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Now as the architects of the last decade became familiar with the atrocities in originality that were concocted by the furniture makers of the last genera-
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THE ARCHITECT AND DECORATOR 5
tion, they came out in revolt against the use of these in the homes and buildings on which they were called upon to work, and they refused to permit their clients to be hoodwinked by clever salesmen without taste or education. These architects not only started to advise their clientele regarding the completion of interiors, but also to design these interiors themselves, and it was only a short step from the designing to the actual superintendence of their manufacture and installation. At the same time the number of decorators seeking business increased enormously. Competition became keener than ever before, and a large number of questions naturally arose between the two groups. These questions are now, so far as I know, for the first time receiving adequate public attention, and this attention is likely, one may hope, to lead to some solution of the various points at issue.
Roughly speaking, the architect claims that the decorator is an artistic ignoramus; that while the architect would welcome the co-operation of real professional experts on interiors, he cannot brook the interference of a man or woman whom he knows to be inferior to himself in every possible way, except, perhaps, in his selling faculty. The architect also claims it to be his duty to protect his client against the supposed enormous charges made by decorators and to secure for his client the best possible value for his expenditures in the interior of his home, just as he would in the contracts for masonry, plastering, plumbing, or any of the other elements that go to make up a structure.
The decorator, on his side, affirms that the architect
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