[Footnote:  From a paper by Prof.  Jacobsthal in the Transactions of the Archaeological Society of Berlin.—­Nature.]

The statement that modern culture can be understood only through a study of all its stages of development is equally true of its several branches.

Let us assume that decorative art is one of these.  It contains in itself, like language and writing, elements of ancient and even of prehistoric forms, but it must, like these other expressions of culture, which are forever undergoing changes, adapt itself to the new demands which are made upon it, not excepting the very arbitrary ones of fashion; and it is owing to this cause that, sometimes even in the early stages of its development, little or nothing of its original form is recognizable.  Investigations the object of which is to clear up this process of development as far as possible are likely to be of some service; a person is more likely to recognize the beauties in the details of ornamental works of art if he has an acquaintance with the leading styles, and the artist who is freed from the bondage of absolute tradition will be put into a better position to discriminate between accidental and arbitrary and organic and legitimate forms, and will thus have his work in the creation of new ones made more easy for him.

Hence I venture to claim some measure of indulgence in communicating the results of the following somewhat theoretical investigations, as they are not altogether without a practical importance.  I must ask the reader to follow me into a modern drawing-room, not into one that will dazzle us with its cold elegance, but into one whose comfort invites us to remain in it.

The simple stucco ceiling presents a central rosette, which passes over by light conventional floral forms into the general pattern of the ceiling.  The frieze also, which is made of the same material, presents a similar but somewhat more compact floral pattern as its chief motive.  Neither of these, though they belong to an old and never extinct species, has as yet attained the dignity of a special name.

The walls are covered with a paper the ornamentation of which is based upon the designs of the splendid textile fabrics of the middle ages, and represents a floral pattern of spirals and climbing plants, and bears evident traces of the influence of Eastern culture.  It is called a pomegranate or pine-apple pattern, although in this case neither pomegranates nor pine-apples are recognizable.

Similarly with respect to the pattern of the coverings of the chairs and sofas and of the stove-tiles; these, however, show the influence of Eastern culture more distinctly.

The carpet also, which is not a true Oriental one, fails to rivet the attention, but gives a quiet satisfaction to the eye, which, as it were, casually glances over it, by its simple pattern, which is derived from Persian-Indian archetypes (Cashmere pattern, Indian palmettas), and which is ever rhythmically repeating itself (see Fig. 1).