davidaulloa/AmericanStories huggingface dataset:
Perth Amboy evening news., 1911-10-27
N~EIGHBORING W


Restores color to Gray or
Faded ~hair-Removes Dam
druf and invisorates the Scalp
Promotes a luxuriant,
healthy hair erowth-Stops its
falling out. Is not a dye.
500 and 500. at Drus Stores or direct upon
receipt Of price and deaies's Mans. Send loc.
Tor sample bottle Philo Hay Specislties Co..
Newark. N. j.. u. 8. A.
Hays Harflna Soep Is unsqusled
Ter Shampooint the hair and keeping the Scalp
eiean and healthy, also Tor red, roukh chapped
hands and face. 25c. at Drnssists.
RBFUSB ALL SUBSTITUTES
f. A. SEAMAN :
BARNEKOV g. PETE
Perth Amboy evening news., 1911-10-27
Woodbridge /: Scwaren /: Jamesburg
Metuchen Sayreville : Fords Spotswood

played by Miss Inez Turner.
Tonight Miss Johnson will again
sing the same selection. The meet
ings will close tonight.
The Bridgeport evening farmer., 1911-06-23
The Front Entrance.

Chinese rugs with .heir dull gold or ecru and blue go we'll with this color scheme and so did a charming large rug with a light ecru ground and an all-over pattern of light blue and white dots, with a border of the same color with some russet and deeper blue mixed in. We have found that our living hall takes well to floral decoration. In the spring, the apple blossoms and the dogwood give white 1oveliness that looks like spring happiness itself with the sunny walls and soft green woodwork. The pink of early hya
 cinths or late cosmos looks chaTmir> in smaller quantities. You do not war room that is not grayed enough = tone to act as a background to dSST life, nor do you want a room thaJ is so inhospitable in colors that it makes court etiquette of the colors you must don to enter it.
 The living hall has demanded so much description of itself that we have been debarred from telling the more personal adventures of it's mak- ing. For most of us there is journey between our desire of a home and it's realization. The journeys of building and furnishing lead not only along the turnpike, but into many interesting byways. For most of us there is bit of life and 1ife's experiences between the abstract idea of a room and it's working out, and so 1t weaves itself into the story texture of our days. And it iS this very personal element that so largely enters into it's making that makes us welcome 1t as "home.
The Bridgeport evening farmer., 1911-06-23

to hunt for straight-legged table in this style, and, after much searching, found one that had been made by a worthy old deacon in Massachusetts. But, through the perversity of human nature, we no sooner saw his straight legged one than we began to feel posi- tive that turned legs would add a necessary touch of grace. There is such g. thing as a room that is too straight, which is just as tiresome as a person who is too good. In looking over some English homes designed by such good modern men as Lutyens, Brierley, and Spooner, we noticed tables with both turned and twisted legs in rooms with oak paneling and simple craftsmanship. The twisted leg shows a Portuguese fashion of the seventeenth century, which Charles the Second brought to England. He used to show his favoritism by gifts of fine cane chairs with carved frames and twisted posts. The turned leg belongs to a humber branch of furniture gene aIogy. It is one of those worlds for tunates that feel equally at home in mansions or in cottages.
 After we had decided upon the turned legs for the gate-legged table, we felt that we had taken a leap that called for another, so we decided upon turned balusters between the square such a thing as a room being too heavy and encroaching upon the air space We did not want to make mistakes in that direction.
 We chose oak woodwork from an economic standpoint because it could be used with oak furniture, which we could buy or have made from our
The Bridgeport evening farmer., 1911-06-23

bluish-green sheen. A few minutes after we brushed 1t on, we rubbed it with a fine rag. I wish we could de- scribe the result. It is a gray wood. Sometimes it is gray as the gray of the woods is gray, with earthly suggestions of greens and browns dimly hidden in it's depths. Sometimes it is all gray, with Quaker1ike demureness, and with the softness that belongs to dim chiffons. Again it suggests the age worn green of Pompeian bronzes. Again, it seems to hold vibrating haze of violet and yellow such as we see in a glen in early autumn and yet scarcely perceive.
 The walls of the living room are a yellow, the lemon gold of the birches. It is a bright yellow, but not as bright as the yellow of some colonial wall papers that look so we'll with white woodwork and mahogany. 1t pales at sight of that. The yellow of the new English fibre paper, that is a very durable paper, and only eighty-hve cents a roll, comes very near it in tone, although it has more of a touch of atmospheric gray than that. It IS more the yellow of some of the linens, whose weave breaks the brightness in an illusive way. It can be mixed Tn oil paint. of white, chrome yellow, touch of black to tone it down, and touch of yellow ochre. It makes a, color rhythm with the brownish gold silk, that is used for hangings and lamp shades, and that looks like the newly colored hickory leaves in early Octo- Der, when the sunlight is playing upon
The Bridgeport evening farmer., 1911-06-23

by the features of the room. Before
 putting up strips, it is usually we'll to experiment with space divisions upon the plan of the walls, because each room is a problem unto itself. In our living hall, the natural divisions of the doors and windows, the stair platform,
 and the corners could be legitimately used to break up the wall monotony in a perfectly natural way. Along the wall, near the staircase, is a cabinet with solid doors. We wish we could describe to you what an in- teresting piece of furniture 1t has be- come to us. It is full of dignity, and compared with the openness Of the nook, 1t has a suggestion of secrecy,
 suggestion of hidden values, that be- guiles us. At first, we intended it for coat and hat wardrobe for callers, fitted up with novelty hangers, but, as we thought, all sorts of dim memories and hay desires awoke within us. At length we came upon the idea of children's cabinet. Now everything can be a curio that we can wonder over and learn about. We have an ex- hibition of leaves, all tagged and writ
 ten up. We have a collection of woods,
 of stones, of all sorts of minerals,
 bright pebbles, and shells. In fact,
 we have become veritable curio seekers
 and museum cataloguers.
 We wanted a gate-legged table that could take up a modest position by the
 staircase when not in use. We have a
 great fondness for tables that flap their
 leaves and make themselves small. It
 shows the pliable temper and facetious
 ingenuity of hinged table boards When
 it came to the table legs, we were in
 some doubt as to the introduction of
 curves and turns to the general
 straight lines of the room. We began
The Bridgeport evening farmer., 1911-06-23

more fully realized, and as its use be- comes more popular, twill utilize the fine talent of many of our younger artists who do good work and whose prices are not beyond our means. In our living room, the decoration gave an opulence and fullness that proved saving in other respects. The ex- travagant way to furnish a room is not to conscientiously select a few good things, like mural decoration or a grand piano. The eXtravagant way is to furnish a room in a haphazard, worldly way, seeking that which has spective of it's innate value and mo- bility; and then, as a natural result, being always unappeased and always in search of new furnishings and new effects. Good furnishings, like good dressing, is not a connection of fnery. It is founded upon an understanding of line and color. It is an art problem, grounded upon common sense, inti- mately involved in usefulness, and of many spiritual possibilities.
 The strips of wood are used to break up the monotony of the wall surface, without taking from it a certain se- verity of treatment. Sometimes a hori- Zontal strip is used to give an effect of lowness, and so to attain better pro- portions for the room. In that case, the color of the ceiling is often brought down to the side walls. That was not the object here. The color of the walls is the same tone throughout, and the strip along the ceiling, as we'll as the broad baseboard, help to give a one ness of effect. As for the vertical strips, they do not measure off given space divisions, but guide themselves
The Bridgeport evening farmer., 1911-06-23

nses. We can have book shelves in it. We can sit curled up in one cor ner of our nook and not be seen from the front door or the staircase. We can entertain a caller in it and chat cozily by the open fire. It is also the listening nook for the grand piano that we literally pictured, instead of placed by long easement window be- cause we once saw a painting where this position seemed strikingly pic turesque. Why shouldn't we picture our furnishings, If we properly guard against affectation?
 The wall treatment of room is de-
 pendent upon the house plan and upon the positions of the doors and windows. They can make or mar the architectural composition. In our 1iv- ing hall, the idea of the horizontal and vertical strips was suggested by the wooden framing of the mantel. The lower part of this mante1 is faced with rough, dull-colored tiles. The up- per part has a mural decoration, which pictures mother and her three children gathering nuts under a fringe Of great trees in the early days of October. Beyond the trees, as a back ground, is a light, straw colored field and a vista of lemon gold birches and scarlet naples under sailing white clouds. The early days of October are lighter, brighter days than the richer color days of the oaks that follow, and more in the youthful color mood of the room. The scene itself holds it's own life philosophy. It pictures a kind of fruition to dream of; time of r.pened nuts and the humble labor of gathering them amid the outdoor beauty of the landscape.
 A mural decor ation is not necessarily the luxury that it may seem. As its possibilities in the small home are
The Bridgeport evening farmer., 1911-06-23
COOLING RECIPES
 OF SUMMER DISHES
By HELEN LOUISE JOHNSON

full of butter with a cupfui of sugar. stir in as many pitted cherries as the sauce will hold without separating N. N.
 Compete of GooseberrIes.
 Top and tail one quart of gooseber- rics, which should not be very ripe. Make pint of syrup and when 1t polls put in the gooseberries; simmer until the fruit Is nicely pulped and tender without being broken; then dish the gooseberries on glass dish, boil down the syrup for four minutes. pour over the gooseberries and serve cold.
 Strawberry custard.
 Three heaping tablespoonfuls Of powdered gelatin, four eggs, two cup fuls of milk, two cupfuls of whipped cream, one-quarter teaspoonful of salt, one tablespoonful of strawberry juice. some ripe strawberries and whipped cream for decoration. Put the gelatin into a saucepan, add sugar, milk, salt and the eggs slightly beaten. Stir over slow fire till they thicken slightly. then strain into a basin. When cool add strawberry juice and the whipped cream. Pour into a square, wet mold Turn out when set and decorate with whipped and sweetened cream and Stra wberrieS.
 Nuggets.
 Mold freshly mashed potatoes into which have been whipped cream, but ter and a little salt, into large egg shaped balls. Stand them on end on a buttered pie plate, slice off a little of the top and scoop out the center. making hole as large as an ordinary egg. Into this we'll break an egg, re- place the top. brush over with beaten egg and bake in a quick oven until well Drowned.
 Compete of Strawberries.
 Take fine, not too ripe, strawberries wash them and let them drain, then put into boiling syrup and let them boil up once; care must be taken that they do not separate; put them in a compete dish and strain the syrup over them Raspberries and entrants are nice used in the same way.
The Bridgeport evening farmer., 1911-06-23
The Kitchen Entrance.

walk, the steps, and the balustrade wall with a garden row of flowers to peep over 1t.
 Many people say that all cement houses look alike. That is not true or the houses I have seen. Almost every house seems to have it's own color ideas. Even the light gray of the ce- p1ent seems to vary in different houses, and when with it is, used green wood work, this, too, seems to have tnnum- erabIe shades. One of the yellow walls we saw had natural-colored vanished shutters and a red roof. A fine wall was very rough cast and of a deep weathered yellow. It's woodwork was stained black. It was built on broad, shallow lot, level with the street.
 Our house is of gray cement with just enough yellow ocher mixed in to give it warmish touch. The wood work is painted a pale, grayish-bluish green. The walks are the old-fashioned red of the common bricks.
 In choosing building materials, their cost Is one of the first considerations. This is undoubtedly partly the cause of the present cement interest. Our house could have been built of brown shingles cheaper than of stucco, but with good if different effect. It could have been built of bricks at a greater cost. In using bricks for suburban work the yellows and browns of an artificial color chart are to be avoided. The common red brick has good color qualities for colonial house, while for a house design like ours, such bricks as the tapestry with their varied shadings and elusive color values would give both charm and distinction.
 In choosing a material the first cost is not always the guarantee of econ omy. The cost of repairs, of painting, of insurance, should be added to the first expense. Such items added to the cost of clapboards, for instance, reduce the initial cost of brick. One expense that must be considered in brick is the repairs in jointing that are sometimes necessary. Another example of a ma terial that pays for its lasting quali- ties Is copper over tin for gutters and leaders. In a heating system the greater initial cost of hot water over steam is offset by the saving in coal. a greater ease in regulation, and a pleasanter heat
The Bridgeport evening farmer., 1911-06-23

tain specials under a general contract unless you choose. You can award your mantel contract separately, if you so desire. On the other hand, there are firms that take all the contracts com bined and finish the building as a whole.
 An architect is no magician and can- not give us more than the present high prices give.
 We really ought to call our living room the living hall, even if it does sound more pretentious, because it ex- plains its meaning more clearly. 4 living hall is different from a living room, and can well fraternize with an open staircase, without feeling any lack of privacy. It has not the medi- tative quiet of a library. It has not the social exclusiveness of a drawing room. But it can pulsate with life, and can nobly represent the varied in door leisure of the household. It has, like the drama, its legitimate entrances and exits, that enliven the scene with out disturbing the action or the essen tial spirit of domesticity. In a small house, the living hall advantageously manipulates the available square feet in combining the area, together with the functions of a reception hall and a sitting room. It brings airiness and a breadth of feeling otherwise impossi- ble, and that are so very difficult for some people to live without.
 While the living hall has this gen. eral appearance of easy good fellow ship, please observe that it also has its reserves. A room, like a person, be- comes tirescme if it is all "hail-fellow- well-met." The living hall closes itself froIs the dining room by narrow double doors; not sliding doors that can be tucked away and forgotten, but hinged doors that call for use. There is place for a sliding door and a place for a hinged door. just as there is a place for a solid door and a place for a glass door. Some times it takes certain amount of tact to discriminate between them. The narrow double doors of the living hall are glazed with small panes of glass, to give a glimpse of beyond. A door with one large pane of glass should be used when you want a plain substantial look, but a glimpse Is an altogether different matter.
 The living hall has no direct com- munication with the kitchen \or the cellar. It is too aristocratic for that. It craves no contact with cooking odors or heater ashes. There can be a lot of legitimate privacy even in seemingly open house plan. One or the ways of getting such a result is to have no communication between the bedrooms. They can open upon common hall, or where closer com munication is desired, as between the room of parents and very small chil- dren, upon a separate entrance way or kind of diminutive anteroom. But even before our house plan wends it's way to the upper floor, it so disposes of it's ascent that it forms a guarded corner for the fireplace.
 A quiet corner has many individual
The Bridgeport evening farmer., 1911-06-23

It is we'll to bear in mind that . small house is not a profitable under taking for an architect; that he can not be on hand every day. The owner must be constantly on the watch. The architects supervision is not the con- tinuous personal superintendence that some people think it, and that is se- cured by the employment of a clerk of-the-WOrks. It means such superin- tendence as is necessary to find out whether the building is being built ac- cording to the specifications and draw ings or directions of the architect. The architect determines in constructive emergencies. He interprets the draw ings. He orders necessary changes and has authority to stop the progress of the work or it's removal. He also writes certificates for the successive payments as they are warranted by the progress of the work
 An architects service includes pre- liminary sketches, plans and specifica- tions, detail drawings, awarding of contracts, and supervision of work. The contracts are usually grouped under mason's, carpenters, a painters, and plumbers. The ma- sons contract includes the excavating and rough grading, the concrete beds under the foundation walls, the brick work. the concrete blocks if used in- stead of bricks for cellar foundations, hollow tile, if used, stucco, stone work iron work, lathing and clustering, til- ing, cement flooring, and walks. The contract includes all tim Der work, flooring, window frames, sashes, doors, and blinds, screens, all the inside finish, mantels, picture mold ings, stairs, all built-in cupboards, closet shelves, strips, coal bins, etc.
 Of course, you need not include cer-
The Bridgeport evening farmer., 1911-06-23
Compete of Cherries.


 One pound of ripe cherries, one quarter pound, of lump sugar, juice of one lemon. Wipe the cherries care fully and separate them one from the other. Put the cherries into sauce pan with the sugar and strain in the lemon juice Put the lid on the pan and stew gently for fifteen minutes, or until the cherries are cooked without being broken. Lift them carefully on to a glass dish and pour back into the saucepan any juice which may be round them. Boil the juice for five minutes longer, and then pour it over the cherries.
 Compete of Rhubarb.
 Take sound rhubarb, wash it well and cut it into lengths of about two inches Prepare the syrup thus: Put six ounces of lump sugar, two gills of water, a few drops of red coloring and half a teaspoonful of ginger ex- tract into a saucepan over the fire. Bring it to boil, add the rhubarb and cook till tender; then remove it to a compete dish. Boil the syrup with a teaspoonful of lemon juice to a thick syrup strain over the rhubarb and serve.
 Strawberry Tapioca.
 Cook four tablespoonfuls intantane- ous tapioca in two cupfuls of water with one cupful of sugar and one tea spoonful of butter, until clear. Wash and hull one pint of strawberries, cut each berry in half, sprinkle over with sugar, let marinate in their juice one half hour. When tapioca Is ready stir this puree through the tapioca with out cooking. When cold set to chill in ice chest It becomes a lovely pink color and is delicious served with whipped cream.
 Cherry Roll.
 Roll out sheet of rich pastry, cover thick with pitted cherries, sprinkle with sugar. roll up and place in the baking dish and bake in a hot oven until well Drowned. Serve hot with cherry sauce. Cream one-half cup
The Bridgeport evening farmer., 1911-06-23

comes such a Serviceable member with a touch of internal kitchen curiosity in the pane of rough glass that casts it's eagle eye upon all trade callers. the door of a brick house in Weston, Suffolk, England. When it satisfied Julie, our Polish maid, we felt that 1t had drowned its co1loquialism in it's trip across the Atlantic. Julie is very proud of her kitchen porch and the flower row. The very fact that 1t Is a side door and not back door makes her feel that it has risen in the social scale.
 The difference between jumbling and variety is as great as between lawless- ness and lawfulness. Take the win dows on the front of our house. No two are alike. There is a row of five mullioned and transomed windows for the living room, above 1t row of four untransomed ones. There Is a. bracketed bay for the dining room, a triple window for the boys room and a double window for the bath. This variety is permissible in the liberty loving easements so long as the spaces they fill in are related to one another in the composition.
 On some lots it is the part of grace to make a house seem smaller than it is, but in our case we could afford to give it a narrow, broad-stretched look. The WlnS IS Cn1rC6on IS6C WlO0, Iu0 IlN- ing room is twenty-two feet long, and the terrace is eight feet. Yet the entire house covers only 655 square feet, just about the same dimensions as a house twenty-five feet square.
 A terrace wall adds considerably to the appearance of size and has a way of making a pleasant transition from the house to the grounds.
 There is practical reason for the change of level between the rear ter race and the covered side terrace. It allows of a long window opening to light the cellar. But this practical req son has faded away in the light of its pleasure giving. For here are the wide