South Bend news-times. (South Bend, Ind.) 1913-1938, 1917-07-29

sOmuch that a pamphleteer warfare
was carried on in verse. and many
funny and scathing rhymes were
circulated regarding the calico
danes, as the the weavers OF the
prints, were called
Mr.. Phillips says OF the chintz OF
/ this period. "Old chintzes may be
recognized by their Ightness and by
| their designs intermingling flowers
/ Of India type-the cOrnfower and
| carnation being among those we
| most frequently meet with"
| The most beautiful period Of
| chintz printing was the period when
the Chippendale furniture was so
| dominant, about the middle Of the
18th century. Color work by super
| imposed blocks was in full swing"
the author continues, and a design.
er had in the works of contempo-
| rary artists a wider field for the Sc
I lection OF subjects suitable for his
fabsi d. . The formation Of the
design had changed considerably by
this I ne, and we no longer find the
inter- wining of serpentine method;
: objects % BE- printed are now mass
ed together and represented as little
disjointed islands floating in air BY
this distinctive feature, they may be
easily recognized" Many of the
ideas are taken from the Chinese
porcelain of the period. Exotic
Chinese birds appear in the designs.
like those on the Worcester ware OF
the period.
The background Of the figures is
white, overshot with a buff, which
gives to the colors a richness and
softness OF tone peculiarly of this
period. Many of these designs were
made for the Oriental furniture Of
Chippendale In some of the pat
terms Of the covers of these chairs
are Chinese vases full Of flowers.
The use Of the rocco shell is also
common in this period. Line and
proportion were ignored often in
these quaint old patterns-GOthic
ruins set in the midst of prunus
flowers and palm trees often may be
found. But the art is saved by its
delicacy Of detail
In the last quarter of the 18th
century machinery came generally
into use III the printing of calico;
large factories took over the work
later, and the small printers moved
from London TO these centers. But
hand block printing did not wholly
pass away To this day cretonnes
and chintzes of We best are pro-
duced. During the reign of the
Hepplewhite and Sheraton furniture,
the pattern returned to flowers THE
foliage take the form of vertical
stripes, contained within lacelike
ribands, placed at even distances.
The 18th century chintz is dis
tinguished by it's patterns of dis
jointed sprigs, which look as if the
flowers had been plucked and cast
upon the pattern. softened by a
margin of dots" During the Wv
torian period, ugly designs crept in.
unworthy of the old prints. The
author says Of these oldest prints, |
of which he has a rare collection:
They breathe the spirit, the feel
ings. the ideals, of the periods |
wherein they were made. They |
show lucidly the various changes in |
fashion. and the rise and wane in |
popularity OF Certain loIlllS VI utNO- |
ration. So delectable are their soft |
faded cOlors, so fascinating are the |
designs and above all so enchanting |
is the old-wOrld musty scent which /
always clings TO them, that it would |
be hard, indeed. TO withhold ones i
affection from them
Once one has mastered the social !
history written in these old prints,
the pleasure of a stroll through an
antique shop, an art institute, the
of some of our most ar
tistic upholsterers and wallpaper
manufacturers, is greatly enhanced.
One finds such a JOY in being able 10
pick out this period design and
that; it is like meeting familiar
faces, shaking hands with old
friends II is gratifying TO note that
today these old chintz patterns are
being admirably reproduced in the
best upholstery and wallpaper, in
cretOnne, and in cotton fabrics. That
indefnable delicacy OF touch is lack
ing; there is conformity 20 present
day canons of art. but there is never
theless real beauty in much OF it.