264 COTTAGE, FARM, AND VILLA ARCHITECTURE. other the brush, with the colour which he thinks it desirable to put on first, and strikes the head of the brush against the stick, so as to bespatter the wall with the colour. The taste of the artist must be his guide, as to the quantity of each colour which he throws on, and also as to the number of colours to be employed; but in neither case will he be at any loss, if he keeps the object to be imitated steadily in view. The first brushful of colour falls on the wall in circular patches, from -^ to j|- of an inch in diameter ; the second brushful adds to the number of these round patches, and enlarges many of them, either by falling thickly among several, and joining them into one irregular blotch ; or by falling on two or three, or on only one of the previous spots, and forming with it either an oval, or the figure 8. If we suppose the same process continued, on the same portion of surface, with different colours, it will be evident, that not only the shapes of the patches will be further altered by the addition of each splash of colour, but that their colours also will be varied. In this manner the process of splashing is carried on ; and the result is obtained partly by chance, though chiefly by the skill of the artist. This kuid of painting is less applicable to cottages than it is to imitations of rocks in garden scenery, and to Gothic buildings of a considerable size. In cottages, however, it may sometimes be usefully employed in colouring the imitations of stone or brick bond, where the rest of the walling is stuccoed, roughcast, or plastered j and, at all events, it is good to know every source of varied expression. 543. Ill whitewashing, colouring, or painting the exterior tvaUs of buildings, the young Architect must constantly bear in mind that there are two objects in view; viz., the pro- tection of the wall from the weather, and the production of a colour suitable to the object coloured, and agreeable to the eye. The protection of the wall is effected with glutinous or oil paints, by excluding it from all kinds of atmospherical influence, exce]:>t that of change of temperature. The same object, but in a less degree, is pro- duced by washes composed of lime or cement ; which, while they do not prevent the atmosphere from evaporating the moisture of the wall in dry warm weather, yet exclude from its surface driving rains. The colouring matter in either of these cases is of very little consequence, so far as respects the protection of the wall. By having a clear idea of the purposes to be effected by colouring and painting, the Architect will know when to direct, or the cottager when to employ, colours or washes which will protect the wall from the drying influence of the atmosphere ; and when such other colours and washes as will admit that influence ought to be preferred. 544. On painting the ivooclwork of the outsides of cottages little need here be said. If the wood be not thoroughly seasoned, it should not be painted with oil colours till it become so. It may be washed over in the mean time with water colours, or stained with nitrous acid, and dyed with logwood for immediate effect. We allude chiefly to the doors and windows. The larger outside timbers in cottages, especially those built of studwork and nogging, in countries where labour is abundant and paint dear, may be charred by the application of fire before being put up. We have seen buildings, the timbers of which had been treated in this manner, in France and Germany ; and in Switzerland we have seen cottages in which the timbers had been charred, after having been put up, by the application of red-hot iron. The practice is not uncommon in some parts of Russia, not with a view to preservation, but for the purjjose of ornamenting the very curious barge boards and gable ends which are sometimes seen on the cottages of enfranchised serfs in that country. The cheapest paint for the outside timber-work of common cottages in Britain is coal tar or gas liquor, which should be laid on hot during summer, when the timber is not only dry, but warm, and of which two or more coats, at intervals of two or three weeks, should be given, according to the nature of the timber, so as completely to saturate its pores. The colour cannot be called beautiful at first, but in the course of a year or two it assumes a subdued greyish tone, from the surface fibres of the wood becoming bleached by the atmosphere. Coal tar will, however, be suf- ficiently softened by the heat of the sun, to stick to clothes, or any thing that touches it, for three years ; but is an excellent preserver where it can be used without incon- venience. 545. The tiles, slates, and other roofing materials of cottages, may be painted exactly in the same manner as the walls ; but this can only be desirable with certain materials of a perishable nature, such as timber ; or ■with others of a harsh glaring colour, such as red tiles. The latter will .be greatly improved, both in durability and appearance, by being rubbed over or soaked in any greasy or oily matter, or by being painted with tar or gas li<]uor, before being put on the roof. But the best mode of colouring tiles and bricks is by mixing chalk, or ochres, or other oxides, with the clay, while it is being prepared for the mould. The tiled roofs of cottage lodges are sometimes splashed with oil colour, and the effect of age very successfully produced. 546. The best description of paint, for all kinds of outside work, is such as is formed by ground glass bottles, scoria from lead-works, burnt oyster-shells, and the required
