To it presently succeeded the æsthetic phase, borrowed from England. Then, instead of selecting everything to match, a young or old couple bought so as just not to match, but to harmonize. All sorts of queer and subtle shades and tints in wall-papers and fabrics appeared, principally dallyings with and improvisings upon green, brown, and yellow; frescos and dados were the rage; and a wave of interest in the scope and mission of eccentric color spread over the land. Valuable as this movement was as an educational factor, there was nothing American in it; or in other words, we were again simply imitative. The very fact, however, that we were ready to imitate, betokened that horse-hair and rep had ceased to satisfy national aspiration, and that we were willing to accept suggestions from without, inasmuch as no native prophet had arisen. But though the impetus came from abroad, the awakening was genuine. Since then the desire to furnish tastefully has been steadily waxing among the more well-to-do portion of the population. As in the case of architecture, the increasing interest has called into existence a professional class, which, though still small and less generally employed than their house-designing brethren, is beginning to play an important part in the education of the public taste in internal house decoration and equipment. The idea that any man or woman may be more fitted than his or her neighbor to choose a carpet or a wall-paper has been grudgingly admitted, and still irritates the average house-owner who is ready to furnish. But the masters, and more conspicuously the mistresses, of the competing superb establishments in our cities, have learned, from the sad experience of some of their predecessors, to swallow their individual trust in their own powers of selection, and to put themselves unreservedly into the clutches of a professional house decorator.