Let us see if we can apply the same kind of process of evolving expression in regard to a building. We will take again the very simplest form of building (Fig. 10), a square house with a door in the center and uniform rows of windows. There cannot be said to be any architectural expression in this. There is no base or plinth at all, no treatment of the wall. The slight projection at the eaves is only what is necessary to keep the rain from running down the walls, and facilitate the emptying of the gutters, and the even spacing of the windows is essential for constructive reasons, to keep the masses of wall over each other, and keep the whole in a state of equally balanced pressure. The first thing we should do in endeavoring to give some expression to the building would be to give it a base or plinth (Fig. 11), and to mark that and the cornice a little more decidedly by mouldings and a line of paneling at the plinth. [Illustration: Figs. 10 and 11] The house being obviously in three stories, we should give it some echo externally of this division into horizontal stages by horizontal mouldings, or what are called in architectural phraseology "string courses," not necessarily exactly at the floor levels, but so as to convey the idea of horizontal division; observing here, as in the case of the wall and column, that we should take care not to divide the height into equal parts, which is very expressionless. In this case we will keep the lower string close down on the ground floor windows, and keep these rather low, thus showing that the ground floor apartments are not the most important; while the fact that the first floor ones are so is conversely made apparent by keeping these windows rather higher, putting a double string course over them, and a slight extra depth of moulding, forming a kind of cornice over each. The space left between these and the roof, in which the attic windows are placed, is treated with a series of mullions and panelings, into which the attic windows are worked, as part of the series of openings; this gives a little richness of effect to the top story, and a continuity of treatment, which binds the whole series of windows together. To have treated the whole of the walls and windows in this way would have been merely throwing away labor; what little effect it has consists in the "character" given by the contrast of this top story treatment with the plain wall surfaces below.