nothing more directly offensive to the eye of an artist
than the interior of what is termed in the United States--that is to
say, in Appallachia--a well-furnished apartment. Its most usual defect
is a want of keeping. We speak of the keeping of a room as we would of
the keeping of a picture--for both the picture and the room are amenable
to those undeviating principles which regulate all varieties of art; and
very nearly the same laws by which we decide on the higher merits of a
painting, suffice for decision on the adjustment of a chamber.

A want of keeping is observable sometimes in the character of the
several pieces of furniture, but generally in their colours or modes of
adaptation to use _Very _often the eye is offended by their inartistic
arrangement. Straight lines are too prevalent--too uninterruptedly
continued--or clumsily interrupted at right angles. If curved lines
occur, they are repeated into unpleasant uniformity. By undue precision,
the appearance of many a fine apartment is utterly spoiled.

Curtains are rarely well disposed, or well chosen in respect to other
decorations. With formal furniture, curtains are out of place; and an
extensive volume of drapery of any kind is, under any circumstance,
irreconcilable with good taste--the proper quantum, as well as the
proper adjustment, depending upon the character of the general effect.

Carpets are better understood of late than of ancient days, but we
still very frequently err in their patterns and colours. The soul of the
apartment is the carpet. From it are deduced not only the hues but the
forms of all objects incumbent. A judge at common law may be an ordinary
man; a good judge of a carpet _must be _a genius. Yet we have heard
discoursing of carpets, with the air "_d'un mouton qui reve," _fellows
who should not and who could not be entrusted with the management of
their own _moustaches. _Every one knows that a large floor _may _have a
covering of large figures, and that a small one must have a covering
of small--yet this is not all the knowledge in the world. As
regards texture, the Saxony is alone admissible. Brussels is the
preterpluperfect tense of fashion, and Turkey is taste in its dying
agonies. Touching pattern--a carpet should _not _be bedizzened out like
a Riccaree Indian--all red chalk, yellow ochre, and cock's feathers. In
brief--distinct grounds, and vivid circular or cycloid figures, _of
no meaning, _are here Median laws. The abominatio