A carved table stands in the centre, surrounded with high-backed carved chairs, the seats covered with the same antique velvet which shows in the portieres.

A fall of thin crimson silk tints the sides of the window-frame, and on the two ends of the broad step or platform which leads to the window stand two tall pedestals and globe-shaped jars of red and blue-green pottery.

The deep, ruby-like red of the one and the mixed indefinite tint of the other seem to have curdled into the exact shade for each particular spot, their fitness is so perfect.
The very sufficient knowledge which has gone to the making of this superb room has kept the draperies unbroken by design or device, giving colour only and leaving to the carved walls the privilege of ornament.
It will be seen that there are but two noticeable colour-tones in the room--brown with infinite variations, and red in rugs and draperies.
There is no real affinity between these two tints, but they are here so well balanced in mass, that the two form a complete harmony, like the brown waves of a landscape at evening tipped with the fire of a sunset sky.
Much is to be learned from a room like this, in the lesson of unity and concentration of effect.

The strongest, and in fact the only, mass of vital colour is in the carpet, which is allowed to play upwards, as it were, into draperies, and furniture, and frieze, none of which show the same depth and intensity.

To the concentration of light in the one great window we must give the credit of the Rembrandt-like effect of the whole interior.