of some good and beautiful brocade, such as is their Nismes brocade. The top should always be arranged as shown in the sketch, for though these things may deaden the sound, [Illustration: FIG. 12.--A Draped Piano.] and a good musician would, no doubt, rage about them, they can be removed in three seconds to a side table should music be the order of the day, and could be replaced at once without giving anyone any undue amount of trouble. I have seen a writing-table in a very small room placed against the piano, the back of which, having been, first covered with brocade, served as a species of ‘hold-all’ for all that is usually found on a writing-table; but I cannot seriously recommend this, as it is certainly incongruous to find cards of invitation, balls of string, date-cases and paper-knives, and general _débris_, fastened about a piano, which must, I am sure, resent tremendously this extraordinary manner of embellishing it. I have never seen a piano arranged in a better manner than the one illustrated here by the kind permission of my successor at my dear Shortlands house, in whose hands the traditions of the house are well kept up, and who has filled my shoes there much better than I filled them myself; one of her improvements being the drapery over the conservatory door, which I have illustrated here, so many people having doors like that one and being quite unable to manage them properly. The door is composed, as are all similar doors, of glass at the top and two small panels in the wooden frame below; these are filled in with Japanese leather paper, a brass handle and one finger-plate are added (only one finger-plate should ever be put on a door, and that should be put above the door-handle); and on the top of the glass is placed one of the pretty bead blinds; this is a graduated one, and is just indicated in the sketch. On the left-hand side, nearest the fire, hangs a straight full piece of drapery, edged all round with ball fringe, while on the other side is draped a curtain with a drawing string, which lets down in a moment to hide the door entirely at night. A further idea of how this room is now arranged is given by the tall palm-stand, and the end of a deep, low, beautiful sofa from Liberty, which I never see without breaking the tenth commandment. The sides and back are quite straight, the seat is very broad and is heaped with the frilled pillows, which are as popular as they are useful and pretty; the sofa is enamelled white, and is covered with a beautiful yellow brocade, the curtains beyond, by the window, being of a Morris cretonne, which resembles both in colour and design the brown and yellow velveteen from Graham & Biddle mentioned before. This design makes admirable portières, [Illustration: FIG. 13.--Conservatory Door.]