When I began my work as a decorator of houses, my friends, astonished
and just a little amused at my persistent use of chintz, called me the
"Chintz decorator." The title pleased me, even though it was bestowed in
fun, for my theory has always been that chintz, when properly used, is
the most decorative and satisfactory of all fabrics. At first people
objected to my bringing chintz into their houses because they had an
idea it was poor and mean, and rather a doubtful expedient. On the
contrary, I feel that it is infinitely, better to use good chintzes than
inferior silks and damasks, just as simple engravings and prints are
preferable to doubtful paintings. The effect is the thing!

One of the chief objections to the charming fabric was that people felt
it would become soiled easily, and would often have to be renewed, but
in our vacuum-cleaned houses we no longer feel that it is necessary to
have furniture and hangings that will "conceal dirt." We refuse to
_have_ dirt! Of course, chintzes in rooms that will have hard wear
should be carefully selected. They should be printed on linen, or some
hard twilled fabric, and the ground color should be darker than when
they are to be used in bedrooms. Many of the newer chintzes have dark
grounds of blue, mauve, maroon or gray, and a still more recent chintz
has a black ground with fantastic designs of the most delightful
colorings. The black chintzes are reproductions of fabrics that were in
vogue in 1830. They are very good in rooms that must be used a great
deal, and they are very decorative. Some of them suggest old cut
velvets--they are so soft and lustrous.

My greatest difficulty in introducing chintzes here was to convert women
who loved their plush and satin draperies to a simpler fabric. They were
unwilling to give up the glories they knew for the charms they knew not.
I convinced them by showing them results! My first large commission was