As has been said, this is an extremely various mode. Let us begin with the simplest and proceed to other developments. In America, Great Britain, and the Colonies there already are many who, desiring attractive but inexpensive homes, have found this the better way. But there are innumerable others throughout the civilised world, possessing a good degree of taste or in whom it is latent, who have longed for an abode fitted up in an eminently practical manner and which should entail as little labour as possible in its care, but which would satisfy their desire for something as yet unattained, which thing - whether or not they are conscious of it - is beauty. This has remained with them but a dream, either because they have not known how to realise it, or because their means have been insufficient to gratify their wish in the usual manner. Such homes at present generally contain a varied assortment of furnishings gathered from many sources, without congruity, and with no idea back of its accumulation. Where the owners possess taste that quality has unfailingly made itself manifest against the difficulties confronting it; but where it is lacking we usually find highly varnished furniture of tortuous form, often bedizened with vulgar applied or stamped ornament and covered with iniquitous imitation fabrics displayed against wall-paper of the tawdriest type - a very orgy of the "cheap and nasty." It is not the owners' fault - they have not known how to go about their task with the means at their disposal. The tradition of good furnishing was broken long years ago and they have not regained it.

Now contrast with such conditions the English country cottage in neighborhoods where the good old ways have held their own. We find plain plastered walls in pleasing neutral tones: the furniture also is plain, usually of oak, simple and straightforward in its lines, of the fine old historic types dear to the hearts of us all. This furniture consists of dressers, chests, gate-leg and other sensible tables, spindle and ladder-back chairs, and the like. It is this sort of furnishing in Great Britain and other lands that affords the basis for the mode of furnishing under discussion, but to it are added other elements fitting it to the needs of to-day and which may well earn for the style the title of "Modern".

It is indeed difficult to find for it an entirely comprehensive name. "Non-Period" is far from accurate, for though "Period" has taken to itself of late years a rather defined and limited meaning, Cottage and Peasant furniture in reality is as much period furniture as any other. Still, as we shall see, the forms of these historic pieces have in many instances been developed by modern designers of the highest ability till they possess individual features.

Nor can we always call this "simple" furnishing; for, though its main characteristics should never be forgotten, in the hands of owners or decorators of refinement it has shown its adaptability, in many houses and city apartments, to the securing of colourful, ornamental, and, when desired, extremely novel or very handsome results.

Each phase will be treated in detail and all sections should be read, for the simplest mode is the germ, and from its requirements principles are brought out that apply to all.