"But it was when I reached the second story that my childish imagination was exercised. Here the panorama was of a different kind; it represented scenes in India--the pursuit of deer and various kinds of smaller game, the hunting of the lion and the tiger by the the natives, perched on great elephants with magnificent trappings. These views are not duplicated in the wall-paper; the scene is continuous, passing from one end of the hall to the other, a panorama rich in color and incident. I had thus in my mind a picture of India, I knew what kind of trees grew there, I knew the clothes people wore and the arms they used while hunting. To-day the same paper hangs in the halls of the old house." There are several papers of this sort, distinctly Chinese, still on walls in this country. A house near Portsmouth, which once belonged to Governor Wentworth, has one room of such paper, put on about 1750. In Boston, in a Beacon Street house, there is a room adorned with a paper made to order in China, with a pattern of birds and flowers, in which there is no repetition; and this is not an uncommon find. A brilliant example of this style may be seen in Salem, Mass. Chinese papers, which were made for lining screens and covering boxes, were used in England and this country for wall-papers, and imitated both there and here. One expert tells me that the early English papers were often designed after India cottons, in large bold patterns. The first use in France of wall-papers of French manufacture was in the sixth century. Vachon tells about Jehan Boudichon and his fifty rolls of paper for the King's bed-chamber in 1481, lettered and painted blue; but it is evident from the context that they were not fastened on the walls, but held as scrolls by figures of angels. Colored papers were used for temporary decorations at this time, as at the entrance of Louis XIII. into Lyons, on July 17, 1507. There is nothing to show that the "_deux grans pans de papier paincts_," containing the history of the Passion, and of the destruction of Jerusalem from the effects of the cannon of St. Peter, were permanently applied to a wall. So with another painted paper, containing the genealogy of the Kings of France, among the effects of Jean Nagerel, archdeacon at Rouen in 1750. These pictured papers, hung up on the walls as a movable decoration, form one step in the development of applied wall-papers. In the fifteenth and sixteenth centuries, the commonest patterns for unpictorial wall decoration were taken from the damasks and cut-velvets of Sicily, Florence, Genoa, and other places in Italy. Some form of the pine-apple or artichoke pattern was the favorite, a design developed partly from Oriental sources and coming to perfection at the end of the fifteenth century, copied and reproduced in textiles, printed stuffs, and wall-papers, with but little change, down to the nineteenth century.