Hence I venture to claim some measure of indulgence in communicating the results of the following somewhat theoretical investigations, as they are not altogether without a practical importance. I must ask the reader to follow me into a modern drawing-room, not into one that will dazzle us with its cold elegance, but into one whose comfort invites us to remain in it. The simple stucco ceiling presents a central rosette, which passes over by light conventional floral forms into the general pattern of the ceiling. The frieze also, which is made of the same material, presents a similar but somewhat more compact floral pattern as its chief motive. Neither of these, though they belong to an old and never extinct species, has as yet attained the dignity of a special name. The walls are covered with a paper the ornamentation of which is based upon the designs of the splendid textile fabrics of the middle ages, and represents a floral pattern of spirals and climbing plants, and bears evident traces of the influence of Eastern culture. It is called a pomegranate or pine-apple pattern, although in this case neither pomegranates nor pine-apples are recognizable. Similarly with respect to the pattern of the coverings of the chairs and sofas and of the stove-tiles; these, however, show the influence of Eastern culture more distinctly. The carpet also, which is not a true Oriental one, fails to rivet the attention, but gives a quiet satisfaction to the eye, which, as it were, casually glances over it, by its simple pattern, which is derived from Persian-Indian archetypes (Cashmere pattern, Indian palmettas), and which is ever rhythmically repeating itself (see Fig. 1). [Illustration: FIG. 1.] The floral pattern on the dressing-gown of the master of the house, as well as on the light woolen shawl that is thrown round the shoulders of his wife, and even the brightly colored glass knicknacks on the mantel-piece, manufactured in Silesia after the Indian patterns of the Reuleaux collection, again show the same motive; in the one case in the more geometrical linear arrangement, in the other in the more freely entwined spirals. Now you will perhaps permit me to denominate these three groups of patterns that occur in our new home fabrics as modern patterns. Whether we shall in the next season be able, in the widest sense of the word, to call these patterns modern naturally depends on the ruling fashion of the day, which of course cannot be calculated upon (Fig. 2). [Illustration: FIG. 2.] I beg to be allowed to postpone the nearer definition of the forms that occur in the three groups, which, however, on a closer examination all present a good deal that they have in common. Taking them in a general way, they all show a leaf-form inclosing an inflorescence in the form of an ear or thistle; or at other times a fruit or a fruit-form. In the same way with the stucco ornaments and the wall-paper pattern.