104 
House & Garden 
Below a strand of Crex wire 
grass magnified many times. 
Note thefibre: Smooth, solid, 
strong. No holes, no splits. 
This is why Crex rugs wear 
so long. Germs and dust find 
no lodging here. 
CREX 
STRONG 
SOLID 
TOUGH 
V/1RJE 
GRASS 
F OREIGN 
HOLLOW 
BRITTLE 
STRAW 
This shows a strand of 
rice straw magnified in the 
same way. Note the spongy, 
shredded appearance. This 
is why foreign rugs and mat¬ 
ting tear apart so easily. This 
spongy, shredded fibre is an 
ideal breeding place for 
germs. 
N OT with just “something ’ 1 
to take the place of heavy 
rugs and carpets, without at¬ 
tempt at harmony with the 
decorative schemes of your 
different rooms. 
But with Crex Grass Rugs in 
colors and designs to faithfully 
replace your most treasured 
Oriental, Chinese or other 
patterns. 
Be sure the rug you buy is a 
genuine Crex. Crex Rugs are 
made of tough wire grass, 
twisted and woven to give them 
the strength that makes them 
last for years and years. Be¬ 
ware of inferior imitations. 
SEND TODAY 
for the INTERIOR DECORATORS’ RUG 
BOOK containing carefully selected 
designs and patterns of Crex Grass 
Rugs — in full colors. It is yours for 
the asking, so that you can see how 
well Crex Rugs match and enhance 
any decorative scheme. Then see the 
full line at the best furniture and de¬ 
partment stores. Prices for the popu¬ 
lar 9 x 12 ft. size range from $11.00 
to $22.50. 
CREX CARPET CO., 295 Fifth Avenue, N. Y. City 
Dept. 406 
0 . 
m. 
0» CREX «0» CREX : «0» C 
THE TRUTH ABOUT TEXTURE 
(Continued from page 102) 
this manner, will make a very attrac¬ 
tive wall. 
Of exterior woodwork, enough, per¬ 
haps, was said in earlier paragraphs. 
Where wood is used in close conjunc¬ 
tion with stone, brick or stucco, it is 
desirable that it should look strong 
and rugged. Smooth mill finishes on 
wood so used tnak'e an unpleasing 
contrast, as they tend to make the 
stone, brick or stucco look rough and 
unfinished, while they make the wood 
seem too smooth. For the same rea¬ 
son it is better to stain than to paint 
wood which is used closely with stone, 
brick or stucco, because paint is too 
smooth, while stain allows the natural 
roughness of the wood to assert it¬ 
self. The thing to beware of is the 
temptation to make the wood too 
rough, to deliberately make it more 
rough, more primitive than it would 
have been made by the crude tools 
and unskilled hands of a pioneer home¬ 
steader. This exaggerated roughness 
“screens” well in a motion picture, but 
is tiresome to live with, and some day 
may even come to look downright silly. 
Most natural building materials are 
naturally interesting, and are generally 
seen at their best in the oldest build¬ 
ings, when builders were not self¬ 
consciously striving for effects. Nat¬ 
ural textures will take care of 
themselves, and are very responsive to 
mild but sincere encouragement and 
appreciation. They should not be 
forced, and when they are exploited 
by means of insincerity, and the exag¬ 
geration which is one of the earmarks 
of uncultivated taste, their revenge 
falls heavily upon the builder, and puts 
him on record as having built not 
better, but worse than he knew. 
ROSES to the SKY 
(Continued from page 56) 
second terrace, three feet above the first, 
is also higher in key when it blossoms 
with the bright yellows of Mrs. We- 
myss Quin and Daily Mail. The next 
note in this chromatic scale of roses is 
the pink of Lady Hillington and Mme. 
Ravoury on the third terrace. On the 
fourth the rosy salmon of Mme. Abel 
Chatenay has been combined with the 
white of Frau Karl Druschki. On the 
fifth terrace Mrs. Streatfeild has done 
an effective thing by planting only one 
variety of rose, and that the white 
Mme. Caroline Testout, then using with 
it in the beds the blue of Canterbury 
bells. On the sixth and last purely 
decorative terrace the rosy salmon Mrs. 
Wakefield Christie-Miller has been used 
in two of the panels, and the similarly 
colored Mme. Leon Pain in the remain¬ 
ing two. 
By alternating the varieties in this 
way and by keeping each terrace 
limited to one or two colors, the de¬ 
signer of the garden has achieved a 
finely ordered composition through 
which one's progress takes on a vividly 
interesting, quality. In other words, 
when you have made the ascent to the 
top of the garden you arrive with no 
chaotic jumble in your mind of a 
merely great array of roses, but with a 
definite picture of each rose-paneled 
space and its place in the general 
scheme. 
The incidental decoration of the 
garden is also handled in an interest¬ 
ing fashion. Below the stone retaining 
walls which separate each terrace, bor¬ 
ders of polyanthas have been planted, 
softening the breaks in levels with 
thickly clustered pads of pink. Low 
hedges and borders of this rose are used 
with great effect not only in this Surrey 
garden but in many of the rose gardens 
in England. Planted closely it remains 
a sheet of bloom through the entire 
summer. Many of the rose beds here 
are edged with nepeta cataria, or cat¬ 
nip, and with lavender, both of which 
plants are neat in habit and bloom from 
spring until fall. 
ENCLOSED GARDENS 
(Continued from page 54) 
garden but its effect can be spoiled very 
easily by closing in the exposed sides 
with something which might not con¬ 
tinue the architectural feeling. A lat¬ 
tice, in this instance, painted to match 
the trim, would be splendid, whereas 
even a low stuccoed wall might seem 
too heavy; and while a low, loose¬ 
growing hedge would be inadequate, a 
fairly tall, clipped hedge would have 
the proper touch of formality and an 
appropriate size. 
In gardens whose surroundings are 
too lovely to be lost and in which, even 
when they are left fairly open, there is 
not apt to be any unwelcome intrusion, 
the enclosure need be indicated only as 
a sort of framework. In cases of this 
kind a low hedge would be entirely ade¬ 
quate. It might be barberry, box, or 
low-trimmed privet. A low wall, 
brought to a comfortable sitting height, 
would give the feeling of a substantial 
enclosure without being one that might 
shut out a desirable view, and it might 
also be arranged to serve at certain 
points as a seat. Gardens which are 
sunk no more than a foot or two give 
a fine sense of seclusion without having 
any more of an enclosure than their 
surrounding slope or retaining wall. A 
type of enclosure which has not yet 
been touched upon is the “post and 
chain.” It consists, as the name implies, 
of posts, 6' to 7' tall, spaced from 6' to 
10' apart, and connected by chains 
which hang between the posts in a 
graceful curve. This device, even when 
it is hung with climbing roses, does not 
obscure the view bejmnd the garden, 
but breaks it up into a series of dec¬ 
orative panels. 
