illustrated history of furniture.pdf

ILLUSTRATED HISTORY OF

FURNITURE

FIRST EDITION

1892

SECOND EDITION

-

-

THIRD EDITION

-

-

FOURTH EDITION

-

FIFTH EDITION

-

Truslove

and

1893 1899

-

Bray

Printers

West Norwood

1892 -

S E

1903

ENGLISH SATIN-WOOD DRESSING-TABLE. W'nii

Painted Decoration.

JAN

5 1942

ILLUSTRATED

HISTORY OF

FURNITURE FROM THE EARLIEST

TO THE PRESENT TIME BY

FREDERICK LITCHFIELD AUTHOR OF "POTTERY AND PORCELAIN"

WITH NUMEROUS ILLUSTRATIONS

LONDON: TRUSLOVE & HANSON LIMITED NEW YORK: JOHN LANE MDCC.CCIII

An Old English "Grandfather' Clock. Late XVIII. Centoj (See pp. 121-2.)

ARCHITECTURE DEPT.

PREFACE N

the

the

design

from

the

A

are

and

is

an

Furniture

idea of

of

and

the

of

either

the

of

explanatory

have or

of

influenced

indirectly

made

majority

the

Museums

the

in

and

which

to

"interiors"

different

character

periods

the

the

reliable

been

has

authenticity,

disposition

they

refer.

illustrations are arranged, so far as possible, in

order,

any

have

the

time.

illustrations

seen,

in

Woodwork,

and

to

made, or by permission of the owners

representations

the

convey

be

to

which reference

present

established

of

we

which

of

the

until

changes

the

of

Furniture

Decorative

selection

careful

which

of

account

period

record

examples

from

an

of

earliest

certain

or

pages the Author has placed before

following

reader

descriptions

the the

which

historical

and

manners

and

the

affected

of

them

changes

customs,

Furniture

the

These

chronological

accompany social

of

;

will

and

are

which directly

nations.

different

An endeavour is made to produce a "panorama," which may prove acceptable to many, who, without wishing to deeply, study the subject may desire to gain some information to

with

some part

of

reference it,

in

to

which

it

generally,

they

may

interest.

M126876

or

feel

with a

regard

particular

Preface.

vi.

be obvious that

will

It

volume

more

moderate

of

an

than

and

accept

deserve

the

covers

period

a

introductory to that which

attempt

examine

to

a

period

some

of

hundred

time of King James

and

his

more

the

and

First

partly

will

feel

are

the

latter

are

subject.

half of the

treated

also

periods

has

because

greater

that

last

and

been

The French

fully

on

countries,

manifested

the

that

mcubles

than

There

enormous prices

is

the

account of this

in

de

during

from

the

the

are

chapters,

because

partly

more

accessible,

English of

readers

which

they

from the

luxe,

the Revolution,

Furniture

description

maker's and metal mounter's work or twenty years.

is

seventeenth century until

more

of

which

interest

of

during the

the

other

cabinet

past

fifteen

evidence of this appreciation

realised at notable auction

such Furniture has been offered

as

Chippendale

of

three

others,

Furniture

the

in

centuries,

years,

fifty

probable

is

it

interest

to

which deals with

trustworthy information as to these times

and

asked

" Ancient

Furniture

the

until

some

than

descriptive

is

rather than as a serious

chapter,

and the

contemporaries,

fully

fourth

than

therefore,

is,

several

of

history

design

periods of

refers

of

follows,

the

The

that space of time.

reader

give

to

consideration

which

chapter,

first

and

Furniture "

a single

of

limits

impossible

is

many

of

the

;

the

it

more

far

upon them

here bestowed to

sketch

outline

which

taste

within

dimensions

for

competition

sales,

to

in

when

wealthy

connoisseurs.

In of

order

Furniture

to

gain

a

of

different

more

correct

periods,

it

idea of the

has

been

design

necessary

Preface. the

notice

to

in

alterations

fashion

the

architectural

in

and were accompanied

influenced,

made with

of

would have

subject

of

the

by

an

an

antiquary

as

diffidence,

who

architect,

only

with

Such comments are

more

an

also

branch

this

treatment

fitting

by

than

antiquary,

knowledge

limited

a

that

felt

is

it

received

was

which

styles

by, corresponding changes

woodwork.

interior

some

vii.

of

archi-

tecture.

Some works in is

interpretation,

" movable "

with to

French

its

notes,

to

offer

attention

to

a

of

and

changes

them

in

of the

taste

in

while

deavoured

very

the

of kindness

work

pleasant

the courtesies received,

on

which

generally

such to

has

has

not

and has confined which,

been

in

led

dates

his

more

its

Furniture

and

in

the

investigate

to

of

readable a story as

for

and

;

acknowledge,

to

Author

as

the

several

which have taken place, and has recorded

acts

preparing

task

he

suggestions

information,

approximate

the

have combined

" Decorative

as

own

his

that

the

difficulties

permit.

subject

Numerous

that

of

understood

For

simple and

as

The

advice,

word

the

everything

writers

Furniture.

business,

his

causes

the

the

is

taken

remarks and

any such

Woodwork."

pursuit

other

;

description

sense,

restricted

have include

to

critical

of

selection

presumed

and

house

a

in

historical

the

"Furniture"

on

when

assistance

record

his

in

and the

Press,

while

the

a

received

co-operation,

have

many

great

rendered

Author

has

en-

instances,

noticing the particular occasion

was

thanks

rendered, to

the

he would desire

owners

of

historic

Preface.

viii.

mansions,

the

Companies,

City

The

indebted.

trodden

many

of

others,

able

Clerks

the to

whom

writers

have

enquiry

of

field

Museums,

and

Librarians,

views

same

the

our

of

officials

he

who

been

of is

have

adopted

where they have been confirmed by the writer's experience or

omitted has

and

research,

express

to

made

large

as

many

of

of

goodwill,

the

he

hopes

acknowledgments

for

he

has

the

not

he

use

number

applications

the

and

and

of copies subscribed for, accompanied,

confidence

have

afforded

have

been,

beforehand, great

by have

expressions

been

very

encouragement during

preparation of the work.

If

to

his

cases

of them.

The

gratifying,

these

in

the

present

encourage

a

venture

larger

is

effort,

received the

in

writer

such

a

hopes

way

as

both

to

multiply examples and extend the area of his observations. F. L.

32, St.

James's Street, S.W.

CONTENTS. CHAPTER Biblical References

Furniture Specimens Furniture

Solomon's House and Temple

:

Nimrod's

:

— Mr.

— Plutarch

— Cicero's

House Empire

—Thyine

Wood— Customs

d. 476,

Articles of

Bas-reliefs

in

:

Domestic

the British

Greeks— House of Position of Rome -The Roman wealthy Romans Downfall of the

:

of

the

—

of

CHAPTER Period of 1,000 years from Fall of Rome, a

The

:

Furniture

Egyptian

—Various

Customs

and

Roman Furniture

quoted.

Table

Stool

Assyrian

Ahasuerus.

of

quoted.

Greek Furniture

Cypselus — Laws

of

— Palace

George Smith

Museum— The Workman's

Birch quoted.

Museum — The Chest Alcibiades

Palace

in the British

— Dr.

I.

II.

Capture of Constantinople, 1453

to

Peter and Maximian at Rome, — Influence of Christianity— Chairs of prohibiting Image worship— The Rise of Ravenna, and Venice — Edict of Leo Venice— Charlemagne and his successors — The Chair of Dagobert— Byzantine character of Furniture — Norwegian carving — Russian and Scandinavian — The Anglo-Saxons

The Crusades

St.

III.

Sir

Walter Scott quoted— Descriptions

Anglo-Saxon Houses and Customs— Art

of

Flemish Cities— Gothic Architecture— The Coronation Chair Penshurst

— French

Kensington

Furniture in the

Museum— Transition

14th

at

Century- Description

from Gothic

to

in

Westminster Abbey

rooms— The South

of

Renaissance— German carved work;

the Credence, the Buffet, and Dressoir

17

CHAPTER The Renaissance

in

Italy

III.

Leonardo da Vinci and Raffaelle— Church

:

porary great artists— The Italian Palazzo

— Methods

of St. Peter, contem-

of gilding, inlaying

and mounting

— Pietra-dura

The Renaissance and other enrichments— Ruskin's criticism. in France: Francois I. and the Chateau of Fontainebleau- Influence on CourtiersChairs of the time -Design of Cabinets— M. E. Bonnaffe on The Renaissance— Bedstead Furniture

of Jeanne

d'Albret— Deterioration of

— Brittany

woodwork.

House

Burgundy

of

on

Art

— The

Henry IV.— Louis XIII. Furniture Influence of the the Netherlands

taste in time of

The Renaissance

in

Chimney-piece

:

at

Bruges,

and other casts

of

Contents. specimens

at

The Renaissance

South Kensington Museum.

of Spain in the sixteenth

and seventeenth centuries

backed Leather Chairs, the Carthusian Convent

Germany

Albrecht

:

of Foreign

Chair of Augsburg

Steel

— High-

— German

in

seventeenth

in

St. Saviour's

Hospital.

:

Artists in the time of

— —

Palace

customs - Chairs

English time,

— Famous

resources

The Renaissance

Granada.

at

The

:

of Saracenic Art

The Renaissance in England Influence Henry VIII.— End of Feudalism— Hampton Court Linen Pattern Panels - Woodwork in the Henry VII Chapel at Westminster Livery Cupboards at Hengrave — Harrison quoted — The "parler," alteration in

century carving

Abbey

Diirer

Spain

in

— Influence

extract from old

of

the

inventory

century

sixteenth

— South

— Coverings

Kensington Cabinet

and Cushions of the

— Elizabethan

Mirror

at

— Shaw's " Ancient Furniture" — The Glastonbury Chair— Introduction of England — Characteristics of Native Woodwork — Famous Country Mansions

Goodrich Court

Frames

into

— Alteration in design of Woodwork and Furniture Panelled Rooms at South Kensington —The Charterhouse — Gray's Inn Hall and Middle Temple —The Hall of the Carpenters' Company — The Great Bed of Ware — Shakespeare's Chair— Penshurst Place -

English his

Home work

Life in the Reign of

— Ford

quoted

I.

Castle— Chimney Pieces

in

South Kensington

— Inigo

Jcnes and

Museum— Table

in

the

Company — The Charterhouse — Time of Charles Knole — Eagle House, Wimbledon — Mr. Charles Eastlake — Monuments

Hall— Hall

Carpenters'

CHAPTER IV. James — Sir Henry Wotton

of the Barbers'

— Furniture

at

Canterbury

and Westminster—

Settles,

Couches,

and

Chairs

I.

at

the Stuart period

of

—

House— Cromwellian Furniture The Restoration — Indo-Portuguese Furniture— Hampton Court Palace — Evelyn's description — The Great Fire of London Hall of the Brewers' Company — Oak Panelling of the time — Grinling Gibbons and his work — The Edict of Nantes — Silver Furniture at Knole— William III. and Dutch Sir Paul Pindar's

influence— Queen Anne — Sideboards,

Hampton Court..

..

..

..

Bureaus, and Grandfather's Clocks ..

..

CHAPTER

..

..

..

-

..

Furniture at ..

..

91

V.

—

Chinese Furniture Probable source of artistic taste Sir William Chambers quoted Racinet's " Le Costume Historique " Dutch Influence The South Kensington and the late Duke of Edinburgh Collections Processes of making Lacquer — Screens in the Kensington Museum. Japanese Furniture Early History Sir Rutherford Alcock and Lord Elgin The Collection of the Shogun— Famous Collections Action of the present Government of Japan Special characteristics. Early Indian Furniture European influence Furniture of the Moguls Racinet's Work— Bombay Furniture Ivory Chairs and Tables Specimens in the India Museum. Persian Woodwork :

— —

—

—

:

—

—

—

:

—

—

—

Collection

of

—

Arab influence customs— Specimens

of the Persians

Oriental

:

Objets d'Art formed by General

M. d'Aveune's Work

..

..

Murdoch Smith, R.E.

— South Kensington Specimens. in

the ..

South ..

Saracenic

Kensington

Museum

..

..

..

— Industrial

..

of

Arts

Woodwork

:

Arab Work ..

..

..125

Contents.

CHAPTER

VI.

Palace of Versailles " Grand " and " Petit Trianon " — The three Styles of Louis XIV., XV., and XVI. - Colbert and Lebrun Andre Charles Boule and his Work — Carved and Gilt Furniture The Regency and its Influence Alteration in Condition of French Society— Watteau, Lancret, and Boucher. Louis XV. Furniture Famous Ebenistes — :

—

—

—

:

Vernis Martin Furniture — Caffieri and Gouthiere Mountings

— Sevres Porcelain introduced

—

into Cabinets— Gobelins Tapestry The "Bureau du Roi." Louis XVI. and Marie Antoinette The Queen's Influence The Painters Chardin and Greuze More simple Designs Characteristic Ornaments of Louis XVI. Furniture Riesener's Work

—

:

—

—

—

Gouthiere's Mountings influence

upon

Extract from the

— Specimens

design of

the

"Times"

—

Louvre— The Hamilton Palace Sale French in other countries The Jones Collection

in the

—

furniture

..

CHAPTER

VII.

Chambers— The Brothers Adams' work — Pergolesi, Cipriani, and — Architects of the time —Wedgwood and Flaxman — Chippendale's Work and his Contemporaries — Chair in the Barbers' Hall — Lock, Shearer, Hepplewhite, Ince, Mayhew, Sheraton — Introduction of Satinwood and Mahogany — Gillows, of Lancaster and London — History of the Sideboard — The Dining Room — Furniture of the time

Chinese Styles— Sir William Angelica Kauffmann

..

CHAPTER

173

VIII.

—

The French Revolution and the First Empire Influence on design of Napoleon's Campaigns — The Cabinet presented to Marie Louise Dutch Furniture of the time English Furniture Sheraton's later work Thomas Hope, architect — George Smith's designs Fashion during the Regency— Gothic revival Seddon's furniture Other makers

—

—

—

—

— — Furniture

—

Influence on design of the Restoration in France part of

Queen

Victoria's

of

William IV. and

early-

reign— Baroque and Rococo styles— The Panelling of Rooms,

—

Dado, and Skirting The Art Union— The Society of Arts — Sir Charles Barry and the new Palace of Westminster Pugin's designs Auction Prices of Furniture— Christie's —The London Club Houses Steam Different Trade Customs--Exhibitions in France and England Harry Rogers' work — The late Queen's cradle State of Art in England during the first part of Queen Victoria's reign Continental designs -Italian carving-

— —

—

—

—

—

—

Cabinet work

— General

remarks

.

.

.

CHAPTER The Great Exhibition London;

:

1867, Paris

.

.

.

.

.

.

.

201

IX.

-Exhibitors and contemporary Cabinet Makers — Exhibition of 1862, ;

and subsequently

and Mansfield— The South Kensington

— Description of Illustrations— Fourdinois, Wright Museum— Talbert's Work — Revival of Marquetry

— Comparison of Present Day with that of a Hundred Years ago— ^Estheticism— Traditions —Trades-Unionism — The Arts and Crafts Exhibition Society — Kensington School of of Furniture— Present Fashions — Writers on Design— The — " Trade " Journals— Modern Furniture in other Countries — Concluding

Woodcarving— Independence

New

Renaissance

Remarks

..

..

..

..

..

..

..

..

..

..

..

..

..

229

Contents.

xii.

APPENDIX. Lists

of

Artists

Furniture

Index

..

and

— The ..

Manufacturers

of

processes of Gilding and ..

..

..

..

— Woods — Tapestry Polishing — The Pianoforte

Furniture

..

..

..

..

..

Carved Oak Napkin Press. Lent

to the

South Kensington Museum by

Early XVII. Century.

II.

Farrer, Esq.

PAGE

used

for

French

..

..

..

251

..

..

..

268

LIST OF ILLUSTRATIONS. CHAPTER

I.

Colored Frontispiece

facing Title PAGE

"Grandfather" Clock.. A Seventeenth Century Napkin Press Vignette of Bas-Relief— Egyptian Seated, as Ornament to Initial Assyrian Bronze Throne and Footstool .. Chairs from Khorsabad and Xanthus and Assyrian Throne

iv.

Letter

Repose of King Asshurbanipal Examples of Egyptian Furniture in the British Museum Stool Stand for a Vase Head Rest or Pillow Workman's Stool Vase on a Stand Folding Stool Ebony Seat inlaid with ivory An Egyptian of High Rank Seated facing An Egyptian Banquet Chair with Captives as Supports Bacchus and Attendants visiting Icarus.. facing Greek Bedstead with a Table Greek Furniture Interior of an Ancient Roman House facing A Roman Study .. :

;

;

;

;

.

Roman Scamnum or Bench Roman Bisellium, or Seat for Two Persons Roman Couch, generally of Bronze Bronze Lamp and Stand Roman Triclinium, or Dining Room

CHAPTER Vignette of Gothic Oak Armoire, Chair of St. Peter, Rome Dagobert Chair ..

as

II.

Ornament

to Initial Letter

A Carved Norwegian Doorway

facing

Scandinavian Chair

Cover of a Casket carved in Whalebone Saxon House (IX. Century) Anglo-Saxon Furniture of about the X. Century The Seat on the Dais Saxon State Bed.. English Folding Chair (XIV. Century) Cradle of Henry V. Coronation Chair, Westminster Abbey Chair in York Minster.. Two Chairs of the XV. Century Table at Penshurst

facing

Illustrations. Bedroom (XIV. Century) Carved Oak Bedstead and Chair Interior of a Bedroom — "The New Born Infant" Portrait of Christine de Pisan State Banquet, with Attendant Musicians (two woodcuts) A High Backed Chair (XV. Century)

Medieval Bed and Bedroom

A Scribe or Copyist Two German Chairs Carved Oak Buffet (French Old English Oak Buffet Flemish Buffet

facing

Gothic)

..

.

facing

A Tapestried Room A Carved Oak Seat

45

Interior of Apothecary's Shop

46

Dwelling Room of a French Chateau Court of the Ladies of Queen Anne of Brittany

CHAPTER

folloiving

46

III,

Vignette of the Caryatides Cabinets, as Ornament Reproduction of Decoration by Raffaelle Salon of M. Bonaffe A Sixteenth Century Room

to Init

Chair in Carved Walnut Venetian Centre Table Marriage Coffer in Carved Walnut Marriage Coffer Pair of Italian Carved Bellows Carved Italian Mirror Frame, XVI. Century A Sixteenth Century Coffre-fort Italian Coffer Italian Chairs

Ebony Cabinet Venetian State Chair

Ornamental Panelling in St. Vincent's Church, Rouen Chimney Piece (Fontainebleau) Carved Oak Panel (1577) Fac Similes Carved Oak Carved Oak Carved Oak

of Engravings on

Wood

Bedstead of Jeanne D'Albret Cabinet, XVI. Century Cabinet (Lyons) Louis XIII. and His Court Decoration of a Salon in Louis XIII. Style An Ebony Armoire (Flemish Renaissance) A Barber's Shop and a Flemish Workshop (XVI. Century) A Flemish Citizen at Meals.. Sedan Chair of Charles V. Silver Table (Windsor Castle) Chair of Walnut or Chestnut Wood, Spanish, with Embosse .

46

Letter

Illustrations. PAGE

Wooden Coffer (XVI. Century) The Steel Chair (Longford Castle) German Carved Oak Buffet

following

68

facing

70 7i

Carved Oak Chest Chair of Anna Boleyn Tudor Cabinet The Glastonbury Chair.. Carved Oak Elizabethan Bedstead.. Oak Wainscoting .. Dining Hall in the Charterhouse .. Screen in the Hall of Gray's Inn..

72 74 75

78

80 facin,

80

facing

82

82

Hall of Gray's InnCarved Oak Panels (Carpenters' Hall) Part of an Elizabethan Staircase

83 85

86

..

The Entrance Hall, Hardwick Hall

facin

86

facing

88

Shakespeare's Chair

The "Great Bed of Ware" .. The "Queen's Room," Penshurst Place Carved Oak Chimney Piece in Speke Hall

CHAPTER A Chair

of XVII. Century, as Ornament

90

IV.

to Initial Letter tt

Oak Chimney Piece in Sir W. Raleigh's House Chimney Piece in Byfleet House "The King's Chamber," Ford Castle Centre Table (Carpenters' Hall) Carved Oak Chairs Oak Chimney Piece from Lime Street, City Oak Sideboard Seats at Knole Arm Chair, Knole The "Spangle" Bedroom, Knole Couch, Chair, and Single Chair (Penshurst Place) "Folding" and " Drawinge " Table Chairs, Stuart Period .. Chair used by Charles I. during his Trial Settle of Carvfd Oak .. Two Carved Oak Chairs Staircase in General Ireton's House Settee and Chair (Penshurst Place) Sedes Busbiana

The Master's Chair in the Brewers' Hall Carved Oak "Livery" Cupboard Three Chairs from Hampton Court, Hardwicke, and Carved Oak Screen in Stationers' Hall.. Silver Furniture at Knole Three Chimney Pieces by James Gibbs Chair in Holland House, designed by Cleyn ..

Illustrations

CHAPTER

V PAGE

Pattern of a Chinese Lac Screen An Eastern (Saracenic) Table, as Ornament to Initial Japanese Cabinet of Red Chased Lacquer-work Casket of Indian Lacquer Work Door of Carved Sandal Wood from Travancore Persian Incense Burner of Engraved Brass Governor's Palace, Manfalut Specimen of Saracenic Panelling Carved Door of Syrian Work Shaped Panel of Saracenic Work ..

CHAPTER

I2 4

Letter

125

130 134 facing

137

I4O I

M3

VI. 144 to In tial

Letter

..

facing

149

.

in

150

the Louis XIV. Sty

facing

150

facing

152

A Boule Commode

152

French Sedan Chair A Screen Panel by Watteau.. Carved and Gilt Console Table Louis XV. " Fauteuil " (Carved and Gilt) Louis XV. Commode (Jones Collection)

153 154 155

156

A Parqueterie Commode Part of a Salon (Louis XV.)

"Bureau du Roi

"

Part of a Salon

in

146 148

(Louis XIV. Period)

Decoration of a Salon

4I

142

Boule Armoire (Hamilton Palace) Vignette of a Louis Quatorze Commode, as O nament Boule Armoire (Jones Collection) Pedestal Cabinet by Boule (Jones Collection) A Concert in the Reign of Louis XIV.

A Boudoir

136

157 158 facing

Louis XVI. Style

A Marqueterie Cabinet

(Jones Collection)

158 160 162

.

Writing Table (Riesener)

facing

162

facing

164

The "Marie Antoinette" Writing Table

164

Bedstead of Marie Antoinette A Cylinder Secretaire (Rothschild Collection) An Arm Chair (Louis XVI.) Carved and Gilt Settee and Arm Chair A Sofa en Suite A Marqueterie Escritoire (Jones Collection) A Norse Interior, shewing French Influence A Secretaire with Sevres Plaques.. A Clock by Robin (Jones Collection)

165

166 following

.

166 166 167 169

170 171

Harpsichord, about 1750

172

CHAPTER

VII.

Vignette of a Chippendale Girandole, as Ornament .. Fac-Simile of Drawings by Robert Adam.. English Satin Wood Dressing Table

to Initial Letter ..

..

.

173

..

175

following

176

..

Illustrations. Chimney-piece and Overmantel, designed by W. Thomas

Two Chippendale Chairs

following

..

the "Chinese" Style Fac simile of Title Page of Chippendale's " Gentleman and Cabinet Maker's Director".. in

Two Book Cases from Chippendale's "Director"

..

..

..

Tea Caddy Carved in the French Style (Chippendale) A Bureau from Chippendale's "Director" A Design for a State Bed from Chippendale's "Director" " French " Commode and Lamp Stands Bed Pillars

facing

176 177

178 178 179

following

180 180

Chimney-piece and Mirror Parlour Chairs by Chippendale Clock Case by Chippendale China Shelves, designed by W. Ince Girandoles and Pier Table, designed by W. Thomas.. Parlour Chairs, designed by W. Ince

180 181

182

1S4 1S5

187

W. Ince Desk and Bookcase, designed by W. Ince Ladies' Secretaires, designed by

China Cabinet, designed by J. Mayhew .. "Dressing Chairs," designed by J. Mayhew Designs of Furniture from Hepplewhite's "Guide".. Plan of a Room (Hepplewhite) Inlaid Tea Caddy and Tops of Pier Tables, from " Guide " Kneehole Table by Sheraton

190 191 ..

facing

193 I

Iepplewhite's 194

195

Chairs by SheratonCabinet and Bookcase with Secretaire, by Sheraton

196 197

Chair Backs, from Sheraton's "Cabinet Maker" Sidebboard in the Style of Robert Adam Toilet Glass and Urn Stands Carved Jardiniere by Chippendale

198

A

facing

CHAPTER as

Ornament

200 201

202

.

Vignette of an Empire Tripod,

192

VIII. to Initial Letter

203

Cabinet Presented to Marie Louise Stool and Arm Chair (Napoleon I. Period)

facing

204

Nelson's Chairs by SheratonDrawing Room Chair, designed by Sheraton-

facing

206

Drawing Room Chair "Canopy Bed" by Sheraton .. "Sisters' Cylinder Bookcase" by SheratonSideboard and Sofa Table (Sheraton) Design of a Room by T. Hope Library Fauteuil, from Smith's "Book of Designs".. Parlor Chairs Bookcase by Sheraton

205

207

208 follou

20S 20S

209 211

213 2I 4 .

.

facini

214

Drawing Room Chairs, from Smith's Book Prie-Dieu in Carved Oak, designed by Mr. Pugin

215

Secretaire and Bookcase (German Gothic

219

Style)

218

Illustrations. PAGE

Cradle for H.M. Queen Victoria, by H. Rogers Design for a Tea Caddy by J. Strudwick Design for one of the Wings of a Sideboard by W. Holmes Design for a Work Table by H. Fitzcook Venetian Stool of Carved Walnut

CHAPTER

222 223 224 225

228

IX.

—

Examples of Design in Furniture in the 1S51 Exhibition: Sideboard, in Carved Oak, by Gillow .. .. .. Chimney-Piece and Bookcase by Holland and Sons .. .. Cabinet by Crace .. .. .. .. .. .. Bookcase by Jackson and Graham .. .. .. .. Grand Pianoforte by Broadwood .. .. .. .. Vignette of a Cabinet, Modern Jacobean Style, as Ornament Letter..

following

228

,,

228

,,

228

,,

228

,,

228

to Initial

..

..

..

..

..

..

229

Lady's Escritoire by Wettli, Berne..

..

..

..

..

..

230

Lady's

..

..

..

..

Work Table and Screen in Papier Mache (Sir Walter Scott) by Cookes, Warwick

Sideboard

.

.

.

.

.

.

.

following

232

232

A State Chair

,,

232

Sideboard,

,,

232

,,

232

by Jancowski, York .. .. .. .. Carved Oak, by Durant, Paris .. .. Bedstead, in Carved Ebony, by Roule, Antwerp.. .. Pianoforte, by Leistler, Vienna .. .. .. .. Bookcase in Lime Tree, by Leistler, Vienna .. .. Cabinet, with Bronze and Porcelain, by Gambs, St. Petersburg Casket of Ivory, with Ormolu Mountings, by Matifat, Paris Table and Chair, in the Classic Style, by Capello, Turin Cabinet of Ebony, with Carnelions, by Litchfield and Radclyffe in

.

Exhibition, Paris)

..

..

..

..

..

..

..

,,

232

,,

232 232

,,

.

.

233

.

234

(1862 ..

..

Cabinet of Ebony, with Boxwood Carvings, by Fourdinois, Paris (1867 Exhibition, London) .. .. .. .. .. .. .. following Cabinet of Satinwood, with Wedgwood Plaques, by Wright and Mansfield (1867 Exhibition, Paris) .. following .. .. ..

235

236 236

Cabinet of Ebony and Ivory by Andrea Picchi, Florence (1867 Exhibition, Paris)

..

..

Dining Room by Bruce

..

..

..

..

..

..

..

following

236

J.

Talbert

..

..

..

..

..

..

facing

238

..

..

..

..

.

. .

folloaing

..

..

..

..

..

..

The Ellesmere Cabinet .. .. .. The Saloon at Sandringham House The Drawing Room at Sandringham House Carved Frame by Radspieler, Munich .. .

.

.

.

.

..

244

244

,,

..

243

..

24S

CHAPTER

I.

Hncient jfurnituve. —

Refer knces Solomon's House and Temple Palace of Ahasuerus. Assyrian Nimrod's Palace Mr. George Smith quoted. Egyptian Furniture: Furniture: Specimens in the British Museum The Workman's Stool Various Articles of Domestic Birch quoted. Greek Furniture The Bas-reliefs in the British Furniture Dr. Museum The Chest of Cypselus Laws and Customs of the Greeks House of Alcibiades Plutarch quoted. Roman Furniture Position of Rome The Roman House Cicero's Table — Thyine Wood Customs of wealthy Romans — Downfall of the Empire.

Biblical

:

—

—

—

— —

:

—

—

—

:

—

—

BIBLICAL REFERENCES.

HE

first

well-known reference to woodwork

be found

to

the

instructions

an

Ark

given

gopher*

of

" pitch

window," to with

Book

the

in

Noah

to

is

in

make make a

to

" to

wood,

within and without

it

and

pitch,"

Genesis,

of

observe

to

definite

From the specific direchanded down to us, we may

measurements. tions

thus

period

very early

knowledge

a

had

mankind

gather that

of

the

different

wood, and of the use of

We

know,

and papyri

too,

the

of

arts

a

history

kinds

of

tools.

from

the

bas-reliefs

Museum, how

British

Egyptians

were the Ancient

'advanced the

in

acquired at world's

the

of

and

civilization,

that

in

the

furniture was not and even luxurious Hebrews must have had excellent workmen for teachers and taskmasters, to have enabled them to acquire sufficient skill

manufacture

and experience the erection the

kinds *

comfortable

of

In them, the

neglected.

of

earn-

the

is

out

such precise

Tabernacle,

wood,

of

Gopher

to

supposed

some

measurements, to

instructions

1,500

years

ornaments,

mean cypress wood.

were given

as

before

fastenings

See Notes on

Woods

Christ ("

— as

loops

(Appendix).

for

to

and

ANCIENT FURNITURE.

2

taches to

"),

turn

that

curtains of linen, and coverings

We

of dried skins.

chapter of

25th

the

to

Exodus

have only

be convinced

to

mentioned were given to a people who had

there

directions

the

all

moment

a

for

considerable experience in the methods of carrying out work, which must

have resulted from some generations of carpenters, joiners, weavers, dyers, goldsmiths, and other craftsmen.

A

thousand years before

building

and

great Temple,

and of the

different countries

It

most

King's

not

because there

who were

thus

work towards carrying out the grand when we are referring to Old Testament

too,

notice

to

approximate

their

any

is

which

time, an event

of those

skill

the

reign,

best

their

with

given,

are

his

which gathered from

of the

knowledge and

information bearing upon the subject,

which

those descriptions of the

house,"

artificers

skilful

in the

worth while,

is

" the

own,

his

marks an era of advance brought together to do scheme.

we have

Christ,

by Solomon of the glorious work of

fitting

some

dates

of furniture

details

accepted,

generally

as

importance attached to the precise

particular

chronology of the events concerned, but because, speaking generally, they

form landmarks (2

Kings chap,

in

the

we let

the

in

history

which

iv.)

when Elisha

wall,"

there

Another

candlestick." allusion to

him

for

set

incident

apartment

and

a

some

is

of the

table

420 years

and

the

is

" little B.C.

;

prophet

"

:

And

stool

and

when,

in

a

later,

verse

chamber and S95 a

the

grandeur of the Palace of Ahasuerus, we catch a glimpse

the

of Eastern magnificence in the

the

the reception

bed

a

these

the

Shunammite, about

visited the for

of

contents of

the

us

are told of the preparations

us

One

of furniture.

tells

:

"

of the drapery

description

Where were

white,

green,

which furnished

and blue hangings, fastened

with cords of fine linen and purple, to silver rings and pillars of marble

;

the beds were of gold and silver,

upon a pavement of red and blue and

white and black marble."

i.

There

(Esther

no

unfortunately,

are,

The

Hebrew furniture. "The Tabernacle,

the

illustrations

Priesthood,

6.)

trustworthy in

and

Offerings,"

the

books, are apparently drawn from imagination, the Old Testament.

In

the

these,

"table

represented as having legs partly turned, to

which rings were attached

nomadic people,

ancient Soltau's

and other similar

founded on descriptions shew-bread

"

is

in

generally

with the upper portions square,

for the poles

their furniture

for

of

Henry

descriptions

Kitto's Bible, Mr.

by which

would be but

it

primitive,

was

carried.

As a

and we may take

it

Jews and Assyrians came from the same stock, and spoke the same language, such ornamental furniture as there was would, with the

that as the

exception of

the

representations

a similar character.

of figures

of

men

or

of animals,

be of

THE DISCOVERIES AT NINEVEH. FURNITURE.

ASSYRIAN The

discoveries which have been

government

the

in

world,

by

such

made

this

branch

furniture

life

of

the

in

Nineveh, are

subject.

We

in the oldest seat of

enterprising

travellers

who have thrown

Layard, Mr. George Smith, and others

upon domestic

3

full

learn

was ornamented with the heads

of

interest

from of

in

these

lions,

as

monarchical

light

connection

with

authorities

bulls,

Austin

Sir

much

so

that

and rams

the

tables

;

•

^J=*-Part of Assyrian Bronze Throne and Footstool, about (Front a Photo by Man sell & Co. of the Original thrones, and couches were

with

ivory

;

the

earliest

made chair,

of metal

monuments

Some were of Rhorsabad,

of gold,

the

legs

others

representations

supported by animals, and by

Reign of Asshurnazirpal. Museum )

the British

and wood, and probably

according to Sir Austin

been made without a back, and bull's hoofs.

b.c. 888, in

human

terminating of silver

in

inlaid

Layard, having lion's

and bronze.

feet

On

or

the

have been discovered of chairs

figures,

probably those of prisoners.

ANCIENT FURNITURE.

4

the

In

Museum

British

is

a

amidst the ruins of Nimrod's for skilled

found by Sir

bronze

throne,

Palace,

which shews

A.

Layard

high order

ability of

metal work.

Mr. Smith, the famous Assyrian excavator and translator of cuniform inscriptions,

design

the

to

interesting assisting

be

can

opened

has told us in his "Assyrian Antiquities" of his finding close of Nineveh, portions of a crystal throne

to the site

book we have a description assigned

correctly six

the

;

chambers,

all

to

of the

B.C.

same

were

860

:

in

somewhat

similar

in

another part of this

an interior

that

useful

is

in

of houses of a date which

— " Altogether

in

this

place

I

ornamented and recesses in the rooms in the same in horizontal bands of red, green, and

square pilasters,

walls

colored

character, the entrances

Assyrian Throne.

Assyrian Chair from

Assyrian Chair from Khorsabad.

Xanthus.

(In the British Museum.)

yellow,

of

us to form an idea of the condition

by clusters of style

bronze one mentioned above, and

(In the British

Museum.)

(In the British

Museum.

and where the lower parts of the chambers were panelled with slabs, the plaster and colours were continued over these."

small stone

Then

follows a description

of the

drainage arrangements,

and

finally

we

have Mr. Smith's conclusion that this was a private dwelling for the wives

and families of

kings,

together with

the

fact

the bricks he found the legend of Shalmeneser

that II.

on the other side of

(b.c. 860),

who probably

built this palace.

In

the

British

Museum

is

an elaborate piece of carved

depressions to hold colored glass, part of the inlaid

were

ornamented.

etc.,

ivory,

with

from Nineveh, which once formed

ornament of a throne, shewing how richly such objects This carving is said by the authorities to be of

ASSYRIAN FURNITURE. Egyptian

The treatment

origin.

clumsy and more

and

rigid,

of figures

furniture

their

5

by the Assyrians was more generally

was more massive

than that of the Egyptians.

An ornament is

Jupiter; as

the

the

in

treatment

sacred

the tree

of

of

and

foot,

the

Khorsabad

sometimes

being

page the

of

the

also found,

is

on

chair part

Asshur,

to

pine cone, another sacred emblem,

illustration

ornamental

introduced into the designs of thrones and chairs

often

conventional

a

Assyrian

sometimes

forming

4,

merely

an

decorative

design.

The bronze

throne,

on page

illustrated

and

sufficient height to require a footstool,

these footstools are specially alluded to.

"

in

3,

appears to have been of

"Nineveh and

The

its

Remains"

were ornamented,

feet

like

those of the chair, with the feet of lions or the hoofs of bulls."

The relief

furniture

in the

represented

British

Museum,

in is

the

said

zvears later than the bronze throne

following

illustration,

to be of a period

and

footstool.

Repose of King Asshurbanipal. (From a

Bas-relief in the British

Museum

)

from a bas-

some two hundred

ANCIENT FURNITURE.

6

EGYPTIAN FURNITURE. In the consideration assistance

in

the

of ancient

Egyptian furniture we find valuable

examples carefully preserved

every one in the British

Museum, and one

or

to

us,

and

accessible

to

two of these deserve passing

^'ae&fiti:

Stand

Stool.

for

Head Rest

a Vase.

Workman's

Ebony Seat inlaid with

Folding Stool. (From Photos

Vase on a Stand.

Stool.

or Pillow.

by Mansell ev Co. of the Originals in the British

Ivory.

Museum.)

" Workmodern kitchen chair (all wood), slightly concaved to promote the sitter's comfort, and supported by three legs curving outwards. This is simple, convenient, and admirably For a specimen of more ornamental work, the adapted for long service. folding stool in the same glass case should be examined the supports

notice.

Nothing can be more suitable

man's Stool

:"

the

seat

is

precisely like

for

that

its

purpose than the

of a

;

AN EGYPTIAN OF HIGH RANK SEATED. (From

a

Photo by

Man sell

,

CO

J

a 9 z ~ ixl

-

ORDINARY HOUSE FURNITURE. itself

4'

was served upon a marble table, and above the seat of each of the was a separate canopy of gold cloth embroidered with

Princes present fleur de

lis.

The

furniture

Chests,

more

oak or

of

and

prie-dieu

a

or

chestnut,

houses

ordinary

of

less

a

chair,

period

this

was very simple. settles

of

benches with carved supports, a bedstead

or

stools

of

and ornamented with iron work,

carved,

with

table

slab

plain

supported

on

shaped

standards, would nearly complete the inventory of the furniture of the chief

room

a house of a well-to-do

in

merchant

France

in

the fourteenth

until

Scribe or Copyist Working

at his

desk

room

in a

which are a reading desk and

in

a chest with

manuscript.

(From an Old Miniature.) Period XV. Centlrv. :

century had

turned.

The

was narrow, apparently not more than

table

some 30 inches wide, and guests

sat

place

from the unoccupied side of

halls,

the

dishes were

with

servants

on one side only, the service taking the

In

table.

followed

palaces

and baronial

by musicians, as shewn

in

an old miniature of the time, reproduced on page 39.

Turning South

Museum,

Ulm, which

Cathedral of

Swabian foliage

German work

to

Kensington school

on the

of front,

the

of

a

are

the

the

considered to

German wood Gothic

is,

in

the

choir

stalls

in

the

be the finest

work

of

the

century,

fifteenth

of

cast

carving.

triple

famous

there

The magnificent panel

canopy with the busts of

David, and Daniel, are thoroughly characteristic specimens of design signature

work.

of

the

artist,

Jorg

Syrlin,

with date

There were originally 89 choir

stalls,

1468,

are

of

Isaiah, ;

the

carved on

the

and the work occupied the

master from the date mentioned, 1468, until 1474.

THE MIDDLE AGES.

42

The

illustrations

formerly in some

of

of

the

the

old

two

of

chairs

are

castles,

German Gothic

furniture,

good examples of their

time,

and are from drawings made on the spot by Prof. Heideloff. There are in our South Kensington Museum some full sized plaster fifteenth and two casts of important specimens of woodwork of the centuries, and being of authenticated dates, we can compare them with the work of the same countries after the Renaissance had been adopted and had completely altered the design. Thus in Italy there

previous

was, until the latter part of the fifteenth century, a mixture of Byzantine

and Gothic, of which we can Pulpit

celebrated

the

in

a

see

Baptistry

capital

of

Pisa,

example the

the casts ot the

in

which

of

date

is

1260.

ts^Ji Two German

Chairs, Late 15TH Century.

(From Draivings made

The

pillars

heraldically

are

in

supported by the

into

design,

Old German Castles by Prof. Heideloff.)

which,

lions,

as

would

instead

of

years later, are bearing the whole weight of the pillars

introduced

being

be the case some

two

hundred

and an enormous

superstructure on the hollow of their backs in a most impossible manner.

The

spandril

of each

amongst Gothic

foliage,

arch

with a saint in a grotesque position

filled

is

and there

in

is

many

respects a

marked contrast to Museum.

the casts of examples of the Renaissance period which are in the

This transition from Mediaeval and Gothic, to Renaissance, noticeable in the

and

in

woodwork

continental

pulpits in

many

cities.

of It

many is

is

clearly

England and stalls,

cathedrals and churches in

evident

of these buildings have

that

the

been executed

chairs, at

different

times,

FRENCH GOTHIC. and the change from one style to another Flemish buffet illustrated (opposite page 44)

Carved Oak Buffet

in

is is

on page

44.

The

this transition,

Fkicnch.

and may be contrasted with the French Gothic to

or less marked.

an example of

Gothic Style (Viollet le Due).

Period: XV. Century.

and referred

more

43

There

is

buffet illustrated

on page

also in the central hall of the

43,

South

THE MIDDLE AGES.

II

Kensington

Abbey

Museum

a

plaster

of Saint Denis, France

cast

of

carved wood altar

a

stall

Gothic pinnacles, while the panels are ornamented with arabesques,

and an

interior

in

Renaissance style

the

the

in

the pilasters at the sides have the familiar

:

the

;

date of this

is

late

and work

late

scrolls,

the

in

fifteenth century.

examples

English

illustrated here

is

fifteenth century.

Gothic

the

taste,

this

period

are

very

scarce,

of our national

While the crocketted enrichment there are mouldings and some

which mark the

part

of

a favourable specimen

tendency to

adopt

classic

in

the

buffet in

the

the brackets shews

flutings

upper

the

in

ornament, which came

r/ffrr-

Old English Oak Buffet, (Drawn from

in

at

the end of the fifteenth

our old

abbeys,

but

15TH Century.

the original in the possession of

Mr.

century.

Seymour Lueas,

It

Seymour Lucas,

and from whose drawing the

illustration

is

Esq., R.A.)

was probably made R.A.,

to

made, says

whom it

was

for it

for

one of belongs, a

long

time at Freenes Court, Sutton, the ancient seat of Sir Henry Linger.

The century

ment

buffet

on page 43

is

French Gothic oak

of gold

and

silver

ends, in use at this time.

plate

an

excellent

example of the best

work, and the woodcut

fifteenth

shews the arrange-

on the white linen cloth with embroidered

FLEMISH BUFFET Of Carved Oak (From

;

open below, with panelled cupboards above. work, after the Renaissance had set

a Photo by Messrs. R. Sutton &> Co.

from the Original

in

The back

evidently of later

in.

the S.

Period: Gothic to Renaissance. XV. Century.

Kensington Museum.)

3

£

THE MIDDLE AGES.

46

We is

have

confused,

now

and

arrived

difficult

at

period

a

fourteenth century to the Renaissance

may

be easily

a

is

mistaken as being of

M. Jacquemart notices

really are.

the history of furniture which

in

arrange and classify.

to

an earlier or

this

From

the end

of the

time of transition, and specimens later

"gap," though he

date

than they duration

fixes its

from the thirteenth to the fifteenth century, and he quotes as an instance of

indecision

the

were

furniture

and

carpenter,

which

described

huchier

characterised in

different

(trunk-maker)

this

terms:

interval,

the

frequently

that

words

workers

coffer

occurring

to

in

maker, describe

the same class of artisan. It

is

only later that the word

" menuisier,"

or joiner, appears, and

we must

enter

upon

the period of the Renaissance before we find the term "cabinet maker," and later still, after the end of the seventeenth century, we have such masters of their craft as Kiesener described as " ebenistes," the word being derived from ebony, which, with other eastern woods, came into

use

Jacquemart also notices the fact that the Dutch settlement in Ceylon. we^have record of a specialist, " Jehan Petrot," as a "chessboard maker."

after

early as 1360

Interior of ax Apothecary's Shop. Late

XIV. or Early ^XV. Century.

(From

tin

Old Painting.!

Flemish.

as

COURT OF THE LADIES OF QUEEN ANNE OF BRITTANY. (From

a Miniature in the Library of St. Petersburg.)

Representing the Queen weeping on account of her Husband's absence during the Italian

Period

:

War.

XV. Century.

CHAPTER

Zhe The Renaissance

III.

IRenatssance, —

Leonardo da Vinci and Raffaelle Church of St. Peter, contemporary great artists— The Italian Palazzo Methods of gilding, inlaying and mounting Furniture Pietra-dura and other enrichments Ruskin's criticism The Renaissance in France: Francois I. and the Chateau of Fontainebleau -Influence on Courtiers -Chairs of the time - Design of Cabinets M. E. Bonnaffe on The Renaissance Bedstead of Jeanne in

Italy:

—

—

d'Albret

—

— Deterioration

—

of

taste

time of

in

Henry IV.

—

—Louis

Furniture

XIII.

— Brittany

woodwork. The Renaissance in the Netherlands Influence of the House of Burgundy on Art— The Chimney-piece at Bruges, and other casts of specimens at South Kensington Mustum. The Renaissance in Spain The resources of Spain in the sixteenth and :

:

seventeenth centuries — Influence of Saracenic Art, high-backed leather chairs, the Carthusian Convent at Granada. The Renaissance in Germany Albrecht Diirer Famous Steel Chair of Augsburg German seventeenth century carving in St. Saviour's Hospital. The

—

:

—

Renaissance in England: Influence of Foreign Artists in the time of Henry VIII.— End Feudalism — Hampton Court Palace Linen Pattern Panels -Woodwork in the Henry VII. Chapel at Westminster Abbey Livery Cupboards at Hengrave— Harrison quoted The "parler," alteration in English customs — Chairs of the sixteenth century Coverings and Cushions of the time, extract from old inventory South Kensington cabinet Elizabethan Mirror at Goodrich Court Shaw's "Ancient Furniture" The Glastonbury Chair Introductions of Frames into England Characteristics of Native Woodwork Famous Country Mansions, alteration in design of Woodwork and Furniture - Panelled Rooms at South Kensington The Charterhouse— Gray's Inn Hall and Middle Temple The Hall of the Carpenters' Company The Great Bed of Ware Shakespeare's Chair Penhurst Place.

—

of

—

—

—

—

—

—

Jm

—

—

—

—

IS

impossible to

—

about the

write

Renaissance without grave )

—

—

—

T

—

ability

to

render

justice

period

misgivings

to

a

period

as

of

the

to

the

which has

employed the pens of many cultivated writers, and to which whole volumes, innumerable, have been Within the

devoted.

chapter at

all

limited

space of

that can be attempted

is

a

single

a brief glance

the influence on design by which furniture and

woodwork were

affected.

Perhaps the simplest way

of understanding the changes which occurred, in

Italy,

and subsequently

in

other countries,

first is

to

divide the chapter on this period into a series of

short notes arranged in the order in which Italian influence 'ITPfMlSft Eyi'pl'i^,

would seem

to have affected the designers

an d craftsmen of several European nations.

Towards the end of the

fifteenth century there

appears to have been an almost universal rage for classical

literature,

and we believe some attempt was made to introduce it is certain that Italian Art was adopted

Latin as a universal language

;

THE RENAISSANCE.

48

by nation

after

has observed

century

that

the

and

nation,

Parker)

" It

:

well-known

a

was not

national

the

of

styles

on

writer

nineteenth

the

countries

different

(Mr.

architecture

middle of

the

until

Modern

of

Europe were revived." As we look back upon the history of Art, assisted by the numerous examples in our Museums, one is struck by the want of novelty in the The glorious antique has always been our classic imagination of mankind. it seems only to have been a question of time as to when and how a return was made to the old designs of the Greek artists, then to wander from them awhile, and again to return when the world, weary

standard, and

of over-abundance of ornament, longed

for

the repose of simpler lines on

the principles which governed the Athenian artists of old.

THE RENAISSANCE may

Raffaelle

of

be said to have guided, or

countrymen

their

Bonnaffe

has

said,

to

was

of a

difficult to

is

new

era

mieux

Leonardo da Vinci and

by

the natural artistic instincts

led,

Byzantine-Gothic

the

not

Italians

takes

which,

as

M.

permanent

a

as

" as a passing fashion.

any certainty when the

say with

actually

the

discard

adopted

institution, but " faute de It

ITALY.

IN

was the birthplace of the Renaissance.

Italy

but

place,

there

is

first

commencement

an incident related

in

Leonardo da Vinci which gives Ludovico Sforza, Duke of Milan, had appointed us an approximate date. this great master Director of Painting and Architecture in his academy Michael

in

"

notice

biographical

who

1494, and, says Bryan,

writers, all

Bryan's

Leonardo

of

obtained his information from contemporary

no sooner

entered

on

his

than

office,

Gothic principles established by his predecessor,

the

of the Grecian

introduced the beautiful simplicity and purity

banished

he

Michaelino,

and

and

Roman

styles."

A

few years after this date, Pope Julius

II.

commenced

to

build

the

present magnificent Church of St. Peter's, designed by Bramante d'Urbino,

kinsman and friend of confided the work on Angelo had the

Raffaelle,

to

death

whose superintendence Pope Leo X. of

the

charge committed to

him

the

architect

some

in

years

1514. after

Michael Raffaelle's

death.

These

dates

give

important revolution

in

us

a

taste

very

fair

idea of

was taking place

in

the

time

Italy,

at

at

which

this

the end of the

and the commencement of the following century, and carved woodwork followed the new direction. Leo X. was Pope in 1513. The period of peace which then ensued fifteenth

after war,

which

for

so

many decades had

disturbed

Italy,

as

France or

REPRODUCTION OF DECORATION BY RAFFAELLE. In the Loggie of the Vatican.

Period: Italian Renaissance.

SALON OF

M.

EDMOND BONNAFFE.

Decorated and Furnished

in

the Renaissance Style.

2 * § * DC

S < 5 °

z

-

co

o

POPE LEO Germany had and nobles

in

her

turn striven to acquire

leisure

to

rebuild

X.

1

-I

fertile

soil,

and adorn their palaces

;

gave

the.

)

princes

and the excava-

tions which were then made, brought to light many of the Works of Art which had remained buried since the time when Rome was mistress of

Leo X. was a member of that remarkable and powerful family the very mention of which is to suggest the Renaissance, and under his patronage, and with the co-operation of the reigning dukes and princes of the different Italian states, artists were given encouragement and scope for the employment of their talents. Michael Angelo, the world.

the

Medicis,

Titian,

great

Raffaelle

artists

Andrea

Sanzio,

were raising

up

Chair l

;

ound

in

Sarto,

del

monuments

in the

Correggio,

of

everlasting

and many other fame

;

Palladio

Carved Walnut. house of Michael Angelo.

was re-building the palaces of Italy, which were then the wonder of the Benvenuto Cellini and Lorenzo Ghiberti were designing those

world

;

marvellous rare

;

chefs

d'ceuvre

and a host of

in

gold,

illustrious

and bronze

silver,

artists

made the sixteenth century famous for all The circumstances of the Italian amenable

to

Art

influence.

Living

rendered him less dependent on

which

were producing work

are

now

which

so

has

time.

noble

chiefly

caused out

of

him doors,

to his

be

very

climate

the comforts of small rooms, to which more northern people were attached, and his ideas would naturally incline towards pomp and elegance, rather than to home life and utility. Instead of the warm chimney corner and the comfortable seat, he preferred furniture

THE RENAISSANCE.

50

more

of a

palatial

character for the

saloons of his palace, and therefore

adornment of the

we

the

find

lofty

buffet

and spacious

elaborately carved

with a free treatment of the classic antique which marks the time frequently " garnished " with the beautiful

The sarcophagus,

and of Gubbio.

and

gilded,

;

it

was

of Pesaro,

more commonly

or cmsoiie, of oak, or

sometimes painted

chestnut or walnut,

of

majolica of Urbino,

sometimes carved

the cabinet designed with architectural outline, and figures chairs which up inside with steps and pillars like a temple upon as guardians of a stately doorway, but are wonderful to look inlaid, gilded, and carved, with slabs of tables uninviting as seats

with

scrolls

and

;

fitted

;

;

marble or of Florentine a

as

rule

richly style

impossible

and gilded

carved

which

to

is

palatial

mosaic use

frames

rather

work,

for :

but

any

which from

domestic

these

are

than domestic,

all

in

their

purpose; so

many

design

height

mirrors

are

with

evidences of a

as in proportion.

Venetian Centre Table, Carved and Gilt. (In the South Kensington

The rich

a

walls

velvet

of

these

of Genoese

handsome

Museum.)

saloons or galleries were hung

manufacture, with

stamped and

gilt

leather,

with

and

composition ornament was also applied to woodwork, and then gilded

and painted, a kind of decoration termed "gesso work." A rich effect was produced on the carved console tables, chairs, stools and frames intended for gilding, by the method employed by the Venetian and Florentine craftsmen, the gold leaf being laid on a red There are preparation, and then the chief portions highly burnished.

ITALIAN CARVED BELLOWS. in

the

now

South Kensington

that

and

time

Museum

wear

have

several

caused

5*

specimens of such work, and red

this

Pair of Italian Carved Bellows, in

groundwork

to

shew

Walnut Wood.

(South Kensington Museum).

through

Other G

the

faded

examples

of

gold,

the

fifteenth

harmony

century

of

Italian

color

is

carving,

very

satisfactory.

such

as

the

old

THE REN A ISSA NCE

52

Cassone

of

this

that

warm

out

with of the

color

walnut or chestnut

deserve

period

and

is

bellows

:

the

in

the

il

the

work

wood, either

bellows " and wall

carving

of

The

very elaborate.

frequently

pair

of a

mention

these

very

is

in

July,

brackets carefully

on page 51

illustration

South Kensington Collection.

famous Magniac Collection, which was sold finely

remainder of

the

gold,

smaller articles of furniture, the

the

finished, is

rich

was most invariably used.

of which

Of

the

picked

are

fronts,

displaying

the

In

1892, a pair of very

carved Venetian bellows of this description realised the high

price

of 455 guineas.

Carved Italian Mirror Frame, iGth Century (In the South Kensington

The

enrichment

mention.

In

was used but

its

the

an

as

revival

of

woodwork,

chapter on Ancient

inlaid

and

by

Museum).

means

ornament as early as development

in

Europe

six

designs,

let

into

rosewood

;

ebony and parts

inlaying,

deserves

seen that ivory

centuries

probably

Venice about the end of the thirteenth century, like

of

we have

Furniture

before Christ,

commenced

in copies of

in

geometrical

brown walnut, and into a wood something and chests of these materials are still in

of boxes

REVIVAL existence.

Mr.

Maskell

tells

us

OF INLAY. in

53

Handbook on

his

probably owing to the difficulty of procuring ivory quality

was frequently used

in

its

place.

A Sixteenth Century

as

" Tarsia,"

" Intarsia."

or

in

All this class of

"

" Ivories,"

Italy,

bone of

that fine

work was known

Coffre-fort."

" Certosina," a

word supposed

from the name of the well-known religious community

on account of the dexteritv of those monks

at

this

— the

to

be derived

Carthusians

work.*

* The panels of the high screen or back to the stalls in " La Certosa di Pavia " (a Carthusian Monastery suppressed by Joseph II.) are famous examples of early intarsia. In an essay on the subject written by Mr T. G. Jackson, A.R.A., they are said to be the work of one Bartolommeo, an Istrian artist, and to date from i486. The same writer mentions still more elaborate examples of pictorial " intarsia " in the choir stalls of Sta. Maria. Maggoire, in Bergamo.

THE RENAISSANCE.

54

Towards the end

century,

fourteenth

the

of

makers of ornamental

began to copy marble mosaic work, by making similar patterns different woods, and subsequently this branch of industrial Art

furniture

of

developed from such modest beginnings as the simple pattern of a or

bandings

of

kinds

different

wood

of

the

in

panel

of

a

star,

door,

to

which landscapes, views of churches, houses, and picturesque ruins were copied, figures and animals being also introduced. This work was naturally facilitated and encouraged by increasing elaborate picture making,

commerce

between

in

which rendered available a greater

nations,

different

In some of the early Italian

variety of woods.

"intarsia" the decoration

As artists became was cut into the surface of the panel, piece by piece. more skilful, veneers were applied, and the effect was heightened by burning with hot sand the parts requiring shading: and the lines caused by the thickness of

the.

sawcuts were

more

glue, to define the design

The

"mounting" originated

doubtless

were

used

decorative

engraved point

and well

as

as

the

or

which

old

century,

never been

and

metal

surpassed,

were

brass

safeguards

reached

Italy

in

a

marvels

those

and

of the

maker, which are their raisou

coffer

represents a very good example of a " Coffre-

valuable

for

and

produced

The its

complicated lock, shewn on the inside of the

those

workers

the

that

forged or

important as works of Art than the plain

with acids so as to present the appearance of the

progress than

be of ornamental

sixteenth

been

has

productions

began to render their should

has

enrichments

metal

hinge plates which

which mention

of

chests,

South Kensington Collection.

the

and

pieces

what more natural

mountings in steel, iron Germany, which are far more and unpretending productions The woodcut on p. 53 d'etre. in

with

furniture

fastenings,

of

fort "

of

corner

artificers

useful,

the

In

iron.

of excellence

iron

the

as

bandings,

corners,

iron

articles

the

strengthen

to

made,

already

of in

with black wood or stained

in

filled

clearly.

documents

at

decoration

is

bitten

in

being damascened, and lid,

a time

is

characteristic of

when

modern

the

burglar-proof safe had not been invented.

The illustration on the following page is from an example in the same Museum, shewing a different decoration, the oval plaques of figures and coats of arms being of carved ivory let into the surface of the coffer. This is an early specimen, and belongs as much to the period treated in the previous chapter as to that " Pietra-dura," as an

the

sixteenth

highly-polished

other stones

;

century rare

ivory

and

became

marbles,

was

now under

ornament, was

also

a

agates,

consideration.

first

introduced into

fashion.

hard

carved and

This

pebbles,

was lapis

Italy

an

during

inlay

lazuli,

of

and

applied as a bas-relief, as well

O VER-ORXA ME XT A TIOX. as

inlaid

enrichments

Rome,

lavishness in

which

Urbino,

and

Venice, expense,

of

other

were

engraved

of Florence,

princes

most

the

of

and

elaborate

costly

designs

tortoise-shell,

;

were

materials,

introduced,

decoration of cabinets and of caskets.

the

in

and

embossed with

arabesques

in

mother-of-pearl,

brass,

55

Naples

until

exaggeration

pressed

the

into

and

Ferrara,

the

sumptuousness

in

inevitable

as

service

independent

other

period

of

the

native

cities

vied

ornament,

and

decline

of

as

Silver plaques

supervened

ornament and prodigality of decoration gave

of

the eye no repose.

Italian Coffer with Medallions of Ivory.

15TH Century.

(South Kensington Museum.)

Edmond

Bonnaffe, contrasting the latter period of Italian Renaissance

with that of sixteenth century French woodwork, has pithily remarked " Chez eux,

Mr.

I'art

du

Ruskin,

in

ornamentation of the the

progress

Gothic classes

to :

—

1.

on Gothic. veteran Art

of Art

his later

" Stones

of

Renaissance

Venice

in

Renaissance,

he

critic

Venice," in

from

Byzantine.

Renaissance grafted on calls

"

the

Ic

alludes

severe terms.

Byzantine

sub-divides

Renaissance grafted on 3.

a

buis consiste a le dissimuler chez nous

period

over-

this

describing

and

from

into

three

Renaissance grafted

2.

Renaissance

to

After

Gothic,

to

latter

:

/aire valoir."

;

and

this

last

the

double darkness,'* one of his characteristic terms

THE REN A ISSA NCE.

56 of

condemnation

many

which

us

of

cannot

but

follow,

the

spirit

of

which we can appreciate. Speaking

whereas were the

generally

the

in

from

taken

the

Renaissance carvers such

allegories,

as

character

the

of

of

furniture

lives

the

of

illustrated

representations

of

the

cardinal

virtues,

or

the

from

the

scenes

find for

metrical

elements,

that

carving

romance,

seasons,

months.

ioth Century.

the Originals in the South Kensington

battle

subjects

from classical mythology and

Carved Walnut Wood Italian Chairs. (From Drawings of

the

or

saints

scenes

we

ornament,

of

Middle Ages,

the

and

Museum.)

triumphal

processions of

earlier times.

The were

outlines

apparently

sarcophagi

;

and general designs of the suggested

by

the

afterwards these were

old

earlier

Roman

modified and

Renaissance cabinets

triumphal

became

arches

varied,

and

elegant

EBONY CABINET. With marble mosaics, and bronze Period

:

gilt

ornaments, Florentine work.

XVII. Century.

VENETIAN STATE CHAIR. and

but

graceful,

as

outlines,

the two

in

period

the

as

latterly

shewn

chairs

of

on

57

was

decline

preceding

the

marked, page,

the

became

confused and dissipated by over-decoration.

The

illustrations given of

specimens of furniture of Italian Renaissance

So

render lengthy descriptions unnecessary. to

do

work,

so,

a selection

and

as

there

made

has been are

in

as

it

has been possible

the different

Kensington

South

the

far

to represent

classes

of

Museum numerous

Venetian State Chair. Carved and

Gilt

Frame, Upholstered with Embroidered Velvet.

(In the possession of

examples of cassone examined,

it

is

H.M.

the

panels,

fronts,

King

chairs,

we have been

Charles VIII.,

and

Date about

the

who

great for

revival

two

of

years

1670.

Castle.

cabinets

which

can

woodwork made

be in

considering.

THE RENAISSANCE Italy

Windsor

easy to form an idea of the decorative

Italy during the period

From

at

IN

FRANCE.

industrial

had

held

Art

travelled

to

France.

Naples (1494-96), brought

THE RENAISSANCE.

58

among

other artists from

and

Cortona; in

chateau

the

Francis

da

Andrea

and

Yiuci

of the Vatican,

Medici

union

increased

Marie

of

Diane de

and

de

Italian

Medici with Henri

Ouatre

has

and splendour loving

been

well

Francis

Chenonceaux on the

of

said

Leonardo

decorate

to

the

the loggie

paint

with Catherine

II.

and

Art,

subsequent

the

continued

that

influence.

was the patroness of

II.,

to

an

" reflect

the

artists;

gay

of

glories

from Francois Premier to Henri Quatre."

kings,

Fontainebleau,

Besides

Henry

but

which was transmitted

Henry

of

of

influence

the

and

forest,

France,

in

The marriage

been

Florence to

Raffaelle to

assisted

influence

mistress of

Poictiers,

Fontainebleau

that

an

exercised

for generations.

by his pupils de

Romano, who had

Guilio

interior.

from

state

architect

Italian

hitherto

the

of

came

Sarto

languishing

feeble,

which had

middle

the

in

del

a

in

employed an

I.

Fontainebleau,

of

hunting-box

old-fashioned

time was

this

at

France, began to revive.

build

Bernadino de Brescia and Domenico de

Italy,

which

Art,

built

I.

the

Loire,

the

Chateau of Chambord,*

Chateau de Madrid, and others,

and commenced the Louvre. Following rebuilt

or

Italian

style,

tables,

their

chateaux

more wealthy

the

and

chairs,

subjects

his

them

coffers,

the

in

armoires,

designed after the Italian models.

articles,

character of the

of

decorated

hotels,

and furnished them with cabinets,

and various other

The

example,

King's their

altered

woodwork

naturally accompanied

the design of

Fireplaces, which until the end of the fifteenth century

the building.

now made

had

and ornamented with The Prie dieu chair, which Yiollet the armorial bearings of the " seigneur." le Due tells us came into use in the fifteenth century, was now made larger and more ornate, in some cases becoming what might almost be been of stone, were

of oak, richly carved

termed a small oratory, the back being carved

and the utmost care lavished on the work. in

France, until the end of the fifteenth

or

seats

churches,

the

in

aristocracy

in

the

private

classes in the chief

The dossier,"

are

use,

large

the all

finished carved

*

form of an

altar,

by

and

chateau,

the

were

prayers

therefore,

by

said

the

middle

the

of the house.

high-backed chair of the sixteenth century " chaire a haul

arm of

room

and

chapel of

the

in

must be remembered that century, there were no benches It

chair

this

"chaire a

time,

and

bras,"

some

work of Renaissance

"chaire tour n ante,,"

illustrations

style

will

shew

for

domestic

the

highly

which prevailed.

Writers of authority on architecture have noticed that the chief characteristic in style of

the French Renaissance, as contrasted with the Italian,

is

that

in

the latter the details and

ornament of the new school were imposed on the old foundations of the Gothic character. Chateau of Chambord is given as an instance of this combination.

The

CHIMNEY In

the

Gallery of

Henri

II

PIECE. ,

Chateau of Fontainebleau

Period: French Renaissance, Early XVI. Century.

REVIVAL OF ART IN FRANCE. " chaire"

Besides the

which was

were smaller and more convenient

reserved

the

for

the J-^

stools,

59 "seigneur,"

there

form supports of which

were also carved.

Carved Oak Panel, dated

latter

was

in

famous cabinet the

initial

form

the

of

letter

of

with

stand

a

this

chapter

;

part

caryatides

Chateau Fontainebleau,

the

in

1577-

made with an upper and lower

Cabinets were

a

sometimes the

;

figures

were enclosed by

or

like

the

vignette of which forms

doors

generallv

decorated with carving, the upper part having richly carved panels, which

when opened of

disclosed drawers with fronts minutely carved.

M. Edmond Bonnaffe, in his work on the sixteenth century France, gives no less than 120 illustrations of "tables, coffres,

dressoirs, sieges, et

Le

Berri,

Burgundy,

Lorraine,

and other towns and reputation

of

her

particularised in old

He workmen,

also

and

manufactured

bancs,

districts, l>

that

Lyons. besides

menuisiers,"

documents as

mentions the

that

at

armoires,

Orleans. Anjou. Maine. Touraine,

Provence, the

certain

Auvergne,

Capital,

Languedoc,

which excelled of

articles

in

the

furniture

being

employ

native

"fait a Paris."

Francis

Italians

furniture

were

I.

preferred

retained

to

onlv

to

furnish

the

THE RENAISSANCE.

6o

new

designs and lead the

style

noted French cabinet

makers

and

Michel

Lardant

Jacques livres

number

for a

:

and

giving

in

and carvers Bourdin

and other

names of the most

the

''tables

he

time,

this

no

received

of "buffets de salles,"

"chandeliers de bois,"

of

less

adds

than

that

15,700

gkrnies de leur treteaux."

articles.

Fac Similes of Engravings on Wood. By

The is

J.

Amman,

in

the 16th century, shewing interiors of

bedstead, of which there

is

Workshops

an illustration on the opposite page,

good representation of French Renaissance.

a

of the period.

formed part of the

It

contents of the Chateau of Pau, and belonged to Jeanne d'Albret, mother of

Henri Ouatre, who

and

oak,

by

time

remaining

carving

the date 1562 This,

forms

like

part

excellent

National

is

of

born

sharp

and

Pau

at

acquired a

in

clear.

The bedstead

1553.

warm On the

rich

the

tint,

lower

details

cornice

is

of

of

the

moulding.

carved.

other the

a valuable

furniture

State

illustrations "

was

has

and

or

and

contents

National

descriptions

contribution

to

the

of

Collection, in

M.

Palaces of

which

Williamson's

in

France,

there

are

" Mobilier

literature of this subject

which

should be consulted.

Another example of four-post bedsteads of French sixteenth century work is that of the one in the Cluny Museum, which is probably some years later than the one at Pau, and in the carved members of the two lower posts more resembles our English Elizabethan work.

CARVED OAK BEDSTEAD OF JEANNE DALBRET. From

the

Chateau of

Pau.

(Collection

" Mobilier

Period: French Rexaissanxe (Date

1562).

National.

FRENCH CARVED OAK CABINET. In the

Musee du Louvre. Period

:

(Collection Sauvageot

)

Early XVI. Century.

(Reproduced by permission of Messrs. Boussod Valadon

et

Cie.)

CARVED OAK CABINET. Made Period

:

at

Lyons.

Latter Part of XVI. Century.

DEBASEMENT

DESIGN.

IN

61

An important collection of carved furniture of French Renaissance was exhibited in V exposition retrospective de Lyon, held in that city in 1877, and M. J. F>. Giraud, conservatcur of the Archaeological Museums of Lyons, has reproduced some fifty of the more important specimens in his valuable work,* published in

1880, giving the

example and other

The

following

illustration,

Mr.

details.

The

Aynard.

E.

p.

60,

"

Lyons

name

one of these, and

is

" Spitzer "

of the lender of each

which there

cabinet, of

"

is

sold

Collection,

the

in

Paris

in

is

an

Collection of in

1893,

contained several fine examples of French Renaissance oak furniture, which realised large prices.

Towards the Art

decorative

latter

part

the

of

and ornamentation were guided by no the

of

Meaningless

individual.

principle,

IV.

but

the

of

style

Construction

followed the caprice

and

entablatures,

pilasters,

simpler outline and

replaced the

cornices

Henri

of

reign

France became debased and inconsistent.

in

contorted

subordinate enrichment of the

and until the great revival of taste under the "grand was in France a period of richly ornamented but illdesigned decorative furniture. An example of this can be seen at South Kensington in a plaster cast of a large chimney piece from the Chateau time of Henri monarque,"

Seigneur de Villeroy,

of the in

and

is

also

of

above that

of

a

who

Pillon,

died

be readily recognized,

will

carved oak door from

Rouen, by Jean Goujon,

Maclou,

St.

in

which the work

but somewhat overdone with enrichment.

fine,

"

During the than

Menecy, by German

namely,

example,

another

in

Church

very

near

In this the failings mentioned

1590.

the

II.,

there

those of an

"chaire" found

Louis Trieze " period, chairs became more comfortable earlier

its

way

which

The word

time. into

the

was

in

" chaise "

as

diminutive of

a

French vocabulary to denote

the

less

more ordinary use, and, instead of being at this period entirely carved, it was upholstered in velvet, tapestry, or needlework the frame was covered, and only the legs and arms were visible and slightly carved. In the illustration on p. 62, the King and thronelike

seat

;

his courtiers are seated

more

was

common

on chairs such as have been described. large

;

ar moires,

writing tables were covered with of a brownish

an

some years

found

in

later,

had ornamental

bedrooms of *

par

J.

"

13.

but

Dutch work.

the

drawers

inlay of vases

friezes

much

with less color

Marqueterie

and

of flowers

knee-hole

and

like in

the

Dutch

the various

birds, in

a

inlaid furniture

veneers than

is

Mirrors became larger, the decoration of rooms

with lower portions of the walls panelled, and the

ladies of position

began to be more luxuriously furnished.

Meubles en bois sculpte ayant Giraud.

of

wood, with enrichments of bone and ivory, inserted

black ground of stained wood, very of

chests

figure

a

l'exposition retrospective de

Lyon en

1S77,"

THE REN A ISSA KCE

62

It

somewhat singular

is

new

the

designs

was

Brittany,

famous

became

and joiners has through

conservative

all

for

very quickly

neighbouring province,

work, the

The

designs.

earlier

adopted

and Rouen carvers

her furniture,

their

her

of

Normandy

while

that

her buildings and

in

Breton

sturdy

changes of style preserved much of the rustic quaintness

and when some years ago the writer was stranded in a up the Ranee, owing to the shallow state of the river, and had an opportunity of visiting some of the farm houses in the country of his

furniture,

sailing trip

district

few

a

miles

from

Dinah,

Louis XIII. and his Court /From

examples shelves

shut

in.

of

for

this

parents

quaint

in a

rustic

furniture.

Curious

of lattice

with the wheel pattern and spindle perforations. of

similar

design,

and the

"

huche

"

or

design part Moorish, part Byzantine, used

and also as a

table, are

still

be

seen

many

a Play.

16-13.)

form a cupboard

by a pair

to

still

Hall witnessing

a Miniature dated

and children,

during the day,

were

there

chest

beds, in

the

doors of

consisting wall

of

and are

Moorish design,

These, with the armoire with

as a step to

relief

carving,

mount

to

of a

the

the garniture of a good farm house in Brittany.

bed

THE CHIMNEY PIECE AT BRUGES. The

date of this quaint

earliest

more well-to-do and doors, is

the

tables,

may

the old specimens

be found.

Netherlands,

the

about the middle of the

is

been

THE RENAISSANCE In

furniture

handed down from father to son by The manufacture of armoires, cupboards, farmers. carried on near St. Malo, where also some of still

and has

century,

fifteenth

63

THE NETHERLANDS.

IN

princes

reigning

the

the

of

House

great

of

Burgundy had prepared the soil for the Renaissance, and, by the marriage of Mary of Burgundy with the Archduke Maximilian, the countries which then were called Flanders and Holland passed under the Austrian rule. This influence was continued by the taste and liberality of Margaret of who,

Austria,

We

craftsmen.

native

ornamentation and

Wood

are

that

;

and

Countries

have

to

Italian

and

Coech, architect

and

Vitruvius

of

in

encouraged

introduced

Floris

Pierre

designs

the

Low

the

of

Corneille

borders

popularised

"

artists

Serlio.

carvers multiplied and embellished churches and palaces, houses

Town

Burgomasters,

Oak, relief,

at

of

and residences of wealthy citizens. almost the only wood used, became monotonous, and as

first

Halls,

ebony and other rare woods, introduced by the then commencing

commerce with

the

of furniture and

woodwork

well

Governor

that

told

grotesque

and

adopted

painter,

a

"

appointed

being

seems to have introduced Italian

1507,

made

were

Indies,

available

the

for

embellishments

of this time.

One of the most famous examples of rich wood carving is the known hall and chimney piece at Bruges with its group of cupidons

and

armorial

amongst

bearings,

over ornate chef cfceuvre

was

abundance

an

designed

of

This

detail.

floral

Blondel and Guyot

by Lancelot

its

carving was the combined work of three craftsmen

celebrated in their day,

Herman Glosencamp, Andre Rash and Roger de South Kensington Museum a full-sized plaster

de Beauregrant, and^

Smet. of

cast

There

is

in

the

chimney

gigantic

this

piece,

being colored black

the lower part

was composed, with panels of alabaster carved in relief, while the whole of the upper portion of the richly carved ceiling of the room is of oak. This chimney piece is noteworthy, not only to indicate the

marble of which

it

artistically but historically, as being a

of the

the

at

Pavia,

of

Germany, but

victorious also

Burgundy, Count of

The

monument

in

victory gained by Charles V. over Francis

heraldic

enjoying

Flanders,

large statues of the

thirty-seven

sovereign

being at

amongst King of

this

other

its I.

of

titles

celebration

those of

Spain and the

the different

in

France,

in

1529,

time not only Emperor

Emperor, of Ferdinand and

shields

way,

of

roval

Indies,

Isabella,

families

Duke etc.,

of etc.

with some with

which

THE RENAISSANCE.

64

the conqueror claimed connection,

are

prominent features

in

the intricate

and elaborate design. There

is

elaborate

in the

same part of the Museum a

Chamber

the Council

orthodox Renaissance

depending

floral

the

lower parts

this

work

is

representative

mullions

Plain

character.

and

at

the

sides

the

carved and standing on

somewhat

than

later

clever

Flemish

masters,

that

from German, English, or

have seen

the

that

walnut

Bruges

less

the

in

from which are

supports are columns,

The

carving,

with

date

and

is

of a

this period.

Flemish Renaissance

thoroughly copied

become

has

positively as to the identity of it

so

artist it

much

South Kensington Museum.)

fin

The

oak door of

carved

square pedestals.

specimen of the Flemish work of

An Ebony Armoire, Richly Carved.

different

panels

sixteen

divide

with cupids bearing tablets,

style,

scrolls,

1534,

cast of the

of the Hotel de Ville at Oudenarde, of a

much Italian,

wood

the

exceedingly

models of his

difficult

to

speak

of the woodwork, and to distinguish

although as regards the latter we

was employed very

generally,

whereas

in

Flanders, oak was nearly always used for figure work. After the period of the purer forms of the

time for carved

was

woodwork and

decorative

probably the seventeenth century, when

craftsmen had ceased the style which

to

copy the

we recognise

as "

Italian

first

furniture

the

Renaissance, the best in

the

Netherlands

Flemish designers and

patterns,

and had

Flemish Renaissance."

established

FLEMISH CARVERS.

65

Lucas Faydherde, architect and sculptor (16 17-1694)—whose boxwood of the death of John the Baptist is in the South Kensington

group

Museum work of

— both St.

Flemish wood carvers

of

Some

the

of

A Barber's

Vriedman de Vriesse and Crispin

time.

this

de Passe, although they worked century.

and Albert Bruhl, who carved the choir

the Verbruggens,

Giorgio Maggiore in Venice, are amongst the most celebrated

in

France, belong to Flanders and to the

famous

most

painters

— Francis

e of the time. Amman. 16th Century.)

Shewing Furn

Wood

Jordaens,

A Flemish Workshop.

Shop.

(From

Hals,

Engravings by

—

Rembrandt, Metsu, Van Mieris all belong to this time, and in some of fine interiors represented by these Old Masters, in which embroidered

the

curtains and rich coverings relieve

oak furniture, there

is

the

sombre colors of the dark carved

a richness of effect

have imagined, but which he must have

which the

could scarcely

artist

observed in the houses of the

rich burghers of prosperous Flanders.

In the chapter on Jacobean furniture, assistance

which England

gained

similarity of the treatment in

the at

from

we

always been of

seventeenth century.

high

order,

see the

influence

and

and

the

both countries will be noticed

South Kensington Museum specimens of the end of the

shall

Flemish woodworkers

and,

advanced, this perhaps became

less

The

although refined,

been well preserved, and the attitudes are

free

;

in

some of

English marqueterie, made figure

as

the

the

work

in

Holland has

seventeenth

century

proportions have always

and unconstrained.

THE RENAISSANCE.

66

A is

the

seventeenth

very characteristic article of

and

large

wardrobe, with

massive

century

Dutch

furniture

handsomely

doors

the

carved,

not infrequently having three columns, one in the centre and one at each side,

are

specimens

some of

which

forming part of the doors,

generally

square panels, carved in the centre and in

Kensington

South

the

Flemish work when the

earlier

are

with

finished

Museum

of

enriched with

also

There

mouldings. these,

and

Renaissance was purer

also

of

style

in

and, as has been observed, of less national character.

The marqueterie

of this period

by this

the

addition of small

marqueterie

veneers

became

pieces

a

varied,

of mother

rich,

and the

of

pearl

the designs are less effect

and

is

heightened

ivory.

Later,

the

Old pieces of plain mahogany furniture were

layer

thin

extremely is

badly finished, and the coloring of

florid,

crude and gaud}'.

decorated with

is

woods

severe, but the coloring of the

highly

of

colored veneering,

a

meretricious

ornamentation altogether lacking refinement.

There furniture of

is,

however,

a

and character about some of the town of Alkmaar, Hoorn, and others

peculiarity

North Holland,

in

the

The treatment has always been district, which is worth noticing. more primitive and quaint than in the Flemish cities to which allusion has been made and it was here that the old farmhouses of the Nordin this

—

Hollander were furnished with

of a rude description red,

with the rush-bottomed chairs, painted green

and dower chests painted in flowers and figures the coloring of which is chiefly green and bright

three-legged tables,

and

is

extremely

;

effective.

A Flemish

Citizen at Meals.

(From a XVI. Century MS.)

FOREIGN ARTISTS IN SPAIN.

THE RENAISSANCE We was

67

SPAIN.

IN

Low

have seen that Spain, as well as Germany and the

under

the

the

rule

of

to

look

further

unnecessary

Emperor

sources

the

for

Charles

and

V.,

it

is

which carried

influence

of

Countries,

therefore

the wave of Renaissance to the Spanish carvers and cabinet makers.

Van Eyck was

After

Low

daughter,

the

painters,

sculptors,

also

artists

sent

tapestry

found employment

continued

Spain,

portrait

export

to

and

weavers, in

the

paint

to

for

Countries

books

and the

of

on

older

King John's

the

to

Art.

Peninsula

French

Gothic became

Sedan Chair of Charles V. Probably made in the Netherlands. Arranged with movable back and uprights to form a canopy when desired. (In the Royal Armoury, Madrid.)

superseded studied

with

in

the

as

in

the

other

atelier

new

influence this

indulge their taste

in

cabinets,

later

him,

though

and

who had own country

Spaniard, to

the

his

vast

wealth

and

of

her history enabled her nobles to

richly

ornamented with repousse plaques

period

and of scarce woods from more general way chestnut was still

of tortoise-shell, of ebony,

her Indian possessions; a favorite medium.

upon

strong

at

and

a

Michael Angelo, returned

resources of Spain

of silver,

Berruguete,

countries.

of

in

a

THE RENAISSANCE.

68

was

Contemporaneously with decorative woodwork of Moorish design there also a great deal of carving, and of furniture made, after designs from Italy and the

brought

North of

Spanish

quoting a trustworthy

epoch of sculpture

Europe Senor

writer,

wood) belongs

and Mr.

;

F.

J.

J.

Riano,

H. Pollen,

says:

— "The

and was due to the great impulse it received from the works of Berruguete and Felipe de Borgonu. He was the chief promoter of the Italian style, brilliant

(in

to the sixteenth century,

Silver Table, Late i6th or Early 17TH Century. (In the King's Collection,

Windsor

and the choir of the Cathedral of Toledo, is

the

specimen

finest

kind

the

of

Castle.

I

where he worked so much, Toledo, Seville, and

Spain.

in

Valladolid were at the time great productive and artistic centres."

The same decorated painted

and

discussing

writer, after

outside gilt,

with

which

fine

the

characteristic

Spanish cabinets,

ironwork and inside with columns of

were

called

" Vargueiios,"

says:

— "The

bone other

cabinets or escritoires belonging to that period (sixteenth century) were to a large extent imported from in is

Spain

in

imitation

difficult to classifv

of

Germany and

them."

Italy,

while others were

made

and as the copies were very similar

these,

*

it

CHAIR Covered

in Leather, with

OF WALNUT embossed pattern.

Period

:

OR CHESTNUT WOOD. Spanish.

(Collection of

Early XVII. Century.

Baron de

Valliere.)

WOODEN COFFER. With wrought

iron

mounts and

falling flap,

(Collection of

Period

:

on carved stand.

M. Monbrison.)

XVII. Century.

Spanish.

SPANISH PECULIARITIES. " Besides

these

century

sixteenth

says

"

that

not

order

in

no

An

was issued the making and selling of Edict

the

increase

to

desks,

cabinets,

of

scarcity

carved,

the

in

in

1594,

this kind

The

silver."

shoes,

braziers,

coffers,

with stamped, raised,

other articles decorated

or

silver.

with the utmost rigour,

prohibiting,

of merchandise,

Edict

with

must have been made

others

cabinets,

inlaid inlaid

69

tables,

plain silver

or

should be manufactured."

The

beautiful

table

silver

on page

illustrated

Castle,

His

in

68,

Majesty's

collection

probably one of Spanish

is

at Windsor make of late

sixteenth or early seventeenth century.

Although not it

convenient

is

eighteenth

observe

one

centuries,

of

history

the

in

Don

of

in

this

chapter,

and maker ornamenting seventeenth

the

in

later,

Spanish

the

finds

an inlay of ivory

his productions with

episodes

much

that

treated

period

the

within

strictly

to

cabinet

let

into

tortoise-shell,

Quichottc,

and

scenes

representing

from the National

These cabinets generally have simple rectangular numerous drawers, the fronts of which are decorated in the manner described, and when the stands are original they are formed In many Spanish cabinets of turned legs of ebony or stained wood. these have generally the influence of Saracenic Art is very dominant a plain exterior, the front is hinged as a fall-down flap, and discloses a decorative effect which reminds one of some of the Alhambra work pastime of bull-fighting. outlines

with

;

arches

quaint

with

inlaid

and vermilion

blue

of

ivory,

— altogether

a

somewhat

a

bizarre

coloring

of

barbarous but rich and effective

rather

treatment.

To and

century

seventeenth

the

Portuguese chairs, of birds and

figures,

also

brown

high-backed Spanish

belonged the leather,

stamped with numerous

studded with brass nails and ornaments,

scrolls,

floral

while the legs and

dark

arms are alone

visible

as

They

woodwork.

are

made

There is a good some leafwork or scroll carving. representative woodcut of one of these chairs. Until Baron Davillier wrote his work on Spanish Art, very little was known of the various peculiarities by which we can now distinguish examples of woodwork and furniture of that country from many Italian with

of

chestnut,

or

Flemish contemporary productions.

mark some

will assist the reader to

observed generally that work,

the

outlines

of

attitudes

the

in

are

cabinets

Some

of the

treatment of figure subjects

the

somewhat strained and, are

Museum specimens and it may be

of these characteristics,

without

Spanish chestnut (noyer), which

is

any

as

special

has

feature.

singularly lustrous and

one also finds cedar, cypress wood and pine.

in

the carved

been stated, the Besides

the

was much used,

THE RENAISSANCE.

70 In the Chapel at

Granada,

at

a

and

interior

somewhat

inlaid work, to

date

earlier

are

said

German disposition

may

Renaissance

was Flemish

There

Durer.

Albrecht

copy

to

of

of this order " tarsia,"

produced the

have

to

monks

the

;

examples

excellent

or

which some allusion has already been made.

THE RENAISSANCE be

said

have made

to

many

already

in

artists,

but

new departure became developed

GERMANY.

IN

a high

in

under

debut

its

German

the

of

under

cities

influence

Diirer's

degree, and, as

century advanced, the Gothic designs of an in

are

fittings

Spanish work of the seventeenth century

inlaid

Convent

Bruno, attached to the Carthusian

Saint

of

doors

the

a

this

sixteenth

the

were abandoned

earlier period

favour of the more free treatment of figure ornament, scrolls, enriched

mark the new

panels and mouldings, which

Many with

Augsburg,

in

specimens

remarkable

Aschaffenburg,

era in

German

of

are

be

to

met

Gotha,

Dresden,

Cologne,

Berlin,

Munich, Manheim, Nuremberg, Ulm,

Art work.

all

carving

Regensburg, and other old German

towns.

Although made of Wiltshire

worth}' of

is

Renaissance.

It

is

celebrated

by the city arms are at other minute and carefully finished history

explaining

;

a triumphal

dream,

his

in

specimen of German

described in Richardson's " Studies from Old was the work of Thomas Rukers, and was of Augsburg to the Emperor of Germany in 1577. the back, and also the bust of the Emperor. The

city

events in

Longford Castle

at

It

presented

The

chair

as a remarkable

fully

Mansions."

English

the

steel,

some notice

the

landing of

Emperor Rudolphus placed Adolphus plundered the

decorative

procession

the

city

iEneas,

chair

the

in

and removed

it

represent

subjects

of Caesar,

and

other

City of to

Prophet

the

various

Daniel

The

events.

Gustavus

Prague,

Sweden, whence

it

was

brought by Mr. Gustavus Brander about 100 years ago, and sold by him to

Lord Radnor. As

identify

is

the

with

case

German work,

but

Flemish its

chief

wood-carving,

an exuberant realism and a fondness for minute described this work in

it

characteristics

a telling phrase

:

is

often

may

detail.

difficult

to

be described as

M. Bonnaffe has

" V ensemble est iourmente,

laborieux,

tuuffu tumultuetix:"

There

is

oak carving Street,

a in

remarkable the

private

example

of

rather late

chapel of S.

Regent's Park, London.

The

choir

Saviour's stalls,

German Renaissance Hospital, in

some 31

in

Osnaburg

number, and

the massive doorway, formed part of a Carthusian monastery at Buxheim,

THE STEEL

CHAIR.

At Longford Castle, Wiltshire.

GERMAN CARVING. London

Bavaria, which was sold and brought to

been secularised and landlords,

had

passed

Bassenheim

the

of the Colleges at Oxford,

author,

and

to

fitted

At

family. it

the

after the

possession

the

into

7i

intended

first

monastery had

of

the

to

ornament

territorial

one

was afterwards resold and purchased by the

interior

of

and,

Saviour's,

S.

so

the

as

far

proportions of the chapel would admit of such an arrangement, the relative

The

positions of the different parts are maintained.

apostles at

—of

David,

Eleazer,

the back of the choir

have

been

a

harmonious

little

later

Renaissance, that its

it

will

authorities will be

to

monks themselves, have

of S.

eighteen

the

to

some

said

authorities,

to

in

its

present

Saviour's

and though

the

best

time of the

he

has the

anyone

who

allowed to see the chapel.

German Carved Oak Buffet, (I''ioin

a

Drawing by

been

165 1,

this

period

As the author was responsible

position,

say that

to

have

in

good a representation of German work of

so

saints

and the whole must

is

completed

been

well repay an examination.

arrangement

figures of the twelve

of

and well-considered arrangement of ornament. the

according

than, is

and

are marvellous work,

stalls,

The work, executed by commenced in 1600, and a

Moses, Aaron,

17TH Century

Prof. Heidehff.)

is

for

permission

of

the

interested

in

Art

THE RENAISSANCE

72

THE RENAISSANCE

ENGLAND.

IN

England under Henry the Eighth was peaceful and prosperous, and was ambitious to outvie his French contemporary, Francois I.,

the King in

the sumptuousness of his palaces.

and other

of Cleves,

introduce the in is

new

style.

John

were induced

artists,

of

Padua, Holbein, Havernius

to

come

England and

to

to

however, was of slow growth, and we have

It,

the mixture of Gothic, Italian, and Flemish ornament, the style which as "

known It

The

Tudor."

has been

well

old-fashioned

"

that

said

feudal

Feudalism was ruined

was

castle

certainly

no

by gunpowder."

longer

proof

against

cannon, and with the new order of things, threatening walls and serried

way as if by magic to the pomp and grace of the High roofed gables, rows of windows and glittering oriels looking down on terraced gardens, with vases and fountains, mark the new epoch. battlements gave

mansion.

Italian

.

Oak Chest

The

work

joiner's

decoration

of the

plays

castles

and

a

the Style of Holi

important

very

country seats of

part

in

time,

this

the

were magnificently timbered with native oak, which was available than

lengths

Court his

that

Palace,

master,

remain panelling

to

the us,

was

of

which

foreign

was

built

halls

of Oxford,

are

examples

largely

used

to

growth.

by

The

Cardinal

Hall

great

Wolsey

and

interior

and the roofs

in

in longer

Hampton

presented to

and many other public buildings which of line

fine

the

woodwork walls

of

in

the

the

roofs.

great

halls,

Oak the

EARLY ENGLISH " linen

pattern "

scroll

"

JOYNERS."

This term

ornament.

form of

being a favorite

73

describes a panel carved to represent a napkin folded in close convolutions,

specimens of this and appears to have been adopted from German work can be seen at Hampton Court, and in old churches decorated in the There is also some fine panelling of early part of the sixteenth century. ;

King's College, Cambridge.

this date in

In this class of work, which accompanied the style ture as the " Perpendicular,"

some

known

of the finest specimens

in

architec-

ornamented

of

found, that of the roof and choir stalls in the beautiful

interiors are to be

The in Westminster Abbey being world famous. carved enrichments of the under parts of the seats, or " misericords," are Chapel of Henry VII.

remarkably minute, the subjects apparently being taken from old German This work was done in England before architecture and engravings.

wood

had

carving

aside

flung

altogether

shews an admixture of the

new

Italian

trammels,

Gothic

their

style

and

which was afterwards so

generally adopted.

There are

made

Hengrave,

the British

in

which

in

Museum some

interesting records of contracts

Henry VIII. 's reign the making of " livery " or

year

ninth

the

in

of

joyner's

for

work

at

cupboards

service

is

specified. "

Ye cobards they be made ye facyon

of

livery

y

is

w

th

out

doors."

These were of three

stages

for

table

or

drinking

fitted

up by the ordinary house carpenters, and consisted standing on four turned legs, with a drawer

shelves

or

They were at this period not enclosed, but the mugs were hung on hooks, and were taken down and

linen.

vessels

replaced after

use

a

:

ewer and basin was also part of the complement

of a livery cupboard, for

of

England

described

in

cleansing these cups.

In

Harrison's description

the latter part of the sixteenth century the custom

is

thus

:

" Each one as necessitie urgeth, calleth for a cup of such drinke him liketh, so when he hath tasted it, he delivereth the cup again to some one of the standers by, who maketh it clean by pouring out the drinke that remaineth, restoreth it to the cupboard from whence he

as

fetched the same." It

earlier

must part

be of

borne

the

in

sixteenth

mind,

in

century,

considering that

the

the

religious

furniture

the time, together

with the general break up of the feudal

gradually brought

about

the

with

the

house taking his meals his

retainers

and

disuse in

the

dependants

of the large ;

old

hall

the

of

of

persecutions

system,

had

custom of the master or

" houseplace,"

and a smaller

room

of

together

leading from

THE RENAISSANCE.

74

the

great

for

the

hall

and

stead,

was

drinking a

chair,

formed

the

" privee

parloir,"

domestic

and so

the

an

grave

subject

Bishop

table

life,

also

of

a

fitted

vessels

Court

and This

period.

part

of

saw

party, that,

in

fact

this

in

1526,

ordinance,

and

The

runs

text

with

described,

just

the

board

room,

on

which

" parler "

a

called

bed-

a

trestles,

or

house where the family enjoyed

the

singular

a

is

it

manner

benches,

the

objection

Grosbeste.

the

the

of

Court

with a " dressoir " or " service cupboard,"

in

some

was

and

up

that

the

Clerics

tendency

change

this

also

thus

of :

a

in

time,

private

life

was

the

fashion

special

" Sundrie

the

of

towards

Pastoral

from

noblemen

and

Chair said to have belonged to Anna Bolevx, Hever Castle. {From

the Collection of

Mr. Godwin, F.S.A.)

gentlemen and others doe much delighte to dyne in corners and secret places," and the reason given, was that it was a bad influence, dividing class from class the real reason was probably that by more private and domestic life, the power of the Church over her members was :

weakened.

A In

spite,

TUDOR CABINET.

75

however, of opposition in high places, the custom

became more common, and we

the smaller rooms

find the

shall

of

using

furniture,

as time goes on, designed accordingly.

Tudor Cabinet in~the South Kensington Museum. {Described below.)

In cabinet, at this

the

South

Kensington

the decoration

time

—that

sixteenth century

;

is,

but

of

which

Museum points

to

there

is

its

being

very

a

made

remarkable in

England

about the middle, or during the latter half of the the

highly finished and

intricate

marqueterie and

THE RENAISSANCE.

y6

seem

would

carving

executed the work.

prove

to

that

German craftsmen had

or

Italian

should be carefully examined as a very interesting

It

The Tudor arms, the rose and portcullis, are The arched panels in the folding doors and at

specimen. stand.

cabinet

the

some

are

resemblance

employed are height

the

most

for

a

room

the

and

pages

of

and

where

the

has

ornament,

catalogue.

It

occupy

intricacies

described

the

Latin

over

four

an

it

work

the

evidently

of

intended

of

design

this

cabinet

and

mottoes

closely-printed

£500, and was a

nation

the

cost

in

is

be

was

it

Pollen

which

there

only

could

day,

the

of

details,

The woods

arch.

but

iin.,

3ft.

the

of

general

triumphal

which

dimensions

subjects

Museum

his

width detail

of

and bear arrangement of

with coromandel and other woods.

Hungerford

Mr.

other

inlaid

and

careful

moderate

of

inscriptions,

pear tree,

ends

the

scenes,

battle

The

style.

Roman

a

of

craftsmen

observed.

giving

fully,

of

skilful

could be

one

7m.

4ft.

is

representing

relief,

Holbein's

to

chiefly

amount

immense

high

reminds

design

the

Its

in

on the

inlaid

very judicious purchase.

Chairs scarce

during and,

master or

the

for

were

articles,

the

mistress

half

first

we have

as

of

seen

the

sixteenth

the

of

with other

The

house.

from the

collection

the

of

late

used

is

said

to

given on page 74, Godwin, F.S.A., formerly

Geo.

Mr.

very

only

which

chair

have belonged to Anna Boleyn, of which an illustration is

century

countries,

is

and was part of the contents of Hever Castle, It is of carved oak, inlaid with ebony and boxwood, and was in Kent. probably made by an Italian workman. " Settles " were largely used, and

editor of " The

Builder,"

both these and such chairs as then

were dependent,

existed,

for richness

upon the loose cushions with which they were furnished. If we attempt to gain a knowledge of the designs of the tables of the sixteenth, and the early part of the seventeenth centuries, from interiors of effect,

represented

in

be almost

will

of

this

vain,

for

in

in

the

period,

nearly

every

visit

to

the

case the

picture

table

is

gallery

covered

As these cloths or " carpets," as they were then termed, them from the " tapet " or floor covering, often cost far the articles they covered, a word about them may be

by a cloth. to

paintings

distinguish

more

than

allowed.

Most of the old inventories from 1590, or

"

joyned

"

table,

name

the " carpett of

after

mentioning the "framed"

Turky werke

"

which covered

and in many cases there was still another covering to protect the best one, and when Frederick, Duke of Wurtemburg, visited England in 1592, he noted a very extravagant " carpett " at Hampton Court, which was

it,

embroidered with pearls and cost 50,000 crowns.

OLD INVENTORY.

^A

T

The cushions

"quysshens"

or

important

were also very

the

for

appendages

77

embroidered velvet,

of

chairs,

otherwise

the

to

and

hard oaken

and as the actual date of the will of Alderman Glasseor below is 1589, we may gather from the extract given, some-

ebonv

seats,

quoted

would

ornamental accessories which

character and value of these

the

thing of

been

have

probably

use

in

some

for

and twenty or

five

thirty

years previously. "

Inventory of

cittie

berlain

"A

the

of

of

Chester,"

of

contents of the parler

which

place

Alderman

St.

within

Jone's,

was

Glasseor

the

vice-cham-

:

table of joyned work with a frame," valued at " Labour £20 your present money. Two formes covered with Turkey work to the same belonginge

drawinge

A A

pence joyned frame bord ijs. \]d.

A

little

xl

shillings,"

xiij

shillings

equilius

and

iiij

xvjrf.

side table with a frame

v'yl.

ijs.

A

pair of virginalls with the frame xxxs. Six joyned stooles covr'd with nedle werke xvs.

Sixe other joyned stooles vjs. of nedle werke iijs.

One cheare

Two

little

One

A

fote stooles

iiij

1

I

PENSHURST PLACE. James

In

II.

containing quaint

curious

the

the

covered

chairs

and Prayer Book cushions

with

hung with ancient

chapel,

little

Bible

original

87

of

sixteenth

or

and

tapestry,

Charles

of

other

are

I.,

seventeenth

earl}-

century needlework. Before concluding the remarks on

and

made

be

woodwork

period of English

this

mention should

further

furniture,

of

Penshurst

Place,

to

which there has been already some reference in the chapter on the period It was here that Sir Philip Sydney spent much of of the Middle Ages. and produced

time,

his

best

his

literary

work, during the period of his

when he had lost the favour of Elizabeth and in the room known as the " Queen's Room," illustrated on page 89, some of the furniture this period. The crystal chandeliers are said to have been given is of by Leicester to his Royal Mistress, and some of the chairs and tables were sent down by the Queen, and presented to Sir Henry Sydney (Philip's father) when she stayed at Penshurst during one of her Royal progresses. The room, with its vases and bowls of old Oriental china retirement

:

and the contemporary portraits on the walls, gives us a good idea of the very best effect that was attainable with the material then available. Richardson's " Studies " contains, amongst other examples of furniture,

and carved

oak

Charlton, East

English

decorations of

Sutton

Renaissance,

interiors

of

and

the Great Hall, Crewe, with its beautiful hall screens and carved " parloir," all notable mansions of the sixteenth century.

To Bed

two

about

Night

The

Head

miles

Sir

Another

Toby Belch.

its

though

— And

ornament

and

many

as

for the

lies as shall

Bed

of

Ware

in

the

"

Twelfth

paper down,

in thy sheet of

lie

in

shews the chair which

illustration

it

most

is

perhaps

it

:

not

may

England,

set era

since

that

made

time

or

may

said

is

be

not

the

to

have belonged

actual

one

probably a genuine specimen of about

when Garrick borrowed

Barnet,

it

:

back which states that

Chair,

to

approximate date and gives the bed a character.

were big enough

William Shakespeare

time,

S.

Shakespeare's allusion

at

Rye House,

to

it.

by the poet, but

on

away.

following are the lines

altho' the sheet

This was formerly

an illustration.

Ware, but has been removed

at

" has identified the

go about

to

"

is

famous

belongs the celebrated " Great

furniture

Ware," of which there

" Saracen's

the

English

period of

this

of

Little

House, Wilts, Audley End, Essex,

Place, Stockton

it

in

England.

was known it

its

from

its

history

in

There

well

is in low relief, and represents a rough Marc and the Campanile Tower.

Shakespeare

Mr. James

known. idea

of

his

manuscript

a

1769 as the

owner, is

is

used

Bacon, of

The carved the dome of

THE RENAISSANCE.

88

We

have now

and roughly traced the advance of what may from its birthplace in Italy to France, the Netherlands, Spain, Germany, and England; and by explanation and briefly

be termed the flood-tide of Art

assisted

Gothic

the

revival

and

of

of classic

peculiarities

by

how the way before the forms and arabesque ornament, with the many details

description,

latter

have endeavoured to show

illustrations,

part

Middle

the

of

characteristic

each

of •

i

i'

jij

|j|i|":j

Ages

different

gave

nationality

which

had

V'i,

Shakespeare's Chair.

adopted the general change.

become a cabinet with devotional

the

end

all

During its

piece of furniture, has

of

of furniture,

the

period,

instead

this period the "

varieties

bahut

"

or chest has

simple prie dieu chair, as a

been elaborated into almost an oratory,

become more

of the planks and

Renaissance commenced.

the

;

Chimney

ornate,

and made as

tressels

which we found when the

pieces,

which

in

solid

pieces

the fourteenth century

were merely stone smoke shafts or hoods supported by corbels, have been replaced

by handsome carved oak erections, ornamenting the

hall or

room

THE GREAT BED OF WARE. Formerly

at the

Saracen's Head, Ware, but

Period

:

now

at

Rye House, Broxbourne,

XVI. Century.

Herts.

INCREASE OF ELEGANCE. from

floor

to

Carved

and the English

ceiling,

contemporary the oak

buffet,

panelling

lining of an earlier time,

and the indulgence merchants

in

is

Italy,

in

taste,

its

foreign

forerunner of the sideboard of the future.

has

replaced

the

old

arras-

and ruder wood

and with the departure of the old feudal customs

greater

Flanders,

enabled

cupboard, with

the

have the elegances and grace gratifying

livery

89

the

luxuries

of the

more wealthy nobles and

France, German}', Spain, and England, we

with

which

sixteenth

Art,

century

and increased means of virtuoso

to

adorn

his

home.

The "Queen's Room," Penshurst Place. (Reproduced from "Historic Houses of the United Kingdom," by permission of Messrs. Casscll

&

Co., Limited.)

I i

CHAPTER

Jacobean Home Life in the Reign work— Ford Castle- Chimney

English

Hall— Hall

of

I.

jfuunfture. — Sir Henry Wotton quoted — Inigo

Pieces in South Kensington

Museum— Table

Company — The Charterhouse — Time

Barbers'

of the

James

IV.

Jcnes and his

in the Carpenters'

Charles

of

I.

—

—

— Furniture

Knole Eagle House, Wimbledon Mr. Charles Eastlake — Monuments at Canterbury and Westminster- Settles, Couches, and Chairs of the Stuart period— Sir Paul Pindar's House Cromwellian Furniture The Restoration Indo-Portuguese Furniture — Hampton Court Palace — Evelyn's description The Great Fire of London Hall of the Brewers' Company Oak Panelling of the time— Grinling Gibbons and his work— The Edict of Nantes - Silver Furniture at Knole— William III. and Dutch influence— Queen Anne— Sideboards, Bureaus, and Grandfathers' Clocks — Furniture at Hampton Court. at

—

—

—

N

the

—

"

on

chapter

Renaissance "

the

Art

great

England has been noticed; in the Elizabethan oak work of chimney pieces, panelling,

revival

and

in

furniture, are to be found

varying forms of

the free classic style which the Renaissance had

brought

about.

continued

fashion

Elizabeth

These fluctuating changes in in England from the time of middle

the

until

when, as

century,

distinct alteration

in

eighteenth

the

of

shewn

be

will

presently,

a

the design of furniture took

place.

The domestic more

getting

habits

persecution

religious

the time

the

of

private

domestic

rooms

and

who might

We

at an}'

have

were

seen

how

during preceding reigns, at

had

Reformation, life

apart

Englishmen

of

established.

families

of

from

the

in

encouraged smaller

the

gossiping

retainer,

time bring destruction upon the

household by giving information about items of conversation he had overheard.

There

written

in

is

1600,

a quaint passage

settled characteristic of his "

Every man's

of

his

hospitality,

of

his

own

life,

princedom, nay

proper the

the the

one of Sir Henry Wotton's

in

which shews that

home

this

life

letters,

was now becoming a

countrymen.

mansion of

seate

noblest

of

possession

his

his

house and selfe

son's

thereof

home,

fruition,

being the theatre

comfortable

the

inheritance,

a

kind of

an epitome of the

whole

part

private

world

JACOBEAN FURNITURE.

92

may

well

by

deserve

these

according

attributes,

the

to

degree

of

the

is

said

master, to be delightfully adorned." Sir to

Henry Wotton was Ambassador

in

Venice

in

1604,

and

have been the author of the well-known definition of an ambassador's

Oak Chimney Place

in Sir

Walter Raleigh's House, Youghal, Ireland.

Said to be the work of a Flemish Artist, who was brought over for the purpose of executing this and other carved work at Youghal.

"an

honest

man

sent

to

calling,

namely,

good."

This offended the piety of James

to be in disgrace.

Architecture,"

and

He

also published,

being

an

I.,

lie

abroad

for

and caused him

his for

country's

sometime

some 20 years later, " Elements of and man of taste, sent home

antiquarian

man}' specimens of the famous Italian

wood

carving.

was during the reign of James I. and that of his successor that he Inigo Jones, our English Yitruvius, was making his great reputation had returned from Italy full of enthusiasm for the Renaissance of Palladio and his school, and of knowledge and taste gained by a diligent study It

;

INIGO JONES. of

ancient

the

speedily

felt

in

There

edifices.

in the library of

"In

the

name

classic

the is

of Rome. His influence would be woodwork fittings, for the interiors of his his own copy of Palladio, which is now

buildings

design

of

note

in

a

93

Worcester College, Oxford, which The

worth quoting

is

:

January, 1614, I being in Rome compared these desines following, with the Ruines themselves. Inigo Jones " of

God: Amen.

2 of

—

the

In as

following

he returned

year

Surveyor of Works, and until his

King's

work,

although unfortunately

carried

out, and much that The Banqueting Hall

fire.

Paul's,

from

Covent Garden

;

for

us,

he

carried

old

death

his

1652

in

appointment

was

full

of

he designed was never

that

been

has

out

Whitehall,

of

the

much

on

Italy

destroyed

now Whitehall Chapel

water gate originally

intended

;

as

by St.

the

r Chimney Piece

in

Bvfleet House.

Early Jacobean.

entrance to the

first

Duke

of

Buckingham's

close

Palace,

to

Charing

Queen Street, Lincoln's Inn and one or two monuments and porches, are amongst the examples that remain to us of this great master's work and of interiors, that of Ashburnham House is left to remind us, with its quiet dignity of Cross

Nos.

;

55

and

56,

on

the

south

of

side

Great

;

;

style,

of this great master.

plaster ornament,

the

seal

of

during the that

after

It

has been said in speaking of the staircase, " upon the whole is set As the work was probably finished impression intended to be conveyed was

and woodwork of

this interior,

the time of Charles I."

King's

reign,

the

wood carving had

rather

run

riot

towards

the

end

of

the

JACOBEAN FURNITURE.

94 sixteenth

century,

we had now

or influenced by his school, a

the

in

more

designed by

interior

quiet

and sober

Inigo Jones,

style.

Chamber, Ford Castl

The above woodcut shews which

Castle, article

in

which

still

still

a

portion

contains souvenirs

the Magazine of A preserves

rt.

externally

The room the

of

the

of Flodden

stern,

is

in

grim

King's Field the

room,

in

— according

Ford to

an

northernmost tower,

character of the

border

The chair and the room looks towards the famous battle-field. shews a date 1638, and there is another of Dutch design of about fifty fortress;

TIME OF JAMES or sixty years later

and the oak

but the carved oak

;

95

bedstead, with tapestry hangings,

which the writer of the

press,

I.

article

mentions as forming

part of the old furniture of the room, scarcely appear in the illustration.

Mr. Hungerford Pollen probably

be accepted

of there being

much

in

explanation

of

James

the

of

otherwise

and woodwork of

this

may

curious

fact

and

I.,

this time

which

to the earlier period.

wooden chimney

of

illustrations

There are

reign

in the architecture

would seem to belong

The

an

as

the

Tudor

the majority of so-called

us that

tells

houses were actually built during

pieces

shew

will

Museum some

the South Kensington

three or

this

change.

four

chimney

pieces of stone, having the upper portions of carved oak, the dates of which

have been ascertained to be about 1620 house of

a

Lime

in

Street,

residence

what

of

a

than

richer

these were removed from an old and give us an idea of the interior decoration

City,

London

the

;

The one

merchant.

columns

the

others,

illustrated

supporting

the

some-

is

cornice

of

the others being almost plain pillars with Ionic or Doric capitals, and the

carving

of

panels

the

of

them

of

all

less

in

is

relief,

and simpler

in

character, than those which occur in the latter part of Elizabeth's time.

Carved Oak Centre Table. In

The

Company. last

The

handsome

piece

In

letters

R.W.,

is

hardly of

the

from Mr. Jupp's book referred

taken

does

furniture,

spandrils

G.I., J.R.,

which has come under

furniture

the octagonal table belonging to the Carpenters'

illustration,

chapter,

diameter.

Hall of the Carpenters' Company.

dated piece of Jacobean

earliest

the writer's observation

the

the

the

and of

table

justice

measures

about

3

between

arches

the

it

;

and W.W., being the

initials

is

feet

the

really

to

a

in

very

3

inches

legs

are

in

the

of Richard Wyatt,

George Isack, John Reeve, and William Willson, who were Master and Wardens of the Company in 1606, which date is carved in two of the spandrils.

While the ornamental

of Elizabethan

legs

work, the treatment

member has become more

refined

is

shew some of the less

bold,

the

large

characteristics

acorn-shaped

and attenuated, and the ornament

is

JACOBEAN FURNITURE.

96

more

altogether

the writer

;

it

is

This

subdued.

Jacobean furniture, and in

is

remarkable

a

the only one of the shape

is

preservation,

excellent

specimen

of

early

and kind known

save that the top

is

split.

to It

shews signs of having been made with considerable skill and care. The Science and Art Department keep for reference an album containing

photographs,

museums under

its

not

only of but

control,

many also

some

in the S. Kensington

Early XVII. Century.

lent is

for a

taken

temporary exhibition.

from

this

source,

in

the

different

which have been

In the Carpenters' Hall.

Park.

(From Photos

of those

Carved Oak Chair.

Carved Oak Chair. From Abingdon

specimens

of the

of

the

The

Museum Album.) English.

illustration of the

above two chairs

album having been placed

at

the writer's

by the courtesy of Mr. Jones, of the Photographic Department. left-hand chair, from Abingdon Park, is said to have belonged to

disposal

The Lady Barnard, Shakespeare's grand-daughter, and the other may still be seen in the Hall of the Carpenters' Company. In the Hall of the Barbers' Company in Monkswell Street, the Court

room, which is lighted with an octagonal cupola, was designed by Inigo Jones as a Theatre of Anatomy, when the Barbers and Surgeons were one

OAK CHIMNEY PIECE. Removed from an

old house in

Lime

(South Kensington Museum).

Period: James

I.

Street, City.

TYPICAL corporation.

legs connected

edges

of

slabs,

and also the

style

as

the

97

There are some three or four tables

Hall, having four

the

TABLES.

tops

table

are

stretchers,

original

work

the

;

legs,

found

in

exactly the

same

Other tables of

few old country mansions;

a

in

the

in

moulded

the

however, are the old ones, and are

simple columns with plain turned capitals and bases. period are to be

;

These plain oak

without enrichment.

also

have been renewed, but

period

this

ot

by stretchers, quite plain

there

is

this

one

in

Longleat, which, the writer has been told, has a small drawer at the end,

Oak Sideboard

in

the

Period

to

hold

the

copper

coins

game

House

in

Westminster Abbey, there

James

I.

tables,

which

until

comparatively

singular

is

those which were usually

made

recent

Kensington Museum. III.

which the retainers of the Marquis of

with

Bath's ancestors used to play a

S.

William

:

at

years,

is

in

of shovel penny. also

being nearly double the width of

this time.

used

as

this table was probably made, not some other purpose requiring greater width.

records,

In the Chapter

one of these plain substantial

a

As the Chapter House was, room for the storage of as

a dining table,

but

for

JACOBEAN FURNITURE.

98

Renaissance there was an allusion to Charterhouse,

In the chapter on

which was purchased

and

may

chapel

the

in

Thomas Sutton in communion

present purpose by

for its

be seen to-day the

placed there by the founder.

It

of carved

is

1611,

original

a row

with

oak,

table

of

legs

running lengthways underneath the middle, and lour others at the corners;

the

being cast

while

these,

tables

simple lines already

the

in

Barbers'

the

in

noticed in describing

and the Chapter

Hall,

Westminster

House,

Abbey, are enriched by carving from the base, to the third of the height of The rich the leg, and the frieze of the table is also carved in low relief.

wood

carved

There

screen which supports the organ

representing the Adoration

centre panel

1615-20:

is

it

of Jacobean work.

loft is also

Museum

South Kensington

in the

is

oak chest, with a

a carved

Magi, of about this date,

of the

mounted on a stand which has three feet in front and two much more primitive and quaint than the ornate

which are

behind,

supports of Elizabethan carving

:

while the only ornaments on the drawer

which form the frieze of the stand are moulded panels, in the centre of each of which there is a turned knob by which to open the drawer. This chest and the table which forms its stand were probably not fronts

The

intended for each other. stand,

which

is

seventeenth

purchased

The

century.

1891

in

on the previous page shews the

illustration

a good representation of the carving of this time,

arm

round-backed

from the

chair

i.e.,

though dated

Hailstone Collection,

early

which the Museum

more Elizabethan in design than one would expect. There is no greater storehouse for specimens of

1614,

is

really

during

family,

Sackville

King's

Bedroom,

furnished courtesy

for

and

see the bed,

the

then

the

which

is

of

visit

generous originally

Knole, of

said

have

to

King

believed

are

room,

are

been

use

of

the the

prepared

and

owing

public,

Lord

In

faded,

to

can

Sackville,

the still

elaborately

have cost £8,000, and the chairs

to

formed

have

to

much

in

in

mansion Dorset.

of

now much

but

furniture

specially

the

I.,

present

silk,

said

is

stately

Earls

the

James the

of

of crimson It

that

property

spirit

embroidered with gold.

and seats, which equipment of the

than

period

Jacobean

the

the

same

part

of

position

the as

original

they then

occupied.

we cannot help thinking

In the carved work of this furniture

hand of the Venetian craftsman were either imported or purpose. six

the

A

gone,

^

of

"

copied

furniture

and two arm

stools "

suite

is

to be traced,

from

of that

chairs, almost

form supports, which, so

appear

to

have

come from

a

and

pattern

it

is

that

the

probable that they

brought

over

for

that

time appears to have consisted of entirely covered with velvet,

far

having

as the writer's investigations have

Venice.

In

the

"Leicester" gallery

FURNITURE AT KXOLE. at

Knole there

is

a portrait of the

such a chair, and just below

said

to

be identical with

the

the

one

King, picture

99

painted by is

portrayed.

placed

It

is

Mytens, seated on the

chair

similar

which

to

reproduced on page ioo from a drawing of Mr. Charles Eastlake's.

the

is

one

JACOBEAN FURNITURE.

ioo In

the

same

gallery

upholstered with

three sofas or settees

are

also

crimson velvet, and one of these has an accommodating rack, by which either

end can be lowered

make

at will, to

more convenient lounge.

a

This excellent example of Jacobean furniture has been described and sketched by says

:

"

Charles

Mr.

The

Eastlake

properly

joints are

"

in

He

Hints on Household Taste."

tenoned

'

and pinned together

'

in

such a

Arm Chair. Covered with Velvet, trimmed with Fringe, and studded with Ccpper Nails.

Early XVII. Century. (From a Drawing of

manner

as

to ensure its

of a chair, with

a

the

Keys," this of the is

to

furniture.

been

been furnished

from

description.

with this

a will

rail,

is

formed

upper edge, but

which

is

it

like

that

receives

introduced at the back

of "The Stolen The arm chair illustrated above is part The furniture of another room at Knole

presented

the

King

by

into

photograph give

The back its

well-known

Stone's

who had married

Middlesex,

prepared

of

suite

have

only at

rail

the sofa portrayed.

is

same

said

Marcus

Mr. Charles Eastlake.)

stability.

from the second

In

seat."

constant

horizontal

additional strength of

the Original at Knote, by

picture

James

to

the

Dorset family.

of

this

reader

a

room better

;

the

and idea

first

Earl

of

The author has the

illustration

than a

lengthy

JACOBEAN FURNITURE.

r,6?

from a comparison of the Knole furniture with the designs

seems

It

some

of

of the

and

tables

woodwork produced during

other

same

the

bearing the impress of the more severe style of Inigo Jones, that

reign,

there were then

England two

in

of decorative

styles

simple and severe, shewing a reaction

these,

One

furniture.

of

from the grotesque freedom

carving, and the other, copied from Venetian ornamental woodwork, with cupids on scrolls forming the supports of stools, having

of Elizabethan

these ornamental legs connected

by stretchers, the design of which

the case of those

Bedchamber

a

in

the gold are

Mr.

Eastlake

illustrated

a

there

of paper

slip

furniture at

of

was

furniture

Knole,

at

traces

of

referred

just

a

examination

careful

and

there,

has

he mentions

to;

beneath the webbing of

tucked

fixed the

a

and and

described

well

found

he

that

with an

settle,

date of some of the

Mr. Lionel Sackville West has confirmed this date

1620.

the

to

letter

furniture

Old English characters which

inscription in

a

book

his

in

made

and

Knole,

visited

Jacobean

the

it

those

of

to be seen.

still

sketches of

This kind

and under the black paint

gilt,

in

is,

Knole, a couple of cnpids

at

up a crown.

holding

attitude

flying

generally

the King's

in

in

by a reference to the heirloom book, which also

author,

some of the more richly-carved furniture was imported from Italy. In the Lady Chapel of Canterbury Cathedral there is a monument of Dean Boys, who died in 1625. This represents the Dean seated in his bears out the author's opinion that

of this time

library, at a table with

Books carving day. period, in

the

line ;

it

of

section

the

of

there

from the sanctum of a literary

differs little

is

a tapestry cover.

room shewn

man

in

the

stone

of the present

There are many other monuments which represent furniture of this and amongst the more curious is that of a child of King James I.,

child

is

sculptured about

Holland associated

Fox

the

friend

most

with

genial

in a

the

of

Grey,"

who

of

Mary Queen

example

of

from this house, third

gathered

Lord

Jacobean

a is,

of course, "

Holland,

around

and distinguished society of the courtesy

of Scots.

carved cradle of the time.

good

a

is

inseparable

memory

brilliant

that

size,

Kensington,

of

monument

the

to life

chief interest,

with

and

walls the it

House,

The

mansion.

over

over which

legs,

the

Westminster Abbey, close

The

of

turned

walls

him

nephew

within

day,

its

presiding

which was the rich inheritance of

his

family.

Macaulay, his

at

the conclusion of his essay on

unrivalled power

of description,

of " that circle in which every talent science,

had

its

place"

Lord Holland, has, with charm and fascination

told us of the

— enumerating

and accomplishment, every also

the

art and names of many of those

HOLLAND HOUSE. who formed

" the

and expatiating on

it,

103

grace and the kindness, far more

admirable than grace, with which the princely hospitality of that ancient

mansion was dispensed." "

in

us,

has

Liechtenstein

Princess

Holland House," a charming

record

preserved for

also

many

of

the

of

historical

associations of this famous old place.

There are

many

the house also

in

by the courtesy

which,

periods,

Our

allowed to examine.

and we must now return

objects of great interest, of various

Lady Uchester, the

of

however,

business,

with

is

has been

writer

the

to a consideration of the furniture

17th

century,

and woodwork

of that time.

The Holland House year 1607, as " Cope " Manor " who became

Earl

in

it

and arcades.

Princess Liechtenstein

ghost

first

of

its

who,

lord,

the

in

then owned the

Cope's daughter married Sir

Holland

He

1649.

who

Henry and was executed by the was who added to the house the wings

of Kensington.

Rich,

of

was commenced

I.

by Sir Walter Cope,

extensive

Parliamentarians

James

of the time of

Castle,"

in

1624,

us the

tells

according

story

" the

of

tradition,

to

issues

solitary

forth

at

midnight from behind a secret door, and walks slowly through the scenes of his former triumph with his head in his hand."

There

some

is

seventeenth

good

old

and

century,

the

woodwork

of

panelling

and

the

early

chimney

part

of

the

piece

of

the

famous "white parlour" are of the times of James I., the work, still in good preservation, being in the best Jacobean taste. The panels are formed

by

between the with

uncarved

bold

pilasters with

ornaments

architectural

decorative

Renaissance.

The

nocturnal

promenade,

who

worked

also

which

purposed

the

Charles to

Henrietta

to

shaped

legs

of

foliage,

in

a

and

reference

The

given

to

by

also

Holland

rendering

said to

is

Francesco

simple

with

an

Cleyn,

the

backs carved as

scrollwork,

attributed

House,

now on

are

their

to

has

room were painted

but the

of

commence

its

Italian,

for

honor of the marriage

in

There

chairs with

are

English

flat

frieze,

enriched

are

a

The room was prepared

King.*

be

ornamented

which

best

has

the

in

cornice,

whole

the

the

of

decorated

Maria.

Holland House, two

and

relief,

by

intervals

at

the panels

;

room," where the ghost

was

for

was

in effect

" gilt

separated

" dentilled "

which support a

trusses,

fretwork

mouldings,

and carved capitals

fluted shafts

of

a

ball

Prince

chief staircase shells,

and masks

with

Cleyn.

Horace

mentioned

these

of

and with swags

Walpole, chairs

in

either actually by Watts or under his Lord Holland, he did so much to beautify the house and made so many additions to its store of portraits. His work is fully described in " Holland House," by Princess Marie Liechtenstein. London, 1874. *

directions,

present decorations of the

when, as favourite

artist to the fourth

JACOBEAN FURNITURE.

io 4 "

Anecdotes of backs

for

of his

.

and

chairs, carved

were undoubtedly from

.

with large shells

gilt,

designs,

his

and are evidences

Walpole also mentions a garden seat of similar design drawing of one of these chairs forms the tail piece of this

taste.**

A

by Cleyn.

Two

"

Painters.*' .

chapter.

There

is

another Jacobean house of considerable interest, the property

An account

of Mr. T. G. Jackson, A.R.A.

of

has been written by him,

it

some members of the Surrey Archaeological Society, who It appears to have been the visited Eagle House, Wimbledon, in 1890. country seat of a London merchant, who lived early in the seventeenth Mr. Jackson bears witness to the excellence of the workmanship, century. and was read

to

and expresses

his opinion that the carved

and decorated enrichments were

He

executed by native and not by foreign craftsmen. "

pamphlet of the sunk

in

his

its

date, It

probable

very

is

had

that

the

in

was

in

The Queen was

England. vogue,

and

Italian

much

would

therefore

excellent

works

tapestry

Mortlake

at

Cartoons to encourage the work

monarch who had the

The

England.

he

:

whatever

many

of furniture.

The

composed

boards

storage,

and

be

hoped

Vandyke

from

bv carved work. from the stools

generally

on

has achieved for our liberty as subjects,

it

i.e.,

"and benches formed

master of the house.

we have hinged

by

those

middle

the

trestle,

in

our

noticed in the time of Elizabeth, in

which

three-footed

Until in

not an article

(tablets), or a list,

trestles

The word

" threstule,"

a

to settle in

years our progress as an artistic people.

table was, as

supported

at

bought the Raffaelle to

to induce a

language meant an index or pocket book

the

had

much was

But to consider some of the furniture of this period in detail. century was well advanced the word "table" sixteenth

of

been

The King himself

His father had established

himself

— and

and judgment

taste

Civil war,

certainly hindered by

the

less

mechanic, and boasted that he could earn his living

almost any trade save the making of hangings. the

been

have

probably

encouraged to come over and instruct our workmen.

was an

I.

progress in the domestic

Medici family, Italian literature

of the

artists

Charles

of

reign

troublous, this would have been a time of arts

in

ornament of Elizabeth's time.

also found in the carved

is

gives an illustration

Strap Work,"' which, though Jacobean

the

for

convenience of

sometimes ornamented

were way,

is

and

supports,

said

be derived

to

these

three-legged

days the seats for everyone

Chairs were, as

we have

except

seen, scarce articles

sometimes there was only one, a throne-like seat for an honoured guest for the master or mistress of the house, and doubtless our present

or

phrase of then

held

"taking the chair"*

amongst

the

is

a

household

survival

gods

the

of

of

a

high

place

gentleman's

a

chair

mansion.



Appendix.

-^54

Names

of Artists or

Appendix.

Names

of Artists or

Country and time

which

Remarks and References.

they worked.

Manufacturers.

Germany

Flotner, P.

in

55

16th century

Designs

furniture

for

in

the

Museum. Mounter of mahogany furniture. Berlin

—

Forestier,

France

18th 19th

Fourdinois,

Galle,

Chapters

viii.

and

ix.,

exhibited

'51, '67.

France, —

Gabler, Gaine,

,,

M.

—

—

England

18th

Chapter

Germany France Holland

17th century 18th 17th

Ebony, with metal and hard

Italy

1

vii., p.

198.

pebbles.

G.

Galletti,

Gallieux,

— (mounter) .

8th

„

Stamped

France

on

tables

in

Jones

Collection.

Stamped on

table, and on marencoignures in the of Westminster's Col-

quetry

Duke

lection.

Genfer, M. Gervasius, Gettich, P. Geuser, M. Gheel, F. van Gibbons, G.

—

Germany .

17th

England

Germany Flanders .

8th 17th

1

England

,,

Chapter

iv.,

worked

for

Charles

II.

Worked

in Paris, 1776.

Chapters

vii., viii., ix.

Gillow, R.

France England

Giovanni, Fra Glosencamp, H.

Flanders

Chapter

France

Gillet,

Louis

Goletti,

—

Goujon,

J.

.

Italy

1

18th „ 8th and 19th centuries 1 6th century

iii.

(Bruges chimney-

piece). .

16th

„

" Pietra Dura," worked under Colbert. Sculptor, designed much furni-

8th

„

Chapter

17th

ture.

Gouthiere, P.

1

.

vi., born 1740, worked with Riesener, famous moun-

ter.

H

— — Haeghen, — van der

Habermann,

France

Habert,

Italy

Heckinger, J. Hedoin, J. B. Heinhofer, Ph.

Germany

Flanders

France ,,

18th century

i6thto 17th

,,

18th ,, 17th ., 18th ., 16th and 17th centuries

Rococo or Pompadour style. Stamped on examples in Hamilton Palace Collection.

Designed the celebrated Pomerian Art Cabinet in Berlin

Museum.

^

Appendix.

Names

of Artists or

Appendix.

Names

of Artists or

Manufacturers.

257

Appendix.

258

Names

of Artists or

Manufacturers.

Appendix.

Names

Country and time

of Artists or

Manufacturers.

—

Pergolesi,

England

(artist)

Perreal, J. Pettitt (otherwise Petit)

Nicholas Philippon, A. Picau,

—

PicqJ.

.

.

—

Pigalle, Pillon,

.

.

.

A. P.

Piffetti,

G.

Pinodo,

—

Pioniez,

—

Plumier, P. D. Poitou, Philiipe Porfirio, B. di

Prignot,

—

Puget,

Q Quellin, A. Quellin, A., the younger Quellin, E.

R Raephorst, B. van Ramello, F.

.

—

Ranson, Rasch, A. Revitt,

N.

(architect)

Richardson, George Richter, C.

Riesener,

Rohan, Rohan, Rosch,

J. J. J.

.

—

Roentgen, D. David) Rogers, H. de de

(see

.

in

they worked.

also

which

259

260

Appendix.

Names

of Artists or

Manufacturers.

Appendix.

Names

of Artists or

Manufacturers.

Appendix.

263

Shisham or Blackwood (Dalbergia Sps) is a heavy close-grained wood, dark brown in color, resembling ebony when polished, and is much used for furniture in India.

—

Sandal Wood, Teak, Mango Wood. Sir George Birdwood, in " Indian Arts," gives a complete list of these Indian woods, with their botanical names and other valuable information. more complete list of the different woods used by cabinet makers, the referred to Mr. J. Hungerford Pollen's " Introduction to the South Kensington Collection " to many of these he has been able, after much research, to give their botanical names, a task rendered somewhat difficult owing to the popular name of the wood being derived from some peculiar marking or colouring Amongst these are tulip wood, rose but giving no clue to its botanical status. wood, king wood, pheasant wood, partridge wood, and snake wood. It is worthy " of remark that, whereas in England the terms " king wood " and " tulip wood represent the former, a wood of rich dark reddish-brown color, or " purple

For

reader

a

is

;

madder," and the latter one of a yellowish-red, prettily-streaked, in France these terms have exactly the reverse equivalents. These were very favourite veneers in the best French marqueterie furniture described in Chapter VI., and are frequently found, the one as bordering to relieve the panel or drawer front of the other.

Kew

Gardens, and also in the Colonial Galleries of the Imperial In the Museum at Institute, are excellent collections of many rare woods well worth examination.

Some

particulars of the different woods mentioned in the Bible, from which examples of Ancient Furniture were manufactured, and to which reference has been made in

Chapter have

These notes

I.

been

kindly supplied

specimens of these scarce woods

Wood

is

by Dr.

of great

Edward

Clapton, ivhose collection of

interest.

wood

This spiny of the Shittah tree, or Acacia Seyal. peninsula of Sinai and around the Dead Sea, but was also found in various parts of Syria, Arabia, and Africa. In the present day the shittah trees are very few and small, but in the time of Moses there were It is, as forests of them, and of a size sufficient to form long and wide planks. Jerome says, " a very strong wood of incredible lightness and beauty," and, he This corresponds to the translation of the adds, "it is not subject to decay." Hebrew term for shittim wood in the Septuagint, which is " incorruptible wood." Though light, it is hard, strong, and durable. As a proof of this, the Ark, and other furniture of the Tabernacle, which were made of shittim wood, must have Dean lasted for a period of some 500 years before all traces of them were lost. Stanley remarks that the plural word shittim was given to the wood of the shittah tree from the tangled thickets into which the stems of the trees expand.

Shittim

tree especially

Almug. "

is

the

abounded

—The

Leguminosoe."

in the

wood of the Pterocarpus Santalinus, a The wood is very hard, has a reddish

large tree of the order and takes a fine

color,

It is a native of India and Ceylon, whence it was in Solomon's time conveyed to Ophir, on the east coast of Africa, and from Ophir to Palestine " andthe navy also of Hiram, that brought gold from Ophir, brought in great plenty of almug trees, and the king made of the almug trees pillars for the house of the 1 Kings x. Lord, and for the king's house, harps also and psalteries for singers." Almug is not the same as Algum, which grew on Lebanon with the cedar 11, 12. and fir. 2 Chron. ii. 8.

polish.

;

—

Thyine Wood. The wood of the Thuja Articulata, now named Callitris Quadrivalvis, a tree of the cypress sub-order of coniferae, from 20 to 30 feet high. The wood is dark It is a native of Algiers and the Atlas range of North Africa. it yields an odoriferous resin colored, hard, and fragrant, taking a fine polish called Sanderach, which was much used by the Romans for incense in the worship of their gods. Thyine takes its name from " to burn incense." It was much prized ;

CC 2

Appendix.

264

by the ancient Greeks and Romans, not only because it was considered sacred but also on account of the beauty of the wood for various ornamental purposes. Pliny speaks of the mania of his countrymen for ornaments made of this wood, and tells us that when Roman ladies were upbraided by their husbands for their extravagance in pearls, they retorted upon them for their excessive fondness for So great a rage was there for ornamental cabinet tables made of thyine wood. work in ancient Rome that Cicero had a table made of it that cost ,£9,000. this can be seen in the Museum at Kew, presented by wood Ornaments made of The ceiling and floor of the celebrated Mosque of the late Jerome Napoleon. Cordova are of thyine wood, and it is also referred to in the Bible.

TAPESTRY USED FOR FRENCH FURNITURE.

—

Beauvais, and Aubusson Tapestry. The famous factory of Gobelins originated in the establishment of some dye works in the Faubourg St. Marcel of Paris, by two brothers, Gilles and Jean Gobelin, who had introduced they also produced some other excellent from Venice the art of dyeing scarlet

Gobelins,

—

;

and acquiring the name This was in the reign of Francois I. they subsequently added a tapestry factory to their dye works. Either in 1662 or in 1667, as different authorities state, Colbert, who had succeeded Cardinal Mazarin as Chief Adviser and Minister of Louis XIV., purchased the factory from the Gobelin family, and reorganised the establishment as the Royal Upholstery Works, employing the artists Lebrun, Berain, Simon Vouet, and others, to furnish subjects for the cartoons, the former artist being appointed Director of the Works. Since 1697 tne manufacture of tapestry only has been carried on, and the product of these celebrated looms has become known as Gobelins tapestry. Previous to this time, however, namely, 1669, Colbert ordered the manufacture at Gobelins of what is termed the " low warp " tapestry suitable for furniture a branch of manufacture which had been transferred to the State works of Beauvais, where the special mode of making tapestry, suitable for the covering of chairs and sofas, has since been carried on, the looms of Gobelins being more generally employed to produce larger panels for hangings. The fine and texture, the brilliant colorings of the famous tapestry, are world famous enormous sums are commanded by some of the older panels, the tints of which Besides the tapestry for are softened by age, while the condition remains good. furniture, sometimes made at Gobelins, and more generally at Beauvais, a great deal has been produced by the looms at Aubusson, a factory said to have been originated by the immigration of some Flemish workmen into La March during the fourteenth century. Owing, however, to the difficulty in obtaining good patterns and the quality of wool required, their tapestry did not acquire a very high reputation. Colbert granted these manufactories a Charter in 1669, and also gave them protection against foreign rivals and the looms of Aubusson became busy and their proprietors prosperous. The productions of Gobelins and Beauvais being monopolised by the Court, the works of Aubusson had to provide for the more general requirements of the people, and, therefore, though good of its kind, and occasionally excellent, this tapestry has never attained the reputation of its more famous contemporaries. To those who would learn more of Tapestry, its history, methods of production, and many instructive details, the little South Kensington handbook, "Tapestry," is highly commended; it was written for the Science and Art Department by M. Alfred de Champeaux, and translated by Mrs. R. F. Sketchley.

colors,

and

this

of Folic Gobelin

enterprise

— afterwards

at first considered

became most

foolish,

successful.

;

—

;

;

Appendix.

265

THE PROCESSES OF GILDING AND POLISHING.

—

Wood

Gilding. The processes of applying gold to wood and to metal are In the former the gold, which has been supplied to the gilder in entirely different. extremely thin layers, generally placed between the leaves of a little paper book to prevent them sticking together, is transferred therefrom to the surface to be gilt, by a dexterous movement of a flat gilder's camel's hair brush, or " tip," as it is termed, the wood having been previously prepared by successive coatings of whitening and thin glue, a thicker body of preparations being required for those parts which are to be burnished. A great deal depends upon the care and time bestowed on the preparation of the work, sometimes as many as ten coatings being given to the wood, and these are successively rubbed down with pumice stone and glass paper, care being taken not to lose the sharpness of carved ornaments. This application of gold leaf is termed mechanical gilding, and is used for gilt furniture, picture frames, or other decorations. Within the last ten years the gold has been applied to the more richly carved furniture in a powder. This preparation of gold is very expensive, costing about £7 the ounce, and is only used for the more costly chairs and couches, etc., generally of old French make, which require re-gilding.

Metal Gilding.

—

The process of gilding metal which was practised by the the fine old French furniture described in Chapter VI., consisted in applying to the " ormolu " an amalgam of gold and mercury the latter was evaporated by heat, and the gold remained firmly adhered to the metal mount, and was afterwards colored as desired, a slightly greenish tinge being effected by such masters as Caffieri, Gouthiere, and others. This kind of gilding requires a considerable quantity of the precious metal to be used, and is therefore very costly, but is rich in effect, and, under favourable conditions, permanent. It is, however, very injurious to the workers, on account of the fumes of the mercury poisoning the system and it has generally been abandoned in favour of the much quicker and far cheaper process of electro-gilding, by which an effect can be produced by an infinitesimal coating of gold. The water gilding process is still used to a moderate extent by the makers of the more expensive reproductions of old furniture in Paris. There is a very cheap and effective process of lacquering which sometimes is termed "gilding," used to give ormolu mounts the color of gold; this is done by applying a solution of shellac and spirits of wine to the metal when heated, and, as with water-gilding, the volatile spirit evaporates and leaves a thin coating 01 the shellac, which may also be treated so as to have very much the appearance of gold, to the inexperienced eye. It should be mentioned that where mounts are gilt, it is usual to make the material more like the color of gold than ordinary brass would be this is done by the admixture of a considerable amount of copper, the amalgam being generally termed "or-molu." mounters

of

;

;

;

—

Polishing. The older method of polishing woodwork consisted in the application of a mixture of turpentine and beeswax to the surface this would be repeated again and again, and then well rubbed down with a hard brush, when a very durable polish was obtained. For flat surfaces, and particularly for the tops of dining tables which were formerly uncovered to show the wood, oil polishing was the fashion this was effected by rubbing the table-top with a heavy weight backwards and forwards, using oil as a lubricant. Good housewives used to polish up their dining tables very frequently. Oil polishing had the great advantage, too, of producing a surface which hot plates did not easily mark. The cost, time, and trouble, however, caused these older processes to be abandoned in favour of " French " polishing, which is the application on a prepared surface of shellac dissolved in methylated spirits, and often other ingredients to give poor-looking wood a richer color. This polish is quicker, and therefore, cheaper than the old-fashioned method. It has come into general adoption since the Great ;

;

Exhibition of 1851.

Appendix.

266

THE PIANOFORTE. The

Pianoforte is such an important article in the furniture of the present time, that a few notes about its development, from a decorative point of view, may be acceptable. In " Musical Instruments," one of the South Kensington handbooks, Carl Engel traces the Pianoforte from the " Clavicembalo," which he tells us, " was, in fact, nothing but a Cembalo or Dulcimer, with a key board attached to it." Our present Grand Piano was, however, more immediately a development of the Harpsichord" and Spinet, which had succeeded the Virginal These were made of oblong shape and supported on stands, of the 1 6th century. which were simply supports for the instrument, and did not form a part of it as do In an original play bill, which is still preserved the legs of a modern " grand." at Messrs. Broadwoods', there is an announcement that at the Theatre Royal, Covent Garden, on the 16th of May, 1767, at the end of Act I. (of the Beggars' Opera), " Miss Brickler will sing a favourite song from 'Judith,' accompanied by

Mr. Dibden, on

a new Instrument, called Pianoforte."

There is an illustration on p. 172 of a Harpsichord which is in the South Kensington Museum, and in the same collection are others, varying in types as The one which belonged to Handel is a instruments, and of different decorations. good specimen of the decoration bestowed on these instruments. Others of about covered with a coating of lacquer, were the middle of the eighteenth century, like some of the furniture referred to in Chapter VI., the parts of the cases to be so decorated having been sent to China, and returned when coated with the preparation, then only known to the Chinese, but afterwards imitated in Europe. Some of these lacquered cases are very beautiful, and those which were elaborately painted in the Vernis Martin style, are finished with the care of cabinet pictures They have, as a rule, the fine subject painting, or landscape, inside or miniatures. the lid of the case, as in the illustration on p. 172, while the outside of the case is Such an Instrument decorated with arabesques of gold on a dark colored ground. was sold at the sale of Lord Lonsdale's furniture, a few years ago, for some three

hundred pounds.

The rectangular shape appears to have been partially abandoned Wing form," of which the modern " Grand" is a development, about the

for the time of the Harpsichord of the time. Queen Anne, and was, in some cases, adapted to The earlier pianofortes were rectangular in form, with the idea of preventing the unequal appearance produced by the bent treble side of the Grand, and the writer has in his possession such an instrument, without pedals, which bears the inscription: "By Royal Patent. Longman and Broderip, Musical Instrument makers, 13, Haymarket, and 26, Cheapside, London." Collard and Collard are The the successors of this firm, and still retain the same premises in Cheapside. oldest Broadwood piano, at present on exhibition in Vienna, bears the name of " Schudi and Broadwood," with date 1780. It is square and without pedals.

"

—

Towards the end of the last century pianos were made to harmonize with the Adam, Hepplewhite, and Sheraton furniture of the day, and some were elaborately inlaid with small plaques of Wedgwood's Jasper ware. There are also instruments in existence, and designs, which shew that as the changed during the time of the French Revolution, and subsequently to the Classic Greek, the Piano followed the new fashion. There is in St. James's Palace the instrument made by Broadwood for the Princess Charlotte, who died early in the nineteenth century. This is square in form, and is veneered with a single sheet of ivory, the elephant's tusk having been first softened by acid, and then cut circular fashion. style of furniture

*

the

The Harpsichord made

first

John Broadwood, was

by Burkardt-Tschudi, whose son-in-law was Renaissance.

for Frederick the Great, in the style of

German

Appendix.

267

In France, the older Harpsichord and the later Pianoforte have followed the styles which have affected the decorative furniture of that country, and the same remark applies to the more limited productions of such instruments in other countries. different

During the period of bad taste which prevailed in England thirty or forty years ago, those who made and those who purchased pianos were content to have either the instrument in the most ordinary and commonplace case of mahogany, walnut, or the rosewood which about 1840 came into great favour, or else the cases were designed in an extravagant fashion, and covered with a superabundance of ornament, quite out of keeping with the use of a musical instrument.

Two

illustrations in Chapter IX., one of Broadwood's Grand, and the other of an upright in Boule's style of work, by Leistler, of Vienna, may be taken as the most favourable examples of pinaoforte decorations at the time of the 1851

Exhibition. Latterly there has been amongst leading manufacturers, especially those of own country, a marked improvement, and the cases are made of rare and carefully chosen woods, and the style adapted, in many instances to the furniture Mr. of the room. Sir Alma Tadema designed cases in the Byzantine style. Burne-Jones painted one with an elaborate design of figures and scrolls another with a shower of roses right across the sounding board, and he also revived the Mr. Waterhouse, old-fashioned trestle support, formerly used for harpsichords. R.A., Mr. John Birnie Philip, who executed the podium of the Albert Memorial, Mr. T. G. Jackson, R.A., and others, have also designed piano cases for friends

our

;

and

clients.

In the "Inventions" Exhibition, a few years since, there was a very good opportunity of noticing the advance in design of the Pianoforte. In nearly every instance the old fashioned fretwork front had been abandoned for a painting or a marquetry panel. Some were enamelled white, and relieved by gilding others had a kind of gesso-work decoration, and the different fashionable styles of furniture were reproduced with various modifications. Amongst others, Kirkmans exhibited a grand and an upright made from designs by Col. Edis, and Hopkinson a boudoir grand and some small cottage pianos in satinwood and marquetry, and also in satinwood painted in the old English style, and having silk panels in front with copies of Bartolozzi prints. The designs were in the latter case made by the author. Broadwoods, and other English firms, also produced special designs. Since this Exhibition, if there has not been improvement, there has been endless variety, and the piano case is now designed and decorated to please the taste of the most fastidious or the most eccentric. ;

.. .

..

.

INDEX Note.

—The

Names

of

Designers

several

Index, will be found in the

list

in the

and

Makers, omitted from the

Appendix, with references.

PAGE

Academy (French) of the Adam, Robert and James

Arts founded

146

174, 175, 195, 227, 236

/Estheticism

239. 240

Ahasuerus, Palace of

2

.

Alcock, Sir Rutherford, Collection of "

..

..

"

American Sketches

.

Angelo, Michael

.

131

246

48, 49, 169

Anglo-Saxon Furniture

..24, 28

Arabesque Ornament, origin of

..

Arabian Woodwork

..

141-143

Ark, reference to the

..

1

Armoires, mention of Art Journal, the 104,

.

6r, 62, 147, 221

.

11, 219,

1

138

222, 223,224,225,231

Arts and Crafts Exhibition Society.

.

241, 258

Aspinwall, of Grosvenor Street

Assyrian Furniture

Aubusson Tapestry Audley End Austrian

Work

Barbers'

Company, Hall

of the

Baroque, the style Barry, Sir Charles, R.A.

Beauvais Tapestry

151, 154,

Bedroom Furniture

'55.

..

Bedstead of Jeanne d'Albret. Bedstead

in the

Cluny Museum

Bellows, Italian

Benjamin,

Mr

,

referred to

.

Berain, Charles, French artist " Bergere (Chaise) "

Bethnal Green

..

Museum

Biblical references

Birch, Dr., reference to

Bird wood, Sir George, referred to Black, Mr.

Adam,

reference to

Bloomfield, Mr. Reginald T.

Boards and Trestles Boleyn, Anna, Chair to

Bombay

Furniture

Bonnaffe, referred to

Boucher,

.

artist

Boudoir Boule, Andre Charles. Brackets, Wall British

the

Museum, ..

reference to specimens in

1,3.4.5.6,7,8,9,11,23,26,28

PAGE

Brittany Furniture

Broad wood, Messrs Bronze Mountings

.

.

146,

..

..

..62,63

..

..

231,266,267

158, 159, 162, 163, 179 232, 265

Bruges, Chimney-piece at..

..

..

63

Bryan, Michael, referred to

..

..

48

.

...

.. ..

..

Index.

269

PAGE

Chippendale's

Work

..

125, 168, 173, 177, 178,

182,183,200

179, 180, 181,

Chippendale's " Gentleman " maker's Director

..

..

Christianity, Influence of

..

..

and

Cabinet-

,,

18

..

147, 151

reference to

.,

,,

old catalogues of

..

.

220,221

..

Cicero's Tables Cipriani

13 174. 192

..

Clapton, Dr. Edward, reference to

Cleyn Francesco

Club Houses

London

of

.

Cluny Museum, reference

13

.

..103, 104, 123

..

..

.

.

.

:

to.

Colbert, Finance Minister

..

Collard's predecessors

Collinson

& Lock

Work

Collman, L. W.,

of

Constantinople, Capture of

221,

222

..

61

..

146

267

.

.

.

.

220

.

.

220

•

•

17

.

Cope, Sir Walter

Cope Castle

103 103

..

Coronation Chair, The

30-32

••

Correggio

..

49

Couch, introduction of

..

107

Crace,

Work

of

.

Cromwell referred

..

to

212

.

.

Crane, Mr. Walter

241, 242, 246

..

no,

.

Crusades, Influence of the Cutler, Mr.

III

17

T

.

246

.

Cypselus of Corinth, Chest of

Dado,

the, described

21, 22

Dalburgia or Blackwood

Damascus, Davillier,

Room

••

from a house

in

Dining Room,"

Douthwaite, Mr.

to

the, various definitions

Divan, derivation of

W.

133

1 39-141

.

Baron

Dickens, Charles, referred "

216

..

Dagobert Chair

..

R., referred to

Dowbiggin (Gillow's apprentice)

..

69

••

238

.

200

••

143

••

83

.

I94, 212

Dryden quoted.

••

199

Diirer, A., referred to..

..

70

D'Urbino Bramante

..

48

Du Sommerard

..

referred to

Dutch Furniture

Eagle House, Wimbledon Eastlake, Mr.

C,

..61, 63-66, I7O, 206 ..

reference to

Edis, Col. Robert, referred to

Elgin and Kincardine, Earl

Elizabethan

Work

Empire Furniture

.

..

20

.

..

of, .

..

..

..

104

99, 100, 102, 245 ..

245,267

Collection of .

.

..

Work

131

67, 77, 102

203-215

..

Evelyn's Diary. Exhibition,

177-180

Manson & Wood, Messrs...

Christie,

PAGE

English

.

..

..

..

..

71

..

..

..

..

112

..

..

133

The Colonial .. The Great (1851)

228, 229, 230

.

. ..

. .

....

.

.

Index.

270

,

PAGE

Greuze, reference to

l6l

.

Jones Collection,

The

156- 158, 162

Hall, Mr. S.

C,

referred to

158 166

Hamilton Palace Collection Co,

Hampton Court Palace

72, 73, 79, 112,

Hardwick Hall

77.

Harpsichord, the

172,231, 266, 267

..

..

Harrison quoted

73

House Heaton, J. Aldham, Mr., Hebrew Furniture

••77. 78

Hatfield

Henri

referred to

202

.

.

2

61

timeof

II.,

Henri IV., style of Art

France

in

Hepplewhite,

72

Work

of

..

61

..

.

Henry VIII

73.

.

79

184,186, 191, 200

Herculaneum and Pompeii, Discovery

of

161

..

" Herbert's " Antiquities

..

84

Hertford House Collection

••

247

Holbein

.

.

.

.

.

.

7 2, 76, 79 107, 108

Hook, Theodore Holland House

..

..

102,103, 104, 123

Holland, Lord.

102, 103

& Sons

194, 212

Holland

Holmes, W., designer

Home

Arts and Industries Association

Hope, Thomas, design by

.

Hopkinson's Pianos

Boheme Howard & Sons, firm

Hotel de

founded

of,

Ilchester, Lady, referred to

.

.

•

•

225

.

.

242

.

.

210

.

.

267

..

36

.

212

..

103

.

Ince, W., contemporary of Chippendale (Ince

and Mayhew's Work)

183, 184

Indian Furniture Indian

Museum, The.

..

Indo-Portuguese Furniture Intarsia

.-134,

..

Work, or Tarsia

Inventories, Old Ireton, General, Italian

House

of

Carved Furniture

.

..

..226,

Italian Renaissance

Jackson, Mr. T. G., A.R.A., referred to 53. io 4l

Jackson

& Graham

Jacobean Furniture Jacquemart, M., reference

The Revolution Japanese Joiner, The Japan,

to

in

Japanned Furniture Jeanne

d' Albret,

Jones, Inigo

Bedstead of

187,

..

. ..

... ....

.. .. .

.

.

.

.. . .

.. . . .

..

Index.

271

PAGE

Marie Louise, Cabinet designed Marqueterie

.

..

54, 61, 66, 150, 155, 237,

.

Maskell, Mr., reference to

Mayhew,

for

Prignot, Designs of

238

Mr. Edwards, Essay on Furniture 242, 244 Pugin, Mr. A. W., work of

..20, 53,

.

05

contemporary of Chippendale

J.,

183, 190, 191

Medicis Family, Influence of the

.

.

.

58

Meyrick,

.

.

.

79

.

.

.

.

.

.

.

.

.

S.

.

.

.

Middle Temple Hall

83,84

Miles and Edwards

Milton quoted

.

.

.

.

.

Mirror Frame, Elizabethan Mirror, Mosaic.

.

..

..

Mirrors, introduction of

.

p AGE

204

Radspieler of

199

Raleigh, Sir

135

Renaissance

150

Renaissance

" Mobilier National," Collection of 6o, 61, 159, 163

Mounting

to

..

Norman

..

Notes and Queries

..

Oak Panelling

3.

..

Panelling (oak).,

..

Papier-Mache Work

..

248

179

66 107 4.

5

Revival of Art in France

.

.

Ricardo, Mr. Halsey

..

..

..

Rococo

.

-3'

W ork of

Rogers, Harry,

Picau, French carver

..

Pietra-dura introduced Pindar, Sir Paul,

House

of

54

..

J.

Hungerford, reference 12,

80, 95,

Work

Prie Dieu Chair, the

14,

134, 161,

Pompadour, Madame Portuguese

179

.

Pirdnesi Pollen, Mr.

.. ••

Furniture

..

..70-78

105, .

..

..

55.

House

Salting,

Mr,

48 7i

.

H

of

Collection of

..

..

Saxe-Coburg,

244

242, 244, 249

.

..

..

..

.

.

.

.

.

.

.

.

49

late Duke of, Woodwork

J

.

Art Collection 22,

Scott, Sir Walter, reference to

Screens, Louis

XV.

159

Scrowled Chair

69

Secret Drawers,

35, 58

39-143

del

Science and Art Department, the

199,

131

168

69,

Satinwood, introduction of

Scandinavian

30, 31, 59, 76

..

to

AfV^

Andrea

20

19,

Salzburg, Bishop's Palace at

Sarto,

23

.

Sandringham House, referred Saracenic

242

239, 240, 241

18,

Chapel

Sallust,

16

15, .

..

Augustine's Chair

174

18,

223, 224

..

..12, 13, 14,

..

in

10S,

216 225, 226

195,

Woodwork

109

to

103

.. ..

Rowe, Miss, and School of Woodcarving.

St.

266, 267

58

.

..

.

7

St. Saviour's

Pianoforte, the.

.

241, 242

..

quoted

T.,

Style, the

Ruskin, Mr., quoted

204

168, 203, 204

Riesener, Court Ebeniste 159, 163, 164, 165, 167, 203

Robinson, Mr. G.

Russian

136-139

"

Richardson's " Studies

142

Kunst

..

Henry

Rich, Sir

in

••32. 34. 87, 106,

..

.

Paxton, Sir Joseph

Persian Designs

70-71

in

..

Revolution, the French

Chairs

translator of "

..

67-70

.

..

Church

C,

..

..

79, 80, 81, 89,

"

57-62 ..

48-57

Restoration, the

St. Peter's

Hause

169

Italy

St. Peter's

Perkins, Mr,

87,

86,

72-89

Germany

Passe, C. de

Penshurst Place

48,

..

139. 143

Museum

44,

France

,,

Roman

Ottoman, derivation of Oxford

..

England

..63-66

(see Panelling)

Oriental Conservatism

153

.

28

Nineveh, Discoveries in

152,

..

..

..

.

France

The Netherlands

civilisation, influence of

North Holland, Furniture of

169

Spain

204, 206

Nilson, French carver

247

48, 49,

232

54

.

.

212

of Furniture

Munich, Work and Exhibition of

.

132

92

132

240, 246

Napoleon alluded

.

the, in

..

in

244, 245, 246

W.

Morris, Mr.

.

'33

"

W.

Regency, Period of

79,

..

57. 68, 69,

Le Costume Historique Munich (manufacturer)

Raffaelle, referred to

..

Morant's Furniture

220

..

Racinet's Work, "

..

..

..

Queen Anne Furniture Queen Victoria's Collection

212

78, 79

..

Prior,

.

Modern fashion of Furnishing Mogul Empire, The Monbro .. ..

..

period

.

23,

)f

74

131

169, 170

96 26 154 10S

etc., in

Sedan Chair, the

Furniture

101

154

..

.. ..

.

.

..

.

.

Index.

272

PAGE

Seddon, Thomas, and his Sons,

Marquise

Serilly,

de,

Boudoir

Work

of

Sevres Porcelain, introduction of

Tarsia Work, or Intarsia

of ..

.