It may seem quite superfluous to give advice against luxury in furnishing except where it is warranted by exceptional means, because each family naturally adjusts its furnishing to its own needs and circumstances; but the influence of mere beauty is very powerful, and many a costly toy drifts into homes where it does not rightly belong and where, instead of being an educational or elevating influence, it is a source of mental deterioration, from its conflict with unsympathetic circumstances.  A long and useful chapter might be written upon “art out of place,” but nothing which could be said upon the subject would apply to that incorporation of art and beauty with furniture and interior surrounding, which is the effort and object of every true artist and art-lover.

The fact to be emphasised is, that objects d’art—­beautiful in themselves and costly because of the superior knowledge, artistic feeling, and patient labour which have produced them—­demand care and reserve for their preservation, which is not available in a household where the first motive of everything must be ministry to comfort.  Art in the shape of pictures is fortunately exempt from this rule, and may dignify and beautify every room in the house without being imperilled by contact in the exigencies of use.

Following out this idea, a house where circumstances demand that there shall be no drawing-room, and where the family sitting-room must also answer for the reception of guests, a perfect beauty and dignity may be achieved by harmony of colour, beauty of form, and appropriateness to purpose, and this may be carried to almost any degree of perfection by the introduction and accompaniment of pictures.  In this case art is a part of the room, as well as an adornment of it.  It is kneaded into every article of furniture.  It is the daily bread of art to which we are all entitled, and which can make a small country home, or a smaller city apartment, as enjoyable and elevating as if it were filled with the luxuries of art.

[Illustration:  RUSTIC SOFA AND TABLES IN “PENNYROYAL” (IN MRS. BOUDINOT KEITH’S COTTAGE, ONTEORA)]

But one may say, “It requires knowledge to do this; much knowledge in the selection of the comparatively few things which are to make up such an interior,” and that is true—­and the knowledge is to be proved every time we come to the test of buying.  Yet it is a curious fact that the really good thing, the thing which is good in art as well as construction, will inevitably be chosen by an intelligent buyer, instead of the thing which is bad in art and in construction.  Fortunately, one can see good examples in the shops of to-day, where twenty years ago at best only honest and respectable furniture was on exhibition.  One must rely somewhat on the character of the places from which one buys, and not expect good styles and reliable manufacture where commercial success is the dominant note of the business.  In truth the careful