reference to interior decoration, furniture and the like, properly to be taken up as a separate study.*

It can only be observed that a certain degree of consistency should be apparent in the exterior and interior of any building. The house of architecturally pretentious or imposing exterior should not conceal mean interiors, nor should the humble cottage house within its walls disproportionately elaborate or magnificent interiors. Here one invades the realm of "good taste" in general, as well as of architectural propriety in particular, and the best rules which could be formulated would not prove of as great value as an ounce of common sense.

In the following chapter there will be considered several important aspects of the proposed house which may be regarded as existing irrespectively of the architectural style in which it is designed, or of the materials which have been chosen as most appropriate for the rendering of that style.

"The Practical Book of Interior Decoration" is already in advanced preparation and will be issued in 1917.

CHAPTER IV

PLANS AND DETAILS

DIFFERENT KINDS OF PLANS. IMPORTANCE OF A DEFINITE METHOD OF PROCEDURE IN DEVELOPING BOTH PLANS AND DETAILS. NOTES ON WINDOWS, DOORS, CHIMNEYS, STAIRWAYS, ETC. WOODWORK, INTERIOR TRIM AND FINISH, HARDWARE, LIGHTING AND PLUMBING FIXTURES, ETC. THE BEST MANNER IN WHICH TO INSURE THE FULFILMENT OF REQUIREMENTS

T is the purpose of this chapter to offer a few general suggestions to the prospective builder in matters relating to plan and detail-suggestions designed to stimulate observation of houses seen, and study of houses which may attract attention through the pages of a magazine. And it should be kept in mind that these suggestions are not to be taken, necessarily, as recommendations, because nearly every house involves different problems and requirements. Having given thought to some of the following points, however, the prospective builder will be better equipped to discuss them with his architect. Advice which is didactic and specific, especially in the design of a house, often defeats its own end. The prospective builder, having read somewhere that a certain point is essential, fails to recognize the fact that, in his particular case, it may not only be unessential, but actually detrimental. Having it, however, "on authority," he is inclined to doubt the ability or the integrity of the architect who advises against it. Considerable allusion has been made elsewhere in this book regarding the "advice" of one's friends. In this last chapter the writer, recalling many instances in which "friendly,"

but absolutely ignorant or prejudiced advice has wrecked a building project, feels impelled to make this one last mention of it. It is the one most distressing factor which the architect has to contend with in the practice of his profession, and which the client has to contend with in formulating his ideas.

Nor does the writer wish to commit the same offence of officiousness, and would far prefer that the prospective builder regard the following paragraphs as "things to think about," and not as advice. The thoughtless "adviser" is apt to forget that what is one man's meat is another man's poison, and that the very suggestion which might vastly improve one house might entirely blight another. To the prospective builder, without experience or training, all advice is the same— that of his friends and of the popular magazine articles. The mistake he usually makes is in failing to lay all his doubts and fears before his architect-the man for whose trained professional opinions and guidance he is paying a fee.

Certain features of plans exist irrespective of the style of the house, while certain other features are influenced by style or by some other factor.

Proceeding on this fact, it might be stated that provision for the individual's family needs will govern the plan in any case, be it large or small, regular or irregular. Certain features which he personally desires will be provided for whether the style be English or Italian, the cost $10,000 or ten times that amount.

Beyond this, however, the very basis of the plan may be dictated by the historic style of the house, or by the site it is to occupy. A house of formal, balanced design would ill-grace a rocky hill-top, even if it could be practically carried out, whereas such a site should

at once dictate a house of irregular and picturesque plan, in conformity with the irregular and picturesque exterior aspect it should present.

While it is never advisable to "develop" a plan from an exterior, it is evident that certain types of exterior will, to some extent, govern the plan, and certain exterior features will need to be provided for within. The proper procedure is to develop plan and exterior coincidently, so that each logically expresses the other. Such development, carried out with perfect balance and harmony, is "architecture," and is the kind of dual designing which the architect's training has taught him to perform. The amateur's tendency is to visualise only the plan, or only the exterior, with the result that when plan and exterior come to be worked together, many features will be found incongruous, incompatible or inconsistent, and will need to be changed. The problem is not unlike that of the development of the successive floor-plans, which must not only be convenient and logical in themselves, but in relation with each other.

The relationship of plan to style is more obvious, and even an amateur realises that a Southern manor, for example, which presents superficially a central colonnaded portico with two uniform wings on either side, must present within a plan possessing, fundamentally, symmetry. A rambling English country house, on the other hand, expresses by its informality and irregularity the fact that its plan is full of unexpected turns, with wings splaying off from the main house at angles, and with no system of axial balance or alignment.

In this relationship, the prospective builder must remember that some degree of consistency should be

observed-if he wishes a picturesque and irregular exterior, he cannot expect, within, a symmetrical and axial plan: if his dreams have centred about a quaint, rambling plan, full of unexpected architectural vagaries, he must dismiss all thought of anything resembling a classic Georgian exterior.

Governing the entire proposition of the plan, however, should be the actual practical needs of the family which is to occupy it. And in order to secure the best results from the architect's work, the prospective builder should, at the outset, acquaint the architect with every detail of the family needs. A studio? a nursery or play-room? a music-room? a study or library?—these requirements must form the basis of the plan, if the house is to be an abode of permanent satisfaction.

The plan of the large house presents comparatively few difficulties. Its site is ample, the expenditure for its erection is ample, and the architect finds it a relatively simple matter to include due provision for his client's every need and requirement.

The plan of the small house is a very different matter, the problem resolving itself into a test of architectural ingenuity. The site may be restricted, the expenditure undoubtedly is restricted-the architect's task is to develop a pleasing, convenient and adequate abode in spite of these restrictions.

It is safe to say that the usual mistake in the small house plan lies in lack of foresight, and the result is a cramped plan, made up of a number of small rooms. The plan of any small house which is intended as a permanent abode, should be definitely laid out with a view to future enlargement and addition. In this way it is possible to commence building operations with a