The circle, the most monotonous of curve-lined figures, whose circumference changes its direction at every point equally, has no quality in common with the vertical wall space. It is, therefore, quite unrelated to it as a decorative spot unassociated with other objects. If the wall space were exactly square, the round picture or clock would have the relationship of equal diameters and not be so inharmonious as in the vertical shape.

It is hard, however, to harmonize in any way a round clock, round picture, round medallion or other circular object upon the wall. If a round picture must be used, mat it with the most inconspicuous tone, relate this tone to the frame, and make both mat and frame square so that the environment of the picture may be in harmony with its background. The wall and the picture itself graduate the circle into the square by such stages of colour that the transition becomes almost, if not entirely, unobservable. The harder or more distinct the line transition, the less possibility of harmony in the result.

It is on the wall in particular that we must avoid these totally unrelated shapes. On a mantel, a cabinet, or a bureau such forms may appear. Not being fastened to the wall, and no attempt being made to have them seem to be a part of it, they become decorative as seen against it, because they are supported by and related to the thing upon which they stand, rather than to the wall itself.

The wall, then, is the background, not a part of the object which is seen decoratively against it. Its foundation or resting-place rather is the thing with which the object belongs.

A point might be made here in regard to the position of pictures and tapestries on the wall. Unless the tapestry is of sufficient size to nearly cover the wall, so that it seems to be a part of it, there should be some article of furniture or structural fact with which it may seem to group. This is even more essential in the case of pictures.

If a picture is hung so high that it seems to be unrelated to the cabinet, dresser, mantel, chair or other object, it immediately becomes a foreign object applied or nailed to a vertical surface. This is uncomfortable, and usually is not decorative, particularly if the picture is heavily framed. It should be hung low enough to be related to an article of furniture and to form some part of a group. The single isolated idea is always more or less uncomfortable and certainly unduly conspicuous in most instances.

The contour of furniture is a subject properly related to the idea of consistent forms. It often occurs that both straight-lined and curve-lined furniture are essential to the spirit of a modern room.

In no period except that of Louis XV has a furniture construction been worked out in which every constructive line is a curve. In this period straight-lined structure was unknown and curved lines were brought to their highest possible state of efficiency as expressions of refined and artistic composition. A Louis XV chair, then, is totally unrelated in its form to the Louis XVI chair whose seat and back may be rectangular.

The period of Louis XVI frequently gives us chairs in which the seats are curved, the top of the back shows an arc of a circle or an ellipse, while the entire back is a curve-lined figure, although the legs are vertical and straight and the general feeling is one of an upright, rectangular object. There is an element of likeness between these last chairs described and the Louis XV, which under right conditions makes them harmonious and delightful together. If the perfectly straight-lined, rectangular Louis XVI chair is the only one in the room, the Louis XV chair can hardly be said to be closely enough related to be probable in such a combination.

The simplest expression is the one in which one type of form is not only dominant but preeminent. The early Italian Renaissance, with its formal, stately, upright chairs; with cabinets, every line of which is straight, vertical and horizontal; with spacing and arrangement in which vertical and horizontal line forms are the only ones used, while other articles of furniture are based upon the same plan, gives one a chance to see what is really the effect of a room in which only one general form is considered.

The same idea has been exploited in this country during the last twenty-five years under the name of the "Mission Style." This Mission Style is the return to the straight-lined structural construction by a people completely worn out and exhausted, having their vision bedimmed by the meaningless, erratic and inartistic curves of the black-walnut period. In sheer self-defence they have intuitively grasped at the Mission idea, not because it is especially beautiful in proportion, practical or decorative in its effect, but because there must be some way to rid the country of the jigsaw bracketing of the modern wooden house. A maze of grill work had found its way into the interior, over doors, mantels, mirrors, etc., and it was necessary to eliminate the atrocities in curve-lined furniture, which factories were turning out under the impression that something original was being done.

The Mission Style has done its work and is passing, but it is worthy of special mention since it has called to the attention of this country the fact that simple related forms are essential to good taste in the expression of the interior of an ordinary house.

One must consider also in this connection the line formations due to ornament, abstract and otherwise, used decoratively in textiles and rugs. I have already called your attention to the impossible medallions of various shapes which occur too often in Oriental rugs.

These forms are unrelated to the rug shape and to furniture shapes, and, in short, to everything with which they are associated. Because they are always more or less ugly in themselves, they must either not appear at all or, if they do appear, must be so subdued that their outline is discerned with the greatest difficulty.