The Milan exchange. (Milan, Gibson County, Tenn.) 1874-1978, 1882-08-05
Painting Houses.

In going through the country, the eye
is wearied by the steady succession of
white houses, usually with green blinds
and red chimneys. Why we see so few
houses of other colors, L am unable to
say. Perhaps white is adhered TO from
force of habit. A house so dazzling in
its whiteness that it could be seen from
anywhere within goodly circle of
miles, like white spot in green map,
was our fathers highest idea of beauty.
We became used to seeing what they
thought was particularly fine, and when
we came to build houses of our own, we
quite naturally did as our fathers did.
The consequence is that white houses
glare at us everywhere we 90. If they
are toned down with trees and vines,
the effect is not so bad, but | can con-
ceive of no more self-asserting and dis
agreeable feature in landscape than a
great white house, standing in an open
yard, unless it is red one In summer
the contrast between a white house and
the landscape is too strong. In winter
there is none.
Before painting house, we should
study the landscape about it, and de-
eide on color that will be in harmony
with it. We do not want green house.
| do not mean that when | say we
should select a color in harmony, but
mean color that is in contrast with the
prevailing tints of the landscape, and
does not conflict with them. There is
no reason why two harmonizing colors
should not be in complete contrast with
each other. A great many people get
the idea that harmony of color means
similarity, and that contrast means con-
t1ict. This is not the case. Drab and
blue contrast strongly with each other,
but there is complete harmony between
them. ,.l. =
For country houses | would advise for
open, exposed places, pale gray, or
drab. There are complaints made fire.
quently that drab looks cold. 1t can
not look colder than white does, and
there is no reason why it should look
cold at all, if proper care is taken to
have the trimmings of the house of
some warm, cheerful color. know a
drab house with deep, warm-toned
brown cornice and blinds, with plenty
of vines clambering up it to break the
monotony of the surface between the
windows, and it is one of the warmest-
looking houses know of. In the sum-
mer it is refreshing to look at it. 1t
does not pain the eyes with its glare. 1t
does not assert itself the moment you
reach the top of the hill and come
within sight of it. A white house would
draw your attention at once; and no
matter how you might try to look at
something else, the white blotch on the
landscape would leave its impression in
your eve, and you could not help seeing
it. This gray house seems part of the
landscape. Its colors blend well with
the green above it. There are no large
trees around it, but there are vines, and
the general effect in summer is cool and
subdued, and in winter it gives sense
of warmth and comfort. Why it gives
a sensation of warmth at one season
and of GOODNESS at another, is explained
by the fact that summer is a season OF
high, bright colors, and the drab is in a
lower tone of color than those prevail
ing in the landscape. Winter is a sea-
son of but little color, and then drab, in
contrast with the snow-covered earth,
becomes cheerful, and the deep toned
trimmings, which should be seen on
every house painted in drabs or grays,
give a sense of warmth which they
would not have in summer when
all about it is in high, decided tones.
am glad that we see fewer new
houses painted white now than for
merly. The taste of the people is being
educated to a more correct knowledge
of what is fitting and appropriate. In
time to come we shall see few white
houses, and no bright red barns to give
us a sense of intense heat and conse-
quent bodily discomfort on a summer