Numerous colour combinations will be suggested throughout the following sections on actual furnishing, but it is needful that the general management of colour should have attention here.

There are many to whom an arrangement in colour, in environment and attire, is a matter of daily familiarity. Others seem to consider that there is something esoteric, mysterious, and beyond their ken in the term and in the thing itself.

But such a scheme is merely the general plan of colour. One would scarcely dream of building a house without a plan, and a very detailed one at that. Colour is quite as important as form in its effect, and yet there are some who simply buy what takes their momentary fancy, irrespective of its hue according with what is already in the house or with the next purchase that may be made.

The suggesting of a colour-scheme (or a score of them) for single rooms is a very easy matter to one familiar with the subject; and this, by the way, is all that writers usually attempt to do; the real problem has almost universally been "side-stepped".

It is a problem, and to be thorough-going it must be faced. The first move is clearly to state it.

I: If the premises consist of a number of rooms, we do not dwell in one only; consequently the premises constitute the unit - one room does not constitute it.

II: There should be some sort of unity in the colouring of those rooms which will lead us to feel that the house or apartment is one coherent dwelling and not a number of samples of colouring.

III: Within the scope of that unity there should exist variety and interest. Repetition of however beautiful and harmonious an effect leads but to monotony, and if long continued to homicidal instincts on the part of the irritable.

IV: The provider of a system of colouring should give the greatest possible scope to that variety, whether the householder chooses to take the fullest advantage of all its facilities or not.

The writer has given much thought to the subject and concludes that the best solution of the problem is to use a triad of colours for the stronger tones, with combinations of them where advisable, and to add to these the more neutralised tones, such as citron, fawn, slate and tan, with the highly neutralised tints for plain surfaces. This plan will immediately be made so clear that it may be understood by anyone.

As we have seen, two colours, with neutrals, may afford a very beautiful effect: a greyed blue and a buff as the principal hues of a room, with a sufficiency of old ivory or soft grey in the background, compose an exquisite harmony: yet that room will not then be so delightful as if a bowl of roses is brought into it. If these flowers contain some cream in their tints - thus uniting them with the buff tones employed - the harmony will be even more complete. Let us reiterate that the eye will never fully be satisfied unless all the three colours composing white light are in some degree present.

Furthermore - two colours, only, almost inevitably give an arranged and artificial effect decidedly to be avoided in the home. And, how should we be able to carry such a limited colouring as blue and buff through a series of rooms without producing monotony?

In the previous sections we saw that the two principal triads are those of the primitive colors, yellow, red, and blue, and of the secondary colours, orange, green, and violet. We may take either as a basis, but shall find that in using the first we may also avail ourselves of some of the second, each of them being composed by a combination of two of the primary colours. We also found that modified hues are both more generally agreeable to us and far easier to harmonise than the bright, prismatic colours.

The method is therefore simple, yet the requirements are filled. Use a background of neutral tint, some rather stronger but still quiet colouring, and then for the strongest hues somewhat modified tones of either triad, with some combinations if desired. Black, a neutral in colour but strong in accent, is also most valuable.

The modified yellows include such hues as primrose, buffs, tans, and yellow browns. Among the reds are rose, crushed raspberry, burgundy, and mulberry, with the salmon and brickish shades, less generally desirable but sometimes available. The blues include the greyed and the somewhat purplish and greenish shades.

The other triad similarly includes the less bright hues of orange, green, and violet.

It will be seen how wide is the latitude possible through the different quantities in which the various colours are used in the several rooms; the very diverse places in which they are employed; the difference in their shades; and through the addition of combinations in fabrics and various articles introducing a number of colours and tones.

The plan mentioned in "The Practical Book of Interior Decoration" often works out practically to the same result, but this is an even simpler statement and affords a still fuller palette; for, be it remembered, in furnishing the home we are simply painting a picture, but using the colours of the elements we employ instead of artists' pigments.

As previously mentioned, abundant illustrations of the working of this system will be supplied as we proceed.