The pavement of the halls might be enriched, but I can hardly approve the occasional practice of the ancients in placing mosaic "histories" under their feet:[6] the objections are sufficiently obvious. The forms and hues employed should be merely calculated to gratify the sight. Among other preliminary considerations, I would also include the nature of the mere surface, as well as the distinction of every apartment. Thus a pavement, however decorated, should still express the character of firmness and solidity. For this reason I would banish even the lowest kind of life, (that of plants,) and every approach to perspective. Geometrical forms would thus be alone admissible: the variety is infinite; but even here I would again exclude abrupt and irregular contrasts of colour, which have sometimes the effect of making the evenness of the surface doubtful: the last consideration is even applicable to carpets. With respect to the classic fashion of inscriptions on the threshold,[7] I merely remark, that letters are only ornamental in architecture when disposed symmetrically, and enclosed in a regular frame-work. [6] The passion for this kind of decoration was carried so far that the ornamented floor of the dining-room sometimes represented the scattered fragments of a repast. _Plin._ I. xxxvi. c. 25. [7] Even the Mosaic floor at the entrance to bed-rooms, had inscriptions; a pavement of this kind was found at Brindisi, wit the words BENE DORMIO. In approving the common practice of placing statues and bas-reliefs in the principal hall, I do not depart from the spirit of our first principles. A statue has generally the advantage of being seen in various points of view, and thus commands attention in situations where paintings could not. The rich effect of bas-reliefs is sufficient to recommend them; associations of classic taste are naturally connected with the classic materials of marble or bronze; and architecture, when displayed as such, seems to acquire additional solidity by the presence of sculpture. But works of sculpture of the first excellence should be admitted to the library or drawing room, and even fragments of rare beauty should be enshrined with like distinction. For the present, however, we are in the hall. I do not recommend mixing mural painting and sculpture: no painted devices should compete injudiciously with the bas-reliefs. But let us suppose that your bas-reliefs are in the outer hall, and that you have only some sculptured vases on detached pedestals in the inner hall or corridor, then by all means decorate the walls of the latter with arabesques: to these we shall return. In the staircase, also, it will be necessary to make your election between the two arts. I will assume that you decide for painting. Few people linger in a staircase; still fewer break their necks to look at a painted ceiling. If the scene affects the eye and the imagination agreeably, this may be considered sufficient.