tints, rendered offensive, rather than pleasing, by the decorations they bear.

It is not our province here to give special rules for the designing of wall-paper, yet one or two suggestions on this subject may not be inappropriate. A favorite treatment of wall-surface, either in paper or painting, is that of natural foliage, and here it becomes important to study the principles upon which Nature works. Mr. Dresser suggests that the walls. being perpendicular, it is necessary that the plant should be viewed from the side, and have an upward direction, as in Fig. 7. This, however, would not apply to a carpet or ceiling, as it would not be in character to represent the flowers vertically. Fig. 7 is one of Mr. Dresser's designs, representing the guelder-rose, as seen from the side, and would be appropriate as a wall-diaper. Fig. 8 is the same spray as seen from above, or, to use the same form of expression, as would be appropriate if used as a floor pattern. Dr. Dresser is one of the leading wall-paper designers in England. One of his designs is represented in Fig. 2. Fig. 4 was designed by Walter Crane especially for the Centennial Exhibition, and, like the two former, was taken from the Building News.

THE

CHAPTER IV.

CEILINGS.

Cornices.-Mouldings.-Location of Chandelier.-Country Decorators.

HE plaster cornices, at one time so popular, are happily going out of fashion. They are frequently replaced by a simple gilt moulding only. From it pictures are sometimes suspended; but when there is no other decoration, the moulding appears too frail to support so much. weight. It is better to employ a different means of attaching paintings to the wall, unless there is a frieze of some description. When this is present, however, it may be terminated with a moulding, from which pictures can be suspended with perfect propriety.

In decorating ceilings, paper may be used, provided tasteful patterns be selected. They should never consist of tawdry imitations of fresco, with cunning corners and marvellous centres.

The position of the principal gas-fixture is somewhat important. Frequently it is placed in a central position between the fireplace and the wall, without regard to the whereabouts of the windows and doors. Thus it interferes with the laying out of the ceiling. The proper position is at the intersection of lines drawn from diagonally opposite corners.

It may not be inappropriate to introduce around the ceiling a margin of some tasteful design in wall-paper-one, for instance, in which brilliant colors appear on a gold ground. In a large room, the effect would be good if this margin were the entire width of the roll. It might also be appropriately edged with a wooden moulding. These mouldings should be small and unobtrusive; and if an inlay of one or two inches wide be made to skirt the border, a moulding on both sides, covering the joinings, would appear to advantage. As a general rule, if light, transparent tints are used, the mouldings should be black. If a dark or maroon inlay is employed, gilt mouldings would make a pleasing contrast.* The remainder

* A large moulding on top of the dado may frequently be employed with advantage. It not only improves the appearance, but, if placed at the proper height above the floor,

of the ceiling, if low, should be of some tint calculated to give an appearance of elevation, such as, for instance, one of the many delicate shades of blue or violet. If, however, there be sufficient height to warrant it, a rose tint, or a buff, appears well, provided the general tone of the room will permit. Violet has the advantage not only of increasing the height, but it will also harmonize with paper of a green or olive tint, these being among the best colors for a wall.

In regard to tinting walls and ceilings, it is the custom to delay these finishing touches for a year or two, in order to allow the walls to season, as during this process there is always more or less danger of their cracking. For this reason, the final application of color and decoration is usually postponed until the house is thoroughly settled. We are, therefore, often compelled to endure the monotony of white walls for some time. The advantage of wall-paper is, that we can always order one or two extra rolls, so that, in case of any cracking, the blemishes may be easily repaired. The fresh paper can be so nicely adjusted as to prevent a possibility of detection; whereas, in painting, it is usually necessary to go over the whole room, it being nearly impossible to match the color exactly.

The necessity of waiting, if paint is to be used, is, in one respect, unfortunate; for in the interval one is apt to get out of the spirit of the design, and when the time arrives at which the walls are to be decorated, instead of applying to the architect to superintend this, the crowning part of his work, ninety-nine times in a hundred, as before stated, the owner calls upon the nearest fresco-painter, and verifies our previous remarks. Therefore, I suggest the use of wall-paper, in order that the finishing touches may be applied at once.

Painters, too, especially in the country, have so little idea of their art that it is almost impossible to get a satisfactory piece of work done. In this, as in other matters, it is frequently supposed that it is only necessary for the architect to give his ideas, and that an ignorant mechanic may be trusted to carry them out. The fact is, that unless he stands over the work, and virtually does it himself, he will hardly be able to recognize his own design. This business of gratuitously teaching the quasi-decorator the mysteries of his art is too often inflicted upon the professional man, whose only reward is the odium provoked by badly executed work. If

it will also serve to protect the wall from the chafing of chairs and other furniture. For the reason that we have before expressed—that the lower members ought never to be light-gilt mouldings should not be placed below the level of the eye. Therefore, black walnut or ebony are more appropriate here.

the same person would continue with the master, the latter would be able to reap some benefit from the instruction he gives, by getting subsequent work properly performed. In this case the teaching might be a pleasant task; but, in his next undertaking, another painter is usually employed, who exceeds the last in ignorance and stupidity. Thus the same ordeal must be gone through again.

The problem is yet to be solved how good work can really be done remote from cities, unless the architect assumes the position of "boss painter," and brings his own workmen. Usually, when he suggests that mechanics from some other locality understand the work better, he is met with the reply that there are excellent painters in the town, and he would be liable to give offense should he undertake to employ others. The country produces painters capable, perhaps, of doing external work; for here the colors, which are generally few, and neutral in their character, can easily be given by sample; but in the case of interior decoration, where a higher degree of skill is required, the ability of our country, and, perhaps, of most of our city "artists," may well be questioned. Indeed, it is scarcely too much to say that those possessing positive skill can almost be counted on one's fingers.

Wall-papers are a simple remedy for this difficulty, as, when the selections have once been made, all that is then necessary is to find a man who can properly apply them. But even here, when the architect selects the paper, it is well for him to make a drawing, showing where each particular pattern should hang, and also to give the matter sufficient attention during the work to see that, after all, the design is carried out.

A wall may be tinted with a distemper color or oil "flatted." The flattening, which is simply removing the gloss by means of stippling, is a great improvement; for shiny walls, like varnished furniture, are objectionable. Oil-color, on account of its durability, seems preferable. Another advantage is, that it can be cleaned without suffering damage. But, so far as delicacy of tint is concerned, water-colors are more beautiful.

A good effect may be obtained by the introduction of a gold background, upon which a small black figure or running pattern is placed. In such cases more gold than black should be visible. On a background of this kind, pictures in ebony and gilt frames appear to great advantage.

CHAPTER V.

BORDERS.

Ceilings. Friezes.-Stamped Leather.-Legendary Decoration.-Wood-panelling.

CEILI

EILINGS are especially susceptible to ornamentation, for the reason that their entire surface may be seen at once. If we wish to limit the decoration of our rooms, let us expend our efforts here, as the walls and floors can be relieved by pictures and furniture. I would recommend the avoidance of structural members, and especially of that chef d'œuvre of plaster art, the centre-piece, with its impossible flowers and feeble ornaments. It would be better to use some flat design in color, making it the principal feature of the

ceiling, reaching, if you choose, to within a few inches of the border: I say border, as the cornice, unless broad, is much improved by being extended with a margin of color. Now, these borders on the ceiling are like the dado

on the wall, and have the RADA

effect of breaking up its

broad surface. The same

rule applies to floors. By surrounding them with a margin of darker color, a similar advantage is attained.

Friezes may be treated as elaborately as desired. They may be powdered, or, if divided into panels, richly colored, either in flat or in relief. If this system be adopted, subjects appropriate to the apartment should be chosen. If, for instance, the frieze of a dining-room be panelled, fruits and game would be in keeping; if continuously treated, some convivial assemblage, or perhaps a hunting scene, would be proper. In a parlor, flowers would appear well; or, if there are no panels, a mythological scene,