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Effects 
with 
Wall 
New 
Papers 
and Curtain 
Fabrics 
A wide blue linen with bird motif 
EXPLODING A POPULAR FALLACY ABOUT DARK-TONED PAPERS—WHERE THEY CAN BE USED EFFECTIVELY 
—THE PURPOSE OF SCENIC PAPERS—FUTURISM IN CRETONNES—MADRAS AND ITS GROWING POPULARITY 
T HERE is no part of a house that one lives with more than 
the walls; they constantly stare at one, and if they be not 
deftly treated they may stare him out of countenance. The 
windows are as much features of the walls as the eyes are features 
of the face. The two elements, therefore, of walls and hangings 
are properly considered by decorators as forming a single study. 
They are so combined in the present article. Few subjects are 
more delightful, partly because of the wide range of pleasing 
effects that are attainable, and partly because the producers have 
placed at the reader's disposal so many really charming papers 
and fabrics. 
Every season, purchasers of wall paper have to strike the time- 
honored balance between light and dark colors. The light papers 
appear to be received with, possibly, just a shade more favor, 
because a great many people think that the darker colors must 
necessarily fade. This is an injustice to the better class of deep- 
toned papers, many of which are warranted to be light-proof. A 
good part of the public has not yet been educated to appreciate 
this. Consequently the demand runs largely to plain effects in 
soft ecrus, grays, light tans and white. However, among artistic 
people who realize the advances made in permanent coloring 
there is a movement towards a little more color in their plain 
papers. Charming tones of blue lead in this class, with pink, mul¬ 
berry and old rose as close seconds. Both the lighter and darker 
papers referred to are either with delicate fabric effects or self- 
toned figures. The best papers are not absolutely plain. The 
finest effect in so-called plain wall coverings is considered to be 
that of genuine grass cloth. The imitation is hardly satisfactory 
unless of a decidedly superior character. The illustration of the 
living room in a country house shows a chaste application of 
plain-effect paper; which, of course, is fadeless, to withstand the 
copious floods of light. 
Among the new tapestry papers, one which has met with great 
and instantaneous success is known as “thread of gold.” Over 
or through the tapestry effect run delicate and close lines or 
threads of gold, more visible in some lights than others; hence the 
name. It is impossible to convey the rich effect of this in a 
photograph; but it is shown, as well as may be, in, for example, a 
beamed and paneled dining room. Here, by showing the thread 
of gold paper in separate wall spaces, a distinction is conferred 
even greater than if laid on in mass. Thus the historic treatment 
of a real tapestry is followed with this superb tapestry paper. 
It is hardly necessary to say that so excellent a product is light¬ 
proof. 
Floral papers continue popular, but need have no periodic sig¬ 
nificance. Dainty colors are favored. There is a slight tendency 
to smaller patterns, but hardly enough to establish a rule. As 
the bedroom illustrated has a French atmosphere, the paper ap¬ 
propriately draws its inspiration from the same source. Jacobean 
papers are, of course, uniquely conventionalized floral motifs. 
They have sufficient character to give them a distinct place. There 
is a dignity in their very strength. You get a glimpse of it 
through the section of hall in the living room pictured. There is 
a certain fitness in having such an environment for the Gothic 
fireplace. There is just enough of this aggressive paper in the 
panel to make it interesting without any danger of monotony. 
The better scenic papers continue in high favor, and it is just 
to say that they merit all the consideration they receive. It is 
about as hard to get an original, an actual original, as it is to get 
the true original of an antique Oriental rug. The writer recalls 
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