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 COLOR SCHEMES 
 
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 CORRECT 
 COLOR SCHEMES 
 
 II.LV S T RAT ED 
 
 PAINTING THE HOVSE 
 IN HARMONY WITH ITS 
 ARCH1TECTVRE AND ITS 
 SETTING .TOGETHER WITH 
 SIMPLE HINTS ON SHRVIV 
 'BERY ARRANGEMENT S 
 
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 Copyright, iqio, by O. C. Ham 
 
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 booklet is in¬ 
 tended to answer 
 two questions of 
 great importance 
 to every home 
 maker. First, 
 how best to preserve and beautify 
 the houses we live in; second, how 
 to make the most of building 
 plots limited in area. 
 
 We Americans are fast learning 
 that it is just as easy and just as 
 inexpensive to have homes that 
 arc tastefully decorated and 
 grounds that are well planned as it 
 is to have them fantastic and un¬ 
 attractive. With all our hurry we 
 are somehow finding time and 
 means to care about what is 
 artistic. 
 
 We are learning that good taste 
 is a higher and a safer standard 
 than a mere fad or style or fashion. 
 Good taste outlasts any passing 
 fancy and is never freakish. It 
 rests on the laws of harmony, 
 which do not change. 
 
 One other thing which we have 
 found out is that the selection of 
 the right color scheme for one’s 
 
 house adds dollars and cents to the 
 value of the property as well as gives 
 satisfaction and pleasure both to 
 the owner and his neighbors. 
 
 The house owner’s first need is a 
 clear idea of what goes towards 
 the making of an artistic home, 
 and the first principle in that idea 
 is the rule of simplicity. A scheme 
 of decoration that is simple and 
 appropriate is likely to be pleasing 
 and, therefore, successful. 
 
 Those two rules of simplicity 
 and fitness are of the highest im- 
 portance when applied to the 
 painting of the house and to plan¬ 
 ning the bits of landscape around 
 it. The house must appear to fit 
 into the place where it has to 
 stand. The way it does fit de¬ 
 pends a great deal upon the way it 
 is painted and the way the grounds 
 about it are laid out. There must 
 be harmony in the color scheme it¬ 
 self, harmony in the plan of the 
 grounds, harmony between the 
 house and its neighbors. 
 
 The value of this booklet lies in 
 the fact that the suggestions in it 
 are definite and practical. In or- 
 
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PLATE A 
 
 The above color harmony would look well on any house similar to those represented below. 
 
 
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 6 
 
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 dcr to enlarge its scope and useful¬ 
 ness, small pictures are grouped 
 with each colored engraving, show¬ 
 ing houses to which the same or 
 similar treatment has been suc¬ 
 cessfully applied. Each house 
 shown represents an actual exam¬ 
 ple of harmonious and tasteful 
 painting. So large a variety of sug¬ 
 gestions is sure to include some 
 that will meet the needs of any 
 inquirer. 
 
 The grounds and 
 buildings of a subur¬ 
 ban or country home, 
 carefully planned, will 
 be an unfailing source 
 of pleasure to the 
 owner and to his ap¬ 
 preciative neighbors. 
 
 Fortunately, a good 
 example is more like¬ 
 ly to be followed than a bad one, 
 and the existence of one beautiful 
 place, however modest, will stimu¬ 
 late the owners of adjoining prop¬ 
 erties, often transforming a whole 
 neighborhood. 
 
 In the colored engravings show¬ 
 ing ten model schemes for the 
 artistic painting of various styles of 
 houses, it has been the attempt to 
 give the general impression which 
 
 
 H 
 
 
 
 GROI N'D PLAN FOR PLATE A 
 
 the actual house would make on 
 the observer, not to show the exact 
 tint of the paint in the pail. Shad¬ 
 ows and high-lights are retained in 
 the picture to preserve the natural 
 effects, but as these interfere when 
 attempting to match up the paint 
 to be used, a practical guide for the 
 painter has been placed on the last 
 page of the book. This consists 
 of painted blocks showing the 
 tints and shades re¬ 
 ferred to in the de¬ 
 scriptions, together 
 with the reference 
 numbers used in con¬ 
 nection with them in 
 describing the color 
 schemes in the book. 
 
 X o a 11 e m p t has 
 been made to present 
 expensive and pre¬ 
 tentious houses only, nor to offer 
 correct models for building new 
 houses. Rather, we have tried 
 to show what can be done with 
 various types of actual and prev¬ 
 alent houses, ranging from the 
 simple and modest to the more 
 elaborate and imposing, by taste¬ 
 ful selection of color schemes to 
 suit the tvpe to which one’s house 
 belongs. 
 
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 PLATE B 
 
 The above color harmony would look well on any house similar to those represented below 
 
 
 
 
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 THE COLOR PLAN AND THE PAINT 
 
 A HOUSE which is set closely 
 among trees or other ver¬ 
 dure should not be painted 
 green or olive, though there may 
 be no objection to green trimming. 
 Colors contrasting with the sur¬ 
 roundings are 
 better for the 
 body. 
 
 If a house is 
 low, w i t h a 
 tendency to 
 “ squattiness,” 
 a dark color 
 should not be 
 used. Paint 
 it light and 
 preserve the 
 benefit of what height it possesses. 
 
 Nothing is better than pure white 
 for certain styles of country and 
 suburban houses, especially if set 
 snugly against a green background 
 and amidst green surroundings. 
 Naturally, however, white is a poor 
 scheme for factory towns or other 
 dirty localities. A very light gray, 
 like french or pearl gray, may be 
 more durable than pure white, and 
 yet give nearly white effects. 
 
 Houses with shingled upper 
 stories as a rule should be painted 
 on the lower story a lighter shade 
 than the shingles. The shingles 
 may be indian red, dark brown, 
 dark green or some olive shade. 
 The body should harmonize, as 
 light or dark olive with indian red, 
 cream with browns, the grays with 
 dark green or dull red. 
 
 Not all colors and tints are 
 equally durable. Cold colors, like 
 the grass greens, blues and certain 
 cold shades of yellow, hasten the 
 
 GROUND PLAN FOR PLATE li 
 
 deterioration of the paint film. 
 This is due to the fact that they do 
 not reflect or turn back the heat 
 rays of the sun, but allow them to 
 penetrate the film. 
 
 Tints based on the reds, browns 
 and blacks are, 
 as a rule, the 
 most durable. 
 Thus the 
 grays, the 
 slates, the 
 browns, the 
 richer yellows, 
 etc., are excel¬ 
 lent for wear 
 and are at the 
 same time the 
 most pleasing on the house. We 
 therefore recommend them most 
 frequently in our designs. 
 
 Perhaps a word should be added 
 for the benefit of those who mav 
 have always thought of white lead 
 as good for white paint only. The 
 fact is, white is and must be used as 
 the base in making all paints of 
 light tint and many paints of dark 
 shades, too. Black and certain in¬ 
 tense shades of blue, red, brown and 
 yellow can be produced without 
 using any white base, but by far the 
 greater number of tints, especiallv 
 those most admired for house 
 paint and the most durable for that 
 purpose, are made by mixing a 
 small portion of tinting color with a 
 large portion of white lead. With 
 somecolors a few ounces are enough 
 to tint ioo pounds of white lead. 
 
 MORE IMPORTANT THAN COLOR 
 
 As important as the color 
 scheme is, it is not the most im- 
 
 
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The above color harmony would look well on any house similar to those represented below 
 
 
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 portant consideration in painting 
 vour house. 
 
 Choose your color scheme care¬ 
 fully, but choose your paint still 
 more carefully; otherwise your 
 beautiful color scheme may vanish 
 in a few months. 
 
 Aside from a few perishable 
 tints which cannot be secured in 
 any durable material, you prac¬ 
 tically have an unlimited range of 
 tints and shades to 
 choose from if you 
 use pure white lead 
 and pure linseed oil 
 in all your paint. 
 
 Pure white lead 
 and pure linseed oil 
 make a_ combina¬ 
 tion which has 
 been known for 
 generations as the 
 best paint for all 
 general painting. It still stands 
 unequaled, both for durability and 
 for the wide range of its possibil¬ 
 ities in decoration. From white 
 down through the widest possible 
 gradations of every imaginable tint 
 and shade, pure white lead paint, 
 made to order, meets every whim. 
 The user of stock paints is nat¬ 
 urally limited to stock tints. 
 
 WHERE THE DANGER LIES 
 
 All house paint, except the very 
 dark colors, is made from white 
 lead and linseed oil or from substi¬ 
 tutes made to imitate one or both of 
 these two standard ingredients. 
 Three things, then, threaten the 
 durability of your paint: first, the 
 adulteration of the white lead; sec¬ 
 ond, adulteration of the linseed 
 oil; third, the use of a very perish¬ 
 able coloring material to tint the 
 white lead. To be sure of getting 
 pure white lead, pure linseed oil 
 and proper tinting material, the 
 
 GROUND PLAN FOIt PLATE C 
 
 first step, obviously, is to buy the 
 ingredients separately and have 
 them mixed specially for you. 
 
 Sometimes imitation paint is 
 represented as pure white lead and 
 pure linseed oil. That is fraud. 
 
 Sometimes you are told that 
 there is something else in the paint, 
 but that it is put there because it 
 has been discovered that white 
 lead makes better paint if some 
 other white sub¬ 
 stance is added to 
 it. In the face of 
 pure white lead’s 
 long years of undis¬ 
 puted success, the 
 burden of proof is 
 on the person who 
 proposes to tamper 
 with it. Don’t let 
 experiments be 
 made on your house 
 at your expense. Ask the experi¬ 
 menter three pertinent questions. 
 
 Ask him, first, how it comes that 
 out of ten advocates of adding 
 something to white lead to “ im¬ 
 prove” it no two will agree upon 
 just what should be added! Each 
 is sure that the addition favored 
 by the other makes the paint very 
 bad! 
 
 Ask him, second, how it is that 
 every material suggested as an 
 “improver” is cheaper than white 
 lead; and why, though it costs the 
 manufacturer less, the combina¬ 
 tion of white lead and the cheaper 
 material costs the consumer more 
 than pure white lead! 
 
 Ask him, finally, how it is that 
 scaling, splotched houses have fol¬ 
 lowed in the trail wherever the 
 “combination pigment” theory 
 has been applied, while on the 
 other hand there was never a case 
 known where pure white lead and 
 pure linseed oil paint scaled off! 
 
 
 
 
 ■■■■ 
 
PLATE D 
 
 The above color harmony would look well on any house similar to those represented below 
 
 
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Paint, even when made of white 
 lead and oil, can be so abused in its 
 applications as to make trouble (as 
 for instance, when it is applied to a 
 damp surface), but your painter 
 will vouch for the statement we 
 
 
 have just 
 made that 
 pure white 
 lead and 
 pure lin¬ 
 seed oil 
 paint will 
 notscaleoff. 
 
 So much 
 for the pig¬ 
 ment mow, 
 as to the 
 “vehicle” or liquid. If the linseed 
 oil is adulterated the paint will 
 never dry properly and the film 
 never become tough. 
 
 Adulterations are difficult to de¬ 
 tect. For white lead there is the 
 blow-pipe test, a sure detector of 
 adulterants, but there is no simple 
 and absolute test for linseed oil. 
 The presence of fish oil and, gen¬ 
 erally, rosin oil, can be detected by 
 the rank odor, for pure linseed oil, 
 when rubbed briskly between the 
 hands, has the 
 pleasant and 
 familiar 
 aroma of flax¬ 
 seed. But corn 
 oil (which is 
 a more fre¬ 
 quent adul¬ 
 terant nowa¬ 
 days), while 
 possessing a 
 strong odor, 
 
 cannot always be detected unless 
 a large quantity has been used. If 
 a few drops of linseed oil be placed 
 upon a black-painted surface and 
 a bluish tinge or cast appears about 
 the edge, such as kerosene exhibits, 
 
 GROUND PLAN FOR PLATE D 
 
 it is evidence of adulteration by 
 use of petroleum. 
 
 But even chemists are some¬ 
 times deceived by the more subtle 
 adulterations, and the best protec¬ 
 tion is the name of a reliable maker. 
 
 Learn by 
 l i n q u i r y 
 whatisgen- 
 erally rec¬ 
 ognized as 
 a reputable 
 brand and 
 insist on 
 your paint¬ 
 er’s using 
 it. 
 
 Finally, 
 
 as to tinting colors. If the paint 
 is to be white, no coloring materials 
 are needed, but if a tint is desired, 
 chrome green, french ochre, Prus¬ 
 sian blue, chrome yellow, Venetian 
 red or some such “colors in oil,” as 
 they are called, must be added in 
 small quantities to the white lead. 
 These tinting colors must be of 
 high grade or they will fade out 
 and spoil an otherwise good job. 
 
 HOW TO TROTECT VOURSELF 
 
 What the 
 
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 GROUND PLAN FOR PLATE ON DOUBLE CENTER PAGES 
 
 p roperty 
 owner wants 
 is a painting 
 job which will 
 last and look 
 well a reason¬ 
 able length of 
 time. Expe¬ 
 rience has 
 shown that 
 paint made 
 of pure white lead and pure linseed 
 oil wears, is reliable, gives the prop¬ 
 erty owner his money’s worth. 
 Specify those materials and see that 
 your painter uses them. Learn the 
 name of a good brand of linseed 
 
 It: 
 
 
 
 13 
 
PLATE F 
 
 The above color harmony would look well on any house similar to those represented below. 
 
 
 
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 16 
 
oil and specify it. To secure pure 
 white lead is easy. Look for the 
 Dutch Boy Painter trade-mark on 
 the side of the steel keg. White 
 lead so marked is guaranteed pure. 
 
 1 laveourwhitelead 
 and theother ingredi¬ 
 ents brought to your 
 premises and mixed 
 there. This is not 
 only surety that you 
 get the materials you 
 specify, but it insures 
 the paint’s being 
 mixed fresh and for 
 your job. The latter 
 is a very important 
 point, next tothe puri¬ 
 ty of materials the 
 most vital to the dura¬ 
 bility of the work. A 
 good painter would 
 no more think of put¬ 
 ting: on vour house 
 
 GROUND PLAN FOR PLATE F 
 
 cuts at the expense of good work. 
 First thin the white lead paste by 
 mixing with oil. Tinting colors 
 should next be added, then more 
 of the oil. Finally, the turpentine, 
 if that material is to 
 be used, should be 
 stirred in, and for 
 outside work not 
 more than one part 
 turpentine should be 
 used to five parts oil. 
 
 Paint is more easily 
 mixed and will spread 
 farther if more tur¬ 
 pentine is used than 
 we recommend and 
 if it is added before 
 the final oil. A con¬ 
 tractor may be able to 
 make a slightly lower 
 bid by doing the job in 
 a way which allows 
 him to work faster 
 
 paint mixed for en¬ 
 tirely different conditions or apaint 
 made to meet general conditions 
 than a good doctor would prescribe 
 the same medicine for all kinds of 
 diseases. 
 
 The paint film is apt to crumble 
 if the in¬ 
 gredients 
 are not 
 mixed in 
 proper 
 order. This 
 crumbling 
 or “ chalk¬ 
 ing ”is then 
 blamed on 
 the white 
 lead. The 
 remedy is 
 properly the painter’s business, but 
 the house owner, himself, is often 
 responsible. By insisting on a low 
 price he indirectly influences the 
 painter to hurry and to adopt short 
 
 GROUND PLAN FOR PLATE 
 
 and spread the paint 
 out farther, but the house owner 
 should remember that spreading 
 the paint over a large surface is 
 one thing, while covering the sur¬ 
 face properly and producing a 
 paint film which will wear well are 
 
 entirely 
 ^ > different 
 things. 
 
 A slight 
 saving at 
 the ex¬ 
 pense of 
 durability 
 will be 
 costly in 
 the end. 
 Use good 
 
 materials 
 mixed right and put on in coats 
 of proper thickness. A job will 
 result which will put off the day of 
 repainting several years. That is 
 true economy in painting. 
 
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PLATE G 
 
 The above color harmony would look well on any house similar to those represented below 
 
 
 
 s 
 

 8 
 
 H 
 
 H 
 
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 S 
 
 I X these notes each first sugges¬ 
 tion describes the color scheme 
 actually used on the house shown 
 in the colored plate. Each second 
 suggestion would be suitable for the 
 same house. Either suggestion could 
 be adapted to the houses shown in the 
 small pictures accompanying the re¬ 
 spective plates. 
 
 Plate A . Suggestion No. x. 
 Lower story, band below eaves, trim 
 and sash, white; shingles, weathered; 
 blinds, medium olive (No. 312). 
 Suggestion No. 2. Lower story, band 
 below eaves, trim and sash, ivory 
 (No. 331); shingles on upper story, 
 slate green (No. 311); roof and blinds, 
 medium olive (No. 312). 
 
 Plate B . Suggestion No. 1. 
 Body, yellow (No. 307); trim, white; 
 roof, weathered; blinds, green (No. 
 324). Suggestion No. 2. Body, 
 white; blinds, green (No. 324); roof, 
 slate green (No. 311). 
 
 Plate C . Suggestion No. 1. 
 Body, sash and trim, including porch 
 rail and columns, white; porch floor, 
 medium slate (No. 302); shingles, 
 weathered; blinds, green (No. 324). 
 Suggestion No. 2. Body, cream (No. 
 305); trim and sash, white; porch 
 floor, pearl gray (No. 303); shingles, 
 weathered; blinds, green (No. 324). 
 
 Plate D . Suggestion No. 1. 
 
 Body, yellow drab (No. 316); trim, 
 white; roof, Venetian red (No. 322). 
 Suggestion No. 2. Body, white; roof, 
 brown (No. 319). 
 
 Plate E . Decorative. 
 
 Plate F . Suggestion No. 1. 
 
 Stucco, natural; trim, including the 
 
 half timbers and sash, tuscan red (No. 
 
 EXPLANATION OF TIIE COLORED PLATES 
 
 320); shingles, weathered; blinds, 
 bronze green (No. 323); porch, choco¬ 
 late brown (No. 317); chimneys, red 
 brick. Suggestion No. 2. Body, light 
 terra cotta (No. 308); shingles, dark 
 brown (No. 319); trim and half tim¬ 
 bering, terra cotta (No. 309); blinds, 
 dark brown (No. 319); porch floor, 
 medium slate (No. 302); chimneys, 
 red brick. 
 
 Plate G . Suggestion A T o. 1. 
 Body, trim and sash, white; roof, 
 deep green (No. 340). Suggestion 
 No. 2. Body, yellow (No. 307); trim, 
 white; roof, weathered. 
 
 Plate H . Suggestion No. 1. 
 Body, colonial yellow (No. 307); trim 
 and sash, white; roof, weathered; 
 blinds, green (No. 324). Suggestion 
 No. 2. Body, french gray (No. 304); 
 trim and blinds, dark olive (No. 313); 
 sash, white; roof, weathered. 
 
 Plate I . Suggestion No. 1. 
 Body, tuscan red (No. 320); trim, 
 cream (No. 305); roof, weathered. 
 Suggestion No. 2. Body, chocolate 
 brown (No. 317); trim, dark brown 
 (No. 319); roof, weathered. 
 
 Plate J . Suggestion No. 1. 
 Body, neutral drab (No. 315); trim, 
 dark olive (No. 313); roof, weathered; 
 porch roof, indian red (No. 321); sash, 
 black. Suggestion No. 2. Body and 
 trim, white; roof, weathered; sash, 
 tuscan red (No. 320). 
 
 Plate K . Suggestion No. 1. 
 Lower story and trim, ivory (No. 331); 
 shingles, deep green; roof, weathered; 
 blinds, green (No. 324). Suggestion 
 No. 2. Lower story, cream (No. 303); 
 trim and sash, pearl gray (No. 303); 
 shingles and blinds, dark brown (No. 
 319); roof, weathered. 
 
 
 
 
 1 9 
 
PLATE H 
 
 The above color harmony would look well on any house similar to those represented below. 
 
 
 20 
 

 HAVING THE WORK DONE 
 
 AFTER the material and the 
 y \ color scheme have been 
 chosen, the next thing for 
 the property owner to think of is 
 setting the work done. 
 
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 Four ways are available. First, 
 ask several painters 
 for estimates; sec¬ 
 ond, hire a reliable 1 
 painter without pre¬ 
 liminary bids; third, 
 purchase the ma¬ 
 terial and hire a 
 painter to apply it; 
 fourth, buy the ma¬ 
 terials and apply the 
 paint one’sself. The 
 last is advisable only 
 when a painter is not within reach. 
 
 The good painter is one of the 
 most important factors of a satis¬ 
 factory painting job. He is worth 
 all he costs. An ignorant work¬ 
 man can spoil the best materials 
 and send a big expenditure to pot 
 by his blunders. It is fortunate, 
 therefore, that the majority of 
 painters are competent, trustwor¬ 
 thy men who know their materials 
 and apply them intelligently. 
 
 The trained painter knows that 
 no one paint formula is suitable 
 for every job. Different kinds of 
 wood require different consisten¬ 
 cies of paint and different propor¬ 
 tions of white lead and linseed oil. 
 So, too, changes must be made for 
 old wood and new wood, sunny 
 side and shady side, warm weather 
 and cold weather. Driers are all 
 right one place but fatal another. 
 Turpentine is a help one time, a 
 paint crime another time. The 
 
 good painter knows, and he is a 
 good investment, the same as pure 
 white lead and good linseed oil 
 are good investments—because 
 they cost less in the long run. 
 
 Suppose, then, that you are con¬ 
 sidering estimates 
 for painting your 
 house. You have 
 been careful to place 
 each painter on the 
 same footing by 
 specifying our pure 
 white lead guar¬ 
 anteed by the Dutch 
 Boy Painter and a 
 reliable brand of 
 linseed oil. You 
 find that there is a noticeable differ¬ 
 ence in the figures. A little inquiry 
 is likely to show you avail'd reason 
 for the difference. See if the man 
 whose price you consider high isn’t 
 in the habit of doing high-grade 
 work. Examine some houses he 
 has painted for other customers. 
 Ask those customers how the work 
 stands. Then apply the same 
 measurements to the low-priced 
 estimate. Get the same kind of 
 information about the work of both 
 contractors and carefully compare 
 the results. Make sure that the 
 low bidder hasn’t a reputation for 
 unsatisfactory work. 
 
 All the while keep in mind the 
 principle that successful house¬ 
 painting is vastly more than a 
 mere mechanical process. It 
 needs intelligence, skill and ex¬ 
 perience. The wise employment 
 of these is always an econom¬ 
 ical investment. 
 
PLATE I 
 
 The above color harmony would look well on any house similar to those represented below. 
 
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 Diciduous Specimen 
 
 Evergreen Thee 
 
 Evergreen Specimen 
 
 Diciduous Planta¬ 
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 Flower Parterre 
 Hedge Fence 
 
 KEY TO LANDSCAPE AND PLANTING PLANS 
 
 PLANNING THE GROUNDS 
 
 Ornamental Seat 
 Fountain 
 
 Property Line 
 Sun Dial 
 
 Flower Garden 
 Vegetable Garden 
 Residence 
 
 I T should be no more expensive 
 to have one’s house and 
 grounds well thought out and 
 beautiful than to have them ill 
 considered and ordinary. The 
 difference is chiefly in knowing 
 how to plan them. 
 
 The landscape 
 sketches which ac¬ 
 company the colored 
 designs in this book¬ 
 let were prepared by 
 professional land¬ 
 scape architects who 
 know what is good. 
 
 The plans in each 
 case conform to the 
 actual surroundings 
 
 of the house illustra¬ 
 ted, and they prove 
 that the opportunity on a plot of 
 small dimensions, 50 or 100 feet, 
 is far greater than is usually ap¬ 
 preciated. 
 
 By simply extending or contract¬ 
 ing the boundaries of any plot each 
 of the plans shown may be readily 
 adapted to plots of varying sizes. 
 No attempt has been madetoshow 
 plans for elaborate or extensive 
 grounds. Those who own estates 
 will employ their own architects. 
 
 Exposure to the sun and pre¬ 
 vailing Avinds govern the location 
 of the main rooms and piazzas of 
 the house, and these rooms and 
 piazzas in turn will probably dic¬ 
 tate the location of the lawn and 
 garden and other 
 special points of in¬ 
 terest. The vege¬ 
 table garden will 
 naturally be toward 
 the rear of the plot. 
 
 A landscape pic¬ 
 ture appears, of ne¬ 
 cessity, different 
 from each point. It 
 cannot be made 
 equally beautiful 
 from all. Select, 
 therefore, the most 
 important view, the most capable 
 of being well treated, and con¬ 
 centrate the effort there so as to 
 produce a beautiful result from 
 that point. 
 
 The object of landscape work is 
 to create a picture that will be in 
 keeping with its surroundings. 
 Violent contrasts arc to be avoided. 
 “Ornaments should be incidental. 
 Foliage is fundamental. Green¬ 
 sward is the canvas on which the 
 
 2 3 
 
PLATE J 
 
 The above color harmony would look well on any house similar to those represented below 
 
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 picture is spread. Plants are 
 more useful for the position they 
 occupy than for their kinds. 
 Walks and drives are no part of a 
 landscape picture; they are a ne¬ 
 cessity.” 
 
 To compose the picture study 
 the surroundings, arrange the 
 groups of trees and plants to har¬ 
 monize with the masses of foliage 
 or other features on the adjoining 
 properties. Views 
 must be considered. , |( p 
 P T nsightly objects 
 should be screened 
 out. A formal flower 
 garden is by no means 
 a necessity, but is 
 often a very attractive 
 and proper feature. 
 
 Both shrubs and 
 flowers must be so 
 arranged that the pe¬ 
 riod of bloom of one 
 set of flowers will be 
 followed by others. Flowers in 
 parterres or beds should be so se¬ 
 lected that portions of them will 
 be kept blooming throughout the 
 summer. 
 
 WHAT KINDS OF FLOWERS 
 AND SHRUBS 
 
 Some good varieties of shrubs, 
 trees and flowers are named here, 
 but the nature of the grounds and 
 the climate must always be taken 
 into account. 
 
 For irregular plant groups va¬ 
 rieties of golden bell, rose of Shar¬ 
 on, spiraea, lilac, viburnum, hy¬ 
 drangea, deutzia, dogwood, kerria, 
 stephenandra, rhodotypus. 
 
 These may be supplemented 
 with evergreen trees of moderate 
 size, including pines, spruces, ce¬ 
 dars, hemlocks and junipers. 
 
 Beautiful evergreen groups for 
 shady places are composed of rho¬ 
 dodendrons (both native and 
 
 
 s» 
 
 GROUND PLAN FOR PLATE J 
 
 hybrid), mountain laurel and 
 azaleas. 
 
 Specimen evergreen trees, Aus¬ 
 trian pines, Scotch pines, Roster’s 
 blue spruce and boxwood. 
 
 1 n front of the foliage groups and 
 bordering closely may be planted 
 bright-flowering borders of hardy 
 perennials and annuals. Peren¬ 
 nials include asters, poppies, dai¬ 
 sies, coreopsis, larkspur, foxglove, 
 gaillardia, hibiscus, 
 lobelia, peonies, 
 phlox and scabiosa. 
 Annuals include pan- 
 •ygj sies, mignonette, he¬ 
 liotrope, sweet alys- 
 sum, verbenas, mari¬ 
 golds, nasturtiums, 
 salvias and gladiolas. 
 
 For hedges, Cali¬ 
 fornia privet, rosa 
 rugosa, spiraea va¬ 
 rieties and Japan 
 barberry. Hardy 
 perennials and annuals would also 
 be used in the garden. 
 
 For shade trees, hard and soft 
 maples, pin oaks, lindens, catal- 
 pas, sweet gum, tulip tree, oriental 
 palm and native beech. 
 
 For high screening, rapid grow¬ 
 ing trees, such as Carolina and 
 Lombardy poplars, which may be 
 planted closely. 
 
 The actual effects will depend 
 considerably upon the proper se¬ 
 lection of these specimens. It is 
 best to have a planting plan, show¬ 
 ing the disposition of the various 
 features. Such a plan may be 
 readily prepared by anyone who 
 will make a little study of the 
 eleven diagrams in this booklet. 
 If at first glance the ground plots 
 look more or less alike a closer 
 inspection will show a wide variety 
 in arrangement. 
 
 Note first the key to landscape 
 
 | 
 
 ii 
 
 H 
 
 iWSw 
 
 ■■■■ 
 
 ■■■■ 
 
 ■■■■ 
 
 ■■■■ 
 
 till 
 
 pi 
 
 i§ 
 
 i 
 
 « 
 
 « 
 
 II 
 
 Li 1 I, 
 
 :||5 
 
 •w 
 
 >■■■■ 
 <■■■■ 
 (■■■■ 
 .■■I 
 
 25 
 
PLATE K 
 
 The above color harmony would look well on any house similar to those represented below 
 
 
 
 
 26 
 
plans shown on page amplesof small houses, and indeed 
 
 cottages, designed by architects 
 
 O' o 
 
 of the highest stand- 
 w h° have n °t 
 ' ^ ^ | thought it beneath 
 = ® 0 rc^rP them to give the same 
 $ 0 conscientious study 
 
 J . | to these small houses 
 jSa I that they give to their 
 F Wj larger problems. 
 
 - " s ^ A small plot is 
 ; AZfe"# 1 just as worthy of 
 f thought as a small 
 house. Much can be 
 done with it, not by 
 r--^ overloading it with 
 ^ ^ — decoration but by 
 
 ?OR PLATE K . 
 
 placing a few care- 
 fully selected plants, trees and 
 numerous ex- shrubs in just the right place. 
 
 and planting 
 23. Then carefully plot thegrounds 
 on a good sized sheet, 
 indicating the house, 
 walks, and other fea- | 
 tures in their proper jj —- = v =: ^ 
 
 positions and in right k__ 
 
 proportions. Select ^ 
 
 from the list of shrubs ^ 
 
 and flowers the varie- 
 ties preferred or that Unu 
 are most available, and 
 
 hole hr\ 
 
 compose the 
 picture on paper 
 will be a practical 
 guide and will be a 
 great help in securing ^ 
 
 0 „ 1 0 GROUND PL, 
 
 the desired effect. 
 
 There are already, in the vicinity 
 of many large cities,