THUMBING THROUGH THE PAGES of a May 1840 Burton's Gentleman's Magazine reader alights on a curious essay about of interior design written by editor, Edgar Allan Poe. Beginning a quote from Hegel that affirms philosophy as utterly useless and therefore sublimest of pursuits, Poe proceeds to argue for a philosophical approach to internal decoration that implicitly establishes furniture as a potential source of sublime (Furniture 243). Poe's subsequent claim, though, is that this philosophy of furniture is nevertheless more imperfectly understood by Americans than by any civilized nation on earth, to which he adds that in terms of internal decoration the English are supreme and the Yankees alone are preposterous (243). Considering Yankee composition of Poe's own audience, it is not surprising that critical response to Philosophy of Furniture stresses its intentionally tone (The Edgar Allen Poe Society of Baltimore). What this dominant approach ignores, though, is Poe's investment in modeling cultivated for an American audience whose own primitive precludes domestic access to sublime. (1) To this end, Poe, posturing as cultural critic, concludes article an invitation to his readers to watch as he sketches a small and not ostentatious chamber whose decorations no fault can be found (244). Prominent among these faultless decorations is arabesque. An analysis of Poe's arabesque reveals link between his humorous theory of interior design and his theory of literary affect, ultimately providing scholar a pattern that elaborates hitherto under-appreciated influence of Orientalism on Poe's aesthetics. (2) Ensconced in voluminous drapes, thick carpet pile, and diffuse light, proprietor of chamber with whose decorations no fault can be found dozes peacefully as Poe ushers his readers through a diorama of eclectic furnishings which include a Saxony rug, Sevres vases, and an Argand lamp. The atmosphere is one in which Poe insists speaks in all. This sphere of repose is not only achieved through obscure lighting and plush materials, it is conducted by meditative arabesque designs which adorn wallpaper, carpet, and all upholstery of this nature. However, when these very same arabesque images appear in Poe's fiction, they effect not pleasant dreaming but nightmarish terror. Indeed, only a few months prior to appearance of Burton's article, Poe had published Tales of Grotesque and Arabesque, a document in which he credits his peculiar taste for arabesque establishing tenor of that defines his serious tales. (3) The arabesque, which operates as a rigid representation of leisure in Philosophy of Furniture, becomes animate in these serious tales--a metamorphosis which allows terror to infiltrate domestic sphere. What then is relationship between Poe's use of static arabesque as a signifier of invigorated American and his use of animate arabesque as a signified American terror? Answering why Poe perverts into terror necessitates unraveling arabesque convolutions of his Romantic aesthetics. In his major essays on style, Poetic Principle (1848) and Philosophy of Composition (1846), Poe mimics voice of a traditional Continental Enlightenment aesthete when he extols supernal beauty, rational methods of composition, and equivalencies between morality and taste. In these public treatments of aesthetics, Poe ostensibly conforms to what Michael Davitt Bell has theorized as theory of American Romance, an approach which emphasizes balance and integration and is best exemplified by Nathaniel Hawthorne's definition of romance as controlled, serious, moral, and conservative (Bell, 36). However, if progressive project of Enlightenment was, as Horkheimer and Adorno put it, liberating men from fear and establishing their sovereignty, (3) Poe's tales of domestic terror, in particular, consciously undermine fearless, sovereign self and exhibit a predilection for an aesthetic reification not of Beautiful or moral, but of monstrous, grotesque and inhuman. …