Yes, summer tourists are looking up old walls to gaze at with admiration. Many have found a Mecca in the Cleasby Place at Waterford, Vermont. Hardly a summer Sunday passes without a wagon load of persons going from Littleton towards the Connecticut River on a pilgrimage to Waterford and the Cleasby House. This house is said to be one of only three in New England which possess a certain wonderful old paper of strange design. The paper, a combination of brown and cream, bears scenes that evidently found their origin in foreign countries, but there are diverse opinions as to the nation whose characteristics are thereon depicted so realistically. An old house at Rockville, Massachusetts, still boasts this same paper, while the third example is on the walls of the Badger homestead, described on page 77. Plates XLVIII to L give scenes from these papers. The Cleasby house was regarded, in the olden times, as the great mansion in this locality. There was nothing finer than the residence in any of the surrounding towns. The structure was erected by Henry Oakes, an old-time settler in Northern Vermont, whose relatives still reside near by. The paper was put on at the time the house was built and cost one hundred dollars. A paper-hanger came up from Boston to put it on properly, and this cost the owner an extra forty dollar check. In those days, the coming of a paper-hanger from Boston was regarded quite in the light of an event, and a hundred dollars expended for wall-paper stamped a man as a capitalist. The house is still well preserved and shows no suggestion of being a ruin, although approaching the century mark. The present owner has been offered a large sum for this beautiful old paper, but wisely prefers to hold her treasure. Paper-hangers to-day are returning, in some cases, to the hand-printing of fine papers, because they insist that there are some advantages in the old method to compensate for the extra work. To go back a bit, the earliest method of coloring paper hangings was by stencilling. A piece of pasteboard, with the pattern cut out on it, was laid on the paper, and water colors were freely applied with a brush to the back of the pasteboard, so that the colors came through the openings and formed the pattern on the paper. This process was repeated several times for the different colors and involved a great expenditure of labor. It was replaced by the method of calico-printing, which is now generally used in the manufacture of wall-paper, that is, by blocks and later by rollers. And why, you naturally ask, this return to the slow and laborious way? Mr. Rottman, of the London firm of Alexander Rottman & Co., a high authority on this theme, in an able lecture given at his studio in London, explains the reasons in a way so clear that any one can understand. He says: