A Victorian hall needs a dado
The lower wall of a stair hall or entry takes scuffs from bags, strollers and shoulders, and a relief dado restores the period look while standing up to wear.
Embossed relief wallcoverings give a Victorian stair hall, dining room dado or ceiling the depth it was built with, but heavy Lincrusta and paper-based Anaglypta both punish shortcuts in prep, cutting and paint.

$16.35 to $34.70Typical per sq ft installed and finished in Quincy. The walk-through sets your number.
Brands we work with: Benjamin Moore, Sherwin-Williams, California Paints, Farrow & Ball, PPG, Fine Paints of Europe, Cabot, Zinsser, York Wallcoverings, Thibaut, Schumacher, Phillip Jeffries, Graham & Brown, Roman.
Lincrusta and Anaglypta installation in Quincy means prepping and sizing the wall, cutting and hanging relief panels or rolls with the right adhesive, sealing seams, then painting or glazing the surface to bring out the pattern. Typical ranges run about $16.35 to $34.70 per square foot installed and finished, labor only, and the walk-through sets the real number.
Lincrusta and Anaglypta are two different products that people often lump together. Lincrusta is a heavy, solid relief material made from a linseed-oil paste on a paper backing, invented in the 1870s and still made much the same way. It's dense, nearly indestructible once hung and expensive. Anaglypta is a lighter, embossed paper or cotton-fiber relief, introduced as a lower-cost cousin, that's hung more like wallpaper.
Both arrive white or off-white and both are painted after hanging. Both also suit the rooms the South Shore still has: stair halls in the Victorians on Wollaston Hill, dining rooms in Queen Annes near Merrymount, and the front halls of older houses in Milton and Newton. Our paperhangers handle cutting, hanging and finishing as one job, so the paint and glaze suit the relief.

Lincrusta isn't pasted and booked like paper. Each length is cut to size, then soaked or wiped with warm water on the back to relax it, per the maker's instructions, and allowed to sit. The wall gets a strong adhesive, often a heavy-duty premixed adhesive recommended for Lincrusta, spread with a notched trowel. Panels go up and get pressed firmly with a rubber roller, never a hard seam roller that could crush the relief.
Seams are butted, not overlapped, and trimmed with a sharp blade and straightedge. Lincrusta can't be wrapped around outside corners, so corners are cut and mitered or finished with a trim piece. Because the material is heavy, dado panels sometimes get small headless pins along the top edge while the adhesive grabs.
Anaglypta handles more like a heavy wallpaper. We paste it with a ready-mixed heavy-duty paste, book it for the time the maker recommends so it expands evenly, then hang and smooth it with a soft brush or sponge, not a plastic smoother that would flatten the emboss. It can wrap gently around corners, and it's light enough for ceilings, where it's often used to imitate pressed tin or ornamental plaster.
The common failures are over-pressing, which crushes the pattern at seams, and paste left on the face, which dries shiny and shows under paint. Seams also open if the paper wasn't booked long enough. We wipe paste off right away and hang in a steady room temperature to keep seams closed.
Lincrusta is traditionally sealed first, often with an oil-based primer or shellac, then painted with an oil or alkyd-based coat for depth, following the maker's guidance. Many Victorian owners finish it with a tinted glaze wiped off the high points so the color pools in the recesses, which makes the relief read clearly from across a room. Faux leather and aged bronze effects are possible too.
Anaglypta takes a quality latex or alkyd paint well. We brush into the relief and lay off with a roller of appropriate nap, avoiding heavy coats that fill in fine detail. On a dado, we often pair a satin finish below with a flat wall above, and a painted chair rail between.
We look at the walls or ceiling, discuss patterns that suit the house's period, and measure for dado height, chair rail and the amount of material.
Loose plaster is fixed, the surface is smoothed and primed, and the wall is sized so adhesive grips and the covering can be removed someday if needed.
We plan seams and pattern matches from a plumb line, cut lengths to size, and plan how outside corners and openings will be handled.
Lincrusta is relaxed, then hung on a troweled adhesive; Anaglypta is pasted and booked. Each is pressed with soft tools and seams are butted and wiped.
The covering dries for the period the maker recommends, often a day or more for Lincrusta, before any primer or paint goes on.
We seal, paint and, if chosen, glaze the relief, then install or paint any chair rail or trim and walk the room with you in daylight.
This typical labor range covers prep, hanging and painting relief wallcovering on walls or ceilings, with Anaglypta at the lower end and Lincrusta with a glazed finish at the upper end. Material is extra and varies by pattern. The walk-through sets the real number.
Compare every service side by side in our painting and wallpaper cost guide, or call (617) 576-8235 to set a walk-through.
The lower wall of a stair hall or entry takes scuffs from bags, strollers and shoulders, and a relief dado restores the period look while standing up to wear.
Sections of original Lincrusta or Anaglypta are cracked, missing or painted over badly, and you want them matched or replaced to keep the room consistent.
A dining room or parlor ceiling lacks the ornament it once had, and a relief paper can echo pressed tin or plaster without the weight.
A dado area with patched, uneven plaster would need heavy skim coating to look smooth, and a relief covering hides minor surface flaws.
A commercial space wants a durable, painted relief wall or ceiling that suits a vintage design and holds up to cleaning.
Old photos or traces under paint show the room once had relief wallcovering, and you want to bring that character back.
Quincy grew fast in the late 1800s as a streetcar and rail suburb of Boston, and the Victorians and Colonial Revivals built then on Wollaston Hill and around Merrymount came along when Lincrusta and Anaglypta were in fashion. Some of those houses still have relief dados in the stair hall or friezes below the cornice, often buried under coats of paint. Others lost theirs in mid-century remodels, leaving a clear line on the plaster where the dado once ended. Older houses in Milton, Dedham and the village centers of Newton show the same pattern.
Those houses bring practical challenges. Plaster walls are rarely flat or plumb, stair halls can run three floors in a large single-family, and radiators sit right where the dado goes. Coastal humidity means we let material acclimate in the house before hanging. The paint on older relief panels very likely predates 1978, so if original Lincrusta needs scraping or sanding before a new finish, we treat it as lead-containing paint and use lead-safe dust control.
Planning paper for a room? Our wallpaper roll calculator counts double rolls from your room size, pattern repeat and match.
Quincy neighborhoods and nearby towns we cover most often, with ZIP codes:
For the lower wall of a busy stair hall, Lincrusta is the tougher choice. It's a solid linseed-oil relief that shrugs off bags and shoulders once painted. Anaglypta is a lighter embossed paper that costs much less but can dent from sharp knocks, so it suits the upper wall, frieze or ceiling. Many owners pair a Lincrusta dado with an Anaglypta frieze.
Often, yes. Small cracks and missing pieces in original Lincrusta can be filled with a compatible filler, re-glued at loose edges, or patched with a matching pattern if it's still made. Paint buildup can be cleaned back carefully. In pre-1978 houses we treat old paint on the panels as lead-containing, so any scraping happens with containment and HEPA cleanup.
Yes. Anaglypta is light enough for ceilings, and it's often used to imitate pressed tin or ornamental plaster. It's pasted, booked and hung from planks or staging, and it hides minor ceiling cracks well. Heavier Lincrusta is rarely used overhead because of its weight. Ceiling relief usually gets painted in a flat or low-sheen finish.
Yes. Lincrusta comes in a natural off-white and is meant to be painted, glazed or both. It's usually sealed first, then painted with an oil or alkyd paint, and often finished with a tinted glaze wiped off the high points to emphasize the relief. Unsealed Lincrusta can absorb paint unevenly, so the sealing step matters.
Anaglypta can usually be steamed and stripped like heavy wallpaper if it was hung over a proper primer. Lincrusta is much harder to remove because of its strong adhesive and density, and removal often damages old plaster. If there's any chance you'll change the room later, we'll talk through Anaglypta or a sized wall prep that makes removal more practical.
You've chosen a paper you love, but the walls are wavy horsehair plaster, the corners lean, and a mismatched seam at eye level would spoil the whole.
How we do itA Victorian on Wollaston Hill or a Federal-era house near Adams Street carries generations of paint, original wood you can't buy off the shelf, and a.
How we do itA replacement door that doesn't match the oak trim, a dining room that feels plain or a mantel that needs character are all problems a skilled faux.
How we do itOld plaster walls that are cracked, patched, wavy or scarred from wallpaper removal will show every flaw through fresh paint or new paper, and spot.
How we do itOur phone is answered around the clock. Tell us about the rooms or the house and we will set a walk-through and a written estimate.