Edgar Allan Poe

Edgar Allan Poe

Summary

Portrait of Edgar Allan Poe Edgar Allan Poe The Philosophy of Furniture (1840)

A tall and magnificent candelabrum, bearing a small antique lamp with strongly perfumed oil, is standing near the head of my sleeping friend. Some light and graceful hanging shelves, with golden edges and crimson silk cords with gold tassels, sustain two or three hundred magnificently-bound books. Beyond these things there is no furniture, if we except an Argand lamp, with a plain crimson-tinted glass shade, which depends from the lofty ceiling by a single gold chain, and throws a subdued but magical radiance over all.
Source: Wikisource

Portrait of Edgar Allan Poe Edgar Allan Poe The Philosophy of Furniture (1840)

It is not too much to say that the deliberate employer of a cut-glass shade is a person either radically deficient in taste, or blindly subservient to the caprices of fashion. The light proceeding from one of these gaudy abominations is unequal, broken, and painful. It alone is sufficient to mar a world of good effect in the furniture subjected to its influence. Female loveliness in especial is more than one half disenchanted beneath its evil eye.
Source: Wikisource

Portrait of Edgar Allan Poe Edgar Allan Poe The Philosophy of Furniture (1840)

With formal furniture curtains are out of place, and an excessive volume of drapery of any kind is, under any circumstances, irreconcileable with good taste; the proper quantum, as well as the proper adjustment, depends on the character of the general effect.
Carpets are better understood of late than of ancient days, but we still very frequently err in their patterns and colors. A carpet is the soul of an apartment. From it are deduced not only the hues but the forms of all objects incumbent. A judge at common law may be an ordinary man; a good judge of a carpet must be a genius.
Source: Wikisource

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