,,chats ,,on ,,old ,,furniture ,illustration3 ,jacobean ,chair4 ,,chats ,,on ,,old ,,furniture ,press ,notices1 ,first ,edition4 ,mr4 ,hayden knows his subject intimately4--,pall ,mall ,gazette4 ,the hints to collectors are the best and clearest we have seen2 so that altogether this is a model book of its kind4--,athenaeum4 ,a useful and instructive volume4--,spectator4 ,an abundance of illustrations completes a well-written and well-constructed history4--,daily ,news4 ,mr4 ,hayden's taste is sound and his knowledge thorough4--,scotsman4 ,a book of more than usual comprehensiveness and more than usual merit4--,vanity ,fair4 ,mr4 ,hayden has worked at his subject on systematic lines1 and has made his book what it purports to be--a practical guide for the collector4--,saturday ,review4 ,,chats ,,on ,,old ,,china ,,by ,,the ,,same ,,author4 ,second ,edition4 ,price #es4 net4 ,with ,coloured ,frontispiece and ,reproductions of #aef ,marks and #hi ,specimens of ,china4 ,a ,list of ,,sale ,,prices and a full ,,index increase the usefulness of the ,volume4 ,this is a handy book of reference to enable ,amateur ,collectors to distinguish between the productions of the various factories4 ,press ,notices1 ,first ,edition4 ,a handsome handbook that the amateur in doubt will find useful1 and the china-lover will enjoy for its illustrations1 and for the author's obvious love and understanding of his subject4--,st4 ,james's ,gazette4 ,all lovers of china will find much entertainment in this volume4--,daily ,news4 ,it gives in a few pithy chapters just what the beginner wants to know about the principal varieties of ,english ware4 ,we can warmly commend the book to the china collector4--,pall ,mall ,gazette4 ,one of the best points about the book is the clear way in which the characteristics of each factory are noted down separately1 so that the veriest tyro ought to be able to judge for himself if he has a piece or pieces which would come under this heading1 and the marks are very accurately given4--,queen4 ,,in ,,preparation4 ,,chats ,,on ,,old ,,prints ,price #es4 net4 ,illustrated with ,coloured ,frontispiece and #gj ,full-page ,reproductions from ,engravings4 ,with ,,glossary of ,technical ,terms1 ,,bibliography1 full ,,index and ,,table of more than #cej of the principal ,english and ,continental ,engravers from the ,x,v,ith to the ,x,i,xth centuries1 together with copious notes as to ,,prices and values of old prints4 ,,london3 ,t4 ,,fisher ,,unwin1 ,,adelphi ,,terrace4 ,illustration ,chats on ,old ,furniture ,a ,practical ,guide for ,collectors ,by ,arthur ,hayden ,author of ,chats on ,english ,china ,,london3 ,t4 ,,fisher ,,unwin #a ,,adelphi ,,terrace4 ,,mcmvi 99 99 99 99 99 ,first ,edition1 #aije4 ,second #aijf4 ,all rights reserved4 ,illustration3 ,portion of ,carved ,walnut ,virginal4 ,,preface ,this volume has been written to enable those who have a taste for the furniture of a bygone day to arrive at some conclusion as to the essential points of the various styles made in ,england4 ,an attempt has been made to give some lucid historical account of the progress and development in the art of making domestic furniture1 with especial reference to its evolution in this country4 ,inasmuch as many of the finest specimens of old ,english woodwork and furniture have left the country of their origin and crossed the ,atlantic1 it is time that the public should awaken to the fact that the heritages of their forefathers are objects of envy to all lovers of art4 ,it is a painful reflection to know that the temptation of money will shortly denude the old farmhouses and manor houses of ,england of their unappreciated treasures4 ,before the hand of the despoiler shall have snatched everything within reach1 it is the hope of the writer that this little volume may not fall on stony ground1 and that the possessors of fine old ,english furniture may realise their responsibilities4 ,it has been thought advisable to touch upon ,french furniture as exemplified in the national collections of such importance as the ,jones ,bequest at the ,victoria and ,albert ,museum1 and the ,wallace ,collection1 to show the influence of foreign art upon our own designers4 ,similarly1 ,italian1 ,spanish1 and ,dutch furniture1 of which many remarkable examples are in private collections in this country1 has been dealt with in passing1 to enable the reader to estimate the relation of ,english art to contemporary foreign schools of decoration and design4 ,the authorities of the ,victoria and ,albert ,museum have willingly extended their assistance in regard to photographs1 and by the special permission of the ,board of ,education the frontispiece and other representative examples in the national collection appear as illustrations to this volume4 ,i have to acknowledge generous assistance and courteous permission from owners of fine specimens in allowing me facilities for reproducing illustrations of them in this volume4 ,i am especially indebted to the ,right ,honourable ,sir ,spencer ,ponsonby-,fane1 ,g4,c4,b41 ,i4,s4,o41 and to the ,rev4 ,canon ,haig ,brown1 ,master of the ,charterhouse1 for the inclusion of illustrations of furniture of exceptional interest4 ,the proprietors of the ,connoisseur have generously furnished me with lists of prices obtained at auction from their useful monthly publication1 ,auction ,sale ,prices1 and have allowed the reproduction of illustrations which have appeared in the pages of the ,connoisseur4 ,my thanks are due to ,messrs4 ,hampton1 of ,pall ,mall1 for their kind permission to include as illustrations several fine pieces from their collection of antique furniture4 ,i am under a similar obligation to ,messrs4 ,waring1 who have kindly allowed me to select some of their typical examples4 ,to my other friends1 without whose kind advice and valuable aid this volume could never have appeared1 ,i tender a grateful and appreciative acknowledgment of my indebtedness4 ,,arthur ,,hayden4 ,illustration3 ,italian ,chair about #afbj ,illustration3 ,spanish ,chest4 ,,contents ,,page ,,preface #g ,,list ,,of ,,illustrations #ac ,,bibliography #ai ,,glossary ,,of ,,terms ,,used #bc ,,chapter ,i4 ,,the ,,renaissance ,,on ,,the ,,continent #ca ,,ii4 ,,the ,,english ,,renaissance #eg ,,iii4 ,,stuart ,,or ,,jacobean 7,,seventeenth ,,century7 #gi ,,iv4 ,,stuart ,,or ,,jacobean 7,,late ,,seventeenth ,,century7 #aji ,v4 ,,queen ,,anne ,,style #acc ,,vi4 ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xiv4 #aee ,,vii4 ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xv4 #afi ,,viii4 ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xvi4 #ahi ,,ix4 ,,french ,,furniture4 ,,the ,,first ,,empire ,,style #bja ,x4 ,,chippendale ,,and ,,his ,,style #baa ,,xi4 ,,sheraton1 ,,adam1 ,,and ,,heppelwhite ,,styles #bci ,,xii4 ,,hints ,,to ,,collectors #beg ,,index #bge ,illustration3 ,chippendale ,bureau ,bookcase4 ,,list ,,of ,,illustrations ,,jacobean ,,oak ,,cabinet2 decorated with mother-of-pearl1 ebony1 and ivory4 ,dated #afec4 7,by permission of the ,board of ,education7 ,frontispiece ,,carved ,,wood ,,frame2 decorated with gold stucco4 ,sixteenth ,century4 ,italian ,title page ,,page ,,chapter ,i4--,,the ,,renaissance ,,on ,,the ,,continent4 ,,portion ,,of ,,carved ,,cornice1 ,italian1 ,sixteenth ,century #cc ,,frame ,,of ,,wood1 with female terminal figures1 ,italian1 late ,sixteenth ,century #ce ,,front ,,of ,,coffer1 ,italian1 late ,fifteenth ,century #ch ,,bridal ,,chest1 ,gothic design1 middle of ,fifteenth ,century #ci ,,front ,,of ,,oak ,,chest1 ,french1 ,fifteenth ,century #dd ,,walnut ,,sideboard1 ,french1 middle of ,sixteenth ,century #de ,,cabinet1 ,,french 7,,lyons71 second half of ,sixteenth ,century #dh ,,ebony ,,and ,,ivory ,,marquetry ,,cabinet1 ,french1 middle of ,sixteenth ,century #ej ,,spanish ,,cabinet ,,and ,,stand1 carved chestnut1 first half of ,sixteenth ,century #ea ,,spanish ,,chest1 carved walnut1 ,sixteenth ,century #eb ,,chapter ,,ii4--,,the ,,english ,,renaissance4 ,,carved ,,oak ,,chest1 ,english1 ,sixteenth ,century #ei ,,bench ,,of ,,oak1 ,french1 about #aejj #fj ,,portion ,,of ,,carved ,,walnut ,,virginal1 ,flemish1 ,sixteenth ,century #fa ,,carved ,,oak ,,coffer1 ,french1 showing interlaced ribbon-work #fa ,,fireplace ,,and ,,oak ,,panelling1 ,old ,palace1 ,bromley-by-,bow4 ,built in #afjf #fd ,,elizabethan ,,bedstead1 dated #aeic #ff ,,panel ,,of ,,carved ,,oak1 ,english1 early ,sixteenth ,century #fh ,,mirror1 in oak frame1 ,english1 dated #afjc #ga ,,court ,,cupboard1 carved oak1 ,english1 dated #afjc #gc carved oak1 early ,seventeenth ,century #gd about #aehj #ge ,,elizabethan ,,oak ,,table #gh ,,chapter ,,iii4--,,stuart ,,or ,,jacobean4 ,,seventeenth ,,century4 ,,gate-,,leg ,,table #ha ,,oak ,,chair1 made from ,sir ,francis ,drake's ship1 the ,golden ,hind #hc ,,oak ,,table1 dated #afaf1 bearing arms of ,thomas ,sutton #he ,,chair ,,used ,,by ,,james ,i4 #hg ,,jacobean ,,chair1 at ,knole #hi ,,jacobean ,,stool1 at ,knole #ij ,,carved ,,walnut ,,door 7,,upper ,,half71 ,french1 showing ribbon-work #ia ,,oak ,,chair1 with arms of first ,earl of ,strafford #ic ,,italian ,,chair1 about #afbj #id ,,high-,,back ,,oak ,,chair1 ,early ,jacobean1 formerly in possession of ,charles ,i4 #ie ,,jacobean ,,chairs1 various types #ig ,,ebony ,,cabinet1 formerly the property of ,oliver ,cromwell #ii ,,jacobean ,,carved ,,oak ,,chairs1 ,yorkshire and ,derbyshire types #aja ,,jacobean ,,oak ,,cupboard1 about #afbj #aja ,,jacobean ,,oak ,,chairs #aje ,,carved ,,oak ,,cradle1 time of ,charles ,i41 dated #afda #ajg ,,chapter ,,iv4--,,stuart ,,or ,,jacobean4 ,,late ,,seventeenth ,,century4 ,,interior ,,of ,,dutch ,,house1 latter half of ,seventeenth ,century #aaa ,,cabinet ,,of ,,time ,,of ,,charles ,,ii41 showing exterior #aab showing interior #aac ,,portuguese ,,high-,,back ,,chair #aae ,,oak ,,chest ,,of ,,drawers1 late ,jacobean #aag panelled front1 late ,jacobean #aai ,,charles ,,ii4 ,,oak ,,chair #abj ,,charles ,,ii4 ,,open ,,high-,,back ,,oak ,,chair #aba ,,charles ,,ii4 ,,chair1 cane back and seat #abb ,,james ,,ii4 ,,chair1 cane back and seat #abc ,,william ,,and ,,mary ,,chair #abe ,,portuguese ,,chair-,,back 7,,upper ,,portion71 cut leather work #abh ,,chapter ,v4--,,queen ,,anne ,,style4 ,,queen ,,anne ,,oak ,,settle #ace ,,queen ,,anne ,,mirror ,,frame1 carved walnut1 gilded #acg ,,oak ,,desk1 dated #afif #aci ,,oak ,,cupboard #adj ,,queen ,,anne ,,cabinet1 burr-walnut panel #ada ,,queen ,,anne ,,chairs1 various types #adc ,,dutch ,,marquetry ,,cabinet #adg ,,queen ,,anne ,,clock #adh ,,queen ,,anne ,,settle1 oak1 dated #agje #adi ,,old ,,lac ,,cabinet #aej ,,lac ,,cabinet1 middle of ,eighteenth ,century #aea showing doors closed #aeb chased brass escutcheon #aed ,,chapter ,,vi4--,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xiv4 ,,cassette1 ,french1 ,seventeenth ,century #aeg ,,chair ,,of ,,period ,,of ,,louis ,,xiii4 #aei ,,pedestals1 showing boule and counter-boule work #afc ,,boule ,,cabinet1 ,,or ,,armoire #afe ,,chapter ,,vii4--,,french ,,furniture4 ,,louis ,,xv4 ,,commode1 by ,cressent #aga ,,commode1 formerly in the ,hamilton ,collection #agc ,,commode1 by ,caffieri #age ,,escritoire ,a ,,toilette1 formerly in possession of ,marie ,antoinette #agi ,,secretaire1 by ,riesener #aha ,,bureau ,,du ,,roi1 the masterpiece of ,riesener #ahc ,,chapter ,,viii4--,,french ,,furniture4 ,,louis ,,xvi4 ,,jewel ,,cabinet1 ,j4 ,h4 ,riesener1 ,mounts by ,gouthiere #aic ,,commode1 by ,riesener #aig ,,chapter ,,ix4--,,french ,,furniture4 ,,the ,,first ,,empire ,,style4 ,,portrait ,,of ,,madame ,,recamier1 after ,david #bjc ,,detail ,,of ,,tripod ,,table found at ,pompeii #bje ,,servante1 ,french1 late ,eighteenth ,century #bjf ,,jewel ,,cabinet ,,of ,,the ,,empress ,,marie ,,louise #bjg ,,armchair1 rosewood1 showing ,empire influence #baj ,,chapter ,x4--,,chippendale ,,and ,,his ,,style4 ,,table ,,made ,,by ,,chippendale #bac ,,oliver ,,goldsmith',s ,,chair #bae ,,chippendale ,,settee1 walnut1 about #agdj #bag oak1 about #agdj #bai ,,chippendale ,,chair-,,back1 ribbon pattern #bbb ,,ribbon-,,backed ,,chippendale ,,chair1 formerly at ,blenheim #bbc ,,chippendale ,,corner ,,chair1 about #aghj #bbd ,,gothic ,,chippendale ,,chair-,,back #bbe ,,mahogany ,,chippendale ,,chair1 about #agdj #bbf about #aggj #bbg ,,chippendale ,,mirror #bbi ,,chippendale ,,bureau ,,bookcase #bca ,,mahogany ,,chair1 ,chippendale ,style #bcb ,,cottage ,,chairs1 beechwood1 ,chippendale style #bcc ,,interior ,,of ,,room ,,of ,,about #aghb1 after ,stothard #bce ,,chapter ,,xi4--,,sheraton1 ,,adam1 ,,and ,,heppelwhite ,,styles4 ,,heppelwhite ,,settee1 mahogany #bda ,,sheraton1 ,adam1 and ,heppelwhite ,chairs #bdc ,,old ,,english ,,secretaire #bej ,,shield-,,back ,,chair1 late ,eighteenth ,century #bea ,,chapter ,,xii4--,,hints ,,to ,,collectors4 ,,design ,,for ,,spurious ,,marquetry ,,work #bei ,,made-,,up ,,buffet #bfa ,,cabinet ,,of ,,old ,,oak1 made-up #bfg ,,design ,,for ,,spurious ,,marquetry ,,work #bgc ,,piece ,,of ,,spanish ,,chestnut1 showing ravages of worms #bgd ,,bibliography ,,general4 ,ancient ,furniture1 ,specimens of4 ,h4 ,shaw4 ,quaritch4 #ahcf4 ,l#aj #ajs41 now worth ,l#c #cs4 ,ancient and ,modern ,furniture4 ,b4 ,j4 ,talbert4 ,batsford4 #ahgf4 #cbs4 ,antique ,furniture1 ,sketches of4 ,w4 ,s4 ,ogden4 ,batsford4 #ahhi4 #abs4 #f;d4 ,carved ,furniture and ,woodwork4 ,m4 ,marshall4 ,w4 ,h4 ,allen4 #ahhh4 ,l#c4 ,carved ,oak in ,woodwork and ,furniture from ,ancient ,houses4 ,w4 ,b4 ,sanders4 #ahhc4 #cas4 #f;d4 ,decorative ,furniture1 ,english and ,french1 of the ,sixteenth1 ,seventeenth and ,eighteenth ,centuries4 ,w4 ,h4 ,hackett4 #gs4 #f;d4 ,ecclesiastical ,woodwork1 ,remains of4 ,t4 ,t4 ,bury4 ,lockwood4 #ahdg4 #bas4 ,french and ,english ,furniture4 ,e4 ,singleton4 ,hodder4 #aijd4 ,furniture1 ,ancient and ,modern4 ,j4 ,w4 ,small4 ,batsford4 #ahhc4 #bas4 ,furniture and ,decoration4 ,j4 ,a4 ,heaton4 #ahij-ib4 ,furniture and ,woodwork1 ,ancient and ,modern4 ,j4 ,h4 ,pollen4 ,chapman4 #ahgd-e4 #bas4 and #bs4 #f;d4 ,furniture and ,woodwork4 ,j4 ,h4 ,pollen4 ,stanford4 #ahgf4 #cs4 #f;d4 ,furniture of the ,olden ,time4 ,f4 ,c4 ,morse4 ,macmillan4 #abs4 #f;d4 ,gothic ,furniture1 ,connoisseur4 ,may1 #aijc4 ,history of ,furniture ,illustrated4 ,f4 ,litchfield4 ,truslove4 #bes4 ,marquetry1 ,parquetry1 ,boulle and other ,inlay ,work4 ,w4 ,bemrose4 #ahgb and #ahhb4 ,old ,furniture1 ,english and ,foreign4 ,a4 ,e4 ,chancellor4 ,batsford4 ,l#a #es4 ,old ,furniture from ,twelfth to ,eighteenth ,century4 ,wyman4 #ahhc4 #ajs4 #f;d4 ,style in ,furniture and ,woodwork4 ,r4 ,brook4 ,privately printed4 #ahhi4 #bas4 ,,particular4 ,,english4--,adam ,r4 ,j41 ,the ,architecture1 ,decoration an ,furniture of ,r4 ,j4 ,adam1 selected from works published #aggh-ahbb4 ,london4 #ahhj4 ,adam1 ,the ,brothers4 ,connoisseur4 ,may1 ,june and ,august1 #aijd4 ,ancient ,wood and ,iron ,work in ,cambridge4 ,w4 ,b4 ,redfern4 ,spalding4 #ahhg4 #cas4 #f;d4 ,chippendale1 ,t4 ,cabinet ,makers' ,directory4 ,published in #aged1 #agee and #agfb4 7,the best edition is the last as it contains #bjj plates as against #afa in the earlier editions4 ,its value is about ,l#ab47 ,chippendale and ,his ,work4 ,connoisseur1 ,january1 ,july1 ,august1 ,september1 ,october1 ,november1 ,december1 #aijc1 ,january1 #aijd4 ,chippendale1 ,sheraton and ,heppelwhite1 ,the ,designs of4 ,arranged by ,j4 ,m4 ,bell4 #aijj4 ,worth ,l#b #bs4 ,chippendale's ,contemporaries4 ,connoisseur1 ,march1 #aijd4 ,chippendale and ,sheraton4 ,connoisseur1 ,may1 #aijb4 ,coffers and ,cupboards1 ,ancient4 ,fred ,roe4 ,methuen ,co4 #aijc4 ,l#c #cs4 ,english ,furniture1 ,history of4 ,percy ,macquoid4 ,published by ,lawrence ,bullen in #gs4 #f;d4 parts1 the first of which appeared in ,november1 #aijd4 ,english ,furniture and ,woodwork during the ,eighteenth ,century4 ,t4 ,a4 ,strange4 #abs4 #f;d4 ,furniture of our ,forefathers4 ,e4 ,singleton4 ,batsford4 ,l#c #aes4 ,hatfield ,house1 ,history of4 ,q4 ,f4 ,robinson4 #ahhc4 ,hardwicke ,hall1 ,history of4 ,q4 ,f4 ,robinson4 #ahce4 ,heppelwhite1 ,a41 ,cabinet ,maker4 ,published #aghh1 #aghi1 and #agid1 and contains about #acj plates4 ,value ,l#h to ,l#ab4 ,reprint issued in #ahig4 ,worth ,l#b #ajs4 ,ince and ,mayhew4 ,household ,furniture4 ,n4d4 7#aggj74 ,worth ,l#bj4 ,jacobean ,furniture4 ,connoisseur1 ,september1 #aijb4 ,knole ,house1 ,its ,state ,rooms1 c4 7,elizabethan and other ,furniture47 ,s4 ,j4 ,mackie4 #aheh4 ,manwaring1 ,r41 ,cabinet and ,chairmaker's ,real ,friend4 ,london4 #agfe4 ,mansions of ,england in the ,olden ,time4 ,j4 ,nash4 #ahci-di4 ,old ,english ,houses and ,furniture4 ,m4 ,b4 ,adam4 ,batsford4 #ahhi4 #bes4 ,old ,english ,oak ,furniture4 ,j4 ,w4 ,hurrell4 ,batsford4 ,l#b #bs4 ,old ,english ,furniture4 ,frederick ,fenn and ,b4 ,wyllie4 ,newnes4 #gs4 #f;d4 net4 ,old ,oak1 ,the ,art of ,collecting4 ,connoisseur1 ,september1 #aija4 ,sheraton1 ,t4 ,cabinet ,maker's ,drawing ,book4 #agia-c edition contains #aaa plates4 ,value ,l#ac4 #agid edition contains #aai plates4 ,value ,l#aj4 ,sheraton ,t4 ,cabinet ,directory4 #ahjc4 ,staircases and ,handrails of the ,age of ,elizabeth4 ,j4 ,weale4 #ahfj4 ,upholsterer's ,repository4 ,ackermann4 ,n4d4 ,worth ,l#e4 ,,french4--,dictionnaire de l',ameublement4 ,h4 ,havard4 ,paris4 ,n4d4 ,worth ,l#e4 ,dictionnaire ,raisonne4 ,m4 ,viollet-le-,duc4 #aheh-ge4 #f vols4 ,worth ,l#aj4 ,french ,furniture4 ,lady ,dilke4 ,bell4 #aija4 ,french ,eighteenth ,century ,furniture1 ,handbook to the4 ,jones ,collection ,catalogue4 #ahha4 ,french ,eighteenth ,century ,furniture1 ,handbook to the4 ,wallace ,collection ,catalogue4 #aijd4 ,history of ,furniture4 ,a4 ,jacquemart4 ,chapman4 #ahgh4 #cas4 #f;d4 ,issued in ,paris in #ahgf1 under the title ,histoire du ,mobilier4 ,le ,meuble en ,france au ,,xvi ,siecle4 ,e4 ,bonnaffe4 ,paris4 #ahhg4 ,worth #ajs4 ,,japanese4--,lacquer ,industry of ,japan4 ,report of ,her ,majesty's ,acting-,consul at ,hakodate4 ,j4 ,j4 ,quin4 ,parliamentary ,paper4 #hvo4 ,london4 #ahhb4 ,,scottish4--,scottish ,woodwork of ,sixteenth and ,seventeenth ,centuries4 ,j4 ,w4 ,small4 ,waterston4 #ahgh4 ,l#d #ds4 ,,spanish4--,spanish and ,portuguese4 ,catalogue of ,special ,loan ,exhibition of ,spanish and ,portuguese ,ornamental ,art4 #ahha4 ,,glossary ,,of ,,terms ,,used ,armoire4--,a large cupboard of ,french design of the dimensions of the modern wardrobe4 ,in the days of ,louis ,,xiv4 these pieces were made in magnificent style4 ,the ,jones ,collection at the ,victoria and ,albert ,museum has several fine examples4 7,see illustration1 p4 #afe47 ,baroque4--,used in connection with over ornate and incongruous decoration as in rococo style4 ,bombe4--,a term applied to pieces of furniture which swell out at the sides4 ,boule4--,a special form of marquetry of brass and tortoiseshell perfected by ,andre ,charles ,boule in the reign of ,louis ,,xiv4 7,see ,chapter ,,vi41 where specimens of this kind of work are illustrated47 ,the name has been corrupted into a trade term ,buhl1 to denote this style of marquetry4 ,boule or ,premiere partie is a metal inlay1 usually brass1 applied to a tortoiseshell background4 ,see also ,counter-boule4 ,bureau4--,a cabinet with drawers1 and having a drop-down front for use as a writing-table4 ,bureaux are of many forms4 7,see illustration1 p4 #bca47 ,cabriole4--,used in connection with the legs of tables and chairs which are curved in form1 having a sudden arch outwards from the seat4 7,see illustration1 p4 #adc47 ,caryatides4--,carved female figures applied to columns in ,greek architecture1 as at the ,erectheum at ,athens4 ,they were employed by woodcarvers1 and largely introduced into ,renaissance furniture of an architectural character4 ,elizabethan craftsmen were especially fond of their use as terminals1 and in the florid decoration of elaborate furniture4 ,cassone4--,an ,italian marriage coffer4 ,in ,chapter ,i4 will be found a full description of these cassoni4 ,commode4--,a chest of drawers of ,french style4 ,in the chapters dealing with the styles of ,louis ,,xiv41 ,louis ,,xv41 and ,louis ,,xvi41 these are fully described and illustrations are given4 ,counter-,boule4 ,contre partie4--,see ,chapter ,,vi41 where specimens of this work are illustrated4 ,it consists of a brass groundwork with tortoiseshell inlay4 ,french ,polish4--,a cheap and nasty method used since #ahea to varnish poor-looking wood to disguise its inferiority4 ,it is quicker than the old method of rubbing in oil and turpentine and beeswax4 ,it is composed of shellac dissolved in methylated spirits with colouring matter added4 ,gate-leg table4--,this term is self-explanatory4 ,the legs of this class of table open like a gate4 ,they belong to ,jacobean days1 and are sometimes spoken of as ,cromwellian tables4 ,an illustration of one appears on the cover4 ,gothic4--,this term was originally applied to the mediaeval styles of architecture4 ,it was used as a term of reproach and contempt at a time when it was the fashion to write ,latin and to expect it to become the universal language4 ,in woodcarving the ,gothic style followed the architecture4 ,a fine example of the transition between ,gothic and the oncoming ,renaissance is given 7p4 #dd74 ,inlay4--,a term used for the practice of decorating surfaces and panels of furniture with wood of various colours1 mother-of-pearl1 or ivory4 ,the inlay is let into the wood of which the piece inlaid is composed4 ,jacobean4--,strictly speaking1 only furniture of the days of ,james ,i4 should be termed ,jacobean4 ,but by some collectors the period is held to extend to ,james ,,ii4--that is from #afjc to #afhh4 ,other collectors prefer the term ,carolean for a portion of the above period1 which is equally misleading4 ,jacobean is only a rough generalisation of seventeenth-century furniture4 ,lacquer4 ,lac4--,a transparent varnish used in its perfection by the ,chinese and ,japanese4 7,see ,consular ,report on ,japanese ,lacquered ,work1 in ,bibliography47 ,introduced into ,holland and ,france1 it was imitated with great success4 ,under ,louis ,,xv4 ,vernis-,martin became the rage 7q4v474 ,linen ,pattern4--,a form of carving panels to represent a folded napkin4 ,this particular design was largely used in ,france and ,germany prior to its adoption here4 7,see illustration1 p4 #fj47 ,marquetry4--,inlays of coloured woods1 arranged with some design1 geometric1 floral1 or otherwise1 are classed under this style4 7,see also ,parquetry47 ,mortise4--,a term in carpentry used to denote the hole made in a piece of wood to receive the end of another piece to be joined to it4 ,the portion which fits into the mortise is called the tenon4 ,oil ,polish4--,old furniture1 before the introduction of varnishes and ,french polish and other inartistic effects1 was polished by rubbing the surface with a stone1 if it was a large area as in the case of a table1 and then applying linseed oil and polishing with beeswax and turpentine4 ,the fine tone after centuries of this treatment is evident in old pieces which have a metallic lustre that cannot be imitated4 ,parquetry4--,inlays of woods of the same colour are termed parquetry work in contradistinction to marquetry1 which is in different colour4 ,geometric designs are mainly used as in parquetry floors4 ,reeded4--,this term is applied to the style of decoration by which thin narrow strips of wood are placed side by side on the surface of furniture4 ,renaissance4--,the style which was originated in ,italy in the fifteenth century1 supplanting the ,mediaeval styles which embraced ,byzantine and ,gothic art2 the new-birth was in origin a literary movement1 but quickly affected art1 and grew with surprising rapidity1 and affected every country in ,europe4 ,it is based on ,classic types1 and its influence on furniture and woodwork followed its adoption in architecture4 ,restored4--,this word is the fly in the pot of ointment to all who possess antiquarian tastes4 ,it ought to mean1 in furniture1 that only the most necessary repairs have been made in order to preserve the object4 ,it more often means that a considerable amount of misapplied ingenuity has gone to the remaking of a badly-preserved specimen4 ,restorations are only permissible at the hands of most conscientious craftsmen4 ,rococo4--,a style which was most markedly offensive in the time of ,louis ,,xv4 ,meaningless elaborations of scroll and shell work1 with rocky backgrounds and incongruous ornamentations1 are its chief features4 ,baroque is another term applied to this overloaded style4 ,settee4--,an upholstered form of the settle4 ,settle4--,a wooden seat with back and arms1 capable of seating three or four persons side by side4 ,splat4--,the wooden portion in the back of a chair connecting the top rail with the seat4 ,strapwork4--,this is applied to the form of decoration employed by the ,elizabethan woodcarvers in imitation of ,flemish originals4 7,see p4 #fh47 ,stretcher4--,the rail which connects the legs of a chair or a table with one another4 ,in earlier forms it was used as a footrest to keep the feet from the damp or draughty rush floor4 ,tenon4--,mortise and ,tenon joint4 7,see ,mortise47 ,turned ,work4--,the spiral rails and uprights of chairs were turned with the lathe in ,jacobean days4 ,prior to the introduction of the lathe all work was carved without the use of this tool4 ,pieces of furniture have been found where the maker has carved the turned work in all its details of form1 either from caprice or from ignorance of the existence of the quicker method4 ,veneer4--,a method of using thin layers of wood and laying them on a piece of furniture1 either as marquetry in different colours1 or in one wood only4 ,it was an invention in order to employ finer specimens of wood carefully selected in the parts of a piece of furniture most noticeable4 ,it has been since used to hide inferior wood4 ,vernis-,martin 7,martin's ,varnish74--,the lacquered work of a ,french carriage-painter named ,martin1 who claimed to have discovered the secret of the ,japanese lac1 and who1 in #aggd1 was granted a monopoly for its use4 ,he applied it successfully to all kinds of furniture1 and to fan-guards and sticks4 ,in the days of ,madame du ,pompadour ,vernis-,martin had a great vogue1 and panels prepared by ,martin were elaborately painted upon by ,lancret and ,boucher4 ,to this day his varnish retains its lustre undimmed1 and specimens command high prices4 ,woods used in ,furniture4 ,high-class ,work4--,brazil wood1 ,coromandel1 ,mahogany1 ,maple1 ,oak 7various kinds71 ,olive1 ,rosewood1 ,satinwood1 ,sandalwood1 ,sweet ,cedar1 ,sweet ,chestnut1 ,teak1 ,walnut4 ,commoner ,work4--,ash1 ,beech1 ,birch1 ,cedars 7various71 ,deals1 ,mahogany 7various kinds71 ,pine1 ,walnut4 ,marquetry and ,veneers4--,selected specimens for fine figuring are used as veneers1 and for marquetry of various colours the following are used as being more easily stained3 ,holly1 ,horsechestnut1 ,sycamore1 ,pear1 ,plum ,tree4 ,woods with ,fancy ,names4 ,king ,wood1 ,partridge ,wood1 ,pheasant ,wood1 ,purple ,wood1 ,snakewood1 ,tulip ,wood4 ,these are more rare and finely-marked foreign woods used sparingly in the most expensive furniture4 ,to arrive at the botanical names of these is not an easy matter4 ,to those interested a list of woods used by cabinet-makers with their botanical names is given in ,mr4 ,j4 ,hungerford ,pollen's ,introduction to the ,south ,kensington ,collection of ,furniture4 ,at the ,museum at ,kew ,gardens and in the ,imperial ,institute are collections of rare woods worth examination4 ,i ,,the ,,renaissance ,,on ,,the ,,continent ,illustration3 ,portion of carved cornice of pinewood1 from the ,palazzo ,bensi ,ceccini1 ,venice4 ,italian2 middle of sixteenth century4 7,victoria and ,albert ,museum47 ,,chats ,,on ,,old ,,furniture ,i ,,the ,,renaissance ,,on ,,the ,,continent ,,italy4 ,flight of ,greek scholars to ,italy upon capture of ,constantinople by the ,turks--#adec4 ,rediscovery of ,greek art4 ,florence the centre of the ,renaissance4 ,leo ,x41 ,pope 7#adge-aeba74 ,leonardo da ,vinci 7#adeb-aebj74 ,raphael 7#adhc-aebj74 ,michael ,angelo 7#adgd-aefd74 ,,france4 ,francis ,i4 7#aeae-aedg74 ,henry ,,iv4 7#aehi-afaj74 ,,spain4 ,the crown united under ,ferdinand and ,isabella 7#adeb-aeaf74 ,granada taken from the ,moors--#adib4 ,charles ,v4 7#aeai-aeee74 ,philip ,,ii4 7#aeee-aeih74 ,,germany4 ,maximilian ,i41 ,emperor of ,germany 7#adei-aeai74 ,holbein 7#adih-aedc74 ,in attempting to deal with the subject of old furniture in a manner not too technical1 certain broad divisions have to be made for convenience in classification4 ,the general reader does not want information concerning the iron bed of ,og1 ,king of ,bashan1 nor of ,cicero's table of citrus-wood1 which cost ,l#i1jjj2 nor are details of the chair of ,dagobert and of the jewel-chest of ,richard of ,cornwall of much worth to the modern collector4 ,it will be found convenient to eliminate much extraneous matter1 such as the early origins of furniture and its development in the ,middle ,ages1 and to commence in this country with the ,tudor period4 ,broadly speaking1 ,english furniture falls under three heads--the ,oak ,period1 embracing the furniture of the sixteenth and early seventeenth centuries2 the ,walnut ,period1 including the late seventeenth and early eighteenth centuries2 the ,mahogany ,period1 beginning with the reign of ,george ,,iii4 ,it may be observed that the names of kings and of queens have been applied to various styles of furniture as belonging to their reign4 ,early ,victorian is certainly a more expressive term than early nineteenth century4 ,cromwellian tables1 ,queen ,anne chairs1 or ,louis ,seize commodes all have an especial meaning as referring to styles more or less prevalent when those personages lived4 ,as there is no record of the makers of most of the old ,english furniture1 and as a piece of furniture cannot be judged as can a picture1 the date of manufacture cannot be precisely laid down1 hence the vagueness of much of the classification of old furniture4 ,roughly it may in ,england be dealt with under the ,tudor1 the ,stuart1 and the ,georgian ages4 ,these three divisions do not coincide exactly with the periods of oak1 of walnut1 and of mahogany1 inasmuch as the oak furniture extended well into the ,stuart days1 and walnut was prevalent in the reigns of ,george ,i4 and ,george ,,ii4 ,in any case1 these broad divisions are further divided into sub-heads embracing styles which arose out of the natural development in taste1 or which came and went at the caprice of fashion4 ,illustration3 ,frame of wood1 carved with floral scrollwork1 with female terminal figures4 ,italian2 late sixteenth century4 7,victoria and ,albert ,museum47 ,the formation of a definite ,english character in the furniture of the three periods must be examined in conjunction with the prevailing styles in foreign furniture showing what influences were at work4 ,many conditions governed the introduction of foreign furniture into ,england4 ,renaissance art made a change in architecture1 and a corresponding change took place in furniture4 ,ecclesiastical buildings followed the continental architecture in form and design1 and foreign workmen were employed by the ,church and by the nobility in decorating and embellishing cathedrals and abbeys and feudal castles4 ,the early ,tudor days under ,henry ,,vii4 saw the dawn of the ,renaissance in ,england4 ,jean de ,mabuse and ,torrigiano were invited over the sea by ,henry ,,vii41 and under the sturdy impulse of ,henry ,,viii4 classical learning and love of the fine arts were encouraged4 ,his palaces were furnished with splendour4 ,he wished to emulate the chateau of ,francis at ,fontainebleau4 ,he tried to entice the ,french king's artists with more tempting terms4 ,holbein1 the great master of the ,german school1 came to ,england1 and his influence over ,tudor art was very pronounced4 ,the florid manner of the ,renaissance was tempered with the broader treatment of the northern school4 ,the art1 too1 of the ,flemish woodcarvers found sympathetic reception in this country1 and the harmonious blending of the designs of the ,renaissance craftsmen of the ,italian with those of the ,flemish school resulted in the growth in ,england of the beautiful and characteristic style known as ,tudor4 ,illustration3 ,,front ,,of ,,coffer4 ,,chestnut ,,wood4 ,,italian2 ,,late ,,fifteenth ,,century4 ,with shield of arms supported by two male demi figures terminating in floral scrollwork4 7,victoria and ,albert ,museum47 ,the term ,renaissance is used in regard to that period in the history of art which marked the return to the classic forms employed by the ,greeks and ,romans4 ,the change from the ,gothic or ,mediaeval work to the classic feeling had its origin in ,italy1 and spread1 at first gradually but later with amazing rapidity and growing strength1 into ,germany1 ,spain1 the ,netherlands1 ,france1 and finally to ,england4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,bridal ,,chest4 ,,gothic ,,design4 ,,middle ,,of ,,fifteenth ,,century4 7,munich ,national ,museum47 ,the ,renaissance was in origin a literary movement1 and its influence in art came through literature4 ,the enthusiasm of the new learning acting on craftsmen already trained to the highest degree of technical skill produced work of great brilliance4 ,never did the fine arts rise to such transcendent heights as in ,italy from the fourteenth to the middle of the seventeenth centuries4 ,the late ,john ,addington ,symonds1 in his work on ,the ,renaissance in ,italy1 deals in a comprehensive manner with this memorable period1 during which every city in ,italy1 great or small1 was producing wonderful works of art1 in painting1 in sculpture1 in goldsmiths' work1 in woodcarving1 in furniture1 of which now every civilised country struggles to obtain for its art collections the scattered fragments of these great days4 ,during that period of prodigious activity1 he says1 the entire nation seemed to be endowed with an instinct for the beautiful and with the capacity for producing it in every conceivable form4 ,in the middle of the fourteenth century the ,renaissance style in woodwork was at first more evident in the churches and in the palaces of the nobility in the ,italian states4 ,some of the most magnificent examples of carved woodwork are preserved in the choir-stalls1 doorways and panelling of the churches and cathedrals of ,italy4 ,the great artists of the day gave their talents to the production of woodwork and furniture in various materials4 ,wood was chiefly employed in making furniture1 usually oak1 cypress1 ebony1 walnut1 or chestnut1 which last wood is very similar in appearance to oak4 ,these were decorated with gilding and paintings1 and were inlaid with other woods1 or agate1 lapis-lazuli1 and marbles of various tints1 with ivory1 tortoiseshell1 mother-of-pearl1 or with ornaments of hammered silver4 ,the ,victoria and ,albert ,museum contains some splendid examples of fourteenth and fifteenth century ,italian ,renaissance furniture1 which illustrate well the magnificence and virility of the great art movement which influenced the remainder of ,europe4 ,in particular1 carved and gilded frames1 and marriage coffers 7cassoni7 given to brides as part of their dowry to hold the bridal trousseau1 are richly and effectively decorated4 ,the frame of carved wood 7illustrated p4 #ce71 with fine scroll work and female terminal figures1 is enriched with painting and gilding4 ,the frame on the title-page of this volume is of carved wood1 decorated with gold stucco4 ,both these are sixteenth-century ,italian work4 ,in fact1 the study of the various types and the different kinds of ornamentation given to these cassoni would be an interesting subject for the student1 who would find enough material in the collection at the ,victoria and ,albert ,museum to enable him to follow the ,renaissance movement from its early days down to the time when crowded design1 over-elaboration1 and inharmonious details grew apace like so many weeds to choke the ideals of the master spirits of the ,renaissance4 ,the front of the late fifteenth-century coffer 7illustrated p4 #ch7 is of chestnut wood1 carved with a shield of arms supported by two male demi-figures1 terminating in floral scroll work4 ,there are still traces of gilding on the wood4 ,at first the lines followed architecture in character4 ,cabinets had pilasters1 columns1 and arches resembling the old ,roman temples4 ,the illustration of a portion of a cornice of carved pinewood appearing as the headpiece to this chapter shows this tendency4 ,the marriage coffers had classic heads upon them1 but gradually this chaste style gave place to rich ornamentation with designs of griffins and grotesque masks4 ,the chairs1 too1 were at first very severe in outline1 usually with a high back and fitted with a stretcher between the legs1 which was carved1 as was also the back of the chair4 ,in the middle of the fifteenth century ,gothic art had attained its high-water mark in ,germany before the new art from ,italy had crossed the ,alps4 ,we reproduce a bridal chest1 of the middle of the fifteenth century1 from the collection in the ,munich ,national ,museum1 which shows the basis of ,gothic art in ,england prior to the revival and before further foreign influences were brought to bear on ,english art 7p4 #ci74 ,the influence of ,italian art upon ,france soon made itself felt4 ,italian architects and craftsmen were invited by ,francis ,i4 and by the ,princesses of the ,house of ,medici1 of which ,pope ,leo ,x4 was the illustrious head1 to build palaces and chateaux in the ,renaissance style4 ,the ,tuileries1 ,fontainebleau1 and the ,louvre were the result of this importation4 ,primaticcio and ,cellini founded a school of sculptors and wood-carvers in ,france1 of which ,jean ,goujon stands pre-eminent4 ,the furniture began gradually to depart from the old ,gothic traditions1 as is shown in the design of the oak chest of the late fifteenth century preserved in the ,dublin ,museum1 which we illustrate1 and commenced to emulate the gorgeousness of ,italy4 ,this is a particularly instructive example1 showing the transition between the ,gothic and the ,renaissance styles4 ,illustration3 ,,front ,,of ,,oak ,,chest4 ,,french2 ,,fifteenth ,,century4 7,dublin ,museum47 ,the ,french ,renaissance sideboard in the illustration 7p4 #de7 is a fine example of the middle of the sixteenth century4 ,it is carved in walnut4 ,the moulded top is supported in front by an arcading decorated with two male and two female terminal figures1 which are enriched with masks and floral ornament4 ,behind the arcading is a table supporting a cupboard and resting in front on four turned columns2 it is fitted with three drawers1 the fronts of which1 as well as that of the cupboard1 are decorated with monsters1 grotesque masks1 and scroll work4 ,illustration3 ,by permission of ,t4 ,foster ,shattock1 ,esq4 ,,walnut ,,sideboard4 ,,french2 ,,middle ,,of ,,sixteenth ,,century4 ,the impulse given by ,francis ,i4 was responsible for much decorative work in the early period of the ,french ,renaissance1 and many beautiful examples exist in the churches and chateaux of ,france to which his name has been given4 ,it is noticeable that the chief difference between the ,italian and the ,french ,renaissance lies in the foundation of ,gothic influence underlying the newer ,renaissance ornament in ,french work of the period4 ,flamboyant arches and ,gothic canopies were frequently retained and mingled with classic decoration4 ,the ,french clung to their older characteristics with more tenacity1 inasmuch as the ,renaissance was a sudden importation rather than a natural development of slower growth4 ,the ,french ,renaissance cabinet of walnut illustrated 7p4 #dh7 is from ,lyons1 and is of the later part of the sixteenth century4 ,it is finely carved with terminal figures1 masks1 trophies of ornaments1 and other ornament4 ,in comparison with the sixteenth-century ebony cabinet of the period of ,henry ,,iv41 finely inlaid with ivory in most refined style1 it is obvious that a great variety of sumptuous furniture was being made by the production of such diverse types as these1 and that the craftsmen were possessed of a wealth of invention4 ,the range of ,english craftsmen's designs during the ,renaissance in this country was never so extensive1 as can be seen on a detailed examination of ,english work4 ,illustration3 ,,cabinet ,,of ,,walnut ,,french 7,,lyons72 ,,second ,,half ,,of ,,sixteenth ,,century4 ,carved with terminal figures1 masks1 and trophies of arms4 7,victoria and ,albert ,museum47 ,in ,spain the ,italian feeling became acclimatised more readily than in ,france4 ,in the sixteenth century the wood carving of ,spain is of exceeding beauty4 ,the decoration of the choir of the cathedral at ,toledo is held to be one of the finest examples of the ,spanish ,renaissance4 ,in furniture the cabinets and buffets of the ,spanish craftsmen are of perfect grace and of characteristic design4 ,the older ,spanish cabinets are decorated externally with delicate ironwork and with columns of ivory or bone painted and richly gilded1 exhibiting ,moorish influence in their character4 ,many of the more magnificent specimens are richly inlaid with silver1 and are the work of the artists of ,seville1 of ,toledo1 or of ,valladolid4 ,the first illustration of a cabinet and stand is a typically ,spanish design1 and the second illustration of the carved walnut chest in the ,national ,archaelogical ,museum at ,madrid is of the sixteenth century1 when the ,spanish wood-carvers had developed the ,renaissance spirit and reached a very high level in their art4 ,simultaneously with the ,italianising of ,french art a similar wave of novelty was spreading over the ,netherlands and ,germany4 ,the ,flemish ,renaissance approaches more nearly to the ,english in the adaptation of the ,italian style1 or it would be more accurate to say that the ,english is more closely allied to the art of the ,netherlands1 as it drew much of its inspiration from the ,flemish wood-carvers4 ,the spiral turned legs and columns1 the strap frets cut out and applied to various parts1 the squares between turnings often left blank to admit of a little ebony diamond1 are all of the same family as the ,english styles4 ,ebony inlay was frequently used1 but the ,flemish work of this period was nearly all in oak4 ,marqueterie of rich design was made1 the inlay being of various coloured woods and shaded4 ,mother-of-pearl and ivory were also employed to heighten the effect4 ,illustration3 ,,french ,,cabinet4 ,ebony and ivory marquetry work4 ,,middle ,,of ,,sixteenth ,,century4 7,from the collection of ,m4 ,emile ,peyre47 ,illustration3 ,,spanish ,,cabinet ,,and ,,stand4 ,,carved ,,chestnut2 ,,first ,,half ,,of ,,sixteenth ,,century4 ,width of cabinet1 #c ft4 #b in42 depth1 #a ft4 #d in42 height1 #d ft4 #aj in4 7,victoria and ,albert ,museum47 ,the ,italian ,renaissance laid a light hand upon the ,flemish artists1 who1 while unavoidably coming under its influence1 at first copied its ornateness but subsequently proceeded on their own lines4 ,much quaint figure work1 in which they greatly excelled1 was used by the ,flemish wood-carvers in their joinery4 ,it is grotesque in character1 and1 like all their work1 boldly executed4 ,the influx of foreign influences upon the ,netherlands was in the main as successfully resisted as is the encroachment of the sea across their land-locked dykes4 ,the growth of the ,spanish power made ,charles ,v4 the most powerful prince in ,europe4 ,ferdinand of ,spain held the whole ,spanish peninsula except ,portugal1 with ,sardinia and the island of ,sicily1 and he won the kingdom of ,naples4 ,his daughter ,joanna married ,philip1 the son of ,maximilian of ,austria1 and of ,mary the daughter of ,charles the ,bold4 ,their son ,charles thus inherited kingdoms and duchies from each of his parents and grandparents1 and besides the dominions of ,ferdinand and ,isabella1 he held ,burgundy and the ,netherlands4 ,in #aeai he was chosen ,emperor as ,charles ,v4 ,flooded with ,italian artists and ,austrian and ,spanish rulers1 it is interesting to note how the national spirit in art was kept alive1 and was of such strong growth that it influenced in marked manner the ,english furniture of the late sixteenth and early seventeenth century1 as will be shown in a subsequent chapter4 ,illustration3 ,,spanish ,,chest2 ,,carved ,,walnut4 ,,sixteenth ,,century4 7,in the ,national ,museum1 ,madrid47 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,chest1 ,gothic1 carved with parchemin panels1 with a wrought-iron lock1 from ,nuremburg ,castle1 ,german1 about #aejj4 ,christie1 ,january #bi1 #aijd #ca #aj #j ,cabinet1 walnut wood1 of architectural design1 with folding doors above and below and small drawers1 carved with arabesque foliage and scrolls in relief1 and with columns at the angles1 #fi in4 high1 #ch in4 wide1 ,french1 middle of the sixteenth century4 ,christie1 ,april #ab1 #aijd #ba #j #j ,coffer1 oak1 the front divided by six buttresses1 the steel lock pierced with tracery1 #fe in4 long1 #df in4 high1 ,french1 late fifteenth century4 ,christie1 ,may #f1 #aijd #abf #j #j ,coffer1 large walnut wood1 the whole of the front and sides carved in low relief1 the lock is rectangular1 and pierced with flamboyant tracery1 ,french 7provincial71 early part of the fifteenth century1 #hd in4 wide1 #cf in4 high4 ,christie1 ,may #f1 #aijd #ej #h #j ,coffer1 walnut wood1 the front and sides divided into arch-shaped panels containing ,gothic tracery1 #hf in4 wide1 #cb in4 high1 ,french1 fifteenth century4 ,christie1 ,may #f1 #aijd #eb #aj #j ,chair1 walnut wood1 with semicircular seat1 the back composed of six upright rectangular panels1 each containing various forms of ,gothic tracery2 below is a longitudinal panel of tracery1 #bg in4 wide1 #bi in4 high1 ,french or ,flemish1 fifteenth century4 ,christie1 ,may #f1 #aijd #ia #g #j ,credence1 oak1 with folding doors and drawers above and shelf beneath1 the corners are returned1 the various door panels1 c41 carved in low relief2 at the back below is linen fold panelling1 #ed in4 wide1 #fb in4 high1 probably ,french1 early sixteenth century4 ,christie1 ,may #f1 #aijd #ccf #j #j ,cabinet1 walnut-wood1 in two parts1 of rectangular form1 with folding doors above and below1 and two drawers in the centre1 carved with grotesque terminal figure and gadrooned mouldings1 strapwork and duplicated rosettes1 ,french work1 early seventeenth century1 #gh in4 high1 #dh in4 wide4 ,christie1 ,may #f1 #aijd #aaj #e #j ,cabinet1 walnut-wood1 in two parts1 of rectangular form1 with folding doors below and door above2 at the sides are terminal male and female figures1 the centres of the doors carved1 #ib in4 high1 #di in4 wide1 ,french work 7,lyons ,school71 second quarter of sixteenth century4 ,christie1 ,may #f1 #aijd #ii #ae #j #a ,by the kindness of the proprietors of the ,connoisseur these items are given from their useful monthly publication1 ,auction ,sale ,prices4 ,,ii ,,the ,,english ,,renaissance ,illustration3 ,by permission of ,messrs4 ,hampton ,sons4 ,,carved ,,oak ,,chest4 ,,english2 ,,sixteenth ,,century4 ,panels finely carved with ,gothic tracery4 ,,ii ,,the ,,english ,,renaissance ,henry ,,viii4 #aeji-aedg4 ,edward ,,vi4 #aedg-aeec4 ,mary #aeec-aeeh4 ,elizabeth #aeeh-afjc4 #aebe4 ,hampton ,court built4 #aeff4 ,increased commercial prosperity4 ,foundation of ,royal ,exchange by ,sir ,thomas ,gresham4 #aehj4 ,drake comes home from the ,new ,world with plunder worth half a million4 #aehe4 ,antwerp captured by the ,duke of ,parma2 flight of merchants to ,london4 ,transfer of commercial supremacy from ,antwerp to ,london4 ,beginning of carrying trade1 especially with ,flanders4 ,illustration3 ,,bench ,,of ,,oak4 ,,french2 ,,about #aejj4 ,with panels of linen ornament4 ,seat arranged as a coffer4 7,formerly in the collection of ,m4 ,emile ,peyre47 7,royal ,scottish ,museum1 ,edinburgh47 ,the opening years of the sixteenth century saw the beginnings of the ,renaissance movement in ,england4 ,the oak chest had become a settle with high back and arms4 ,the fine example of an early sixteenth-century oak chest illustrated 7p4 #ei7 shows how the ,gothic style had impressed itself on articles of domestic furniture4 ,the credence1 or tasting buffet1 had developed into the ,tudor sideboard1 where a cloth was spread and candles placed4 ,with more peaceful times a growth of domestic refinement required comfortable and even luxurious surroundings4 ,the royal palaces at ,richmond and ,windsor were filled with costly foreign furniture4 ,the mansions which were taking the place of the old feudal castles found employment for foreign artists and craftsmen who taught the ,english woodcarver4 ,in the early days of ,henry ,,viii4 the classical style supplanted the ,gothic1 or was in great measure mingled with it4 ,many fine structures exist which belong to this transition period1 during which the mixed style was predominant4 ,the woodwork of ,king's ,college ,chapel at ,cambridge is held to be an especially notable example4 ,illustration3 ,,portion ,,of ,,carved ,,walnut ,,virginal4 ,,flemish2 ,,sixteenth ,,century4 7,victoria and ,albert ,museum47 ,illustration3 ,,french ,,carved ,,oak ,,coffer4 ,showing interlaced ribbon work4 ,,second ,,half ,,of ,,sixteenth ,,century4 7,height1 #b ft4 #a in42 width1 #c ft4 #a in47 7,victoria and ,albert ,museum47 ,the ,great ,hall at ,hampton ,court dates from #aeca1 or five years after ,cardinal ,wolsey had given up his palace to ,henry ,,viii4 ,its grand proportions1 its high-pitched roof and pendants1 display the art of the woodcarver in great excellence4 ,this hall1 like others of the same period1 had an open hearth in the centre1 on which logs of wood were placed1 and the smoke found its way out through a cupola1 or louvre1 in the roof4 ,the roofs of the ,early ,tudor mansions were magnificent specimens of woodwork4 ,but the old style of king-post1 queen-post1 or hammer-beam roof was prevalent4 ,the panelling1 too1 of halls and rooms retained the formal character in its mouldings1 and various linen patterns were used1 so called from their resemblance to a folded napkin1 an ornamentation largely used towards the end of the ,perpendicular style1 which was characteristic of ,english domestic architecture in the fifteenth century4 ,to this period belongs the superb woodcarving of the renowned choir stalls of ,henry ,,vii4's ,chapel in ,westminster ,abbey4 ,the bench of oak illustrated 7p4 #fj7 shows a common form of panel with linen ornament1 and is ,french1 of about the year #aejj4 ,the seat1 as will be seen1 is arranged as a locked coffer4 ,illustration3 ,,fireplace ,,and ,,oak ,,panelling ,,from ,,the ,,old ,,palace ,,at ,,bromley-,,by-,,bow4 ,,built ,,in #afjf4 7,victoria and ,albert ,museum47 ,the ,elizabethan woodcarver revelled in grotesque figure work1 in intricate interlacings of strapwork1 borrowed from the ,flemish1 and ribbon ornamentation1 adapted from the ,french4 ,he delighted in massive embellishment of magnificent proportions4 ,among ,tudor woodwork the carved oak screen of the ,middle ,temple ,hall is a noteworthy example of the sumptuousness and splendour of interior decoration of the ,english ,renaissance4 ,these screens supporting the minstrels' gallery in old halls are usually exceptionally rich in detail4 ,gray's ,inn 7dated #aefj7 and the ,charterhouse 7dated #aega7 are other examples of the best period of sixteenth-century woodwork in ,england4 ,christ ,church at ,oxford1 ,grimsthorp in ,lincolnshire1 ,kenninghall in ,norfolk1 ,layer ,marney ,towers in ,essex1 and ,sutton ,place at ,guildford1 are all representative structures typical of the halls and manor houses being built at the time of the ,english ,renaissance4 ,in the ,victoria and ,albert ,museum has been re-erected a room having the oak panelling from the ,old ,palace at ,bromley-by-,bow1 which was built in #afjf4 ,the massive fireplace with the royal coat of arms above1 with the niches in which stand carved figures of two saints1 together with the contemporary iron fire-dogs standing in the hearth1 give a picture of what an old ,elizabethan hall was like4 ,illustration3 ,,elizabethan ,,bedstead4 ,,dated #aeic4 ,carved oak1 ornamented in marquetry4 7,height1 #g ft4 #d in42 length1 #g ft4 #aa in42 width1 #e ft4 #h in47 7,victoria and ,albert ,museum47 ,under ,queen ,elizabeth new impulses stirred the nation1 and a sumptuous ,court set the fashion in greater luxury of living4 ,gloriana1 with her merchant-princes1 her fleet of adventurers on the high seas1 and the pomp and circumstance of her troop of foreign lovers1 brought foreign fashions and foreign art into commoner usage4 ,the growth of luxurious habits in the people was eyed askance by her statesmen2 ,england spendeth more in wines in one year1 complained ,cecil1 than it did in ancient times in four years4 ,the chimney-corner took the place of the open hearth2 chimneys were for the first time familiar features in middle-class houses4 ,the insanitary rush-floor was superseded by wood1 and carpets came into general use4 ,even pillows1 deemed by the hardy yeomanry as only fit for women in child-bed1 found a place in the massive and elaborately carved ,elizabethan bedstead4 ,the illustration of the fine ,elizabethan bedstead 7on p4 #ff7 gives a very good idea of what the domestic furniture was like in the days immediately succeeding the ,spanish ,armada4 ,it is carved in oak2 with columns1 tester1 and headboard showing the classic influence4 ,it is ornamented in marquetry1 and bears the date #aeic4 ,all over ,england were springing up town halls and fine houses of the trading-classes1 and manor houses and palaces of the nobility worthy of the people about to establish a formidable position in ,european politics4 ,hatfield ,house1 ,hardwick ,hall1 ,audley ,end1 ,burleigh1 ,knole1 and ,longleat1 all testify to the ,renaissance which swept over ,england at this time4 ,stately terraces with ,italian gardens1 long galleries hung with tapestries1 and lined with carved oak chairs and elaborate cabinets were marked features in the days of the new splendour4 ,men's minds1 led by ,raleigh1 the ,prince of ,company ,promoters1 and fired by ,drake's buccaneering exploits1 turned to the ,new ,world1 hitherto under the heel of ,spain4 ,dreams of galleons laden with gold and jewels stimulated the ambition of adventurous gallants1 and quickened the nation's pulse4 ,the love of travel became a portion of the ,englishman's heritage4 ,the ,italian spirit had reached ,england in full force4 ,the poetry and romances of ,italy affected all the ,elizabethan men of letters4 ,shakespeare1 in his ,merchant of ,venice and his other plays1 plainly shows the ,italian influence4 ,in costume1 in speech1 and in furniture1 it became the fashion to follow ,italy4 ,to ,ascham it seemed like the enchantment of ,circe brought out of ,italy to mar men's manners in ,england4 ,illustration3 ,,panel ,,of ,,carved ,,oak4 ,,english2 ,,early ,,sixteenth ,,century4 ,showing interlaced strapwork4 7,victoria and ,albert ,museum47 ,the result of this wave of fashion on the domestic furniture of ,england was to impart to it the elegance of ,italian art combined with a national sturdiness of character seemingly inseparable from ,english art at all periods4 ,as the reign of ,queen ,elizabeth extended from the year #aeeh to the year #afjc1 it is usual to speak of architecture and furniture of the latter half of the sixteenth century as ,elizabethan4 ,a favourite design in ,elizabethan woodwork is the interlaced strapwork 7see illustration p4 #fh71 which was derived from similar designs employed by the contemporary stonecarver1 and is found on ,flemish woodwork of the same period4 ,the panel of a sixteenth-century ,flemish virginal1 carved in walnut1 illustrated1 shows this form of decoration4 ,grotesque terminal figures1 half-human1 half-monster1 supported the front of the buffets1 or were the supporting terminals of cornices4 ,this feature is an adaptation from the ,caryatides1 the supporting figures used instead of columns in architecture1 which in ,renaissance days extended to woodwork4 ,table-legs and bed-posts swelled into heavy1 acorn-shaped supports of massive dimensions4 ,cabinets were sometimes inlaid1 as was also the room panelling1 but it cannot be said that at this period the art of marquetry had arrived at a great state of perfection in this country4 ,it is noticeable that in the rare pieces that are inlaid in the ,late ,tudor and ,early ,jacobean period the inlay itself is a sixteenth of an inch thick1 whereas in later inlays of more modern days the inlay is thinner and flimsier4 ,in the ,flemish examples ivory was often used1 and holly and sycamore and box seem to have been the favourite woods selected for inlay4 ,take1 for example1 the mirror with the frame of carved oak1 with scroll outline and narrow bands inlaid with small squares of wood1 alternately light and dark4 ,this inlay is very coarsely done1 and unworthy to compare with ,italian marquetry of contemporary date1 or of an earlier period4 ,the uprights and feet of the frame1 it will be noticed1 are baluster-shaped4 ,the glass mirror is of nineteenth-century manufacture4 ,the date carved upon the frame is #afjc1 the first year of the reign of ,james ,i41 and it is stated to have come from ,derby ,old ,hall4 ,the ,court cupboard1 also of the same date1 begins to show the coming style of ,jacobean ornamentation in the turning in the upright pillars and supports and the square baluster termination4 ,the massive carving and elaborate richness of the early ,elizabethan period have given place to a more restrained decoration4 ,between the drawers is the design of a tulip in marquetry1 and narrow bands of inlay are used to decorate the piece4 ,in place of the chimerical monsters we have a portrait in wood of a lady1 for which ,arabella ,stuart might have sat as model4 ,the days were approaching when furniture was designed for use1 and ornament was put aside if it interfered with the structural utility of the piece4 ,the wrought-iron handle to the drawer should be noted1 and in connection with the observation brought to bear by the beginner on genuine specimens in the ,victoria and ,albert ,museum and other collections1 it is well not to let any detail escape minute attention4 ,hinges and lock escutcheons and handles to drawers must not be neglected in order to acquire a sound working knowledge of the peculiarities of the different periods4 ,illustration3 ,,mirror4 ,glass in oak frame with carved scroll outline and narrow bands inlaid with small squares of wood4 ,the glass nineteenth century4 ,,english4 ,,dated #afjc4 7,victoria and ,albert ,museum47 ,illustration3 ,,court ,,cupboard1 ,,carved ,,oak4 ,,english4 ,,dated #afjc4 ,decorated with narrow bands inlaid1 and having inlaid tulip between drawers4 7,victoria and ,albert ,museum47 ,in contrast with this specimen1 the elaborately carved ,court cupboard of a slightly earlier period should be examined4 ,it bears carving on every available surface4 ,it has been restored1 and restored pieces have an unpleasant fashion of suggesting that sundry improvements have been carried out in the process4 ,at any rate1 as it stands it is over-laboured1 and entirely lacking in reticence4 ,the elaboration of enrichment1 while executed in a perfectly harmonious manner1 should convey a lesson to the student of furniture4 ,there is an absence of contrast2 had portions of it been left uncarved how much more effective would have been the result6 ,as it is it stands1 wonderful as is the technique1 somewhat of a warning to the designer to cultivate a studied simplicity rather than to run riot in a profusion of detail4 ,illustration3 ,,court ,,cupboard1 ,,carved ,,oak4 ,,about #aehj4 7,,restored47 7,victoria and ,albert ,museum47 ,another interesting ,court cupboard1 of the early seventeenth century1 shows the more restrained style that was rapidly succeeding the earlier work4 ,this piece is essentially ,english in spirit1 and is untouched save the legs1 which have been restored4 ,illustration3 ,by kind permission of ,t4 ,e4 ,price ,stretche1 ,esq4 ,,court ,,cupboard1 ,,early ,,seventeenth ,,century4 ,with secret hiding-place at top4 ,the table which is illustrated 7p4 #gh7 is a typical example of the table in ordinary use in ,elizabethan days4 ,this table replaced a stone altar in a church in ,shropshire at the time of the ,reformation4 ,it was late in the reign of ,queen ,elizabeth that upholstered chairs became more general4 ,sir ,john ,harrington1 writing in #aeig1 gives evidence of this in the assertion that the fashion of cushioned chayrs is taken up in every merchant's house4 ,wooden seats had hitherto not been thought too hard1 and chairs imported from ,spain had leather seats and backs of fine tooled work richly gilded and decorated4 ,in the latter days of ,elizabeth loose cushions were used for chairs and for window seats1 and were elaborately wrought in velvet1 or were of satin embroidered in colours1 with pearls as ornamentation1 and edged with gold or silver lace4 ,the upholstered chair belongs more properly to the ,jacobean period1 and in the next chapter will be shown several specimens of those used by ,james ,i4 ,in ,elizabethan panelling to rooms1 in chimneypieces1 doorways1 screens such as those built across the end of a hall and supporting the minstrels' gallery1 the wood used was nearly always ,english oak1 and most of the thinner parts1 such as that designed for panels and smaller surfaces1 was obtained by splitting the timber1 thus exhibiting the beautiful figure of the wood so noticeable in old examples4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,chest1 oak1 with inlaid panels under arches1 with caryatid figures carved in box-wood1 ,english1 temp4 ,elizabeth4 ,christie1 ,january #bi1 #aijd4 #dj #i #j ,tudor mantelpiece1 with elaborately carved jambs1 panels1 brackets1 sides1 and cornice1 #f ft4 by #g ft4 #c in4 high4 ,herbert ,wright1 ,ipswich1 ,february #ai1 #aijd #aee #j #j ,old oak panelling1 in all about #fj ft4 run and #f ft4 #f in4 high1 with #ag carved panels and #c fluted pilasters fitted in same1 part being surmounted by a cornice4 ,herbert ,wright1 ,ipswich1 ,february #ai1 #aijd ,credence1 walnut-wood1 with a cupboard and drawer above and shelf beneath1 the corners are returned1 the central panel has carved upon it1 in low relief1 circular medallions1 pierced steel hinges and lock1 #cf in4 wide1 #ej in4 high1 early sixteenth century4 ,christie1 ,may #f1 #aijd #cdf #j #j ,bedstead1 ,elizabethan1 with panelled and carved canopy top1 supported by fluted and carved pillars1 inlaid and panelled back1 with raised figures and flowers in relief1 also having a carved panelled footboard4 ,c4 ,w4 ,provis ,son1 ,manchester1 ,may #i1 #aijd #bb #aj #j ,bedstead1 oak ,elizabethan1 with carved back1 dated #aefj1 and small cupboard fitted with secret sliding panel1 and further having carved and inlaid panelled top with inlaid panels1 the whole surmounted with heavy cornice4 ,c4 ,w4 ,provis ,son1 ,manchester1 ,may #i1 #aijd #cc #j #j ,sideboard1 ,elizabethan old oak1 #f ft4 #b in4 wide by #g ft4 #f in4 high1 with carved canopy top2 also fitted with gallery shelf1 supported by lions rampant4 ,c4 ,w4 ,provis ,son1 ,manchester4 ,may #i1 #aijd #fj #j #j #a ,by the kindness of the proprietors of the ,connoisseur these items are given from their useful monthly publication1 ,auction ,sale ,prices4 ,illustration3 ,by kindness of ,t4 ,e4 ,price ,stretche1 ,esq4 ,,elizabethan ,,oak ,,table4 ,,iii ,,stuart ,,or ,,jacobean4 ,,seventeenth ,,century ,illustration3 ,by permission of ,messrs4 ,waring4 ,,gate-,,leg ,,table4 ,,iii ,,stuart ,,or ,,jacobean4 ,,seventeenth ,,century ,james ,i4 #afjc-afbe4 ,charles ,i4 #afbe-afdi4 ,the ,commonwealth #afdi-affj4 #afai4 ,tapestry factory established at ,mortlake1 under ,sir ,francis ,crane4 ---- ,banqueting ,hall added to ,whitehall by ,inigo ,jones4 #afcb4 ,vandyck settled in ,london on invitation of ,charles ,i4 #afea4 ,navigation ,act passed2 aimed blow 7#aegb-afeb7 at ,dutch carrying trade4 ,all goods to be imported in ,english ships or in ships of country producing goods4 ,with the advent of the ,house of ,stuart the ,england under ,james ,i4 saw new fashions introduced in furniture4 ,it has already been mentioned that the greater number of old houses which are now termed ,tudor or ,elizabethan were erected in the days of ,james ,i4 ,at the beginning of a new monarchy fashion in art rarely changes suddenly1 so that the early pieces of ,jacobean furniture differ very little from ,elizabethan in character4 ,consequently the ,court cupboard1 dated #afjc1 and mirror of the same year 7illustrated on p4 #gj71 though bearing the date of the first year of the reign of ,james1 more properly belong to ,tudor days4 ,in the ,bodleian ,library at ,oxford there is preserved a chair of fine workmanship and of historic memory4 ,it was made from the oak timbers of the ,golden ,hind1 the ship in which ,sir ,francis ,drake made his adventurous voyage of discovery round the world4 ,in spite of many secret enemies deaming him the master thiefe of the unknowne world1 ,queen ,elizabeth came to ,deptford and came aboard the ,golden ,hind and there she did make ,captain ,drake knight1 in the same ship1 for reward of his services2 his armes were given him1 a ship on the world1 which ship1 by ,her ,majestie's commandment1 is lodged in a dock at ,deptford1 for a monument to all posterity4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,oak ,,chair ,,made ,,from ,,the ,,timber ,,of ,,the ,,golden ,,hind4 ,,commonly ,,called ,,sir ,,francis ,,drake',s ,,chair4 7,at the ,bodleian ,library47 ,it remained for many years at ,deptford dockyard1 and became the resort of holiday folk1 who made merry in the cabin1 which was converted into a miniature banqueting hall2 but when it was too far decayed to be repaired it was broken up1 and a sufficient quantity of sound wood was selected from it and made into a chair1 which was presented to the ,university of ,oxford4 ,this was in the time of ,charles ,,ii41 and the poet ,cowley has written some lines on it1 in which he says that ,drake and his ,golden ,hind could not have wished a more blessed fate1 since to this ,pythagorean ship 444 a seat of endless rest is given ,to her in ,oxford1 and to him in heaven-- which1 though quite unintentional on the part of the poet1 is curiously satiric4 ,illustration3 ,by permission of the ,master of the ,charterhouse4 ,,oak ,,table1 ,,dated #afaf1 ,,bearing ,,arms ,,of ,,thomas ,,sutton1 ,,founder ,,of ,,the ,,charterhouse ,,hospital4 ,the piece is highly instructive as showing the prevailing design for a sumptuous chair in the late seventeenth century4 ,the middle arch in the back of the chair is disfigured by a tablet with an inscription1 which has been placed there4 ,of the early days of ,james ,i4 is a finely carved oak table1 dated #afaf4 ,this table is heavily moulded and carved with garlands between cherubs' heads1 and shields bearing the arms of ,thomas ,sutton1 the founder of the ,charterhouse ,hospital4 ,the upper part of the table is supported on thirteen columns1 with quasi-,corinthian columns and enriched shafts1 standing on a moulded ,h-shaped base4 ,it will be seen that the designers had not yet thrown off the trammels of architecture which dominated much of the ,renaissance woodwork4 ,the garlands are not the garlands of ,grinling ,gibbons1 and although falling within the ,jacobean period1 it lacks the charm which belong to typical ,jacobean pieces4 ,at ,knole1 in the possession of ,lord ,sackville1 there are some fine specimens of early ,jacobean furniture1 illustrations of which are included in this volume4 ,the chair used by ,king ,james ,i4 when sitting to the painter ,mytens is of peculiar interest4 ,the cushion1 worn and threadbare with age1 is in all probability the same cushion used by ,james4 ,the upper part of the chair is trimmed with a band of gold thread4 ,the upholstering is red velvet1 and the frame1 which is of oak1 bears traces of gilding upon it1 and is studded with copper nails4 ,the chair in design1 with the half circular supports1 follows old ,venetian patterns4 ,the smaller chair is of the same date1 and equally interesting as a fine specimen2 the old embroidery1 discoloured and worn though it be1 is of striking design and must have been brilliant and distinctive three hundred years ago4 ,the date of these pieces is about #afbj1 the year when the ,pilgrim ,fathers landed in ,america4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,chair ,,used ,,by ,,james ,i4 ,in the possession of ,lord ,sackville4 ,from the wealth of ,jacobean furniture at ,knole it is difficult to make a representative selection1 but the stool we reproduce 7p4 #ij7 is interesting1 inasmuch as it was a piece of furniture in common use4 ,the chairs evidently were ,state chairs1 but the footstool was used in all likelihood by those who sat below the salt1 and were of less significance4 ,the stuffed settee which finds a place in the billiard-room at ,knole and the sumptuous sofa in the ,long ,gallery1 with its mechanical arrangement for altering the angle at the head1 are objects of furniture difficult to equal4 ,the silk and gold thread coverings are faded1 and the knotted fringe and gold braid have tarnished under the hand of ,time1 but their structural design is so effective that the modern craftsman has made luxurious furniture after these models4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,jacobean ,,chair ,,at ,,knole4 ,in the possession of ,lord ,sackville4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,jacobean ,,stool ,,at ,,knole4 ,in the possession of ,lord ,sackville4 ,illustration3 ,,upper ,,half ,,of ,,carved ,,walnut ,,door4 ,showing ribbon work4 ,,french2 ,,latter ,,part ,,of ,,sixteenth ,,century4 7,height of door1 #d ft4 #g in42 width1 #a ft4 #aa in47 7,victoria and ,albert ,museum47 ,carved oak chests were not largely made in ,jacobean days--not1 at any rate1 for the same purpose as they were in ,tudor or earlier times4 ,as church coffers they doubtless continued to be required1 but for articles of domestic furniture other than as linen chests their multifarious uses had vanished4 ,early ,jacobean coffers clearly show the departure from ,elizabethan models4 ,they become more distinctly ,english in feeling1 though the interlaced ribbon decoration1 so frequently used1 is an adaptation from ,french work1 which pattern was now becoming acclimatised4 ,the ,french carved oak coffer of the second half of the sixteenth century 7illustrated p4 #fa7 shows from what source some of the ,english designs were derived4 ,in the portion of the ,french door which we give as an illustration 7on p4 #ia71 it will be seen with what grace and artistic excellence of design and with what restraint the ,french woodcarvers utilised the running ribbon4 ,the ribbon pattern has been variously used by designers of furniture2 it appears in ,chippendale's chair-backs1 where it almost exceeds the limitations of the technique of woodcarving4 ,art in the early days of ,charles ,i4 was undimmed4 ,the tapestry factory at ,mortlake1 established by ,james ,i41 was further encouraged by the ,white ,king4 ,he took a great and a personal interest in all matters relating to art4 ,under his auspices the cartoons of ,raphael were brought to ,england to foster the manufacture of tapestry4 ,he gave his patronage to foreign artists and to foreign craftsmen1 and in every way attempted to bring ,english art workers into line with their contemporaries on the ,continent4 ,vandyck came over to become ,principal painter of ,their ,majesties at ,st4 ,james's1 keeping open table at ,blackfriars and living in almost regal style4 ,his grace and distinction and the happy circumstance of his particular style being coincident with the most picturesque period in ,english costume1 have won him a place among the world's great painters4 ,fine portraits1 at ,windsor and at ,madrid1 at ,dresden and at the ,pitti ,palace1 at the ,louvre and in the ,hermitage at ,petersburg1 testify to the ,european fame of the painter's brilliant gallery representing the finest flower of the ,english aristocracy1 prelates1 statesmen1 courtiers and beautiful women that were gathered together at the ,court of ,charles ,i4 and his ,queen ,henrietta ,maria4 ,illustration3 ,,oak ,,chair4 ,,charles ,i4 ,,period4 ,with arms of ,thomas ,wentworth1 first ,earl of ,strafford 7#aeic-afda74 7,victoria and ,albert ,museum47 ,in ,early ,stuart days the influence of ,inigo ,jones1 the ,surveyor of ,works to ,charles ,i41 made itself felt in woodwork and interior decorations4 ,he was possessed with a great love and reverence for the classicism of ,italy1 and introduced into his banqueting hall at ,whitehall 7now the ,united ,service ,museum71 and ,st4 ,paul's1 ,covent ,garden1 a chaster style1 which was taken up by the designers of furniture1 who began to abandon the misguided use of ornament of later ,elizabethan days4 ,in the ,victoria and ,albert ,museum is an oak chair with the arms of ,thomas ,wentworth1 first ,earl of ,strafford1 which1 in addition to its historic interest1 is a fine example of the chair of the period of ,charles ,i4 7illustrated p4 #ic74 ,illustration3 ,,italian ,,chair1 ,,about #afbj4 ,thence introduced into ,england4 7,victoria and ,albert ,museum47 ,it is certain that the best specimens of ,jacobean furniture of this period1 with their refined lines and well-balanced proportions1 are suggestive of the stately diction of ,clarendon or the well-turned lyrics of ,herrick4 ,illustration3 ,by permission of ,messrs4 ,hampton ,son ,,high-,,back ,,oak ,,chair4 ,,early ,,jacobean4 ,elaborately carved with shell and scroll foliage4 7,formerly in the ,stuart ,mac,donald family1 and originally in the possession of ,king ,charles ,i47 ,in the illustration of a sixteenth-century chair in common use in ,italy1 it will be seen to what source the ,jacobean woodworkers looked for inspiration4 ,the fine1 high-backed oak ,stuart chair1 elaborately carved with bold shell and scroll foliage1 having carved supports1 stuffed upholstered seats1 and loose cushion covered in old ,spanish silk damask1 is a highly interesting example4 ,it was long in the possession of the ,stuart ,mac,donald family1 and is believed to have belonged to ,charles ,i4 ,the gate-leg table1 sometimes spoken of as ,cromwellian1 belongs to this ,middle ,jacobean style4 ,it cannot be said with any degree of accuracy that in the ,commonwealth days a special style of furniture was developed4 ,from all evidence it would seem that the manufacture of domestic furniture went on in much the same manner under ,cromwell as under ,charles4 ,iconoclasts as were the ,puritans1 it is doubtful whether they extended their work of destruction to articles in general use4 ,the bigot had no starch in his linen1 no gay furniture in his house4 ,obviously the ,civil ,war very largely interfered with the encouragement and growth of the fine arts1 but when furniture had to be made there is no doubt the ,roundhead cabinetmaker and the ,anabaptist carpenter produced as good joinery and turning as they did before ,charles made his historic descent upon the ,house in his attempt to arrest the five members4 ,there is a style of chair1 probably imported from ,holland1 with leather back and leather seat which is termed ,cromwellian1 probably on account of its severe lines1 but there is no direct evidence that this style was peculiarly of ,commonwealth usage4 ,the illustration 7p4 #ig7 gives the type of chair1 but the covering is modern4 ,that ,cromwell himself had no dislike for the fine arts is proved by his care of the ,raphael cartoons1 and we are enabled to reproduce an illustration of a fine old ebony cabinet with moulded front1 fitted with numerous drawers1 which was formerly the property of ,oliver ,cromwell4 ,it was at ,olivers ,stanway1 once the residence of the ,eldred family4 ,the stand is carved with shells and scrolls1 and the scroll-shaped legs are enriched with carved female figures1 the entire stand being gilded4 ,this piece is most probably of ,italian workmanship1 and was of course made long before the ,protector's day1 showing marked characteristics of ,renaissance style4 ,illustration3 ,,jacobean ,,chair1 ,,cane ,,back ,,cromwellian ,,chair4 ,,armchair4 ,,dated #afbc4 ,,armchair4 ,,with ,,inlaid ,,back4 ,,jacobean ,,chairs4 7,by permission of ,t4 ,e4 ,price ,stretche1 ,esq47 ,the carved oak cradle 7p4 #ajg71 with the letters ,g4 ,b4 ,m4 ,b4 on one side1 and ,october1 #ad dai1 on the other1 and bearing the date #afda1 shows the type of piece in common use4 ,it is interesting to the collector to make a note of the turned knob of wood so often found on doors and as drawer handles on untouched old specimens of this period1 but very frequently removed by dealers and replaced by metal handles of varying styles1 all of which may be procured by the dozen in ,tottenham ,court ,road1 coarse replicas of old designs4 ,another point worthy of attention is the wooden peg in the joinery1 securing the tenon into the mortice1 which is visible in old pieces4 ,it will be noticed in several places in this cradle4 ,in modern imitations1 unless very thoughtfully reproduced1 these oaken pegs are not visible4 ,illustration3 ,by permission of ,messrs4 ,hampton ,sons4 ,,ebony ,,cabinet4 ,on stand gilded and richly carved4 ,,formerly ,,the ,,property ,,of ,,oliver ,,cromwell4 7,from ,olivers ,stanway1 at one time the seat of the ,eldred family47 ,in the page of ,jacobean chairs showing the various styles1 the more severe piece1 dated #afbc1 is ,early ,jacobean1 and the fine unrestored armchair of slightly later date shows in the stretcher the wear given by the feet of the sitters4 ,it is an interesting piece2 the stiles in the back are inlaid with pearwood and ebony4 ,the other armchair with its cane panels in back is of later ,stuart days4 ,it shows the transitional stage between the scrolled-arm type of chair1 wholly of wood1 and the more elaborate type 7illustrated p4 #abc7 of the ,james ,,ii4 period4 ,illustration3 ,,jacobean ,,carved ,,oak ,,chairs4 ,yorkshire1 about #afdj4 ,derbyshire2 early seventeenth century4 7,victoria and ,albert ,museum47 ,illustration3 ,by permission of the ,rt4 ,hon4 ,sir ,spencer ,ponsonby-,fane1 ,g4,c4,b1 ,i4,s4,o4 ,,jacobean ,,oak ,,cupboard4 ,,about #afbj4 ,in addition to the finer pieces of seventeenth-century furniture to be found in the seats of the nobility1 such as at ,penshurst1 or in the manor houses and homes of the squires and smaller landowners1 there was much furniture of a particularly good design in use at farmsteads from one end of the country to the other1 in days when a prosperous class of yeoman followed the tastes of their richer neighbours4 ,this farmhouse furniture is nowadays much sought after4 ,it was of local manufacture1 and is distinctly ,english in its character4 ,oak dressers either plain or carved1 were made not only in ,wales--,welsh ,dressers having become almost a trade term--but in various parts of ,england1 in ,yorkshire1 in ,derbyshire1 in ,sussex1 and in ,suffolk4 ,they are usually fitted with two or three open shelves1 and sometimes with cupboards on each side4 ,the better preserved specimens have still their old drop-handles and hinges of brass4 ,it is not easy to procure fine examples nowadays1 as it became fashionable two or three years ago to collect these1 and in addition to oak dressers from the farmhouses of ,normandy1 equally old and quaint1 which were imported to supply a popular demand1 a great number of modern imitations were made up from old wood--church pews largely forming the framework of the dressers1 which were not difficult to imitate successfully4 ,the particular form of chair known as the ,yorkshire chair is of the same period4 ,certain localities seem to have produced peculiar types of chairs which local makers made in great numbers4 ,it will be noticed that even in these conditions1 with a continuous manufacture going on1 the patterns were not exact duplicates of each other1 as are the machine-made chairs turned out of a modern factory1 where the maker has no opportunity to introduce any personal touches1 but has to obey the iron law of his machine4 ,as a passing hint to collectors of old oak furniture1 it may be observed that it very rarely happens that two chairs can be found together of the same design4 ,there may be a great similarity of ornament and a particularly striking resemblance1 but the chair with its twin companion beside it suggests that one1 if not both1 are spurious4 ,the same peculiarity is exhibited in old brass candlesticks1 and especially the old ,dutch brass with circular platform in middle of candlestick4 ,one may handle fifty without finding two that are turned with precisely the same form of ornament4 ,the usual feature of the chair which is termed ,yorkshire is that it has an open back in the form of an arcade1 or a back formed with two crescent-shaped cross-rails1 the decorations of the back usually bearing acorn-shaped knobs either at the top of the rail or as pendants4 ,this type is not confined to ,yorkshire1 as they have frequently been found in ,derbyshire1 in ,oxfordshire1 and in ,worcestershire1 and a similar variety may be found in old farmhouses in ,east ,anglia4 ,in the illustration of the two oak chairs 7p4 #aje71 the one with arms is of the ,charles ,i4 period1 the other is later and belongs to the latter half of the seventeenth century4 ,the ,jacobean oak cupboard 7illustrated p4 #aja7 is in date about #afbj4 ,at the side there are perforations to admit air1 which shows that it was used as a butter cupboard4 ,the doors have an incised decoration of conventional design4 ,the lower part is carved in style unmistakably ,jacobean in nature4 ,the pattern on the two uprights at the top is repeatedly found in pieces evidently designed locally for use in farmhouses4 ,it is not too much to hope that enough has been said concerning ,jacobean furniture of the early and middle seventeenth century to show that it possesses a peculiar charm and simplicity in the lines of its construction1 which make it a very pleasing study to the earnest collector who wishes to procure a few genuine specimens of old furniture1 which1 while being excellent in artistic feeling1 are not unprocurable by reason of their rarity and excessive cost4 ,it should be within the power of the careful collector1 after following the hints in this volume1 and after examining well-selected examples in such a collection as that at the ,victoria and ,albert ,museum1 to obtain1 without unreasonable expenditure1 after patient search1 one or two ,jacobean pieces of undoubted authenticity4 ,illustration3 ,by permission of ,messrs4 ,fenton ,sons4 ,,jacobean ,,oak ,,chairs4 ,armchair1 time of ,charles ,i4 ,yorkshire chair4 ,late seventeenth century4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,cabinet1 ,jacobean oak1 with two drawers1 and folding doors below enclosing drawers1 decorated with rectangular panels in relief1 inlaid in ebony and ivory1 and with baluster columns at the side--#dh in4 high1 #df in4 wide4 ,christie1 ,november #bg1 #aijc #dd #b #j ,cabinet1 ,jacobean black oak1 #e ft4 wide by #f ft4 #b in4 high1 fitted with cupboards above and below1 with sunk panelled folding doors1 carved with busts of warriors in high relief1 the pilasters carved with mask heads and caryatid figures1 the whole carved with floral scrolls and other devices4 ,capes1 ,dunn ,pilcher1 ,manchester1 ,december #i1 #aijc #eg #j #j ,chairs1 set of three ,jacobean oak1 with canework seats1 and panels in the backs1 the borders carved with scrolls1 and on scroll legs with stretchers4 ,christie1 ,january #bi1 #aijd #eb #aj #j ,table1 ,cromwell1 oak1 on spiral legs4 ,dowell1 ,edinburgh1 ,march #ab1 #aijd #aa #j #f ,elbow-chair1 oak1 ,scotch1 back having carved wheel1 ,a4 ,r41 #affc4 ,dowell1 ,edinburgh1 ,march #ab1 #aijd #fj #ah #j ,cabinet1 ,jacobean oak1 with drawer and folding doors below1 with moulded rectangular panels and balusters in relief1 #ej in4 high1 #df in4 wide4 ,christie1 ,july #a1 #aijd #ce #ad #j #a ,by the kindness of the proprietors of the ,connoisseur these items are given from their useful monthly publication1 ,auction ,sale ,prices4 ,illustration3 ,,cradle1 ,,time ,,of ,,charles ,i4 ,,carved ,,oak2 ,,with ,,letters ,g4 ,b4 ,m4 ,b4 ,,dated #afda4 7,victoria and ,albert ,museum47 ,,iv ,,stuart ,,or ,,jacobean4 ,,late ,,seventeenth ,,century ,illustration3 7,after picture by ,caspar ,netscher7 ,,interior ,,of ,,dutch ,,house4 ,,latter ,,half ,,of ,,seventeenth ,,century4 ,,iv ,,stuart ,,or ,,jacobean4 ,,late ,,seventeenth ,,century ,charles ,,ii4 #affj-afhe4 ,james ,,ii4 #afhe-afhh4 ,william and ,mary4 #afhi-afid4 ,william #afid-agjb4 ,sir ,christopher ,wren 7#afcb-agbc74 ,grinling ,gibbons 7#afdh-agbf74 #affj4 ,bombay became a ,british possession4 ,importation of ,indo-,portuguese furniture4 #afff4 ,great ,fire in ,london4 ,much valuable furniture destroyed4 #afge-agaj4 ,st4 ,paul's ,cathedral built under ,wren's direction4 #afhe4 ,edict of ,nantes revoked4 ,spitalfields' silk industry founded by ,french refugees4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,cabinet ,,of ,,the ,,time ,,of ,,charles ,,ii4 ,with exterior finely decorated with needlework4 ,after the ,civil ,war1 when ,charles ,,ii4 came into his own again1 the furniture of the ,restoration period most certainly took its colour from the gay ,court with which the ,merry ,monarch surrounded himself4 ,the cabinet which we reproduce has the royal arms embroidered on the cover1 and is a beautiful example of intricate cabinetmaking4 ,the surface of the piece is entirely covered with needlework4 ,on the front stand a cavalier and lady1 hand-in-hand4 ,on the side panel a cavalier is leading a lady on horseback4 ,on the back a man drives a laden camel1 and on another panel is shown the traveller being received by an old man in the grounds of the same castle which appears all through the scenes4 ,this suggests the love-story of some cavalier and his lady4 ,the casket is worthy to have held the love-letters of the ,chevalier ,grammont to ,la ,belle ,hamilton4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,cabinet ,,of ,,the ,,time ,,of ,,charles ,,ii4 ,showing interior and nest of drawers4 ,as is usual in pieces of this nature1 the cabinet contains many artfully devised hiding places4 ,a tiny spring behind the lock reveals one secret drawer1 and another is hidden beneath the inkwell4 ,there are in all five of such secret compartments--or rather five of them have been at present discovered--there may be more4 ,the illustration of the cabinet open shows what a nest of drawers it holds4 ,in the days of plots1 when ,titus ,oates set half the nation by the ears1 when ,james solemnly warned the merry ,charles of plots against his life1 provoking the cynical retort1 ,they will never kill me1 ,james1 to make you king1 secret drawers were no doubt a necessity to a fashionable cabinet4 ,catherine of ,braganza1 his queen1 brought with her from ,portugal many sumptuous fashions in furniture1 notably cabinets and chairs of ,spanish and ,portuguese workmanship4 ,the cavaliers scattered by the ,civil ,war returned1 and as in their enforced exile on the ,continent they had cultivated foreign tastes1 it was only natural that ,dutch1 ,french1 and ,italian work found its way to this country and effected the character of the early furniture of the ,charles ,,ii4 period4 ,from ,portugal came the high-backed chair1 having the back and the seat of leather cut with fine design1 and coloured or gilded4 ,this leather work is of exquisite character1 and we reproduce a portion of a ,portuguese chair-back of this period to show the artistic excellence of the design4 ,with ,catherine of ,braganza came the marriage dower of ,bombay1 and from ,india1 where the settlement of ,goa had been ,portuguese for centuries1 were sent to ,europe the carved chairs in ebony1 inlaid in ivory1 made by the native workmen from ,portuguese and ,italian models1 but enriched with pierced carving and intricate inlay of ivory in a manner which only an ,oriental craftsman can produce4 ,having become fashionable in ,portugal1 they made their appearance in ,england1 and rapidly became popular4 ,at ,penshurst ,place there are several fine specimens of this ,indo-,portuguese work1 with the spindles of the chair-backs of carved ivory2 and in the ,ashmolean ,museum at ,oxford there is the well-known chair which was presented by ,charles ,,ii4 to ,elias ,ashmole4 ,illustration3 ,by permission of ,messrs4 ,hampton ,sons4 ,,portuguese ,,high-,,back ,,chair4 ,seat and back formed of two panels of old stamped leather1 studded with brass bosses4 ,both in this later ,stuart period and in the days of the first ,charles inlay was considerably used to heighten the carved designs on oak tables1 chairs1 and cabinets4 ,the growth of commerce was responsible for the introduction of many varieties of foreign woods1 which were used to produce finer effects in marquetry than the rude inlay of ,elizabethan days4 ,the ,frontispiece to this volume represents a very handsome cabinet of ,english workmanship1 inlaid with ivory and mother-of-pearl4 ,it is an unusually fine example of the middle seventeenth century1 and bears the date #afec1 the year when ,cromwell forcibly dissolved the ,rump ,parliament and was declared ,lord ,protector of the ,commonwealth4 ,up till now oak--the hard1 tough1 ,english variety1 and not the more modern ,baltic oak or ,american varieties now used--was the material for the tool of the carver to work upon4 ,with the introduction of more flowing lines and curves1 a wealth of detail1 it is not unnatural to find that softer woods began to find favour as more suitable to the new decorations4 ,the age of walnut was approaching when1 under ,william the ,dutchman1 and in the days of ,queen ,anne1 a newer style of furniture was to arise1 made by craftsmen trained in the precepts of ,grinling ,gibbons and following the conceptions of ,sir ,christopher ,wren4 ,it must be borne in mind that in ,italy the softer woods1 such as lime1 willow1 sycamore1 chestnut1 walnut1 and cypress1 had long been used for the delicate carving during the height of the ,renaissance and succeeding period1 and in ,france and ,spain chestnut and walnut were favourite woods4 ,in the central panel of the ,restoration chair-back1 canework began to be used instead of the ,early ,jacobean carving4 ,cane seats were frequent1 and loose cushions1 attached by means of strings1 covered these cane panels and seats4 ,the illustration 7p4 #abb7 shows a ,jacobean chair of this period4 ,illustration3 ,by permission of ,messrs4 ,waring ,,oak ,,chest ,,of ,,drawers4 ,,late ,,jacobean4 7,height1 #c ft4 #c in42 width1 #c ft42 depth1 #a ft4 #aj in47 ,belonging to these later ,jacobean days are chests of drawers of oak with finely panelled fronts4 ,we illustrate two specimens1 showing the old brass metal work and the drop-handles4 ,they are usually in two parts1 and are very deep from back to front4 ,these are two typical examples of this kind of furniture1 which was in general use up to the days of ,queen ,anne1 when pieces are frequently found supported on a stand4 ,in the picture by ,caspar ,netscher1 showing a ,dutch lady at her toilet1 a good idea is conveyed of the kind of chair in use in ,holland in the latter half of the seventeenth century1 upholstered in brocade1 and the rich tapestry tablecloth is a noticeable feature4 ,before entering upon the last phase of ,stuart furniture1 and leaving the days of ,jacobean oak with its fine carving and handsome appearance--the careful result of selecting the timber and splitting it to show the fine figure of the wood--the attention of the reader should be drawn to the fact that the appearance of the surface of furniture made subsequent to this period begins to approach the results of the modern cabinetmaker with his polishes and spirit varnishes and highly glazed panels and table tops4 ,the lover of old oak abominates varnish4 ,the ,elizabethan and ,jacobean carved oak furniture received only a preliminary coat of dark varnish in its early days1 mixed with oil and not spirit1 which sank into the wood and was not a surface polish1 and was probably used to preserve the wood4 ,these old pieces1 which have received centuries of rubbing with beeswax and oil1 have resulted in producing a rich1 warm tone which it is impossible to copy by any of the subtle arts known to the modern forger4 ,the collector should make himself thoroughly familiar with the appearance of this old oak by a careful examination of museum pieces1 which1 when once seen1 cannot easily be forgotten4 ,illustration3 ,by permission of ,messrs4 ,waring4 ,,chest ,,of ,,drawers4 ,,panelled ,,front2 ,,late ,,jacobean4 7,height1 #c ft4 #d in42 width1 #c ft4 #aj in42 depth1 #a ft4 #aj in47 ,the ,italian ,renaissance furniture probably received an oil varnish1 the composition of which1 like the varnish employed for old violins1 has been lost1 but after centuries of careful usage and polishing1 the result1 as seen in the fine specimens in the ,victoria and ,albert ,museum1 is to give to them the appearance of bronze4 ,illustration3 ,by permission of ,messrs4 ,hampton ,sons4 ,,charles ,,ii4 ,,oak ,,chair4 ,open back carved with shell and scrolled foliage4 ,stuffed seat covered with old damask4 ,there is little doubt that the ,great ,fire1 which did such immense destruction in ,london in #afff1 in which some eighty-nine churches and thirteen thousand houses were demolished1 gave a considerable impetus to the manufacture of furniture in the new style4 ,it is not a pleasing reflection to think how many fine pieces of ,elizabethan and early ,jacobean furniture were consumed in the flames1 including much of ,inigo ,jones's work4 ,under the genius of ,sir ,christopher ,wren many of the city churches were rebuilt1 including ,st4 ,paul's ,cathedral2 and ,greenwich ,hospital and ,hampton ,court were enlarged according to ,wren's designs1 with the co-operation of the master woodcarver1 ,grinling ,gibbons4 ,in later ,jacobean days a splendour of style and an excellence of workmanship were the outcome of the fine achievements in interior woodwork by ,grinling ,gibbons and the school he founded4 ,the work of ,grinling ,gibbons consisted of most natural chains of flowers and foliage1 fruit1 or birds or cherubs' heads1 all faithfully reproduced untrammelled by convention4 ,st4 ,paul's ,cathedral1 ,hampton ,court1 ,chatsworth1 and ,petworth ,house all contain work by him of singular beauty4 ,he trained many assistants to help him to carry on his work1 and one of them1 ,selden1 lost his life in endeavouring to save the carved room at ,petworth from a destructive fire4 ,the soft wood of the lime was his favourite for detailed carving2 for church panelling or choir stalls1 such as at ,st4 ,pauls1 he employed oak2 in his medallion portraits or figure work he preferred pear or close-grained boxwood4 ,illustration3 ,by permission of ,messrs4 ,hampton ,sons4 ,,charles ,,ii4 ,,open ,,high-,,back ,,oak ,,chair4 ,finely carved legs and stretcher4 ,stuffed seat covered in old ,spanish silk damask4 ,the gradual development of the chair in the later ,stuart days in the direction of upholstered seat will be noticed in the specimens which are given as illustrations4 ,the revocation of the ,edict of ,nantes in #afhe by ,louis ,,xiv4 drove some thousands of ,french workmen--weavers1 glass-workers1 and cabinetmakers--to this country4 ,the silk-weaving industry established by them at ,spitalfields was one of the results1 and silk stuffs and brocades were used for covering the seats and backs of furniture4 ,at ,hampton ,court the crystal glass chandeliers were made by ,french workmen1 whom ,wren was glad to employ to assist him to make that palace a worthy rival to ,versailles4 ,illustration3 ,by permission of ,messrs4 ,harold ,g4 ,lancaster ,co4 ,,charles ,,ii4 ,,chair4 ,cane back and seat1 finely carved legs and stretcher4 ,illustration3 ,by permission of ,messrs4 ,fenton ,sons4 ,,james ,,ii4 ,,chair4 ,with cane back and seat1 and finely turned legs and stretcher4 ,the chair here illustrated shows the commencement of the use of cane work in place of wood for the panel in back and for the seat4 ,the ,james ,,ii4 chair illustrated shows the later development of the cane-back4 ,the ,william and ,mary chair 7illustrated p4 #abe7 shows how the cane-back was retained later than the cane-seat1 and how rich damask was employed for the upholstered seat4 ,it is interesting to see how the stretcher1 which in earlier days was of use to keep the feet raised from a wet or draughty floor1 has now become capable of elaborate ornamentation4 ,genuine examples of chairs of ,elizabethan and ,early ,stuart days show the wear of the feet of the sitters4 ,the same wear is observable in the lower rail of old tables4 ,in later ,stuart days the stretcher has left its place at the bottom1 between the two front legs4 ,since its use as a foot-rest1 owing to carpeted floors1 is gone1 it is found either joining the legs diagonally1 or higher up as an ornament with carved front4 ,in the eighteenth century it has almost disappeared altogether4 ,illustration3 ,by permission of ,messrs4 ,harold ,g4 ,lancaster ,co4 ,,william ,,and ,,mary ,,chair4 ,cane back4 ,seat upholstered in damask4 ,finely carved legs and stretcher4 ,mirrors began to take a prominent place in interior decoration4 ,the house of ,nell ,gwynne in ,st4 ,james's ,square had one room entirely lined with glass mirrors4 ,hampton ,court is full of mirrors1 and they are arranged with considerable skill4 ,by an artful arrangement the mirror in the ,king's ,writing ,closet is placed at such an angle that the reflection of the whole suite of rooms may be seen in it4 ,the looking glasses made in this country in the late seventeenth and early eighteenth centuries were the work of ,venetian and ,french workmen4 ,the plates had a bevel of an inch in width1 and these bevels followed the shape of the frame1 whether square or oval4 ,a factory was established near ,battersea which produced some fine work of this nature4 ,it will be noticed by the collector who is observant that the bevels differ considerably from modern bevels4 ,the angle is not such an acute one1 and sometimes the edges are double bevelled4 ,many of the mirrors of the time of ,william and ,mary had an ornamented border of blue glass4 ,sometimes the mirror was painted with festoons of flowers and with birds in ,french manner4 ,in imitation of ,italian style the back of the mirror1 in examples a little later1 was worked upon in the style of intaglio1 or gem cutting1 this presenting a dull silver surface when seen from the front4 ,in picture frames1 in chimneypieces1 or in mirror frames the school of ,grinling ,gibbons was still pre-eminent in carving4 ,now and again are found traces of ,italian or ,louis ,,xiv4 influence1 but as a whole the ,english carver held his own1 and the traditions of ,grinling ,gibbons were maintained1 and he did not easily allow himself to be carried away by foreign elaborations4 ,when ,william of ,orange came over in #afhh he brought with him many of his own countrymen as military and civil advisers1 and in their train came artists and craftsmen1 who introduced ,dutch art into ,england1 and prepared the way for the more homely style of ,queen ,anne4 ,walnut cabinets inlaid with various woods1 and with ivory squares representing miniature ,dutch courtyards in the recesses of cabinets1 had found their way into ,england4 ,with the period of ,william and ,mary the cabriole leg in chairs and in tables became popular--at first an ,english adaptation of ,dutch models--but later to develop into the glorious creations of the age of walnut4 ,blue delft jars and bowls1 some especially made for ,william and ,mary and bearing the ,royal arms and the cypher ,w4 ,m4 ,r4 and the ,nassau motto1 ,je main tien-dray1 still to be seen in the ,queen's ,gallery at ,hampton ,court1 were introduced1 and it became fashionable to collect china4 ,consequently the furniture in rooms had to be adapted for the arrangement of this new class of ornament1 and cabinets were largely made with accommodation to receive vases and beakers and blue bowls on their shelves4 ,the earlier form have straight sides2 but later1 especially in the next reign1 they follow ,french designs1 and are swollen or bombe at the sides4 ,illustration3 ,,upper ,,portion ,,of ,,chair ,,back ,,of ,,cut ,,leather4 ,,portuguese4 ,,latter ,,part ,,of ,,seventeenth ,,century4 7,victoria and ,albert ,museum47 ,with ,william1 too1 came over the plain walnut card-table4 ,clock cases of the style termed ,grandfather were of ,dutch origin4 ,the seats of chairs were shaped and removable4 ,the ,dutch trade with the ,east ,indies had brought ,oriental china and lac cabinets into ,holland1 and these1 with the coming of ,william1 found their way into this country4 ,bureaux with a number of secret recesses were introduced1 and another ,dutch importation from the ,east was the now celebrated chair or table leg with claw and ball foot4 ,this came directly from ,china1 and as in the case of delft1 which is the earthenware replica by the ,dutch potter of fine blue porcelain vases1 from ,nankin and ,canton1 where the ,oriental perspective and design have been slavishly copied1 so with the furniture1 the old ,chinese symbol of a dragon's foot holding a pearl1 was repeated in the furniture by ,dutch cabinetmakers4 ,dutch marquetry made an early appearance with simple ornamentation1 sometimes enriched by ivory or mother-of-pearl inlay1 but later it developed into flowing floral designs with figures1 vases1 fruit1 butterflies1 and elaborate scrolls in various coloured woods1 of which yellow was the predominant colour4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,armchair1 ,charles ,,ii41 oak1 carved with cherubs supporting crowns1 and with turned column supports4 ,christie1 ,november #bj1 #aijc #ae #d #f ,chairs1 pair1 ,charles ,,ii41 oak1 with cane seats and oval cane panels in the backs1 spirally turned legs1 stretchers and rails at the back4 ,christie1 ,march #d1 #aijd #fc #j #j ,armchair1 ,charles ,,ii41 oak1 with high back carved with arabesque foliage1 with lions' masks and claw legs4 ,christie1 ,march #bi1 #aijd #fc #j #j ,chairs1 pair1 nearly similar1 carved with foliage4 ,christie1 ,march #bi1 #aijd #ci #ah #j ,armchair1 ,charles ,,ii41 walnut-wood1 of ,italian design1 carved with masks1 cane seat and panel in back2 and cushion1 covered with old ,flemish tapestry4 ,christie1 ,march #d1 #aijd #gg #ad #j ,chairs1 three1 ,charles ,,ii41 oak1 with oval panels of canework in the backs1 the borders carved with foliage1 flowers1 and ,amorini1 and surmounted by busts4 ,christie1 ,april #ab1 #aijd #db #j #j ,chairs1 set of twelve1 ,charles ,,ii41 of chestnut-wood1 with high backs carved with rosette ornaments1 scroll foliage1 and formal blossoms1 on cabriole legs carved with flowers and shaped stretchers4 ,christie1 ,july #a1 #aijd #dfb #j #j ,chairs1 pair of chestnut-wood1 with high backs slightly curved1 pierced and carved at the top1 and each inlaid with two cane panels1 on carved cabriole legs and shaped stretchers1 temp4 ,james ,,ii4 ,christie1 ,june #b1 #aijd #cf #ae #j ,cabinet1 ,english marquetry1 with folding doors1 enclosing twelve drawers and small cupboard1 and with four drawers below1 the whole elaborately inlaid with vases of tulips1 roses1 and other flowers1 small figures1 birds1 and insects1 on a walnut-wood ground1 #fi in4 high1 #dg in4 wide1 temp4 ,william ,,iii4 ,christie1 ,february #ab1 #aijd #aje #j #j ,mirror1 in case of old ,english marquetry1 inlaid with large flowers and foliage in coloured woods and ivory on walnut-wood ground1 #cb in4 by #bh in41 temp4 ,william ,,iii4 ,christie1 ,february #ai1 #aijd #dc #c #j ,chairs1 set of six1 walnut-wood1 with high1 open backs1 carved with foliage1 the centre inlaid in marquetry1 on carved cabriole legs and eagles' claw-and-ball feet1 temp4 ,william and ,mary4 ,christie1 ,june #b1 #aijd #cae #j #j ,chairs1 set of four1 of similar form1 open backs1 carved with shell1 and gadroon ornament1 and on carved cabriole legs with hoof feet1 the stretcher carved with a shell1 temp4 ,william and ,mary4 ,christie1 ,june #b1 #aijd #aje #j #j ,cabinet1 ,william and ,mary1 marquetry1 veneered with walnut-wood1 decorated with oval and shaped panels1 inlaid1 upon ebony field1 #db in4 wide4 ,christie1 ,march #ah1 #aijd #fe #b #j ,cabinet on stand1 ebony1 ,dutch1 seventeenth century1 supported by six beaded columns with stage under and mirror panels at back1 the upper part composed of doors carved in medallions2 the centre doors enclose an architectural hall1 inlaid in ivory1 c41 with gilt columns and mirror panels1 and fitted with secret drawers1 #e ft4 #c in4 wide1 #f ft4 #f in4 high and #bb in4 deep4 ,jenner ,dell1 ,brighton1 ,may #c1 #aijd #ajj #j #j ,corner cupboard1 ,dutch marquetry1 #h ft4 high1 having carved crown-shaped cornice1 with centre vase1 four doors1 with bow fronts1 inlaid with flowers and carved raised beadings1 the interior fitted4 ,c4 ,w4 ,provis ,son1 ,manchester1 ,may #i1 #aijd #cb #j #j ,table1 ,dutch marquetry1 with shaped front and two drawers inlaid with sprays of flowers in coloured woods and ivory1 on cabriole legs1 #cb in4 wide4 ,christie1 ,march #d1 #aijd #cg #af #j #a ,by the kindness of the proprietors of the ,connoisseur these items are given from their useful monthly publication1 ,auction ,sale ,prices4 ,v ,,queen ,,anne ,,style ,illustration3 ,by permission of ,messrs4 ,hampton ,sons ,,queen ,,anne ,,oak ,,settle4 ,scrolled arms1 panelled back and loose cushioned seat4 ,width #f feet4 ,v ,,queen ,,anne ,,style ,anne #agjb-agad4 #agjg4 ,act of ,union between ,england and ,scotland4 ,first ,united ,parliament of ,great ,britain met4 #agac4 ,the ,national ,debt had risen to ,l#ch1jjj1jjj4 ,with the age of ,queen ,anne domestic furniture departed from the ornate characteristics which had marked previous epochs4 ,the tendency in ,english furniture seems to have made towards comfort and homeliness4 ,the ,english home may not have contained so many articles of luxury then as does the modern house with its artistic embellishments1 and a popular taste rapidly ripening into a genuine love of the fine arts4 ,a modern shopkeeper's house1 says ,lord ,macaulay1 is as well furnished as the house of a considerable merchant in ,anne's reign4 ,it is very doubtful whether this statement holds good with regard to the days of ,elizabeth or the days of the early ,stuarts1 but there certainly seems to have been in the dawn of the walnut period a curtailment of luxurious effects that might well tempt a casual observer to generalise in the belief that the days of ,anne spelt dulness in art4 ,the settle1 the illustration of which is given 7p4 #adi71 bearing the date #agje1 the year after ,blenheim1 shows that ,jacobean models of early days were not forgotten4 ,the inlaid borders are very effective1 and there is nothing vulgar or offensive in the carving4 ,it is simple in style and the joinery is good4 ,a walnut mirror1 carved and gilded 7illustrated p4 #acg71 exhibits the same solidity4 ,there is nothing to show that the glorious age of ,louis ,,xiv4 had produced the most sumptuous and richly decorated furniture the modern world had seen4 ,the simplicity of this carved mirror frame is as though art had begun and ended in ,england1 and probably it is this insularity of the furniture of this period1 and the almost stubborn neglect of the important movements going on in ,france that makes the ,queen ,anne style of peculiar interest4 ,illustration3 ,by permission of ,messrs4 ,harold ,g4 ,lancaster ,co4 ,,queen ,,anne ,,mirror ,,frame4 ,,walnut1 ,,carved ,,and ,,gilded4 ,the oak desk illustrated 7p4 #aci71 dated #afif1 is similar to the one at ,abbotsford1 in which ,sir ,walter ,scott mislaid his manuscript of ,waverley1 where it lay among his fishing-tackle for eleven years4 ,another piece of the same period is the cupboard with carved doors and drawers beneath 7illustrated p4 #adj74 ,illustration3 ,,oak ,,desk4 ,,with ,,initials ,l4 ,g4 ,,and ,,dated #afif4 7,from the collection of ,t4 ,e4 ,price ,stretche1 ,esq47 ,some pretty effects were now obtained by veneering1 which was largely coming into practice4 ,the pieces with the burr-walnut panels1 marked in a series of knot-like rings1 are especially sought after4 ,this pattern was obtained from the gnarled roots of the walnut-tree1 and applied in a decorative manner with excellent result4 ,illustration3 ,by permission of ,t4 ,e4 ,price ,stretche1 ,esq4 ,,oak ,,cupboard4 ,,seventeenth ,,century4 ,metal handles of drawers1 eighteenth century4 7,height #f ft4 #g in42 width1 #d ft4 #f in47 ,illustration3 ,by permission of ,messrs4 ,brown ,bool4 ,cabinet closed2 showing fine mottled figure of burr walnut4 ,cabinet open2 showing drop-down front and nest of drawers4 ,,queen ,,anne ,,walnut ,,cabinet4 ,illustration3 ,,dutch ,,marquetry ,,chair4 ,,queen ,,anne ,,chair4 ,by permission of ,messrs4 ,hampton ,sons4 ,illustration3 ,,queen ,,anne ,,walnut ,,armchair4 ,,black ,,and ,,gold ,,lac ,,chair4 ,by permission of ,messrs4 ,waring4 ,in the fine cabinet1 the illustration of which is given 7p4 #ada71 the style is typical of this period4 ,the panels of the doors are of exquisite finish1 and show a beautiful walnut grain of peculiarly-pleasing mottled appearance1 and the mellow effect which time has given to this specimen cannot be imitated with any degree of success in modern replicas4 ,in the illustration showing this piece when open1 the rich effect of the walnut in the middle panel may be noticed2 the contemporary brass handles to the nest of drawers are typical of this style4 ,in chairs and in tables the elegant cabriole and colt's-foot legs were now commonly adopted1 and apparently1 simple as is the construction1 it is only when ,queen ,anne pieces come to be repaired that it is found how expensive an undertaking it is1 owing to their ingenious construction and the patient labour that was expended upon them1 to produce unpretentious and harmonious effects4 ,the assertively ,english spirit which was the dominant note of the furniture of the early eighteenth century continued up till the early years of the reign of ,george ,,ii4 ,during this period1 which covers half a century1 walnut was the wood mostly used in the manufacture of furniture1 and this walnut period shows a quiet dignity of style and a simple proportion1 reticently elegant and inornate without being severe4 ,the ,queen ,anne oak settle1 with shaped panelled back and scroll arms1 which appears as the headpiece to this chapter1 is especially representative of the kind of piece in common use at the time2 oak was still employed in furniture of this nature4 ,the legs show the newer design1 which was already departing from the elegant turning of earlier ,jacobean days4 ,in the ,queen ,anne chair which is illustrated in the group of chairs of this period 7p4 #adc71 with open back and carved scroll foliage1 the cabriole legs are finely carved with lion masks and acanthus leaf ornament1 on lion's claw-and-ball feet4 ,the seat is removable1 and is stuffed4 ,queen ,anne chairs had high carved or plain splat backs4 ,the armchair in the same group shows this type of back4 ,the ,dutch shell-pattern often appears either on back or at the juncture of the leg with the seat4 ,chairs decorated in marquetry1 in ,dutch fashion1 were in use at this period4 ,the one illustrated with the two above-mentioned chairs is inlaid with birds and flowers1 and the legs are cabriole4 ,the seat follows the growing usage of being loose and stuffed4 ,dutch marquetry cabinets on stands1 with straight uprights1 were imported and became a feature in the early eighteenth century drawing-room 7see illustration1 p4 #adg74 ,the earlier forms had straight sides1 but later1 as the fashion grew1 bureaux and large cabinets1 with the dimensions of a modern wardrobe1 had taken their place1 with bombe or swelled sides1 and profusely decorated in marquetry1 with vases and tulips and unnamed flowers of the cabinetmaker's invention1 birds1 butterflies1 and elaborate scrollwork1 in which ivory and mother-of-pearl were often employed as an inlay4 ,the stands on which the smaller cabinets stood were turned with the spiral leg of ,jacobean days1 and later they have the cabriole leg1 with ball-and-claw or club feet4 ,cabinets and stands are frequently found together1 in which the one is much earlier than the other4 ,illustration3 ,by permission of ,messrs4 ,hampton ,sons4 ,,dutch ,,marquetry ,,cabinet4 ,fitted with shelves4 ,door richly inlaid with flowers and scrolled foliage4 ,on stand with turned legs and stretcher4 ,rich damask began to be used in the furnishing of hangings1 and in some of the palatial furniture of the period the looms of ,spitalfields produced the coverings4 ,in ,queen ,anne's bedroom the hangings were of rich silk velvet4 ,clocks of the variety termed ,grandfather1 either with fine walnut cases or inlaid with marquetry1 came into more general use in the days of ,queen ,anne4 ,an elaboration of carving on grandfather clock cases as a rule is to be regarded with suspicion4 ,plain panels are not so saleable as carved ones2 the want is supplied1 and many fine old clock cases are spoiled by having the touch of a modern hand4 ,the clock illustrated is an untouched specimen4 ,the walnut case is a fine example of ,queen ,anne marquetry work4 ,the works are by ,sam ,barrow1 ,hermitage ,bridge1 ,london4 ,the steel dial is richly mounted with cupids1 masks1 and scrolls in chased brass4 ,illustration3 ,by permission of ,messrs4 ,hampton ,sons4 ,,queen ,,anne ,,clock4 ,walnut case with marquetry work4 ,towards the middle of the eighteenth century and later1 cabinets of ,dutch importation1 and ,japanese or ,chinese in origin1 were extensively in use4 ,in smaller numbers they had1 without doubt1 in the days of ,william and ,mary1 been introduced1 but it was not until the commerce with the ,east had been well established that they became popular4 ,in the cabinet illustrated 7p4 #aej7 the cabinet-work is ,english1 the drawers are all dovetailed in the ,english manner1 but the lacquered doors come from the ,east4 ,it is an especially interesting example1 as the pagoda-like superstructure is not often found complete4 ,illustration3 ,by permission of ,messrs4 ,waring4 ,,queen ,,anne ,,oak ,,settle4 ,,dated #agje4 ,with borders in marquetry4 7,width1 #e ft47 ,illustration3 ,by permission of ,messrs4 ,brown ,bool4 ,,old ,,lac ,,cabinet4 ,,english2 ,,early ,,eighteenth ,,century4 ,lacquered boxes had been sent home from the ,east by ,english1 ,french1 and ,dutch merchants1 for many years1 and with characteristic ingenuity the ,french cabinetmakers had employed these as panels for their furniture1 but the supply not being sufficient they had attempted a lacquer of their own1 which is dealt with in a subsequent chapter on ,louis ,,xiv4 furniture4 ,dutch lacquer-work was a similar attempt on the part of the craftsman of ,holland to equal the ,oriental originals4 ,illustration3 ,,lac ,,cabinet4 ,,middle ,,of ,,eighteenth ,,century4 7,height1 #b ft4 #e in42 width1 #b ft4 #h-a_/b in42 depth1 #a ft4 #f-a_/b in42 height of stand1 #b ft4 #i in47 7,from the collection of ,w4 ,g4 ,honey1 ,esq41 ,cork47 ,illustration3 ,w4 ,g4 ,honey1 ,esq41 ,cork4 ,,front ,,of ,,lac ,,cabinet 7,,illustrated71 ,,with ,,doors ,,closed4 ,in the early eighteenth century the ,english craftsman tried his skill at lacquered furniture1 it is true not with very successful results1 but it is interesting to see what he has left as attempts4 ,the illustration 7p4 #adc7 of a chair in black and gold lac is of ,english manufacture4 ,the splat back and the cabriole leg give the date1 and the specimen is a noteworthy example4 ,another piece of the first half of the eighteenth century period is the lac cabinet illustrated 7p4 #aea74 ,the metal hinges and corners of this are of chased brass and of ,english or ,dutch workmanship4 ,the shape and design of the drawer handles are frequently found in nests of drawers of this period1 and there was a singular fondness shown at this time for numbers of small drawers and pigeon-holes in furniture4 ,the now familiar bureau with bookcase above1 and drop-down1 sloping front covering drawers and recesses1 dates from this time4 ,the escutcheon of the lac cabinet is illustrated in detail as a tailpiece to this chapter to show the particular style of work found on the locks and hinges and drawer-handles of pieces of this nature4 ,as has been said before1 it is especially useful to the collector to make himself thoroughly familiar with these details of the various periods4 ,it may be readily imagined that at a time when cards were the passion of everybody in society1 the card-table became a necessary piece of furniture in eighteenth-century days1 just before the dawn of the great age of mahogany1 when ,chippendale1 and the school that followed him1 eagerly worked in the wood which ,raleigh discovered4 ,they produced countless forms1 both original and adapted from the ,french1 which have enriched the repertoire of the cabinetmaker and which have brought fame to the man whose designs added lustre to the reputation of ,english furniture4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,chairs1 six1 mahogany1 single1 and one armchair to match1 with shaped legs and openwork backs 7early eighteenth century74 ,f4 ,w4 ,kidd1 ,neale ,son1 ,nottingham1 ,november #aa1 #aijc #be #d #j ,chairs1 eight ,queen ,anne1 walnut-wood1 with high backs1 on slightly cabriole legs1 with stretchers4 ,christie1 ,december #aa1 #aijc #cc #ab #j ,armchair1 ,queen ,anne1 large walnut-wood1 carved with foliage1 the arms terminating in masks1 on carved cabriole legs and lion's-claw feet4 ,christie1 ,march #bi1 #aijd #ej #h #j ,cabinet1 ,queen ,anne1 the lower part fitted with escritoire1 the upper part with numerous drawers1 shaped cornice above1 #c ft4 #f in4 by #g ft4 #f in4 ,puttick ,simpson1 ,april #ab1 #aijd #cd #j #j ,chairs1 four ,queen ,anne1 walnut-wood1 with interlaced backs carved with rosettes and a shell at the top1 on cabriole legs carved with shells and foliage2 and a pair of chairs made to match4 ,christie1 ,july #h1 #aijd #dd #b #j #a ,by the kindness of the proprietors of the ,connoisseur1 these items are given from their useful monthly publication1 ,auction ,sale ,prices4 ,illustration3 ,w4 ,g4 ,honey ,esq41 ,cork4 ,,chased ,,brass ,,escutcheon ,,of ,,lac ,,cabinet 7,,illustrated74 7,width1 #aj-a_/b in47 ,,vi ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xiv ,illustration3 ,by kind permission1 from the collection of ,dr4 ,sigerson1 ,dublin4 ,,cassette4 ,,french2 ,,seventeenth ,,century4 ,containing many secret drawers4 ,,vi ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xiv ,,louis ,,xiv4 7#afdc-agae71 covering ,english periods of ,civil ,war1 ,commonwealth1 ,charles ,,ii41 ,james ,,ii41 ,william and ,mary1 and ,anne4 #afai-afhc4 ,colbert1 ,minister of ,finance and patron of the arts4 #affa-afhg4 ,versailles built4 #affb4 ,gobelins ,tapestry ,works started by ,colbert2 ,le ,brun first director 7#affb-afij74 #affd4 ,royal ,academy of ,painting1 ,architecture1 and ,sculpture founded by ,colbert1 to which designs of furniture were admitted4 ,in order to arrive at a sense of proportion as to the value of ,english furniture and its relation to contemporary art in ,europe1 it is necessary to pass under hasty examination the movements that were taking place in ,france in the creation of a new style in furniture under the impulses of the epoch of the ,grande ,monarque4 ,to estimate more correctly the styles of the ,early ,jacobean and of the later ,english furniture extending to the days of ,chippendale and ,sheraton1 it must be borne in mind that ,england was not always so insular in art as the days of ,queen ,anne would seem to indicate4 ,it is impossible for the cabinetmakers and the craftsmen to have utterly ignored the splendours of ,france4 ,louis ,,xiv4 had a long and eventful reign1 which extended from the days when ,charles ,i4 was marshalling his forces to engage in civil war with the ,parliament down to the closing years of ,queen ,anne4 ,during his minority it cannot be said that ,louis ,,xiv4 influenced art in furniture1 but from #affa1 contemporary with ,charles ,,ii41 when he assumed the despotic power that he exercised for half a century1 his love of sumptuousness1 and his personal supervision of the etiquette of a formal ,court1 in which no detail was omitted to surround royalty with magnificence1 made him the patron of the fine arts1 and gave his ,court the most splendid prestige in ,europe4 ,as a headpiece to this chapter we give a very fine example of a cassette1 or strong box1 of the time of ,louis ,,xiv4 ,it is securely bound with metal bands of exquisite design4 ,the interior is fitted with a number of secret drawers4 ,in the illustration 7p4 #aei7 it will be seen that the chair of the period of ,louis ,treize differed in no great respects from the furniture under the early ,stuarts in this country4 ,this design is by the celebrated ,crispin de ,passe1 and the date is when ,charles ,i4 raised his standard at ,nottingham1 a year prior to the birth of ,louis ,,xiv4 ,illustration3 ,,chair ,,of ,,period ,,of ,,louis ,,xiii4 ,,designed ,,by ,,crispin ,,de ,,passe1 #afdb4 ,during the reign of ,louis ,,xiv41 tables1 armoires1 and cabinets were designed on architectural principles4 ,under the guiding influence of ,colbert1 ,minister of ,finance1 architects and cabinetmakers were selected to design furniture for the ,tuileries1 the ,louvre1 and ,fontainebleau4 ,in the early years of the reign furniture was made with severe lines1 but gradually it became the practice to fashion larger pieces4 ,immense tables with sumptuous decoration1 on gilded claw-feet1 and having tops inlaid with pietra-dura intended to carry bronze groups and porphyry vases1 were made at the ,gobelins factory1 under the direction of the celebrated ,le ,brun4 ,this artist loved grandeur and gorgeousness in decoration1 and in accord with the personal ideas of ,louis ,,xiv41 who had an inordinate love for perfect symmetry1 huge pieces of furniture were built in magnificent manner to please the taste of the ,grande ,monarque4 ,men of genius were employed in the manufacture of tapestries1 of furniture1 and of metal mountings1 and the interior decorations of the palaces were designed in harmony with the furniture intended for use therein4 ,the most illustrious among the cabinetmakers was ,andre ,charles ,boule1 who was made1 in #afgc1 by letters patent1 ,premier ebeniste de la maison royale4 ,the work of this artist in wood has attained a worldwide celebrity1 and his name even has been corrupted into buhl to denote a particular class of work which he perfected4 ,his most notable productions are the finely chased ormolu1 in which he was an accomplished worker1 and the inlay of tortoiseshell and brass1 sometimes varied with ebony or silver1 which have remained the wonder of succeeding generations4 ,boule was born in #afdb1 and lived till #agcb4 ,the first ,boule1 termed ,le ,pere1 he was succeeded by no less than four sons and nephews of the same name1 in addition to his pupils who carried on his traditions at the ,boule atelier1 and a crowd of later imitators1 even up to the present day1 have followed his style in lavish decoration without being possessed of his skill4 ,in ,italy and in ,france marquetry of considerable delicacy and of fine effect had been produced long before the epoch of ,louis ,,xiv41 but it was ,boule who introduced a novelty into marquetry by his veneered work1 which rapidly grew into favour till it developed into cruder colouring in inlays and unbridled licence in ornamentation1 to which its originator would never have given countenance4 ,the pieces of furniture usually associated with him are massive structures of ebony with their surfaces covered with tortoiseshell1 in which are inlaid arabesques1 scrolls1 and foliage in thin brass or other metal4 ,upon the surface of this metal inlay further ornamentation was chased with the burin4 ,this alternation of tortoiseshell and brass forms a brilliant marquetry4 ,into the chased designs on the metal a black enamel was introduced to heighten the effect1 which was further increased by portions of the wood beneath the semi-transparent tortoiseshell being coloured black or brown or red2 sometimes a bluish-green was used4 ,later imitators1 not content with the beautiful effect of tortoiseshell1 used horn in parts1 which is more transparent1 and they did not fear the garish effect of blue or vermilion underneath4 ,boule's creations1 set in massive mounts and adornments of masks and bas-reliefs1 cast in gilt-bronze and chased1 were pieces of furniture of unsurpassed magnificence1 and especially designed for the mirrored splendours of the salons of ,versailles4 ,in boule-work all parts of the marquetry are held down by glue to the bed1 usually of oak1 the metal being occasionally fastened down by small brass pins1 which are hammered flat and chased over so as to be imperceptible4 ,in order to economise the material1 ,boule1 when his marquetry became in demand1 employed a process which led to the use of the technical terms1 boule and counter-boule4 ,the brass and the tortoiseshell were cut into thin sheets4 ,a number of sheets of brass were clamped together with the same number of sheets of tortoiseshell4 ,the design was then cut out1 the result being that each sheet of tortoiseshell had a design cut out of it1 into which the same design from one of the sheets of brass would exactly fit4 ,similarly each sheet of brass had a design cut out of it into which a corresponding piece of tortoiseshell would fit4 ,that in which the ground is of tortoiseshell and the inlaid portion is brass1 is considered the better1 and is called boule1 or the premiere partie4 ,that in which the groundwork is brass and the design inlaid is of tortoiseshell1 is called counter-boule or contre-partie4 ,this latter is used for side panels4 ,an examination of the specimens preserved in the ,louvre1 at the ,jones ,bequest at the ,victoria and ,albert ,museum1 or in the ,wallace ,collection will enable the student to see more readily how this practice works out in the finished result4 ,in the illustration 7p4 #afc7 of the two pedestals the effect of the employment of boule and counter-boule is shown4 ,illustration3 7a47 7b47 ,,pedestals ,,showing ,,boule ,,and ,,counter-,,boule ,,work4 7,wallace ,collection47 7a7 ,boule or premiere partie4 7b7 ,counter-boule or contre-partie4 ,associated with ,boule is ,jean ,berain1 who had a fondness for the ,italian style2 his designs are more symmetrically correct1 both in ornamental detail and in architectural proportion4 ,his conceptions are remarkable for their fanciful elaboration1 and their wealth of profuse scrollwork4 ,in the ,french national collections at the ,louvre1 at ,versailles1 and elsewhere there are many beautiful examples of his chandeliers of magnificent carved and gilded work4 ,the freedom of the spiral arms and complex coils he introduced into his candelabra have never been equalled as harmonious portions of a grandly conceived scheme of magnificent interior decoration1 to which1 in the days of ,louis ,,xiv41 so much artistic talent was devoted4 ,illustration3 ,,boule ,,cabinet1 ,,or ,,armoire4 ,valued at nearly ,l#ae1jjj4 ,jones ,bequest4 7,victoria and ,albert ,museum47 ,with regard to the value of some of the specimens in the national collections1 it is difficult to form an estimate4 ,the ,boule cabinet1 probably designed by ,berain1 executed by ,boule for ,louis ,,xiv4 7illustrated p4 #afe7 would1 if put up for sale at ,christie's1 probably fetch ,l#ae1jjj4 ,this piece is held to be grander in style than any in the galleries in ,france4 ,at the ,wallace ,collection there are examples which would bring fabulous sums if sold4 ,a cabinet by ,boule1 in the ,jones ,bequest1 purchased by ,mr4 ,jones for ,l#c1jjj in #ahha1 is now worth three times that sum4 ,upon the building1 decorating1 and furnishing of ,versailles ,louis ,,xiv4 spent over five hundred million francs1 in addition to which there was the army of workmen liable to statute labour4 ,some twenty thousand men and six thousand horses were employed in #afhd at the different parts of the chateau and park4 ,in ,may1 #afhe1 there were no less than thirty-six thousand employed4 ,the illustrious craftsmen who were employed upon the magnificent artistic interior decorations have transmitted their names to posterity4 ,berain1 ,lepautre1 ,henri de ,gissey1 are the best known of the designers4 ,among the painters are the names of ,audran1 ,baptiste1 ,jouvenet1 ,mignard1 and the best known of the sculptors are ,coustou and ,van ,cleve4 ,of the woodcarvers1 metal-chasers1 locksmiths1 and gilders ,pierre ,taupin1 ,ambroise ,duval1 ,delobel1 and ,goy are names of specialists in their own craft who transformed ,versailles from a royal hunting-box into one of the most splendid palaces in ,europe4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,commode1 ,louis ,,xiv41 of inlaid king-wood1 with two drawers1 mounted with handles and masks at the corners of chased ormolu1 and surmounted by a fleur violette marble slab1 #eb in4 wide4 ,christie1 ,january #bb1 #aijd #ca #aj #j ,show-cabinet1 of ,louis ,,xiv4 design1 inlaid king-wood1 with glazed folding doors1 ormolu mounts1 chased and surmounted by vases1 #gc in4 high1 #df in4 wide4 ,christie1 ,april #ab1 #aijd #cj #i #j ,casket1 ,louis ,,xiv41 black ,boule1 inlaid with ,cupids1 vases of flowers and scrolls1 and fitted with four tortoiseshell and gold picque shell-shaped snuff boxes4 ,christie1 ,april #ai1 #aijd #gc #aj #j ,commode1 ,louis ,,xiv41 ,boule1 of sarcophagus form1 containing two drawers1 at either corners are detached cabriole legs1 the various panels are inlaid with brass and tortoiseshell1 the whole is mounted with ormolu1 surmounted by a slab of veined marble1 #di in4 wide4 ,christie1 ,may #bg1 #aijd #eg #ae #j #a ,by the kindness of the proprietors of the ,connoisseur1 these items are reproduced from their useful monthly publication1 ,auction ,sale ,prices4 ,,vii ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xv ,illustration3 ,by permission of ,messrs4 ,foley ,eassie4 ,,commode1 ,,by ,,cressent4 7,from a drawing by ,walter ,eassie47 7,wallace ,collection47 ,,vii ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xv ,louis ,,xv4 #agae-aggd ,petit ,trianon built at ,versailles4 ,meissonier1 ,director of ,royal ,factories 7#agbc-aggd74 ,watteau 7#afhd-agba74 ,pater 7#afie-agcf74 ,lancret 7#afij-agdc74 ,boucher 7#agjd-aggj74 #agea4 ,the leading ebenistes compelled to stamp their work with their names4 ,louis ,,xiv4 died in the year following the death of ,queen ,anne1 so that it will be readily seen that ,english art was uninfluenced by ,france in the days of ,william and ,mary1 and how insular it had become under ,anne4 ,the ,english craftsman was not fired by new impulses from ,france during such an outburst of decorative splendour4 ,the reign of ,louis ,,xv4 extends from ,george ,i4 down to the eleventh year of the reign of ,george ,,iii41 which year saw the cargoes of tea flung into ,boston harbour and the beginning of the war with ,america4 ,in glancing at the ,louis ,quinze style it will be observed how readily it departed from the studied magnificence of ,louis ,,xiv4 ,in attempting elegance of construction and the elimination of much that was massive and cumbersome in the former style1 it developed in its later days into meaningless ornament and trivial construction4 ,at first it possessed considerable grace1 but towards the end of the reign the designs ran riot in rococo details1 displaying incongruous decoration4 ,it was the age of the elegant boudoir1 and the bedroom became a place for more intimate guests than those received in the large reception-room4 ,in the days of ,louis ,,xiv4 the bed was a massive structure1 but in the succeeding reign it became an elegant appendage to a room4 ,at ,versailles the splendid galleries of magnificent proportion were transformed by the ,duke of ,orleans1 ,regent of ,france 7#agae-agbc7 during the king's minority1 into smaller salons covered in wainscoting1 painted white and ornamented with gilded statues4 ,in like manner the ,louis ,quinze decorations were ruthlessly destroyed by ,louis-,philippe4 ,illustration3 ,by permission of ,messrs4 ,waring4 ,,louis ,,xv4 ,,parquetery ,,commode4 ,with chased and bronze-gilt mounts4 7,formerly in the ,hamilton ,palace ,collection47 ,illustration3 ,,louis ,,xv4 ,,commode4 ,,by ,,caffieri4 ,the commode in the ,wallace ,collection 7illustrated p4 #aga7 is of the time when ,louis ,,xv4 was in his minority1 and of the days of the ,regency4 ,it is by ,charles ,cressent 7#afhe-agfh71 who was cabinetmaker to ,philippe d',orleans1 ,regent of ,france4 ,this is an especially typical specimen of the class to which it belongs as showing the transition style between ,louis ,,xiv4 and the succeeding reign4 ,to establish ,louis the ,fifteenth's petits appartements the gallery painted by ,mignard was demolished1 and later1 in #ageb1 the ,ambassadors' ,staircase was destroyed1 the masterpiece of the architects ,levau and ,dorbay1 and the marvel of ,louis the ,fourteenth's ,versailles4 ,it is necessary to bear these facts in mind in order to see how a new ,french monarch set ruthlessly new fashions in furniture and created a taste for his personal style in art4 ,in the first part of the ,louis ,quinze period the metal mountings by ,caffieri and ,cressent are of exquisite style2 they are always of excellent workmanship1 but later they betrayed the tendency of the time for fantastic curves1 which had affected the furniture to such an extent that no straight lines were employed1 and the sides of commodes and other pieces were swelled into unwieldy proportions1 and instead of symmetrical and harmonious results the florid style1 known as the rococo1 choked all that was beautiful in design4 ,meissonier1 ,director of the ,royal ,factories 7#agbc-aggd71 was mainly responsible for this unnatural development4 ,he revelled in elaborate combinations of shellwork and impossible foliage4 ,in the ,louis ,,xv4 commodes illustrated 7pp4 #agc1 #age7 it will be seen how far superior is the design and treatment of the one which was formerly in the celebrated ,hamilton ,collection4 ,its chased and gilt mounts are harmoniously arranged1 and though the ornamentation is superbly rich1 it breaks no canons of art by overloaded detail or coarse profusion4 ,not so much can be said for the other commode of the rococo style1 even though the mounts be by ,caffieri and executed in masterly manner4 ,there is a wanton abandonment and an offensive tone in the florid treatment which point clearly to the decline of taste in art4 ,the highest art of concealment was not a prominent feature in a ,court which adopted its style from the caprices of ,madame du ,pompadour or the whims of ,madame du ,barry4 ,but among the finest productions are the splendid pieces of reticent cabinetmaking by the celebrated ,jean ,francois ,oeben1 who came from ,holland4 ,his preference was for geometrical patterns1 varied only with the sparing use of flowers1 in producing his most delicate marquetry4 ,in the pieces by ,boule and others1 not in tortoiseshell but in wood inlay1 the wood was so displayed as to exhibit in the panels the grain radiating from the centre4 ,oeben did not forget this principle1 and placed his bouquets of flowers1 when1 on occasion1 he used them1 in the centre of his panels1 and filled up the panel with geometric design4 ,illustration3 ,,louis ,,xv4 ,,escritoire ,a ,,toilette4 ,of tulip-wood and sycamore1 inlaid with landscapes in coloured woods4 ,formerly in the possession of ,queen ,marie ,antoinette4 7,jones ,bequest3 ,victoria and ,albert ,museum47 ,the well-known maker1 ,charles ,cressent 7#afhe-agfh71 used rosewood1 violet1 and amaranth woods in his marquetry1 and at this time many new foreign woods were employed by the cabinetmakers in ,france and ,italy4 ,in addition to woods of a natural colour1 it was the practice artificially to colour light woods1 and inlay work was attempted in which trophies of war1 musical instruments1 or the shepherd's crook hung with ribbon1 were all worked out in marquetry4 ,pictures1 in coloured woods1 in imitation of oil paintings on canvas1 were foolishly attempted1 and altogether the art of inlay1 ingenious and wonderful in its construction1 began to affect trivialities and surprising effects most unsuited to the range of its technique4 ,in the toilet-table illustrated 7p4 #agi71 this misapplication of inlay to reproduce pictures is seen on the three front panels and on the middle panel above4 ,the chief woods employed are tulip and sycamore1 inlaid with tinted lime1 holly1 and cherry-woods4 ,the mountings of the table are chased ormolu4 ,the cylindrical front encloses drawers with inlaid fronts4 ,beneath this is a sliding shelf1 under which is a drawer with three compartments1 fitted with toilet requisites and having inlaid lids4 ,this specimen of ,louis ,quinze work is in the ,jones ,collection at the ,victoria and ,albert ,museum4 ,it was formerly in the possession of ,queen ,marie ,antoinette4 ,it is attributed to ,oeben1 though from comparison with some of the chaster work known to have come from his hand it would seem to be of too fanciful marquetry for his restrained and sober style4 ,it is especially true of the furniture of this great ,french period that it requires harmonious surroundings4 ,the slightest false touch throws everything out of balance at once4 ,of this fact the inventors were well aware4 ,if ,dutch furniture requires the quiet1 restful art of ,cuyp or ,van der ,neer1 or ,metzu or ,jan ,steen on the surrounding walls1 the interiors of ,louis ,quinze demand the works of contemporary ,french genre-painters4 ,illustration3 ,,louis ,,xv4 ,,secretaire4 ,by ,riesener1 in his earlier manner4 ,,in ,,transitional ,,style1 ,,approaching ,,louis ,,seize ,,period4 7,wallace ,collection47 ,all things worked together to produce a harmonious ensemble in this brilliant period4 ,the royal tapestry and ,sevres porcelain factories turned out their most beautiful productions to decorate rooms1 furniture1 and for the table4 ,tapestries from ,beauvais1 ,gobelins1 and ,aubusson1 rich silks from the looms of ,lyons1 or from ,lucca1 ,genoa1 or ,venice were made for wall-hangings1 for chair-backs1 for seats1 and for sofas4 ,fragonard1 ,natoire1 and ,boucher painted lunettes over chimney-fronts1 or panels of ceilings4 ,of great cabinetmakers1 ,riesener and ,david ,roentgen1 princes among ebenistes1 worked in wonderful manner in tulip-wood1 in holly1 in rosewood1 purple wood1 and laburnum to produce marquetry1 the like of which has never been seen before nor since4 ,associated with the period of ,louis ,,xv4 is the love for the lacquered panel4 ,huygens1 a ,dutchman1 had achieved good results in imitations of ,oriental lacquer1 which in ,france1 under the hand of ,martin1 a carriage-painter1 born about #agjf1 rivalled the importations from ,japan4 ,it is stated that the secret of the fine1 transparent lac polish that he used was obtained from the missionaries who resided in ,japan before the date of the massacres and foreign expulsion of all except the ,dutch traders4 ,vernis-,martin1 as his varnish was termed1 became in general request4 ,from #agdd for twenty years1 ,sieur ,simon ,etienne ,martin was granted a monopoly to manufacture this lacquered work in the ,oriental style4 ,although he declared that his secret would die with him1 other members of his family continued the style1 which was taken up by many imitators in the next reign4 ,his varnish had a peculiar limpid transparency1 and he obtained the wavy network of gold groundwork so successfully produced by ,japanese and ,chinese craftsmen4 ,on this were delicately painted1 by ,boucher and other artists1 ,arcadian subjects1 framed in rocaille style with gold thickly laid on1 and so pure that in the bronze gilding and in the woodwork it maintains its fine lustre to the present day4 ,illustration3 ,by permission of ,messrs4 ,foley ,eassie4 ,,the ,,bureau ,,du ,,roi4 ,,the ,,masterpiece ,,of ,,riesener4 7,from a drawing by ,walter ,eassie47 7,wallace ,collection47 ,towards the close of the reign of ,louis ,,xv4 a new style set in1 which reverted to simpler tastes1 to which the name ,a la reine was given1 in deference to the taste which is supposed to have emanated from ,marie ,leczinska1 the queen1 but is said to have been due to ,madame du ,pompadour4 ,at the ,wallace ,collection is a fine secretaire1 with the mounts and ornaments of gilt bronze cast and chased1 which is illustrated 7p4 #aha74 ,the central panel of marquetry shows1 in life size1 a cock1 with the caduceus1 a snake1 a banner1 and symbolical instruments4 ,it is by ,jean ,francois ,riesener1 and in his earliest manner1 made in the later years of ,louis ,quinze in the ,transitional style approaching the ,louis ,seize period4 ,among the wonderful creations of ,riesener1 probably his masterpiece is the celebrated ,bureau du ,roi1 begun in #agfj by ,oeben1 and completed in #agfi by ,riesener--who married the widow of ,oeben1 by the way4 ,its bronzes are by ,duplesis1 ,winant1 and ,hervieux4 ,the design and details show the transition between the ,louis ,quinze and the ,louis ,seize styles4 ,the original1 which is at the ,louvre1 is in marquetry of various coloured woods and adorned by plaques of gilt bronze1 cast and chased4 ,the copy from which our illustration is taken 7p4 #ahc7 is in the ,wallace ,collection1 and is by ,dasson1 and follows the original in proportions1 design1 and technique4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,table1 ,louis ,,xv41 oblong1 the legs are cabriole1 it contains one drawer and a writing-slide2 around the sides are inlaid panels of old ,japanese lacquer1 each panel bordered by elaborate scrollwork of chased ormolu1 signed with ,b4 ,v4 ,r4 ,b41 surmounted by a slab of white marble1 #ci in4 wide4 ,christie1 ,december #ah1 #aijc #aijj #j #j ,writing-table1 ,louis ,,xv41 marquetry1 with sliding top and drawer1 fitted with movable writing slab1 compartment for ink-vases1 c41 signed ,l4 ,doudin1 ,louis ,,xv4 form1 with cabriole legs1 the top decorated with scrolls forming panels1 the centre one containing a ,teniers figure subject1 parquetry and inlays of flowers round the sides1 corner mounts1 c41 of ormolu1 cast and chased1 #cj in4 wide4 ,christie1 ,march #ah1 #aijd #fcj #j #j ,cartonniere1 ,louis ,,xv41 of inlaid tulip-wood1 containing a clock by ,palanson1 a ,paris1 mounted with ,chinese figures1 masks1 foliage and scrolls of chased ormolu1 #dh in4 high1 #cf in4 wide4 ,christie1 ,april #bb1 #aijd #dji #aj #j ,secretaires1 pair1 ,louis ,,xv41 small marquetry1 with fall-down front1 drawer above and door below1 inlaid with branches of flowers1 and mounted with chased ormolu1 surmounted by white marble slabs1 #df in4 high1 #bb in4 wide4 ,christie1 ,april #bi1 #aijd #df #d #j ,cabinet1 ,louis ,,xv41 parquetry1 with folding doors enclosing drawers1 mounted with ormolu1 surmounted by a ,brescia marble slab1 #cj in4 high1 #dd in4 wide4 ,christie1 ,april #bi1 #aijd #ca #aj #j ,bergeres1 pair of ,louis ,,xv41 corner-shaped1 the frames of carved and gilt wood1 the seats and backs covered with old ,beauvais tapestry4 ,christie1 ,may #ah1 #aijd #dbj #j #j ,settee1 ,louis ,,xv41 oblong1 of carved and gilt-wood1 covered with panels of old ,beauvais tapestry1 #c ft4 #h in4 wide4 ,christie1 ,may #ah1 #aijd #bca #j #j ,canape1 ,louis ,,xv41 of carved and gilt wood1 the borders carved with acanthus scrolls1 the seat and back covered with old ,beauvais silk tapestry1 decorated1 #d ft4 #f in4 wide4 ,christie1 ,may #ah1 #aijd #dbj #j #j #a ,by the kindness of the proprietors of the ,connoisseur these items are given from their useful monthly publication1 ,auction ,sale ,prices4 ,,viii ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xvi ,,viii ,,french ,,furniture4 ,,the ,,period ,,of ,,louis ,,xvi ,louis ,,xvi4 #aggd-agic4 #agcj-ahjf4 ,riesener1 ebeniste to ,marie ,antoinette 7born near ,cologne74 #aghi4 ,commencement of the ,french ,revolution4 ,the so-called ,louis ,seize period embraces much that is good from the later days of the previous reign4 ,the same designers were employed with the addition of a few younger men4 ,caffieri and ,riesener were producing excellent work1 and above all was ,gouthiere1 whose renown as a founder and chaser of gilded bronze ornaments is unrivalled4 ,elegance and simplicity are again the prevailing notes4 ,straight lines took the place of the twisted contortions of the rococo style4 ,thin scrolls1 garlands1 ribbons and knots1 classical cameo-shaped panels1 and ,sevres plaques form the characteristic ornamentation4 ,the acanthus-leaf1 distorted into unnatural proportions in the middle ,louis ,quinze period1 returned to its normal shape1 the egg-and-tongue moulding came into use1 and the delicacy of the laurel-leaf was employed in design in ,louis ,seize decorations4 ,in the jewel cabinet illustrated 7p4 #aic71 the new style is shown at its best4 ,the cabinet is inlaid in rosewood and sycamore1 and bears the name of ,j4 ,h4 ,riesener stamped on it4 ,the chased ormolu mounts are by ,gouthiere4 ,the geometrical inlay is a tradition which ,oeben left to his successors4 ,the upper portion has a rising lid with internal trays4 ,in the lower part is a drawer and a shelf4 ,this piece is at the ,victoria and ,albert ,museum in the ,jones ,bequest1 and it is well worth detailed examination as being a representative specimen of the most artistic work produced at this period4 ,pierre ,gouthiere had a complete mastery over his technique4 ,the estimation with which his work is regarded has made furniture which he mounted bring extraordinary prices4 ,in #ahhb1 at the dispersal of the celebrated ,hamilton ,palace ,collection1 three specimens with his workmanship realised ,l#cj1jjj4 ,the ,vernis-,martin panels were decorated by ,watteau and ,pater4 ,the age of artificialities with its fetes-galantes in the royal gardens of the ,luxembourg and in the pleasure parks of the ,court1 with the ill-starred ,marie ,antoinette playing at shepherds and shepherdesses1 had its influence upon art4 ,watteau employed his brush to daintily paint the attitudes of ,le ,lorgneur upon a fan-mount1 or to depict elegantly dressed noblemen and ladies of the ,court dancing elaborate minuets in satin shoes1 or feasting from exquisite ,sevres porcelain dishes in the damp corner of some park or old chateau4 ,illustration3 ,,louis ,,xvi4 ,,jewel ,,cabinet4 ,inlaid in rose and sycamore woods4 ,stamped ,j4 ,h4 ,riesener4 ,chased ,ormolu mountings by ,gouthiere4 7,jones ,bequest4 ,victoria and ,albert ,museum47 ,the artificial pretence at ,arcadian simplicity adopted by the ,queen1 in the intervals between her attendance at public bals-masque1 when she almost wantonly outraged the susceptibilities of the ,french people by her frivolities1 found a more permanent form in interior decorations4 ,riesener and ,david designed a great deal of furniture for her4 ,dainty work-tables and writing-tables and other furniture of an elegant description are preserved in the national collection in the ,louvre and at ,fontainebleau1 in the ,victoria and ,albert ,museum in the ,jones ,bequest1 and in the ,wallace ,collection4 ,tables of this nature are most eagerly sought after4 ,a small table with plaques of porcelain in the side panels1 which is said to have belonged to ,marie ,antoinette1 was sold at ,christie's for ,l#f1jjj 7,hamilton ,collection74 ,there is a similar writing-table in the ,jones ,collection1 given by ,marie ,antoinette to ,mrs4 ,eden1 afterwards ,lady ,auckland4 ,during the period under ,louis ,seize1 when ,fragonard and ,natoire deftly painted the panels of rooms and filled ceilings with flying cupids and chains of roses1 when ,boucher was ,director of the ,academy1 the interior of rooms assumed a boudoir-like appearance4 ,the walls were decorated in a scheme of colour4 ,handsome fluted pillars with fine classic feeling were the framework of panelling painted in delicate and subdued tones4 ,oval mirrors1 avoiding all massive construction1 lightened the effect1 and mantelpieces of white marble1 and furniture evidently designed for use1 completed the interiors of the homes of the grands seigneurs4 ,sometimes the walls were painted1 giving a lustrous appearance resembling silk1 and this style is the forerunner of the modern abomination known as wall-paper4 ,before leaving this period of ,french furniture1 when so much marquetry work was done of unsurpassed beauty and of unrivalled technique1 a word may be said as to the number of woods used4 ,oeben and ,riesener and their contemporaries used many foreign woods1 of which the names are unfamiliar4 ,mr4 ,pollen1 in his ,south ,kensington ,museum ,handbook to ,furniture and ,woodwork1 has given the names of some of them1 which are interesting as showing the number of woods especially selected for this artistic cabinetmaking4 ,tulip-wood is the variety known as ,liriodendron tulipifera4 ,rosewood was extensively used1 and holly 7ilex aquifolium71 maple 7acer campestre71 laburnum 7cytisus ,alpinus71 and purple wood 7copaifera pubiflora74 ,snake-wood was frequently used1 and other kinds of light-brown wood in which the natural grain is waved or curled1 presenting a pleasant appearance1 and obviating the use of marquetry 7see ,woods used1 p4 #bi74 ,in the great collections to which reference has been made1 in well-known pieces made by ,riesener his name is found stamped on the panel itself1 or sometimes on the oak lining4 ,the large bureau in the ,wallace ,collection 7,gallery xvi41 ,no4 #ff7 is both signed and dated #bjth ,february1 #agfi4 ,this piece1 it is said1 was ordered by ,stanislas ,leczinski1 ,king of ,poland1 and was once one of the possessions of the ,crown of ,france4 ,illustration3 ,by permission of ,messrs4 ,waring4 ,,louis ,,xvi4 ,,riesener ,,commode4 ,with regard to the cost of pieces of furniture by the great master ebenistes1 it is on record that a secretaire which was exhibited at ,gore ,house in #ahec1 and made originally for ,beaumarchais by ,riesener1 cost #he1jjj francs1 a sum not much less than ,l#d1jjj4 ,celebrated copies have been made from these old models4 ,the famous cabinet with mounts by ,gouthiere1 now in the possession of the ,king1 was copied about twenty-five years ago for the ,marquis of ,hertford1 by permission of ,queen ,victoria4 ,the piece took years to complete1 and it is interesting to have the evidence of its copyists that the most difficult parts to imitate were the metal mounts4 ,this replica cost some ,l#c1jjj1 and is now in the ,wallace ,collection4 ,the copy of the famous bureau or escritoire in the ,louvre1 known as the ,bureau de ,st4 ,cloud1 was made by permission of the ,emperor ,napoleon ,,iii41 and cost ,l#b1jjj4 ,another copy of the same piece exhibited at the ,french ,international ,exhibition was sold for ,l#c1ejj to an ,english peeress4 ,many fine copies of ,riesener's work exist1 and in the illustration 7p4 #aig7 a copy is given of a handsome commode1 which exhibits his best style under the influence of his master1 ,oeben4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,cabinets1 pair of ,louis ,,xvi41 dwarf ebony1 the panels inlaid with black and gold lacquer1 decorated with birds and trees in the ,chinese taste1 mounted with foliage borders of chased ormolu1 and surmounted by veined black marble slabs1 #de in4 high1 #ce in4 wide4 ,christie1 ,november #bj1 #aijc #ci #ah #j ,suite of ,louis ,,xvi4 furniture1 with fluted borders and legs1 painted white and pale green1 the seats1 backs1 and arms covered with old ,beauvais tapestry1 with vases and festoons of flowers and conventional arabesques in poly-chrome1 on white ground in pale green borders1 consisting of an oblong settee1 #gb in4 wide1 eight fauteuils4 ,christie1 ,december #ah1 #aijc #adgj #j #j ,secretaire1 ,louis ,,xvi41 upright marquetry1 with fall-down front1 drawer above1 and folding doors below1 inlaid with hunting trophies on trellis-pattern ground1 mounted with foliage1 friezes1 and corner mounts of chased ormolu1 and surmounted by a ,breccia marble slab1 stamped ,j4 ,stumpff4 #cae #j #j ,me41 #ef in4 high1 #dj in4 wide4 ,christie1 ,february #ab1 #aijd ,commode1 en suite1 with five drawers1 #eh in4 wide4 ,christie1 ,february #ab1 #aijd #gad #j #j ,work-table1 ,louis ,,xvi41 oval1 in two tiers1 upon a tripod stand1 with double candle branches above2 the top tier is composed of a ,sevres plaque1 painted with sprays of roses2 around this is a gallery of chased ormolu2 the second tier is of parquetry1 this has also a balcony2 the tripod base is of mahogany1 with mounts of ormolu1 cast and chased2 the nozzles for the two candles above are similar in material and decoration1 width of top tier1 #ac in4 ,christie1 ,march #ah1 #aijd ,table1 ,louis ,,xvi41 marquetry1 signed ,n4 ,petit1 top inlaid with musical trophy1 c41 mounts1 c41 of ormolu1 cast and chased1 #cj in4 wide4 ,christie1 ,march #ah1 #aijd #ii #ae #j ,fauteuils1 pair1 ,louis ,,xvi4 7stamped ,j4 ,leglartier71 tapered oblong backs and curved arms1 turned legs1 white and gilt1 covered with ,beauvais tapestry1 with subjects from ,fables de la ,fontaine1 and other designs4 ,flashman ,co41 ,dover1 ,april #bf1 #aijd #ge #j #j ,console-table1 ,louis ,,xvi41 carved and painted wood1 with fluted legs and stretchers1 and open frieze in front1 surmounted by a slab of white marble1 #e ft4 #d in4 wide4 ,christie1 ,may #f1 #aijd #df #j #j ,commode1 ,louis ,,xvi41 containing three drawers1 in front it is divided into three rectangular sunk panels of parquetry1 each bordered with mahogany1 with ormolu mounts1 surmounted by a slab of fleur-de-peche marble1 #eg in4 wide4 ,christie1 ,may #bg1 #aijd #ceg #j #j ,commode1 ,louis ,,xvi41 stamped with the name of ,j4 ,h4 ,reisener1 with tambour panels in front and drawers at the top2 it is chiefly composed of mahogany1 the central panel inlaid in a coloured marquetry2 on either side1 and at the ends1 are panels of tulip-wood parquetery1 the whole is mounted with ormolu1 surmounted by a slab of veined marble1 #cd in4 wide4 ,christie1 ,may #bg1 #aijd #caej #j #j #a ,by the kindness of the proprietors of the ,connoisseur these items are given from their useful monthly publication1 ,auction ,sale ,prices4 ,,ix ,,french ,,furniture4 ,,the ,,first ,,empire ,,style ,illustration3 ,,portrait ,,of ,,madame ,,recamier4 7,after ,david47 ,showing ,empire settee and footstool4 7,in the ,louvre47 ,,ix ,,french ,,furniture--,,the ,,first ,,empire ,,style #aghi4 ,commencement of ,french ,revolution4 #agih4 ,napoleon's campaign in ,egypt4 #ahje4 ,napoleon prepares to invade ,england2 ,battle of ,trafalgar2 ,french naval power destroyed4 #ahjf4 ,napoleon issued ,berlin ,decree to destroy trade of ,england4 #ahab4 ,napoleon invaded ,russia1 with disastrous retreat from ,moscow4 #ahad4 ,napoleon abdicated4 #ahae4 ,wellington defeated ,napoleon at ,waterloo4 ,when ,louis ,,xvi4 called together the ,states-,general in #aghi1 which had not met since #afad1 the first stone was laid of the ,french ,republic4 ,after the king was beheaded in #agic1 the ,reign of ,terror followed1 during which the wildest licence prevailed4 ,under the ,directory1 for four years from #agie1 the country settled down until the rise of ,napoleon ,bonaparte1 who took the government in his own hands with the title of ,consul1 and in #ahjd called himself ,emperor of the ,french4 ,during the ,reign of ,terror the ruthless fury of a nation under mob-law did not spare the most beautiful objects of art which were associated with a hated aristocracy4 ,furniture especially suffered1 and it is a matter for wonderment that so much escaped destruction4 ,most of the furniture of the royal palaces was consigned to the spoliation of the ,black ,committee1 who trafficked in works of great price1 and sold to foreign dealers the gems of ,french art for less than a quarter of their real value4 ,so wanton had become the destruction of magnificent furniture that the ,convention1 with an eye on the possibilities of raising money in the future1 ordered the furniture to be safely stored in the museums of ,paris4 ,after so great a social upheaval1 art in her turn was subjected to revolutionary notions4 ,men cast about to find something new4 ,art1 more than ever1 attempted to absorb the old classic spirit4 ,the ,revolution was the deathblow to ,rococo ornament4 ,with the classic influences came ideas from ,egypt1 and the excavations at ,herculaneum and ,pompeii provided a further source of design4 ,a detail of a portion of a tripod table found at ,pompeii shows the nature of the beautiful furniture discovered4 ,as early as #agfc1 ,grimm wrote3 ,for some years past we are beginning to inquire for antique ornaments and forms4 ,the interior and exterior decorations of houses1 furniture1 materials of dress1 work of the goldsmiths1 all bear alike the stamp of the ,greeks4 ,the fashion passes from architecture to millinery2 our ladies have their hair dressed a la ,grecque4 ,a ,french translation of ,winckelmann appeared in #agfe1 and ,diderot lent his powerful aid in heralding the dawn of the revival of the antique long before the curtain went up on the events of #aghi4 ,paris in ,revolution days assumed the atmosphere of ancient ,rome4 ,children were given ,greek and ,roman names4 ,classical things got rather mixed4 ,people called themselves ,romans4 ,others had ,athenian notions4 ,madame ,vigee-,lebrun gave soupers a la ,grecque4 ,madame ,lebrun was ,aspasia1 and ,m4 l',abbe ,barthelemy1 in a ,greek dress with a laurel wreath on his head1 recited a ,greek poem4 ,illustration3 ,,detail ,,of ,,tripod ,,table ,,found ,,at ,,pompeii4 7,at ,naples ,museum47 ,these1 among a thousand other signs of the extraordinary spirit of classicism which possessed ,france1 show how deep rooted had become the idea of a modern ,republic that should emulate the fame of ,athens and of ,rome4 ,the ,first ,consul favoured these ideas1 and his portraits represent him with a laurel wreath around his head posing as a ,caesar4 ,illustration3 ,by kind permission from the collection of ,dr4 ,sigerson1 ,dublin4 ,,servante4 ,marble top2 supported on two ormolu legs elaborately chased with figures of ,isis4 ,panelled at back with glass mirror4 ,,french2 ,,late ,,eighteenth ,,century4 ,in transition days before the style known as ,empire had become fixed there is exhibited in art a feeling which suggests the deliberate search after new forms and new ideas4 ,to this period belongs the servante1 which1 by the kindness of ,dr4 ,sigerson1 of ,dublin1 is reproduced from his collection4 ,the claw-foot1 the ram's head1 the bay-leaf1 and a frequent use of caryatides and animal forms1 is a common ornamentation in furniture of the ,empire period4 ,in this specimen the two legs of ormolu have these characteristics1 and it is noticeable that the shape of the leg and its details of ornament bear a striking resemblance to the leg of the ,pompeiian table illustrated 7p4 #bje74 ,but the deities of ,egypt have contributed a new feature in the seated figure of the goddess ,isis4 ,illustration3 ,,jewel ,,cabinet ,,of ,,the ,,empress ,,marie ,,louise4 ,made on the occasion of her marriage with the ,emperor ,napoleon ,bonaparte1 in #ahaj4 7,at ,fontainebleau47 ,napoleon himself encouraged the classic spirit which killed all memories of an ancien regime4 ,he would have been pleased to see all the relics of the former glories of ,france demolished4 ,he had at one time a project to rebuild ,versailles as a classic temple4 ,at the height of his splendour he became the patron of the fine arts1 and attempted to leave his impression upon art as he did upon everything else4 ,new furniture was designed for the ,imperial palaces4 ,riesener was alive1 but it does not appear that he took any part in the new creations4 ,david1 the great ,french painter1 an ardent ,republican1 was won over to become a ,court painter4 ,at ,malmaison and at ,fontainebleau there are many fine examples of the ,first ,empire period which1 however1 cannot be regarded as the most artistic in ,french furniture4 ,preserved at ,fontainebleau is the jewel cabinet1 made by ,thomire and ,odiot1 at the ,emperor's orders as a wedding gift1 in #ahaj1 to the ,empress ,marie ,louise1 in emulation of the celebrated ,riesener cabinet at the ,trianon4 ,the wood used for this1 and for most of the ,empire cabinets1 is rich mahogany1 which affords a splendid ground for the bronze gilt mounts 7see p4 #bjg74 ,the portrait of ,madame ,recamier1 by ,david1 which is in the ,louvre1 given as headpiece to this chapter1 shows the severe style of furniture in use at the zenith of the ,empire period4 ,the couch follows classic models1 and the tall candelabrum is a suggestion from ,herculaneum models4 ,the influence that this classic revival had upon furniture in this country is told in a subsequent chapter4 ,in regard to costume1 the gowns of the ,first ,empire period have become quite fashionable in recent years4 ,although this style of furniture degenerated into commonplace designs with affectedly hard outlines1 it had a considerable vogue4 ,in addition to the influence it had upon the brothers ,adam and upon ,sheraton1 it left its trace on ,english furniture up till the first quarter of the nineteenth century4 ,the chair illustrated 7p4 #baj7 is about the year #ahjj in date4 ,there is presumptive evidence that this chair was made in ,bombay after ,european design4 ,it is of rosewood1 carved in relief with honeysuckle and floral design4 ,the scrolled ends of the top rail show at once its ,french derivation4 ,in the national collections in this country there are very few specimens of ,empire furniture4 ,the ,duke of ,wellington has some fine examples at ,apsley ,house1 treasured relics of its historic associations with the victor of ,waterloo4 ,the demand in ,france1 for furniture of the ,first ,empire style has in all probability denuded the open market of many fine specimens4 ,owing to the fact that this country was at war with ,france when the style was at its height1 the number of ,empire pieces imported was very limited1 nor does ,first ,empire furniture seem to have greatly captivated the taste of ,english collectors1 as among the records of sales of furniture by public auction very little has come under the hammer4 ,illustration3 ,by kind permission of the ,rev4 ,h4 ,v4 ,le ,bas4 ,,armchair1 ,,rosewood4 ,carved in relief with honeysuckle pattern ,formerly in possession of the ,duke of ,newcastle4 ,,english2 ,,late ,,eighteenth ,,century4 ,x ,,chippendale ,,and ,,his ,,style ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,table ,,made ,,by ,,chippendale4 7,height1 #bi-c_/h in42 width1 #cb-c_/h in42 depth1 #ba-e_/h in47 ,x ,,chippendale ,,and ,,his ,,style ,george ,i4 #agad-agbg4 ,george ,,ii4 #agbg-agfj4 ,george ,,iii4 #agfj-ahbj4 ,horace ,walpole built ,strawberry ,hill 7#agej7 ,sir ,william ,chambers 7#agbf-agif7 built ,pagoda at ,kew about #agfj4 ,chippendale's ,director published 7#aged74 ,thomas ,chippendale1 the master cabinetmaker of ,st4 ,martin's ,lane1 has left a name which1 like that of ,boule1 has become a trade term to mark a certain style in furniture4 ,with the dawn of the age of mahogany1 ,chippendale produced designs that were especially adapted to the new wood2 he relied solely upon the delicate carving for ornament1 and rejected all inlay4 ,discovered by ,sir ,walter ,raleigh1 who brought specimens home with him1 mahogany did not come into general use till about #agbj4 ,the material then used by ,chippendale and his school was the splendid mahogany from the great untouched forests1 producing at that time timber the like of which1 in dimension and in quality1 is now unprocurable4 ,the cheaper ,honduras stuff was then unknown1 and ,english crews landed and cut timber from the ,spanish possessions in spite of the protests of the owners4 ,many a stiff fight occurred1 and many lives were lost in shipping this stolen mahogany to ,england to supply the demand for furniture4 ,these nefarious proceedings more than once threatened to bring about war between ,england and ,spain4 ,the furniture of ,france1 during the four great periods treated in the previous chapters1 was designed for the use of the nobility4 ,one wonders what furniture was in common use by the peasantry in ,france4 ,in ,england1 too1 much of the furniture left for the examination of posterity was made for the use of the wealthy classes4 ,in ,jacobean days1 settles and chairs1 especially the ,yorkshire and ,derbyshire types1 were in more common use1 and the homely pieces of ,queen ,anne suggest less luxurious surroundings1 but it was left for ,chippendale to impress his taste upon all classes4 ,in the title-page of his great work1 the ,director1 published in #aged1 he says that his designs are calculated to improve and refine the present taste1 and suited to the fancy and circumstances of persons in all degrees of life4 ,illustration3 ,,oliver ,,goldsmith',s ,,chair4 ,wood1 painted green1 with circular seat1 carved arms1 and high back4 ,bequeathed by ,oliver ,goldsmith in #aggd to his friend1 ,dr4 ,hawes4 7,bethnal ,green ,museum47 ,his book of designs1 as may naturally be supposed1 was not greatly bought by the working classes1 but fifteen copies of the ,director went to ,yorkshire1 and many other copies were subscribed for in other parts of the country1 so that local cabinetmakers began at once to fashion their furniture after his styles4 ,the common form of chair at the time was similar to the specimen illustrated 7p4 #bae71 which formerly belonged to ,oliver ,goldsmith1 and was bequeathed by him to his friend1 ,dr4 ,hawes4 ,this is of soft wood1 probably beech1 painted green1 with circular seat1 curved arms1 and high back4 ,chippendale revolutionised this inartistic style1 and for the first time in the history of the manufacture of furniture in ,england1 continental makers turned their eyes to this country in admiration of the style in vogue here1 and in search of new designs4 ,it might appear1 on a hasty glance at some of ,chippendale's work1 that originality was not his strong point4 ,his claw-and-ball feet were not his own1 and he borrowed them and the wide1 spacious seats of his chairs from the ,dutch1 or from earlier ,english furniture under ,dutch influence4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,chippendale ,,settee2 ,,walnut4 ,,about #agdj4 7,from the collection of ,sir ,w4 ,e4 ,welby-,gregory1 ,bart47 ,sir ,william ,chambers1 the architect of ,somerset ,house1 whose fondness for ,chinese ornament produced quite a craze1 and who built the ,pagoda in ,kew ,gardens1 gave ,chippendale another source of inspiration4 ,in his later days he came under the influence of the ,gothic revival and was tempted to misuse ,gothic ornament4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,chippendale ,,settee1 ,,oak4 ,,about #agdj4 7,by courtesy of ,v4 ,j4 ,robinson1 ,esq41 ,c4,i4,e47 ,his second style shows the ,louis ,,xiv4 ,french decoration in subjection4 ,in his ribbon-back chairs he employed the ,louis ,,xvi4 ornamentation4 ,but ,chippendale was the most masterly adapter that ,england has ever produced4 ,his adaptions became original under his hand1 and his creations are sturdy and robust1 tempered by ,french subtleties1 and having1 here and there1 as in the fretwork in the chair-legs and angles1 a suggestion of the ,east4 ,he is the prince of chair-makers4 ,his chairs are never unsymmetrical4 ,he knew the exact proportion of ornament that the structure would gracefully bear4 ,the splats in the chairs he made himself are of such accurate dimensions in relation to the open spaces on each side that this touch alone betrays the hand of the master1 which is absent in the imitations of his followers4 ,the illustration given of the ,chippendale table in ,chinese style 7p4 #bac71 is a beautiful and perfect piece of a type rarely met with4 ,it was made by ,chippendale for the great-grandmother of the present owner4 ,a similar table was in the possession of the ,princess ,josephine4 ,in chairs1 the back was sometimes of fret-cut work1 as was also the design of the legs1 with fretwork in the angles1 which betray his fondness for the ,chinese models4 ,the ,gothic style influenced ,chippendale only to a slight degree4 ,horace ,walpole at ,strawberry ,hill set the fashion in ,england1 which fortunately was short-lived4 ,collectors divide ,chippendale's work into three periods4 ,to the first they assign the more solid chairs or settees with cabriole legs and ,louis ,,xiv4 ornament1 harmoniously blended with ,queen ,anne style4 ,these chairs and settees are often found with claw-and-ball feet1 and are frequently of walnut4 ,two fine examples of settees1 the one of oak1 the other of walnut1 are illustrated4 ,illustration3 ,,ribbon ,,pattern4 ,,chippendale ,,chair-,,back4 7,from the ,director47 ,the second period embraces the fine creations which have the celebrated ,louis ,,xvi4 ribbon ornamentation in the backs4 ,from one of the designs in ,chippendale's book1 here illustrated1 the elegance of the style is shown4 ,it is exuberant enough1 but the author complains in his volume that ,in executing many of these drawings1 my pencil has but faintly carved out those images my fancy suggested2 but in this failure ,i console myself by reflecting that the greatest masters of every art have laboured under the same difficulties4 ,the ribbon-backed chair illustrated 7p4 #bbc7 is one of the two given to an ancestor of the present owner by the fourth ,duke of ,marlborough in #agij4 ,they were formerly at ,blenheim1 and there is an added interest in them owing to the fact that the seats were worked by ,sarah1 the great ,duchess of ,marlborough4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,ribbon-,,backed ,,chippendale ,,chair1 ,,formerly ,,at ,,blenheim1 ,,the ,,seat ,,worked ,,by ,,sarah1 ,,duchess ,,of ,,marlborough4 ,the latest style of ,chippendale's work is the ,gothic4 ,there are many pieces in existence which he probably had to produce to satisfy the taste of his fashionable clients1 but the style is atrocious1 and the less said about them the better4 ,the illustration 7p4 #bbe7 of a chair-back from his design-book shows how offensive it could be4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,chippendale ,,corner ,,chair1 ,,about #aghj4 7,reproduced by kindness of the ,hon4 ,sir ,spencer ,ponsonby-,fane1 ,g4,c4,b41 ,i4,s4,o47 ,the fine corner-chair1 here illustrated1 exhibits the strength and solidity he could impart to his work4 ,his chairs were meant to sit upon1 and are of excellent carpentry4 ,the square1 straight legs are a feature of much of his work4 ,the examples belonging to the ,india ,office and the ,governors of the ,charterhouse illustrated 7pp4 #bbf1 #bbg7 show the type that he made his own and with which his name has been associated4 ,illustration3 ,,gothic ,,chippendale ,,chair-,,back4 7,from the ,director47 ,although his chairs are sought after as especially beautiful in design 7his father was a maker of chairs before him7 he made many other objects of furniture4 ,the mirrors he designed are exquisite examples of fine woodcarving4 ,the one illustrated 7p4 #bbi7 shows the mastery he had over graceful outline4 ,bureau bookcases with drop-down fronts have been successfully produced since his day after his models4 ,the one illustrated 7p4 #bca7 shows a secret drawer1 which is reached by removing the left-hand panel4 ,card-tables1 settees1 knife-boxes1 tea-caddies1 sideboards1 and overmantles were made by him1 which show by their diversity of technique that there was more than one pair of hands at work in carrying out his designs4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,mahogany ,,chippendale ,,chair4 ,,about #agdj4 7,property of the ,india ,office47 ,the collecting of ,chippendale furniture has become so fashionable of late years that genuine old pieces are difficult to procure4 ,it is true that two old chairs were discovered in a workhouse last year1 but when specimens come into the market they usually bring large prices4 ,two elbow state-chairs1 with openwork backs1 were sold a little while ago for seven hundred and eighty guineas1 and a set of six small chairs brought ninety-three guineas about the same time4 ,but even this is not the top price reached1 for two chairs at ,christie's realised eleven hundred pounds6 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,mahogany ,,chippendale ,,chair4 #aggj4 7,by permission of the ,master of the ,charterhouse47 ,chippendale1 the shopkeeper1 of ,st ,martin's ,lane1 who took orders for furniture1 which he or his sons1 or workmen under their direct supervision1 executed1 was one person1 and ,chippendale1 who had quarrelled with the ,society of ,upholsterers1 and published a book of designs on his own account1 which quickly ran through three editions1 was another person4 ,in the one case he was a furniture maker whose pieces bring enormous prices4 ,in the other he was the pioneer of popular taste and high-priest to the cabinetmakers scattered up and down ,england1 who quickly realised the possibilities of his style1 and rapidly produced good work on his lines4 ,these pieces are by unknown men1 and no doubt much of their work has been accredited to ,chippendale himself4 ,the illustration 7p4 #bcb7 shows a mahogany chair well constructed1 of a time contemporary with ,chippendale and made by some smaller maker4 ,this type of chair has been copied over and over again till it has become a recognised pattern4 ,it finds its counterpart in china in the old willow-pattern1 which originated at ,coalport and has been adopted as a stock design4 ,illustration3 ,by permission of the proprietors of the ,connoisseur4 ,,chippendale ,,mirror4 ,furniture is not like silver1 where the mark of the maker was almost as obligatory as the hall mark4 ,artists1 both great and small1 have signed their pictures1 and in the glorious days of the great ,french ebenistes and metal-chasers1 signed work is frequently found4 ,but in ,england1 at a time when furniture of excellent design1 of original conception1 and of thoroughly good workmanship was produced in great quantities1 the only surviving names are those of designers or cabinetmakers who have published books4 ,illustration3 ,by permission of ,messrs4 ,harold ,g4 ,lancaster ,co4 ,,chippendale ,,bureau ,,bookcase4 ,with drop-down front1 showing secret drawer4 ,so great was the influence of the style of ,chippendale that it permeated all classes of society4 ,an interesting engraving by ,stothard 7p4 #bce7 shows the interior of a room1 and is dated #aghb1 the year that ,rodney gained a splendid victory over the ,french fleet in the ,west ,indies1 and the year that saw the independence of the ,united ,states recognised4 ,illustration3 ,by permission of ,messrs4 ,harold ,g4 ,lancaster ,co4 ,,mahogany ,,chair4 ,,in ,,the ,,chippendale ,,style4 ,,late ,,eighteenth ,,century4 ,illustration3 ,,cottage ,,chairs1 ,,beechwood4 ,,late ,,eighteenth ,,century1 ,,in ,,style ,,of ,,chippendale4 ,kitchen furniture or cottage furniture was made on the same lines by makers all over the country4 ,the wood used was not mahogany2 it was most frequently beech4 ,chairs of this make are not museum examples1 but they are not devoid of a strong artistic feeling1 and are especially ,english in character4 ,more often than not the soft wood of this class of chair is found to be badly worm-eaten4 ,two chairs of this type1 of beech1 are illustrated 7p4 #bcc71 and it is interesting to note that1 as in the instance of the ,yorkshire and ,derbyshire chairs of ,jacobean days made by local makers1 it is not common to find many of exactly the same design4 ,the craftsman gave a personal character to his handiwork1 which makes such pieces of original and artistic interest1 and cabinetmaking and joinery was not then so machine-made as it is now4 ,illustration3 ,,interior ,,of ,,room1 ,,about #aghb4 7,from engraving after ,stothard47 ,it may be here remarked that the earlier pieces of the eighteenth century were polished much in the same manner as was old oak previously described4 ,highly polished surfaces and veneers1 and that abomination ,french polish1 which is a cheap and nasty method of disguising poor wood1 bring furniture within the early nineteenth-century days1 when a wave of ,philistine banalities swept over ,europe4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,side table1 ,chippendale1 with gadrooned border1 the front boldly carved with a grotesque mask1 festoons of flowers and foliage1 on carved legs with claw feet1 #fd in4 long4 ,christie1 ,february #ad1 #aijb #abf #j #j ,tea-caddy1 ,chippendale mahogany1 square1 with four divisions1 the borders carved with rosettes and interlaced riband ornament1 the sides inlaid with four old ,worcester oblong plaques painted with exotic birds1 insects1 fruit1 flowers1 and festoons in colours on white ground1 #aj in4 square4 ,christie1 ,february #f1 #aijc #eb #aj #j ,fire-screen1 ,chippendale mahogany1 containing a panel of old ,english petit-point needlework1 worked with a basket of flowers in coloured silks1 on pillar and tripod carved with foliage and ball-and-claw feet4 ,christie1 ,december #d1 #aijc #ag #ag #j ,armchairs1 pair large ,chippendale mahogany1 with interlaced backs carved with foliage1 the arms terminating in carved and gilt eagles' heads4 ,christie1 ,january #bb1 #aijd #hh #d #j ,cabinet1 ,chippendale mahogany1 with glazed folding doors enclosing shelves1 and with cupboards and eight small drawers below1 the borders fluted1 #h ft4 high1 #h ft4 wide4 ,christie1 ,january #bb1 #aijd #fg #d #j ,chairs1 set of six ,chippendale mahogany1 with open interlaced backs1 with scroll tops1 carved with foliage and shell ornament1 on carved cabriole legs and ball-and-claw feet4 ,christie1 ,january #bb1 #aijd #ajb #ah #j ,table1 ,chippendale1 oblong1 cabriole legs1 carved with shells1 c41 on claw feet1 surmounted by a veined white marble slab1 #ec in4 wide4 ,christie1 ,march #d1 #aijd #gc #j #j ,settee1 ,chippendale mahogany1 with double back with scroll top1 carved with arabesque foliage1 the arms terminating in masks1 on legs carved with lions' masks and claw feet1 #ed in4 wide4 ,christie1 ,april #ab1 #aijd #bgh #e #j ,mirror1 ,chippendale1 carved with gilt1 #hh in4 high1 #ej in4 wide4 ,christie1 ,may #ah1 #aijd #id #aj #j #a ,by the kindness of the proprietors of the ,connoisseur these items are given from their useful monthly publication ,auction ,sale ,prices4 ,,xi ,,sheraton1 ,,adam1 ,,and ,,heppelwhite ,,styles ,illustration3 ,by permission of ,messrs4 ,harold ,g4 ,lancaster ,co4 ,,heppelwhite ,,settee1 ,,mahogany4 ,,xi ,,sheraton1 ,,adam1 ,,and ,,heppelwhite ,,styles ,robert ,adam #agbh-agib4 ,thomas ,sheraton #agea-ahjf4 #ageb4 ,loch and ,copeland's designs published4 #agfe4 ,manwaring's designs published4 #aggj4 ,ince and ,mayhew's designs published4 #aghh4 ,heppelwhite's designs published4 ,in the popular conception of the furniture of the three ,georges the honours are divided between ,chippendale and ,sheraton4 ,up till recently all that was not ,chippendale was ,sheraton1 and all that was not ,sheraton must be ,chippendale4 ,the one is represented by the straight-legged mahogany chairs or cabriole legs with claw-and-ball feet and the backs elaborately carved2 the other with finely tapered legs1 built on elegant lines1 and of satinwood1 having marquetry decoration or painted panels4 ,this is the rough generalisation that obtained in the earlier days of the craze for collecting eighteenth-century furniture4 ,heppelwhite and ,adam 7more often than not alluded to as ,adams71 are now added to the list1 and auction catalogues attempt to differentiate accordingly4 ,but these four names do not represent a quarter of the well-known makers who were producing good furniture in the days between the ,south ,sea ,bubble in #agbj and the battle of ,waterloo in #ahae4 ,in this chapter it will be impossible to give more than a passing allusion to the less-known makers of the eighteenth century1 but to those who wish to pursue the matter in more detailed manner the ,bibliography annexed 7p4 #ai7 gives ample material for a closer study of the period4 ,the four brothers ,adam1 sons of a well-known ,scottish architect1 were exponents of the classic style4 ,robert ,adam was the architect of the fine houses in the ,adelphi1 and he designed the screen and gateway at the entrance to the ,admiralty in #ageh4 ,james is credited with the designing of interior decorations and furniture4 ,carriages1 sedan-chairs1 and even plate were amongst the artistic objects to which these brothers gave their stamp4 ,the classical capitals1 mouldings and niches1 the shell flutings and the light garlands in the ,adam style1 are welcome sights in many otherwise dreary streets in ,london4 ,robert1 the eldest brother1 lived from #agbh to #agib1 and during that time exercised a great influence on ,english art4 ,illustration3 ,,sheraton ,,armchair2 ,,mahogany1 ,,about #aghj4 ,,adam ,,armchair2 ,,mahogany1 ,,about #agij4 ,,armchair ,,of ,,walnut1 ,,shield-,,back ,,carved ,,with ,,three ,,ostrich ,,feathers4 ,,in ,,heppelwhite ,,style4 ,,late ,,eighteenth ,,century4 ,,chair ,,of ,,walnut1 ,,shield-,,back2 ,,in ,,the ,,style ,,of ,,heppelwhite4 ,,late ,,eighteenth ,,century4 7,victoria and ,albert ,museum47 ,in #agij1 a set of designs of ,english furniture were published by ,a4 ,heppelwhite4 ,in these chairs with pierced backs1 bookcases with fancifully framed glass doors1 and mahogany bureaux1 the influence of ,chippendale is evident1 but the robustness of the master and the individuality of his style become transformed into a lighter and more elegant fashion1 to which ,french finesse and the ,adam spirit have contributed their influence4 ,in the illustration 7p4 #bdc7 various types of chairs of the period are given4 ,a chair termed the ladder-back was in use in ,france at the same time4 ,in ,chardin's celebrated picture of ,le jeu de l'oye1 showing the interior of a parlour of the middle eighteenth century1 a chair of this type is shown4 ,the ,heppelwhite settee illustrated as the headpiece to this chapter shows the delicate fluting in the woodwork1 and the elaborated turned legs which were beginning to be fashionable at the close of the eighteenth century4 ,the two chairs by ,heppelwhite ,co41 illustrated 7p4 #bdc71 are typical examples of the elegance of the style which has an individuality of its own--a fact that collectors are beginning to recognise4 ,the shield-back chair with wheat-ear and openwork decoration1 and legs in which the lathe has been freely used1 are characteristic types4 ,the elegance of the legs in ,heppelwhite chairs is especially noticeable4 ,the designers departed from ,chippendale with results exquisitely symmetrical1 and of most graceful ornamentation4 ,hogarth1 in his biting satires on the absurdities of ,kent1 the architect1 painter1 sculptor1 and ornamental gardener1 whose claims to be any one of the four rest on slender foundations1 did not prevent fashionable ladies consulting him for designs for furniture1 picture frames1 chairs1 tables1 for cradles1 for silver plate1 and even for the construction of a barge4 ,it is recorded by ,walpole that two great ladies who implored him to design birthday gowns for them were decked out in incongruous devices3 the one he dressed in a petticoat decorated in columns of the five orders1 and the other like a bronze1 in a copper-coloured satin1 with ornaments of gold4 ,heppelwhite learned the lesson of ,hogarth1 that the line of beauty is a curve1 and straight lines were studiously avoided in his designs4 ,of the varieties of chairs that he made1 many have the ,prince of ,wales's feathers either carved upon them in the centre of the open-work back or japanned upon the splat1 a method of decoration largely employed in ,france1 which has not always stood the test of time1 for when examples are found they often want restoration4 ,of satin-wood1 with paintings upon the panels1 ,heppelwhite produced some good examples1 and when he attempted greater elaboration his style in pieces of involved design and intricacy of detail became less original1 and came into contact with ,sheraton4 ,his painted furniture commands high prices1 and the name of ,heppelwhite will stand as high as ,chippendale or ,sheraton for graceful interpretations of the spirit which invested the late eighteenth century4 ,before dealing with ,sheraton in detail1 the names of some lesser known makers contemporary with him may be mentioned4 ,matthias ,lock1 together with a cabinetmaker named ,copeland1 published in #ageb designs of furniture which derived their inspiration from the brothers ,adam1 which classic feeling later1 in conjunction with the ,egyptian and ,pompeian spirit1 dominated the style of the ,first ,empire4 ,josiah ,wedgewood1 with his ,etruscan vases1 and ,flaxman1 his designer1 filled with the new classic spirit1 are examples in the world of pottery of the influences which were transmitted through the ,french ,revolution to all forms of art when men cast about in every direction to find new ideas for design4 ,ince and ,mayhew1 two other furniture designers1 published a book in #aggj1 and ,johnson outdid ,chippendale's florid styles in a series of designs he brought out1 which1 with their twisted abortions1 look almost like a parody of ,thomas ,chippendale's worst features4 ,there is a ,chairmaker's ,guide1 by ,manwaring and others in #agff1 which contains designs mainly adapted from all that was being produced at the time4 ,it is not easy to tell the difference between chairs made by ,manwaring and those made by ,chippendale1 as he certainly stands next to the great master in producing types which have outlived ephemeral tastes1 and taken their stand as fine artistic creations4 ,among other names are those of ,shearer1 ,darly1 and ,gillow1 all of whom were notable designers and makers of furniture in the period immediately preceding the nineteenth century4 ,thomas ,sheraton1 contemporary with ,william ,blake the dreamer1 shares with him the unfortunate posthumous honour of reaching sensational prices in auction rooms4 ,there is much in common between the two men4 ,sheraton was born in #agea at ,stockton-on-,tees1 and came to ,london to starve4 ,baptist preacher1 cabinetmaker1 author1 teacher of drawing1 he passed his life in poverty1 and died in distressed circumstances4 ,he was1 before he brought out his book of designs1 the author of several religious works4 ,often without capital to pursue his cabinetmaking he fell back on his aptitude for drawing1 and gave lessons in design4 ,he paid young ,black1 who afterwards became ,lord ,provost of ,edinburgh1 half a guinea a week as workman in his cabinetmaker's shop in ,soho4 ,in a pathetic picture of those days the ,lord ,provost1 in his ,memoirs1 tells how ,sheraton and his wife and child had only two cups and saucers and the child had a mug1 and when the writer took tea with them the wife's cup and saucer were given up to the guest1 and she drank her tea from a common mug4 ,this reads like ,blake's struggles when he had not money enough to procure copper-plates on which to engrave his wonderful visions4 ,that the styles of ,chippendale and ,sheraton represent two distinct schools is borne out by what ,sheraton himself thought of his great predecessor4 ,speaking in his own book of ,chippendale's previous work he says3 ,as for the designs themselves they are wholly antiquated1 and laid aside1 though possessed of great merit according to the times in which they were executed4 ,from this it would appear that the ,chippendale style1 at the time of ,sheraton's ,cabinetmaker's and ,upholsterer's ,drawing ,book1 published in #agic1 had gone out of fashion4 ,the woods mostly employed by ,sheraton were satinwood1 tulip-wood1 rosewood1 and apple-wood1 and occasionally mahogany4 ,in place of carved scrollwork he used marquetry1 and on the cabinets and larger pieces panels were painted by ,cipriani and ,angelica ,kauffman4 ,there is a fine example of the latter's work in the ,victoria and ,albert ,museum4 ,sheraton borrowed largely from the ,french style under ,louis ,,xvi41 when the lines had become severer2 he came1 too1 under the influence of the ,adam designs4 ,he commonly used turned legs1 and often turned backs1 in his chairs4 ,his later examples had a hollowed or spoon back to fit the body of the sitter4 ,when he used mahogany he realised the beauty of effect the dark wood would give to inlay of lighter coloured woods1 or even of brass4 ,the splats and balusters1 and even the legs of some of his chairs1 are inlaid with delicate marquetry work4 ,ornament for its own sake was scrupulously eschewed by ,sheraton4 ,the essential supports and uprights and stretcher-rails and other component parts of a piece of furniture were only decorated as portions of a preconceived whole4 ,the legs were tapered1 the plain surfaces were inlaid with marquetry1 but nothing meaningless was added4 ,in ,france ,sheraton's style was termed ,louis ,seize a l',anglaise4 ,illustration3 ,by permission of ,messrs4 ,hampton 4 ,sons4 ,,old ,,english ,,secretaire4 ,rosewood and satinwood4 ,drop-down front4 ,it was the firm of ,heppelwhite that first introduced the painted furniture into ,england1 and under ,sheraton it developed into an emulation of the fine work done by ,watteau and ,greuze in the days of ,marie ,antoinette4 ,among the varied pieces that ,sheraton produced are a number of ingenious inventions in furniture1 such as the library-steps he made for ,george ,,iii4 to rise perpendicularly from the top of a table frame1 and when folded up to be concealed within it4 ,his bureau-bookcases and writing-cabinets have sliding flaps and secret drawers and devices intended to make them serve a number of purposes4 ,illustration3 ,by permission of ,messrs4 ,harold ,g4 ,lancaster ,co4 ,,shield-,,back ,,chair4 ,,mahogany4 ,,late ,,eighteenth ,,century4 ,on the front of his chairs is frequently found the inverted bell flower1 and another of his favourite forms of decoration is the acanthus ornament1 which he puts to graceful use4 ,the influence of his work1 and of that of ,heppelwhite ,co41 was lasting1 and much of the late eighteenth century and early nineteenth century cabinetmaking owes its origin to their designs4 ,the old ,english secretaire illustrated 7p4 #bej71 of rose and satinwood1 with drawer above and fall-down front1 having cupboard beneath with doors finely inlaid with plaques of old lac1 is of the date when ,heppelwhite was successfully introducing this class of ,french work into ,england4 ,it is especially interesting to note that the drawer-handles are mounted with old ,battersea enamel4 ,the difficulty of definitely pronouncing as to the maker of many of the pieces of furniture of the late eighteenth century is recognised by experts4 ,the chair illustrated 7p4 #bea7 cannot be assigned to any particular designer1 though its genuine old feeling is indisputable4 ,in the fine collection of old furniture of this period at the ,victoria and ,albert ,museum will be found many examples of chairs with no other title assigned to them than late eighteenth century4 ,this fact speaks for itself4 ,a great and growing school had followed the precepts of ,chippendale and ,heppelwhite and ,sheraton4 ,this glorious period of little more than half a century might have been developed into a new ,renaissance in furniture4 ,unfortunately1 the early days of the nineteenth century and the dreary ,early ,victorian period1 both before and after the great ,exhibition of #ahea1 display the most tasteless ineptitude in nearly every branch of art4 ,from the days of ,elizabeth down to the last of the ,georges1 ,english craftsmen1 under various influences1 have produced domestic furniture of great beauty4 ,it is impossible to feel any interest in the ,windsor chair1 the saddle-bag couch1 or the red mahogany cheffoniere4 ,the specimens of misapplied work shown at the ,bethnal ,green ,museum1 relics of the ,english exhibits at the first ,exhibition1 are unworthy of great traditions4 ,the awakened interest shown by all classes in old furniture will do much to carry the designers back to the best periods in order to study the inheritance the masters have left1 and it is to be hoped that the message of the old craftsmen dead and gone will not fall on deaf ears4 ,,recent ,,sale ,,prices4#a ,l s4 d4 ,chairs1 wheel back1 set of seven 7including armchair71 ,adam1 carved1 mahogany4 ,good condition4 ,brady ,sons1 ,perth1 ,september #a1 #aijb #bg #b #f ,mirror1 ,adam1 in gilt frame1 ,corinthian pillar sides1 ornamental glass panel at top1 surmounted by a carved wood eagle figure4 ,gudgeon ,sons1 ,winchester1 ,november #aa1 #aijc #g #aj #j ,mantelpiece1 ,adam1 carved wood1 with ,corinthian column supports1 carved and figures and festoons4 ,france ,sons1 ,december #af1 #aijc #bj #j #j ,mirrors1 pair1 oval1 ,adam1 carved and gilt wood frame4 ,christie1 ,march #ah1 #aijd #df #d #j ,cabinet or enclosed buffet1 ,adam1 on ,empire lines1 veneered on oak with grained ,spanish mahogany1 in the frieze is a long drawer1 and below a cupboard1 the whole on square feet1 doors inlaid1 handles1 c41 of ormolu1 #c ft4 #i in4 wide4 ,flashman ,co41 ,dover1 ,april #bf1 #aijd #ae #j #j ,side-tables1 pair hare-wood1 by ,adam1 with rounded corners1 on square-shaped tapering legs1 the sides and borders inlaid with marquetry1 in coloured woods1 #ec in4 wide4 ,christie1 ,june #b1 #aijd #aje #j #j ,bookcase1 #d ft4 #h in41 mahogany1 ,heppelwhite1 inlaid tulip-wood with box and ebony lines1 fitted shelves and drawers1 enclosed by doors4 ,phillips1 ,son and ,neale1 ,november #ag1 #aijc #dd #j #j ,settee1 ,heppelwhite1 square-shaped1 #f ft41 and three elbow chairs4 ,gudgeon ,sons1 ,winchester1 ,march #i1 #aijd #ch #j #j ,console-table1 ,heppelwhite satinwood1 the top shaped as a broken ellipse1 and of hare-wood with inlays of husks and flowers round a fan-pattern centre with borderings in ebony and other woods on a filling of satinwood2 the edge is bound with ormolu1 reeded and cross banded1 below is the frieze of satin-wood inlaid with honeysuckle1 paterae1 and other ornament in holly1 c41 and supported on a pair of carved square tapered legs painted and gilt1 and with pendants of husks and acanthus capitals1 #d ft4 #c in4 wide4 ,flashman ,co41 ,dover1 ,april #bf1 #aijd #dj #j #j ,suite of ,heppelwhite mahogany furniture1 with open shield backs1 with vase-shaped centres carved1 the back1 arms and legs widely fluted1 consisting of a settee1 #gd in4 wide1 and ten armchairs4 ,christie1 ,june #b1 #aijd #cbe #aj #j ,knife-box1 oblong1 ,sheraton mahogany1 with revolving front1 inlaid with ,prince-of-,wales's feathers and borders in satinwood1 #ai-a_/b in4 wide4 ,christie1 ,november #ba1 #aijb #g #ag #f ,sideboard1 ,sheraton1 mahogany1 satinwood inlaid1 fitted with brass rails4 ,dowell1 ,edinburgh1 ,november #ad1 #aijc #cj #i #j ,wardrobe1 ,sheraton mahogany1 banded with satinwood1 with folding doors above and below1 and five drawers in the centre1 #g ft4 high1 #h ft4 wide4 ,christie1 ,january #bb1 #aijd #fj #ah #j ,chairs1 set of eighteen ,sheraton1 with oval backs with rail centres1 fluted and slightly carved with foliage and beading1 the seats covered with flowered crimson damask2 and a pair of settees1 en suite1 #f ft4 wide4 ,christie1 ,february #bf1 #aijd #abf #j #j ,armchairs1 pair1 ,sheraton1 with shield-shaped backs1 painted with ,prince of ,wales feathers1 and pearl ornament on black ground4 ,christie1 ,march #bh1 #aijd #bh #g #j ,cabinet1 ,sheraton satinwood1 with glazed folding doors enclosing shelves1 drawer in the centre forming secretary1 and folding-doors below1 painted with baskets of flowers1 c41 #g ft4 #i in4 high1 #da in4 wide4 ,christie1 ,march #bh1 #aijd #ahi #j #j ,secretaire1 ,sheraton small satinwood1 with revolving tambour front1 drawer and folding doors below1 inlaid with arabesque foliage1 #bc in4 wide4 ,christie1 ,april #bi1 #aijd #dg #e #j #a ,by the kindness of the proprietors of the ,connoisseur these items are given from their useful monthly publication1 ,auction ,sale ,prices4 ,,xii ,,hints ,,to ,,collectors ,illustration3 ,,design ,,for ,,spurious ,,marquetry ,,work4 ,,xii ,,hints ,,to ,,collectors ,the demand for old furniture has become so great that there is an increasing difficulty in supplying it4 ,in order to satisfy the collector many artifices have been practised which in varying degree are difficult to detect1 according to the skill and ingenuity of the present-day manufacturer of antique furniture4 ,replicas of old pieces are frequently made1 and the workmanship is so excellent1 and the copy of the old craftsman's style so perfect1 that it only requires a century or two of wear to give to the specimen the necessary tone which genuine old furniture has naturally acquired4 ,in particular1 ,french ornate furniture from the days of ,boule to the ,empire period has received the flattering attention of the fabricator by being imitated in all its details4 ,these high-class ,french pieces are fine examples of cabinetmaking1 and it is not easy for anybody who has not a special expert knowledge to pronounce definitely upon their authenticity4 ,doubts have even been expressed regarding certain pieces in the great national collections2 in fact the art of the forger in regard to old ,french furniture1 of which specimens change hands at anything from ,l#a1jjj to ,l#aj1jjj1 has reached a very high level of excellence1 having almost been elevated to one of the fine arts4 ,if a clever workman possessed of great artistic feeling turns his attention to forging works of art1 it is obvious that his triumph is complete over amateurs possessed of less artistic taste and knowledge than himself4 ,many secret processes are employed to impart an appearance of age to the wood and to the metal mountings4 ,the cruder methods are to eat off the sharper edges of the metal mountings by means of acid1 and to discolour the newer surfaces by the aid of tobacco juice1 both of which are not difficult to detect4 ,the steady manufacture of these finer pieces goes on in ,france1 and it has been found that the foggy atmosphere of ,london is especially useful in producing the effect of age upon the finer work1 consequently many forged pieces are shipped to ,london to be stored in order to ripen until considered fit for the ,american market1 where so many forgeries have been planted4 ,the reward is great1 and even considering the amount of trouble bestowed upon such pieces and the excellence of the artistic work where the highest skilled labour is employed1 the profit is enormous4 ,the parvenu buys his ,louis ,,xiv4 or ,louis ,,xv4 suite1 and pays an immense sum for pieces which are stated to have come from some ,french nobleman's chateau1 whose name must not be divulged1 and so the interesting deal is brought to a successful termination4 ,illustration3 ,,made-,,up ,,buffet4 ,the middle portion1 consisting of the two drawers and three panelled cupboards above1 is genuine old carved oak4 ,the stand1 with the finely turned legs and rails1 and the whole of the upper portion1 is modern4 ,as an object-lesson as to the truth of the above remarks1 the ,wallace ,collection contains a modern ,french copy in facsimile1 by ,dasson1 of the celebrated ,bureau du ,roi of the ,louis ,,xv4 period1 the original being in the ,louvre4 ,the original is fully described in the chapter on ,louis ,,xv4 style1 and it is not too much to assert that ninety-nine per cent4 of the visitors to the ,collection could not say that this copy was not an old ,french specimen of over a century and a quarter ago1 and the remaining one1 unless he happened to be an expert1 would not question its genuineness4 ,old oak has always been a favourite with the public1 and from the modern ,flemish monstrosities1 carved in evil manner and displaying proportions in the worst possible taste1 to the equally vulgar home production in buffet or sideboard1 and stocked by many dealers in so-called antique furniture1 the number of grotesque styles foisted upon the public within the last fifteen years has been remarkable4 ,one wonders what has become of the high-backed oak chairs1 nearly black with repeated applications of permanganate of potash1 having flaming red-leather seats4 ,they seem to have mysteriously disappeared from up-to-date antique stores of late4 ,the public has taken to inquiring into art matters a little more closely4 ,nowadays the latest thing is fumed oak1 which is modern oak discoloured by means of ammonia1 which darkens the surface of the wood to a depth of a sixteenth of an inch4 ,it is not infrequent to find an attempt made to represent this as old oak after an elaborate treatment with linseed oil1 turpentine1 and beeswax1 though an examination of the interior edges of the wood will discover its modernity at once4 ,of course1 such tricks as these are not practised by any firm of standing1 who cannot afford to damage their reputation by any misrepresentation4 ,as a general rule a dealer will readily point out the details of workmanship and offer technical information of much value to a beginner1 if he discovers that his customer is a collector desirous of acquiring only fine specimens4 ,it is more often than not the folly of the public1 and not the dishonesty of the dealer1 which results in trade frauds being committed in the attempt to execute some impossible and imperative order1 which the moneyed collector has given4 ,the difference between the genuine and the replica is most clearly made by old-fashioned firms of high standing4 ,it is only when the collector enters into the arena and endeavours to set forth in quest of bargains1 where he pits his skill against that of the dealer in the hope of outwitting the latter1 that he is obviously on dangerous ground4 ,in the one case he pays a higher price and obtains the benefit of the experience of a firm with expert knowledge1 in the other he relies on his own judgment in picking up a bargain from some one whom he believes to be possessed of less knowledge than himself4 ,if he is successful he is not slow to brag about his cleverness2 but if he is worsted in the encounter1 and pays1 let us say1 five pounds for an object which he fondly believed was worth fifty1 if genuine1 and which he subsequently discovers is worth less than he gave1 there is nothing too bad to say concerning his antagonist4 ,it is chiefly by the character of carved work that old pieces can be recognised4 ,there are three classes of pitfalls to avoid4 #a4 ,fraudulent pieces throughout1 of modern wood and of modern carving4 #b4 ,made-up pieces which often consist of genuine old pieces of carved wood pieced together ingeniously from fragments of carvings1 with modern additions4 #c4 ,restored pieces which are mainly old and should have received1 if admitted to a collection1 only the necessary repairs to make them serviceable4 ,with regard to the first class1 fraudulent throughout1 it is the hope of the writer that enough has already been written in this volume to point the way to the reader and to assist him to follow his natural inclinations in developing the necessary critical taste to readily detect pieces wholly false in character and feeling4 ,made-up pieces present a greater difficulty4 ,considerable skill has been exercised in combining certain parts of old furniture into a whole which is1 however1 mostly inharmonious4 ,in pieces of this nature there is an absence of feeling in style and carving4 ,it is difficult to define the exact meaning of the word feeling as applied to art objects1 it is a subtle expression of skill and poetry which communicates itself to the lover of art4 ,it is so subtle and elusive that experts will tell one that such and such a piece requires to be lived with to test its authenticity4 ,mr4 ,frederick ,roe1 whose volume on ,ancient ,coffers and ,cupboards displays a profound knowledge of his subject1 writes1 it occasionally happens that pieces are so artfully made up that only living with them will enable the collector to detect the truth4 ,in dealing with pieces of this suspicious kind one often has to fall back on a sort of instinct4 ,with critical collectors of every sort this innate sense plays a very important part4 ,two specimens of made-up furniture are reproduced1 which will bear close study in order to appreciate the difficulty of collecting old oak4 ,the illustration of the buffet 7p4 #bfa7 has many points of interest4 ,the general appearance of the piece is not inharmonious4 ,it has been carefully thought out and no less carefully put into effect4 ,the middle portion1 consisting of the three drawers and the three cupboards above1 up to and including the shelf partition at the top1 is the only old part4 ,the handles1 locks1 and escutcheons of the two drawers are old1 but the hinges above are modern copies of old designs1 and the handles of the cupboards are modern replicas4 ,illustration3 ,,cabinet ,,of ,,old ,,oak4 ,,made ,,up ,,from ,,several ,,pieces ,,of ,,genuine ,,old ,,carved ,,oak4 ,the massive stand with artistically turned rails in ,jacobean style1 is soft wood artfully fumed and generously beeswaxed4 ,the whole of the top portion has been added and is soft wood very well carved4 ,the carving of the panels is also well executed1 and is evidently a copy of some old design4 ,the older portion is a fine piece of early ,jacobean work1 and it is not difficult to distinguish between the feeling of this and the expression conveyed by the modern woodwork4 ,the patina of the wood after two centuries of exposure and polishing has that peculiarly pleasing appearance which accompanies genuine old woodwork4 ,the edges of the carving have lost their sharp angles1 and the mellowness of the middle panels are in strong contrast to the harsher tone of those of the upper portion4 ,such a piece as this would not deceive an expert1 nor1 perhaps1 is it intended to1 or greater care would have been bestowed upon it1 but it is sufficiently harmonious in composition not to offend in a glaring manner1 and might easily deceive a tyro4 ,the next piece illustrated 7p4 #bfg7 is interesting from another point of view4 ,it is a more elaborate attempt to produce a piece of old furniture in which the details themselves have all the mellowness of fine old oak4 ,in fact1 with the exception of one portion1 some eight inches by three1 to which allusion will be made later1 the whole of it is genuine old oak4 ,the three panels at the top are finely carved and are ,jacobean work4 ,the two outside panels at the bottom1 though of a later period1 are good work4 ,the middle panel at the bottom is evidently a portion of a larger piece of carving1 because the pattern abruptly breaks off1 and it was most certainly not designed by the old carver to lie on its side in this fashion4 ,the two heads at the top corners have been cut from some old specimen1 and artfully laid on4 ,the carving on both sides1 running below each head from top to bottom1 is of two distinct designs joined in each case in a line level with the upper line of the lower panels4 ,the two uprights on each side of the middle lower panel are exquisite pieces of carved work1 but certainly never intended to be upright4 ,they are evidently portions of a long1 flowing ornament1 as their cut-off appearance too plainly shows4 ,the top panels have done duty elsewhere1 as part of the ornamental carving at the top and bottom of each lozenge is lost4 ,the long line of scrolled carving above them is distinctly of interest4 ,on the left hand1 from the head to the middle of the panel1 a piece of newer carving has been inserted1 some eight inches long4 ,the wood1 at one time darkened to correspond with the adjacent carving1 has become lighter1 which is always the case when wood is stained to match other portions4 ,the carving in this new portion follows in every detail the lines of the older design1 and is a very pretty piece of faking4 ,the cross-piece running from left to right1 dividing the lower panels from the upper1 is in three parts4 ,an examination of the design shows that the last three circles on the right1 and the last four on the left1 are of smaller size than the others4 ,the design evidently belonged to some other piece of furniture1 and has been removed to do service in this made-up production4 ,in all probability the two uprights enclosing the top middle panel1 and the two uprights on the outside at the bottom were once portions of a carved bedstead1 as they are all of the same size and design4 ,it is a notorious trick to slice an old carved bedpost into four pieces1 skilfully fitting the pieces into made-up furniture4 ,there is a prevalent idea that worm-holes are actually produced in furniture1 in order to give a new piece a more realistic appearance4 ,there are traditions of duck-shot having been used1 and there is little doubt that holes were drilled by makers who knew their public4 ,but it is improbable that such artifices would be of much use for deceptive purposes nowadays4 ,as a matter of fact1 worm-holes are avoided by any one who gives a moment's thought to the matter4 ,to get rid of worm in furniture is no easy task1 and they eventually ruin any pieces they tenant4 ,the illustration 7p4 #bgd7 shows a piece of ,spanish chestnut badly honeycombed by furniture worms4 ,in chairs1 especially1 their havoc is almost irreparable1 and in the softer woods the legs become too rotten to be repaired or even strengthened4 ,metal plates are often screwed on the sides to prevent the chairs falling to pieces1 but they become useless to sit upon without fear of disaster4 ,the insect is really the boring wood-beetle1 which is armed with formidable forceps1 to enable it to burrow through the wood4 ,the worm1 the larva of this beetle1 is also provided with boring apparatus1 and this insect1 whether as beetle or as worm1 is a deadly enemy to all furniture4 ,the death-watch is also accused of being a depredator of books and of furniture of soft wood4 ,to remove worms from furniture is a costly undertaking1 requiring the greatest skill4 ,large pieces of furniture have actually to be taken to pieces and the whole of the damaged parts removed with a chisel4 ,in cases where the legs1 or slender supports1 have been attacked1 the difficulty is one requiring the specialist's most delicate attention4 ,various applications are recommended1 but cannot be stated to be reliable4 ,injecting paraffin is said to be the best remedy1 and putting the pieces in a chamber where all the openings have been sealed1 and lighting pans of sulphur underneath the furniture1 allowing the specimens to remain in this fumigating bath for some days is another method resorted to4 ,with regard to ,chippendale furniture1 a word of caution is necessary4 ,it is as impossible for ,chippendale and his workmen to have produced all the furniture attributed to them as it is for the small factory at ,lowestoft to have made all the china with which it is credited4 ,as has been shown in the chapter on ,thomas ,chippendale1 his styles were most extensively copied by his contemporaries all over the country and by many makers after him1 and modern makers produce a great quantity of ,chippendale every year4 ,only a careful examination of museum pieces will train the eye of the collector4 ,the fine sense of proportion1 at once noticeable in the genuine ,chippendale chair1 is absent in the modern copy1 and1 above all1 the carving in the latter is thin and poor4 ,in the old days the wastage of wood was not a thing which the master had in his mind4 ,in modern copies the curl of the arm1 or the swell at the top of the back1 shows a regard for economy4 ,there is a thin1 flat look about the result1 which ought not to be mistaken4 ,scrolls and ribbon-work are often added to later pieces made in the style of ,chippendale1 which have enough wood in their surfaces to bear carving away4 ,an ingenious device is adopted in cases of inlaid pieces of a small nature1 such as imitation ,sheraton clock-cases and knife-boxes and the frames of mirrors4 ,old engravings are procured of scrollwork1 usually from the end of some book4 ,the illustration 7p4 #bei7 shows the class of engravings selected4 ,these engravings are coated with a very thin layer of vellum1 which is boiled down to a liquid1 and carefully spread over them4 ,after this treatment they are ready to be glued on to the panels to be faked1 and1 when coated over with transparent varnish1 they present the appearance of an ivory and ebony inlay4 ,illustration3 ,,design ,,for ,,spurious ,,marquetry ,,work4 ,the frauds practised in satinwood and painted pieces are many and are exceedingly difficult to detect4 ,much of ,sheraton's furniture was veneered with finely selected specimens of ,west ,india satinwood4 ,these carefully chosen panels were painted by ,cipriani and others4 ,the modern faker has not the material to select from1 as the satinwood imported is not so beautiful nor so richly varied in grain as in the old days4 ,he removes a side panel from an old piece1 and substitutes another where its obnoxious presence is not so noticeable4 ,to this old panel he affixes a modern coloured print after one of ,sheraton's artists1 which1 when carefully varnished over and skilfully treated so as to represent the cracks in the supposed old painting1 is ready for insertion in the made-up sideboard1 to catch the fancy of the unwary collector4 ,,finis4 ,illustration3 ,,piece ,,of ,,spanish ,,chestnut ,,showing ,,ravages ,,of ,,worms4 ,,index ,a ,adam1 the brothers1 and their style1 #bji1 #bda-bef ,adam armchair 7illustrated71 #bdc ,admiralty1 screen and gateway1 designed by ,robert ,adam1 #bdb ,anne1 ,queen1 furniture of1 prices realised at auction1 #aec ---- insularity of furniture in reign of1 #acf ---- well-constructed furniture of period of1 #ade ,apsley ,house1 collection of furniture at1 #bji ,armoire1 see ,,glossary1 #bc ,ascham1 quotation from1 #fh ,ashmolean ,museum1 ,oxford1 chair at1 #aae ,b ,baroque1 see ,,glossary1 #bc ,barrow1 ,sam1 name of maker1 on ,queen ,anne clock1 #adh ,battersea enamel1 its use on furniture1 #beb ,berain1 ,jean1 #afb ,blenheim1 chair from1 #bbb ,bodleian ,library1 ,oxford1 illustration of chair at1 #hb ,bombe1 see ,,glossary1 #bc ,bookcase by ,chippendale1 #bbe1 #bca ,boucher1 #ahb1 #aie ,boule1 ,andre ,charles1 and his marquetry1 #afj-afb ---- cabinet 7illustrated71 #afe ---- see ,,glossary1 #bc ---- and counter-boule 7illustrated71 showing difference between1 #afc ,bridal chest 7,german71 #dc ,bromley-by-,bow1 ,old ,palace1 oak panelling from1 #fe ,brown and ,bool1 ,messrs41 specimens from collection of1 #ada1 #aej ,buhl work1 #afj ,bureau1 see ,,glossary1 #bd ,burr-walnut panels1 #aci ,butter-cupboard1 #ajd ,c ,cabinet1 ebony1 formerly property of ,oliver ,cromwell1 #ii ,cabriole1 see ,,glossary1 #bd ,cabriole-leg1 introduction of into ,england1 #abg ,caffieri1 #agg1 #aia ,cambridge1 ,king's ,college ,chapel1 woodwork of1 #fc ,cane seats and backs of chairs1 adoption of1 #aag ---- work in chairs1 later development of1 #abb ,carolean1 see ,,glossary1 #be ,carving supplanted by cane-work panels1 #aag ,caryatides1 see ,,glossary1 #bd ,cassette1 7strong box7 of period of ,louis ,,xiv41 #aeh ,cassone1 see ,,glossary1 #bd ---- 7marriage coffer71 the ,italian1 #db ,catherine of ,braganza1 fashions introduced by1 #aad ,cecil1 ,lord ,burleigh1 quotation from1 #ff ,chair1 ,charles ,i41 #ic1 #ie ---- ,chippendale1 #bbc1 #bbd1 #bbf1 #bbg1 #bcb1 #bcc ---- ,cromwellian1 #if ---- high-backed1 ,portuguese1 #aad ---- ,italian 7#afbj71 #id ---- ,jacobean1 made from timber of ,drake's ,golden ,hind1 #hc ---- ,james ,i41 #hg1 #hi ---- ,james ,,ii41 #abc ---- ,louis ,,xiii4 period1 #aei ---- ribbon-back1 #bbb1 #bbc ---- ,oliver ,goldsmith's1 #bae ---- with arms of first ,earl of ,strafford1 #ic ,chairs1 test as to age of1 #ajj ---- types of ,jacobean 7illustrated71 #ig1 #ajj1 #aje1 #abj1 #aba1 #abb1 #abc1 #abd ---- types of ,queen ,anne period 7illustrated71 #adc ---- upholstered1 adopted in late ,elizabethan days1 #ge ,chambers1 ,sir ,william1 #baf ,chardin1 picture by1 showing ladder-back chair1 #bde ,charles ,i4 furniture1 prices realised at auction1 #ajf ---- ,,ii4 furniture1 prices realised at auction1 #abi ---- ,,ii41 repartee of1 #aad ,charterhouse1 specimen at1 illustration of1 #bbg ,chatsworth1 work of ,grinling ,gibbons at1 #aba ,chests of drawers1 ,jacobean1 #aag ,china collecting1 influence of1 on furniture1 #abg ,chinese and ,japanese cabinets1 #adh ,chinese ,chippendale1 #bac1 #bba ,chippendale1 ,thomas1 and his style1 #bac-bch2 his ,director1 #bae ---- bureau-bookcase1 #bbe1 #bca ---- furniture1 tricks concerning1 #bgb2 prices of1 #bbg1 #bcf ,cipriani1 #bdi ,classic models paramount1 #bje ,claw-and-ball feet adopted by ,chippendale1 #baf ---- feet 7prior to ,chippendale71 #adf ---- foot1 introduction of1 #abg ,clock1 ,grandfather1 introduction of1 #abg ,clocks1 ,grandfather1 #adg ,colbert1 the guiding spirit of art under ,louis ,,xiv41 #aei ,collectors1 hints to1 #bei-bgd ,commode1 see ,,glossary1 #bd ,commodes 7illustrated71 ,cressent1 #aga2 ,louis ,,xiv41 #agc2 ,caffieri1 #age2 ,riesener1 #aig ,contre partie1 see ,,glossary1 #bd ,copeland1 designs of1 #bdg ,copies of old furniture1 #bei1 #bfc ---- of fine ,french pieces1 #ahe1 #aig ,cottage furniture 7,chippendale style71 #bcb ,counter-boule1 see ,,glossary1 #bd -----boule1 #afa ,court cupboard1 #gj ,cowley1 quotation from1 #he ,cradle1 with initials and date1 #if ,cressent1 ,charles1 #agg1 #agh ,crispin de ,passe1 chair designed by1 #aei ,cromwellian chair1 #if ,cromwell's ebony cabinet1 #if ,cushions for chairs when adopted1 #ge ,d ,darly1 #bdh ,dated pieces-- #aeic1 ,elizabethan bedstead1 #ff #afjc1 ,mirror1 carved oak frame1 #ga #afjc1 ,court cupboard1 #gc #afaf1 ,oak table1 #he #afbc1 ,chair1 #ig #afda1 ,cradle1 #if #afdb1 ,chair1 #aei #afec1 ,cabinet1 frontispiece #agfj-fi1 ,bureau du roi1 #ahe #agfi1 ,bureau1 #aif #ahaj1 ,jewel cabinet1 #bjg ,david1 #aie1 #bjh1 #bji ,derbyshire chairs1 #ajc ,diderot1 #bje ,director1 designs of chair-backs from1 #bbb1 #bbe ,drake1 ,sir ,francis1 chair made from timber of ,golden ,hind1 #hb ,drawers1 chests of1 ,jacobean1 #aag ,dressers1 ,normandy1 #ajc ---- ,welsh1 #ajj ,dublin ,museum1 illustration of oak chest at1 #dd ,dutch art1 introduction of1 by ,william of ,orange1 #abd ---- house1 interior of 7illustrated71 #aaa ---- lacquer work1 #aea ---- marquetry1 #abh1 #adf ---- marquetry chair1 illustrated1 #adc ---- marquetry1 prices realised at auction1 #acb ,e ,eassie1 ,walter1 illustrations from drawings by1 #aga1 #ahc ,egyptian design1 influence of1 #bdg ,eighteenth century1 early1 well-constructed furniture of1 #ade ---- interior of room 7illustrated71 #bce ,elizabethan mansions1 some noteworthy1 #fg ,elizabethan woodwork1 fine example of1 #fe ,empire style furniture1 #bjb-baj ---- its influence on ,english makers1 #bji ,england1 ,renaissance in1 #cg1 #ei-gh ,f ,farmhouse furniture1 #ajj ,figure in wood1 how obtained1 #gf1 #aah ,fire of ,london1 destruction of furniture by1 #abj ,first ,empire style1 #bjc-baj ,flemish wood-carving1 its influence on ,english craftsmen1 #di ,fontainebleau1 illustration of jewel cabinet at1 #bjg ,foreign workmen employed in ,england1 #cg ,fragonard1 #ahb1 #aie ,france1 ,renaissance in1 #dc ,francis ,i41 patron of the new art1 #dg ,frauds perpetrated on collectors1 #bei-bgd ,french polish1 see ,,glossary1 #bd1 #bcf ,french ,revolution1 vandalism during1 #bjd ,g ,gate-leg table1 see ,,glossary1 #bd ---- table1 #ie ,gibbons1 ,grinling1 work of1 #aba ,gillow1 #bdh ,golden ,hind1 chair made from timbers of1 #hb ,goldsmith1 ,oliver1 chair of1 #bae1 #baf ,gothic1 see ,,glossary1 #be ---- revival1 its influence on ,chippendale1 #bba ,gouthiere1 ,pierre1 #aia1 #aib1 #aig ,grandfather clock1 #adg ---- clock1 introduction of1 #abg ,great ,hall at ,hampton ,court1 #fc ,grimm1 quotation from1 #bje ,grotesque design prevalent in ,elizabethan furniture1 #fi ,h ,hall1 ,hampton ,court1 the ,great1 #fc ---- ,middle ,temple1 carved screen at1 #fe ,hampton ,court1 the ,great ,hall at1 #fc ---- ,court1 work of ,grinling ,gibbons at1 #aba ,hampton ,sons1 ,messrs41 pieces from collection of1 #ei1 #ie1 #ii1 #aae1 #abj1 #aba1 #ace1 #adc1 #adg1 #adh1 #bej ,harrington1 ,sir ,john1 quotation from1 #ge ,henry ,,vii4's chapel1 ,westminster ,abbey1 #fc ---- ,,viii41 patron of the new art1 #cg ,heppelwhite1 the style of1 #bda-bef ---- chairs 7illustrated71 #bdc ,herculaneum and ,pompeii1 influence of excavations at1 #bjd1 #bji ,hints to ,collectors1 #bei-bgd ,hogarth1 ,william1 #bdf ,holbein in ,england1 #cg ,honey1 ,w4 ,g41 ,esq41 specimen from collection of1 #aea ,huygens1 ,dutch lacquer of1 #ahb ,i ,ince ,mayhew's designs1 #bdg ,india office1 specimen at1 illustration of1 #bbf ,ingenious contrivances of ,sheraton's furniture1 #bea ,inlay1 see ,,glossary1 #be ---- in ,elizabethan pieces1 #fi ,italian art dominates ,elizabethan fashion1 #fh ,italy1 ,renaissance in1 #da ,j ,jacobean1 see ,,glossary1 #be ---- furniture1 its fine simplicity1 #ajd ,jacobean furniture1 prices realised at auction1 #ajf1 #abi ,james ,i41 chair at ,knole ,house1 #hf ---- ,,ii4 furniture1 prices realised at auction1 #acj ,japanese and ,chinese cabinets1 #adh ,japanese lac imitated1 #ahb ,jones ,bequest1 illustrations of specimens in1 #afe1 #agi1 #aic ---- ,inigo1 his influence1 #ic ,k ,kauffman1 ,angelica1 #bdi ,kent1 eighteenth-century designer1 #bdf ,kew ,gardens1 pagoda at1 #baf ,king's ,college ,chapel1 ,cambridge1 woodwork of1 #fc ,kitchen furniture 7,chippendale style71 #bcb ,knole ,house1 ,james ,i4 furniture at1 #hf ,l ,lac1 see ,,glossary1 #bf ---- ,japanese and ,chinese imitated1 #ahb ,lacquer1 see ,,glossary1 #bf ,lancaster ,co41 ,messrs4 ,harold ,g41 specimens from collection of1 #abb1 #abc1 #acg1 #bca1 #bcb1 #bda1 #bea ,leather work1 cut design1 ,portuguese chair-back1 #abh ,le ,bas1 ,rev4 ,h4 ,v41 illustration of specimen in possession of1 #baj ,lebrun1 ,madame1 #bje ,leczinski1 ,stanislas1 ,king of ,poland1 #aif ,linen pattern1 see ,,glossary1 #bf ,lock1 ,matthias1 designs of1 #bdg ,louis ,,xiii41 chair of period of1 #aei ---- ,,xiv41 period of1 #aeg-afg ---- ,,xv41 period of1 #aga-ahg ---- ,,xvi41 period of1 #aia-bjj ,louvre1 copy of picture in1 #bjc ---- illustration of portrait in1 #bji ,m ,macaulay1 ,lord1 quotation from1 #if1 #acf ,made-up pieces1 #bfe ,madrid ,national ,museum1 illustration of specimen at1 #eb ,mahogany period1 #cd ---- how procured by ,british captains1 #bad ---- ,sir ,walter ,raleigh's discovery of1 #bad ,mansions built in ,elizabethan days1 #fg ,manwaring1 designs of1 #bdg ,marie ,antoinette1 furniture belonging to1 #agi1 #ahj1 #aie ,marie ,louise1 jewel cabinet of1 #bjh ,marquetry1 see ,,glossary1 #bf ---- ,dutch1 #abh ---- ,dutch1 #adf ---- elaborate1 #ahj1 #ahb ---- in ,elizabethan pieces1 #fi ---- work1 spurious1 #bgc ,martin1 ,sieur ,simon ,etienne 7,vernis-,martin71 #ahb ,martin's varnish 7,vernis-,martin71 see ,,glossary1 #bh ,meissonier1 inspirer of rococo style1 #agg ,middle ,temple ,hall1 carved oak screen at1 #fe ,mirrors1 arrangement in ,hampton ,court galleries1 #abc ---- at ,nell ,gwynne's house1 #abc ---- ,chippendale1 #bbi ---- made by ,french and ,italian workmen1 #abd ---- ,queen ,anne1 #acf ---- various forms of1 #abd ,mortise1 see ,,glossary1 #bf ,mother-of-pearl inlay1 seventeenth century1 #aaf ,munich ,national ,museum1 illustration of specimen at1 #ci ,n ,naples ,museum1 illustration of table at1 #bje ,napoleon1 his influence on art1 #bjh ,natoire1 #ahb1 #aie ,needlework decorated cabinet1 ,charles ,,ii4 period1 #aab ,netherlands1 ,renaissance in1 #di ,netscher1 ,caspar1 illustration after picture by1 #aaa ,normandy dressers1 #ajc ,notable examples of sixteenth1 century ,english woodwork1 #fe ,o ,oak1 collectors of1 hints to1 #ajc1 #aah ---- furniture1 the collector's polish for1 #aah ---- period1 #cd ---- polish1 see ,,glossary1 #bf ,oeben1 ,jean ,francois1 #agh ,old oak1 polish for1 #aah ,p ,parquetry1 see ,,glossary1 #bf ,passe ,crispin de1 chair designed by1 #aei ,pater1 #aib ,penshurst ,place1 ,indo-,portuguese furniture at1 #aae ,petworth ,house1 work of ,grinling ,gibbons at1 #aba ,polish1 ,french1 #bd2 ---- oil1 #bf ,pollen1 ,j41 ,hungerford1 quotation from1 #aif ,pompeii1 influence of excavations at1 #bjd1 #bjh1 #bdg ,ponsonby-,fane1 ,right ,hon4 ,sir ,spencer1 specimens in collection of1 #aja1 #bbd ,portuguese furniture1 late seventeenth century1 in ,england1 #aad ,q ,queen ,anne cabinet 7illustrated71 #ada ---- chairs 7illustrated71 #adc ---- furniture1 prices realised at auction1 #aec ---- mirror frame 7illustrated71 #acg ---- settle 7illustrated71 #adi1 #aee ,r ,raleigh1 ,sir ,walter1 mahogany first brought home by1 #bad ,recamier1 portrait of1 by ,david1 #bji ,reeded1 see ,,glossary1 #bg ,renaissance1 see ,,glossary1 #bg ---- in ,england1 #cg1 #ei-gh ---- in ,france1 #dc ---- in ,italy1 #da ---- in the ,netherlands1 #di ---- in ,spain1 #dh ---- on the ,continent1 #cc-ee ---- origin of1 #ch1 #da ,restored1 see ,,glossary1 #bg ---- cupboard showing over-elaboration1 #gc ,restored pieces1 #bfe ,revolution in ,france1 vandalism during1 #bjd ,ribbon-back chair 7illustrated71 #bbb ---- ornamentation adapted from ,france1 #fd2 7illustrated7 #fj ---- pattern1 early use of1 by ,french woodcarvers1 #ib ,riesener1 ,jean ,francois1 #ahe1 #aia1 #aib1 #aie1 #aig1 #bjh ,robinson1 ,v4 ,j41 ,esq41 ,c4,i4,e41 furniture belonging to1 #bai ,rococo1 see ,,glossary1 #bg ,roe1 ,mr4 ,frederick1 quotation from1 #bff ,roentgen1 ,david1 #ahb ,s ,sackville1 ,lord1 early ,jacobean furniture in collection of1 #hf ,st4 ,paul's ,cathedral1 work of ,grinling ,gibbons at1 #aba ,secret drawers1 #aad ---- drawers1 pieces with1 #aac1 #aeg1 #bca ---- drawers1 ,sheraton's love of1 #bea ---- processes to impart age to spurious pieces1 #bfj ,settee1 see ,,glossary1 #bg ---- upholstered1 early ,jacobean1 at ,knole1 #ij ,settle1 see ,,glossary1 #bh1 #fj ---- ,queen ,anne style1 #ade1 #adi ,sevres porcelain as decoration to furniture1 #aia ---- porcelain in harmony with furniture1 #aha ,shattock1 ,esq41 ,t4 ,foster1 specimens from collection of1 #de ,shearer1 #bdh ,sheraton1 ,thomas1 and his style1 #bji1 #bda-bef ---- chair 7illustrated71 #bdc ---- mechanical contrivances of his furniture1 #bea ---- poverty of1 #bdh2 his opinion of ,chippendale1 #bdh ,sigerson1 ,dr41 ,dublin1 specimens from collection of1 #aeg1 #bjf ,sixteenth-century woodwork1 fine example of1 #fe ,spain1 ,renaissance in1 #dh ,spanish furniture 7illustrated71 cabinet1 #ea2 chest1 #eb ,spitalfields' velvet for furniture1 #adg ---- weaving founded by aliens1 #abb ,splat1 see ,,glossary1 #bh ,stothard1 copy of engraving by1 #bca1 #bce ,strafford1 first ,earl of1 chair with arms of1 #id ,strapwork1 see ,,glossary1 #bh ---- borrowed from ,flemish designers1 #fd2 illustrated1 #fa1 #fh ---- ,elizabethan1 #fi ,stretche1 ,esq41 ,t4 ,e4 ,price1 specimens from collection of1 #ge1 #gh1 #ig1 #aci1 #adj ,stretcher1 see ,,glossary1 #bh ---- in chairs1 evolution of the1 #abb ---- wear given to1 by feet of sitters1 #ajj ,sutton1 ,thomas1 founder of ,charterhouse ,hospital1 #hf ,symonds1 ,john ,addington1 ,the ,renaissance in ,italy1 quoted1 #da ,t ,table1 gate-leg1 see ,,glossary1 #bd ,tapestry factory established at ,mortlake1 #ib ---- in harmony with furniture1 #aha ,tenon1 see ,,glossary1 #bh ,terror1 ,reign of1 vandalism during1 #bjd ,timber split to give figure in surface1 #gf1 #aah ,transition between ,gothic and ,renaissance1 #dd1 #dg1 #fc ,turned work1 see ,,glossary1 #bh ,u ,upholstered chairs adopted in late ,elizabethan days1 #ge ---- seat 7,william and ,mary71 #abb ,v ,vandyck at the ,court of ,charles ,i41 #ib ,varnish1 oil1 composition of1 not now known1 #aai ---- spirit1 a modern invention1 #aah ---- ,vernis-,martin1 see ,,glossary1 #bh ,veneer1 see ,,glossary1 #bh ,veneered work1 its adoption1 #aci ,veneers1 woods used as1 see ,,glossary1 #bi ,vernis-,martin 7,martin's varnish71 see ,,glossary1 #bh1 #ahb ,versailles1 sums spent upon building1 #aff2 vandalism at1 #agb1 #agg ,w ,wallace ,collection1 illustrations of specimens1 at1 #afc1 #aga1 #aha1 #ahc ,walnut period1 #cd ,walnut veneer1 ,queen ,anne period1 #aci ,walpole1 ,horace1 #bba ,waring1 ,messrs41 specimens from collection of1 #ha1 #aag1 #aai1 #adc1 #adi1 #aig ,watteau1 #aib ,wedgwood1 ,josiah1 #bdg ,wellington1 ,duke of1 collection in possession of1 #bji ,welsh dresser1 #ajj ,westminster ,abbey1 ,henry ,,vii4's chapel1 #fc ,william and ,mary furniture1 prices realised at auction1 #acj ,winckelmann1 #bje ,woods preferred by ,grinling ,gibbons1 #aba ---- used for delicate carving by foreign schools1 #aaf ---- used in furniture1 see ,,glossary1 #bi ---- with fancy names1 #bi2 botanical names of1 #aif ,woodwork1 sixteenth century1 fine examples of1 #fe ,worms1 ravages of furniture1 #bcd1 #bga1 #bgd ,wren1 ,sir ,christopher1 #abj ,y ,yorkshire chairs1 #ajc ,,the ,,gresham ,,press1 ,,unwin ,,brothers1 ,,limited1 ,,woking ,,and ,,london4