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192
The House in Good Taste
·
Elsie De Wolfe
58
To
me
the
most
amazing
evidence
of
the
advance
of
good
taste
is
the
revival
of
chintzes,
printed
linens,
cottons
and
so
forth,
of
the
Eighteenth
Century.
Ten
years
ago
it
was
almost
impossible
to
find
a
well-designed
cretonne;
the
beautiful
chintzes
as
we
know
them
were
unknown.
Now
there
are
literally
thousands
of
these
excellent
fabrics
of
old
and
new
designs
in
the
shops.
The
gay
designs
of
the
printed
cottons
that
came
to
us
from
East
India,
a
hundred
years
ago,
and
the
fantastic
chintzes
known
as
Chinese
Chippendale,
that
were
in
vogue
when
the
Dutch
East
India
Company
supplied
the
world
with
its
china
and
fabrics;
the
dainty
French
toiles
de
Jouy
that
are
reminiscent
of
Marie
Antoinette
and
her
bewitching
apartments,
and
the
printed
linens
of
old
England
and
later
ones
of
the
England
of
William
Morris,
all
these
are
at
our
service.
There
are
charming
cottons
to
be
had
at
as
little
as
twenty
cents
a
yard,
printed
from
old
patterns.
There
are
linens
hand-printed
from
old
blocks
that
rival
cut
velvet
in
their
lustrous
color
effect
and
cost
almost
as
much.
There
are
amazing
fabrics
that
seem
to
have
come
from
the
land
of
the
Arabian
nights--they
really
come
from
Austria
and
are
dubbed
"Futurist"
and
"Cubist"
and
such.
Some
of
them
are
inspiring,
some
of
them
are
horrifying,
but
all
of
them
are
interesting.
Old-time
chintzes
were
usually
very
narrow,
and
light
in
ground,
but
the
modern
chintz
is
forty
or
fifty
inches
wide,
with
a
ground
of
neutral
tone
that
gives
it
distinction,
and
defies
dust.
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