For some reason best known to themselves architects almost invariably give to the kitchen the location with the least agreeable outlook, sun and scenery being seemingly designed for the exclusive use of living and dining rooms; whereas the housekeeper realizes the great value of the sun as an aid to sanitation and as a soul strengthener, and wishes that its beneficent influence might be shed over kitchen, cook, and cookery. But the frequent impossibility of this only increases the necessity for simulating sunshine within, and so we select cream white, warm, light grays or browns, Indian red, or bronze green--which is particularly good with oak woodwork--for walls and ceilings. Waterproof paper may be used, but is not particularly durable. Far better is the enameled paint, requiring three coats, or painted burlap. Or our thoughts may turn with longing to a white-tiled kitchen, with its air of spotless purity, but, too often, "beyond the reach of you and me." Why not substitute for it the white marbled oilcloth which produces much the same effect, and can be smoothly fitted if a little glue is added to the paste with which it is put on? A combination of white woodwork with blue walls and ceiling is charming, particularly where the blue-enameled porcelain-lined cooking utensils are used, and the same idea can be carried out in the floor covering. White with yellow is also dainty. Calcimine is not desirable in the kitchen, as it cannot be cleaned and is, therefore, unsanitary. Two tablespoonfuls of kerosene added to the cleaning water will keep woodwork, walls, and ceilings fresh and glossy. A long-handled mopholder fitted with a coarse carriage sponge will facilitate the cleaning of the latter. [Illustration: The kitchen.] THE FLOOR