Second Bedroom. If this room communicates with the first (a portion of which is shown in Plate 59) it should by all means be in the same colouring of green, rose and white. This does not presuppose monotony but harmony, and variety may be gained in numerous other ways: in the disposition of the furniture, in the treatment of the bed and the windows and in the smaller objects, for instance. Other small variations may be made, such as using plain or self-figured rose for the chairs, instead of cretonne. Indeed, cretonne has been so greatly employed of late years that restraint in this respect is advisable. If the two rooms do not communicate we may use blue as the secondary colour, and of this scheme a colour chart is given (Plate 61). The paper might be of the narrow stripe in cream and grey: and we might add that this colour-combination in any form is excellent for either a warm or cold exposure. The rugs should be mainly or entirely of blue. The chair-coverings may be in any material (perhaps tapestry) giving approximately the shades and proportions of the sample - the blues not too bright and greater in quantity than the rose. Or these coverings may be in rose and an additional supply of blue be introduced elsewhere so as to carry it through. A room is a picture painted with materials of various sorts instead of with pigment, and the principles in both arts are the same - the prominent colours should not be in one spot of each only but be judiciously distributed in smaller quantities elsewhere as well. A screen might be in blue, or better still in blue and grey, the grey harmonising with that in the walls.

So far we have four colours - the blue, the rose, the grey of the walls and the colour of the furniture - perhaps mahogany. We may extend our palette still further. In the sample given in the chart of a possible chair-covering, tans and greens appear with harmony. Into a room furnished much in this general key was recently introduced a canary in a tan Chinese bird-cage with emerald green tassels. It proved an inspiration in the direction of varied colouring.

The blue rugs above referred to should be kept simple. The border or design could be of rose or of quiet tan if there is some quantity of this elsewhere in the room. The shade for the lamp or electric lights had better perhaps be plain rose silk.

It is to be noted that while this colour-scheme has been assigned to a bedroom it is equally available for rooms of other character, and that most of the colour-schemes are interchangeable. They have been thus assigned only to give concreteness, such examples being much more helpful than much loose generality.

Sitting- and Sewing-room. It is with such rooms as these that we may secure charming results at little expense. Let us take as an example the sensible shades of tan or wood-brown, with rose again dominant to carry through the unity of the apartment. The room chosen for such a purpose should naturally have a good light. If it be sunny and warm in tone choose the cooler shades: if it has a north light warmer ones should be selected. The choice of goods is wide and one may readily secure decorative materials from quiet greyish wood-browns to rich and warm tans.

In the chart (Plate 62) is exemplified a rather warm combination, but with cooler paper of a linen shade. It could run into ashes of rose, cream or light buff, if not too strong, and still not essentially depart from the general key of wall surface we are employing throughout, because it will look cooler in combination with the colouring of the other surfaces in the room than it really is.

The assortment of inexpensive rugs at our command is perhaps greater in tans and browns than in other colours, so that we may easily make a choice.

Good general tones for a bordered rug are given in the chart, but it would be well to have some small pattern in the central portion, because every thread dropped in sewing snows upon a solid colour. Any pleasing and harmonious design may be chosen, but it should be quiet if one follows the writers' suggestion that here if anywhere is the place to use cretonnes. Two samples are given in the chart, one a little brighter and cooler than the other. There are many others as good as either, and they run all the way from 75 cents to $4 a yard, or more. Neither of those shown is expensive.

Dining-room. A dining-room should always be most attractive, and we have reserved for it one of the most charming of colour-schemes - pinkish rose and silver grey. As it is not possible to give additional charts, this is omitted, as the general plan has been so fully dealt with that a few observations will be all that are necessary. As usual the quantity of the neutral shade should be larger than of the dominant, pink-rose. The rug had better therefore be of grey, though it may contain rose or have a rose border. If the sideboard is of the Sheraton type with brass rail for a curtain this latter may be of one of the beautiful pink-rose and silver-grey stripes, in which the satin of the grey lights up with a silvery sheen. The screen before the serving table may be of the same, as this material possesses both quiet style and elegance. The lights may be shaded with rose, casting a warm glow over the room. It would be much better with this combination to have the side-lights and candlesticks of silver finish rather than of brass.

While we have taken rose as the dominant note throughout there are other shades of red which might be chosen; such as Burgundy or a soft crimson. These are darker and less luminous than rose and would require more discrimination to blend happily.

When we have said that either yellow or orange may be used as the dominant over blue, green, grey, or tan, and in combination therewith, we have covered the whole-gamut of colour, for the shades of any of these may be infinitely varied provided that harmony is preserved. If one prefers the still more softened and greyish tones to those given they may as readily be used, but in the proper proportions of the colours in the actual atmosphere of a room all of the schemes will be mellow and harmonious.

Violet has not specifically been mentioned, though it may well take its place among the blending of colours in cretonnes, tapestries, etc. In its pure tones it is a difficult colour to carry through a series of rooms. When used its natural relief is gold or cream colour or both. Grey mauve is a delicate and beautiful colour for a boudoir but inappropriate for more robust rooms.

It may here again be said that as the materials used in the colour charts and mentioned in this section are variable in many directions, the same idea may be carried out irrespective of the employment of cosily or inexpensive goods. It is naturally difficult to suit all circumstances, as one reader may be able to use antique furniture, rare fabrics, Ming vases and costly rags, and another, who deserves equal attention, may be limited in means but mightily interested in the improvement of his home.

Though such immense variety has already been provided for, this plan extends still further in its scope. One dominant may rule two quieter shades of approximately equal quantity as, for instance, rose or yellow over green and tan. Nor have we as yet considered the correlative idea.