The Hindoo arranges colours for a fabric with the same certainty of intuition that a bird weaves his nest, or a spider its web. His blues and greens are as harmonious in their combinations as those of Nature herself; while the "educated" Englishman is now introducing every species of atrocity in form and colour wherever he goes, ruining the beautiful native manufactures by instructions from his superior "standpoint;" forcing the workers to commit every blunder which he does himself at home, in order to adapt their fabrics to the abominable taste of the middle classes in England. Even the missionaries, male and female, cannot hold their hands, and teach the children in schools and hareems crochet and cross-stitch of the worst designs and colours, instead of the exquisite native embroidery of the past. Arsenic greens, magenta and gas-tar dyes, are introduced by order of the merchants into carpets and cashmere shawls; vile colours and forms in pottery and bad lacquer-work are growing up, by command, in China and Japan. There seems to be no check or stay to the irruption of bad taste which is swamping the whole world by our influence. The Japanese have even been recommended to make a Museum of their own beautiful old productions quickly, or the very memory of their existence, and of the manner in which they were made, would be lost. It is commonly supposed that the taste of the French is better than our own, and the pretty, the bizarre, the becoming, may indeed be said to belong to their domain; but high art is not their vocation. A certain harmony is obtained by quenching colour, as in the "Soupir étouffé," the "Bismarck malade," the "rose dégradée," the "Celadon" of the Sèvres china, all eighth and tenth degrees of dilution; but pure colour, like that of Persia and of the East generally, they never now dare to dip their hands into. The gorgeous effects of their own old painted glass, the "rose windows" of the churches at Rouen and in many other towns of Normandy, are far beyond their present reach.