In America where individualism is rampant, personalities widely varied, and the resources of the world practically at the command of even moderate purses, there should be a thousand and one decorative ideas to replace the single Japanese one - ideas which are not slavish copies of the fifteenth, sixteenth, and seventeenth centuries, but original creations of the twentieth century, expressive of the fundamental qualities of the individual as well as the modern life and spirit.

Let us trace the idea evolution of the decorative idea from its origin in the building of the house which is to be decorated.

That actual circumstances can seldom, at best, do more than approach the ideal will soon be discovered when one finds one's freedom of choice limited at every turn by the compromises which have to be made between one's desires and one's pocket-book. In considering size, quality, and location, when you build your house, it is well to remember that a little careful planning can remedy a seeming deficiency in size; that paint is a happy medium for disguising deficiencies in finish; but that there is nothing, unless one has an all engrossing hobby, which can supply the deficiency of a pleasant neighborhood, or which can make up for the sacrifice of certain habits and comforts which have become part of your normal standard. The first essential of home-making is harmony, and unless it is first established outwardly with one's surroundings, it is all the more difficult to attain it within. Sacrifice size, sacrifice finish, but do not sacrifice location! It is the one thing which ingenuity cannot alter, and it is important to consider it well.

After the plot has been selected, the next step will be the planning of the rooms in the imaginary structure. This may seem a most unnatural order of procedure -to build the house from the inside out! - but the first step in the new architecture, as it is in the new decoration, is to take the problem whatever it is, and plan it first logically and then beautifully - and strangely enough it will usually be found that the logical solution is at the same time the beautiful one.

The size of your family, its habits, its predilections must all be brought into consideration, and out of the inner shell of necessity, the outer contour and character develops. In proportions, choice of material and architectural details, this outer shell must then be adjusted to harmonize with the natural character of the land, the environs, exposure, and size of plot.

Such a structure, whether or not it seems to satisfy all the traditional requirements, has a sound basis for existence and is beyond the petty criticism of those who are in the habit of confusing good architecture with historic models.

The usual method of planning a house is far different. Some preconceived idea, either of architect or client, is generally settled upon, and the individuality and comfort of the family sacrificed to make the structure fit.

Beware of the architect who, before he has thoroughly thrashed out your problem, asks if you prefer Dutch Colonial, Spanish, or Georgian architecture.

Unconsciously your personality, your family, the nature of its desires and your willingness or ability to gratify them, will lend to the exterior a certain stamp or character.

If the family is small, its wants simple, and the intention preeminently toward the achievement of a home, the house will probably not pretend to be anything beyond a simple and homelike structure. If, on the other hand, there have been cherished ideals of dignity and stateliness, they will, in all likelihood, influence the general proportions of the structure and endow it with a different aspect although fulfilling the same requirements.

Houses which cater to large wants, large families, large social needs, or strong individual characteristics or hobbies, are apt to take on an air of informality. While houses which are built to perpetuate individual appreciations of art, architecture, or culture, or to make particular conceptions of life possible, naturally display the character of their formal and imposing mission.

The aim which has been expressed, either consciously or unconsciously, in the exterior of your house should also be the inspiration for the single, definite decorative idea of the interior. The great majority of people, however, live in houses in whose making they had no hand and whose exteriors are unexpressive of their ideals and personality.

In this case the ideas must spring spontaneously from one's impulses and desires.

The desire to bring into the home a spirit of life and joyousness is a decorative idea, just as the desire to express weirdness and mystery in a Moonlight Sonata is a musical idea, or the depicting of the interesting reflections of objects in water is an artistic one. Serenity or repose in the home responds to the needs of many, but this is not to be confused with drabness. Drabness, to a properly keyed person, instead of being restful is decidedly irritating. The expression of sturdi-ness, frankness, and naive simplicity offers many delightful, picturesque, and interesting developments, while the suave, subtle, and refined qualities have great classic possibilities.

Americans seem bound hand and foot to conventional decorative treatments because they fear by expressing their individual ideas they may accomplish something faddish or extreme, of which they may soon tire. Of course it is necessary for the individual idea to have some characteristic significance beyond that of a passing mood.

One delightful decorative scheme for a little house set in the midst of a lovely old-fashioned garden grew out of the desire to bring the garden inside. Each room was decorated in the colorings of a different flower. The oranges, browns, and yellows of the marigold were employed in the dining-room, not neutralized and apologetically, but in the entire conception of the room - walls, woodwork, furniture, and floor covering. The living-room was inspired by the purple aster, the library by the corn flower. Up-stairs were represented snapdragon, lavender phlox, mignonette, and yellow daisy. The ensemble gave the impression of an old-fashioned nosegay.