The Renascence period offers as wide a choice; but this pseudo-classic time is out of harmony with Gothic work. It is completely distinct, and Renascence designs resent the propinquity of those for which the term 'Gothic' was coined in contempt in the sixteenth century. But the work of at least two centuries, all the world over, is ready to hand, Northern and Southern interpretations of that overpowering movement; moreover the old world may contribute, for genuine classic fragments in marble, bionze, or glass, may mix with Raphaels and Murillos on the walls, Vandykes, and Durer prints, autotypes of the old masters' sketches, and even photographs of fine pictures, as well as Venetian glass, Brussels and Arras tapestry, old Oriental tissues and panels of leather, or leather paper. Taste demands that the tables and chairs should be in harmony, and here some of the Empire furniture (a classic revival), comes in properly, and far more gracefully than when isolated in a drear and scanty Empire room, i.e. good inlaid tables, sofas, wine coolers, etc.

The Parisians are partial to eclectic rooms of this kind, especially those with the Renascence stamp, as well as Renascence rooms furnished after a given date. Such seem peculiarly fit for the present day, which in its thirst for knowledge among both men and women, its increasing luxury, its materialism, and its love for the antique, is indeed a second Renascence time.