Of papers, those which emulate tapestry in a certain harmonious tone of broken colour are the best. Many of Morris's papers, copied from old eighteenth-century ones, themselves copied from damask and leather patterns, are very good. The well-known grey pomegranate is really very fine indeed. A certain dark-red poppy-pattern, wherein the flowers mingle dimly with a little gold, like sun rays in water (procurable at Elliott's, Vere Street), has a very good effect, and throws up pictures and china well. No paper should have a very pronounced and distinct pattern, as that diminishes the apparent size of the room by bringing the walls near to the eye. Remember the feverish creations in paper temp. Queen Anne! Indistinctness, like darkness, or like distance, throws them back. Jeffreys, Islington, whose place is worth a visit, has brought out some very fine wall-papers, some of them designed by Walter Crane in fine Renascence and original patterns. The peacock frieze may be cited, and the imitations of sixteenth-century leathers, and bronze and marble bas-reliefs for friezes and panels, etc.; many of them are suitable for ceilings, especially the wild roses, on gold or silver grounds.

Red of a bright soft tone is an admirable background - a tone much lighter than maroon, not unlike a very deep salmon colour. It is made of Venetian red mixed with white. Woollams and Co. sell it in a plain, unglazed paper, and nothing can be nicer, especially for a large and rather dark room that needs brightening up. It is also good for staircases, and old carved frames are charming on such a wall, to say nothing of old pictures.

Pale pink for walls - the common ideal of a juvenile bride - used to be thought ' becoming ' by lending a refleeted flush to the complexion. I do not, however, think it has that merit, and dark furniture looks as ill against pale pink as against white and gold. In a room as light-coloured as that, all the woodwork - say frames of chairs, etc - -should be pale, as in Louis XIV. and Louis XV. furniture, with delicate gilt mouldings and faint satins, to be as little obtrusive as possible.