American Cookery Part 1
American Cookery.
by Various.
Windows and Their Fitments
By Mary Ann Wheelwright
Through the glamour of the Colonial we are forced to acknowledge the cla.s.sic charm shown in late seventeenth and early eighteenth century window designs. Developed, as they were, by American carpenters who were stimulated by remembrance of their early impressions of English architecture received in the mother land, there is no precise or spiritless copy of English details; rather there is expressed a vitality that has been brought out by earnest effort to reproduce the spirit desired. Undoubtedly the lasting success of early American craftsmanship has been due to the perfect treatment of proportions, as related one to the other. That these are not imitations is proved by an occasional clumsiness which would be impossible, if they were exact copies of their more highly refined English prototypes.
The grasp of the builder's mind is vividly revealed in the construction of these windows, for while blunders are often made, yet successes are much more frequent. They are evolved from remembered motives that have been unified and balanced, that they might accord with the exterior and be knitted successfully into the interior trim. Some of these windows still grace seventeenth century houses, and are found not only on old southern plantations, but all through New England, more especially along the sea coast. True products are they of Colonial craftsmanship, brought into existence by skilled artisans, who have performed their work so perfectly that today they are found unimpaired, striking a dominant note in accord with the architectural feeling of the period.
There is no question but that windows such as these lend character to any house, provided, of course, that they coincide with the period.
Doubtless the designing of modified Colonial houses is responsible, in part, for the present-day revival of interest, not solely in windows of the Colonial period, but also in that which immediately preceded and followed it.
[Ill.u.s.tration: GROUP WINDOWS ON STAIRWAY]
The first ornamental windows were of the cas.e.m.e.nt type, copied from English cottage homes. Like those, they opened outward, and were designed with small panes, either diamond or square shaped. As they were in use long before gla.s.s was manufactured in this country, the Colonists were forced to import them direct from England. Many were sent ready to be inserted, with panes already leaded in place. Proof of this is afforded by examples still in existence. These often show strange patches or cutting. The arrangement of cas.e.m.e.nts varies from single windows to groups of two or three, and they were occasionally supplemented by fixed transoms. Surely no phase of window architecture stands out more conspicuously in the evolution of our early designs than the cas.e.m.e.nt with its tiny panes, ornamented with handwrought iron strap-hinges which either flared into arrow heads, rounded into k.n.o.bs, or lengthened into points. That they were very popular is shown from the fact that they withstood the changes of fashion for over a century, not being abolished until about the year 1700.
Little drapery is needed in cas.e.m.e.nt windows where they are divided by mullions. The English draw curtain is admirable for this purpose. It can be made of cas.e.m.e.nt cloth with narrow side curtains and valance of bright material. A charming combination was worked out in a summer cottage. The gla.s.s curtains were of black and white voile with tiny figures introduced. This was trimmed with a narrow black and white fringe, while the overdrapery had a black background patterned with old rose.
[Ill.u.s.tration: GROUPED WINDOWS WITH SQUARE PANES, LACE GLa.s.s CURTAINS AND CRETONNE OVER CURTAINS]
In the field of architectural progress, more especially during the last few years, there have arisen vast possibilities for the development of odd windows. These, if properly placed, showing correct grouping, are artistic, not only from the outside, but from the inside as well. The artistic woman, realizing the value of color, will fill a bright china bowl with glowing blossoms and place it in the center of a wide window sill, where the sun, playing across them, will carry their cheerful color throughout the room. She also trains vines to meander over the window pane, working out a delicate tracery that is most effective, suspending baskets of ferns from the upper cas.e.m.e.nt, that she may break the length of her Colonial window. Thus through many artifices she causes her simple room to bloom and blossom like a rose.
[Ill.u.s.tration: FOR FRENCH DOORS, USE MUSLIN WITH SILK-LINED OVERHANG]
The progress made in window architecture is more apparent as we study the early types. Then small attention was paid to details, the windows placed with little thought of artistic grouping. Their only object to light the room, often they stood like soldiers on parade, in a straight row, lining the front of the house.
Out of the past has come a vast array of period windows, each one of which is of interest. They display an unmistakable relationship to one another, for while we acknowledge that they differ in detail and ornamentation, yet do they invariably show in their conception some underlying unity. There is no more fascinating study than to take each one separately and carefully a.n.a.lyze its every detail, for thus only can we recognize and appreciate the links which connect them with the early American types.
We happen upon them not only in the modified Colonial structures, but in houses in every period of architecture. It may be only a fragment, possibly a choice bit of carving; or it may be a window composed in the old-fashioned manner of from nine to thirty panes, introduced in Colonial days for the sake of avoiding the gla.s.s tax levied upon them if over a certain size. A charming example of a reproduction of one of these thirty-paned windows may be seen in a rough plaster house built in Salem, after the great fire. The suggestion was taken from an old historic house in a fine state of preservation in Boxford, Ma.s.s.
The first American homes derived their plans and their finish from medieval English tradition. They were forced to utilize such materials as they were able to obtain, and step by step they bettered the construction and ornamentation of their homes. As increasing means and added material allowed, they planned and executed more elaborately, not only in size and finish, but in the adding of window casings, caps, and shutters.
The acme of Colonial architecture was reached with the development of the large square houses with exquisitely designed entrances and porticos. These often showed recessed and arched windows, also those of the Palladian type. At the Lindens, Danvers, Ma.s.s., a memory-haunted mansion, may be seen one of the finest examples of these recessed windows. This famous dwelling, the work of an English architect, who built it in about 1770, is linked with American history through its use by General Gage as his headquarters during the Revolution.
The recessed windows that are found here reveal delicate mouldings in the cla.s.sic bead and filet design, and are surmounted by an elaborate moulded cornice, which lends great dignity to the room. This is supported by delicate pilasters and balanced by the swelling base shown below the window seats. Such a window as this is no mere incident, or cut in the wall; on the contrary, it is structural treatment of woodwork. Another feature of p.r.o.nounced interest may be noted on the stair landing, where a charming Palladian window overlooks the old-fashioned box-bordered garden that has been laid out at the rear.
We have dwelt, perhaps, too much on the old Colonial types, neglecting those of the present day, but it has been through a feeling that with an intimate knowledge of their designs we shall be better able to appreciate the products of our own age, whose creators drew their inspiration from the past. A modern treatment of windows appears in our ill.u.s.tration.
[Ill.u.s.tration: 75 BEACON STREET, BOSTON]
[Ill.u.s.tration: THATCHED-STYLE COTTAGE FOR AMERICAN SUBURBS]
The Tiny House
By Ruth Merton
(_Concluded from October_)
If, some fine day, all housewives awoke to the fact that most of the trouble in the world originates in the kitchen, there would shortly be a little more interest in kitchen problems and not so much distaste for and neglect of this important part of the house.
Of course, women will cry out that we have never in our lives been so intent on just that one subject, kitchens, as we are today.
I admit that there is a good deal of talk going on which might lead one to believe that vacuum cleaners and electric-washing machines, etc., are to bring about the millennium for housekeepers; and there is also a good work going forward to make of housework a real profession.
But, until in the average home there comes the feeling that the kitchen--the room itself--is just as much an expression of the family life and aims and ideals as the living room or any other room, we shall be only beating about the bush in our endeavor to find a remedy for some of our perplexing troubles.
Nowadays, women who are doing much work out in the big world--the so-called "enfranchised" women--are many of them proving that they find housework no detriment to their careers and some even admit that they enjoy it.
But so far most of them have standardized their work and systematized it, with the mere idea of doing what they have to do "efficiently" and well, with the least expenditure of time and energy. And they have more than succeeded in proving the "drudgery" plea unfounded.
Now, however, we need something more. We need to make housework attractive; in other words, to put charm in the kitchen.
There is one very simple way of doing this, that is to make kitchens good to look at, and inviting as a place to stay and work.
For the professional, scientifically inclined houseworker, the most beautiful kitchen may be the white porcelain one, with cold, snowy cleanliness suggesting sterilized utensils and carefully measured food calories.
But to the woman whose cooking and dishwashing are just more or less pleasant incidents in a pleasant round of home and social duties, the kitchen must suggest another kind of beauty--not necessarily a beauty which harbors germs, nor makes the work less conveniently done, but a beauty of kindly a.s.sociations with furniture and arrangements.
Who could grow fond of a white-tiled floor or a porcelain sink as they exist in so many modern kitchens! And as for the bulgy and top-heavy cook stoves, badly proportioned refrigerators, and kitchen cabinets--well, we should have to like cooking _very_ well indeed before we could feel any pleasure in the mere presence of these necessary but unnecessarily ugly accompaniments to our work.
We have come to think of cleanliness as not only next to G.o.dliness, but as something which takes the place of beauty--_is_ beauty.
This att.i.tude is laziness on our part, for we need sacrifice nothing to utility and convenience, yet may still contrive our kitchen furniture so that it, also, pleases the senses. With a little conscientious reflection on the subject we may make kitchens which have all the charm of the old, combined with all the convenience of the new; and woman will have found a place to reconcile her old and new selves, the housewife and the suffragist, the mother-by-the-fireside and the partic.i.p.ator in public affairs. The family will have found a new-old place of reunion--the kitchen!
Granted then that our tiny house has a kitchen-with-charm, and an "other room," the rest of the available s.p.a.ce may be divided into the requisite number of bed and living rooms, according to the needs of the family.
[Ill.u.s.tration: KITCHEN FOR THATCHED-STYLE COTTAGE]
There is only one other very important thing to look out for; that is the matter of closets. There is no rule for the number of closets which will make the tiny house livable, but I should say, the more the merrier. If there is ever question of sacrificing a small room and gaining a large closet, by all means do it, for absolute neatness is the saving grace of small quarters, and storage places are essential, if one does not wish to live in a vortex of yesterday's and tomorrow's affairs with no room to concentrate on the present.
[Ill.u.s.tration: FIRST-FLOOR PLAN OF THATCHED COTTAGE]
Inside and outside the tiny house must conform to one law--elimination of non-essentials; and the person who has a clear idea of his individual needs and has also the strength of will to limit his needs to his circ.u.mstances, will find in his tiny house a satisfaction more than compensating for any sacrifices he may have made.
No one doubts that it _is_ a sacrifice to give up a lesser pleasure even to gain the "summum bonum" and that it _does_ take will power to keep oneself from weakly saying in the face of temptation, "Oh, well! what does it matter! My little house would perhaps be better without that, but I have grown accustomed to it, let it stay!"
Such weakness is fatal in a tiny house.
But how much more fatal in a tiny garden!
Oh! the waste lands which lie beneath the sun trying to call themselves gardens! Oh! the pitiful little plots, unfenced, unused, entirely misunderstood by people who stick houses in the middle of them and call them "gardens"!