Reviewing the preceding sections, what do we find our equipment of colour for practical household use to be?

First, there are the normal hues of bright colour - best employed but in small quantity, and with much judgment, for accent and the giving of special interest. We shall see, later, that these are best introduced in the accessories of furnishing.

Then we have the tones. Good, clear, soft tones of all the six primary and secondary colours agree easily because of the harmonising quality of the white which has modified them. Into some a small proportion of black or colour may enter, but not enough to act as a disturbing element. These tones are the soft yellows, salmons, buff, tan, rose, grey-blues, soft violet, and apple and bluish greens. A selection from these, made in accordance with the principles mentioned, and which will be exemplified in subsequent sections, may be used in larger quantity than the brighter hues, and they are therefore most appropriate for the textiles employed (upholstery, rugs, and curtains) and also for accessories.

"Muddy" tones are those too much modified by other colours and black to be agreeable, and they always will be found difficult to harmonise. The writer remembers seeing a "colour-scheme" of terra-cotta red, dreary green and mauve. It was naturally hopeless - the first two tones were muddy, and these were further complicated by the mauve (violet and white) which was bright and rather artificial.

The tints are still lighter, and, except in the instances mentioned, will not be found to clash with each other or the tones - cold bluish or greenish tints in opposition to warm hues are the main combinations to be avoided. Because of their neutrality, tints may be used in large quantity and they are particularly appropriate therefore for backgrounds.

Shades are deeper, richer, and at the same time quieter in hue than the normal colours and so may be used in larger quantity than they.

The colours as divided by the prism fuse back into white light, but our pigments are material and when mixed together in their full power produce black.

White is our nearest approach to the light of nature (though yellow gives a more sunny appearance) and black is the absence of light. These two and the greys principally composed of them are neutrals and may accompany any hues.

Another great resource is that of commingled colour. In pottery, oriental rugs, embroidery, tapestries, and other textiles we find a number of hues all harmoniously blended: when any of these are appropriately introduced into a room an. added colour-effect is obtained without disturbance. In simple houses the beautiful printed linens and Roman stripes as well as chintzes and cretonnes of good design and colouring will therefore be of value. Cretonnes have, however, been so extensively employed of late years that it is best to avoid those of usual design and character.

The quantity and quality of the light penetrating the various rooms has a very considerable effect upon colour. If a room be somewhat dark its colouring will naturally appear not only darker but quieter than where the light is brilliant. If the room has a cool light the hues will be cooler than if a sunny effect prevails'. To counteract the effect of light we continually see it advocated that cool colours be used in a sunny room and vice versa. We should naturally allow for the actual difference made by natural light, but not go to the length of upsetting the general harmony of the abode, as has sometimes been done through a too earnest following of advice which has not been sufficiently qualified. A slight preponderance of warm tone over the general average in a room with cool light, and the opposite in a sunny room, will be sufficient.

Closely allied to this is the question of the quality of colour in city - as opposed to country-houses. Here, too, it does not seem to the writer that the circumstances have been sufficiently considered. A larger use of blues and greens is often advised for the country-house: but what country house? Let us differentiate. If it is used only as a summer residence it should certainly give the impression of coolness. On the other hand such a house is more informal and, as connected with outdoor life and sports, may well have more gaiety than the city abode. We should naturally not fill it with hot colour (nor should we so bedeck the city home) but is not the effect of coolness better gained by an absence of all crowding and "'fussiness"? With this feeling of repose and spaciousness secured we may well introduce a good degree of liveliness in colour and so obtain an appropriate summer menage. Nor should it be forgotten that in the country during the summer there is an abundance of blue and green outside, visible through open doors and windows, and that this coolness of light also penetrates all but sun-lit rooms. Then, too, with this prevalence of cool tones without the house do we not need a certain degree of contrast within?

If the country-house is to be the home throughout the year the writer confesses that he sees little difference in the amount of color to be employed between that and the city-house. Appropriateness to season and an agreeable variety may be obtained in either by putting away during the warm weather many furnishings and accessories that in the winter embellish the home. As lightness, both of weight and colour, has much to do with a cool effect, summer draperies and rugs may take the place of heavier ones and the furniture be covered with chintz or linen. Briefly, then, we may use less colour during the warm season if so desired, but not necessarily so if the weights and tones be lighter and more refreshing. Plate 2 shows an interior that would seem to be appropriate for any season.