One great advantage architects possess in our clear atmosphere is the strong contrast of light and shade which assists materially in producing good effects in building. The introduction of irregularities, such as projections of roofs, canopies, verandas, and bay-windows, together with the intersections of gables, dormers, and the height of chimneys, serve to break up the bare formality of the usual barn-like outline, and to obtain the ever-varying sentiment and expression which the GREAT ARCHITECT never fails to give to all his rocks and hills. Light and shade are the happiest instruments of design, and most easily procured in our climate, and are ever ready to give new life and spirit to forms properly managed for their play. The repetition of the perforated barge boards in shadow against the walls, always making new interpretations of its patterns, shows how delicately and tenderly Nature assists the sympathetic architect.

In cities, where the great value of land almost precludes the designer from availing himself of these opposing masses, which can be produced in emphasis only by costly irregularities of plan, and large re-entering angles of outer walls, it seems necessary to resort to some other expedient, where delicacy of line is not considered a sufficient substitute for the more massive effects of chiaro-oscuro. The luxurious and sensuous peoples of the East, not content with the more serious and sober habits of design of the North, were accustomed to break their sky lines with pierced parapets and lily patterns, with swelling domes, with endless pinnacles and fantastic minarets, to a degree never thought of elsewhere, and availed themselves of strong and vivid contrasts of bright colors. It would be well for us to take a lesson from the Eastern nations in this respect, and, while repudiating, perhaps, as undignified any complete adaptation of their endless fancies of form, to study their picturesque use of external colors, and let the walls of our cities assume new life and meaning by contrasting tints of various bricks, stones, and brilliant tiles. This source of design, if used with discretion in our metropolitan structures, would effect the happiest results, and preserve their architecture from inanity and insipidity.

But in the country, where growth of shapes and forms is unchecked by any consideration of economy of space, it seems almost superfluous to use decorative external color to any great extent-certainly, we think, never for its own sake, as in the town; but so far as it may serve to protect wooden surfaces, to assist in giving expression to form, and to harmonize masses with the nature around, its employment is of great value. It is, then, important to know by what rule we are to be governed in the use of colors

under these circumstances. It is evident that the general tint covering the plain surface of a small house, surrounded by trees, should be light and cheerful, warın in its tone, and of a neutral rather than positive character, as the former very readily harmonizes with nature. But do not fall into the opposite extreme, and paint your house white, which is no color at all, always cold and glaring, and making an ugly spot in the landscape: we find nothing to warrant so forcible an intrusion. A white building might not be so objectionable in the city, where we have no nature with which to assimilate and work; but in the country, nothing but snow and chalk cliffs are white, and these put out the eyes by their intensity. Choose, then, any of the hundred soft, neutral tints which may afford to your house the cheerfulness or dignity it may require. These are to be determined chiefly by its location and size. A house of large and commanding proportions, occupying a conspicuous place in the scenery, would present a ludicrous appearance if painted a light color; while one of smaller size, subordinate to its natural surroundings and well shaded by trees, would, if painted dark, give an impression of gloom.

Having selected the general tint, the trimmings should be of a darker shade of the same, or a deeper color, to give them prominence and assist in bringing out the design, though they should be rather in harmony than in violent contrast. As a general rule, any trimmings forming a frame to a panel should be darker than the background or body of the house; as also, the stiles of a door should be more emphasized than the panel.

I would not have it supposed that positive colors cannot be employed to advantage on the exteriors of country houses. For example, green as the color for the blinds not only has a cool and cheerful effect, but seems to be that chosen by Nature in which to clothe her natural bowers. Still, if neutral tints are used on the body of the house, green is apt to appear in too violent contrast unless a line of some other harmonizing color be interposed. If the general tone of the house is drab or olive, a line of Indian red between this and the blinds would produce a relief. But in coloring our houses it is certainly well to follow the architect's advice, since an improper application of paint might quite nullify the effect of his design, and render that ridiculous which was intended to be dignified; small, that which was to appear large; and obtrusive, that which was to appear modest and retiring.

By a judicious subordination of various tints, many errors and incongruities may be lessened or quite concealed, and the good points of design be properly emphasized and made to assume a worthy prominence in the composition.

It is well for the architect, in studying the colors for a house, to make a tinted drawing of one or two of the elevations, in order to give the painter an intelligible idea of what is required. The great difficulty is, however, in exactly matching these colors, and the slightest variation often destroys the effect. I have been much assisted in this by using the sample card of some of our manufacturers, by which the painter is enabled to order the exact colors, mixed and ready for use, by simply sending the number of the sample. I lay particular stress on the architect's directing the arrangement of the colors, as so many buildings are utterly spoiled by this important branch being taken out of his hands and intrusted to the mercies of the painter. Many of them are color-blind; and if they are unable, from their own skill, to match the sample given them, how much less should they be trusted with the original selection!

In the course of conversation between a gentleman and a painter regarding the color of a house, the latter remarked, with the same authoritative air in which a modiste would lay down the fashion to her customer, "We don't trin as much as we did, sir," thus stupidly establishing a change of fashion, governed by no rule or reason, and tacitly acknowledging that if he were right at the present time, he must have been wrong last season. The fact is, the laws of color are such that they cannot be regulated by ignorant caprice. We may improve as the science of art advances, but to imagine that they can be changed by mere vulgar prejudice is beneath intelligent consideration.

Upon any portion of the house receding from the façade, such as an alcoved balcony or recessed door-way, when deeply sunken, positive colors would be in keeping, as they have the appearance of protection from the weather, and form brilliant contrasts with the neutral tints of the exterior, with fittings and decorations of soft and delicate hues. Thus, in Design No. 9 the exterior is of neutral buff, the sides of the embrasure are painted a deep ultramarine green; the trimmings of Indian red are relieved by lines of black, while the coved ceiling is of brilliant blue.

Some years ago it was quite customary to paint houses a sort of dirty yellow, which custom arose from the fact that Mr. Downing, in giving some figurative instructions as to the color employed, said: "Pluck from the ground the roots of the grass, and the color of the earth thereon will be the color of the house." Now, the gist of this was that the color of the house should be in harmony with the landscape; but some of his unimaginative followers failed to see that it was not to be taken literally, and hence arose a fashion which, we are glad to see, has gone by, of painting houses an offensive mud color.

Painters seem to have the idea that a leader-pipe should be disguised as much as possible, and so paint it the same color as its background; therefore, when it crosses the cornice it is dark, and when arriving at the body of the house, chameleon-like, it assumes the lighter hue.

It is a rule in all good architecture that whatever is necessary in the construction of a building should be accepted in the decoration, and be treated according to its importance in the general design; thus the leader, when viewed in this light, may become a leading feature. For this reason we place it conspicuously on the house, not necessarily following the trimmings, but running boldly down the facade wherever it is required. The top may be made ornamental; and instead of attempting to conceal the pipe, the color should be such as to give it due prominence, which need be neither that of the trimmings nor the body, as its material and use are of so different a character that a color denoting its purpose would be more appropriate. The tube, then, might be made to imitate galvanized iron, and the cap rendered more prominent by decoration.

CHAPTER II.

ECONOMY OF COUNTRY LIFE.

Fluctuations.-Blessings of Poverty.-Small Homes.

OTWITHSTANDING the general prosperity of our country, and the rapidity and ease with which wealth is acquired, there is yet, in the fluctuations of commercial life, a constant liability to serious loss, if not entire reverse of fortune. It is sad to think that our firesides, though far removed from the bustle and keen anxieties of the exchange, are ever sensitive to the mismanagements or misfortunes of a single venture on the dangerous sea of trade. These fluctuations affect all classes of society, compelling them to retrench their expenses-the rich by giving up their carriage and reducing the number of their servants, and sometimes changing their luxurious abodes in town for less pretentious homes in the country; while the "well-to-do" must content themselves with a "flat," where they may be comfortable with one servant, or perhaps sufficiently independent to dispense with one altogether. A lady, in speaking of the blessings of poverty, remarked to me that in her zeal to assist her husband, after misfortune had befallen him, she had persuaded him to take a small house out of town, and that she and her daughter would, as long as they had their health, do the work themselves, stipulating only that the house should be provided with modern conveniences. Although at the time she considered this a great sacrifice, she found, after systematizing their work, that they experienced more comfort, had more cleanliness, and more time for reading and other occupations than when they kept a servant; and it certainly proved far more economical; for joints which were formerly sent from the table and never heard of again, now served for a variety of dishes for several days, and her husband declared that his dinners never tasted so good, nor were so well selected. His approval more than compensated for all their trouble, and they were no longer afraid to talk freely of their affairs on account of the girl's eavesdropping; and altogether her absence was an inexpressible relief. Such families, prostrated by the changes of a day, reared in the midst of refinement and