that will
have a pleasing effect.

Such houses, erected in the vicinity of New York, and many of our large
cities, would add a large value to the ground they stand on, and pay a
handsome rate of interest on their cost; better than any other class of
building investments, as the supply is in nowise equal to the demand. It
is so simple a matter, with present prompt and rapid railroad
facilities, to invite a fair proportion of the young business men of our
large cities to make their homes in the adjoining country, that we
wonder capitalists and real estate owners do not more frequently make
money for themselves and others by erecting tasteful, low-priced
suburban homes.

In former times, a house of this class erected in the country, would be
painted exteriorly a pure white, with no relief, except probably in the
violent contrast of bright green venetian blinds to the windows. This
sort of taste unfortunately still remains, although in the progress of
rural taste and art, the country is much improved in this respect.

[Illustration: FIG. 58.--_Cellar._]

There is a variety of colors, known as neutral tints, which are suitable
for exteriors, and the effect produced by them is altogether pleasing,
while a house painted white can never be an agreeable object in any
landscape, however admirable its architectural proportions and finish
may be.

The tone of color for a house will depend upon its size, form, and
situation, and it often requires a nice and cultivated eye to determine
what would be most appropriate and effective.

[Illustration: FIG. 59.--_First Floor._]

For such a house as this, we should choose a light fawn color--not
yellow--and paint the cornice, window-frames and other projecting and
ornamental parts two or three shades darker than the body of the
building. This will give a depth of shadow and expression which cannot
be obtained in any other way.

Large houses, with massive features of construction, will bear to be
painted with darker colors, but they should not be too sombre, so as to
give a gloomy appearance to the house. The country, with its bright
sunshine, its rich adornments of flowers, and its numberless forms of
beauty and grace, is eminently cheerful. It often happens that the
painter does all he can to mar this cheerfulness and beauty, by
startling contrasts of colors, and by destroying the harmony which
pervades the landscape.

[Illustration: FIG. 60.--_Second Floor._]

DESIGN N