sheathing-felt, or some equivalent material, may be recommended, and
especially a double plastering inside,--not the common "back-plastering,"
but two separate compact surfaces of lime and sand, inside the frame.

The position, the internal arrangement, and the material being
determined upon, the next point is that the structure shall be as little
of an eyesore as we can make it. Do what we will, every house, as long
as it is new, is a standing defiance to the landscape. In color,
texture, and form, it disconnects itself and resists assimilation to its
surroundings. The "gentle incorporation into the scenery of Nature,"
that Wordsworth demands, is the most difficult point to effect, as well
as the most needful. This makes the importance of a background of trees,
of shrubs, and creepers, and the uniting lines of sheds, piazzas, etc.,
mediating and easing off the shock which the upstart mass inflicts upon
the eye. Hence Sir Joshua Reynolds's rule for the color of a house, to
imitate the tint of the soil where it is to stand. Hence the advantage
of a well-assured base and generally of a pyramidal outline, because
this is the figure of braced and balanced equilibrium, assured to all
natural objects by the slow operation of natural laws, which we must
take care not to violate in our haste, unless for due cause shown.

We hear much of the importance of proportions, but the main point
generally is that the house be not too high. This is the most universal
difficulty, particularly in small houses, the area being diminished, but
not the height of stories. In this respect the old farm-houses had a
great advantage, and this is a main element in their good effect,--aided
as it is by the height of the roof; for a high roof will often make a
building seem lower than it would with a low roof or none at all. The
dreary effect of the flat-roofed houses in the neighborhood of New York
is due partly to the unrelieved height, and partly to the unfinished or