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  3. Painting your house is like adding something to a huge communal picture in which the rest of the painting is done either by natu

Painting your house is like adding something to a huge communal picture in which the rest of the painting is done either by natu

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问题     Painting your house is like adding something to a huge communal picture in which the rest of the painting is done either by nature or by other people. The picture is not static; it changes as we move about, with the time of day, with the seasons, with new planting, new buildings and with alterations to old ones. Any individual house is just a fragment of this picture, nevertheless it has the power to make or mark the overall scene. In the past people used their creative talents in painting their homes, with great imagination and in varied but always subtly blending colors. The last vestiges of this great tradition can still be seen in the towns of the extreme west of Ireland. It has never been recognized as an art form, partly because of the physical difficulty of hanging a street in a gallery and partly because it is always changing, as paint fades and is renewed. Also it is a communal art which cannot be identified with any person, except in those many cases where great artists of the past found inspiration in ordinary street scenes and recorded them in paint.
    Following the principles of decoration that were so successful in the past, you should first take a long look at the house and its surroundings and consider possible limitations. The first concerns the amount of color and intensity in the daylight in Britain. Colors that look perfectly in keeping with the sunny, clear skies of the Mediterranean would look too harsh in the grayer light of the north. Since bright light is uncomfortable for the eyes, colors must be strong in order to be seen clearly. Viewed in a dimmer light they appear too bright. It is easy to see this if you look at a brick house while the sun is alternately shining and then going behind a cloud. The brick work colors look much more intense when the sun is hidden.
    The second limitation is the colors of the surroundings: the colors which go best with Cotswold stone and a rolling green countryside will be different from those that look best by the sea or in a red— brick/ blue—slate industrial town. In every area there are always colors that at once look in keeping.
    In many areas there are distinctive traditions in the use of color that may be a useful guide. The eastern countries of England and Scotland, particularly those with a local tradition of rendering of plastering, use colors applied solidly over the wall. Usually only the window frames and doors are picked out in another color, often white or pale grey. Typical wall colors are the pink associated with Suffolk and pate buffs. Much stronger colors such as deep earth red, orange, blue and green are also common. In the coastal villages of Essex, as well as inland in Hertfordshire, the house—fronts of overlapping boards are traditionally painted black originally tarred like ships with windows and doors outlined in white. In Kent these weather boarded houses are usually white. In stone areas of Yorkshire and farther north, color is rare: the houses are usually left in their natural color, though many are painted white as they probably all were once.
The writer mentions the sunny, clear skies of the Mediterranean to show us that
选项 A、the climate of Britain is a long cry from that of the Mediterranean
B、the bright colours chosen to paint a house in Mediterranean fit in well with the grayer light of Britain
C、the different quality of light in Britain and in the Mediterranean results in different selection of colors
D、the more intense the light is, the more beautiful the picture becomes
答案C
解析
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