XXIl 
AMERICAN HOMES AND GARDENS 
September, 1909 
cult, and, of course, the cost enters in. It is 
natural that the best patterns should be found 
in the highest priced papers. Good taste and 
personal preference must be determining fac- 
tors here also. 
A few facts can be mentioned, however, 
which may help in this respect. Vertical 
stripes tend to make a room look higher, and 
horizontal lines, such as chair-rail, plate-rail 
and picture-molding, tend to make it look 
lower and broader. It is the same as in the 
lines of dress, and every woman knows what 
that means. ‘This should be borne in mind in 
papering a low-studded or a small, high- 
studded room. 
The size of the pattern also affects room 
proportion. Large figures are safer to use in 
a large room than in a small one; but bold, 
glaring patterns are almost never good, except 
in the conventional hotel room, where there 
are no pictures, or occasionally in the upper 
third. The wall-paper should always serve 
as a good background for pictures, and ob- 
trusive patterns are sure to detract from the 
effect. “[wo-tone’‘ patterns, in well-selected 
coloring, are, therefore, good almost every- 
where, as, indeed, are solid colors. Cheap in- 
grains and cartridge papers, however, which 
fade in a few months, are an abomination, as 
are unsanitary crepes and crinkled or raw 
silks. 
An intelligent understanding of the period 
styles is a good thing. An Oriental tapestry 
paper in a Colonial room, or a delicate Louis 
XVI. floral in a room full of Mission furni- 
ture, are decorative absurdities. Most of the 
rooms in the average American home, how- 
ever, are not decorated and furnished in any 
exclusive period style, for purely practical rea- 
sons, so that this point may not be of such 
great importance, after all. 
The selection of suitable patterns for the 
various rooms in the house is more important, 
perhaps; but it would be impossible to make a 
complete list of the different kinds of patterns 
appropriate to each. A few suggestions may 
be helpful, however. 
For the parlor let us select a graceful, quiet 
pattern in light tints, either in the Colonial 
or one of the classic French styles. “Too much 
gilt is always in bad taste. For the hall a 
bolder pattern can be used, such as the Empire 
wreath and torch, or heraldic pattern. There 
are, also, fine imitations of Gobelin tapestries 
—verdure and foliage effect—suitable for the 
hall. 
For the dining-room a two-tone paper in 
warm colorings is suggested, or a good tapes- 
try effect, preferably one showing fruit and 
flowers in the softened tapestry colorings. 
‘Tapestries and other soft, rich effects are ex- 
cellent for the living-room or library, and an 
Oriental tapestry for the den. 
Chintz and cretonne effects, stripes and 
dainty florals, are pleasing for the bedroom, 
and there are tile and aquatic patterns for 
the bathroom. In fact, your dealer will show 
you papers especially designed for every room 
in your house, even to the smoking-room, bil- 
liard-room, music-room or nursery. 
‘There -are several good kinds of wall cover- 
ings besides wall-paper, such as burlap, crash 
cloths, and Lincrusta, and other relief ma- 
terials; and there are many kinds and grades 
of wall-papers. ‘There are flocks—sometimes 
like felt, sometimes like panne velvet—for par- 
lor or hall; damask and silks for the parlor; 
ingrains and duplex ingrains and pulps for 
living-room or dining-room; pressed and em- 
bossed papers for parlor or hall; water-proof 
materials for hall, dining-room, kitchen or 
bathroom; varnished papers for bathroom, 
kitchen or entry; hand prints and machine 
prints, single prints and twelve-colors, and all 
the grades of blanks, flats, golds and varnish 
golds, appliqués and flitters—terms which your 
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decorator will explain. Each kind has its own 
particular purpose and value, except the 
cheapest blanks, which seldom possess any 
appreciable decorative merit. 
The styles in which wall-papers can be hung 
are many, and variety and individuality can 
often be obtained by means of some original 
arrangement. Among the prevalent styles are 
the side wall and border, with or without a 
dado; the upper-third treatment; the crown, 
and the French panel. In some cases nothing 
is lost by running the side wall, from base- 
board to ceiling, with a picture-molding at 
the extreme top. In bedrooms a pretty treat- 
ment is to use a delicately figured paper on the 
ceiling and on the upper part of the wall as 
far down as the picture-molding—eighteen 
inches or so—with a floral pattern or stripe 
on the lower part of the wall, the colors, of 
course, harmonizing. This treatment is es- 
pecially attractive where there is a curved cov- 
ing. Perhaps the best patterns for this purpose 
would be a dainty Dresden effect, above the 
flowers and ribbons of Marie Antoinette, or 
one of the modern lattice or trellis effects. 
Florals should always be in natural colors, 
though blue roses and pink violets, and other 
atrocities are to be found. 
For the dining-room, where the chairs are 
being constantly pushed back against the wall, 
a dado is desirable, preferably unfigured, or in 
a simple pattern harmonizing with the paper 
above, and in a darker or contrasting color. 
At the level of the tops of the chair-backs a 
chair-rail should be used. Dados of water- 
proof material, in durable colorings, are also 
useful for the hall and stairway, where there 
is much wear and tear. 
The upper-third treatment is very effective 
for some rooms, and has been exceedingly pop- 
ular, though decorators tell me that it is ceas- 
ing to be a fad. It is particularly effective in 
dining-room or library. A simple pattern or 
solid color is used in the lower two-thirds of 
the wall, surmounted by a shallow shelf or 
plate-rail, bearing bric-a-brac. Above this can 
be used a pattern of considerable strength, the 
pictures being hung low, just below the plate- 
rail, with possibly one or two exceptions. 
A good treatment for the dining-room is 
dark green burlap in the lower two-thirds, | 
oak woodwork, and oak plate-rail, and a forest 
or vendure tapestry paper above, in tones of 
green harmonizing with the burlap. The lower 
part can be made even more durable, as well 
as decorative, by means of flat, vertical cleats 
of oak dividing this section of the wall into 
panels. The library can be treated in a sim- 
ilar way. A sort of frieze can be devised by 
arranging a series of photographs or pictures 
of the same size in a row just below the plate- 
rail, held in place and framed by little strips 
of oak. 
The upper-third treatment is often effective 
for the chamber, using a plain stripe in the 
lower two-thirds, with a plate-rail or photo- 
graph-rail, and a bright floral above. 
The crown is a development of the frieze. 
The border paper is so made that it exactly 
matches with the side-wall pattern at a given 
point, without a visible division of any sort, 
finishing off the decoration at the top of the 
wall with an arch, a cluster of flowers, tree 
tops or some similar effect. The crown is dif- 
ficult to hang properly, and so has not been 
given the popularity that was expected of it. 
Intrinsically it is a very beautiful form of 
decoration, but pictures are apt to interfere 
with the effect, and it is frequently considered 
a little ‘‘too much.” 
The panel, either square or oblong, reaching 
from near the baseboard to near the ceiling, 
or used above or below the dado-line, is very 
artistic and very popular. Narrow borders 
and moldings are made for this purpose. 
Tapestry patterns can be very cleverly paneled 
