206 
HOUSE AND GARDEN 
October, 1914 
one scenic paper the com¬ 
plete pictorial scheme of 
which sold for as much as 
two thousand dollars. The 
correct treatment of such 
paper on the wall is the 
same as that of handsome 
tapestry; a complete pic¬ 
ture should occupy each 
section without repeating. 
Indeed, the proper use of 
scenic paper is so well 
shown in the reception 
room photograph that we 
shall turn to it at once. 
In this instance filler paper 
is provided to dispose of 
the small panels, leaving 
the larger ones exclusively 
for the scenes. No pic¬ 
tures are hung over this 
paper; the pictures are the 
paper. Everything is sac¬ 
rificed to it, all attention 
centered upon it. There are 
no draperies to the win¬ 
dows. And even the man¬ 
tel is devoid of ornaments, 
except a few in plain 
glass or monotone. Even 
the chairs and other furni- 
ture are comparatively 
A gray linen above, and a Ma¬ 
dras of new design and color 
Some of the new wall papers: in the upper left-hand corner, a Wedgewood; below it, a 
simple, self-toned gray, with bright Futurist binder; a tapestry with gold threads. From the 
upper left, another tapestry, suitable for use with Madras hangings; two papers made to 
combine with a matching border, and a bedroom paper in pinks and blues on a floral 
background 
plain. It is the scenic paper that 
makes the room, and with delib¬ 
erate intent. This is the correct 
point of view with paper of this 
nature. 
In some bedrooms what would 
be an otherwise simple room can 
be brightened and enriched by the 
use of beautiful madras covering 
for bed and bureau, and as a cur¬ 
tain fabric. Without lack of har¬ 
mony it imparts warmth and cheer 
to sedate surroundings. Of ma¬ 
dras it may be said that it is 
coming in once more with greater 
strength than ever. One reason 
is that it is now obtainable in col¬ 
ors which do not fade. Rather 
bright chintz colors are favored 
for bedrooms, and darker tones 
for living and dining rooms. In 
connection with the bedroom just 
referred to, a chair rail can be set 
around the walls. This is a little 
been supposed to bring it. Back¬ 
grounds are natural, or in the 
popular blue, or of yellow, laven¬ 
der or tan. 
For upholstering in general 
there are strong arguments in fa¬ 
vor of cotton or wool tapestries. 
The decorations are similar to 
those of cretonne, but are rather 
more subdued and richer. The 
general tone of such upholstering 
should be similar to that of the 
wall paper. To sum up, there¬ 
fore, we may say that, while cre¬ 
tonnes have come to be used like 
tapestry in upholstering, they have 
by no means supplanted tapestry 
for that purpose. 
The time-honored lace curtains 
have gone out. Their place is 
taken by net, voile and scrim. 
Borders are of fillet or imitation 
fillet. The imitation is good and 
much cheaper. Fish nets are of 
unusual in bedrooms. It 
has the effect of dividing 
the paper into oblong pan¬ 
els, and its lines are in con¬ 
formity with the rigid pre¬ 
cision of the other arrange¬ 
ments. 
Cretonne is the most 
democratic of the fabrics 
for room decoration. The 
new patterns are in small 
and medium sizes. There 
is a Futurist suggestion in 
the geometric separation of 
the elements composing the 
design. Decorators as a 
rule do not recommend the 
Futurist style, but there are 
exceptions. It goes quite 
nicely with willow furni¬ 
ture for porches, breakfast 
rooms and sun parlors. In 
short, its expression is in¬ 
formal, and that fact is the 
best key to the use of Fu¬ 
turist decoration. Bird de¬ 
signs in cretonne continue 
in demand. There used to 
be a mild superstition that 
birds flew away with good 
fortune; but ever since the 
famous play they have 
A cretonne and a linen showing 
the influence of Futurist movement 
