CHAPTER II.
CHARACTER IN HOUSES "_For the created still doth shadow forth the mind and will which made it._ "_Thou art the very mould of thy creator_." It needs the combined personality of the family to make the character of the house.

No one could say of a house which has family character, "It is one of -- --'s houses" (naming one or another successful decorator), because the decorator would have done only what it was his business to do--used technical and artistic knowledge in preparing a proper and correct background for family life.

Even in doing that, he must consult family tastes and idiosyncracies if he has the reverence for individuality which belongs to the true artist.
A domestic interior is a thing to which he should give knowledge and not personality, and the puzzled home-maker, who understands that her world expects correct use of means of beauty, as well as character and originality in her home, need not feel that to secure the one she must sacrifice the other.
An inexperienced person might think it an easy thing to make a beautiful home, because the world is full of beautiful art and manufactures, and if there is money to pay for them it would seem as easy to furnish a house with everything beautiful as to go out in the garden and gather beautiful flowers; but we must remember that the world is also full of ugly things--things false in art, in truth and in beauty--things made to _sell_--made with only this idea behind them, manufactured on the principle that an artificial fly is made to look something like a true one in order to catch the inexpert and the unwary.

It is a curious fact that these false things--manufactures without honesty, without knowledge, without art--have a property of demoralizing the spirit of the home, and that to make it truly beautiful everything in it must be genuine as well as appropriate, and must also fit into some previously considered scheme of use and beauty.
The esthetic or beautiful aspect of the home, in short, must be created through the mind of the family or owner, and is only maintained by its or his susceptibility to true beauty and appreciation of it.

It must, in fact, be a visible mould of invisible matter, like the leaf-mould one finds in mineral springs, which show the wonderful veining, branching, construction and delicacy of outline in a way which one could hardly be conscious of in the actual leaf.
If the grade or dignity of the home requires professional and scholarly art direction, the problem is how to use this professional or artistic advice without delivering over the entire creation into stranger or alien hands; without abdicating the right and privilege of personal expression.