Project Gutenberg's Old Time Wall Papers, by Katherine Abbott Sanborn This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license Title: Old Time Wall Papers An Account of the Pictorial Papers on Our Forefathers' Walls with a Study of the Historical Development of Wall Paper Making and Decoration Author: Katherine Abbott Sanborn Release Date: December 19, 2012 [EBook #41664] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK OLD TIME WALL PAPERS *** Produced by Chris Curnow, Jane Robins and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) Transcriber's Note: Click on illustrations to get a personalised view of them. Inconsistent hyphenation and spelling in the original document have been adjusted, and obvious typographical errors have been corrected. For a complete list, please see the end of this book. WE HAVE PRINTED 75 SIGNED AND NUMBERED COPIES OF THIS BOOK ON FRENCH JAPAN PAPER, AND 975 NUMBERED COPIES ON AMERICAN PLATE PAPER. THE TYPE HAS BEEN DISTRIBUTED. NUMBER. Old Time Wall Papers AN ACCOUNT OF THE PICTORIAL PAPERS ON OUR FOREFATHERS' WALLS WITH A STUDY OF THE HISTORICAL DEVELOPMENT OF WALL PAPER MAKING AND DECORATION BY KATE SANBORN GREENWICH CONNECTICUT THE LITERARY COLLECTOR PRESS NEW YORK 1905 Clifford & Lawton 19 Union Square West, New York City SOLE AGENTS Copyright, 1905 BY KATE SANBORN TO A. S. C. THE CHATELAINE OF ELM BANK [vii] I INTRODUCTORY NOTE F a book has ever been written on this subject it has been impossible to discover; and to get reliable facts for a history of the origin and development of the art of making wall-papers has been a serious task, although the result seems scanty and superficial. Some friends may wonder at the lack of fascinating bits of gossip, stories of rosy romance and somber tragedy in connection with these papers. But those who chatted, danced, flirted, wept or plotted in the old rooms are long since dust, and although the "very walls have ears" they have not the gift of speech. But my collection of photographs is something entirely unique and will increase in value every year. The numerous photographers, to whom I have never appealed in vain, are regarded by me as not only a skillful but a saintly class of men. I am greatly indebted to Miss Mary M. Brooks of Salem and Miss Mary H. Buckingham of Boston for professional assistance. Many others have most kindly helped me by offers of photographs and interesting facts concerning the papers and their histories. But I am especially indebted to Mrs. Frederick C. Bursch, who has given much of her time to patient research, to the verification or correction of doubtful statements, and has accomplished a difficult task in arranging and describing the photographs. Without her enthusiastic and skillful assistance, my collection and text would have lacked method and finish. To the many, both acquaintances and strangers, who have volunteered assistance and have encouraged when discouragement was imminent, sending bracing letters and new-old pictures, I can only quote with heartfelt thanks the closing lines of the verse written by Foote, the English actor, to be posted conspicuously to attract an audience to his benefit— Like a grate full of coals I'll glow A great full house to see; And if I am not grateful, too, A great fool I shall be. [viii] CONTENTS I FROM MUD WALLS AND CANVAS TENTS TO DECORATIVE PAPERS II PROGRESS AND IMPROVEMENT IN THE ART III EARLIEST WALL PAPERS IN AMERICA IV WALL PAPERS IN HISTORIC HOMES V NOTES FROM HERE AND THERE VI REVIVAL AND RESTORATION OF OLD WALL PAPERS Page 1 23 41 61 85 103 [xi] LIST OF PLATES AND ILLUSTRATIONS PLATES Old English Figure paper—in Colors. Plate I Rural Scenes—Detail in Colors. II French paper, Watteau Style—Detail in Colors. III Adventures of a Gallant—Reduction. IV Adventures of a Gallant—Detail in Colors. V Racing paper—Timothy Dexter House. VI The Bayeux Tapestry—Burial of Edward. VII The Bayeux Tapestry—Harold hearing News. VIII Oldest English paper—Borden Hall, "A." IX Borden Hall paper, Design "B." X Early English Pictorial paper—Chester, Eng. XI Old Chinese paper, Cultivation of Tea—Dedham, Mass. XII-XIV Early American fresco—Westwood, Mass. XV-XVIII Early Stencilled paper—Nantucket, Mass. XIX A Peep at the Moon—Nantucket, Mass. XX Hand-colored Figures, repeated—Claremont, N. H. XXI Nature Scenes, repeated—Salem, Mass. XXII The Alhambra, repeated—Leicester, Mass. XXIII Cathedral Views, repeated—Ware, Mass. XXIV Cathedral Views, repeated on architectural background—Waltham, Mass. XXV Pictured Ruins, Hall and Stairway—Salem, Mass. XXVI Birds of Paradise and Peacocks—Waltham, Mass. XXVII Sacred to Washington—Mourning paper. XXVIII Dorothy Quincy Wedding paper—Quincy, Mass. XXIX The Pantheon—King's Tavern, Vernon, Conn. XXX Canterbury Bells—Wayside Inn, Sudbury, Mass. XXXI The First Railway Locomotive—Salem, Mass. XXXII Rural Scene from same room. XXXIII Pizarro in Peru—Duxbury, Mass. XXXIV-V Tropical Scenes—Peabody, Mass. XXXVI-VII On the Bosporus—Montpelier, Vt. XXXVIII-IX Oriental Scenes—Stockport, N. Y. XL-XLIII Early Nineteenth Century Scenic paper—Deerfield, Mass. XLIV-V Same Scenic paper, other examples—Warner, N. H., and Windsor, Vt. XLVI-VII Harbor Scene—Waterford, Vt., Gilmanton, N. H., and Rockville, Mass. XLVIII The Spanish Fandango—same paper. XLIX Strolling Players—same paper. L Rural Scenes—Ashland, Mass., and Marblehead. LI, LII French Boulevard Scenes—Salem, Mass., and Nantucket, Mass. LIII, LIV Gateway and Fountain, with Promenaders. LV [xii] [xiii] Scenes from Paris—Salem, Mass., etc. LVI, LVII Bay of Naples—Hanover, N. H., etc. LVIII-LXII Cupid and Psyche—panelled paper. LXIII, LXIV The Adventures of Telemachus—Taunton, Mass., etc. LXV-IX Scottish Scenes—same paper. LXX The Olympic Games—Boston, Mass. LXXI A tribute to Homer—same paper. LXXII The shrine of Vesta—same paper. LXXIII Worship of Athene—same paper. LXXIV Oblation to Bacchus—same paper. LXXV Oblation to Bacchus and Procession before Pantheon—Keene, N. H. LXXVI The Lady of the Lake—Greenbush, Mass., and Portsmouth, N. H. LXXVII-LXXX The Seasons—Hanover, N. H. LXXXI-III ILLUSTRATIONS. Devil paper, Gore Mansion, Waltham, Mass. See end papers. Pages Devil paper, details, viii, 19, 61 Mill and Boat Landing—Fairbanks House, Dedham, Mass. vii Gallipoli Scenes—Knox Mansion, Thomaston, Me. ix, 23,103 Adventures of Cupid—Beverly, Mass. xi, 116 Fisher Maidens—Draper House, N. H. x Peasant Scene. xi Hunters and Dog. xiv The Gypsies—Stevens House, Methuen, Mass. 1 Bandbox (Stage-coach) and Cover—Spencer, Mass. 20 The Grape Harvest. 37 Torches and Censers—Thomaston, Me. 38 Bandbox, Volunteer Fire Brigade—Norwich, Conn. 58 Chariot Race—Detail of Olympic Games paper. 85 Horse Race—Newburyport, Mass. 100 [xiv] [1] "H I FROM MUD WALLS AND CANVAS TENTS TO DECORATIVE PAPERS OW very interesting! Most attractive and quite unique! I supposed all such old papers had gone long ago. How did you happen to think of such an odd subject, and how ever could you find so many fine old specimens? Do you know where the very first wall-paper was made?" These are faint echoes of the questions suggested by my collection of photographs of wall-papers of the past. The last inquiry, which I was unable to answer, stimulated me to study, that I might learn something definite as to the origin and development of the art of making such papers. Before this, when fancying I had found a really new theme, I was surprised to discover that every one, from Plato and Socrates to Emerson, Ruskin and Spencer, had carefully gleaned over the same ground, until the amount of material became immense and unmanageable. Not so now. I appealed in vain to several public libraries; they had nothing at all on the subject. Poole's Index—that precious store-house of information—was consulted, but not one magazine article on my theme could be found. I then sent to France, England and Italy, and employed professional lookers-up of difficult topics; but little could be secured. The few who had studied paper hangings were very seldom confident as to positive dates and facts. One would seem safe in starting with China, as paper was certainly invented there, and many of the earliest designs were of Chinese scenes; but the honor is also claimed for Japan and Persia and Egypt. It is difficult to decide in view of the varying testimony. I was assured by a Japanese expert, who consulted a friend for the facts, that neither the Chinese nor the Japanese have ever used paper to cover their walls. At the present day, the inner walls of their houses are plastered white, and usually have a strip of white paper running around the bottom, about a foot and a half high. On the other hand, Clarence Cook, in his book, What Shall We Do With Our Walls?, published in 1880, says as to the origin of wall-paper: "It may have been one of the many inventions borrowed from the East, and might be traced, like the introduction of porcelain, to the Dutch trade with China and Japan." And he finds that the Japanese made great use of paper, their walls being lined with this material, and the divisions between the rooms made largely, if not entirely, by means of screens covered with paper or silk. Japanese wall-paper does not come in rolls like ours, but in pieces, a little longer than broad, and of different sizes. He adds: PLATE II. One of the cruder papers popular a hundred years ago; containing three groups of figures engaged in rural occupations. Beside the gray ground this paper contains eleven shades of color, roughly applied, with little attention paid to register. [2] "What makes it more probable that our first European notion of wall-papers came from Japan, is the fact that the first papers made in Holland and then introduced into England and France, were printed in these small sizes [about three feet long by fifteen inches wide]. Nor was it until some time in the eighteenth century that the present mode of making long rolls was adopted. These early wall-papers were printed from blocks, and were only one of many modifications and adaptations of the block printing which gave us our first books and our first wood-cuts. "The printing of papers for covering walls is said to have been introduced into Spain and Holland about the middle of the sixteenth century. And I have read, somewhere, that this mode of printing the patterns on small pieces of paper was an imitation of the Spanish squares of stamped and painted leather with which the grandees of Spain covered their walls, a fashion that spread all over Europe. "We are told that wall-paper was first used in Europe as a substitute for the tapestry so commonly employed in the middle ages, partly as a protection against the cold and damp of the stone walls of the houses, partly, no doubt, as an ornament." But here is something delightfully positive from A. Blanchet's Essai sur L'Histoire du Papier et de sa Fabrication, Exposition retrospective de la Papetier, Exposition Universelle, Paris, 1900. Blanchet says that paper was invented in China by Tsai Loon, for purposes of writing. He used fibres of bark, hemp, rags, etc. In 105 A. D. he reported to the government on his process, which was highly approved. He was given the honorary title of Marquis and other honors. The first paper book was brought to Japan from Corea, then a part of China, in 285. The conquest of Turkestan by the Arabs, through which they learned the manufacture of paper, came in the battle fought on the banks of the River Tharaz, in July, 751. Chinese captives brought the art to Samarcand, from which place it spread rapidly to other parts of the Arabian Empire. Damascus was one of the first places to receive it. In Egypt, paper began to take the place of papyrus in the ninth century, and papyrus ceased to be used in the tenth. The Arabian paper was made of rags, chiefly linen, and sized with wheat starch. European paper of the thirteenth century shows, under the microscope, fibres of flax and hemp, with traces of cotton. About 1400, animal glue was first used for sizing. The common belief that Arabian and early European paper was made of cotton is a mistake. There has never been any paper made of raw cotton, and cotton paper anywhere is exceptional. In 1145, when the troops of Abd el Mounin were about to attack the capital of Fez, the inhabitants covered the vault of the mihrab of the mosque with paper, and put upon this a coating of plaster, in order to preserve from destruction the fine carvings which are still the admiration of visitors. The mihrab of an Arabic mosque is a vaulted niche or alcove, in which the altar stands and towards which the worshippers look while they pray. This is probably the earliest approach to the use of wall-paper and shows the excellent quality of the paper. Herbert Spencer states that "Dolls, blue-books, paper-hangings are lineally descended from the rude sculpture paintings in which the Egyptians represented the triumphs and worship of their god-kings." No doubt this is true, but the beginning of paper, and probably of wall-paper, was in China. Paper made of cotton and other vegetable fibres by the Chinese was obtained by the Arabs in trade, through Samarcand. When they captured that city, in 704 A.D. they learned the process from Chinese captives there, and soon spread it over their empire. It was known as "Charta Damascena" in the Middle Ages, and was extensively made also in Northern Africa. The first paper made in Europe was manufactured by the Moors in Spain, at Valencia, Toledo, and [3] [4] [5] Xativa. At the decline of Moorish power, the Christians took it up, but their work was not so good. It was introduced into Italy through the Arabs in Sicily; and the Laws of Alphonso, 1263, refer to it as "cloth parchment." The earliest documents on this thick "cotton" paper date from the twelfth and thirteenth centuries, as a deed of King Roger of Sicily, dated 1102, shows. When made further north, other materials, such as rags and flax, were used. The first mention of rag paper, in a tract of Peter, Abbott of Cluny from 1122 to 1150, probably means woolen. Linen paper was not made until in the fourteenth century. The Oriental papers had no water mark,—which is really a wire mark. Water-mark paper originated in the early fourteenth century, when paper-making became an European industry; and a considerable international trade can be traced by means of the water marks. The French Encyclopædia corroborates Blanchet's statement that the common notion that the Arabic and early European papers were made of cotton is a mistake; the microscope shows rag and flax fibres in the earliest. Frederic Aumonier says: "From the earliest times man has longed to conceal the baldness of mud walls, canvas tents or more substantial dwellings, by something of a decorative character. Skins of animals, the trophies of the chase, were probably used by our remote ancestors for ages before wall-paintings and sculptures were thought of. The extreme antiquity of both of these latter methods of wall decoration has recently received abundant confirmation from the valuable work done by the Egyptian Research Department, at Hierakonopolis, where wall-paintings have been discovered in an ancient tomb, the date of which has not yet been determined, but which is probably less than seven thousand years old; and by the discovery of ancient buildings under the scorching sand dunes of the great Sahara, far away from the present boundary line of habitable and cultivated land. The painted decorations on the walls of some of the rooms in these old-world dwellings have been preserved by the dry sand, and remain almost as fresh as they were on the day they left the hand of the artist, whose bones have long since been resolved into their native dust." From the Encyclopædia Britannica I condense the long article on "Mural Decoration": There is scarcely one of the numerous branches of decorative art which has not at some time or other been applied to the ornamentation of wall-surfaces. I. Reliefs sculptured in marble or stone; the oldest method of wall decoration. II. Marble veneer; the application of thin marble linings to wall surfaces, these linings often being highly variegated. III. Wall linings of glazed bricks or tiles. In the eleventh and twelfth centuries, the Moslems of Persia brought their art to great perfection and used it on a large scale, chiefly for interiors. In the most beautiful specimens, the natural growth of trees and flowers is imitated. About 1600 A. D., this art was brought to highest perfection. IV. Wall coverings of hard stucco, frequently enriched with relief and further decorated with delicate paintings in gold and colors, as at the Alhambra at Granada and the Alcazar at Seville. V. Sgraffito; a variety of stucco work used chiefly in Italy, from the sixteenth century down. A coat of stucco is made black by admixture of charcoal. Over this a second very thin coat of white stucco is laid. The drawing is made to appear in black on a white ground, by cutting away the white skin enough to show the black undercoat. VI. Stamped leather; magnificent and expensive, used during the sixteenth and seventeenth centuries, in Italy, Spain, France, and later in England. VII. Painted cloth. In King Henry IV., Falstaff says his soldiers are "slaves, as ragged as Lazarus in the painted cloth." Canvas, painted to imitate tapestry, was used both for ecclesiastical and domestic hangings. English mediæval inventories contain such items as "stayned cloth for hangings"; "paynted cloth with stories and batailes"; and "paynted cloths of beyond-sea-work." The most important existing example is the series of paintings of the Triumph of Julius Caesar, now in Hampton Court. These designs were not meant to be executed in tapestry, but were complete as wall- hangings. Godon, in Peinture sur Toile, says: "The painted canvasses kept at the Hôtel Dieu at Rheims were done in the fifteenth century, probably as models for woven tapestries. They have great artistic merit. The subjects are religious." Painted cloths were sometimes dyed in a manner similar to those Indian stuffs which were afterwards printed and are now called chintzes. It is recorded somewhere, that the weaving industry was established at Mulhouse (Rixheim) by workers who left Rheims at a time when laws were passed there to restrict the manufacture of painted cloths, because there was such a rage for it that agriculture and other necessary arts were neglected. VIII. Printed hangings and wall-papers. The printing of various textiles with dye-colors and mordaunts is probably one of the most ancient of the arts. Pliny describes a dyeing process employed by the ancient Egyptians, in which the pattern was probably formed by printing from blocks. The use of printed stuffs is of great antiquity among the Hindus and Chinese, and was practised in Western Europe in the thirteenth century, and perhaps earlier. The South Kensington Museum has thirteenth-century specimens of block-printed linen made in Sicily, with beautiful designs. Later, toward the end of the fourteenth century, a great deal of block-printed linen was made in Flanders and was imported largely into England. Tapestries as wall-hangings were used in the earliest times, and, as tiles and papers were copied from them, they must be spoken of here. One remarkable example of tapestry from a tomb in the Crimea is supposed by Stephani to date from the fourth century before Christ. Homer frequently describes tapestry hangings, as when he alludes to the cloth of [6] [7] [8] purple wool with a hunting scene in gold thread, woven by Penelope for Ulysses. Plutarch, in his Life of Themistocles, says, "Speech is like cloth of Arras, opened and put abroad, whereby the imagery doth appear in figure; whereas in thoughts they lie but as in packs." The oldest tapestry now in existence is the set of pieces known as the Bayeux Tapestry, preserved in the library at Bayeux, near Caen, in France, and said to be the work of Matilda, Queen of William the Conqueror. These pieces measure two hundred and thirty-one feet long and twenty inches wide. It is generally believed, and stated as a fact in the various guide-books, that the Bayeux Tapestry was the work of Queen Matilda, the consort of the Conqueror, assisted by her ladies. At that time, English ladies were renowned for their taste and skill in embroidery. Their work was known throughout Europe as English work. The Conquest having brought the people of Normandy and England into close intercourse, it is pointed out that on William's return to France, he must have taken with him many Saxons, with their wives and daughters, in honorable attendance upon him; and that these ladies might have helped Matilda and her companions in making this historical piece of needlework. Many historians, however, incline to the opinion that Matilda and her ladies had nothing to do with the tapestry, although it was done during her lifetime. It is amusing to note how Miss Strickland, in her Lives of the Queens of England, takes up the cudgels in a very vigorous manner on behalf of Matilda's claim: "The archæologists and antiquaries would do well to direct their intellectual powers to more masculine objects of enquiry, and leave the question of the Bayeux Tapestry (with all other matters allied to needle-craft) to the decision of the ladies, to whose province it belongs. It is a matter of doubt whether one out of the many gentlemen who have disputed Matilda's claim to that work, if called upon to execute a copy of either of the figures on canvas, would know how to put in the first stitch." But Dr. Daniel Rock, in his exhaustive work on Tapestries, casts the gravest doubts upon the tradition that this needlework owed its origin to Matilda and her ladies: "Had such a piece anywise or ever belonged to William's wife, we must think that, instead of being let stray away to Bayeux, toward which place she bore no particular affection, she would have bequeathed it, like other things, to her beloved church at Caen." The author points out that there is no mention of the tapestry in the Queen's will, while two specimens of English needlework, a chasuble and a vestment, are left to the Church of the Trinity at Caen, the beautiful edifice founded by her at the time when her husband founded the companion church of St. Etienne in the same city. In fact, Dr. Rock thinks the tapestry was made in London, to the order of three men quite unknown to fame, whose names appear more than once on the tapestry itself. Coming over with the Conqueror, they obtained wide possessions in England, as appears from the Doomsday Book, and would naturally have wished to make a joint offering to the cathedral of their native city. In support of this view, it is shown that the long strip of needlework exactly fits both sides of the nave of the cathedral at Bayeux, where until recent times it has hung. The tapestry has undergone so many vicissitudes that it is a matter for wonder that it has been preserved in such good condition for eight hundred years. At one time it was exhibited at the Hôtel de Ville, at Bayeux, fixed panorama-fashion on two rollers, so that it was at the disposal of the fingers as well as the eyes of the curious. When Napoleon was thinking of invading this country, he had the tapestry carried to the various towns of France and publicly exhibited, so as to arouse popular enthusiasm on behalf of his designs. In 1871, when the Prussians were thought to be in dangerous proximity to Bayeux, the tapestry was taken down, enclosed in a metal cylinder, and buried in a secret place until the close of the war. Now it is kept in the Public Library in an upright glass case, which forms the sides of a hollow parallelogram, the tapestry being carried first round the outside and then round the inside space, so that every part of it is open to inspection, while it cannot be touched or mutilated. This valuable information is given by Mr. T. C. Hepworth. In the Old Testament we find records of "hangings of fine twined linen" and "hangings of white cloth, of green, of blue, fastened with cords of fine linen and purple." Shakespeare has several allusions to tapestry: as, "fly-bitten tapestry"; "worm-eaten tapestry"; "covered o'er with Turkish tapestry"; "the tapestry of my dining chambers"; "it was hanged with tapestry of silk"; "in cypress chests my arras"; "hangings all of Tyrian tapestry." Cardinal Wolsey's private accounts and inventories, still preserved, state that in 1552 he bought one hundred and thirty- two large pieces of Brussels tapestry, woven with Scriptural subjects and mostly made to order, so as to fit exactly the various wall spaces. Among the wall-pieces, "in addition to the numerous sacred subjects are mentioned mythological scenes, romances, historical pieces and hangings of verdure," the last being decorative work, in which trees and foliage formed the main design, with accessory figures engaged in hunting, hawking and the like. We read in Gibbon's Rome that Charles the Sixth despatched, by way of Hungary, Arras tapestry representing the battles of the great Alexander. And Macaulay inquires, "Where were now the brave old hangings of Arras which had adorned the walls of lordly mansions in the days of Elizabeth?" According to Shakespeare, the arras was found convenient to conceal eaves-droppers, those planning a frolic or plotting mischief; or for a hasty lunch, as in The Woman Hater, by Beaumont and Fletcher: [9] [10] [11] [12] I have of yore made many a scrambling meal, In corners, behind arrases, on stairs. Arras was used precisely the same as a curtain; it hung on tenters or lines from the rafters or from some temporary stay, and was opened, held up, or drawn aside, as occasion required. The writers of the day frequently mentioned these wall-hangings. Evelyn, in his diary, 1641, says, "We were conducted to the lodgings, tapestry'd with incomparable arras." Scott, in The Lady of the Lake, has this couplet: In vain on gilded roof they fall, And lighten up a tapestried wall. And in Waverley he speaks of "remnants of tapestried hangings, window curtains and shreds of pictures with which he had bedizened his tatters." After the seventeenth century, these tapestries were used for covering furniture, as the seats and backs of sofas and arm chairs, desks and screens; and fire-screens covered with tapestry as beautiful as a painting were in vogue. In the Comedy of Errors we recall this passage: In the desk That's covered o'er with Turkish tapestry There is a purse of ducats. Clarence Cook says: "There was a kind of tapestry made in Europe in the fifteenth century—in Flanders, probably—in which there were represented gentlemen and ladies, the chatelaine and her suite walking in the park of the chateau. The figures, the size of life, seem to be following the course of a slender stream. The park in which these noble folk are stiffly disporting is represented by a wide expanse of meadow, guiltless of perspective, stretching up to the top of the piece of stuff itself, a meadow composed of leaves and flowers—bluebells, daisies, and flowers without a name—giving the effect of a close mosaic of green, mottled with colored spots. On the meadow are scattered various figures of animals and birds—the lion, the unicorn, the stag, and the rabbit. Here, too, are hawks and parrots; in the upper part is a heron, which has been brought down by a hawk and is struggling with the victor, some highly ornamental drops of blood on the heron's breast showing that he is done for. And to return to the brook which winds along the bottom of the tapestry, it is curious to note that this part of the work is more real and directly natural in its treatment than the rest. The water is blue, and is varied by shading and by lines that show the movement of the stream; the plants and bushes growing along its borders are drawn with at least a conventional look of life, some violets and fleur-de-lis being particularly well done; and in the stream itself are sailing several ducks, some pushing straight ahead, others nibbling the grass along the bank, and one, at least, diving to the bottom, with tail and feet in the air." The best authority on tapestries in many lands is the exhaustive work by Muntz, published in Paris, 1878-1884, by the Société anonyme de Publication Périodique—three luxuriously bound and generously illustrated volumes, entitled Histoire Générale de la Tapisserie en Italie, en Allemagne, en Angleterre, en Espagne. We learn here that in 1630 Le François, of Rouen, incited by the Chinese colored papers imported by the missionaries, tried to imitate the silk tapestries of the wealthy in a cheaper substance. He spread powdered wool of different colors on a drawing covered with a sticky substance on the proper parts. This papier velouté, called tontisse by Le François, was exported to England, where it became known as "flock paper." The English claim a previous invention by Jeremy Lanyer, who, in 1634, had used Chinese and Japanese processes. At any rate, the manufacture of flock papers spread in England and was given up in France. Only toward the middle of the eighteenth century was the making of real colored papers (papier peints) begun in France and England. The first factory was set up in 1746, but the work was not extended further until 1780, when it was taken up by the brothers George and Frederic Echardt. Chinese picture papers were imported into France by Dutch traders and used to decorate screens, desks, chimney- pieces, etc., as early as the end of the seventeenth century. By the middle of the eighteenth, they were an important ornament of elegant interiors. In the list of the furniture given to Mlle. Desmares by Mlle. Damours, September 25, 1746, is a fire-screen of China paper, mounted on wood, very simple. On July 25, 1755, Lazare Duvaux delivered to Mme. de Brancas, to be sent to the Dauphiness, a sheet of China paper with very beautiful vases and flowers, for making which he charged thirty livres. April 6, 1756, he sold to the Countess of Valentinois, for one hundred and forty- four livres, six sheets of China paper, painted on gauze with landscapes and figures. May 8, 1770, M. Marin advertised for sale in a Paris newspaper twenty-four sheets of China paper, with figures and gilt ornaments, ten feet high and three and one-half feet wide, at twenty-four livres a sheet; to be sold all together, or in lots of eight sheets each. By this time whole rooms were papered. July 15, 1779, an apartment in Paris was advertised to let, having a pretty boudoir with China paper in small figures representing arts and crafts, thirteen sheets, with a length of thirty-seven feet (horizontally) and height of eight feet ten inches, with gilt beaded moulding. Dec. 31, 1781, "For sale, at M. Nicholas's, China wall-paper, glazed, blue ground, made for a room eighteen feet square, with gilt moulding." Mr. Aumonier says: "Notwithstanding the Chinese reputation for printing from wooden blocks from time immemorial, [13] [14] [15] no specimens of their work produced by that process have ever come under the notice of the author, in public museums or elsewhere, and it is far more probable that early Chinese works imported into Europe were painted by hand, in imitation of the wondrous needlework, for which, through unknown ages, the Eastern peoples have been famous. A most perfect and beautiful example of this work, of Japanese origin, may be seen in the "Queen's palace at the Hague," called the Huis-ten-Bosch—the House-in-the-Wood. This is a magnificent composition of foliage and flowers, birds and butterflies, perfect in form and beauty of tint, worked in silks on a ground of écru satin. It is composed of many breadths forming one picture, starting from the ground with rock-work, and finishing at the top of the wall with light sprays of flowers, birds, butterflies and sky; the colouring of the whole so judiciously harmonized as to be an object lesson of great value to any decorator, and worth traveling many miles to study." I think that we may now safely say that China holds the honors in this matter. And as most of us grow a bit weary of continuous citations from cyclopedias, which are quoted because there is nothing less didactic to quote, and there must be a historical basis to stand on and start from, let us wander a little from heavy tomes and see some of the difficulties encountered in looking up old wall-papers to be photographed. An American artist, who has made his home in Paris for years, looked over the photographs already collected, grew enthusiastic on the subject, and was certain he could assist me, for, at the Retrospective Exhibition held in that city in 1900, he remembered having seen a complete exhibition of wall-papers and designs from the beginning. Of course the dailies and magazines of that season would have full reports. "Just send over to Jack Cauldwell—you know him. He is now occupying my studio, and he will gladly look it up." I wrote, and waited, but never received any response; heard later that he was painting in Algiers and apparently all the hoped-for reports had vanished with him. My famously successful searcher after the elusive and recondite gave up this fruitless hunt in despair. Other friends in Paris were appealed to, but could find nothing. Then many told me, with confidence, that there must be still some handsome old papers in the mansions of the South. And I did my best to secure at least some bits of paper, to show what had been, but I believe nearly all are gone "down the back entry of time." One lady, belonging to one of the best old families of Virginia, writes me, "My brother has asked me to write to you about wall-papers. I can only recall one instance of very old or peculiar papering in the South, and my young cousin, who is a senior in the Columbia School of Architecture and very keen on 'Colonial' details, tells me that he only knows of one. He has just been through tide-water Virginia, or rather, up the James and Rappahannock rivers, and he says those houses are all without paper at all, as far as he knows. "At Charlestown, West Virginia, there is a room done in tapestry paper in classic style, the same pattern being repeated, but this is not old, being subsequent to 1840. The room that I have seen is wainscoted, as is the one at Charlestown, and has above the wainscoting a tapestry paper also in shades of brown on a white ground. "The principal wall has a large classical design, with columns, ships and figures, not unlike the Turner picture of Carthage, as I remember it. This picture is not repeated, but runs into others. Whether each is a panel, or they are merged into one another by foliage, I am unable to recall. I know that there is a stag hunt and some sylvan scenes. It seemed as if the paper must have been made with just such a room in mind, as the patterns seemed to fit the spaces. As the room was the usual corner parlor common to Southern mansions, it was probably made for the type. I was told by a boarder in this house that the paper was old and there were similar papers in Augusta County. I do not know whether these are choice and rare instances, or whether they are numerous and plentiful in other sections." All my responses from the South have been cordial and gracious and interesting, but depressing. I hear, in a vague way, of papers that I really should have—in Albany and Baltimore. We all know of the papers in the Livingston and Jumel mansions; the former are copied for fashionable residences. I heard of some most interesting and unusual papers in an old house in Massachusetts, and after struggling along with what seemed almost insurmountable hindrances, was at last permitted to secure copies. The owner of the house died; the place was to be closed for six months; then it was to be turned over to the church, for a parsonage, and I agonised lest one paper might be removed at once as a scandalous presentment of an unholy theme. I was assured that in it the Devil himself was caught at last, by three revengeful women, who, in a genuine tug-of-war scrimmage, had torn away all of his tail but a stub end. Finally I gained a rather grudging permit for my photographer to copy the papers—"if you will give positive assurance that neither house nor walls shall be injured in the slightest degree." PLATE III. In abrupt contrast with the preceding specimen, this old French paper is printed with great care and shows high artistic taste. The eight well-composed groups of figures that form the complete design are after the manner of Watteau; the coloring is rich but quiet. Seventeen shades and colors were imposed on a brown ground, and the black mesh-work added over all. [16] [17] [18] [19]