Wood panelling was gradually superseded by panels formed in plaster on the plastered walls. Gibb’s drawings have already afforded examples of this treatment (Figs. 166–169), and any book of the eighteenth century on house design will supply others. Stoneleigh Abbey, Kenilworth, has panels of unusual richness (Fig. 288), and a house in Queen Square, Bath, by one of the Woods, has some delicately modelled panels on the staircase (Fig. 289). The drawback to this method of decoration is that, being rather ambitious in aim, it challenges criticism much more definitely than does simple panelling. It is conceivable that one eventually might tire of seeing the same youth piping to the same old man, and the same lady for ever playing the same organ without looking at her notes. But a more radical change in wall decoration was to come in the shape of wall-papers. The early history of this method of adorning rooms has not been fully explored, but it seems clear that already in the seventeenth century sheets of paper covered with stencilled patterns had been pasted on to walls, or perhaps on to the panels into which they were divided. This was a laborious and by no means cheap process, but it contained the germ of the procedure which is so widely adopted to-day. Another and even more effective step was taken when Chinese papers were introduced (Fig. 290). These papers consisted of rolls, each printed with a portion of a large design, which required some five or six pieces to complete it. It was probably of such sets that the vivacious Lady Mary Wortley Montague, most celebrated of blue stockings, wrote to her daughter from Louvere, in 1749, to say, “I have heard the fame of paper hangings, and had some thoughts of sending for a suite, but was informed that they were as dear as damask is here, which put an end to my curiosity.” In some cases curiosity outweighed thriftiness, and the suites still remain in a few old houses; here and there some of the original rolls still exist, rolls which for some reason or other were not used, and which have luckily escaped destruction. Chinese papers became fashionable, and it is not difficult to imagine the process of evolution from rolls--each bearing part of a large design either of trees and flowers, or of a landscape or a figure subject, after the manner of tapestry--to other rolls all printed alike and forming a continuous pattern, with the parts duly repeated, which should cover the whole walls with decoration of a sort. The advantages of the new method were obvious: it was cheap; and although at first the paper was applied to canvas nailed to battens on the wall, yet eventually it was placed on the wall itself, and thus did away with the spaces between the walls and the panelling or tapestry, where dirt or spiders or more noxious insects could harbour; rough surfaces were rendered smooth, joints between wood frames and stone or brick walls were filled with plaster, and draughts were lessened. Most of these