“Let him (the student) not suppose this circumstance of room finished with plain stucco to be a parallel case with that of one hung with paper or damask, and in which we limited him to the use of a simple chimney. Here the space within the panel over the chimney being plain as the rest of the wall, at the same time it admits the grace of this addition, keeps up a similarity with the rest, without anything improper in itself; but, in the other case, the great contrast in the colour or figures of the paper or silk would break in upon the intended composure of the whole; and the mouldings, whether in wood or stucco, would appear to be stuck on the paper, not to rise from it, as they will certainly appear to do from the stucco-wall. The upper part of the chimney-piece, which in the case of our plain stucco-wall shews itself only what it is, that is, a light ornament continued from the lower work of the chimney, will, where there is paper or silk, have the aspect of a frame; and these will appear as pictures in it. All know how poor this must look, since, in the reality, what could be so mean as the thought of framing a piece of the hanging?” Having now learned from contemporary authorities the most approved styles of decoration of ceilings, walls and chimney-pieces during the Early Georgian period, we may proceed to say a few words concerning the Gothic and Chinese influence. The Chinese fad, which is often wrongly attributed to Sir William Chambers, was no new thing, as we have already seen. In the preface to his book of designs he had made in Canton, he clearly states that his object is to correct the absurdities that were daily produced for the public as “Chinese.” He says: “It was not my design to publish them, nor would they now appear, were it not in compliance with the desire of several lovers of the arts, who thought them worthy of the perusal of the publick, and that they might be of use in putting a stop to the extraordinary fancies that daily appear under the name of Chinese, though most of them are mere inventions, the rest copies from the lame representations found on porcelain and paper-hangings.” [Illustration: PLATE XXVII] Towards the middle of the century, many books appeared by Johnson, Edwards and Darly, Halfpenny and others, giving designs for Chinese temples, arches, garden-seats, bridges, palings, etc. When Chippendale brought out his book, as we shall see, he felt compelled to bow to the prevailing taste, and give designs of Chinese character. Just as the Chinese fashion is attributed to Chambers, so the Gothic revival is frequently erroneously attributed to Horace Walpole. It is true that he greatly liked to encourage that form of architecture, but the taste was reviving before he had any influence.