone flower with their brown centers; 
the upright gray-pink Joe-pye weed, and 
the spreading masses of white snakeroot. 
At the corners of the panel, the bushy 
gray-green foliage of the woad-waxen 
serves as accents, particularly when cov¬ 
ered with their yellow pea-like flowers. 
Wild Flowers 
Worn page 37) 
Autumn Effects 
In autumn, the most striking effect is 
derived from the tall groups of helenium, 
which are balanced at the four comers. 
With its glowing yellow is contrasted 
royally the tall purple New England 
aster. A combination equally beautiful, 
if of lower growth, is that of goldenrod, 
with the lavender blue of Aster patens. 
These are supplemented by the starry 
ericoides already mentioned, all cun¬ 
ningly dispersed so that the fall seems 
particularly rich in color. 
Two vines of interest are the wild 
bean, whose violet-scented, chocolate- 
colored blooms are seen here and there 
in summer clambering over the shrubs: 
and the Clematis virginiana, whose white 
flowers are followed by silky seed ves¬ 
sels in autumn, contrasting with the red 
of the sumachs and viburnums. 
The berries of the latter are particu¬ 
larly interesting just now— cassinoidcs, 
its vari-colored clusters of pale green, 
bright rose and dull blue overcast with 
a whitish bloom; and the dark blue, 
shiny fruit of the acerifolium and denta¬ 
tion. Their foliage displays gradations 
of bronzy red, pink and often a cream 
color. 
Still later, after the leaves have fallen, 
the berries of the ilex and the choke- 
berry gleam brightly against the feathery 
green of the hemlocks, persisting well 
into winter. Last of all, in late No¬ 
vember, like a pale ray of sunshine, 
shimmer the yellow blossoms of the 
witch hazel. 
The Decorated Door in the Modern House 
(Continued from page 51) 
IOTGRIOR. 
TGCOipiOnS 
fifth /ivq 
ne«t yoRK 
field, however, there is plenty of oppor¬ 
tunity for metal decoration in accord 
with architectural precedent and, even 
in the expression of Colonial and Georg¬ 
ian types, there is more leeway for con¬ 
sistent metal decoration than many peo¬ 
ple imagine. 
“When” to use door decoration is a 
matter of definite principle. Use it when 
the particular door in question is a point 
of structural emphasis upon which it is 
appropriate to focus interest. Use it 
boldly and without hesitation. Someone 
has said that “audacity is the better 
part of decoration.” This, of course, is 
not unqualifiedly true, but it is true, 
when once you are sure of a sound prin¬ 
ciple, that daring to act without waiting 
to see what others will do is an element 
of decorative success. There are degrees 
of importance in doors just as there are 
degrees of importance among people. 
Don’t stress an unimportant door by 
decorating it. If a door is important, 
cither from its purpose or from its archi¬ 
tectural position, it is logically a fit sub¬ 
ject for decoration. 
Where to Use Decorated Doors 
“Where” to use door decoration is also 
a matter of principle. Where the ad¬ 
jacent walls are perfectly plain, decora¬ 
tion may be applied to doors which then 
become points of concentrated enrich¬ 
ment. Some of the old Italian and Span¬ 
ish polychrome, or carved and poly¬ 
chrome, doors in severely plain-walled 
rooms well exemplify the soundness of 
this principle. Again, where the adjacent 
walls are highly ornate in their decora¬ 
tion, the doors, too, should bear con¬ 
sistent embellishment. Otherwise the 
continuity of the scheme is broken and 
plain doors become dissonant. Doors in 
elaborate French interiors of the 17th 
and 18th Centuries clearly exemplify 
this principle. It is where there is some 
decoration scattered about the walls 
and some decoration applied to the 
doors that the whole composition ap¬ 
pears cheap, tawdry and inefficient, be¬ 
ing neither one thing nor the other. 
Under such circumstances door decora¬ 
tion should not be used, for it is any¬ 
thing but truly decorative. 
The foregoing principles and sugges¬ 
tions chiefly concern doors within the 
house as a matter of actual practice in 
interior decoration. There is no reason, 
however, why they may not equally well 
be applied to house doors or some of the 
minor exterior entrances. Study first the 
mode of architectural expression and 
then choose a form of embellishment 
and a medium of execution consistent 
therewith, a choice, by the way, that need 
not be fettered by rigid adherence to 
precedent. If there is sufficient reason 
to decorate, do so and don’t be timid 
about it. 
