132 
House 
& Garden 
fhe luxury and 
convenience of 
built-in accessories 
W hether your home is elaborate or un¬ 
pretentious, the keynote to real luxury 
and comfort will be found in the appointments 
of the bath. 
Fairfacts China Accessories are built in the 
bathroom walls. They will endure as long as 
the structure itself, without staining or crack¬ 
ing. Their bright, fresh appearance, as the 
years go on, will be a perennial tribute to your 
judgment in making sure that genuine Fairfacts 
China Accessories were installed when you 
built your home. 
Fairfacts Fixtures cover every need of the 
bath—Soap Dishes, Towel Racks, Paper Hold¬ 
ers, Tooth Brush and Tumbler Holders, Shelves 
and Electric Radiators, etc. 
May we send you our booklet, “The Perfect 
Bathroom”? 
The Fairfacts Company, Inc. 
Manufacturers 
Dept. D, 
234-236 West 14th Street, New York City 
^diridets^ixtures 
BUILT IN YOUR BATHROOM WALLS 
The Colorful Annuals 
(Continued from page 130 ) 
its loveliness was that all three flowers 
are not pure white but have a creamy 
tone to them. The white of sweet alys- 
sum is altogether hard in contrast. 
Mauve scabiosa, mauve larkspur and 
stocks are very lovely but this soft 
effect is happier with a bit of purple 
of larkspur, or a bit of plum or a bit 
of scabiosa Black Prince or with a little 
buff of annual phlox or silvery pink 
of snapdragons. 
When a client expresses an aversion 
for special color effects and desires 
mixed color I am a little at sea because 
I am not sure at first whether she has 
no color sense at all or a very refined 
sense of color assembling, because the 
use of all colors intermingled in the 
garden is a difficult problem. You may 
combine orange and yellow marigolds, 
petunias, ageratum, cosmos, phlox, sun¬ 
flowers, etc—into just a medley which 
may be very good indeed or just not 
bad, or you may combine alyssum and 
four-o'clocks. mixed petunias and portu- 
laca into quite a fascinating little mess 
in a tiny garden. Or you may take 
mixed zinnias and make a charming 
border of them. In my own little 
border a packet of zinnia seeds brought 
forth a really wonderful array of col¬ 
ors one year. We were so interested in 
them that we compared them with the 
French color chart, and found that 
there were amaranth red or dark crim¬ 
son ones, there were salmon pink and 
crimson carmine ones, there were some 
that were tomato red and others that 
madder carmine. At the time there 
were bits of violet mauve annual lark¬ 
spurs in the border, there were laven¬ 
der candytuft and heliotrope and agera¬ 
tum and a few reddish old rose snap¬ 
dragons. They made the most fascinat¬ 
ing nosegays and looked all the world 
as if they had come from a bit of old- 
world worsted work. 
You may assemble blue salvia and 
ageratum, pink zinnias and silver pink 
snapdragons, stocks and pink petunias, 
yellow marigolds and calendulas, pop¬ 
pies and larkspurs and phlox into a 
really charming old-fashioned effect. 
This I saw at Old Lyme, Conn., in the 
most perfect expression of an old-time 
garden that I have ever seen. The 
predominance of the blue of ageratum 
and salvia with touches of all the other 
colors is. however, a new and modern 
idea. Then again you may assemble 
flesh-colored zinnias and heliochrysm 
that is part cream and part pink, yellow 
and orange calendulas, blue larkspurs, 
lemon marigolds and golden salpiglossis; 
or you may assemble lupins and lark¬ 
spurs and blue salpiglossis, buff phlox 
and yellow stock, yellow zinnias, yellow 
calliopsis, and French marigolds, pink 
verbenas, rose eschscholtzia, pink and 
garnet snapdragons until intermingled 
and blended color will make lovely 
mosaics. 
Some people never want red in a 
garden. I think it is perhaps because 
we have been poisoned with an overdose 
of salvias. It may come partly from a 
fear of clashing discords. Even red 
salvias may have a place in a garden, 
possibly with certain red phloxes and 
red dahlias, possibly with certain pur¬ 
ple flowers or steel blue ones. But there 
are other red flowers that are very 
charming and harmonize with other col¬ 
ors—flowers like crimson cosmos, an¬ 
nual sweet William, coreopsis astrosan- 
guinea, maroon snapdragons and ma¬ 
roon pentstemo, scarlet zinnias, helioch- 
rysum fireball, nemesia and phlox, stock 
and salpiglossis in red shades. All these 
can be used intermingled with other col¬ 
ors in very delicate effects or they can 
be assembled with more abandon. 
We ought not to limit the use of color 
in our gardens. We are in a new era 
of color discovery. We ought to be 
conscious of it in our gardens, just as 
we feel it in our painting. And if the 
association of music and color is to be 
of any real value at all it will be in the 
refinement of our feeling for color 
rhythm and color assembling and color 
harmonies and color contrasts. Exul¬ 
tant discords are as healthy in a garden 
as in modern music, or for that matter 
in modern painting. It is a long way 
from the symphonies of Whistler to a 
Bakst setting for the Russian Ballet but 
the color harmonies of the one and the 
color abandon of the other are both 
permissible, advisable for the garden 
Hoarding and Using 
(Continued from page 56 ) 
Some of the greatest artists of the 
Renaissance were decorators who de¬ 
voted much of their talent to ap¬ 
plied art. Today the majority of the 
best artists feel a certain contempt for 
the applied arts and devote themselves 
to the production of museum speci¬ 
mens which have no particular relation 
to the common life of ordinary man. 
Moreover, the excessive interest in 
the past which belongs to them, as 
well as to the rest of their genera¬ 
tion, coupled with the enormous accu¬ 
mulation in museums and collections of 
miscellaneous specimens of ancient art, 
inevitably produces a certain restless¬ 
ness and distraction in the artists of 
the present time. So many artistic 
conventions offer themselves ready¬ 
made that it seems hardly worth while 
to evolve a convention of one’s own or 
to exploit the possibilities, slowly, pa¬ 
tiently, steadily, of a single tradition. 
The trouble with artists nowadays is 
simply that they know too much about 
art, live too much in the museum and 
not enough in the experimental studio. 
While our civilization remains what it 
is this last evil result of the hoarding 
habit will, doubtless, always make it¬ 
self felt: we shall always suffer, in the 
arts, from a distracting eclecticism. 
Our unprecedented organization for 
the perpetuation and spread of knowl¬ 
edge makes it inevitable. But the 
violence of the disease can be lessened 
if only the consumer will get rid of 
his hoarding habit, will make use of 
his fine and beautiful possessions, and 
demand from the contemporary artist 
new ones, as fine and beautiful, when 
the old are worn out. 
