112 PROCEEDINGS OF SECTION I. 
hearth as it goes to a dwelling in a landscape. And there, in the 
average house, we see scarce anything that is not false or absurd. 
First the grate, of which there are three degrees—blacked iron, 
bright steel, and iron framework with tiles inserted. The steel 
grate is rare enough now, which is a good thing ; for it would be 
hard to imagine anything more unsuitable to the purpose than 
such a material, involving, as it does, constant care and labour, 
and presenting, at its best, a cold and most unpleasant appearance. 
The common iron grate, which has to be blacked and _ polished 
with infinite pains, is an abomination of lower degree. Then there 
is the superior fireplace, with tiles let in to an iron framework. 
This appears to me the worst of all, because it is the most preten- 
tious and insincere. Like the others, it represents the art of the 
furnishing ironmonger. For when he saw that folk were disposed 
to revive the good old fashion of the tiled hearth with the grate 
standing in it, as properly distinct, he said, ““ Why go to so much 
trouble and expense? I can supply the whole article in one piece, 
with the tiles all stuck on; you have only to clap it in.” And 
the public was delighted, because it always prefers elaborate 
combinations and curious devices to what is natural and simple. 
The mantelpiece, in its present form, is a modern innovation, 
poorly imitated from the slab forming the top of the French stove. 
But that is a natural, inevitable thing, and therefore does not cry 
loudly for concealment or adornment, while our imperfect imita- _ 
tion is nothing if not a receptacle for ornaments. Drape and 
arrange it as we may, it will never look anything better than a 
quite unnecessary shelf for holding superfluous knick-knacks. The 
overmantel hardly helps us out of the difficulty, This pigeon- 
hole arrangement is at once thrown out of gear if a single article 
is wanting in its place ; and it seems far too elaborate and formal 
for the trifles that are usually displayed upon it, each in its own 
compartment, as if they were of the highest value and importance. 
In any case, detached ornaments are far more effective if placed 
about with apparent carelessness ; too great a regard for orderly 
arrangement suggests the museum or fine-art repository. Never- 
theless, the overmantel is an improvement on the old chimney- 
glass. 
The excessive desire for ornament causes many mistakes. 
Results would be far better if the principles of fitness, harmony, 
simplicity, and truthfulness were constantly borne in mind. But 
these are continually violated. For instance, few people with any 
pretension to taste will puta plant growing in an ordinary garden- 
pot in their rooms ; the common, ugly garden-pot must be placed 
inside one of porcelain—something pretty, with flowers painted 
on it. Now, note the absurdity of this practice. The designs on 
the china vase, if good enough to be noticed, will confuse the eye 
or else attract it quite away from the natural flower, which is the 
real ornament ; if inferior, as they usually are, they are worse 
