THE large number of schemes given throughout the sections on Modern furnishing are equally valuable for period practice, strong or quieter tones being chosen according to the intensity employed during each epoch, which has carefully been noted as we proceded. Appropriate patterns are also shown in the interior views and on the furniture illustrated. The management of colour was minutely described in the Modern sections, and, that there may be no possibility of misunderstanding, will be repeated here.

To preserve unity the principal colours chosen are carried throughout, as a keynote.

To secure variety they are employed in different situations, in different quantities, and often in varying shades and intensities, particularly in non-communicating rooms; and, with these keynote colours, are used other harmonising tones, these also being varied in the different rooms. Combined colourings, as in printed linens, oriental rugs, and other textiles, are of great aid in affording variety and interest.

To give relief, there should be abundant large surfaces in quiet tints and tones.

As such fascinating results may be secured by the use of the simplest and most inexpensive fabrics, there is, when we consider the wealth of the beauty continually spread before our eyes in the direction of wonderful textiles of all descriptions, absolutely no excuse for the dull and commonplace homes we continually find among those having a competence of this world's goods. One would think it impossible to resist availing themselves of such facilities!

And these fabrics so often suggest what might be done!

After looking through a decorator's shop recently, the writer found three of the textiles there seen remaining especially in his memory. They were: a rich printed linen, mulberry the prominent note, next to that a deep blue, and, with these, lesser notes of charming green and tan: an irridescent silk of grey and mulberry: a deep blue velvet with a double thin-line stripe of lighter blue, the stripes being perhaps three-fourths of an inch apart. While there, these did not at all connect themselves in the writer's mind, but afterwards he found himself combining them, and in this fashion:

Printed linen curtains at the windows, with over-curtains of the irridescent mulberry and grey, drawn back in different degrees so that both should be visible. The velvet precisely accorded with the blue in the linen, therefore use that for the furniture coverings. The rugs might be either mulberry or grey. The notes of green and tan would be repeated in accessories. The walls would be of a linen white, like the background of the linen. There would be the glint of metal in the picture-frames, candlesticks, and lamp-mountings, and the beautiful surface of porcelain in lamp and vases. How many other objects there are from which to choose for the giving of interest and charm - mirrors, screens, hanging or processional standard-lanterns, sconces, plaques, tiles, mural ornaments of carved and poly-chromed wood or of plaster, busts and statuettes, crystal balls, boxes and caskets, beautifully-bound books, flowers and plants - one could go on almost indefinitely. Cannot people see it all - "ces gens-la ont-ils tout leur bon sens?"

A few minutes later, at a window, the writer stood looking at a broad breadth of cream-yellow silk with wide stripes of old blue and old red, each shaded in various tones. There was the first triad of colour, harmonious and beautiful, and to be carried out in the other furnishings. Of all who passed it on the crowded street how many noticed it or thought of its possibilities!

For those who do think, a number of combinations are: