No direct sunlight should fall upon the desks of the pupils. Two roll up sun shades should be hung at the middle point of each window, one hung so as to roll down from the middle, and one so as to roll up by means of the cord and wheel made for this purpose.

The shade which unrolls toward the top should be hung below the one which unrolls towards the bottom, so that there will be no crack left between the shades when unrolled. The shade going up unrolls behind the rod of the one unrolling downward, and, of course, the one unrolling downward must unroll in front of and over the rod of the one which unrolls upwards. Notice this in the cut.

If one shade only is used, it should, by all means, be hung at the bottom of the window and roll up. If it is fastened at the top of the window, it is impossible to shut out the light from the lower half of the window without darkening the entire window. It is frequently desirable to darken only the bottom half of the window in order to shut off direct sunlight from the pupils near the window and still leave the upper half open for light. If the windows have been built so as to extend nearly to the ceiling this will still leave a large window surface, giving a strong diffused light, which is best. Furthermore, shades which must be let down from the top will often rattle and become very noisy when the windows are slightly lowered for ventilation.

The obvious objections to double shades hung at the middle of the windows are: 1st, they are not ornamental; and 2nd, they cast a disagreeable shadow in the room, when they are not unrolled. In spite of these objections, they are the best protection yet offered, unless an excellent quality of shade be fastened at the bottom of the window and made to roll up in well made grooves. A moderately cheap fixture will not stand the long roll from the bottom to the top of high windows without frequently getting out of fix. It is poor economy to buy cheap shades or fixtures. Heavy and dark colored opaque shades shut out too much light.

What is needed is something to soften and diffuse the direct sunlight. A light sage (bisque) and other lighter shades of the hand made tint and the Bancroft sun fast Hollands are considered by Eowe the most satisfactory. Morrison recommends highly a white muslin of light weight. The Texas sun is probably too bright and too hot for a white shade.

Unless the shades are fitted to run in grooves they should overlap the window sashes several inches, else annoying streaks of light will creep in on the sides as the wind blows the shade about. Venetian blinds are, perhaps, next best to good double shades fastened at the middle, or one excellent shade fastened at the bottom. The objections to Venetian blinds are that they are costly, harbor much dust, get out of fix and wear out easily. Inside blinds exclude too much light when one attempts to shut out the direct sunlight. They catch and hold dust and germs and are in the way of window gardens or other decorations for the windows.

{ 4 comments }

It is a known fact that the patios of Spain are, as a rule, more beautiful and sumptuous than those of Latin America, but the latter have the attractiveness of their tropical flowers which remind one strongly of those of Andalusia, filled with the delicate perfumes of orange-trees and carnations.

The patios of Castile, Leon and Aragon are serious and magnificent in the old manorial houses as well as in the castles, and those of Andalusia are so extremely beautiful that they can never be cast into oblivion once a person has seen them.

In some cities, such as Seville, the patios are, in truth, their glory and pride, and there are some worthy, indeed, of the traditions of the Arabs, being so beautiful and attractive that it is still said in Spain that when a wealthy person of Seville would have a house built he would order the architect as follows: “Make me a patio, and with what is left, a house.” And thus the Spanish patios have become famous the world over. They combine the peace and silence of the monastic cloisters with the pagan gaiety and beauty of the Arabic and Pompeian yards.

Transplanted Patios

You will undoubtedly  understand why in all Latin America the patios constitute the most interesting themes and current topics of the day.

The Spanish conquerors and colonizers settled in America from California to the extreme South. Even today in the old cities on the Pacific Coast Americans are able to find vestiges of these patios.

Those of Mexico, Cuba and other Latin American countries remind us of the Spanish patios. They are generally made of rubblework, are whitewashed, and their pavement is made of brick.

Those of Spain have the columns of the gallery made of marble and in the walls of the interior of the gallery high friezes of Mooresque glazed tile, of vivid colors, precious drawings and iridescent reflections open to the light of the sun and moon, which can easily reach them.

In the center of the Spanish patio there is nearly always a well with artistic ironwork, and in those of Andalusia a fountain around which flowers and plants grow profusely.

In the patios of America there are flowers, too, and fountains, the latter being of Oriental origin and design.

These patios of classic Spanish architecture are reached from the street by the zaguan or corridor which is closed with a magnificent front door grating of iron.

Across the patio, in front of this entrance, is located another grating leading to the garden which extends itself behind the house.

When the house has a top floor, the stairway on one of the sides of the gallery leads one to the interior of the building, without detracting from the beauty of the patio.

This form of stairway, however, is rather an adaptation, made previously by the Spaniards themselves in the colonies, than the classic manner of developing the stairs in the native country. So it may truthfully be stated that the Spanish houses of Latin America have their origin in the Far East, having gone through a period of development in Greece and Pompeii, and having been inspired as well by the Arabic influence, which in Spain has left such wonderful works of art as the Alhambra of Granada and the Alcazar of Seville, these being in truth the realiza’tion of the Arabian Nights in all their glorious splendor of a phantasy lit by the legendary torch of Mahomet, for which the most celebrated artisans of India. Bagdad and Damascus came,—to finally reach the world of Columbus where their peculiar beauty is reproduced under the golden rays of the tropical sun and the moonlit nights of the western latitudes, in the midst of the splendors and sublimity of Mother Nature, astonishingly luxuriant.

{ 0 comments }