As in Japan, the meals are served on the floor on low sang, or little tables, one for each guest, sometimes one for a couple. The best table service is of porcelain, and the ordinary sort of earthenware with white metal or copper utensils. The table-cloths are of fine glazed paper and resemble oiled silk. No knives or forks are used; instead, chopsticks, laid in paper cases, and, what is more common than in China or Japan, spoons are used at every meal. The climax of æsthetic taste occurs when a set of historic porcelain and faience of old Corean manufacture and decoration, with the tall and long-spouted teapot, are placed on the pearl-inlaid table and filled with native delicacies. The walls range in quality of decoration from plain mud to colored plaster and paper. The Corean wall-paper is of all grades, sometimes as soft as silk, or as thick as canvas. Sa-peik is a favorite reddish earth or mortar which serves to rough-cast in rich color tones the walls of a room. Pictures are not common; the artistic sense being satisfied with scrolls of handsome Chinese characters containing moral and literary gems from the classics, or the caligraphic triumph of some king, dignitary, or literary friend. To possess a sign-manual or autograph scrap of Yung, Hong, or O, the three most renowned men of Chō-sen, is reckoned more than a golden manuscript on azure paper. The windows are square and latticed without or within, and covered with tough paper, either oiled or unsized, and moving in grooves—the originals of the Japanese sliding-doors and windows. In every part of a Corean house, paper plays an important and useful part.