I purposely leave out all the accessories and devices of brass and silver, the quaint brass-framed mirrors, the ivy-encircled windows, the one or two great ferns, the choice blue table-furniture:--because these are personal and should neither be imitated or reduced to rules.
The lesson is in the use of yellow and white, accented with touches of blue, which converts a dark and perfectly cheerless room into a glitter of light and warmth.
The third example I shall give is of a dining-room which may be called palatial in size and effect, occupying the whole square wing of a well-known New York house.

There are many things in this house in the way of furniture, pictures, historic bits of art in different lines, which would distinguish it among fine houses, but one particular room is, perhaps, as perfectly successful in richness of detail, picturesqueness of effect, and at the same time perfect appropriateness to time, place, and circumstances as is possible for any achievement of its kind.

The dining-room, and its art, taken in detail, belongs to the Venetian school, but if its colour-effect were concentrated upon canvas, it would be known as a Rembrandt.

There is the same rich shadow, covering a thousand gradations,--the same concentration of light, and the same liberal diffusion of warm and rich tones of colour.

It is a grand room in space, as New York interiors go, being perhaps forty to fifty feet in breadth and length, with a height exactly proportioned to the space.