ch is so easily controlled in direction,
distribution, and color, and draw upon its potentiality. Not only is it
easy to provide a lighting suitable to the mood or to the function of an
interior but it is possible to obtain some variety in effect so that the
lighting may always suit the occasion. A study of nature's lighting
reveals one great principle, namely, variety. Mankind demands variety in
most of his activities. Work is varied and alternated with recreation.
Meals are not always the same. Clothing, decorations, and furnishings
are relieved of monotony. One of the most potent features of artificial
light is the ease with which variety may be obtained. In obtaining
relief from the monotony of decorations and furnishings, considerable
expense and inconvenience are inevitably encountered. With an adequate
supply of outlets, circuits, and controls a wide variety of lighting
effects may be obtained with perhaps an insignificant increase in the
initial investment. Variety is the spice of lighting as well as of life.

These various principles of lighting are readily exemplified in the
lighting of the home, which is discussed in another chapter. The church
is even a better example of the expressive possibilities of lighting.
The architectural features are generally of a certain period and first
of all it is essential to harmonize the lighting effect with that of the
architectural and decorative scheme. Obviously, the dark-stained ceiling
of a certain type of church would not be flooded with light. The fact
that it is made dark by staining precludes such a procedure in lighting.
The characteristics of creeds are distinctly different and these are to
some extent exemplified by the lines of the architecture of their
churches. In the same way the lighting effect may be harmonized with the
creed and the spirit of the interior. The lighting may always be
dignified, impressive, and congruous. Few churches are properly lighted
with a high intensity of illumination; moderate lighting is more
appropriate, for it is conducive to the spirit of worship. In some
creeds a dominant note is extreme penitence and severity. The
architecture may possess harsh outlines, and this severity or extreme
solemnity may be expressed in lighting by harsher contrasts, although
this does not mean that the lighting must be glaring. On the other hand,
in a certain modern creed the dominant note appears to be cheerfulness.
The spacious interiors of the chu