deous. Each of the eternal-womanly
was supposed suddenly to have acquired a talent for decoration and a gift
for the selection and arrangement of furniture, and each began to stamp
herself upon our interiors. One painted a high-shouldered stone bottle
with a stork and stood it at the right corner of the mantel on a scarf;
another gilded the bottle and stood it at the left corner, and tied the
scarf through its handle. One knotted a ribbon around the arm of a
chair; another knotted it around the leg. In a day, an hour, a moment,
the chairs suddenly became angular, cushionless, springless; and the
sofas were stood across corners, or parallel with the fireplace, in
slants expressive of the personality of the presiding genius. The walls
became all frieze and dado; and instead of the simple and dignified
ugliness of the impersonal period our interiors abandoned themselves to a
hysterical chaos, full of character. Some people had their doors painted
black, and the daughter or mother of the house then decorated them with
morning-glories. I saw such a door in a house I looked at the other day,
thinking I might hire it. The sight of that black door and its morning-
glories made me wish to turn aside and live with the cattle, as Walt
Whitman says. No, the less we try to get personality and character into
our household effects the more beautiful and interesting they will be.
As soon as we put the Standard Household-Effect Company in possession and
render it a relentless monopoly, it will corrupt a competent architect
and decorator in each of our large towns and cities, and when you hire a
new house these will be sent to advise with the eternal-womanly
concerning its appointments, and tell her what she wants, and what she
will like; for at present the eternal womanly, as soon as she has got a
thing she wants, begins to hate it. The company's agents will begin by
convincing her that she does not need half the things she has lumbered up
her house with, and that every useless thing is an ugly thing, even in
the region of pure aesthetics. I once asked an Italian painter if he did
not think a certain nobly imagined drawing-room was fine, and he said
'SI. Ma troppa roba.' There were too many rugs, tables, chairs, sofas,
pictures; vases, statues, chandeliers. 'Troppa roba' is the vice of all
our household furnishing, and it will be the death of the eternal-womanly
if it is not stopped. But the corrupt agents of a giant monopoly will
teach t