Something like a feeling of exasperation is apt to come over one in turning to the typical modern houses. Nowhere, certainly, in rural America, are there, within the same area, more substantial, comfortable homesteads. They are nothing if not spacious and healthful, frame or brick, two stories, shingle roofs. But they lack characteristic physiognomy; they have no harmony with the landscape, nor with each other, nor often with themselves. They are not beautiful when new, and can never be beautiful when old; for the beauty of newness and the beauty of oldness alike depend on beauty of form and color, which here is lacking. One longs for the sight of a rural Gothic cottage, which would harmonize so well with the order of the scenery, or for a light, elegant villa that should overlook these light and elegant undulations of a beautiful and varied landscape. It must be understood that there are notable exceptions to these statements even in the outlying districts of the blue-grass country, and that they do not apply to the environs of the towns, nor to the towns themselves. Nowhere does one see masses of merely beautiful things in the country. The slumbering art of interior decoration is usually spent upon the parlor. The grounds around the houses are not kept in the best order. The typical rural Kentucky housewife does not seem to have any compelling, controlling sense of the beautiful. She invariably concedes something to beauty, but not enough. You will find a show of flowers at the poorest houses, though but geranium slips in miscellaneous tins and pottery. But you do not generally see around more prosperous homes any such parterres or beds as there is money to spend on, and time to tend, and grounds to justify. [Illustration: HARRODSBURG PIKE.]