The desire to make home beautiful we have always with us. At times it gets planted where it can draw nourishment only from that part of the field of Household Decoration which is not only narrow, but, because it is cut off from connection with life, is shallow also. Planted there where there is no deepness of earth it sprouts with fearful rapidity. Many housekeepers seem to have planted it in such spots about the middle of the last century. The result was a prodigious growth--three sets of curtains in every window, sofa pillows upon which no one was ever allowed, and no one ever wished to lay his head, grill work for archways, plaques, and sometimes even embroidered banners and painted tambourines to hang upon the wall. At intervals, fortunately, new fashions arose and turned their blazing rays full on these marvelous growths, and because they were not rooted in utility they withered away and were sent to the junk shop or were given to the poor. The soil was then ready for another crop. But better times came. Great thinkers and teachers and artists, including the founders of the Arts and Crafts movement, began to concern themselves with the beauty of the common things of life--with the _lesser_ arts. They taught people to consider in the selection of house furnishings, not only color and form and design, but also the welfare of the maker and the possibilities of his development through his work. They suggested that even the seller, the cleaner, and the caretaker should be considered. Those who listened to their teachings and followed their example learned to plant deep the desire for beauty in material surroundings; and because they knew that they had much to learn and many lives to consider, they adopted a form of house furnishing whose chief characteristic was simplicity. It was a tiny growth which was put forth by those who had caught the spirit of the Arts and Crafts movement, but it was sturdy, and in time it grew large enough to attract the attention even of the thoughtless. They, being ever ready for something new, looked upon the material output of the Arts and Crafts Societies, and, failing entirely to appreciate the spirit lying back of the work, seized upon simplicity as an end in itself. The result was another prodigious growth of house furnishings, this time very simple ones. Thus simplicity, which in the mind of William Morris stood for sincerity and for beauty of life, became a mockery, being manifested only in the outward form and finish of articles that had been made under conditions that had crushed out life and hope and had damaged character. There probably never was a greater travesty on a righteous movement than much of the stuff now sold as “Arts and Crafts” furniture.