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diff --git a/41664-h/41664-h.htm b/41664-h/41664-h.htm index f246885..85212f6 100644 --- a/41664-h/41664-h.htm +++ b/41664-h/41664-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> Old Time Wall Papers, by Kate Sanborn. @@ -243,48 +243,7 @@ ins { </style> </head> <body> - - -<pre> - -Project Gutenberg's Old Time Wall Papers, by Katherine Abbott Sanborn - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Old Time Wall Papers - An Account of the Pictorial Papers on Our Forefathers' - Walls with a Study of the Historical Development of Wall - Paper Making and Decoration - -Author: Katherine Abbott Sanborn - -Release Date: December 19, 2012 [EBook #41664] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK OLD TIME WALL PAPERS *** - - - - -Produced by Chris Curnow, Jane Robins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41664 ***</div> <div class="transnote"> <h4>Transcriber's Note:</h4> @@ -704,7 +663,7 @@ Water-mark paper originated in the early fourteenth century, when paper-making became an European industry; and a considerable international trade can be traced by means of the water marks.</p> -<p>The French Encyclopædia corroborates Blanchet's statement that the +<p>The French Encyclopædia corroborates Blanchet's statement that the common notion that the Arabic and early European papers were made of cotton is a mistake; the microscope shows rag and flax fibres in the earliest.</p> @@ -729,7 +688,7 @@ preserved by the dry sand, and remain almost as fresh as they were on the day they left the hand of the artist, whose bones have long since been resolved into their native dust."</p> -<p>From the Encyclopædia Britannica I condense the long article on "Mural +<p>From the Encyclopædia Britannica I condense the long article on "Mural Decoration":</p> <p>There is scarcely one of the numerous branches of decorative art which @@ -765,13 +724,13 @@ in England.</p> <p>VII. Painted cloth. In <cite class="italic">King Henry IV.</cite>, Falstaff says his soldiers are "slaves, as ragged as Lazarus in the painted cloth." Canvas, painted to imitate tapestry, was used both for ecclesiastical and domestic -hangings. English mediæval inventories contain such items as "stayned +hangings. English mediæval inventories contain such items as "stayned cloth for hangings"; "paynted cloth with stories and batailes"; and "paynted cloths of beyond-sea-work." The most important existing example is the series of paintings of the Triumph of Julius Caesar, now in Hampton Court. These designs were not meant to be executed in tapestry, but were complete as wall-hangings. Godon, in <cite class="italic">Peinture sur Toile</cite>, -says: "The painted canvasses kept at the Hôtel Dieu at Rheims were<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> +says: "The painted canvasses kept at the Hôtel Dieu at Rheims were<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> done in the fifteenth century, probably as models for woven tapestries. They have great artistic merit. The subjects are religious." Painted cloths were sometimes dyed in a manner similar to those Indian stuffs @@ -827,7 +786,7 @@ with the tapestry, although it was done during her lifetime.</p> of England</cite>, takes up the cudgels in a very vigorous manner on behalf of Matilda's claim:</p> -<p>"The archæologists and antiquaries would do well<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> to direct their +<p>"The archæologists and antiquaries would do well<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> to direct their intellectual powers to more masculine objects of enquiry, and leave the question of the Bayeux Tapestry (with all other matters allied to needle-craft) to the decision of the ladies, to whose province it @@ -859,7 +818,7 @@ until recent times it has hung.</p> <p>The tapestry has undergone so many vicissitudes that it is a matter for wonder that it has been preserved in such good condition for eight -hundred years. At one time it was exhibited at the Hôtel de Ville, at +hundred years. At one time it was exhibited at the Hôtel de Ville, at Bayeux, fixed panorama-fashion on two rollers, so that it was at the disposal of the fingers as well as the eyes of the curious. When Napoleon was thinking of invading this country, he had the tapestry @@ -972,17 +931,17 @@ along the bank, and one, at least, diving to the bottom, with tail and feet in the air."</p> <p>The best authority on tapestries in many lands is the exhaustive work by -Muntz, published in Paris, 1878-1884, by the Société anonyme de -Publication Périodique—three luxuriously bound and generously -illustrated volumes, entitled <i xml:lang="fr">Histoire Générale de la Tapisserie en +Muntz, published in Paris, 1878-1884, by the Société anonyme de +Publication Périodique—three luxuriously bound and generously +illustrated volumes, entitled <i xml:lang="fr">Histoire Générale de la Tapisserie en Italie, en Allemagne, en Angleterre, en Espagne</i>.</p> -<p>We learn here that in 1630 Le François, of Rouen, incited by the Chinese +<p>We learn here that in 1630 Le François, of Rouen, incited by the Chinese colored papers imported by the missionaries, tried to imitate the silk tapestries of the wealthy in a cheaper substance. He spread powdered wool of different colors on a drawing covered with a sticky substance on -the proper parts. This <i xml:lang="fr">papier velouté</i>, called <i xml:lang="fr">tontisse</i> by Le -François, was exported to England, where it became known as "flock +the proper parts. This <i xml:lang="fr">papier velouté</i>, called <i xml:lang="fr">tontisse</i> by Le +François, was exported to England, where it became known as "flock paper." The English claim a previous invention by Jeremy Lanyer, who, in 1634, had used Chinese and Japanese processes. At any rate, the manufacture of flock papers spread in England and was given up in @@ -1030,7 +989,7 @@ work, of Japanese origin, may be seen in the "Queen's palace at the Hague," called the <i xml:lang="nl"><ins title="Transcriber's Note: original reads 'Huis-en-ten-Bosch'">Huis-ten-Bosch</ins></i>—the House-in-the-Wood. This is a magnificent composition of foliage and flowers, birds and butterflies, perfect in form and beauty of tint, worked in silks on a ground of -<i xml:lang="fr">écru</i> satin. It is composed of many breadths forming one picture, +<i xml:lang="fr">écru</i> satin. It is composed of many breadths forming one picture, starting from the ground with rock-work, and finishing at the top of the wall with light sprays of flowers, birds, butterflies and sky; the colouring of the whole so judiciously harmonized as to be an object @@ -1332,7 +1291,7 @@ 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.</p> -<p>From the Encyclopædia Britannica, Vol. XVII, I quote again: "Wall-papers +<p>From the Encyclopædia Britannica, Vol. XVII, I quote again: "Wall-papers did not come into common<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> use in Europe until the eighteenth century, though they appear to have been used much earlier by the Chinese. A few rare examples exist in England, which may be as early as the eighteenth @@ -1411,7 +1370,7 @@ coating resembling cloth upon the adhesive surface of the figures." The manufacture of this paper was practised, both in England and France, early in the seventeenth century. I find in the Oxford Dictionary the following examples of the early mention of flock cloth, which was the -thing that suggested to Le François his invention of flock paper:</p> +thing that suggested to Le François his invention of flock paper:</p> <p><cite>Act I of Richard III., C. 8</cite>, preamble: "The Sellers of such course Clothes, being bare of Threde, usen for to powder the cast Flokkys of @@ -1623,7 +1582,7 @@ by mixing with water the yellow-gray clay from the nearest claybank.</p> <p>In Philadelphia, walls were whitewashed until about 1745, when we find one Charles Hargrave advertising wall-paper, and a little later Peter -Fleeson manufacturing paper-hangings and papir-maché mouldings at the +Fleeson manufacturing paper-hangings and papir-maché mouldings at the corner of Fourth and Chestnut Streets.</p> <p>Those who could not afford to import papers painted their walls, either @@ -1853,7 +1812,7 @@ mandolin and tambourine round the tomb of Virgil on my natal morn. Some men were fishing, others bringing in the catch; farther on was a picnic party, sentimental youths and maidens eating comfits and dainties to the tender notes of a flute. And old Vesuvius was smoking violently. All -this because the room in which I made my début was adorned with a +this because the room in which I made my début was adorned with a landscape or scenic paper.</p> <p>Fortunately, this still remains on the walls, little altered or defaced @@ -2277,7 +2236,7 @@ the paper, and so looks too dark. I would have you finish it as soon as you can, thus: paint the wainscot a dead white; paper the walls blue, and tack the gilt border round the cornice. If the paper is not equally coloured when pasted on, let it be brushed over again with the same -colour, and let the <em class="italic">papier maché</em> musical figures be tacked to the +colour, and let the <em class="italic">papier maché</em> musical figures be tacked to the middle of the ceiling. When this is done, I think it will look very well."</p> @@ -2408,7 +2367,7 @@ charming nymph seated on a rock and playing on a lyre. Below all these scenes there was a dado of black and grey, with scrolls and names of the beings depicted—such names as Atlas, Atlantis, Ariadne, Arethusa, Adonis, Apollo, Andromache, Bacchus, Cassandra, Cadmus, Diana, Endymion, -Juno, Jupiter, Iris, Laocoön, Medusa, Minerva, Neptune, Pandora, +Juno, Jupiter, Iris, Laocoön, Medusa, Minerva, Neptune, Pandora, Penelope, Romulus, Sirius, Thalia, Theseus, Venus,<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> Vulcan, and many others were "among those present." Below these names came a dado of grassy green, with marine views at intervals.</p> @@ -2841,10 +2800,10 @@ of true and pure happiness.</p> <p>Another mythologic story is grandly depicted in a paper in the residence of Dr. John Lovett Morse, at Taunton, Mass. (<a href="#PLATE_LXV">Plates LXV</a> to <a href="#PLATE_LXX">LXX.</a>) This paper was described to me as illustrating the fifth book of Virgil's -<i>Æneid</i>. When the handsome photographs came, we tried to verify them. -But a reading of the entire <cite class="italic">Æneid</cite> failed to identify any of them, +<i>Æneid</i>. When the handsome photographs came, we tried to verify them. +But a reading of the entire <cite class="italic">Æneid</cite> failed to identify any of them, except that the one shown in <a href="#PLATE_LXIX">Plate LXIX</a> might be intended to represent -the Trojan women burning the ships of Æneas. Who were the two +the Trojan women burning the ships of Æneas. Who were the two personages leaping from the cliff? Virgil did not mention them.<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span></p> <p>A paper in <cite class="italic">Country Life in America</cite> for April, 1905, describing the @@ -2900,7 +2859,7 @@ popular, as "The Bay of Naples," "The Alhambra," "Gallipoli," "On the Bosporus." A striking paper represents the River Seine at Paris. This paper has a brilliant coloring and the scenes are carried entirely round the room; nearly all the principal buildings in Paris are seen. On one -side of the room you will notice the Column Vendôme, which shows that +side of the room you will notice the Column Vendôme, which shows that the<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> paper was made after 1806. The horses in the arch of the <ins title="Transcriber's Note: original reads 'Carousal'">Carousel</ins> are still in place. As these were sent back to Venice in 1814, the paper must have been made between these dates.</p> @@ -4596,7 +4555,7 @@ of Mrs. Charles Sadler, daughter of Henry K. Oliver; in the Ezra Weston house at Duxbury, Massachusetts, built in 1808; the Walker house at Rockville, Massachusetts, and several other New England towns. The principal buildings of Paris are represented as lining -the shore of the Seine. The inclusion of the Colonne Vendôme shows +the shore of the Seine. The inclusion of the Colonne Vendôme shows it to have been designed since 1806; and as the horses on the <ins title="Transcriber's Note: original reads 'Carousal'">Carousel</ins> arch were returned to Venice in 1814, the paper probably dates between those years. <a href="#Page_88">(p.88)</a></p></blockquote> @@ -4685,7 +4644,7 @@ made in small pieces. It was imported about 1820.</p> <blockquote><p>Detail. The monument has a Greek inscription which Professor Kittredge of Harvard University translates literally: "Emperor -Cæsar, me divine Hadrian. Column of the Emperor Antoninus +Cæsar, me divine Hadrian. Column of the Emperor Antoninus Pius"—who was the son of Hadrian. The pillar of Antonine still stands at Rome. The statue of Antoninus which formerly surmounted it was removed by Pope Sextus, who substituted a figure of Paul.</p></blockquote> @@ -5308,387 +5267,6 @@ Plate LVI, 'Carousal' is meant 'Carousel', changed.<br /> Plate LXVI, 'Olympos' typo for 'Olympus', changed.</p> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Old Time Wall Papers, by Katherine Abbott Sanborn - -*** END OF THIS PROJECT GUTENBERG EBOOK OLD TIME WALL PAPERS *** - -***** This file should be named 41664-h.htm or 41664-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/6/6/41664/ - -Produced by Chris Curnow, Jane Robins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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