During the Hepplewhite and Sheraton periods of furniture the chintz ceases to have its pattern detached and grouped. Architectural details with figures disappear, and once more the designer returns to flowers as his subject for illustration. The foliage, however, now takes the form of vertical stripes, being contained within lace-like ribands placed at even distances. On p. [335] is an illustration of a chintz about 1790 in which these features will be noticed.
In the nineteenth century we find the chintz covered with disjointed sprigs, as though the flowers had been plucked and cast upon the cloth. Their outline is softened by a margin of dots. An illustration of this style is shown on p. [335].
PRINTED CHINTZ.
From the Calico Printing Factory at Sobden, in Lancashire. Printed in 1831 under the direction of Richard Cobden.
(In the collection of Mrs. Cobden Unwin.)
One need not pursue the history of chintzes further, for to do so would entail a discussion of modern methods. Suffice it to say that in the nineteenth century we come across the hideous black grounds, the base imitation of woven designs, leopard skins, and other inartistic perversions. We must rather bid adieu to this beautiful art ere it has begun to decline. It will afford the reader much pleasure if he should form a collection of old specimens and frame them around his walls, for then he will fully appreciate their charm. In examining his own collection the author has spent many a pleasant hour, for these gaily coloured chintzes are among the most articulate relics which have come down to us. They breathe the spirit, the feelings, and the ideals of the periods wherein they were made. They show lucidly the various changes in fashion and the rise and wane in the popularity of certain forms of decoration. So delectable are their soft, faded colours, 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 one's affection from them.