Design may be balanced and static or it may have movement; i.e., its lines of construction may be so strong in a certain direction that the vision is pulled along their course. If the repose of a room is so great as to be somnolent it is plain that such movement will give life and vigour: if the room is unduly low and heavy an upward spring of design will impart height and lightness; while a strongly mounting movement in the covering of a high-backed ohair would as unduly accentuate its apparent height.

The same principle, of course, applies horizontally, and lateral movement is therefore often of use in disproportionately lofty interiors where it tends apparently to reduce height.

Designs consisting of well-balanced, flowing curves do not lead the vision from point to point with rapidity: they therefore create interest without unrest.

Those which pull the eye diagonally, and hence at variance with the perpendiculars and horizontals of the room, are distracting; while zigzag lines can only be maddening. On the floor of an old Virginia mansion the writers recall a rug with such lines which all the well-known repose of the Colonial interior was insufficient to subdue.