Page:The Poetry of Architecture.djvu/234

222 allowable in small quantities, particularly on the border of a large and softly shored lake, like Windermere and the foot of Loch Lomond; but cream-colour, and putty-colour, and the other varieties of plaster colour, are inexcusable. If more warmth is required by the situation than the sun will give on white, the building should be darkened at once. A warm, rich grey is always beautiful in any place and under every circumstance; and, in fact, unless the proprietor likes to be kept damp like a travelling codfish, by trees about his house and close to it (which, if it be white, he must have, to prevent glare), such a grey is the only colour which will be beautiful, or even innocent. The difficulty is to obtain it; and this naturally leads to the question of material. If the colour is to be white, we can have no ornament, for the shadows would make it far too conspicuous, and we should get only tawdriness. The simple forms may be executed in anything that will stand wet; and the roofs, in all cases, should be of the coarse slate of the country, as rudely put on as possible. They must be kept clear of moss and conspicuous vegetation, or there will be an improper appearance of decay; but the more lichenous the better, and the rougher the slate the sooner it is coloured. If the colour is to be grey, we may use the grey primitive limestone, which is not ragged on the edges, without preparing the blocks too smoothly; or the more compact and pale-coloured slate, which is frequently done in Westmoreland; and execute the ornaments in any very coarse dark marble. Greenstone is an