neral, is to
disintegrate and decompose, thus giving "vibration" as it is called. A
knowledge of these and kindred facts will save the architect from many
disappointments and enable him to obtain wonderful chromatic effects
by simple means.

Many architects unused to color problems design their ornament with
very little thought about the colors which they propose to employ,
making it an after-consideration; but the two things should be
considered synchronously for the best final effect. There is a cryptic
saying that "color is at right angles to form," that is, color is
capable of making surfaces advance toward or recede from the eye, just
as modelling does; and for this reason, if color is used, a great deal
of modelling may be dispensed with. If a receding color is used on a
recessed plane, it deepens that plane unduly; while on the other hand
if a color which refuses to recede--like yellow for example--is used
where depth is wanted, the receding plane and the approaching color
neutralize one another, resulting in an effect of flatness not
intended. The tyro should not complicate his problem by combining
color with high relief modelling, bringing inevitably in the element
of light and shade. He should leave that for older hands and concern
himself rather with flat or nearly flat surfaces, using his modelling
much as the worker in cloisonne uses his little rims of brass--to
confine and define each color within its own allotted area. Then,
as he gains experience, he may gradually enrich his pattern by the
addition of the element of light and shade, should he so decide.

Now as to certain general considerations in relation to the
appropriate and logical use of ceramics in the construction and
adornment of buildings, exterior and interior. In our northern
latitudes care should be taken that ceramics are not used in places
and in ways where the accumulation of snow and ice render the joints
subject to alternate freezing and thawing, for in such case, unless
the joints are protected with metal, the units will work loose in
time. On vertical surfaces such protection is not necessary; the use
of ceramics should therefore be confined for the most part to such
surfaces: for friezes, panels, door and window architraves, and the
like. When it is desirable for aesthetic reasons to tie a series of
windows together vertically by means of some "fill" of a material
different from that of the body of the wall, ceramics lend themselve