-64 
House & Garden 
LPAPER OFFERS *> 
UNLIMITED POSSIBILITIES 
INDIVIDUAL EXPRESSION 
The dining-room—serviceable, sociable room 
—should be a haven of happiness; the ren¬ 
dezvous of laughter, radiant faces and good 
cheer. A spirit of relaxation should pervade 
the room. Employing carefully chosen 
Wallpaper is the modern method of accom¬ 
plishing this. 
Wallpaper emits a warmth, a cheer, a rest¬ 
fulness that makes a house a home. It gives 
emphasis to woodwork and fixtures, as well 
as to furnishings. 
It is so artistic, so adaptable that it will give 
the proper individual atmosphere to every 
room. In the reception room it will blend 
with the elegance of furniture and decora¬ 
tions while in the boudoir it will diffuse cosi¬ 
ness and an air of familiarity. 
Wallpaper seems almost sympathetic as it 
lends itself to your various moods—always 
offering the restfulness of pleasing patterns. 
Now is the time to repaper your home. 
Consult your decorator or wallpaper dealer. 
He will gladly estimate on any or all rooms, 
without obligation. 
ALLIED WALLPAPER INDUSTRY 
of the United States and Canada 
General Offices—1328 Broadway, Marbridge Building, New York City 
Oriental Papers for Occidental Walls 
(Continued from page 62) 
The Chinese paper, which is the color 
of light brown sugar or, better still, of 
time-stained parchment or of the linen 
swathings of an Egyptian mummy, has 
a ribbed texture and almost the rough¬ 
ness of a fine flax weave. Other Chinese 
papers, of much the same color, are thin 
and smooth with a lustre. Many of the 
Japanese papers, which are more varied 
and more highly organized in their de¬ 
velopment, are smooth and vary in sur¬ 
face from those that are flat and lustre¬ 
less to those that exhibit either an al¬ 
most indefinable and elusive suggestion 
of sheen, perceptible more by fugitive 
fancy than by actuality, or else a surface 
that furnishes a constant play of reflec¬ 
tions and high lights. Some of the Japa¬ 
nese papers are fairly thick and of 
coarse, loose texture with irregular 
streaks, blotches and markings caused 
by bits of vegetable fibre embedded in 
the body of the stock or adhering to the 
surface and producing an agreeable acci¬ 
dental diversity without at all approxi¬ 
mating a pattern. Other papers, again, 
are of exceedingly thin, sheer texture, 
little heavier than fine rice paper, and 
of silken softness. These are usually the 
papers with the sheen just mentioned. 
A few of these, too, of white or cream 
colored body, have irregular dark mark¬ 
ings due to shreds of vegetable fibre. 
Nearly all of these papers, thick and 
thin alike, are rich in background possi¬ 
bilities, but one of the best in this re¬ 
spect is a light brown paper, of even 
body and smooth surface, whose texture 
and hue together combine to enhance the 
values of colors and patterns shown 
against it in a manner comparable to the 
effect of old Japanese prints. A few of 
the papers, of regular and substantial 
body, occur in strong and bright bht 
generally mellow colors. These, too, 
though requiring discreet management, 
offer background opportunities, as do 
likewise certain mottled papers like the 
slate gray Modu with white, cloud-like 
markings or the cream Hodatsu with 
fine sorrel or cinnamon colored lines and 
large blotches, both of which latter 
specimens are illustrated. Not quite so 
restful as many of the preceding, but 
still of decided background value, for 
certain places, are the shadow papers 
with dim gray, pale blue or pale light 
green figures on a cream ground, two of 
which, San ban and Ni ban, are illus¬ 
trated. 
Japanese Designs 
The Japanese papers, for the most 
part, may be divided into groups or 
families of which the chief are the Kuro 
papers, being mostly of dull texture, in 
different colors, with more or less mark¬ 
ing of vegetable fibres, or else crinkled 
surface with a decided sheen; the Gifu 
papers, a fine quality of cream and white 
with a faint sheen; the Kochi papers, 
much like the preceding in quality but 
often of deeper tone and occasionally 
with fibre markings; the Awaji papers, 
of heavier body and widely varied col¬ 
oring, with and without mottlings and 
fibre markings, represented in the illus¬ 
trations by Hodatsu and Modu; and 
the Toyogatni papers, which are of regu¬ 
lar body and present the most brilliant 
coloring, including bright red, vivid yel¬ 
low, light and dark green, light and 
dark blue and purple. 
In conclusion, the reader is again re¬ 
minded that few of these papers are 
made for wall purposes and that con¬ 
sequently there are difficulties to be 
overcome in the adaptation of them to 
a new use. The first difficulty is size. 
The Chinese gold and silver papers 
come nearest manageability in this re¬ 
spect for the sheets are about 19" by 
47". The others vary in size, some of 
them running as low as 11by 16". 
Most of them, however, are rather larger. 
This difficulty can be overcome by skill 
and conscientious care on the paper- 
hanger’s part. 
The second difficulty is quality. Many 
of the papers are so thin and of such 
delicate color that ordinary paste would 
discolor them and completely destroy 
their texture; many others, while heav¬ 
ier, are so porous that the paste, as 
usually applied, would reduce them to 
a soppy, shapeless mass. This difficulty 
can be overcome as follows: Elave the 
wall first covered with a lining paper, 
using good quality raw unglazed stock. 
Secondly, insist that the paper-hanger 
scald his own fresh paste, using for it 
only the finest white flour. Thirdly, 
insist that he use the paste sparingly 
and handle the paper tenderly. The 
third difficulty is the vigorous opposi¬ 
tion that most paper-hangers will make, 
swearing that the job is impossible of 
achievement. The writer has always 
found the Red Queen’s—or was it the 
White Queens?—advice to do “several 
impossible things before breakfast” was 
quite worth heeding and always brought 
successful results. The writer knows 
that this particular “impossible” thing 
can be' done because he has had it 
done. This third difficulty can be over¬ 
come, therefore, by firm insistence and 
an utter disregard of the paper-hanger’s 
language as he labors. 
The fourth difficulty is cost. Some 
of the papers are more expensive than 
average wall paper and the preparation 
of the wall and careful hanging of so 
many small sheets run into time, and 
hence into money. Notwithstanding all 
the foregoing difficulties, however, the 
results to be gained will show that “the 
game is worth the candle,” for walls 
covered with well chosen Oriental papers 
will prove productive of inestimable and 
enduring satisfaction which will increase 
with the passage of time. 
