It is undeniable that there is in our present existence (and those whose disposition it is to ignore the past are invited to remember that there has also been in most ages) an element which is hectic, freakish, anarchistic and unwholesome. In Europe before the war this tendency was growing to an alarming extent and many brilliant but erratic minds so stressed this phase of our existence as either wilfully to deny its other elements or so to dislike them as to wish them begone. The extreme wing of this group would have liked to cut loose from and abolish the past with its lessons and make all new after its own devices. It is little wonder that we have seen an outpouring of cubism, vorticism, futurism, attempts to depict emotionalism and movement without sufficient regard to the basis of form, strident and discordant colour, and the more hectic and immodest tendencies in woman's dress.

We do not say and we do not think that this spirit has entered to any great eitent into decorative art in America and probably the war has eradicated it abroad.

Here, we may well believe, the movement in general simply recognises the variety, the virility, the elasticity, yes and the restlessness and excitability of modern life and attempts to meet and interpret it. Whether it would not be better to endeavour to neutralise the latter phases is a question worth the asking.

With the difference in aim comes the difference in result, and consequently we shall find examples which continue with the fine qualities of simplicity and strength of line the stiffness and want of home feeling which somehow prevails in much of the Vienna Secession; other houses a bouquet, with rooms in colour-schemes representing various and unrelated flowers; and still others in which the unities are rightly kept and which have the cheer and charm and freshness of simplicity and beautiful colour beautifully used.