In this consideration archaeology has not been given the ghost of a chance - everything has been reasoned upon such a basis as the man constantly employs in his business or the woman in her home or in her attire. It is strange, is it not, that this is precisely the sort of interior devised by our forefathers of the days of the Tudors or Stuarts! It seems rather unfair that they should have got ahead of us in this manner, and that we have had our trouble for our pains! After all, it does not look as if wisdom began or would end with this generation.

PLATE 97. THE RECEPTION-ROOM OF A PHILADELPHIA APARTMENT WITH MAHOGANY FURNITURE.

For description see text.

As perhaps the eighteenth century gentleman may also have been able to devise a suitable home for himself and family let us look into his procedure - for it was in his time that mahogany came into use.

Material invariably has its influence - we all realise the difference effected by the use of oil- or water-colour in painting. Mahogany was speedily found to possess very desirable qualities: it was immensely strong and susceptible of the most beautiful carving. When finished it had a soft, rich polish strongly reflective of light. It was, in brief, found to be one of the aristocrats among woods. Sensibly, it was placed in refined surroundings.

Its appropriate coverings are found to be the very materials not suitable for oak - silken damasks, rich armures and the like. In Sheraton's last years both Paris and London went mad over stripes - and there was method in their madness, too, for these are particularly attractive with rich mahogany.

It is to be wished that we could always place behind such furniture, so beautifully covered, the lovely panelling in tints or white that then accompanied it, or the effective Classic walls of the Brothers Adam. Some readers may be able to accomplish this or to negotiate a wainscot. An excellent substitute is applied mouldings. Many modern conditions make necessary the simpler expedients of paint or paper, and when appropriately treated these are very attractive. A smooth surface is of course the right one. White or ivory white or light-tinted painted walls and woodwork are nearest to the original conditions. Mahogany, or mahoganised doors are good. In the apartment reception-room illustrated (Plate 97) the woodwork also is mahoganised, but simply because by the rules of the house it could not be changed. Here the walls are papered with an ivory white satin-striped paper of handsome quality. It will be noted that the damask furniture covering is also striped.

Liberal period furnishing has been employed in this room - the day of the suite and of a narrow adherence to one style of one nationality has happily passed. The book-case is Chippendale, the settee Sheraton, and the chairs Hepple-white. The lamp-table is a four-legged American Empire example, elliptical, and with a base. Oriental art has always played an important part in Western furnishing, and here the prints are Japanese and the lamp-base a Japanese figure in white porcelain with colour and gold. The shade is of rose Shantung silk and the pendant beads Chinese, in rose, blue, and amber. The table runner is of Japanese silk - silver grey and tan figure on a jet black ground.

It does not seem to the writer that he need stress the total difference in the two manners of furnishing exemplified in these two rooms. It is, then, simply a matter for the householder to decide whether for his own use he prefers not only the earlier or the later style of furniture but the earlier or the later style of furnishing. He should not hastily decide, both because he will find there is a period between the two that he should take into account, and also because furnishing, like marriage, is not a thing "to be entered into unadvisedly or lightly" but is deserving of consideration.

But let us carry practicality to its fullest extent. It may be asked whether a non-committal background could not be devised which would answer for either oak or mahogany furniture? Undoubtedly. The writer has seen many such backgrounds. They are naturally compromises and not characteristic of either furnishing, but they would "answer" under necessity. There would still remain the intrinsic differences in the furniture and its covering if the two woods were mingled. Try substituting one of the oak chairs in the dining-room illustrated for the Hepplewhite in the reception-room, remembering its "build", texture and colouring, and see how it accompanies the Sheraton settee. Then try the settee in the dining-room.

"But" - pleads the unhappy householder - "I already have both oak and mahogany furniture, both too good to be discarded. What shall I do!" Are there not such phrases as "necessity knows no law", and "needs must when the devil drives"? But if necessity be the very devil let us beat him about the bush as much as we may - put the oak down stairs and the mahogany above, or vice versa "if needs must," but in any event keep them in different and uncommuni-cating rooms.

But to purchase both is a different matter. The comparatively confined quarters afforded by the usual house or apartment do not admit of alien influences if we are seeking the best results, if we desire congruity and charm, and if we regard our homes as something more than "just a place to live in".

Modern conditions may make it impossible to carry out all the details of period furnishing, and slavish copying of precedent is certainly inadvisable, but - we should not violate the spirit of any certain manner of furnishing.

So, if I have blasted anyone's hopes of making his home a general mixture I fear that I am unregenerate and unrepentant; for I adopt Bernard Shaw's precept: "Embrace your reproaches: they are often glories in disguise".