Home Economics, like Esthetics, finds a large part of its interest in material things. The objects of its concern, the common articles of every-day use, such as chairs, tables, beds, and bureaus, present the beauty problem in many, if not all, of its phases. Being material, they are capable of beauty of outline and color. Being tools for the expression of the tastes of their owner or user, and for the satisfaction of his desires, they are capable of giving to his life the beauty of harmony with its material surroundings. Being made and sold and oftentimes cared for by others than the user, they are capable of giving beauty by bringing his life into accord and into sympathetic relations with other lives. There are, then, places where Home Economics and Esthetics overlap. As there is a narrow and also a wide view of Esthetics, so there is a narrow and also a wide view of Home Economics. The former makes it deal exclusively with the details of household management; the latter makes its chief concern the problem of the adjustment, through home life, of the individual to society. Where Home Economics and Esthetics, considered in their restricted senses, meet, we have a field of inquiry legitimate in itself, but fearfully liable to suffer by losing connection with life and with vital interests. This common ground we call the art of House Decoration. It concerns itself with the form, color, and ornamentation of articles of house furnishing and with the problem of so arranging them as to please the eye. But House Decoration is not the only common ground between Home Economics and Esthetics. Considered broadly, the two subjects present an overlapping territory coextensive almost with life itself. On this field, which no one has ever named, there present themselves for investigation not only the finer articles of household utility--the furniture, the curtains, and the draperies--but also the meaner and commoner articles--the pots, even, and the pans. Each one of these demands to be studied, not only with reference to its power to give esthetic satisfaction through the sight, but also with reference to its fitness to serve the purpose for which it was created, with reference to its usefulness in the particular life with which it is associated, and with reference to the possibility of there being anything in the circumstances of its manufacture or sale or in the conditions of its care--anything of injustice or oppression--which has the power to destroy the beauty of the life of the user by throwing it out of harmony with that of the maker, or of the seller, or of the caretaker.