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In the 8th century, a group of Chinese prisoners with papermaking skills who worked under some Arabs taught them their skills and they in turn spread the knowledge of papermaking throughout the Middle East. Things progressed slowly but by the 10th century, linen fibres were being used instead of wood or bamboo to create a finer paper.
All of this enabled various individuals to experiment with printing onto this fairly even textured paper. The earliest European pictorial block prints were religious souvenirs, the oldest being a representation of the Virgin dated now in the Royal Library at Brussels. This type of printing method may have also been used by the Chinese as early as the 5th century.
Jean Bourdichon was commissioned to paint several rolls of paper with angels on a blue background for Louis XI of France in to provide a feeling of consistency of surroundings for him as he moved from castle to castle. Other well-heeled Europeans commissioned artists to paint paper for their walls. The earliest wallpapers were used in Europe as early as the thirteenth century and were painted with images of popular religious icons and displayed within the homes of the devout and the poor.
Within the next few centuries, papers were hand block-printed, but only remained popular with the poor. By the sixteenth century, however, more expensive wallcoverings embodying imagery taken from tapestries hung in the homes of nobility, became popular with the middle class.
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Small sheets either carried a repeating image, or several blocks produced a pattern spread across many sheets. The earliest know fragment of European wallpaper that still exists today was found on the beams of the Lodge of Christ's College, Cambridge and dates from The earliest surviving printed wallpapers used in households in England are block printed designs in black, sometimes with some additional stencilled patches of colour, representing heraldic designs, or sometimes with damask or brocade type designs, dating from the 16th Century.
Other wallpapers carried designs taken from tapestries or woodcuts. In the 18th Century designs with acanthus, pineapples or other motifs taken from classical architecture were used to complement Palladian interiors and also the rich were able to buy hand painted scenic wallpapers imported from China.
Designs popular during the Regency period featured fantasy architecture, Gothic ruins and Chinoiserie. This was due to the introduction of mass production techniques and the repeal in of the wallpaper tax that had existed for the previous years. The wallpaper tax was introduced during the reign of Queen Anne and although this could be bypassed by purchasing untaxed plain paper and having it hand stenciled, it was still a major obstacle to the widespread usage of wallpaper by everyone but the wealthy.
In the 19th century paper began to be made in continuous rolls first by Louis Robert in France in and then in England by Fourdrinier who patented a machine that could make paper to any length in It was not until the Excise Office lifted its ban on the use of continuous paper for printing wallpaper in that this invention could start to be properly exploited.
In Harold Potter, the owner of a wallpaper mill in Lancashire patented a 4 colour roller printing machine for wallpaper that could print rolls per day. This machine was inspired by copper rollers used in the textile industry for printing chintz but for wallpaper printing it used a raised rather than an engraved pattern. Oil based inks were invented to work with this that would flow smoothly onto the rollers and coat the paper evenly.
These early copper rollers were relatively small and so could not print large patterns so these new processes heavily influenced pattern design with most papers having small scale designs.
On more expensive papers a larger hand block design was sometimes overprinted onto the small pattern. Aniline dyes were discovered in increasing the choice and lowering the price of wallpaper colours.
Arsenic and white lead were used in many Victorian papers as dyes which lead to widespread health issues for many workers in the industry, so that by the s many firms were advertising their papers as being arsenic-free.
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As a consequence of these innovations, wallpaper production and use increased enormously as the price fell steadily throughout the 19th Century. Wallpaper designs reflected the designers inspiration from textile design, architecture, landscape and flowers, with 3 dimensional motifs made to look as realistic as possible.
Critics condemned these 3 dimensional designs as dishonest because they denied the 2d nature of a wall on which they were to be hung. Pugin and other artistic reformers believed that 2 dimensional motifs were the only appropriate wallpaper designs and in Owen Jones published The Grammar of Ornament, an interior design bible featuring flat repeating motifs, patterns and geometric shapes in strong colour combinations - this book hugely influenced interior design of the time.
This movement helped to redefine the role of wallpaper as an understated backdrop to pictures and furniture rather than strong decorative statements.
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Muted colours were felt to be appropriate and dark colours were useful for not showing up the dirt in the city houses. William Morris was of course highly influential in Victorian wallpaper design especially as he was excellent at self promotion of both his work and his thinking.
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His first wallpaper designs were the Trellis, Daisy and Fruit patterns in but these were expensive and were products really only for the elite. With the introduction into rooms of the dado and picture rails to divide the room up, which was deemed to be the epitome of artistic taste, so wallpapers came to be produced in sets of three, one for cornice to picture rail, one for picture rail down to the dado and the last for the bottom portion of the wall under the dado.
Popular designs of the time included Japanese motifs either copied or imported, or relief papers that imitated stucco, embossed leather or wood panels.
Two relief papers that can still be bought today are Lincrusta and Anaglypta.