Here are sketches of four common examples of modern work, all of which are within a few yards of our own doors.

No. 1 is a good substantial brick-built house, close to the sea-shore, surrounded by shrubs and a small garden.  The whole building is of a rich warm brown, set off by the darker tints of the woodwork; relieved by the bright shutters, the interior fittings, the flowers in the windows and the surrounding trees.

No. 2 is a common example of square open turret of dark oak, with slated roof; the chimney is of brick and terra-cotta; the frontage of the house is of parti-coloured brickwork with stone facings, &c.

[Illustration]

No. 3 is a round tower at a street corner (the turret forming a charming boudoir, with extensive view); it is built of red and white brick, the slates on the roof are rounded, and the ornamental woodwork is of dark oak—­the lower story of this house is of stone.

No. 4, which forms one end of a large house, is ornamented with light-coloured wooden galleries and carving under the eaves, contrasting charmingly with the blue slating of the roofs and the surface tiling of the frontage—­smooth tiles are introduced exteriorly in diaper patterns, chiefly of the majolica colours, which the wind and rain keep ever bright and fresh-looking, and which no climate seems to affect.  The ornamental woodwork on this house is especially noticeable.[59]

There may be nothing architecturally new in these modern ‘chateaux’ and ‘chalets;’ but it is as well to see what the French are doing, with a climate, in Normandy, much like our own, and with the same interest as ourselves, in building commodious and durable houses.  It is pleasant to see that even French people care no longer to dim their eyesight with bare white walls; that they have had enough of straight lines and shadeless windows; that, in short, they are beginning to appreciate the beauty of thirteenth-century work.

[Illustration]

We have hitherto spoken principally of the architecture of Normandy, but we might well go further in our study of old ways, and suggest that there were other matters in which we might take a hint from the middle ages.  First, with respect to DRESS, let us imagine by way of illustration, that two gentlemen, clad in the easy and picturesque walking costume of the times of the Huguenots ‘fall to a wrestling;’ they may be in fun or in earnest—­it matters not—­they simply divest themselves of their swords, and see, as in our illustration, with what perfect ease and liberty of limb they are able to go to work and bring every muscle of the body into play.  Next, by way of contrast, let us picture to ourselves what would happen to a man under the same circumstances, in the costume of the present day.  If he commenced a wrestling match with no more preparation than above (i.e. by laying down his stick, or umbrella), it would befall him first to lose his hat, next to split his coat up the back, and to break his braces; he would lose considerably in power and balance from the restraining and unnatural shape of all his clothes, he would have no firmness of foothold—­his toes being useless to him in fashionable boots.