As a rule, the square hall should be treated, as far as mere wall-decoration goes, in the same manner as the passages which lead out of it are treated, but here it would be quite in character, were fresh colours introduced, or the style of decoration reversed: that is to say, if the dado, which is imperative in a narrow passage, were replaced by the same decoration used as a frieze, taking care only that the colours should harmonise: for example, supposing the passages themselves were decorated in brown and gold, the brown being the ‘Kenesaw’ design printed on real brown paper by Essex & Co., Albert Mansions, Victoria Street, S.W., at five shillings and sixpence the piece, the dados being of a really good and strong gold Japanese leather paper, the inner or square hall could be papered in the same manner, using, however, the Japanese gold paper as a frieze; the frieze-rail could be Giles’ picture and china rail, holding big jugs and blue and white china of all kinds, and thus a charming effect would be obtained suitable for the squareness of the hall, and yet harmonising absolutely with the passages which lead out of it. In such a hall as this the ceiling should be divided into squares; this can be done quite easily nowadays by a series of laths or mouldings made on purpose; this is nailed into the laths above the ceiling with long thin nails. A very good moulding made on purpose is sold by Messrs. Haines & Co., 83 Queen Victoria Street, E.C., at about one penny a foot, and the squares thus made are filled either with a good ceiling paper or else by an admirably decorative material, exactly like moulded plaster, also sold by Haines, and called anaglypta; this costs about 2_l._ for a good-sized ceiling, and when up all should have a coat of ivory silicate paint, or else of the invaluable and admirable Aspinall enamel, also in ivory, for though builders may argue, and decorators implore, for a heavier and more ornate system of treating the ceiling and cornice, I cannot too emphatically condemn any colouring being introduced into the ceiling and surrounding plaster work in lines, and distracting contrasts of colour, thus bringing the ceiling down on our heads, depressing one dreadfully, and all too often bringing into notice much which would be better left to obscurity.