The Garden Magazine, September, 1920 
21 
The first of the two above (a cretonne) comes in blue on white 
or natural colors on tan or gray while the second (a chintz) 
shows its engaging red, tan or black animals on a field of green 
The Morning Glories, Pinks and Roses of the cretonne below 
are in their true colors on a neutral ground; the kingfisher de- 
sign combines blues, tans and black with naturalistic flowers 
rendered monotonous by re- 
petition, it should be used freely 
enough to dominate and be 
impressive, and to bring out 
the harmony between the plants 
themselves and the general dec- 
orative scheme of the room. 
Where a definite plant al- 
ready provides the vegetative 
part of the decorations, the use 
of the stencil may be the only 
means of carrying the idea out 
satisfactorily; for a fabric utiliz- 
ing a particular plant in its de- 
sign is seldom easy to find, even 
if it exists — and likely as not 
it does not exist at all. So, 
although this sort of thing may 
mean more trouble in one way 
— the stencilling itself — it will 
mean less in another, for there 
is no uncertainty about it. But 
in the many lovely things 
offered it would seem that there 
is abundant material ready at 
hand, requiring only a fair de- 
gree of imagination to achieve delightful and most unusual 
effects. One would aim of course in choosing these to avoid 
the conventional flowery patterns chosen for ordinary indoor 
purposes, where greater or less formality prevails, and would 
seek the unusual, the sprightly and the suggestive. 
With the Pansy motif, for example, there would naturally 
follow flower boxes filled with the plants themselves in bloom, 
and a color scheme pitched high, with yellows and wine-purples 
and mauve and white in gay profusion. Or the Japanese design 
would invite the use of dwarfed trees in their stone pots and' 
goldfish in a great crystal — never in the small necked torture- 
pens in which the misguided keep them! — or the introduction 
of a complete Japanese toy garden perhaps, with lake and water 
plants in addition to dwarfed trees, all growing in lilliputian 
imitation of an outdoor landscape. 
The blue and white print depicting rural activities and agri- 
cultural enterprises afoot inspires immediately a facetiously 
bold yet demure rusticity, if one is so inclined— with the intro- 
duction of such little touches as a painted rooster perhaps for a 
doorstop, the ever adorable Wedgewood china-cow cream pitcher 
for the tea table, and such other realistic (sic) attributes as are 
sure to turn up in novelty shops here and there, when one’s 
Against a rose, tan, gray, or brown background these 
Pansies run the gamut of their own vivid coloring 
with rich blues and warm purples dominating 
