122 
before it; Chippendale a mirror, and chairs associated with 
some from the cabinet shops of the Adam brothers. To 
another bedroom Adam and early Colonial coypists have 
been chief contributors in fine representations of bureaus, 
dressing-tables, highboys, lowboys and sofas of that period, 
while one room contains a fascinating little work-table made 
by Sheraton, with a lock in each of its two swelling-front 
drawers and also in a sliding frame below the drawers, 
which is intended to support a work-bag of sufficiently rich 
material. 
It would, indeed, be difficult to find an exact replica of an 
historic Colonial dwelling so replete with all that makes 
for a revival of that period in furnishing and so fully car- 
ries out the artistic element in a Colonial-Adam interior 
which, before all things, emphasizes grace and lightness in 
form and effect together with a combination of delicacy and 
richness, in the production of which Robert Adam was past- 
master and has furnished the pattern for architects and 
decorators ever since. 
Apparent to the most casual observer is the fact that the 
Callaway residence at Wyoming has been furnished by one 
imbued with the true spirit of the period represented, and 
that the paintings, both ancient and modern, have been 
selected by Mr. Callaway with the judgment of a connois- 
seur in matters of art, but it becomes also apparent that the 
task of the architect has been one more difficult of achieve- 
While the back of the house faithfully represents 
ment. 
AMERICAN HOMES AND GARDENS 
April, 1912 
that historic place in which the meeting of six Colonial 
governors with General Braddock, termed ‘“‘the Congress 
of Alexandria,” provoked a counter convention with George 
Washington in the chair and the discontent which led to the 
Revolution twenty years later, the front entrance loses 
some of the historic environment in that it opens upon a 
terrace below the level of the street. Instead of ascending 
to the entrance one descends a flight of steps placed against 
a picturesque stone parapet that supports the hollowed 
steep of the mountain. Vines and evergreen shrubbery, with 
flowering plants in season, make beautiful this terrace be- 
fore the picturesque Colonial porch, and the effect is height- 
ened by an extension of the terrace beyond the long outdoor 
living-room to where a formal garden has been laid out 
within a hollow of the hill. To effect this garden Mr. Cal- 
laway had a house removed from an eminence and the 
mountainside hollowed out to the level of his terrace, and 
here, sheltered from north winds and warmed by sunshine, 
roses and perennials smile early at the Spring and bid tardy 
farewell to Autumn. A line of cedars to the south of this 
formal garden enhances its picturesque effect and shields 
from observation an attractive garage on the lawn, which 
slopes down the hillside to flower and vegetable gardens at 
the foot of the mountain. 
From this point of vantage one looks upon a scene of Vir- 
ginian space and plenty, crowned by a mansion, the silver- 
gray roofs of which seem to bear the tone of mellowed age. 
Some Old-Time Wall-Papers 
By Winifred Fales 
Photographs by Mary H. Northend 
Colonial period nothing exceeds in romantic 
interest a study of the landscape papers 
which were in popular use upon the walls. 
Particularly is this true at the present time, 
which seems to have brought us a revival of 
that particular form of decoration. The new landscape 
papers suggest the old ones, but are unlike in tone and char- 
acter, except in cases where some old specimen has been taken 
as a model and copied with faithful exactness. 
stances are rare. Our best examples of real Colonial land- 
scape papers date from the twenty-five years immediately 
prior to the Revolution and perhaps fifty years succeeding. 
Such paper is found in the old Lee mansion in Marble- 
head, now used by the Marblehead Historical Society. This 
building was erected in 1760 by Jeremiah Lee, a Revolu- 
tionary patriot. The wall-papers were made to order in 
England, by accurate measurement, to fit the required wall 
space. ‘They are in a fine state of preservation at the 
present day. When the panel between the two front win- 
dows in the upper hall peeled off, a few years ago, the 
Early wall-paper, depicting the River Seine, at Paris 
Such ine. 
back was found to bear this inscription, ‘‘11 Regent Street, ' 
London. Between windows, upper hall.’ This was proof. 
positive that each panel was made to order and to measure. 
This hall is very remarkable. It is done in tones of gray, 
outlined in black. Landscapes that represent old Roman 
ruins are set like framed pictures in alternation with strange 
heraldic devices like coats-of-arms. 
In other rooms are papers in brown tones, showing castles 
set. in shrubbery and encircled by lawns, with sailboats glid- 
ing over lakes or rivers, and peasant figures loitering upon 
the shore. All these papers are apparently as fresh as in 
the days when Lafayette was entertained in this mansion, or 
when President Monroe and Andrew Jackson tasted of its 
hospitalities. 
We can come very near to the time when these papers 
were made, but this is not so true of all specimens. 
The origin of the first wall-paper is wrapped in mys- 
tery. We know that when Columbus discovered Amer- 
ica the Spaniards were covering their walls with 
squares of stamped and painted leather. Other Eu- 
ropean countries copied this fashion to a greater or 
less extent, but in England it was apparently never 
very popular. 
The first wall decoration used in England was doubtless 
the tanned skins of animals slain for food. Afterwards the 
women became adepts at working all kinds of designs upon 
tapestry, or arras, which means the same thing. These 
hangings were made in comparatively narrow strips, and 
work up and down upon rollers, just like a curtain. They 
shut out draughts and hide the unsightly, ugly walls, thus 
adding both to the beauty and to the comfort of an apart- 
ment. Our modern so-called “‘tapestry-papers” are an at- 
tempt to reproduce in wall-paper the effect of cross-stitch 
done in silk or worsted upon appropriate material. 
Painted canvas was often used as a cheaper substitute for 
