DOI Page / Citation link:
https://doi.org/10.11588/diglit.43447#0457
THE INTERNATIONAL STUDIO
July, IQII
Beautifying the
Garden
The Use of
Termanent Garden Ornaments
\ MONG all peoples, the Japanese
best understand, perhaps, the art
of making beautiful gardens.
A garden may be made to mean more
than ground devoted to growing blos-
soms and plants—it need not depend
wholly for its beauty on buds and
blossoms.
Properly placed permanent ornaments
add a note of individuality to the gen-
eral garden scheme.
Japanese gardens are famous the
world over for their unique complement
of bridges, arches, lanterns, curiously
carved dragons and gargoyle-like figures,
“cozy-corner” seats, and numberless ar-
tistic conceptions for ornamentation.
Vantine’s import from Japan a selection of these gems of the stone-
carver’s art. A wonderful collection of different designs is shown
(generally no two alike) at prices ranging from $25.00 to $200.00.
Also pottery water Kongs, either
round or octagonal, $25.00 and $30.00,
as well as Benches and bronze Garden
Lanterns, which sell at $1,000 and
more.
The illustrations shown are from ac-
tual photographs of American Gardens.
We will count it a pleasure to help
you with suggestions for the decoration
of your garden, or assist you in making
a personal selection. If this is not possi-
ble, we cordially invite correspondence,
and will be glad to send picturesof thelan-
terns now for sale. Address DepartmentB”
K The Oriental Store.
877-879 BROADWAY, NEW YORK
Also Boston and Philadelphia
FOR THE ARTISTIC HOME
Canton Chairs, Japanese Orna-
mental Baskets, Oriental Wall
Coverings O’ Draperies, Japanese
Screens,OrientalRugsOLamps,Ta-
ble Porcelains,Teakwood Furniture.
Tiles for a cathedral
floor
One of its most notable art achieve-
ments has been given to America by Mary
Chase Perry and Horace J. Caulkins, in
the floors of St. Paul’s Cathedral, Detroit,
Mich., says Marian V. Loud, in Handicraft.
Although departing from long-estab-
lished conventions in paving, they have
maintained, consistently, the spirit of the
Gothic period, in which style the church is
built.
In the three main porches the square
six-inch unglazed tile in soft buffs and am-
bers, set with a wide grouting characteristic
of Pewabic work, give the impression of
breadth and stability suitable to the en-
trance of such a structure.
Unity of design is not sacrificed by the
variation in the paving of the Hancock
Avenue porch. Four-inch natural clay
tile are set with modeled inserts. The bor-
der, together with those of the other
porches, are essentially Gothic, consisting
of simple arrangements of squares and tri-
angles, in varying tones of brown, soft
green and the quiet blue which gives the
keynote to the whole design.
Standing within the doors of the nave
one is impressed at once with what sym-
pathy the designer has worked with the
architect. Deeper in tone and smaller in
size than the tiles of the main porch from
which one has entered, they seem to in-
crease the breadth of the aisles and the
loftiness of the ceiling. One is led forward
by the narrow border and the instinctive
spotting of blue throughout the field until
he stands on the steps of the choir.
From this point the design is taken up in
glazed tile. The delightful irregularities of
the hand-pressed tile add to the beauty of
the ivory and brown tones of the field, bor-
dered by large Gothic triangles in mellow
green and blue. Three panels, set dia-
mond-wise, occupy the middle line of the
aisle. In the center of each lies a twelve-
inch tile bearing in low relief an angel form,
while the borders'are made up of tiles mod-
eled in ecclesiastical designs. The blue
note which we have been following is
nearly submerged in the clouding of the
brown and green of these angel panels, but
is sufficiently present to keep us expectant.
Stone steps lead to the outer sanctuary,
where an ivory and brown field, set diag-
onally, with modeled inserts, and a staccato
border of vivid blue oblongs alternating
with square three-toned modeled tiles pre-
pare us for the glory of the inner sanctuary.
A magnificent border of iridescent tiles,
bearing various types of crosses, lies be-
tween the outer sanctuary and the holy of
holies, significant of the human sacrifices
requisite to spiritual attainments.
On a field of blue—as blue as those
starry ceilings of old Egypt—lies the cross,
glowing with the marvelous hues of Pewa-
bic luster. A halo of tiny tiles in antique
gold lies upon the arms of the cross, while
the very heart from which the whole design
radiates is an iridescent disc bearing the
form of a pelican feeding her young with
drops of her own blood, symbolic of the
mother church sustaining the young
churches. Panels bearing the symbols of
the four evangelists lie to the left and right,
while other panels in iridescent tiles com-
plete a design leaving nothing to be de-
sired in form, color or religious feeling.
Nowhere in the world, we believe, does
July, IQII
Beautifying the
Garden
The Use of
Termanent Garden Ornaments
\ MONG all peoples, the Japanese
best understand, perhaps, the art
of making beautiful gardens.
A garden may be made to mean more
than ground devoted to growing blos-
soms and plants—it need not depend
wholly for its beauty on buds and
blossoms.
Properly placed permanent ornaments
add a note of individuality to the gen-
eral garden scheme.
Japanese gardens are famous the
world over for their unique complement
of bridges, arches, lanterns, curiously
carved dragons and gargoyle-like figures,
“cozy-corner” seats, and numberless ar-
tistic conceptions for ornamentation.
Vantine’s import from Japan a selection of these gems of the stone-
carver’s art. A wonderful collection of different designs is shown
(generally no two alike) at prices ranging from $25.00 to $200.00.
Also pottery water Kongs, either
round or octagonal, $25.00 and $30.00,
as well as Benches and bronze Garden
Lanterns, which sell at $1,000 and
more.
The illustrations shown are from ac-
tual photographs of American Gardens.
We will count it a pleasure to help
you with suggestions for the decoration
of your garden, or assist you in making
a personal selection. If this is not possi-
ble, we cordially invite correspondence,
and will be glad to send picturesof thelan-
terns now for sale. Address DepartmentB”
K The Oriental Store.
877-879 BROADWAY, NEW YORK
Also Boston and Philadelphia
FOR THE ARTISTIC HOME
Canton Chairs, Japanese Orna-
mental Baskets, Oriental Wall
Coverings O’ Draperies, Japanese
Screens,OrientalRugsOLamps,Ta-
ble Porcelains,Teakwood Furniture.
Tiles for a cathedral
floor
One of its most notable art achieve-
ments has been given to America by Mary
Chase Perry and Horace J. Caulkins, in
the floors of St. Paul’s Cathedral, Detroit,
Mich., says Marian V. Loud, in Handicraft.
Although departing from long-estab-
lished conventions in paving, they have
maintained, consistently, the spirit of the
Gothic period, in which style the church is
built.
In the three main porches the square
six-inch unglazed tile in soft buffs and am-
bers, set with a wide grouting characteristic
of Pewabic work, give the impression of
breadth and stability suitable to the en-
trance of such a structure.
Unity of design is not sacrificed by the
variation in the paving of the Hancock
Avenue porch. Four-inch natural clay
tile are set with modeled inserts. The bor-
der, together with those of the other
porches, are essentially Gothic, consisting
of simple arrangements of squares and tri-
angles, in varying tones of brown, soft
green and the quiet blue which gives the
keynote to the whole design.
Standing within the doors of the nave
one is impressed at once with what sym-
pathy the designer has worked with the
architect. Deeper in tone and smaller in
size than the tiles of the main porch from
which one has entered, they seem to in-
crease the breadth of the aisles and the
loftiness of the ceiling. One is led forward
by the narrow border and the instinctive
spotting of blue throughout the field until
he stands on the steps of the choir.
From this point the design is taken up in
glazed tile. The delightful irregularities of
the hand-pressed tile add to the beauty of
the ivory and brown tones of the field, bor-
dered by large Gothic triangles in mellow
green and blue. Three panels, set dia-
mond-wise, occupy the middle line of the
aisle. In the center of each lies a twelve-
inch tile bearing in low relief an angel form,
while the borders'are made up of tiles mod-
eled in ecclesiastical designs. The blue
note which we have been following is
nearly submerged in the clouding of the
brown and green of these angel panels, but
is sufficiently present to keep us expectant.
Stone steps lead to the outer sanctuary,
where an ivory and brown field, set diag-
onally, with modeled inserts, and a staccato
border of vivid blue oblongs alternating
with square three-toned modeled tiles pre-
pare us for the glory of the inner sanctuary.
A magnificent border of iridescent tiles,
bearing various types of crosses, lies be-
tween the outer sanctuary and the holy of
holies, significant of the human sacrifices
requisite to spiritual attainments.
On a field of blue—as blue as those
starry ceilings of old Egypt—lies the cross,
glowing with the marvelous hues of Pewa-
bic luster. A halo of tiny tiles in antique
gold lies upon the arms of the cross, while
the very heart from which the whole design
radiates is an iridescent disc bearing the
form of a pelican feeding her young with
drops of her own blood, symbolic of the
mother church sustaining the young
churches. Panels bearing the symbols of
the four evangelists lie to the left and right,
while other panels in iridescent tiles com-
plete a design leaving nothing to be de-
sired in form, color or religious feeling.
Nowhere in the world, we believe, does