,,dutch ,,and ,,flemish ,,furniture ,illustration3 ,,frontispiece4 ,bed by ,daniel ,marot4 ,,dutch ,,and ,,flemish ,,furniture ,by ,,esther ,,singleton ,author of 8,french and ,english ,furniture10 etc ,with numerous illustrations ,,new ,,york3 ,,the ,mc,c,l,u,r,e ,,company #dd-fj ,,east ,,twenty-,,third ,,street #aijg ,butler and ,tanner1 ,the ,selwood ,printing ,works1 ,france1 and ,london ---------------------------------------- -------------------------------- ,,preface ,no special inducement need be held out to an educated ,englishman at the present day to take an interest in a particular field of the arts and crafts of the ,low ,countries4 ,long before the nobles of ,flanders1 ,france and ,england were associated in attempts to free the holy places from the pollution of infidel possession1 the dwellers on the opposite coasts of ,england1 ,normandy and the ,netherlands had been bound together by many dynastic and trade bonds4 ,as we follow the course of history1 we find that the interests of the ,english and the ,flemings were inextricably connected2 and there was a constant stream of the manufactures of the ,low ,countries pouring into ,english ports4 ,the ,english supplied much of the raw material upon which the ,flemings depended for subsistence4 ,in mediaeval days the inhabitants of the ,low ,countries could always be forced by ,english statecraft to help the ,plantagenet kings in their continental intrigues by the mere cutting off of the supply of wool4 ,later1 the community of tastes and interests in ,reformation days drew the races closer together2 and all through ,elizabethan days1 and then onwards till the close of the ,marlborough campaigns1 the inhabitants of ,england and the ,netherlands were on terms of intimate acquaintance1 socially and industrially4 ,in the following pages1 therefore1 constant evidence will appear of the influence of the arts and crafts of the ,low ,countries on ,english manufactures and importations4 ,trade rivalry frequently gave rise to coolness between ,england and ,holland1 and to an inglorious war in the days of the ,merry ,monarch4 ,the latter period ,i have treated at considerable length on account of the importance of the ,oriental trade on the interior decorations of ,dutch homes4 ,on taking a general survey of the ,decorative ,arts of the ,low ,countries1 we notice several well-defined periods and influences4 ,materials are too meagre for us to learn much about domestic interiors during the ,dark ,ages1 but we know that1 in common with ,england and ,northern ,france1 ,scandinavian ,art largely prevailed4 ,the feudal lords of the territories that now formed the ,netherlands were enthusiastic in assuming the cross2 and for two centuries the arts and crafts of ,byzantium and the luxury of the ,east dominated ,western ,europe4 ,about #acjj the influence of ,byzantium had waned1 and the ,gothic style was bursting into full bloom4 ,for the next two centuries it held full sway1 and was then pushed aside by the ,renaissance1 which made itself felt at the end of the fifteenth century4 ,at the end of the sixteenth century we find the ,renaissance fully developed2 and for the next fifty years ,flanders is the willing slave of ,rubens and his school4 ,the ,decadence quickly follows4 ,the provinces that now constitute ,holland and ,belgium went hand in hand in the ,decorative ,arts until about #afjj4 ,if there was any difference1 ,holland was more influenced by ,german and ,flanders by ,french ,art4 ,after the establishment of the ,dutch trade with the ,far ,east at the beginning of the seventeenth century1 ,dutch and ,flemish ,art diverge4 ,in the following chapters ,i have tried to trace these influences and developments4 ,in illustrating the book ,i have gone to the original works of the great masters of design--,de ,vries1 ,van de ,passe1 ,marot and others4 ,as for ,dutch interiors1 nothing can convey a clearer idea of the home than the famous pictures by the ,great and ,little ,masters--,jan ,steen1 ,teniers1 ,rembrandt1 ,cocques1 ,metsu1 ,maes1 ,terburg1 ,dou1 ,weenix1 ,van ,hoogstraten1 ,troost1 etc41 etc41 many of whose famous canvases are reproduced here4 ,i also include photographic reproductions of authentic examples of ,dutch and ,flemish furniture preserved in the ,cluny1 ,rijks1 ,stedelijk and other museums4 ,in my attempt to reconstruct ,dutch and ,flemish interiors of past days1 ,i have consulted not only histories1 memoirs and books of travel1 but wills and inventories as well4 ,i wish to thank ,mr4 ,arthur ,shadwell ,martin for valuable research and aid for both text and illustrations4 ,e4 ,s4 ,,contents ,,chapter ,i ,,pages ,,the ,,middle ,,ages #a-bi ,ecclesiastical ,art--,wood-carving and ,carvers--,primitive ,character of the ,furniture of ,castles and ,mansions-- ,huchiers--,menuisiers--,a ,typical ,bedroom--,dinanderie-- ,wood-work and panelling--,chest1 banc1 bahut1 sideboard1 dressoir1 credence1 table and chair--,embroideries-- ,definition of ,chambre--,textiles and ,tapestries-- ,ecclesiastical ,hangings--,tapestry-weavers--,tapestry of ,philip the ,bold--,flemish ,looms--,cordovan and ,flemish ,leathers--,goldsmith's ,work--,glass and ,glass-workers--,guilds of ,st4 ,luke4 ,,chapter ,,ii ,,the ,,burgundian ,,period #ca-fb ,the luxurious ,dukes of ,burgundy--,possessions of the ,house of ,burgundy--,the ,burgundian ,court--,household of ,philip the ,good--the ,feast of the ,pheasant--the ,duke of ,burgundy at the ,coronation of ,louis ,,xi--,arras ,tapestries--,sumptuous ,dressoirs and their ,adornments--,celebrations in honour of the ,knights of the ,golden ,fleece--,luxury of ,charles the ,bold--,charles the ,bold at ,trves--,furnishings of the ,abbey of ,saint-,maximin--,charles the ,bold's ,second ,marriage-- ,furnishings of the ,banqueting ,hall at ,bruges--,descriptions by ,olivier de la ,marche--,alinor of ,poitiers' ,descriptions of the ,furniture of the ,duchess of ,burgundy's ,apartments-- ,rich ,dressoirs--the ,drageoir and its ,etiquette--the ,etiquette of the ,escarbeau--,philip the ,bold's ,artisans-- ,flemish ,carving--the ,forme or ,banc--,burgundian ,workmanship--,ecclesiastical ,work--,noted ,carvers--,furniture of the ,period--the 8,golden ,age of ,tapestry0--,embroideries-- ,tapestry-weavers of the ,low ,countries--,introduction of ,italian ,cartoons--,goldsmiths' ,work--,furniture of the ,fourteenth and ,fifteenth ,centuries4 ,,chapter ,,iii ,,the ,,renaissance3 ,,part ,i #fc-if ,dawn of the ,renaissance--,the ,transitional ,period--,coffers and ,bahuts--,court of ,margaret of ,austria--,perral's ,style-- ,margaret's ,tomb by ,perral--,taste of the ,regent--,margaret's ,tapestries1 ,carpets1 ,table-covers and ,cushions--,her ,curios-- ,flemish ,tapestries--,cartoons by ,bernard van ,orley--,william de ,pannemaker--,english ,tapestries--,last ,days of the ,gothic ,style--,guyot de ,beaugrant1 ,lancelot ,blondeel and ,peter ,pourbus--,stalls in the ,groote ,kerk1 ,dordrecht--,carvings in ,haarlem--,invasion of the ,renaissance--,walnut1 the ,favourite ,wood for ,furniture and ,carving--,versatility of the ,artists-- the ,fleming as ,emigrant--the ,renaissance in ,burgundy--,hugues ,sambin--,sebastian ,serlio--,peter ,coeck of ,alost--,pupils of ,peter ,coeck--,lambert ,lombard--,francis ,floris1 the 8,flemish ,raphael0--the ,craze for ,numismatics--,hubert ,goltzius-- ,cabinets of the ,sixteenth ,century--,italian ,furniture-- ,characteristic ,features of ,renaissance ,furniture-- ,ornaments1 the ,arabesque1 ,pilaster1 ,cartouche1 ,cuirs1 ,banderole and ,caryatid--,publications of ,decorative ,design-- ,alaert ,claes1 ,lucas van ,leyden1 ,cornelis ,bos and ,martin van ,heemskerck4 ,,chapter ,,iv ,,the ,,renaissance3 ,,part ,,ii #ig-abi ,second ,period of the ,renaissance--,court of ,mary of ,hungary-- ,charles ,v a ,fleming--,influence of ,burgundian ,court in ,spain--,gilded ,leather--,wealth of the ,nobles in the ,netherlands--,margaret of ,valois at ,namur--,antwerp in the ,sixteenth ,century--,christopher ,plantin--,cornelis and ,james ,floris--,jerome ,cock--,hans and ,paul de ,vries--,jacques van ,noye--,famous ,designers--,characteristics of the ,second ,period of the ,renaissance--,bedsteads1 ,tables and ,chairs1 ,armoires1 ,cabinets and ,chests--,porcelain1 ,glass and ,glass ,cupboards--,windows and ,glass-painters--,guicciardini on the ,artists of the ,low ,countries--,paul de ,vries--,crispin de ,passe the ,elder--the ,collaerts--,wood-carving--,music and ,musical ,instruments4 ,,chapter ,v ,,seventeenth ,,century 7,,flemish7 #aca-afg ,renewed ,italian ,influence--,rubens3 his ,studio1 his ,house1 his ,pupils1 his ,influence1 his ,successors--,seventeenth ,century ,wood-carvers--,development and ,tendencies of ,furniture--,crispin van den ,passe--,rembrandt's ,goods and ,chattels--,old ,belgian ,houses--,the ,pitsembourg--,kitchens-- ,leather-hangings--,tapestry--,marquetry --,chairs--,masters of ,ornamental ,design--,the 8,auricular ,style40 ,,chapter ,,vi ,,seventeenth ,,century 7,,dutch7 #afi-bjb ,famous ,dutch ,architects--,the ,royal ,palace on the ,dam1 ,het ,loo1 ,the ,mauritshuis and ,huis ,ten ,bosch--,interior ,carvings-- ,specimens of ,rooms and ,ceilings in the ,rijks ,museum--,love of the ,dutch for their ,houses--,miniature ,dutch ,houses and ,models of ,old ,amsterdam ,houses in the ,rijks ,museum-- ,architecture of the ,seventeenth ,century--,a ,typical ,dutch ,home--,the ,luifel1 ,voorhuis and ,comptoir--,interior ,decorations and ,furniture--,dutch ,mania for ,cleaning-- ,descriptions by ,travellers of ,dutch ,houses and ,cleaning-- ,cleaning ,utensils--,house and ,furniture of ,andreas ,hulstman ,janz1 in ,dordrecht--,inventory of ,gertrude van ,mierevelt1 wife of the painter1 in ,delft--8,show-,rooms0 and their ,furnishings--,cooking ,utensils--,bedroom in the ,house of ,mrs4 ,lidia van der ,dussen in ,dordrecht--,the ,cradle and 8,fire-,basket0--,the ,baby's ,silver--,the 8,bride's ,basket0--,the 8,bride's ,crown0 and 8,throne0--,decorations for a ,wedding-- ,description by ,sir ,john ,lower of the ,farewell ,entertainment to ,charles ,,ii at the ,hague4 ,,chapter ,,vii ,,the ,,importance ,,of ,,porcelain #bjc-bce ,rise of ,dutch ,taste in ,decorative ,art--,influence of ,foreign ,trade in the ,dutch ,home--,accounts of ,porcelain by ,mediaeval ,travellers3 ,edrisi1 ,ibn ,batuta and ,shah ,rukh--,quotation from ,pigapheta--,a ,great ,european ,collection--,monopoly of ,trade by the ,portuguese--,quotation from ,pyrard de ,laval-- ,portuguese ,carracks--,voyages to ,goa and ,japan--,porcelain and ,cabinets--,mendoza's ,description of ,earthenware--,dutch and ,english ,merchants--,presents to ,queen ,elizabeth--,dutch ,expeditions and ,establishment of the ,dutch ,east ,india ,company--,embassy to the ,emperor of ,china in #afee-- ,descriptions of the ,manufacture of ,porcelain--,manufacture and ,potters of ,delft--,quotation from d',entrecolles on ,porcelain and ,oriental ,trade--,prices--,tea--,tea-drinking--,a ,dutch ,poet on the ,tea-table--,chrestina de ,ridder's ,porcelain--,prices of ,porcelain in #afec4 ,,chapter ,,viii ,,the ,,dutch ,,home #bcg-bgj ,love of porcelain--,the ,amsterdam ,mart--,prices of ,china in #afae--,oriental wares before #aebj--,luxury of the ,dutch ,colonists--,rich ,burghers in ,new ,amsterdam--,inventories of ,margarita van ,varick and ,jacob de ,lange--,dutch ,merchants in the ,east--,foreign ,views of ,dutch ,luxury--,dutch ,interiors after the ,great and ,little ,masters--,house-furnishing by a young married couple--,the ,linen ,chest--,clothes ,chests and ,cupboards--,the ,great ,kas--,the ,cabinet--,the ,toilet-- ,table-covers--,foot-warmers--,looking-g lasses--,bedsteads--,tables and ,chairs--,woods--,kitchen ,utensils--,silverware--,household ,pets4 ,,chapter ,,ix ,,dutch ,,furniture ,,under ,,french ,,and ,,oriental ,,influence #bga-bic ,the ,dutch ,craftsmen in the ,employ of ,louis ,,xiv--,huguenot ,emigration--,marot--,the ,sopha--,upholstery--,the ,bed--,chairs-- ,sconces--,tables--,rooms--,english and ,dutch ,alliances--,hampton ,court--,queen ,mary--,looking-glasses--,chandeliers-- ,chimney-pieces--,the style refugi--,john ,hervey's ,purchases--,oriental ,furniture manufactured after ,european ,patterns--,complaints of ,home ,manufacturers--,trade with the ,indies--8,prince ,butler's ,tale0--,enormous ,importations-- ,imported ,textiles--,foreign ,textiles for ,upholstery4 ,,chapter ,x ,,furniture ,,of ,,the ,,eighteenth ,,and ,,nineteenth ,,centuries #bie-cbg ,lacquer--,oriental ,methods--,european ,importations and ,limitations--,prices--,an ,ambassador's ,report--,singerie1 ,chinoiserie and ,rocaille--,the ,dutch ,decadence--,interiors of ,cornelis ,troost--,mirrors--,wealth and ,luxury of ,dutch ,merchants--,court ,contrasts--,tapestry--,brussels as a ,centre of ,art and ,luxury--,eighteenth ,century ,furniture--,the ,empire ,style in the ,low ,countries--,dutch ,homes of the ,nineteenth ,century--,the ,maarken ,house and ,furniture--,typical ,farmhouse and ,furniture--,country ,seats and ,town ,houses--,hindeloopen ,houses and ,furniture--,a ,friesland ,house--,canal ,boat ,furniture--,dutch ,love of ,symmetry--,collectors and ,collections4 ,,illustrations ,,plate ,,facing ,,page ,bed by ,daniel ,marot ,frontispiece ,i4 ,choir-,stall #d ,,ii4 ,bedroom 7,fifteenth ,century7 and ,figs4 #a-e #h ,,iii4 ,flemish ,dressoir 7,fifteenth ,century71 and ,figs4 #ad #f-i ,,iv4 ,credence 7,fifteenth ,century7 #ch ,v4 ,coffer in ,flemish ,style #ff ,,vi4 ,flemish ,coffer or ,huche #fh ,,vii4 ,huche1 or ,bahut 7,sixteenth ,century7 #gj ,,viii4 ,cabinet 7,sixteenth ,century7 #hd ,,ix4 ,armoire 7,burgundian ,school7 #hf ,x4 ,bedroom1 by ,de ,vries #ib ,,xi4 ,flemish ,bedstead 7#aehj7 and ,figs4 #aj-ah #id ,bed1 ,tables1 ,chair and ,footstool1 ,flemish #ajf ,chairs4 ,figs4 #ai-be ,,xii4 ,bedstead1 ,chairs and ,table1 by ,j4 ,stradan #ajh ,,xiii4 ,bedstead1 by ,de ,vries #aaj ,,xiv4 ,bedstead1 ,rijks ,museum #aab ,,xv4 ,armoire1 ,rijks ,museum #aad ,,xvi4 ,glass ,cupboard1 or ,vitrine1 by ,de ,vries #aaf ,,xvii4 ,glass ,cupboard1 or ,vitrine1 by ,de ,vries #aah ,,xviii4 ,flemish ,armoire and ,figs4 #bf-bg #abj ,,xix4 ,cabinet1 or ,armoire1 by ,de ,vries4 ,design for #abb ,goldsmith's ,work1 by ,jerome ,cock ,,xx4 ,cabinet1 or ,armoire1 by ,de ,vries4 ,design for #abd ,goldsmith's ,work1 by ,jerome ,cock ,,xxi4 ,design for ,goldsmith's ,work1 by ,adrian ,collaert #abf ,,xxii4 ,design for ,goldsmith's ,work1 by ,adrian ,collaert #abh ,,xxiii4 ,lady at ,spinet1 by ,j4 ,m4 ,molenaer #acb ,,xxiiia4 ,spinet1 by ,ruckers #acd ,,xxiv4 ,interior1 by ,barthol van ,bassen 7,seventeenth #acf ,century7 and ,figs4 #bh-cj ,,xxv4 ,panelled ,bedstead1 ,rijks ,museum #add ,,xxvi4 ,the ,sick ,woman1 by ,jan ,steen1 and ,figs4 #ca-cd #adf ,,xxvii4 ,woman with a ,parrot1 by ,jan ,steen #adh ,,xxviii4 ,flemish ,chair1 ,cluny ,museum #aed ,,xxix4 ,flemish ,chair ,cluny ,museum #aef ,,xxx4 ,chairs1 ,cluny ,museum #aeh ,,xxxi4 ,marquetry ,cabinet1 ,rijks ,museum #afj ,,xxxii4 ,kitchen1 ,stedelijk ,museum #afb ,,xxxiii4 ,chairs1 ,rijks ,museum #afd ,,xxxiv4 ,chairs1 ,rijks ,museum #agj ,,xxxv4 ,chairs1 ,rijks ,museum #agb ,,xxxvi4 ,the ,oyster ,feast1 by ,jan ,steen1 and ,figs4 #ce-cg #bdh ,,xxxvii4 ,the ,sick ,lady1 by ,hoogstraten #bej ,,xxxviii4 ,interior1 by ,j4 ,koedyck #beb ,,xxxix4 ,the ,music ,lesson1 by ,terborch #bed ,,xl4 ,interior1 by ,j4 ,b4 ,weenix #bef ,,xli4 ,breakfast1 by ,g4 ,metsu #beh ,,xlii4 ,interior1 by ,jan ,steen #bfj ,,xliii4 ,kas of ,ebony and ,ivory1 ,rijks ,museum #bfb ,,xliv4 ,dutch ,kas1 ,cluny ,museum #bfd ,,xlv4 ,flemish ,chair1 ,cluny ,museum #bff ,,xlvi4 8,buire10 by ,mosyn1 ,auricular ,style #bfh ,screen in the ,style ,refugi4 ,fig4 #ci #bgb ,,xlvii4 ,carved ,oak ,bahut1 ,cluny ,museum1 and ,fig4 #ch #bgd ,sophas1 ,lower part of ,chair1 ,lambrequins4 ,figs4 #bgf #dj-de ,,xlviii4 ,bed and ,bedroom1 by ,marot #bgh ,,xlix4 ,mirrors and ,sconces1 by ,marot #bhj ,l4 ,mirrors1 by ,marot #bhb ,,li4 ,mirrors1 ,console ,table and ,candlestands1 by #bhd ,marot ,,lii4 ,tables and ,mascarons1 by ,marot #bhf ,,liii4 ,clocks and ,details1 by ,marot #bhh ,,liv4 ,interior1 by ,cornelis ,troost #bih ,cabinet from ,lige1 ,dutch ,mirror ,frame4 ,figs4 #cjj #df-dg ,,lv4 ,interior1 by ,cornelis ,troost #cjb ,,lvi4 ,room in the ,stedelijk ,museum #cjh ,,lvii4 ,in ,bruitlaen1 by ,artz #cab ,,chapter ,i ,,the ,,middle ,,ages ,ecclesiastical ,art--,wood-carving and ,carvers--,primitive character of the ,furniture of ,castles and ,mansions--,huchiers--,menuisiers--,a ,typical ,bedroom--,dinanderie--,wood-work and panelling--,chest1 banc1 bahut1 sideboard1 dressoir1 credence1 table and chair--,embroideries--,definition of ,chambre--,textiles and ,tapestries--,ecclesiastical hangings--,tapestry-weavers--,tapestry of ,philip the ,bold--,flemish ,looms--,cordovan and ,flemish ,leathers-- ,goldsmith's ,work--,glass and ,glass-workers--,guilds of ,st4 ,luke4 ,in the turbulent days of the ,middle ,ages1 the goods of the ,church were the only ones respected1 and1 sometimes1 not even those4 ,the castles afforded protection to those in their immediate vicinity1 but rival feudal ambitions rendered the calling of a luxurious craftsman more or less precarious4 ,the abbey walls always sheltered a community of carpenters1 joiners1 leather-dressers1 iron-workers1 goldsmiths1 sculptors1 painters and calligraphists4 ,towards the end of the ,crusades1 the new organization of the ,communes1 after the period of anarchy1 becomes firmly established4 ,industry1 commerce and art begin to make rapid strides in the towns1 and craftsmen form themselves into corporations that receive special privileges from their titular overlords4 ,so long as the artists of the ecclesiastical school remained under the protection of the monastic houses1 they naturally followed a hieratic road4 ,the ornamentation they were called upon to produce for the ,church1 they reproduced when luxurious furniture was required in domestic life4 ,the great ,corporations1 however1 as they grew in wealth and power1 demanded something superior to1 or at least1 different from1 the work of their forerunners4 ,in the monastic houses1 it was long before this influence made itself felt2 but among the secular clergy it received a hearty welcome4 ,the distinguishing character of ,mediaeval work is the freedom of execution allowed to the workman4 ,the architect decided on heights1 dimensions1 dispositions of parts and profiles of stalls1 or armoires2 but the details were left to be worked out by the artistic ability of the skilled workman4 ,individual expression was allowed full play1 while the original conception of the designer was respected4 ,gradually1 as the ,communes became more powerful and were able to afford stable protection to their members1 the spirit of association and solidarity tended to break away from exclusively ecclesiastical art4 ,the art of wood-carving was developed principally in the production of choir-stalls and altar-pieces4 ,the building of a beautiful temple to the glory of ,god was usually begun by some pious founder from motives of gratitude or repentance4 ,it was dedicated to some patron saint1 and the work was carried out under the supervision of some abbey or other religious house4 ,often the church or cathedral was originally the abbey church itself4 ,in early ,mediaeval days1 the arts and sciences were confined to the cloister1 and the embellishment of the ,holy ,house was a labour of love4 ,many an obscure monk put all that was beautiful and fanciful in his nature into the production of carvings in stone and wood that have never been surpassed4 ,the precise date at which choir-stalls were introduced into churches is not known2 but it is certain that they were in general use as soon as the ,pointed ,style was finally established1 that is to say1 not later than the thirteenth century4 ,when the sanctuary was railed off from the rest of the church1 the priests1 in their light garb1 naturally wanted to be protected from cold1 damp and draught by woodwork1 which1 like the high back of a settle1 enclosed the choir4 ,the stall is composed of several parts3 the socle1 the tablet1 or seat1 half of which can be raised1 as it turns on hinges1 the half thus raised1 called the misricorde1 serves as a support for a person resting1 half standing1 half sitting2 the paraclose1 or sides that separate it from the adjoining stalls the forward extremities of these are called museaux 7snouts72 the arm rest2 the high back2 the das1 or baldaquin2 and1 lastly1 the woodwork at each end of a set of stalls1 called joues 7cheeks74 ,with the exceptions of the socle and seat1 every part of the stall in all the great ,gothic churches has received very richly carved ornamentation1 which is often remarkable for its profusion of detail4 ,the misricorde is ordinarily decorated with foliage and fruits2 but it often presents fantastic objects1 such as dragons1 sirens1 dogs1 bears1 and hybrid monsters of every kind4 ,frequently also we find personages in ridiculous and gross attitudes1 and all sorts of human and animal caricatures4 ,the paraclose is decorated with ,gothic tracery in the earliest examples2 and later with foliage1 tendrils and branches of elegant curve4 ,these are usually open-work1 the pierced oak producing a charmingly light and graceful effect4 ,sometimes here also we find human and animal forms4 ,the high backs are enriched with bas-reliefs1 the subjects of which are by no means taken exclusively from the ,old or ,new ,testament4 ,on the contrary1 here the carvers have given free rein to their fancy by reproducing scenes of private life1 and graceful compositions of flowers and fruits with little animals intermingled4 ,sometimes the subjects are framed in clusters of colonnettes1 or in pilasters decorated with niches containing statues4 ,sometimes also statues of considerable size adorn this woodwork4 ,the joues receive the most beautiful decorations1 and frequently these side entrances to the stalls are ornamented by statues4 ,the das1 which at first was merely a shelter of boards on an inclined plane over the whole range of stalls1 began to assume great importance in the fifteenth century4 ,it curved into vaultings2 and very soon each seat received a separate das decorated with ogives1 pinnacles1 little steeples1 pendentives1 culs-de-lampe and crockets2 and the skilful carver did not hesitate to introduce delightful statuettes into the company of all these decorations4 ,illustration3 ,,plate ,i4--,choir-,stall4 ,a fine example of a ,mediaeval carved oak stall is shown in ,plate ,i4 ,by the richness of the carving it must originally have held an important position in some choir4 ,richly ornamented with ,gothic shafting and tracery1 it is a splendid example of architectural furniture4 ,the misricorde represents a knight fighting with a dragon4 ,the scene depicted with the chisel on the back is the favourite ,judgment of ,solomon4 ,around the elbows are various animals and men on all fours4 ,the side scrolls under the das are decorated with angels playing trumpets4 ,the names of the carvers who embellished the ,mediaeval choirs have1 as a rule1 been lost2 and fire and iconoclasm have destroyed most of their work4 ,some few relics1 however1 of the splendour of wood-carving as it existed before the ,renaissance are still to be found4 ,for elaborate oak carving of the fifteenth century1 it would be hard to find a more interesting example than the carved oak stalls in the great church of ,bolsward 7,broederkerk7 in ,holland4 ,this was built in #abhj ,a4,d42 but the richly carved late ,gothic choir stalls date from about #adej4 ,one of the earliest churches of the ,low ,countries is that of ,nivelles4 ,the convent was founded about #fej ,a4,d4 by ,ita1 wife of ,pepin of ,landen4 ,the ,romanesque church1 built in the eleventh century1 somewhat spoilt by bad restoration1 still stands4 ,on the high altar is the shrine of ,st4 ,gertrude1 which was carved in #abgb by the orfvres ,nicolas ,colars1 of ,douai and ,jackenon of ,nivelles4 ,this work of art is famous for the delicacy and beauty of its details4 ,the ,protestant ,church of ,breda 7,hervormde ,kerk71 built in #abij1 also contains notable carving1 especially on the side entrances of the stalls 7joues74 ,the choir was consecrated in #adaj1 and here the carvers gave free rein to satire on the clergy1 representing the monks in various comical attitudes4 ,examples of ecclesiastical furniture of ,mediaeval days are naturally scarce1 as might be expected on the 8,battlefield of ,europe40 ,it is indeed astonishing that so much has survived after the ordeal by fire and sword to which the ,netherlands have been so often subjected4 ,occasionally we come across a muniment chest4 ,an interesting one1 the front of which is perforated with quatrefoils1 is to be seen in ,notre ,dame1 ,huy4 ,this dates from #abbe4 ,two others in the same treasury are by the hand of ,godefroid de ,claire1 called 8the noble high goldsmith02 these1 however1 have lost their original character1 having been restored in #aefj by ,jaspar1 a ,namur goldsmith4 ,the ordinary movable furniture of a castle or ,mediaeval mansion was of a very primitive character4 ,it must be remembered that in those days merchants travelled from town to town in veritable caravans4 ,nobles whose business or pleasure induced them constantly to be changing their residence1 also travelled with an escort and baggage-train that resembled a small army4 ,the necessary furniture and goods for the comfort of the household were carried in carts and on the backs of mules4 ,the wooden furniture was1 therefore1 primitive4 ,the tables consisted of boards and trestles2 the beds were of similarly elemental construction2 and what seats were taken along were also of the folding variety4 ,the beds and benches were supplied with cushions carried in chests1 and the walls were hung with printed linen or tapestry1 while the floors were covered with rugs1 or1 in the majority of cases1 with odoriferous plants1 rushes1 or straw4 ,luxury chiefly declared itself in rich products of the goldsmith's art1 which were displayed on buffets of shelves rising like steps4 ,these customs prevailed for several centuries4 ,pieces of furniture of earlier date than #adjj are exceedingly rare2 and those existing had a religious destination1 and are preserved in1 or taken from1 churches and convents4 ,in the fourteenth century1 as ,gothic ,art blossomed after the disturbing influence of the ,crusades1 carving entered more extensively into the decoration of furniture1 as it was more highly developed in ecclesiastical art4 ,the cabinet-makers of the period were skilful carvers3 in ,france and ,flanders these huchiers-menuisiers were called upon to supply royal and princely castles with artistic furniture1 the accounts of which have come down to us4 ,we find not only carved oak1 but also tables inlaid with ebony and ivory4 ,the chief feature1 however1 of interior decoration during the fourteenth century was the hangings4 ,the ,genoese and ,venetians still had a monopoly of the trade with the ,levant2 and ,europe was supplied by the ,italians with ,oriental rugs1 tablecloths and hangings4 ,the ,flemish looms also produced rich stuffs for upholstery and chamber hangings1 which were often sumptuously embroidered4 ,through the fourteenth century1 wood-carving kept pace with the lovely stone sculpture of the cathedrals4 ,we learn there was no light furniture in palace or castle1 but that even in the lady's chamber there were only benches1 trestles1 forms1 faldstools and armchairs4 ,the wood-carver carved these with a mass of bas-reliefs and bosses2 the carpenters surrounded them with panelling2 and the artists painted them red and decorated them with white rosettes4 ,in studying the arts and crafts of the ,middle ,ages1 we must always bear in mind the fact that art was not specialized4 ,the workmen were thoroughly trained1 and their artistic talents had free play4 ,we find many men who were at once architects1 sculptors1 painters1 goldsmiths and image-makers4 ,this condition existed till the middle of the seventeenth century4 ,in the ,middle ,ages1 the carpenter made the household furniture which formed an integral part of the dwelling2 and he was quite capable of giving to it the ,gothic ornamentation in vogue4 ,it was not till the fourteenth century that the increase of luxury and the progress of the arts demanded a division of labour2 and that the huchiers and joiners formed separate bodies from the carpenters4 ,the huchiers1 who then became exclusively what we should now call joiners and cabinet-makers1 devoted their attention especially to all that required ornate treatment in carving1 such as doors1 windows1 shutters and panelling1 as well as chests1 benches1 bedsteads1 chairs1 dressers and wardrobes4 ,these were largely fixtures and formed part of the permanent woodwork of a hall1 or bedroom4 ,the mouldings and other ornaments were carved directly out of the oak1 and not applied4 ,illustration3 ,,plate ,,ii4--,bedroom 7,fifteenth ,century74 ,fig4 #a3 ,,aigui,,re 7,fifteenth ,century72 ,fig4 #b3 ,,aigui,,re 7,fourteenth ,century72 ,fig4 #c3 ,,bracket ,,candlestick2 ,fig4 #d3 ,,bed1 ,,chair1 ,,and ,,stool 7,fourteenth ,century72 ,fig4 #e3 ,,bahut ,,and ,,chair 7,fifteenth ,century74 ,before the great artists of the ,netherlands arise1 we must go to the miniatures of early manuscripts in order to form a correct idea of a ,mediaeval interior4 ,we usually find a very simple arrangement of furniture1 which consists of a bed1 a bench1 an armchair and some kind of dressoir1 or sideboard4 ,the floor is tiled1 or tessellated2 and sometimes the bed stands on a rug or carpet1 which also covers part of the adjoining floor space4 ,the windows with small leaded panes are supplied with shutters of two or three wings3 these are sometimes covered with leather fastened with large brass-headed nails4 ,the chimney-piece is always wide and high2 the funnel shape of this occurs in the earliest examples4 ,the shelf above the opening is usually adorned with glass1 plate or earthenware4 ,the armchair stands beside1 or near1 the bed2 the dressoir is close by2 and the settle is beside1 or sometimes in front of1 the fire4 ,the bed is often nothing but a long chest on short legs with a mattress and pillows on top2 and this is moved out in front of the fire in case of need4 ,the curtains and canopy are suspended by cords from the rafters1 as is also the chandelier4 ,this same arrangement of furniture occurs in a picture of the ,salutation anglique in the ,louvre1 by an unknown ,flemish painter3 it has been attributed both to ,lucas van ,leyden and ,memling4 ,this room1 reproduced in ,plate ,,ii1 is one of the middle class at the end of the fifteenth century4 ,the walls are bare1 the ceiling shows open rafters of natural wood1 and the floor is tiled4 ,the panes of the windows are leaded1 and the inner shutters1 which are trebly hinged so as at need to fold into the thickness of the wall1 are1 moreover1 divided in two parts1 so that only the top may be opened if needed4 ,the other window has a window seat4 ,the high chimneypiece is furnished with the lateral shelves in use throughout ,mediaeval times from the twelfth century onward4 ,the chimney diminishes in size as it rises1 like an inverted funnel4 ,in summer time1 when the fire was not needed1 the fireplace was masked by a wooden screen to prevent draughts4 ,in front of this1 with its back to the screen1 was placed the high-backed settle1 which in winter faced1 or was placed laterally to the cheerful blaze of the hearth4 ,the bench shown in this picture is made of plain boards1 with a little plain ,gothic carving below the seat4 ,for comfort1 it is supplied with three red cushions4 ,the bed1 which is raised on a low platform1 is also furnished with red curtains1 bolster and counterpane4 ,the tester is suspended by cords from the ceiling4 ,beside the head of the bed is a chair1 and next to that a credence1 which is used as a wash-hand stand4 ,on it are placed a ewer and shallow basin4 ,these1 and the brass chandelier hanging above1 are of the manufacture of ,dinant1 a metal ware known all over ,europe under the name of ,dinanderie4 ,the chandelier has six branches1 each a grotesque form of some animal1 and the top of it is surmounted by the figure of a seated quadruped4 ,it is raised and lowered by a pulley and chain4 ,the ewer1 or aiguire1 standing on the credence1 is an excellent specimen of ,dinanderie of the fifteenth century2 it has a double spout1 as shown in ,fig4 #a4 ,other examples of ,dinanderie of this period are represented in ,fig4 #b1 a grotesque aiguire2 and ,fig4 #c1 a bracket candlestick of very graceful form4 ,dinanderie became celebrated as early as the thirteenth century4 ,although made at first in ,dinant1 its manufacture spread throughout the valley of the ,meuse1 and ,dinantairs were established in various cities and towns in the ,netherlands1 ,germany1 ,england and ,france4 ,in #achj1 one ,jehan de ,dinant1 living at ,rheims1 furnished some articles to the ,king4 ,among the copper and brass ware delivered at this period to the royal household and to the establishments of other great personages by this workman1 we find all kinds of kitchen articles1 cooking utensils1 stoves of all sizes1 wash-basins1 kettles for heating water for the bath1 barbers' basins1 large boilers of all kinds1 warming-pans for the beds1 candlesticks1 chandeliers1 and aiguires 7ewers74 ,the permanent woodwork of the apartments in ,mediaeval days was furniture1 without being 8movables10 just like the carved oak in the choir of a cathedral4 ,the panelling contained cupboards and wardrobes2 bedsteads were contrived in the timbered lining of the walls2 and the woodwork readily lent itself to the adaptation of window seats1 settles and benches4 ,it may easily be understood how the woodwork of a room might conceal a whole series of shelves to which sliding panels1 or panels opening outwards as doors1 gave access4 ,these various compartments served as cabinets for curios1 bookcases1 glass and plate cupboards1 wardrobes and larders4 ,when one of these compartments was made as a separate piece of furniture to stand by itself out against the flat wall of a room1 it was called a cabinet1 or armoire4 ,as late as the middle of the seventeenth century1 however1 the armoire was generally part of the fixed woodwork4 ,relai was another name for it4 ,thus in #afce1 ,monet defines armoire1 armaire1 aumoire as a 8reservoir pratique en la muraille servir et garder tout chose02 and ,cotgrave 7#afgc7 has3 8,relai0 as 8armaire1 a hole or box contrived in or against a wall40 ,the plain box1 or chest1 was the origin of all the developments of ,mediaeval furniture4 ,it had many uses3 it contained the treasures and valuables of the lord2 it was used as a packing-case or trunk for travelling2 with supports at the four corners and back1 and arms added above1 it served as a chair or settle1 with a seat that could be lifted on hinges2 raised also on legs and supplied with a das1 it became a dressoir1 credence1 or sideboard2 chest-upon-chest superimposed1 developed into the elaborate armoire2 and1 finally1 supplied with a head and foot rail and made comfortable with mattress or pillows1 it served as a bed4 ,in the old manuscripts of the ,middle ,ages1 we find many illustrations of the developments of the chest and its various uses4 ,fig4 #d shows a long chest with short solid legs on which bedding is laid1 and over which a canopy with curtains has been raised4 ,by its side is a chair1 the seat of which is manifestly the lid of a small chest4 ,the chest-bed and chair stand on a carpet3 the floor is tiled4 ,the shape of the pillow is characteristic of the fourteenth and fifteenth centuries4 ,the carving of the panels in bed and chair show the 8linen fold10 which was so popular in the ,netherlands and which was laid in even more intricate folds by the ,english carvers4 ,gothic tracery in furniture1 in combination with the 8linen-fold0 is shown in the chair of ,fig4 #e1 which exhibits also another chest1 or bahut4 ,the original illustration shows flames leaping up the chimney1 against which the bed is closely placed4 ,the cushions1 with heavy tassels at each corner1 are similar in shape to those in ,fig4 #d4 ,there were several varieties of the chest1 known by various names1 such as huche1 bahut and arche4 ,the huche usually had a flat top3 it was the oldest and simplest form--a plain oblong box4 ,as time wore on the huche gave its name to the cabinet-makers 7the huchiers7 of the ,middle ,ages4 ,they made windows1 doors1 panels1 shutters1 bancs1 bahuts1 armoires1 credences1 and whatever else was required2 and the guild of huchiers was one of the largest corporations of the period4 ,the huchiers were particularly distinguished for their execution of choir-stalls and splendid carving4 ,the huche1 at first a very simple piece of furniture1 was later decorated with beautiful paintings and rich carvings2 moreover1 it was enriched and strengthened with chiselled and pierced iron hinges and locks4 ,the chests until the thirteenth century were works of simple carpentry4 ,the faces consist of plain surfaces which are ornamented with paintings on linen or leather2 and further adorned with hinges and clamps of pierced and wrought metal4 ,the bancs1 benches or settles1 were made in the ,middle ,ages by the huchiers4 ,they were made of planks and often had backs and arms4 ,in the fifteenth century1 they were enriched with sculpture and surmounted by a canopy or das4 ,they were also called formes or bancs d'uvre4 ,the ,cluny ,museum possesses many fine examples of this period1 both civil and religious4 ,in the halls and bedrooms of the ,mediaeval chteaux the banc is often seen placed laterally before the wide chimney-piece1 and its high back was very useful in keeping off the draughts4 ,it may be thought that their rigid form and absence of upholstery rendered them uncomfortable1 but the numerous soft cushions with which they were supplied quite atoned for the absence of upholstery4 7,see ,plate ,,ii47 ,the chief use of the ,mediaeval sideboard was the display of ornate plate1 crystal and similar articles4 ,the kitchen dresser with its shelves holding plates and dishes set upright against the wall is a lineal descendant of the old dressoir4 ,the shelves of the dressoir were regulated by etiquette3 every noble person could have a dressoir with three shelves2 others1 only two2 royalty had four and five4 ,according to some authorities1 the difference between the dressoir and the buffet is simply this3 the dressoir was intended to display the articles taken from the buffet1 and had no drawers and no cupboard2 the buffet1 on the other hand1 contained both drawers and cupboards4 ,the buffet of our dining-rooms and our cellarets that close with lock and key1 are therefore survivals of the credence of the ,middle ,ages4 ,sometimes the credence and dressoir were combined in one piece1 or rather the dressoir served as a credence4 ,a small one shown in the illuminated ,,ms4 of the ,histoire de ,grard1 ,comte de ,nevers1 has but one shelf1 upon which the silver platters are arranged1 leaning against the back1 which is covered with some kind of fabric4 ,the cupboard serving as a credence is covered with a cloth on which are placed three silver ewers--aiguires4 ,this was1 therefore1 more of a buffet than a dressoir1 for the real dressoir1 as we have seen1 was composed of shelves 7gradins7 and had a back 7dorsal71 or sometimes a das of stuff or sculptured wood4 ,illustration3 ,,plate ,,iii4--,flemish ,dressoir 7,fifteenth ,century74 ,figs4 #f-g3 ,,dressoirs 7,fifteenth ,century72 ,fig4 #h3 ,,table ,,on ,,trestles2 ,fig4 #i3 ,,metal ,,chair4 ,varieties of the dressoir of the fourteenth and fifteenth centuries appear in ,plate ,,iii1 and ,figs4 #f and #g2 and a credence of the fifteenth century of ,gothic decoration from the ,cluny ,museum1 ,paris1 on ,plate ,,iv4 ,the ,mediaeval table was a simple affair1 with either fixed or movable supports4 ,in nine cases out of ten1 either in hall or cottage1 it consisted simply of a board and trestles4 ,in court and castle1 kings and nobles sat only on one side1 the other being left free for service1 and for a clear view of the mummers1 jongleurs and minstrels who entertained the company during the feast4 ,these boards and trestles could be readily folded up and packed away in carts for travelling4 ,a good example of the fifteenth century table of this construction occurs in a picture of ,mary ,magdalen at the feet of ,jesus1 by ,derick ,bouts 7#adaj-adge74 ,this is represented in ,fig4 #h4 ,we have seen that the chest with its various developments--chair1 bench1 bed and dressoir--furnished the ,mediaeval chamber4 ,the ordinary hall contained merely a plain buffet and a table1 consisting of boards and trestles1 with simple forms for seats4 ,chairs there were none1 except for the lord and honoured guests at the head of the board4 ,it must not be supposed1 however1 that there was no attempt at comfort or decoration in the homes of the ,middle ,ages4 ,it would be difficult to attach too much importance to the use of cushions and hangings4 ,we have already seen one form of chair in ,figs4 #d and #e1 which show a box with a lid for the seat1 on which is a cushion4 ,this chair has arms and a high panelled back4 ,the common stool1 faldstool1 or escarbeau also appears in ,fig4 #d4 ,the rigid square high-backed chair1 however1 was not the only form known in the ,middle ,ages4 ,the type represented in ,fig4 #i was in great favour4 ,this chair is reproduced from a miniature by ,jehan de ,bruges 7fl4 #acgj74 ,this form of chair1 with curved lines in the back1 arms and supports1 was a great favourite1 not only in the ,netherlands1 but throughout ,europe for several centuries4 ,sometimes it was made of wood1 and carved on the extremities of the back1 arms and legs2 and sometimes it was made of wrought metal1 brass1 silver and even gold4 ,in the latter case it was probably plated4 ,sometimes the inventories mention chairs of great value and very precious workmanship4 ,some of them were even ornamented with enamel4 ,these were the work of the orfvre4 ,brass and copper chairs of this type were made in large numbers by the skilful smiths of ,dinant4 ,naturally they were comfortably and sumptuously upholstered4 ,an inventory of #acbh contains an item of a chair of copper garnished with velvet4 ,flanders was always famous for its woven stuffs3 wool was the staple on which its prosperity depended4 ,the ,duke of ,burgundy recognized this when he chose the ,golden ,fleece as the emblem of his great ,order of ,knighthood4 ,apart from the looms1 the art of the needle was also held in high esteem2 and ladies of high and low estate devoted much of their time to embroidery4 ,everything was embroidered3 vestments and cloths for the church2 shoes1 gloves1 hats and clothes of men and women2 and cushions and draperies for the house4 ,notwithstanding the lavish use of tapestry1 the taste for embroidered materials was ever on the increase4 ,the entire furnishings for a bedroom were often the product of the needle2 for instance1 the 8embroidered chamber0 of ,jane of ,burgundy1 ,queen of ,philip ,v1 at her coronation at ,rheims in #accj1 was ornamented with #acba parrots1 with the arms of the ,king1 and #acba butterflies1 with the arms of ,burgundy4 ,in ,mediaeval days1 the word 8chambre0 had a broader signification than it has to-day4 ,by chambre was meant the whole of the rugs1 curtains1 hangings and upholstery that adorned a bedroom4 ,there was a distinction drawn between 8court pointerie0 and 8tapisserie40 8,court pointerie0 included everything pertaining to the bed1 such as the das1 mattress1 head-board1 etc4 ,the 8tapisserie0 was changed every season like the altar cloths and vestments of church and clergy4 ,cords were run across the rafters1 and the curtains and canopies were hung on these with hooks4 ,thus the rooms at the various seasons received such names as the 8,easter10 8,christmas10 or 8,all ,saints' ,chamber40 ,then again the rooms were named after the subjects 7mythological1 historical1 romantic or religious71 of the tapestry that adorned them1 such as the ,chamber of the ,cross1 of the ,lions1 of the ,conquest of ,england1 of ,queen ,penthesile1 of the ,nine ,paladins1 of the ,unicorn and ,maiden1 etc41 etc4 ,plate ,,ii shows how the canopy and curtains of the bed were usually supported4 ,sometimes1 however1 the hangings were attached to the rods by means of tenterhooks4 ,the inventories and chronicles of the ,middle ,ages frequently mention textiles2 but it is difficult to know from the numerous terms the old scribes employ whether they are describing woollen and silk tapestry1 brocades1 damasks1 velvets1 or embroidered material4 ,the fabrics are of many varieties1 and their names vary with the details of production and places of manufacture1 as well as the material of which they are composed1 and the subjects they depict4 ,a great deal of ,byzantine tapestry1 with other hangings and carpets1 was brought into ,western ,europe1 by those returning from the ,first ,crusade 7#ajif-ajii72 and after #aadf1 when ,count ,robert of ,sicily brought home from his expedition into ,greece some captive silk-workers1 and established a manufactory for brocades and damasks at ,palermo1 beautiful materials were carried northward from ,italy4 ,during the early centuries the use of tapestry was very extensively devoted to the decoration of churches1 and therefore represented scenes from the ,scriptures1 and lives of the ,saints and the ,virgin4 ,cathedrals and monasteries were very rich in hangings of tapestry1 brocades1 and embroideries of various kinds1 as well as stuffs on which ornaments were laid and sewn4 ,about #ihe1 the ,abbot ,robert of the monastery of ,saint ,florent of ,saumur1 ordered a number of curtains1 carpets1 cushions1 dossers and wall-hangings1 all of wool2 and1 moreover1 had two large pieces of tapestry made in which silk was introduced1 and on which lions and elephants were represented upon a red background4 ,in #aacc1 another ,abbot of the same monastery had two dossers made to hang in the choir during festivals4 ,on one of these the twenty-four elders of the ,apocalypse with citharas and viols were depicted4 ,the hangings he got for the nave1 represented centaurs1 lions and other animals4 ,on all festal occasions1 the cathedrals were beautifully decorated with superb tapestries4 ,some of them served as hangings and door-curtains1 others draped the altars1 while the seats and backs of the benches were covered with pieces called bancalia1 spaleriae1 and dossalia4 ,tapestries also covered the baldachins1 or canopies2 and foot-carpets1 called substratoria1 tapetes1 tapeta1 or tapecii were lavishly spread upon the ground4 ,during the thirteenth century tapestries came into general use for hangings in private mansions4 ,it is not unlikely that ,baldwin1 ,count of ,flanders1 who came into power in #abjd1 stimulated the work of the ,netherland looms2 for1 from the very opening years of the thirteenth century1 the ,flemish weavers adopted brighter colours in their tapestries2 and ,damme1 the poet of ,bruges1 received all kinds of goods from the ,east1 including 8seeds for producing the scarlet dye40 ,this was the period when the ,roman was in full flower1 and the tapestries naturally turned from ,biblical to heroic stories4 ,the artists and weavers now begin to devote their energies to the production of secular subjects4 ,the stories of ,paris and ,helen1 neas1 and others from ,grecian mythology1 become as popular as those inspired by the ,bible4 ,high-warp workers were established in ,paris1 ,arras1 ,brussels and ,tournay in the first half of the fourteenth century2 but it is not until the reign of ,charles ,v 7#acfd-achj7 that they are explicitly described in the inventories4 ,the ,king was a collector of ,french and ,flemish tapestries3 he had more than #acj armorial tapestries and #cc 8tapis images0 that decorated the walls4 ,the ,dukes of ,anjou1 ,orleans1 ,berry and ,burgundy1 had very valuable sets4 ,charles ,,vi also had fine pieces4 ,he bought from ,nicholas ,bataille1 a ,flemish worker1 who calls himself a citizen of ,paris in #acfc1 about #bej hangings4 ,bataille produced many superb pieces for the wealthy houses of the day1 and many sets for ,philip the ,bold1 ,duke of ,burgundy4 ,a fellow-worker1 ,jacques ,dourdain1 who died in #adjg1 made tapestries for the ,duke of ,burgundy1 to whom he sent in #achi ,the ,conquest of the ,king of ,friesland by ,aubri the ,burgundian1 ,the ,story of ,marionet1 ,ladies setting out for the ,chase1 ,the ,wishes of ,love1 ,the ,nine ,amazons1 ,the ,history of ,bertrand ,duguesclin1 and ,a ,history of the ,romance of the ,rose4 ,the latter must have been very choice1 as it was woven 8in gold of ,cyprus and ,arras thread40 ,he also furnished this rich patron with other hangings1 the greater number of which were cloth of gold4 ,the marriage of ,philip the ,bold1 ,duke of ,burgundy1 to the daughter and heir of the ,count of ,flanders1 in #acfi1 greatly helped the ,flemish tapestry-workers1 who soon equalled those of ,paris4 ,for instance1 the ,duke gave an order to ,michel ,bernard of ,arras for a fine piece1 called ,the ,battle of ,rosbeck1 of colossal dimensions4 ,it measured #bhe square yards1 and cost #b1fjj francs d'or4 ,other sets purchased from the ,arras looms were3 ,the ,coronation of ,our ,lady1 ,the ,seven ,ages1 ,story of ,doon de la ,roche1 ,history of ,king ,pharaoh and the ,people of ,moses1 ,life of ,st4 ,margaret1 ,the ,virtues and ,vices1 ,history of ,froimont de ,bordeaux1 ,story of ,st4 ,george1 ,story of ,shepherds and ,shepherdesses1 ,life of ,st4 ,anne1 ,story of ,percival the ,gaul1 ,hunt of ,guy of ,romany1 ,history of ,amis and ,amile1 ,history of ,octavius of ,rome1 ,history of ,king ,clovis1 ,history of ,king ,alexander1 and of ,robert the ,fusileer1 ,history of ,william of ,orange1 and a ,pastoral4 ,the ,flemish looms thus early acquired a great reputation1 rivalling those of the midland and northern provinces of ,france4 ,paris1 ,arras1 ,brussels and ,tournay were the chief centres for the most beautiful high-warp tapestry4 ,arras was celebrated as early as #acaa1 when ,marchaut1 ,countess of ,artois1 paid a large sum for 8a woollen cloth worked with various figures bought at ,arras02 and in #acac she ordered from the same town 8five cloths worked in high warp40 ,the name became generic3 the ,italians called all woven tapestries ,arazzi2 the ,spaniards1 ,panos de raz2 and the ,english1 8,arras10 a name that was used for many centuries4 ,polonius hides 8behind the arras10 in ,hamlet1 and ,spenser1 in ,the ,faerie ,queen1 says3 ,thence to the hall1 which was on every side ,with rich array and costly arras dight4 ,book ,i41 ,canto iv4 ,agnes ,sorel owned a superb specimen at her ,chteau de ,beaut in #acej4 ,it is described as 8a large piece of ,arras1 on which are pictured the deeds and battles of ,judas ,maccabaeus and ,antiochus1 and stretches from one of the gables of the gallery of ,beaut to the other1 and is the same height as the said gallery40 ,during the troublous times in ,france under ,charles ,,vi1 the ,paris looms ceased to work1 and ,flanders supplied all the tapestry that came to ,france4 ,in #acie1 the ,duke of ,orleans orders his treasurer to deliver to ,jaquet ,dordin1 8merchant and bourgeois of ,paris10 #a1hjj francs for 8three pieces of high-warp tapestry of fine ,arras thread40 ,leather was also extensively used during the ,middle ,ages for interior decoration3 it was hung upon the walls and beds2 it was spread upon the floors2 and it covered the seats and backs of chairs1 coffers1 cabinets1 shelves1 folding stools1 frames1 frames for mirrors1 and all kinds of boxes both large and small4 ,in #adbj1 we hear of a piece of ,cordovan called cuirace vermeil 8to put on the floor around a bed10 and also a 8chamber hanging0 of 8silvered cuir de mouton1 ornamented with red figures40 ,charles ,v of ,france had 8fifteen cuirs d',arragon to put on the floor in summer10 and the ,duke of ,burgundy's inventory of #adbg mentions 8leathers to spread in the chamber in summer time40 ,the ,duke of ,berry had twenty-nine great cuirs among his possessions1 which were used to cover the walls1 beds and chairs4 ,leather made a very sumptuous1 durable and decorative wall-hanging4 ,the patterns of flowers1 foliage1 arms1 devices and other figures were richly gilded1 and stood out in high relief from the brilliant backgrounds of red1 blue1 green1 orange1 violet1 brown or silver4 ,although the use of gilded leather 7cuirs dors7 did not become general until the fourteenth and fifteenth centuries1 the art of gilding1 silvering1 painting and goffering leather had long been known4 ,it is more than probable that the ,first ,crusaders brought home specimens2 but it is certain that ,cordova was making beautiful gilded leathers in the eleventh century4 ,the most beautiful1 as well as the most beautifully worked1 leathers came from ,spain1 where they were often called ,guadameciles1 from ,ghadames in ,africa where they were prepared for many years1 and from which town the ,moors carried the art into ,cordova4 ,ebn' ,abd el ,nor el ,hamri el ,tonsi 7of ,tunis71 in his geographical work written in the twelfth century1 thinks it worth while to mention that the djild el ,ghadmosi comes from ,ghadames4 ,the monk1 ,theophilus1 in his ,diversarum artium ,schedula shows how well ,arabian leather was known1 and describes the methods of preparing it for decoration2 but from what he says it appears that leather was used at that period only for the coverings of chairs1 stalls1 benches1 stools1 etc41 and not for wall-hangings4 ,from ,cordova the manufacture spread into ,portugal1 ,italy1 ,france and ,brabant4 ,the great centres for gilded leathers in the ,middle ,ages were ,cordova1 ,lille1 ,brussels1 ,lige1 ,antwerp1 ,mechlin and ,venice2 and each town impressed a special style upon its productions1 which connoisseurs are able to recognize4 ,the ,cordovan leathers are stamped with patterns of very high relief1 gilded and painted1 the designs consisting of branches or large flowers in the style of the textiles of ,damascus and ,india4 ,the ,south ,kensington ,museum has a very fine collection of ,spanish leathers ornamented with foliage1 flowers1 vases1 birds and pomegranates4 ,the colours of the background are green1 blue1 white1 gold1 red1 etc4 ,the ,flemish leathers are very similar to those of ,cordova1 but the relief is less pronounced and the designs are more delicate4 ,the hangings of ,flanders are almost exclusively made of calfskin1 and they were highly prized throughout ,europe4 ,generally speaking1 the earliest specimens of gilded leathers resemble on a large scale the miniatures in the manuscripts3 there is little or no perspective1 and the subjects are like those of the contemporary tapestry drawn from sacred or mythological stories4 ,the details of the faces1 ornaments1 costumes1 arms1 etc41 are stamped by hand-work and finished with a brush2 and the background1 instead of representing sky1 is ornamented by guilloches 7twisted bands7 in gold and colour1 applied by means of a goffering iron4 ,the ,low ,countries were almost as celebrated for their orfvrerie as for their tapestries4 ,celebrated schools of goldsmith's work existed in the ,netherlands during the tenth and eleventh centuries in ,waulsort under the direction of d',erembert1 in ,stavelot and in ,maestricht2 and the diocese of ,lige had an important atelier for enamel-work in the twelfth century4 ,a very skilful goldsmith named ,godefroid de ,clerc worked in the town of ,huy in the first half of the thirteenth century1 and another was ,friar ,hugo1 who made in the ,abbaye d',oignies the famous pieces now in the treasury of the ,sisters of ,notre ,dame in ,namur4 ,the principal towns of ,flanders1 ,ghent1 ,bruges1 ,tournay1 ,lige and ,brussels1 possessed in the thirteenth century skilful goldsmiths who followed the principles of the ,school of the ,rhine4 ,in #abff1 the ,brussels goldsmiths formed an important ,corporation to which ,john ,,iii1 ,count of ,hainault1 granted privileges4 ,it was in the fourteenth century particularly that the ,flemish goldsmiths acquired a great reputation4 ,a great deal of the goldsmith's work during these centuries was ornamented with niello1 the style of decoration following the ,rhenish ,school4 ,the goldsmiths were sculptors1 chisellers and engravers1 as well as designers2 and1 moreover1 modelled beautifully in wax4 ,when their works were cast in silver1 they ornamented these themselves with beaten bas-reliefs1 or traced delicate patterns upon the surface of the metal with the burin4 ,wishing to make the figures stand out more prominently1 they used cross-hatchings on the background and cut out the shadowy parts1 which they then filled with black enamel4 ,this made the uncovered portions of the silver shine with more brilliancy4 ,to this effective work was given the name niello 7nigellum71 on account of its colour4 ,this black enamel was used to ornament the chalices and other church vessels1 the hilts of swords1 handles of knives1 and particularly the handsome little coffers1 or cabinets1 which1 with the bahut1 comprised the furniture that the bride always carried to her new home4 ,these little boxes were usually of ebony1 ornamented more or less with incrustations of ivory1 shell1 mother-of-pearl1 pietra-dura1 or niello1 according to the wealth of the respective families4 ,when decorated with niello1 the designs consisted of simple ornaments or arabesques1 single figures or groups4 ,western ,europe made no glass in ,mediaeval days3 what was used in church and castle all came from the ,east4 ,in the early inventories1 whenever an object of coloured glass is found1 it is always accompanied by a mention of its ,oriental origin4 ,it is doubtful whether even plain glass was manufactured in ,england1 ,france1 ,germany or the ,netherlands before the close of the ,crusades4 ,the efforts made as late as the fourteenth century by several ,french and ,german princes to attract glass-blowers to their dominions shows how scarce they were4 ,in #acch1 we find a feudal noble giving a portion of his forest to a certain ,guionet1 who was acquainted with the methods of glass-making1 to set up a glass factory1 on condition of supplying his house every year with one hundred dozen bell glasses1 twelve dozen little vase-shaped glasses1 twenty dozen hanaps1 or cups with feet1 twelve amphorae1 and other objects4 ,as in all the other industrial arts1 ,flanders was well to the fore in the manufacture of plain glass4 ,before #adjj1 glass factories existed there2 but the products were only white glass1 not gilded nor enamelled4 ,the ,flemish wares1 however1 were highly prized1 and were freely exported to other countries4 ,in #acgi1 we find in the inventory of ,charles ,v of ,france3 8,ung gobelet et une aiguire de voirre blant de ,flandres garni d'argent40 ,to have glass mounted in silver shows how precious it was considered in those days4 ,moreover1 the royal accounts of the end of the fourteenth century prove that ,charles ,,vi accorded high protection and recompense to the ,flemish glass-blowers who established their industry in ,france4 ,before the end of the fifteenth century1 we find entries that would seem to show that the ,low ,countries were no longer exclusively dependent on the ,orient for coloured and enamelled glass4 ,in the inventory of ,charles the ,bold1 ,duke of ,burgundy 7#adgg71 we read3 8,une coupe de voirre jaune garny d'or2 444 une couppe de voirre vert garny d'or2 444 un pot de voirre de couleur vert1 garny d'or2 444 un aiguire de voirre vert torss garny d'or2 444 deux petis pots de voirre bleu espez1 garnis d'argent dor2 444 ung voirre taill d'un esgle1 d'un griffon et d'une double couronne garny d'argent40 ,these1 however1 may have come from ,venice1 which city had in the latter half of the fifteenth century learned from the ,greeks the secret of making coloured1 gilded and enamelled glass4 ,painting on glass was never held in higher honour than during the fifteenth century3 castles and mansions were adorned with coloured windows like the churches2 and1 therefore1 a considerable number of windows of this period have survived4 ,the ,cathedrals of ,tournay1 ,dietz and ,antwerp offer splendid examples4 ,in ,m4 ,levy's ,histoire de la peinture sur verre1 are the names of several ,flemish glass-painters that have escaped oblivion4 ,the principal schools that fostered all forms of ,decorative ,art were the ,guilds of ,st4 ,luke4 ,they sprang up in every prosperous city1 and were very close corporations of trades unionism4 ,the idea probably originated in ,italy4 ,a ,society of ,st4 ,luke was established in ,venice before #abij1 and another in ,florence in #acdi4 ,one ,gerard de ,groote organized a brotherhood of this kind in ,cologne in the fourteenth century2 and ,societies of ,st4 ,luke were founded in ,flanders in the fifteenth century4 ,these ,guilds exerted the greatest influence upon taste and skill1 for in these ,societies of ,guilds of ,st4 ,luke1 side by side with the ,masters of ,painting and ,sculpture1 were placed what we may call the ,masters of the ,decorative ,arts4 ,there were workers in stone and marble including mosaics in colour for the decoration of churches and chapels2 workers in enamel and ceramics for vases1 panelling and pavements2 workers in wood1 sculptors and carvers for the altar fronts1 canopies1 choir stalls1 etc4 7these menuisiers also worked in marquetry and intarsie1 and produced furniture for the sacristy1 coffers1 bahuts1 etc41 and pontifical seats72 glass-workers who produced windows1 panels and embroideries with glass beads for decoration2 metalworkers1 including goldsmiths1 bronze-workers1 who made sacred vessels1 luminaries1 fonts ornamented with repouss-work1 chiselling1 engraving1 incrustation with precious stones and niello-niellure2 leather-workers 7including makers of harness for wars and tourneys72 gilders1 setters of jewels2 bookbinders2 illuminators and painters of manuscripts2 weavers and embroiderers of tapestries1 silken stuffs1 etc4 ,society benefited by development of these arts very greatly1 and the sumptuous adornment of the churches soon extended to private dwellings4 ,carved panels1 or panels inlaid with precious woods1 soon decorated the walls of wealthy houses that were further enriched by magnificent tissues of silk and gold1 tapestries or panels of stamped leather as a background for pictures beautifully framed in carved and gilt wood4 ,in marquetry furniture1 the most remarkable objects were the coffers for jewels1 and the cabinets 7stipi71 in ebony1 shell and ivory1 embellished with gilt1 bronze1 and the dower chests1 8arches de mariage40 ,,chapter ,,ii ,,the ,,burgundian ,,period ,the luxurious ,dukes of ,burgundy--,possessions of the ,house of ,burgundy-- ,the ,burgundian ,court--,household of ,philip the ,good--the ,feast of the ,pheasant--the ,duke of ,burgundy at the ,coronation of ,louis ,,xi--,arras ,tapestries--,sumptuous ,dressoirs and their ,adornments--,celebrations in honour of the ,knights of the ,golden ,fleece--,luxury of ,charles the ,bold--,charles the ,bold at ,trves--,furnishings of the ,abbey of ,saint-,maximin--,charles the ,bold's ,second ,marriage--,furnishings of the ,banqueting ,hall at ,bruges--,descriptions by ,olivier de la ,marche--,alinor of ,poitier's ,descriptions of the ,furniture of the ,duchess of ,burgundy's ,apartments--,rich ,dressoirs--the ,drageoir and its ,etiquette--the ,etiquette of the ,escarbeau--,philip the ,bold's ,artisans--,flemish ,carving--the ,forme or ,banc--,burgundian ,workmanship--,ecclesiastical ,work--,noted ,carvers--,furniture of the ,period--the 8,golden ,age of ,tapestry0-,embroideries--,tapestry-weav ers of the ,low ,countries--,introduction of ,italian ,cartoons--,goldsmiths' ,work--,furniture of the ,fourteenth and ,fifteenth ,centuries4 ,the most luxurious prince of his age was ,philip the ,bold1 ,duke of ,burgundy 7#acdb-adjd71 son of ,john the ,good1 ,king of ,france4 ,by its alliances1 conquests and inheritances1 the ,house of ,burgundy attained such wealth and power as to overshadow the ,french throne itself4 ,under his grandson1 ,philip the ,good1 the ,burgundian ,court displayed greater splendour than any other in ,europe4 ,the reigning dukes were powerful protectors of the arts4 ,their immense resources1 drawn from the ,flemish hives of industry1 enabled them to indulge their taste for architecture1 painting1 sculpture1 illuminated books1 tapestry1 goldsmiths' work and sumptuous furniture4 ,they were also insatiable collectors of everything that was curious and rare4 ,any able artist1 sculptor1 architect1 goldsmith1 or image-maker1 driven from home by the perpetual civil wars in ,england1 ,france and ,italy1 was sure of refuge and employment at the ,court of ,burgundy4 ,thus1 for a century and a half1 the ,low ,countries were the most important art centre of ,europe4 ,dijon and ,brussels1 the capitals of the ,burgundian dominions1 were ,meccas of ,mediaeval ,art2 and ,tournay1 ,bruges1 ,ypres1 ,ghent1 ,dinant1 and many other industrial centres swarmed with craftsmen who produced all that was luxurious and beautiful for domestic comfort and decoration4 ,the house of ,burgundy constantly increased its possessions4 ,some idea of its power is gained by a list of ,philip the ,good's titles4 ,he was ,duke of ,burgundy1 of ,brabant1 of ,lothier1 of ,luxembourg2 ,count of ,flanders1 of ,artois and of ,burgundy2 ,palatine of ,hainault1 of ,holland1 of ,zeeland1 of ,namur and of ,charolais2 ,marquis of the ,holy ,empire2 and ,lord of ,friesland1 of ,salins and of ,mechlin4 ,the brilliance and luxury of the ,burgundian ,court are attested by many chroniclers4 ,the pages of ,philip de ,comines1 ,olivier de la ,marche1 and others are full of descriptions of feasts and pageantry from which we can form an idea of the luxurious appointments of the palatial dwellings of the day4 ,foreigners also1 who were well acquainted with other ,european courts1 bore witness to ,burgundian splendour4 ,one of these1 ,leo von ,rozmital1 who visited the courts of ,europe in #adfe-g1 saw the ,duke of ,burgundy's treasures4 ,his suite was overpowered by the magnificence4 ,the scribe1 ,tetzel1 tried to enumerate and describe these marvels1 but gave up the task in despair1 noting 8there was nothing like it in the whole world and that it far exceeded the ,venetian collection40 ,the son and successor of ,john the ,fearless1 ,philip the ,good 7#acif-adfg71 was even more luxurious than his grandfather1 ,philip the ,bold4 ,his ,court was unequalled in ,europe1 and when in attendance upon the ,king of ,france1 his retinue completely eclipsed royalty4 ,his palaces in ,brussels1 ,dijon and ,paris were sumptuously furnished2 and his collections of tapestries1 silver1 gold1 jewels1 embroideries1 illuminated manuscripts and printed books excited the admiration of the travellers and chroniclers of the age4 ,his household1 composed of four great divisions--the ,panetrie1 chansonnerie1 ,cuisine and curie1 with subordinate departments1 was subject to the strictest rules of etiquette and was adopted as a model by the ,spanish sovereigns of the sixteenth century4 ,the ceremonies of the levee1 procession1 council1 audience1 service of spices1 banquet1 etc41 were selected as precedents for ,vienna and ,paris1 as well as ,madrid4 ,one of ,philip's most celebrated banquets--the ,feast of the ,pheasant1 which took place at ,lille in #aded--will serve to give a glimpse of the ,court entertainments in his day4 ,the large hall was hung with tapestry representing the labours of ,hercules1 and was encircled by five tiers of galleries for the spectators4 ,the dressoir of enormous size was adorned with gold and silver vessels1 and on either side of it stood a column4 ,one of these had attached to it a carved female figure from whose breast flowed a fountain of hippocras2 and to the other was fastened by an iron chain a live lion from ,africa1 a great curiosity in those days4 ,the three great tables were covered with the most ingenious productions of the cooks1 confectioners and machinists4 8,on a raised platform at the head of the first table sat the ,duke4 ,he was arrayed with his accustomed splendour--his dress of black velvet serving as a dark ground that heightened the brilliancy of the precious stones1 valued at a million of gold crowns1 with which it was profusely decked4 ,among the guests were a numerous body of knights who had passed the morning in the tilting-field1 and fair ,flemish dames whose flaunting beauty had inspired these martial sports4 ,each course was composed of forty-four dishes1 which were placed on chariots painted in gold and azure1 and were moved along the tables by concealed machinery40 ,as soon as the company was seated1 the bells began to peal from the steeple of a huge pastry church with stained windows that concealed an organ and choir of singers1 and three little choristers issued from the edifice and sang 8a very sweet chanson40 ,twenty-eight musicians hidden in a mammoth pie performed on various instruments1 and the fine viands and wines were circulated4 ,after the exhibition of entremets1 the pheasant was brought in1 the ,crusade proclaimed against the ,sultan1 and the vows registered4 ,another instance of the magnificent display of this ,duke occurred when he accompanied ,louis ,,xi to ,rheims for the ceremony of his coronation in #adfa4 ,this is described as follows by the ,duke of ,burgundy's chronicler1 ,georges ,chastelain 7#adjc-ge73 8,their journey resembled a triumphal procession1 in which the ,duke of ,burgundy appeared as if he were the conqueror and ,louis the illustrious captive4 ,the trappings of the horses1 that reached to the ground1 were of velvet and silk1 covered with precious stones and ornaments of gold1 embroidered with the ,burgundian arms and decorated with silver bells1 the jingling of which was very agreeable and solacing4 ,a great number of wagons draped with cloth of gold and hung with banners carried the ,duke's tapestries1 furniture1 silver and other table service and the utensils for the kitchen4 ,these were followed by herds of fat oxen and flocks of sheep intended for food during the progress of the ,duke and his suite4 ,philip and his son1 with the principal nobles1 appeared in their greatest magnificence1 and were preceded and followed by pages1 archers and men-at-arms1 all in gorgeous costumes and blazing with jewels40 ,their entrance into ,rheims was regarded as the most superb spectacle ,france had ever witnessed4 ,louis was crowned by the ,duke of ,burgundy1 8the dean of the peers of ,france02 and at the banquet that followed the coronation1 the ,duke of ,burgundy was still the most conspicuous figure4 ,the same chronicler continues3 8,though the ,king sat at the head of the table1 arrayed in regal attire1 with the crown upon his head1 he was still the guest of his fair uncle1 whose cooks had provided the dinner1 whose plate was displayed upon the sideboards and whose servants waited upon the company4 ,in the midst of the repast1 the doors were opened and porters entered bearing a costly present for the new sovereign4 ,such of the guests as were strangers1 except from hearsay1 to the splendours of the ,burgundian ,court1 gazed in astonishment at the images1 goblets1 miniature ships1 and other articles of the finest gold and rarest workmanship--amounting in value to more than two hundred thousand crowns--which ,philip presented to the ,king as an emphatic token of his loyalty and good-will40 ,chastelain's note of the great number of wagons that were required to carry the ,duke's tapestries in his journeyings is of interest4 ,the products of the ,flemish looms were highly prized by the ,burgundian dukes1 and great encouragement was given by them to the best work of this nature4 ,it was from ,arras that they chiefly filled their superb store-chambers in the fourteenth and fifteenth centuries4 ,the ,arras looms had become famous1 far and wide2 for1 when ,philip the ,bold's son was taken prisoner at the ,battle of ,nicopolis 7#acif71 the ,sultan ,bajazet said to the ,duke of ,burgundy's envoy that he 8would be pleased to see some high-warp tapestries worked in ,arras and ,picardy10 and that 8they should represent good old stories40 ,philip thereupon sent two pack-horses laden with 8high-warp cloths1 collected and made at ,arras1 the finest that could be found on this side of the mountains40 ,the set he chose was ,the ,history of ,alexander4 ,in #acgd1 there is an entry in the accounts of the ,duke of ,burgundy 8to ,colin ,bataille1 tapissier et bourgeois de ,paris10 for six pieces of tapestry 8of ,arras workmanship10 with the arms of ,m4 the ,duke of ,burgundy 8to cover the pack-horses of ,monseigneur when he travelled40 ,the favourite subjects produced at ,arras were romances of chivalry1 such as ,charlemagne and his ,peers1 ,doon de la ,roche1 ,baudouin de ,sebourg1 ,percival the ,gaul1 ,renaud de ,montauban1 ,aubri de ,bourguignon1 etc42 stories from ,greek mythology1 such as ,theseus1 ,jason1 ,paris and ,helen1 ,the ,destruction of ,troy1 etc42 and contemporary events such as ,the ,battle of ,rosbeck1 ,the ,battle of ,lige1 ,history of ,bertrand ,duguesclin1 ,the ,jousts of ,st4 ,denis and ,the ,battle of the ,thirty4 ,hunting scenes and pictures of cavaliers and ladies in everyday life were popular1 and stories from the ,old and ,new ,testaments1 ,lives of the ,saints and ,acts of the ,martyrs4 ,allegory also makes its appearance as a subject for cartoons1 such as the ,virtues and ,vices1 the ,seven ,cardinal ,sins1 the ,tree of ,life1 ,fountain of ,youth1 etc4 ,when ,philip the ,good married ,isabella of ,portugal1 ,le ,fvre de ,saint ,rmy notes that on each side of the hall there was a dressoir twenty feet long on a platform two feet high and well enclosed by barriers three feet high1 on the side of which was a little gate for entrance and exit2 and both dressoirs had five stages1 each two and a half feet high4 ,the three upper tiers were covered and loaded with vessels of fine gold2 and the two lower ones with many great vessels of silver gilt4 ,again1 ,chastelain1 describing a banquet given by ,philip the ,good1 says3 8,the ,duke had made in the great hall a dressoir constructed in the form of a round castle1 ten steps 7degrs7 in height filled with gold plate in pots and flagons of various kinds1 amounting to #f1jjj marks 7argent dor7 not counting those on the top which were of fine gold set with rich gems of marvellous price40 ,the above gives some idea of the importance of the dressoir1 which undoubtedly was the most showy piece of furniture in hall or chamber4 ,it often assumed enormous proportions on great state occasions4 ,a very ornate one of this period is reproduced in ,plate ,,iii4 ,it is beautifully carved with ,gothic tracery1 leaf-work1 ,biblical scenes and personages1 and coats-of-arms4 ,it is interesting to compare this with the simple form of ,plate ,,iv1 which has no intermediate shelf for the display of plate2 but is also interesting on account of its carving4 ,this1 with its drawers and cupboards1 was a most serviceable piece of furniture and must have produced a fine effect in a room when the cupboard head was decked with plate4 ,the great celebrations in honour of the ,knights of the ,golden ,fleece also offered occasion for the display of the greatest splendour at the ,burgundian ,court4 ,a veritable army of painters1 sculptors1 illuminators1 carvers and machinists was employed to design and prepare the entremets exhibited during the banquets4 ,among the huchiers who worked for the banquet given to the ,knights of the ,golden ,fleece in #adec were ,guillaume ,maussel and his son1 ,jacob ,haquinet ,penon1 ,jehan ,daret and his two companions1 and ,jehan de ,westerhem4 ,illustration3 ,,plate ,,iv4--,credence 7,fifteenth ,century74 ,,cluny ,,museum1 ,,paris4 ,when ,charles the ,bold 7#adcc-adgg7 succeeded his father1 ,philip the ,good1 in #adfg1 he maintained his ,court with the same state1 ceremony and luxury4 ,his daily life was surrounded by pomp and punctilious etiquette4 ,he dined in state every day and was always attended by a retinue of knights1 equerries and pages4 ,when he went to war1 he always carried rich silver and tapestries1 as well as costly viands and wines4 ,the ,swiss gained rich spoils after the ,battle of ,nancy and carried away among other articles of value tapestries which can be seen to-day in ,nancy1 ,berne and other cities4 ,the meeting of ,charles the ,bold with the ,emperor at ,trves1 in #adgc1 occasioned a great display of magnificence4 ,the far-famed luxury of the ,burgundian ,court was well exhibited during the eight weeks that the two ,courts spent in the ,rhenish city4 ,charles gave the most superb entertainments4 ,the ,abbey of ,saint ,maximin1 which the ,duke chose for his temporary residence1 was fitted up for the occasion with furniture1 tapestries1 richly embroidered stuffs1 gold and silver from his palaces4 ,the great hall was hung with tapestries1 and the chair of state for the ,emperor1 the canopy and the seats for the other great personages on the das were covered with rich embroidered hangings4 ,the arms of ,burgundy1 the insignia of the ,golden ,fleece and other heraldic decorations were conspicuously displayed4 ,many of the most valuable ecclesiastical treasures collected by ,philip the ,good1 such as silver images1 candlesticks1 and crucifixes1 and reliquaries of gold studded with gems were brought to adorn the altars and shrines of the church2 and1 in the refectory1 an immense dressoir1 twenty feet broad1 reached from floor to ceiling1 its ten receding shelves gleaming with gold and silver plate4 ,charles the ,bold's second marriage in #adfh to ,margaret of ,york furnished another occasion for the display of his wealth and magnificence4 ,john ,paston1 who went to ,bruges to attend the wedding1 was simply dazzled and overwhelmed by what he saw4 ,writing to his mother1 he says3 8,as for the ,dwkys coort1 as of lords1 ladys and gentylwomen1 knyts1 sqwyers and gentylmen1 ,i herd never of non lyek it1 save ,king ,artourys cort4 ,and by my trowthe1 ,i have no wyt nor remembrans to wryte to you1 half the worchep that is her40 ,passing by the descriptions of jousts and other entertainments1 we may note that workmen--painters1 decorators and machinists--had been engaged for many months to adorn ,bruges fittingly for the nuptial festivities4 ,the streets were hung with tapestries and cloth of gold1 triumphal arches were erected at intervals1 and at different points along the road the bride was diverted with 8,histories10 the joint productions of dramatist1 decorator1 painter and machinist4 ,the front of the palace was covered with paintings of heraldic devices and magnificent decorations1 and behind the palace1 in the tennis court1 a new banqueting hall was erected for the occasion4 ,this building was a hundred and forty feet long1 seventy feet wide and more than sixty feet high4 ,the walls were hung with some of the ,duke's most famous tapestries1 one set of which represented ,jason's quest of the ,golden ,fleece2 the ceiling was painted1 and at every possible place banners and heraldic devices were hung4 ,an enormous dressoir in the centre of the hall displayed on its tiers of shelves an overwhelming exhibition of gold and silver treasures glittering with gems4 ,the tables were arranged lengthwise on either side of the hall1 except one reserved for the ,duke's family and the guests of highest rank4 ,this table was placed on a raised platform at the upper end of the hall1 and over it was spread a canopy with curtains hanging to the floor1 so as to present the appearance of an open pavilion4 ,the chroniclers of the day note that 8the hall was lighted by chandeliers in the form of castles surrounded by forests and mountains1 with revolving paths on which serpents1 dragons and other monstrous animals seemed to roam in search of prey1 spouting forth jets of flame that were reflected in huge mirrors1 so arranged as to catch and multiply the rays4 ,the dishes containing the principal meats represented vessels1 seven feet long1 completely rigged1 the masts and cordage gilt1 the sails and streamers of silk1 each floating in a silver lake between shores of verdure and enamelled rocks1 and attended by a fleet of boats laden with lemons1 olives and condiments4 ,there were thirty of these vessels and as many huge pasties in a castellated shape with banners waving from their battlements and towers2 besides tents and pavilions for the fruit1 jelly dishes of crystal supported by figures of the same material dispensing streams of lavender and rosewater1 and an immense profusion of gold and silver plate40 ,the festivities continued for more than a week4 ,every day a tournament1 banquet and dance took place4 ,at one of the banquets1 the decorations were so wonderful that the guests marched around the tables to examine the artistic creations4 ,these consisted of gardens made of a mosaic-work of rare and highly polished stones1 inlaid with silver1 and surrounded with hedges made of gold4 ,in the centre of each enclosure was placed a tree of gold with branches1 foliage and fruit exquisitely enamelled in imitation of orange1 pear1 apple and other trees4 ,fountains of variously perfumed waters rendered the air deliciously fragrant4 ,olivier de la ,marche's description of the banqueting hall is as follows3 8,in this hall were three tables1 one of which was placed across the ends of the others4 ,this table1 higher than the others1 stood upon a platform4 ,the other two tables were placed on the two sides of the hall1 occupying the whole length2 they were very long and very handsome1 and in the centre of the said hall a high and rich buffet in the form of a lozenge was placed4 ,the top of the said buffet was enclosed with a balustrade1 and the whole was covered with tapestries and hung with the arms of ,monsieur le ,duc2 and above rose the steps and degrees on which were displayed many vessels1 the largest on the lowest1 and the richest and smallest on the top shelves2 that is to say1 on the lowest shelves stood the silver-gilt vessels1 and above them the vessels of gold garnished with precious stones1 of which he had a great number4 ,on the top of the buffet stood a rich jewelled cup1 and on each of the four corners large and entire unicorns' horns1 and these were very large and very handsome4 ,these vessels of parade were not to be used1 for there were other vessels1 pots and cups of silver in the hall and chambers intended for service40 ,turning now from the buffet d'apparat1 he describes the 8buffet d'usage40 ,regarding the service1 8,the new ,duchess was served by the cup-bearer1 the carver and the pantler1 all ,english1 all knights and men of noble birth1 and the usher of the hall cried3 #8,knights to the meat6' ,and then they all went to the buffet to fetch the meat1 and all the relations of ,monsieur and all the knights marched around the buffet in the order of the great house two by two after the trumpeters before the meat40 ,we sometimes get a glimpse of a luxurious chamber of the ,burgundian ,court from ,alinor of ,poitiers1 who wrote ,les ,honneurs de la ,court4 ,her testimony is trustworthy1 for her mother was maid of honour to the ,duchess ,isabella1 third wife of ,philip the ,good2 and1 therefore1 she undoubtedly witnessed what she describes4 ,she tells us that the chamber of ,isabella of ,bourbon1 wife of ,charles the ,bold1 ,count of ,charolais1 was very large and contained two beds1 separated by a space four or five feet wide4 ,a large ciel1 or canopy1 of green damask covered both beds2 and from it hung curtains of satin which moved on rings1 and could completely screen the beds when desired4 ,the lambrequin of the canopy and the curtains were fringed with green silk4 ,on each bed was an ermine counterpane1 lined with very fine violet cloth4 ,the chronicler expressly notes that the black tails were left on the fur4 8,la grande chambre0 from which the 8,chambre de ,madame0 was entered1 called the 8chambre de parement10 contained one large bed in crimson satin4 ,the ciel was very richly embroidered with a great gold sun1 and 8this tapestry was called la chambre d',utrecht1 for it is believed that ,utrecht gave it to the ,duke ,philip10 writes ,alinor1 who adds3 8,the curtains of crimson samite are looped up like those of a bed in which nobody sleeps40 ,the hangings of the wall were of red silk4 ,at one end of the bolster was a great square cushion of gold and crimson1 and by the side of the bed a 8large shaggy carpet40 ,in each of these rooms there was a handsome dressoir2 and our scribe continues3 8,in the chamber of the ,countess de ,charolais there was a large dressoir of four beautiful shelves1 the whole length of the dressoir1 each covered with a cloth2 the said dressoir and the shelves filled with vessels of crystal garnished with gold and precious stones1 and some of fine gold2 for all the richest vessels of ,duke ,philip were there--pots1 cups and beakers of fine gold1 and other vessels that are never exhibited except on state occasions4 ,among other vessels there were on the said dressoir three drageoirs of gold and precious stones1 one of which is estimated at #ad1jjj cus1 and another at #cj1jjj cus4 ,on the back of the dressoir was hung a dorset 7dorsal7 of cloth of gold and crimson1 bordered with black velvet1 and on the black velvet was delicately embroidered the device of ,duke ,philip1 which was a gun4444 8,item1 on the dressoir which was in the chamber of the said lady1 there were always two silver candlesticks which they called at ,court mestiers1#a in which two lights were always burning1 for it was fifteen days before the windows of her room were allowed to be opened4 ,near the dressoir in a corner was a little low table containing the cups and saucers in which something to drink was served to those ladies who came to see ,madame1 after they had been offered a drage#b2 but the drageoir stood upon the dressoir40 ,footnote #a3 ,night candles4 ,footnote #b3 ,bonbons4 ,in the 8chambre de parade0 there stood a very large dressoir1 ornamented with superb pieces of gold and silver4 ,it was the custom for both lords and ladies to receive their acquaintances informally in the 8chambre de parade10 while the inner room was reserved for their intimate friends4 ,on the occasion of a birth1 these two rooms were as superbly furnished as the house could afford4 ,the richest cloths and tapestries were brought out1 and the dressoir was adorned with articles of gold and silver that were only placed on view on important occasions4 ,when ,mary of ,burgundy was born1 the same authority informs us that ,isabella of ,bourbon's room was very richly furnished2 and in honour of ,mary of ,burgundy1 the daughter and heir of ,charles the ,bold1 there were five shelves upon the dressoir1 a privilege reserved for queens only4 ,the drageoir was a very important article4 ,it contained the various 8pices de chambre10 generally called drage1 and meaning all kinds of sugar plums and confitures1 conserves1 sugared rose leaves 7sucr rosat71 etc4 ,a writer in the sixteenth century mentions 8,curious drages of all colours1 some in the shape of beasts1 others fashioned like men1 women and birds40 ,sometimes the bonbons were taken with the fingers1 as may be seen in one of the fine set of tapestries in the ,cluny ,museum1 representing ,the ,lady and the ,unicorn4 ,an attendant kneeling presents the drageoir to the lady1 who is standing with a pet bird on her left arm1 and she is about to dip the fingers of her right hand into the drageoir to get something to delight the bird4 ,the drageoir was generally handed to the guests after dinner1 and made its appearance at all ceremonial feasts4 ,froissart1 describing the reception to the ,english knights sent by the ,king of ,england in #acij to negotiate peace in ,france1 says they were entertained at the ,louvre1 and 8when they had dined they retired to the ,king's chamber1 and there they were served with wine and sweetmeats in large drageoirs of silver and gold40 ,it was always handed with solemnity1 and subject to strict etiquette4 ,the ,constable of ,france had the honour of presenting the drageoir to the ,king4 ,at the ,duke of ,burgundy's ,court1 according to ,olivier de la ,marche1 the steward handed the drageoir to the first chamberlain1 who handed it to the most important personage present1 who then presented it to the prince or duke4 ,when the latter had helped himself1 the honoured guest returned it to the chamberlain1 who gave it to the steward4 ,alinor also informs us3 8,when one of the princes had served ,monsieur and ,madame 7the ,duke and ,duchess of ,burgundy7 with sweetmeats1 one of the most important personages1 for example1 the first chamberlain1 or ,madame's chevalier d'honneur1 took the drageoir and served the ,duke's nephews and nieces2 and after they had been served it was handed to everybody40 ,the drageoir was one of the most valued and popular presents during the ,middle ,ages4 ,in the inventory of ,margaret of ,austria occurs a beautiful and large silver-gilt drageoir1 fluted1 presented to ,madame by the gentlemen of the town of ,brussels for her ,new ,year1 #aebj4 ,alinor de ,poitiers also says there should always be in the lady's room a chair with a back near the bolster of the bed2 and that this chair should be covered with silk or velvet1 for 8velvet is the most honourable covering1 no matter what colour02 and 8near the chair should be placed a little bench1 or stool1 covered with a banquier and some silk cushions for visitors to sit on when they call to see the invalid40 ,the little stool or bench1 called escarbeau1 was very low and without back or arms4 ,sometimes it was triangular in form4 ,sometimes it served for a low table4 ,rich people often threw over these bancs a piece of tapestry or silk1 known as banquiers4 ,the memory of the vast majority of the artists of this period has perished1 but a few names have survived4 ,when ,philip the ,bold built a second ,st4 ,denis for his race at ,dijon 7#acij71 his art and craftsmen were all drawn from the ,low ,countries4 ,nicholas ,sluter was in charge2 and under his direction the ,chartreuse became a veritable ,flemish museum of carving4 ,he sent for his nephew1 ,nicholas van de ,werve1 and paid him from six to seven shillings per week4 ,other ,flemish workmen in his employ were3 ,jehan ,malouel1 ,hennequin van ,prindale1 ,roger ,westerhen1 ,peter ,linkerk1 ,john ,hulst1 ,john de ,marville1 ,john de ,beaumetz and ,williken ,smout4 ,the coloured windows were made at ,mechlin1 by ,henry ,glusomack4 ,the oak retables with their numerous figurines1 were the work of a ,flemish carver named ,baerze of ,termonde4 ,in fact1 the only ,frenchman who had any part in the work was ,berthelot ,hliot1 8varlet de ,monseigneur10 an ivory-carver4 ,the two retables carved by ,jacques de ,baerze in #acia for the ,chartreuse are now in the ,dijon ,museum4 ,one was made for the ,duke's chapel at ,termonde 7,dendermonde71 and the other for the ,abbey of ,billoche1 near ,ghent4 ,these were painted and gilded by ,jehan ,malouel and ,melchior ,broederlam1 who had been engaged by the ,counts of ,flanders2 and worked in ,hesdin and ,ypres before becoming court-painters to ,philip the ,bold4 ,the same ,museum contains three cylindrical boxes of beautiful workmanship of the same period4 ,two of these are ornamented with arabesques and birds painted and gilded2 the third is decorated with polychromatic bas-reliefs1 and a round boss representing scenes from the ,new ,testament4 ,these boxes are supposed to have belonged to the toilet-tables of the ,duchesses of ,burgundy4 ,two retables1 ornamented with bas-reliefs in the ,cluny ,museum are called 8oratoires des ,duchesses de ,bourgogne40 ,these were bought from ,berthelot ,hliot1 8valet de chambre0 of ,philip the ,bold2 and it is thought that they came from ,italy4 ,another fine piece of ,flemish wood-carving is preserved in the old ,salles des ,gardes of the ,palace in ,dijon1 where it forms a decoration of the chimney-piece4 ,this is a panel of carved wood1 the last remnant of the choir-stalls in the ducal chapel4 ,the centre of the panel was the back of ,john the ,fearless's seat4 ,the upper part terminating in a pointed arch and bordered with festoons ornamented with foliage surrounds the ,duke's shield1 which is supported by two angels4 ,the arms of eight dependent provinces are carved in the lower part of the panel1 enlaced in a trellis of mouldings decorated with chicory leaves1 and further enriched by four angels playing various instruments4 ,the ,dijon ,museum contains another splendid piece of wood-carving of the same date in the seat or forme for the accommodation of the priest1 deacon1 and subdeacon of the ,chartreuse4 ,this was carved in #acie by ,john of ,lige1 a carpenter1 for the sum of two hundred and fifty francs1 to which another hundred were afterwards added in recognition of the excellence of the work4 ,the forme is a species of banc divided by arms into stalls like choir-stalls4 ,the forme always had a back which grew larger about the end of the twelfth century1 and at a later date1 it was surmounted by a das4 ,the forme was always considered to be a seat of honour4 ,john de ,marville set to work on the ,duke's tomb in #achc1 and in #achh was succeeded by ,claus ,sluter1 who also executed much important work4 ,in the chapel of the ,chartreuse at ,dijon1 he represented ,philip the ,bold and the ,duchess ,margaret kneeling at the feet of ,st4 ,anthony and ,st4 ,anne4 ,in #adjd1 he retired to the monastery of ,st4 ,etienne de ,dijon1 and was succeeded in his post of 8imagier and valet de chambre0 to the ,duke of ,burgundy by his nephew ,claes1 or ,nicholas1 van de ,werve4 ,in #acic1 ,philip the ,bold sent his painter1 ,jehan de ,beaumetz1 and his sculptor1 ,claus ,sluter1 to see the works that his brother1 the ,duke of ,berry1 had had ,andr ,beauneveu make at the ,chteau ,mehun-sur-,yvre4 ,burgundy was especially famous among ,french provinces for its woodwork4 ,many masterpieces were created by the ,dukes of ,burgundy4 ,there were1 however1 other patrons of this art1 the great ,abbeys of ,clairvaux1 ,citeaux1 ,cluny and ,vzlay4 ,numerous schools of workmen gathered around these monasteries1 faithfully preserving the traditions of the master-sculptors of the past and bequeathing them to their successors of the ,renaissance4 ,a great deal of their most ornate and skilful work was naturally upon the choir-stalls4 ,those in the ,abbey of ,charlieu with figures of saints painted on wooden panels 7later in the ,church of ,charolais71 and the old ,abbaye de ,montral 7,yonne7 are especially notable4 ,the ,brabant artists perhaps manifested their fertility most in wood-carving4 ,flanders1 during the fifteenth century1 produced an enormous number of retables1 choir-stalls1 pulpits1 chairs1 tables1 communion benches1 and similar work4 ,the energies of the skilful wood-carvers found vent in civil as well as ecclesiastical work4 ,the public buildings of the prosperous cities contained many beautiful products of the chisel4 ,the ducal expense accounts that have come down to us contain many entries of payments made to various ,flemish joiners and cabinet-makers 7huchiers-menuisiers74 ,when the great ,halles of ,brussels had to be rebuilt in #adji1 the following experts were employed to do the work3 ,louis ,van den ,broec1 ,pierre de ,staete1 ,henry and ,godefroy den ,molensleyer1 ,adam ,steenberch1 ,henry van ,duysbourg1 ,pierre van ,berenberge1 ,henry van ,boegarden and ,john van den ,gance4 ,we find these names employed on other contemporary work4 ,a few years later1 ,charles de ,bruyn executed the wood-carving for the ,louvain cathedral4 ,in #adji1 ,john ,bulteel of ,courtray was commissioned to carve the choir-stalls for the chapel of the oratory of ,ghent4 ,peter van ,oost received the order for the ceiling of the town hall of ,bruges2 and in #addi1 ,w4 ,ards was carving that of the town hall of ,mechlin4 ,in #adgj1 the great altar-piece of ,saint ,waltrude in ,herentals was executed by ,b4 van ,raephorst4 ,in #adei1 the beautiful stalls of the ,abbey of ,tournay1 which were unfortunately destroyed by fire in the following century1 were carved by ,jan ,vlaenders4 ,a noted carver of this age was ,jehan ,malouel ,hennequin van ,prindale1 who1 as we have seen1 was in the employ of the ,duke of ,burgundy4 ,the hands only of a ,magdalen that he made 7#acii-adjj7 are in the ,dijon ,museum4 ,this statue was remarkable as having a copper nimbus1 or diadem4 ,the fame of the ,flemish wood-carvers spread far beyond the confines of their own provinces1 and their services were eagerly sought in ,england1 ,france1 ,spain1 ,italy and even ,germany4 ,although ,german wood-carvers were plentiful1 ,john ,floreins was employed on the choir-stalls of the ,cologne ,cathedral4 ,in #adfe1 ,flemish huchiers were called upon to carve the stalls of ,rouen4 ,italy attracted many artists whose work still attests their ability4 ,among the innumerable workers in intaglio and marquetry of that period1 we find the names of almost as many ,northerners as native ,italians4 ,the ,church of ,st4 ,georgio ,maggiore1 ,venice1 contains forty-eight stalls1 adorned by ,van der ,brulh of ,antwerp with carved bas-reliefs illustrating the life of ,st4 ,benedict4 ,the armoires of the sacristy of ,ferrara bear the signatures of ,henry and ,william1 two ,flemish carvers2 and many other examples might be cited4 ,in ,spain1 the entire ,spanish school1 until ,berruguete brought the ,new ,art from ,michelangelo's studio in #aebj1 was led by ,philippe ,vigarny1 a ,burgundian1 who was considered the best wood-carver in ,spain4 ,his style was frankly ,gothic4 ,the influence of the ,flemish and ,french was so great in ,spain at this time1 that ,juan de ,arphe severely reprimands his fellow-workers1 who never cease copying the 8papelas y estampas flamencas y francesas40 ,there was not a prosperous city in the ,netherlands whose public and private buildings were not embellished with the products of the great artists in wood-carving4 ,the great masters of ,bruges were ,guyot de ,beaugrant1 ,l4 ,glosencamp1 ,roger de ,smet and ,andr ,rasch1 sculptors and carpenters who executed the chimneypiece in the ,palais du ,franc in ,bruges after the designs of ,lancelot ,blondeel4 ,one of the most characteristic specimens of ,flemish carpentry-work of the fifteenth century is the oak pew richly carved in the ,gothic style 7#adgd71 belonging to the ,van der ,gruuthuuse family in ,notre ,dame of ,bruges that is connected by a passage with the ,gruuthuuse ,mansion1 built in 7#adfe-gj74 ,it is important to keep constantly in mind the fact that at this period architects1 sculptors1 painters and goldsmiths did not confine themselves to one particular field of labour4 ,sculptors worked both in wood and stone in both civil and religious buildings1 and the best talent was employed equally on retables1 choir-stalls1 pulpits1 bishops' thrones1 armoires1 dressoirs1 chests and seats4 ,the ,duke's accounts show many entries of payments for elaborate furniture4 ,two examples will suffice3 8,june #bj1 #acii3 ,from the ,duke of ,burgundy to ,sandom1 huchier1 living in ,arras1 for a dressoir1 with lock and keys1 which was placed in the chamber of our very dear and much-loved son ,anthoyne1 xxxii sols pariis02 and again1 8,to ,pierre ,turquet1 huchier1 living in the said town of ,arras1 for a bench1 a table1 a pair of trestles1 and for a dressoir with lock and key for our chamber in our abode in the said place1 for goods supplied by him four livres pariis40 ,the fifteenth century has been called the 8,golden ,age of ,tapestry40 ,not only were the halls and chambers of rich lords hung with 8noble auncyent stories10 woven in silk and wool of the most gorgeous hues and enlivened with shining threads of gold1 but the store-rooms were filled with sets that were brought forth to decorate the outsides as well as the interiors of houses on the occasion of some great festival1 marriage1 tournament1 or return of a conqueror from the wars4 ,wealthy princes often took valuable sets to war to decorate their tents4 ,charles the ,bold1 for example1 had with him some of his richest treasures1 which became the trophies of his ,swiss conquerors and are now in ,berne4 ,owing to her wars1 the industries of ,france had declined1 and among them her tapestry4 ,flanders now1 particularly under the patronage of the rich and powerful ,dukes of ,burgundy1 enjoyed the greatest prosperity4 ,flanders became the centre of the manufacture of tapestry2 and ,arras1 ,brussels and ,bruges produced works that have never been surpassed4 ,every subject lent itself to reproduction4 ,the inventory of a princely but small collector in #adjf-g mentions3 ,a ,stag in a ,wood1 ,story of ,pyramus and ,thisbe1 ,history of the ,god of ,love1 ,history of ,king ,pepin1 ,hawking1 ,a ,lord and ,lady playing at ,chess1 ,a ,trapped ,hare1 ,monkeys1 ,castles1 ,parrots1 and ,verdures4 ,the latter shows how early the beautiful landscapes were valued4 ,throughout this century the tapestries show charming backgrounds of daisies1 violets1 strawberries1 jessamine1 primroses1 bellflowers and lovely leaves often scattered in artistic disorder4 ,the influence of ,memling and the ,van ,eycks and their school was insistent1 although comparatively few of their pictures were translated into tapestry4 ,one of the pupils of the ,van ,eycks1 ,roger van der ,weyden1 designed many cartoons1 among which were the ,legend of ,trajan and ,story of ,heckenbald for the ,town ,hall of ,brussels4 ,the great impetus to the ,flemish looms was given by the ,dukes of ,burgundy4 ,philip the ,bold 7#achd-adjd7 encouraged the weavers of ,arras by giving orders and large payments in advance4 ,finally1 he owned such a superb collection that he had a special officer1 a garde de la tapisserie1 to take charge of it4 ,philip the ,good 7#adai-adfg7 inherited this taste for beautiful tapestry and gave numerous orders to the tapestry-makers of ,flanders4 ,the inventory of his treasury made in ,dijon in #adbj1 shows that he possessed at the beginning of his reign five chambres of tapestry1 each comprising several pieces1 and more than seventy high warp 8storied0 tapestries to ornament the halls and the chapel4 ,among them was a set of eleven pieces containing portraits of 8the late ,duke ,jehan and ,madame his wife on foot and on horseback10 hawking1 with birds on their wrists and birds flying all around them4 ,the same prince also had3 8,a red room of high-warp tapestry woven with gold1 on which were represented ladies1 pheasants1 persons of distinction and rank1 nobles1 simple folk1 and others1 with a canopy ornamented with falcons40 ,then there was a rich 8chamber10 8with high-warp tapestry of ,arras thread1 called the chambre of the little children1 furnished with the canopy1 head-board1 and coverlet of a bed1 worked with gold and silk1 the head-board and coverlet being strewn with trees1 grasses1 and little children1 and the canopy representing trails of flowering rose-trees on a red background40 ,another set of 8high-warp tapestry1 worked in ,arras thread and gold0 was called 8,the ,chamber of the ,coronation of ,our ,lady40 ,it was furnished with 8a canopy1 a head-board1 a bed coverlet1 and six curtains two of which were worked with gold1 and the remaining four without gold4 ,on each of these were two figures1 the late ,duke ,anthony of ,brabant and his wife and their children1 screened with a small dosser2 the whole was of ,brabant work40 ,in addition to these superb sets1 there were sixty 8saloon tapestries0 in which the hangings woven with gold depicted scenes from famous romances1 stories from ,grecian mythology1 pastoral scenes1 and contemporary events4 ,there were thirty-six dossers1 banquiers and thirty-six hassocks1 and nineteen long-pile carpets4 ,then there were thirteen 8chapel hangings10 with religious subjects1 an altar-cloth 8entirely of gold and silk10 besides high-warp tapestries 8of gold and ,arras thread40 ,philip the ,good was also a collector of embroidery4 ,in his inventory 7#adbj7 are mentioned many 8chambres0 of velvet and silk1 embroidered with gold and silks4 ,more than thirty famous embroiderers were employed regularly at the ,court of ,burgundy4 ,there was no more valuable possession in the ,middle ,ages than tapestry4 ,when ,mary of ,burgundy was married to the ,duke of ,cleves in #adae1 one prized item in her dowry was a 8superb bed of tapestry representing a deer hunt40 ,tapestry was considered one of the most complimentary gifts that could be offered to a royal personage1 or diplomatist2 and when it is remembered that every nobleman of wealth was a collector1 a present of this nature had to be of rare quality and exceptional beauty4 ,the ,dukes of ,burgundy were fond of making gifts from the looms they patronized4 ,for example1 ,philip the ,bold sent several pieces to ,richard ,,ii in #acid and #acie1 and superb sets to the ,dukes of ,lancaster and ,york4 ,john the ,fearless gave the ,earl of ,pembroke1 ambassador of ,henry ,,iv1 three handsome pieces1 and to the ,earl of ,warwick1 ambassador of ,henry ,v1 in #adaf1 8a rich hanging covered with various figures and numerous birds40 ,in #adad1 a 8chambre de tapisserie0 was sent as a present to ,robert1 ,duke of ,albany1 who then governed ,scotland4 ,the weavers of ,lige boasted as high an antiquity as those of ,louvain4 ,the ,chronicle of ,st4 ,trond says that the weavers in #aacc at ,st4 ,trond and ,tongres1 and they were more independent and high-spirited1 or1 to quote more exactly1 8more forward and proud than other artisans40 ,brussels1 which in after years eclipsed both ,paris and ,arras in the manufacture of tapestries1 possessed one corporation only of tapestry-workers 7tapitewevers7 in #acdj4 ,in #addh1 these were reorganized under the name of ,legwerckers ,ambacht 7tapestry-weavers trade71 but there was no great interest in the ,brussels looms until #adff1 when ,philip the ,good1 ,duke of ,burgundy1 bought in that city ,the ,history of ,hannibal in six pieces and a set of eight landscapes4 ,the looms of ,ypres1 ,middelburg1 ,alost1 ,lille1 ,valenciennes1 ,douay and ,oudenarde flourished during the fifteenth century4 ,to this list we must add the fine looms of ,bruges1 established by ,philip the ,good1 which for a time eclipsed all others in ,flanders4 ,after ,bruges supplied this ,duke of ,burgundy with ,the ,history of the ,sacrament and 8two chambers of tapestry0 in #addj1 many commissions were received from foreign countries4 ,the ,medicis and other ,italian families ordered rich sets1 but they supplied their own cartoons by ,andrea ,mantegna1 ,leonardo da ,vinci and other great painters4 ,bruges1 doubtless1 owed no little of its fame as a centre for fine tapestry to the ,flemish artists1 ,memling and the ,van ,eycks and their school who lived there4 ,it is believed that the famous tapestry that found a home in the ,chteau des ,aygalades1 representing the marriage of ,charles ,,viii and ,anne of ,brittany1 under the allegorical figures of ,esther and ,ahasuerus1 was made in ,bruges4 ,the cartoons have been attributed to the school of ,van ,eyck4 ,in #addi-ec1 ,philip ordered from ,tournay ,the ,history of ,gideon and ,the ,story of the ,golden ,fleece in eight pieces4 ,in #adcj1 one ,jean ,hosemant1 a tapestry-weaver of ,tournay1 was in ,avignon and the ,pope's chamberlain1 the ,archbishop of ,narbonne1 ordered him to make 8a tapestried chamber on the hangings of which were to be represented foliage1 trees1 meadows1 rivers and clouds1 as well as birds and quadrupeds40 ,italy also attracted the ,french and ,flemish weavers to learn their secrets1 and they flocked in numbers to ,rome and other cities4 ,their work was in such demand that the ,flemish workers found encouragement everywhere2 and in the fifteenth century they emigrated to ,england1 ,spain1 ,italy and even ,hungary4 ,rinaldo ,boteram of ,brussels was in charge of the workshop in the court of the ,gonzagas in ,mantua1 where ,andrea ,mantegna was employed to design the cartoons4 ,jehan de ,bruges and ,valentin d',arras directed the workshops in ,venice as early as #adba2 ,giacomo d',angelo the ,fleming had charge of the ,marquis d',este's tapestries at ,ferrara with a large number of ,flemish weavers under him4 ,flemish workmen and master workmen were engaged in ,siena1 ,florence1 ,correggio1 ,urbino and also by the ,sforzas in ,milan4 ,a woman was also weaving ,arras at ,todi in #adfh1 one ,giovanna ,francesa1 8maestra di panni de arazzi40 ,at home1 the ,flemings grew ever more and more realistic1 weaving into their woollen pictures types of character1 costumes and scenes with which they were familiar2 and while their technical skill was appreciated in ,italy1 their pictures certainly were not liked4 ,all the orders sent from princely patrons to the looms of the ,low ,countries were accompanied by cartoons1 which became the property of the workshop1 and were repeated again and again as their popularity asserted itself4 ,the ,italians introduced perspective1 clearness of grouping and a dramatic feeling entirely opposed to the ,flemish school4 ,the ,italian cartoons1 particularly those of ,raphael and ,romano1 had a great influence upon the ,flemish tapestries4 ,like all the other industrial arts1 that of the goldsmith flourished under the patronage of the ,dukes of ,burgundy4 ,they spent an enormous amount of money in acquiring fine pieces of gold and silver and richly set jewels for their own treasury and use1 and to give as presents4 ,it was not long before the chief cities in ,burgundy1 ,artois and ,flanders saw the workshops of gold and silversmiths multiply greatly and gain a widespread reputation4 ,these goldsmiths not only produced vases and chalices for the churches and chapels and beautiful articles for the ,duke's dressoirs1 but they particularly excelled in the setting of jewels and in making beautiful pieces of delicately worked gold and silver1 with which the costumes were laden to such an extent that ,martial d',auvergne1 the author of ,arrets d'amour1 says 8on s'harnachoit d'orfvrerie40 ,some of the ,duke's silver is especially described in his inventory1 and among his possessions at the end of the fourteenth century1 we find two silver chandeliers for the chapel4 ,the central bulbs were fluted and they were hung with crystal4 ,on the foot1 the arms of ,france were engraved4 ,there were also three other chandeliers 7these were evidently what we should now rather call candlesticks71 and were carved profusely with big leaves2 and also three candlesticks of silver for the 8fruiterie10 bearing on the base the arms of the ,duke of ,burgundy4 ,the foot of another silver-gilt candlestick was decorated with three dragons2 another candlestick of white silver 7argent blanc7 was decorated with the arms of the ,dowager ,countess of ,hainault4 ,in all probability these were among the candlesticks that ,charles the ,bold took to the ,abbey of ,st4 ,maximin4 ,among the artisans that were patronized by the ,dukes of ,burgundy1 we find the names of ,jehan ,villain1 a goldsmith of ,dijon from #adaa to #adca1 and valet de chambre to ,john the ,fearless and ,philip the ,bold2 ,jehan ,pentin1 goldsmith of ,bruges under ,philip the ,good2 ,corneille de ,bonte1 a celebrated goldsmith of ,ghent2 and ,henry le ,backer of ,brussels and ,grard ,loyet1 both goldsmiths of ,charles the ,bold4 ,the former executed a famous altar group for the ,count of ,charolais 7,charles the ,bold7 in #adef1 consisting of a great cross at the foot of which knelt the ,count and ,countess of ,charolais with ,st4 ,george and ,st4 ,elizabeth4 ,grard ,loyet1 who was goldsmith and valet de chambre to ,charles the ,bold1 made in #adff a statue of gold that the ,duke presented to the ,cathedral of ,st4 ,lambert of ,lige4 ,he also made in the year of ,charles the ,bold's death two silver busts and two statues of that ,duke4 ,the busts1 of natural size1 were made for ,st4 ,adrien de ,grammont and ,st4 ,sebastian of ,brussels and the statues for ,notre ,dame d',ardembourg and ,notre ,dame de ,grce of ,brussels4 ,the latter1 although of silver1 were coloured and were large in size4 ,they represented ,charles kneeling with folded hands dressed in armour with sword at his side and wearing the collar of the ,golden ,fleece4 ,there is very little furniture of the fourteenth and fifteenth century in existence4 ,one of the few good buildings dating from the fourteenth century is the ,guildhouse of the ,tanners 7,toreken7 on the ,rue des ,peignes1 ,ghent4 ,the ,rijks ,museum in ,amsterdam has a copy of the solid oak ceiling of the ,senate ,house at ,sluis1 dating from #acif1 an imitation of the ceiling and chimney of the ,senate ,house at ,zwolle1 built by the architect ,berent in #addg2 and a cast of an ornamental fireplace of the fifteenth century from the ,markiezenhof at ,bergen-op-,zoom4 ,the ,rijks also owns several ,gothic cabinets1 and a large ,gothic cupboard of the fourteenth century from a convent in ,utrecht4 ,the ,museum in the ,steen1 ,antwerp1 contains some good fifteenth century furniture4 ,a few names of wood-carvers of this period have survived4 ,for example1 the ,town ,hall of ,louvain1 the ancient capital of ,brabant1 is a very rich and lovely example of late ,gothic work4 ,it even surpasses the famous ,town ,halls of ,brussels1 ,oudenarde1 ,ghent and ,bruges4 ,this was built by ,matthew de ,layens between #addg and #adfc4 ,it is very rich in statues of local celebrities1 and the supporting corbels are ornamented with almost detached reliefs representing biblical subjects4 ,the models in wood for the stone-cutters were executed after the designs of ,de ,layens1 by ,john ,vander ,eycken1 ,goswin ,van der ,voeren1 ,mathew ,keldermans and ,john ,roelants in #addh4 ,in decorative art1 the ,gothic style is feebly represented by great names that have survived4 ,most of the glorious work that was done by the ,mediaeval carvers has perished1 and the names of its producers have perished with it4 ,two names1 of the period immediately before the ,renaissance1 of men who applied themselves to the composition and engraving of ornaments have survived4 ,le ,matre la ,navette was born at ,zwott2 and was at work about #adge4 ,alart du ,hameel was a native of ,bois-le-,duc2 and lived at the close of the fifteenth century4 ,,chapter ,,iii ,,the ,,renaissance3 ,,part ,i ,dawn of the ,renaissance--,the ,transitional ,period--,coffers and ,bahuts-- ,court of ,margaret of ,austria--,perral's ,style--,margaret's ,tomb by ,perral--,taste of the ,regent--,margaret's ,tapestries1 ,carpets1 ,table-covers and ,cushions--,her ,curios--,flemish ,tapestries--,cartoons by ,bernard ,van ,orley--,william de ,pannemaker--,english ,tapestries--,last ,days of the ,gothic ,style--,guyot de ,beaugrant1 ,lancelot ,blondeel and ,peter ,pourbus--,stalls in the ,groote ,kerk1 ,dordrecht--,carvings in ,haarlem--,invasion of the ,renaissance--,walnut1 the ,favourite ,wood for ,furniture and ,carving--,versatility of the ,artists--the ,fleming as ,emigrant--the ,renaissance in ,burgundy--,hugues ,sambin--,sebastian ,serlio--,peter ,coeck of ,alost--,pupils of ,peter ,coeck--,lambert ,lombard-- ,francis ,floris1 the 8,flemish ,raphael0--the ,craze for ,numismatics-- ,hubert ,goltzius--,cabinets of the ,sixteenth ,century--,italian ,furniture--,characteristic ,features of ,renaissance ,furniture-- ,ornaments3 the ,arabesque1 ,pilaster1 ,cartouche1 ,cuirs1 ,banderole and ,caryatid--,publications of ,decorative ,design--,alaert ,claes1 ,lucas van ,leyden1 ,cornelis ,bos and ,martin van ,heemskerck4 ,as in all other departments of human taste1 thought and activity1 there is no sudden change in ,decorative ,art1 no swift rupture with old traditions4 ,there is a period of transition1 during which one style supplants another almost imperceptibly4 ,even when one great genius arises1 he meets with opposition from the members of the old school2 and it takes years for his ideas finally to triumph4 ,moreover1 periods overlap3 in one district the old style will persist half a century after the new is firmly established in another4 ,again1 even in the same town1 we sometimes find the two streams flowing side by side for some time4 ,this is true of the ,renaissance1 as of all other styles4 ,we even find that a palace within a space of ten years' time might be begun in the ,gothic and completed in the ,renaissance style4 ,when ,charles the ,bold received his deathblow on the field of ,nancy1 a new era was dawning4 ,the arts that had been fostered by the splendid ,dukes of ,burgundy already felt the impetus of a new movement4 ,it was a period of momentous changes4 ,printing had already been invented1 and designs for title-pages alone were to have a tremendous effect on ,decorative ,art4 ,america was shortly to be discovered1 and before long exotic woods were to end the exclusive sway of walnut and oak4 ,above all1 ,italy was to be practically rediscovered by ,western ,europe4 ,although many courts benefited by the fall of ,constantinople1 in #adec1 the luxurious ,italian states received by far the greater number of skilled artisans who brought with them the traditions of ,classic ,art4 ,the maritime republics were1 moreover1 no strangers to the art products of the gorgeous ,east2 and ,venice especially then held almost a monopoly of the ,levant trade1 and distributed ,oriental wares to ,france1 ,germany1 ,england and the ,netherlands4 ,the days of ,feudalism had come to an end3 ,mediaevalism was dead4 ,wars of petty piracy and private spite ended almost simultaneously in ,western ,europe2 wars of national competition in trade and bitter wars of religion were to succeed4 ,in ,england1 the ,wars of the ,roses were extinguished in #adhe3 the last private battle between the retainers of feudal lords was fought in #adhc4 ,in ,france1 ,louis ,,xi1 after the death of ,charles the ,bold1 had reduced his other great vassals to order4 ,in ,spain1 ,ferdinand and ,isabella had expelled the ,moors and married their mad daughter1 ,joanna1 to the heir of the ,burgundian dominions1 the issue of this marriage being ,charles ,v1 who was born at ,ghent in #aejj4 ,in #adid1 ,charles ,,viii had crossed the ,alps2 and in ,italy the ,french were as dazzled by the luxury and magnificence they saw as the ,crusaders had been at ,byzantium four centuries before4 ,on their return1 the ,renaissance in ,france and the ,netherlands may be said to have begun to bloom4 ,before the opening of the sixteenth century1 however1 there was a remarkable activity in all the arts2 and a coming change can be felt4 ,the spirit of the ,gothic and of the ,classic style--,christian and ,pagan-- were already at war4 ,in the ,low ,countries1 this transitional period is noticeable during the last days of the ,house of ,burgundy4 ,simultaneously1 architecture and ornament insensibly underwent modifications1 in which we recognize the earliest ,renaissance1 as it appeared also in ,france under the reign of ,louis ,,xii4 ,building and furniture have already become ,classic in form and general aspect3 the antique column becomes a leading feature of decoration1 although the pilaster1 which offers a convenient flat surface for the carving of arabesques1 is often preferred4 ,these arabesques are particularly characteristic of this transitional period4 ,they consist of rather slender and simple branches1 allowing considerable spaces of the background to appear2 and very frequently they are divided into two symmetrical parts about a strongly accented middle axis4 ,there is little relief and little projection in the composition4 ,the details of ornamentation are taken especially from the floral world2 and1 if human figures or animals are used1 they are attenuated and expressionless1 and play an unimportant rle4 ,figures of this description appear in ,plate ,v that represents a coffer in carved wood in the ,flemish style1 from the ,cluny ,museum1 ,paris4 ,the panel in the centre represents the ,annunciation1 rudely carved4 ,pilasters decorated with leaves separate it from two niches that contain figures boldly but crudely carved4 ,above the ,annunciation is a lock of fine workmanship1 the flap of which bears the figure of the crowned ,virgin1 in high relief4 ,another typical coffer1 or huche1 of ,flemish workmanship of the sixteenth century appears on ,plate ,,vi4 ,here we have three panels separated by caryatides4 ,the subjects of the panels are ,christ on the ,cross1 the ,annunciation1 and the ,adoration of the ,infant ,jesus4 ,the panels are also decorated with the heads of cherubs4 ,another huche1 or bahut1 of the sixteenth century1 of more delicate workmanship1 is shown in ,plate ,,vii4 ,the subject of the central panel is taken from the story of ,david4 ,allegorical figures decorate the pilasters1 and ,mercury and ,cybele fill the niches4 ,this is also from ,cluny and is of ,french work of the sixteenth century4 ,illustration3 ,,plate ,v4--,coffer in ,flemish ,style4 ,,cluny ,,museum1 ,,paris4 ,the ,renaissance was too strong a movement not to carry everything before it2 but it must not be imagined that it met with no opposition4 ,there were people in high places who clung obstinately to the old order of things and resented innovations4 ,gothic art was still supreme under the short rule of ,mary of ,burgundy2 but her daughter ,margaret of ,austria1 ,regent of the ,netherlands1 had to face the new ideas1 and found it hard to reconcile herself with them1 notwithstanding her encouragement of the arts as a whole4 ,she kept a brilliant court1 and she and her husband1 ,philibert of ,savoy1 warmly encouraged genius and talent4 ,she gathered around her more than one hundred and fifty painters1 sculptors1 architects and decorators in all branches of art4 ,on the death of her husband she was inconsolable2 and planned a splendid church in which his and her remains should finally rest side by side4 ,in #aeje1 she intrusted the planning of the work to ,jean ,perral4 ,in an early letter1 he writes to her that he is delighted to undertake the work1 and will take advantage of all he has observed regarding convents in ,italy1 where the most beautiful in all the world are to be found4 ,in another letter1 in #aeji1 we read3 8,jy me suis mis aprs tant pour mon devoir envers nostre ,majest que pour l'amour que je vous doy1 et ay revyr mes pour-traictures1 au moins des choses antiques que j'ay eues s parties d',italie1 pour faire de toutes belles fleurs ung tross bouquet1 dont j'ai monstr le jet au dict ,le ,maire40 ,the ,flemish character of ,peral's early style had undoubtedly made him acceptable to the ,regent4 ,during her residence in ,france1 from #adhc to #adic1 she had then been subjected to no other than ,flemish influence in art4 ,the ,italian taste had not yet reached ,paris4 ,but ,perral crossed the ,alps with ,charles ,,viii in #adie2 ,louis ,,xii went into ,italy in #aejb1 and again in #aeji4 ,we are thus on the threshold of the ,renaissance4 ,perral1 as the above quotation shows1 instead of remaining true to the memories of his ,flemish education1 wanted to seek adventures in the domain of ,italian art4 ,he had the temerity to offer to ,margaret for her tombs a bunch of his trousss bouquets4 ,she was scandalized1 and broke off all relations with the erring artist4 ,she looked around her for an artist who conformed to the principles of ,flemish art1 one who would not be likely to betray national traditions for foreign modes4 ,her choice fell upon a master mason named ,louis van ,beughem to build the great church of ,brou4 ,a member of one of the corporations of ,st4 ,luke1 faithful to ,gothic art1 van ,beughem produced a work that shows that style in its latest development and decadence4 ,he showed so much zeal and ability that ,margaret forced him to take charge of not only the masonry1 but of the woodwork and windows too4 ,with him were associated ,john of ,brussels for the decorative work1 and ,conrad ,meyt for the carving4 ,conrad of ,mechlin was ,margaret's favourite 8image-maker40 ,she paid him the generous salary of five sous a day4 ,she paid her head cook twenty-six4 ,conrad carved the choir-stalls and other woodwork that demanded decorative treatment4 ,he also executed all the great sculptural work on the tombs1 including the life-size figures of ,philibert of ,savoy1 ,margaret's dead spouse1 and herself1 represented both alive and dead1 ,margaret of ,bourbon1 ten children1 a couching lion and many armorial devices4 ,illustration3 ,,plate ,,vi4--,flemish ,coffer or ,huche4 ,,cluny ,,museum1 ,,paris4 ,this instance is interesting as showing that the greatest abilities in that age were applied to the smallest matters of art as well as the greatest4 ,among the objects for which ,conrad was paid in #aeah-ai1 we find two ,hercules in wood1 and two portraits of the princess in wood 7for these he received eight ,philippus in all71 a wooden turret for the ,regent's cabinet and a carved stag's head for her library chimney-piece4 ,margaret's tastes are easily learned from the inventory she drew up with her own hand of her possessions in ,mechlin shortly before her death4 ,she seems to have cared almost exclusively for paintings1 rich embroideries and curios4 ,she made a complete list of her pictures1 many of which were undoubtedly painted to please her by the artists of her ,court4 ,among her embroideries were a great number of handsome ecclesiastical vestments and a few coifs1 belts and gorgets for herself embroidered with gold thread 8 la mode d',espagne40 ,the greater number of her tapestries1 bed-hangings1 cases for cushions1 table-covers and serviettes1 etc41 to adorn the shelves of dressoirs were from ,spain4 ,her tapestries are worth noting4 ,she had two pieces woven of gold1 silver and silk1 representing the history of ,alexander the ,great1 which came from ,spain2 four pieces1 representing the story of ,esther1 also of gold1 silver and silk1 also from ,spain2 three pieces of gold and silk depicting the life of the ,cid2 two of the ,seven ,sacraments1 another of ,alexander2 and four of ,saint ,helena4 ,in addition to these ,spanish tapestries1 she had six pieces called the 8,cit des ,dames10 presented to her by the city of ,tournay when she went there to meet the ,king of ,england4 ,the gift of the ,cit des ,dames may perhaps have made some atonement for her vexation at having to attend that splendid meeting of the ,king and ,emperor4 ,she was very unwilling to go1 and wrote to her father ,maximilian1 on ,september #bb1 #aeac1 as follows3 8,if you think it necessary for me to go and ,i can be of service to you1 ,i am ready to do all that it pleases you to order1 but otherwise1 it is not the part of a widow woman to trotter and visit armies for pleasure40 ,she also owned seventeen rich ,spanish velvet carpets4 ,among her chamber-hangings1 bed-hangings1 and canopies were several articles made of rich cloth of gold1 bordered with crimson and embroidered with the arms and device of the 8late ,king of ,aragon40 ,she had a camp 7or folding7 bed with hangings of cloth of gold richly embroidered with gold thread and silk1 and a canopy for a camp bed covered with cloth of gold and trimmed with a fringe of black silk and gold threads2 and she also owned four large pieces of cloth of gold1 each differently bordered1 to decorate her throne1 and also one of green velvet4 ,she had two curtains of green and grey tafetas1 and four of crimson tafetas1 a number of pieces of cloth of gold1 four hangings for a chamber of green velvet and white damask1 and two palls1 one of white silk embroidered with gold1 and the other gold1 green1 red and white2 and the furnishing of a camp bed with canopy1 counterpane and three curtains of green tafetas lined with black4 ,margaret did not despise leather hangings1 for she had several pieces of 8tapestry of red morocco0 each #d ells long and just as wide1 trimmed with bands of green brightened with gold1 and three other pieces of 8red morocco0 with gilded bands4 ,these probably came from ,spain4 ,illustration3 ,,plate ,,vii4--,huche1 or ,bahut 7,sixteenth ,century74 ,,cluny ,,museum1 ,,paris4 ,a 8pavilion0 of grey and yellow silk threads 8as a protection against the flies10 shows how early the mosquito net was known4 ,we should also note 8packs for mules in the ,spanish style10 covered with cloth of gold and silver4 ,among her table-covers was one of cloth of gold and white with trimmings of crimson velvet embroidered and fringed with gold1 and one of cloth of gold with a crimson satin border4 ,the collection of 8serviettes0 were exquisitely embroidered with gay coloured silks and gold threads4 ,some of them were trimmed with silk borders and some with narrow fringe4 ,one1 for instance1 was embroidered with violet1 and adorned with a violet fringe2 another was embroidered in silver1 blue1 flesh-colour1 crimson and green and had a little fringe of red1 blue and gold4 ,the two dozen beautiful cushions were of cloth of gold with gold tassels2 of gold and blue lozenges2 and embroidered in variously coloured silks4' ,the choice articles in her cabinet included three fine pieces of amber2 a branch of coral in a wooden box2 four other branches of coral2 a piece of coral shaped like a horn2 a little silver box with two coral images2 a little parfumador of silver for scent-balls2 a little ,spanish fan1 beautifully made2 a little gilded ,st4 ,george in a black leather case2 a little agate salt-cellar with a gilded foot2 three spoons--one of mother-of-pearl with a silver handle1 the others of cornelian with handles of chalcedony2 a picture of ,st4 ,mark on canvas2 two ,east ,india boxes2 a pair of ,east ,indian slippers2 a piece of violet silk2 a little retable1 containing an image of ,notre ,dame and ,st4 ,joseph2 another1 with a hawthorn in blossom2 a little paradise with all the apostles represented2 a lacquer box garnished with silver2 a little silver cage2 two tablets of wood framing pictures2 two clocks1 the larger one striking the hours and half hours2 a ,saint ,margaret made in the likeness of ,mlle4 de ,mon-,lambert2 a little crying child painted by a good artist2 the ,emperor's face in black and white2 the little ,duke of ,milan on canvas2 an ,annunciation on canvas2 a ,saint ,anthony made by ,master ,jacques2 a little ivory picture given to ,madame by ,m4 de ,chivres2 the face of the ,duke ,philip2 a silver gilt picture of the ,annunciation with two leaves of porcelain1 portraits of the late ,king ,philip and ,queen ,joanna1 his wife2 a ,notre ,dame in amber2 a beautiful steel mirror2 a ,notre ,dame of alabaster2 a round piece of alabaster in which a lion is cut2 and several sets of chess1 of silver1 silver-gilt1 ivory1 carved wood1 ivory and wood2 a set in jasper wrapped in a flag2 and a set of chalcedony and jasper in an old painted box4 ,she also had two dice-boxes1 one gilt and one ivory4 ,she also owned a good deal of curious needlework2 two steel mirrors1 one framed in silver gilt2 and a netted purse of green and silver1 marked with a unicorn4 ,margaret was by no means peculiar in her liking for sumptuous tapestries4 ,the walls of every palace1 castle and mansion of the day were adorned with rich hangings1 and these products of the ,flemish looms were sought by prince and prelate throughout ,europe4 ,although ,flanders continued to produce the most important sets of tapestry during the sixteenth century1 and cartoons were supplied by the ,flemish artists1 ,bernard van ,orley1 ,michel ,coxie and ,peter of ,campana1 and the ,french artists1 ,primaticcio1 ,matteo del ,nassaro1 ,caron and ,lerambert1 by far the greater number of designs came from ,italy4 ,paul ,veronese1 ,titian1 ,pordenone1 ,salviati1 ,a4 del ,sarto1 ,bronzino1 ,giovanni da ,udine1 ,giulio ,romano and ,raphael are among the most prolific designers2 and in the tapestries after their cartoons1 the grouping and distribution of the figures as well as the colouring 7that requires much more shading7 differ greatly from the works of the past4 ,the borders are also more varied2 instead of being decorated only with fruits and flowers tied with ribbons1 other motives are introduced--birds1 nude children1 fishes1 crustaceans1 vegetables1 emblems1 quivers1 masks1 grotesques1 etc41 etc4 ,most of these fine sets were made in ,brussels to order2 but many tapestries were made there and sold in ,antwerp4 ,if ,brussels was the workshop of ,europe1 ,antwerp was the mart4 ,in this city1 where all kinds of merchandise abounded1 ,guicciardini informs us that more than a thousand foreign merchants had established themselves and exhibited for sale to the eyes of purchasers the fine tapestries made in ,brussels4 ,there was a special place1 8,le ,pand1 halle aux tapisseries1 where many beautiful and marvellous inventions and works were exhibited and sold40 ,regarding the ,brussels tapestries1 the same old traveller tells us3 8,especially admirable and yielding great profit1 is the trade of the tapestry-makers1 who weave1 design and warp pieces in high warp in silk1 gold and silver1 at great expense1 and with an industry that wins everybody's admiration and wonder40 ,during the sixteenth century1 the looms of ,flanders enjoyed great vogue and received orders from all the princes of ,europe4 ,when the merchants of ,florence wished to enrich the ,church of ,st4 ,john with tapestry1 they sent to ,flanders2 when ,francis ,i1 who possessed some magnificent pieces of ,flemish tapestry1 wanted to make a present to the ,pope1 he had twelve scenes from the ,life of ,christ made at ,arras1 from cartoons by ,raphael2 and from #aeah-ci there are many entries in the accounts of the ,treasury of ,france for sums paid for ,flemish tapestries for the ,king4 ,as there was no manufactory for high-warp tapestry in ,france1 ,francis ,i decided to establish one in ,fontainebleau in #aeci1 and gathered there fifteen skilled ,flemish workmen whom he placed under the direction of ,philibert ,babou1 ,sieur de la ,bourdaizire1 and ,sebastian ,serlio1 the ,italian architect4 ,throughout the ,renaissance1 tapestry was regarded on a level with painting4 ,the ,pope1 the ,doges of ,venice and the wealthy families--the ,d',estes1 the ,medicis and ,sforzas--made superb collections and decorated their halls with splendid hangings4 ,the greater number of these were made in ,flanders1 although a few lords--the ,d',estes and ,sforzas1 for example--had looms of their own1 worked by ,flemings4 ,subjects from mythology1 the ,scriptures and martyrology are still popular1 but scenes from the old romances of chivalry are banished4 ,valiant princes and prosperous cities make use of the weaver's art to commemorate their victories and triumphs1 and many gorgeous sets depicting current events are hung in mansions1 villas1 and town halls4 ,antwerp1 for example1 orders ,the ,course of the ,scheldt for her ,town ,hall4 ,flanders also makes such pieces as ,the ,hunts of ,maximilian1 ,battle of ,pavia1 ,victories of the ,duke of ,alva1 ,destruction of the ,armada1 ,the ,deliverance of ,leyden in #aegd1 ,the ,defeat of the ,spaniards by the ,zealanders1 ,genealogy of the ,princes of ,nassau1 etc4 ,brussels produced the famous set of ten1 ,the ,acts of the ,apostles1 ordered by ,leo ,x in #aeae4 ,the cartoons1 for which ,raphael received #ajj ducats each 7#bjj71 were sent to ,peter van ,aelst1 the most noted tapestry-worker in ,flanders4 ,the ,pope paid him #ae1jjj gold ducats 7#cj1jjj7 for the set4 ,peter van ,aelst was varlet de chambre and weaver to ,philippe le ,beau1 in #aejd1 and later to his son1 ,charles ,v4 ,bernard van ,orley1 a pupil of ,raphael1 was associated with him in the production of ,the ,acts of the ,apostles1 which were hung in the ,sistine ,chapel1 ,december #bf1 #aeai4 ,in #aedi1 ,vasari wrote of them3 8,one is astonished at the sight of this series2 its execution is marvellous4 ,one can hardly imagine how it was possible1 with simple threads1 to produce such delicacy in the hair and beards1 and to express the suppleness of flesh4 ,it is a work more ,godlike than human2 the waters1 the animals and the habitations are so perfectly represented that they appear painted with a brush and not woven40 ,another beautiful set1 ,the ,loves of ,vertumnus and ,pomona1 now in ,madrid1 was also made by ,flemish weavers from ,italian cartoons2 and were bought by ,charles ,v in ,antwerp1 before #aedf4 ,bernard van ,orley designed ,the ,grand ,hunts of ,guise1 or of ,maximilian1 formerly attributed to ,drer4 ,in these realistic pictures of costume1 landscape and national types1 there is a return to the ,flemish disregard for perspective and grouping4 ,mention should be made of the famous ,lucas ,months1 long believed to be the work of ,lucas van ,leyden1 but certainly by a ,flemish artist4 ,these were frequently copied at the ,gobelins4 ,in the month 8,january0 a superb sideboard is represented4 ,a very celebrated tapestry-worker1 ,william de ,pannemaker1 was commissioned by ,charles ,v to weave ,the ,conquest of ,tunis1 the cartoons for which were made by ,jan ,vermay1 or ,vermeyen1 of ,beverwyck1 near ,haarlem4 ,although eighty-four workers were employed1 it took five years to complete it4 ,pannemaker also made ,the ,victories of the ,duke of ,alva4 ,what the principal centres of tapestry were1 we learn from an edict of ,charles ,v1 in #aedd1 that says3 8,it is forbidden to manufacture tapestries outside of ,brussels1 ,louvain1 ,antwerp1 ,bruges1 ,oudenarde1 ,alost1 ,enghien1 ,binche1 ,ath1 ,lille1 ,tournay and other free towns1 where the craft is organized and regulated by ordinances40 ,holland also produced tapestry in this century4 ,looms were set up in ,middelburg in #aefb2 and later in ,delft1 where ,franz ,spierinck worked4 ,a little tapestry was produced in ,italy1 but even there the greater number of weavers were ,flemings4 ,two ,flemish tapestry-workers1 ,nicholas and ,john ,karcher1 were employed by the ,duke d',este1 at his court in ,ferrara2 and ,cosmo ,i employed ,nicholas ,karcher and ,john ,rost of ,brussels at his establishment1 the 8,arazzeria ,medicea10 in ,florence4 ,the store-rooms of royalty and nobles in ,england were filled with superb sets that were brought out for decoration on occasions4 ,most of these were imported from the ,continent2 but towards the end of ,henry ,,viii's reign1 ,william ,sheldon orders one ,robert ,hicks to make maps of ,oxford1 ,worcester1 ,gloucester and ,warwick counties at his manor in ,warwickshire1 and calls ,hicks 8the only auteur and beginner of tapestry and arras within this realm40 ,returning now to the consideration of furniture as an architectural accessory1 we find that ,margaret of ,austria's tastes were shared by many of her contemporaries4 ,the ,gothic style lingered here and there far into the sixteenth century1 and even those whose sympathies were frankly in favour of the ,renaissance did not entirely cast away ,gothic traditions4 7,see ,plate ,x47 ,for example1 let the student examine the beautiful choir of ,st4 ,gertrude in ,louvain4 ,the stalls are adorned with statuettes and twenty-eight reliefs of scenes from the lives of ,our ,lord1 of ,st4 ,augustine1 and of the patron saint1 ,gertrude4 ,the ornamentation recalls the last days of the ,gothic style4 ,the work ranks among the finest examples of wood-carving in ,belgium4 ,it was executed by ,mathias de ,waydere1 of ,brussels in #aeej4 ,mechlin was the capital of the ,netherlands while ,margaret was ,regent4 ,her palace1 now the ,palais de ,justice1 shows both the old and new styles4 ,the older parts date from #aejg1 and were built in the late ,gothic style by ,rombout ,keldermans4 ,before the palace was finished1 in #aeag1 a ,french architect1 ,guyot de ,beaugrant1 was associated with ,rombout in the work4 ,this part of the palace is the oldest ,renaissance building in ,belgium4 ,it is somewhat puzzling to reconcile ,margaret's preference for ,gothic art with the fact that her own palace shows a halting between two opinions4 ,it may be that she merely drew the line between civil and ecclesiastical edifices1 and would welcome in a palace1 or town hall1 decorations that she would exclude from a church4 ,oudenarde1 the birthplace of ,margaret's grandniece1 who was also to be ,regent of the ,netherlands1 contains work that marks this transitional period4 ,the doorway of the ,council ,chamber in the ,town ,hall is a splendid piece of ,renaissance wood-carving1 executed by ,paul van ,schelden in #aeca2 and a fine chimney-piece carved in the ,flamboyant style only two years earlier4 ,another late ,gothic chimney-piece1 by his brother ,peter1 is in the ,salle des ,pas ,perdus4 ,guyot de ,beaugrant was the architect who executed the most famous and important monument of this period4 ,this is the chimney-piece of the ,palais de ,justice at ,bruges4 ,of all the productions of this kind that the sixteenth century has bequeathed to us1 and they are numerous1 none is more remarkable1 either for its dimensions or the beauty of the work4 ,its general effect is imposing1 and its masses are distributed with that feeling for effect that reveals the man of genius4 ,the lower part is of black marble with four reliefs in white marble on the frieze1 representing the story of ,susanna and the ,elders4 ,the painter1 ,lancelot ,blondeel of ,bruges1 supplied the designs for the upper part1 which is of carved oak4 ,the statues represent ,charles ,v as ,count of ,flanders1 ,mary of ,burgundy and her spouse1 ,maximilian1 ,ferdinand of ,aragon and ,isabella of ,castile1 all ancestors of ,charles4 ,busts of his parents1 ,philip and ,joanna1 adorn the throne2 and on two small medallions are ,margaret herself and ,launoy the commander at ,pavia4 ,as for the details1 pilaster1 figurines1 bas-reliefs1 shields1 medallions1 trophies of arms1 etc41 everything is of incomparable finish1 and the art of wood-carving has never been so boldly pushed to its uttermost expression4 ,this occupies nearly the entire side of the ,court ,room and was made in memory of the ,battle of ,pavia and the ,peace of ,cambrai1 by which the independence of ,flanders was recognized4 ,this masterpiece was begun in #aebi2 it was completed in #aecj1 the year of ,margaret's death4 ,lancelot ,blondeel1 of ,poperinghe1 was essentially a painter of the transition period4 ,he was a man of most extraordinary gifts1 being at the same time a painter1 sculptor1 mason and engineer4 ,besides painting1 he designed several masterpieces of sculpture in addition to this celebrated ,chemine du ,franc4 ,he was also a wood-engraver1 and made drawings for the glass painters and tapestry-workers4 ,in #aedf1 moreover1 he submitted plans to the magistracy of ,bruges for a canal to connect that city with the sea4 ,he gave his daughter in marriage to ,peter ,pourbus1 the last of the great painters of the school of ,bruges4 ,pourbus was as versatile as his father-in-law1 and was intrusted by the city with the organization of public festivals and rejoicings4 ,he dabbled a little in architecture1 engineering and cartography4 ,works of the early ,renaissance are rarer in ,holland than in ,flanders2 but ,holland possesses one of the most remarkable carvings of the sixteenth century1 the stalls of the ,groote ,kerk in ,dordrecht done by ,jan ,terween ,aertsz1 of ,antwerp1 in #aech-db4 ,four years only were required to carve this great allegory4 ,these stalls1 of magnificent proportions1 are divided into two sections3 one1 at the side of the altar1 consists of thirty stalls in two tiers4 ,this is the most richly treated1 being intended for the clergy4 ,the sides on the passageways are most elaborately carved4 ,the second section is much simpler and has no separate seats4 ,it is intended for the choristers4 ,no work in the ,low ,countries surpasses this4 ,the spectator is first attracted by the superb construction and handsome outlines1 but it is only when the details are examined that the work is fully appreciated4 ,the dazzled eye notes such a profusion of ornamental figures and motives that it would be hard to find their equal4 ,the only carvings in the ,netherlands that can be compared with them are the choir-stalls in the cathedral at ,ypres1 made in #aeih1 but these have not quite the same distinction in execution4 ,the first carvings one notes are the friezes in relief above the seats and under the graceful little columns that adorn the back4 ,the subjects of these bas-reliefs are the ,triumph of ,christ2 the ,triumph of the ,eucharist2 ,scenes from the ,old and ,new ,testament2 the ,triumphal ,procession of ,mutius ,scaevola2 and the ,triumphal ,entry of ,charles ,v in ,dordrecht1 on ,july #ba1 #aedj4 ,the cycle of the ,triumph of ,christ opens with two archangels with trumpets1 announcing the ,king of ,kings2 then follow ,adam and ,eve1 ,noah with the ,ark1 ,moses with the ,tables of the ,law1 ,abraham about to sacrifice ,isaac1 ,david with his harp1 ,jonah1 ,samson with the lion1 ,elias and ,john the ,baptist--all prototypes of ,christ4 ,then come the twelve apostles with palm branches1 and ,christ in a triumphal car1 decorated with dragons' heads and richly ornamented with the symbols of the ,cross and dove1 and drawn by symbols personifying the four ,evangelists4 ,chained to ,christ's car is ,death1 accompanied by the monster ,sin1 swallowed by the colossal open jaws of ,hell1 in which the ,devil is seen riding4 ,lastly1 come ,mary and the four saints1 ,catherine1 ,barbara1 ,lawrence and ,christopher4 ,the ,triumph of the ,eucharist opens with choristers and other children singing1 followed by ,franciscan monks1 nuns1 canons1 deacons1 deans1 the ,fathers of the ,church--,augustine1 ,jerome1 ,ambrose and ,gregory1 then the ,church in a triumphal chariot with the ,holy ,sacrament1 then the ,pope1 cardinals and bishops4 ,the procession of ,mutius ,scaevola is1 of course1 ,roman in character1 and consists1 likewise1 of eight panels4 ,the ,triumph of ,charles ,v resembles in some respects the ,triumph of ,maximilian by ,drer 7,drer visited the ,low ,countries in #aebj74 ,two cavaliers with trumpets open the march and are followed by three others2 then comes a grandee of ,spain with the orb of the ,empire1 his horse led by pages4 ,other grandees follow1 then the imperial train1 guided by allegorical virgins1 and the ,emperor1 seated under a baldaquin in a richly-decorated chariot1 with the palm of peace in his left1 and the sceptre in his right hand4 ,the sword and orb of state lie at his feet4 ,some of the terminal figures on the ends of the stalls are very fine1 particularly ,matthew1 ,luke1 ,david1 ,solomon and ,daniel in the lions' den4 ,the heads and busts that are developed out of the foliage are of exceptional interest4 ,the misricordes 7seats7 are decorated with humorous and ,biblical scenes4 ,the luxuriant foliage that forms no little part of the ornamentation is in the style of the first ,italian ,renaissance and in many places is mingled with musical instruments1 heads1 fruits1 figurines1 children and coats-of-arms4 ,terween is supposed to have been born in ,dordrecht1 in #aeaa4 ,he died in #aeih4 ,for other ,gothic carved work during the early ,renaissance the student may go to the ,groote ,kerk of ,haarlem4 ,this is also especially interesting on account of its transitional features2 for while the magnificent choir-stalls and rood-screen still retain the ,gothic character 7the screen was erected in #aedj by ,diderik ,sybrandszoon1 of ,mechlin1 and bears several municipal coats-of-arms71 the side railings of the inner choir are in the style of the early ,renaissance4 ,a remarkable example of ,mediaeval carved oak1 called the 8,h4 ,geest ,stoel10 is also preserved in this church4 ,the church of ,st4 ,nicolas1 at ,dixmuiden1 also contains a splendid rood-loft carved in the richest ,flamboyant style1 dating from about #aebj4 ,the ,gothic period1 therefore1 practically ended at the close of the fifteenth century4 ,the ,renaissance restored ,greek and ,latin taste4 ,in furniture1 it followed the forms and ornaments of architecture1 as the ,gothic had done2 so that now1 instead of pointed arches with trefoils1 quatrefoils1 or flamboyant tracery1 we have pediments and various ,orders with their columns1 capitals1 arcades and superpositions of colonnades4 ,after the transitional period1 during which the ,decorative ,arts freed themselves from the domination of ecclesiastical influence and acquired individuality of form1 we find a rapid development during the sixteenth century4 ,the ,renaissance quickly passed through its stages of growth in the styles of ,louis ,,xii and ,franois ,i1 and burst into full bloom in the ,henri ,,ii style4 ,before the invasion of the new school1 ,gothic tracery quickly disappears2 and with all the wealth of decoration1 cartouches1 mascarons of gods1 heroes1 nymphs1 etc41 in order to produce the proper effect and the correct massing of details1 it becomes necessary to submit furniture to the rules of ,classic architecture2 and furniture1 therefore1 breaks with all traditions of the past and becomes a special art4 ,new tools1 new methods1 and a new technique are invented4 ,walnut becomes the fashionable wood1 and to follow the taste of the day the ,flemings forsake their much-loved oak4 ,nearly all the great pieces of the ,burgundian school of this period are carved in this wood4 ,after slight hesitation1 ,flanders welcomed the ,renaissance with open arms4 ,like the ,venetian1 the ,fleming was artistic and commercial at the same time1 and thoroughly understood how to turn his talents into profit4 ,he scented a new fashion as soon as it made its appearance1 assimilated it and added a touch or two of his own4 ,the ,renaissance found in ,flanders1 moreover1 as we have seen1 a ground already prepared by the princes of the ,house of ,burgundy4 ,skilful engravers provided the studios with models and designs1 wood-carvers multiplied to embellish the palace and church1 town-halls and guild-houses1 castle of the lord and home of the burgher and merchant4 ,the great artists of the period were extraordinarily versatile3 they were architects1 sculptors1 painters1 glass-painters1 goldsmiths1 designers for furniture and triumphal arches1 machinists1 historians1 engravers1 numismatologists1 and sometimes geographers and poets all at once2 and a talent for art always seemed to run through all the members of one family through several generations1 including both men and women4 ,illustration3 ,,plate ,,viii4--,cabinet 7,sixteenth ,century74 ,they had great intellects that were equal to every conception1 and their skilful hands were capable of the most minute as well as the most important work4 ,if the ,renaissance produced so many original works1 the cause must be sought in the complete education of the masters of this remarkable period4 ,the artists of the ,low ,countries knew how to assimilate in the most complete fashion the artistic principles of other schools2 but although drawing inspiration from foreign sources they knew how to imprint on their creations a particular cachet1 which distinguishes ,flemish work4 ,they used to great advantage the colour of the material1 the exigences of the climate and produced picturesque combinations4 ,the ,fleming was the traveller par excellence of the ,renaissance-- sculptor1 cabinet-maker1 painter1 architect1 potter1 weaver1 goldsmith-- we find him everywhere4 ,he even reaches ,hungary1 ,russia and ,turkey4 ,spain he finds a congenial soil1 and also ,england4 ,although ,burgundy resisted the ,italian invasion for a time1 the ,renaissance was destined to reach1 perhaps1 its most brilliant development1 after ,italy1 in this very province4 ,it is generally conceded that the ,burgundian style owes its character to ,hughes ,sambin1 an architect and master carpenter1 born about the beginning of the sixteenth century4 ,in #aece1 he finished the porch of ,st4 ,michel's in ,dijon1 and in #aegb1 published in ,lyons1 after a period of study in ,michael ,angelo's studio1 a book filled with wood engravings1 and entitled ,oeuvres de la diversit des termes dont on se sert en architecture1 rduit en ordre par ,maistre ,hughes ,sambin1 architecteur en la ville de ,dijon4 ,sambin's most important work is the ,palais de ,justice in ,dijon1 where there is a very beautiful wooden door carved by him1 or under his direction1 and the ,salle des ,procurateurs1 built under ,henri ,,ii1 the ceiling of which is carved wood4 ,sambin's book shows that he was an adept in the ,renaissance style1 and devoted to the study of antique monuments4 ,regarding him1 ,champeaux says3 8,in truth1 it is the taste for caryatides and grotesque figures surrounded by garlands1 and supporting broken pediments that predominate in all his compositions4 ,the result is a certain character of heaviness and bizarrerie that is more conspicuous in the buildings contributed by him than in his furniture1 for the material of the latter1 less cold than stone1 allows more scope to the original fantasy of the artist4 ,the furniture inspired by ,sambin's designs does not exhibit the ponderous grace of the armoires and buffets made in ,paris2 the lines are not traced with the same tasteful harmony2 but it must be recognized that no school equals the vigour and the dramatic expression of the ,burgundian artists of this period4 ,the figures of the caryatides and chimerical animals that support the various parts of their furniture and conceal the uprights1 are animated with a brutal energy that only skilful chisels can create4 ,moreover1 the walnut wood of which they are carved has been clothed with a warm tone that sometimes equals that of ,florentine bronzes40 ,illustration3 ,,plate ,,ix4--,armoire1 ,burgundian ,school4 ,a fine example of the ,burgundian school appears on ,plate ,,ix4 ,this is an armoire showing fine and bold carving with ,renaissance motives4 ,the panels of the lower drawers are carved with grotesque figures1 flanked by pilasters bearing caryatides4 ,the drawers above them are furnished with keyholes4 ,the upper section has a large central panel with a terminal figure in the centre1 the head of which forms a fine ornament between the broken pediment4 ,on either side are terminal figures4 ,this beautiful armoire resembles in form the 8court cupboard0 that was so extensively used in ,england at this period4 ,many of the great artists of the day went to ,italy to study on the spot1 but it would seem that the works of ,sebastian ,serlio were in high repute1 and were closely studied in the ,low ,countries4 ,guicciardini1 who wrote in #aehh1 tells us that 8,peter ,coucq of ,alost was great in cartoons or designs for tapestry2 and has the peculiar praise of first bringing from ,italy the canon of architecture1 and translated into ,flemish the work of ,sebastian ,serlio of ,bologna1 to the great advantage of the ,netherlands40 ,peter ,coeck was born in ,alost in #aejb1 and died in ,brussels in #aeej4 ,he was a devoted follower of ,serlio4 ,he translated his works into ,french and ,flemish1 and engraved all the plates for this publication himself4 ,these were issued in ,antwerp3 parts ,i-,,iii in #aeaf1 part ,,iv in #aeci1 and part ,v was published by his widow in #aeec4 ,coeck was painter to ,charles ,v1 and to his sister1 ,mary of ,austria1 ,queen of ,hungary 7born in ,brussels in #aejc71 to whom ,charles ,v gave the government of the ,low ,countries4 ,in her the arts and sciences found as enthusiastic a patron as they had in her aunt ,margaret of ,austria4 ,just as the latter had had her favourite painters in van ,orley and ,jean ,mostaert1 so she chose ,peter ,coeck for hers4 ,coeck achieved great fame in the remarkable triumphal arches which he designed for the joyous entrance of ,philip ,,ii into ,antwerp4 ,in #aebg1 he was made master of the ,guild of ,st4 ,luke4 ,thierry de ,moelenere intrusted him with the decoration of his rich house in ,antwerp1 in which he displayed his knowledge as architect1 painter and sculptor4 ,some of the caryatides from this house are now preserved in the ,steen ,museum4 ,a superb mantelpiece with three tiers of subjects carved by his hand is in the ,town ,hall of ,antwerp4 ,coeck also executed a window for the ,church of ,notre ,dame in ,antwerp4 ,among his pupils were the painters1 ,pierre ,clays1 ,gilles de la ,hee1 ,nicholas van ,nieucasteel1 surnamed ,nicholas ,lucidel1 and ,pierre ,breugel the ,elder 7who married his daughter74 ,lambert ,lombard 7#aejf-ff71 went to ,italy in #aecg4 ,he returned to ,lige in #aeci4 ,he was a painter1 and more particularly an architect4 ,he set up a school of painting and engraving1 the first of its kind there4 ,three of his pupils brought great honour to his school3 these were ,francis ,floris1 called the 8,flemish ,raphael10 ,william ,key and ,hubert ,goltzius4 ,he worked very little himself beyond designs for engravers1 and more often for paintings on glass4 ,he was rich enough to indulge his taste for objects of antiquity4 ,it was at this date that the study of numismatics came into existence in ,belgium1 and learned men took delight in setting up a cabinet of medals and coins3 among the wealthy it became even a mania that was carried to extremes4 ,lombard's collection1 the beauty of which was praised by all his contemporaries1 was composed of medals1 coins1 carvings1 and other objects of high antiquity4 ,hubert 7or ,hugo7 ,goltius 7or ,goltz71 was a painter1 engraver1 numismatologist and historian4 ,he was born at ,venlo in #aebf and died in #aehc4 ,he studied under ,lambert ,lombard and was also influenced by ,erasmus' friend1 van ,watervliet1 who guided him in his classic studies1 ,greek and ,roman antiquities1 etc4 ,goltius visited all the great towns in ,belgium1 ,holland1 ,germany1 ,france and ,italy1 in order to examine the cabinets of collectors for material for his book on coins4 ,his itinerary reveals an astonishing number of collectors of coins and medals4 ,goltius made the decorations in ,antwerp for the ftes of the ,golden ,fleece4 ,he was also appointed historian to ,philip ,,ii4 ,a marriage coffer of leather1 designed by him1 represented the ,king of ,spain and ,margaret of ,austria standing beside the ,fountain of ,love4 ,the craze for medals1 coins and curios during the sixteenth century was widespread4 ,we have seen that the ,regent had a coffer full of corals and various trifles4 ,to meet the demand for housing curios1 the cabinet was developed4 ,this was usually a double chest1 the upper one smaller than the other4 ,both closed with doors and contained drawers and shelves4 ,like almost all the pieces of furniture called 8cabinets0 of the sixteenth and seventeenth century1 the one reproduced on ,plate ,,viii is in two parts1 the upper being smaller than1 and standing back on the top of1 the lower4 ,it is carved in walnut wood1 enriched with sculptures1 and here and there plaques of marble are set in order to relieve the monotony resulting from the sole use of wood4 ,stone of various colours was largely used at this period1 as an inlay for furniture in the ,netherlands and ,france1 and more especially in ,germany4 ,the principal fault with which the ,flemish artists of the period are reproached is that of 8painting the lily40 ,they frequently are lacking in restraint1 and overcharge their surfaces with riot of ill-combined mouldings and carvings2 but in this specimen we have fine restraint4 ,its structure and general disposition are strong and well-contrived2 the mouldings have a good profile2 the sculpture is in the right place1 and1 at the same time1 is subordinated to the lines whose mission is to contain and quiet it4 ,this piece belongs to the best school of the ,renaissance1 and will hold its own in almost any surroundings4 ,in the lower part of this cabinet1 the two panels that form the doors are carved with the figures of ,diana and ,juno with their attributes4 ,the drawers above are decorated also3 the central one has a lion's head1 to which a ring is suspended1 and the two others have a simple knob4 ,in the panels of the upper doors1 ,paris is presenting the golden apple to ,venus1 whose beauty has outshone that of her rivals4 ,a garland of fruits with a mascaron in the centre is above this1 and the whole is topped by a broken pediment framing an armed ,pallas4 ,if we cast a glance at ,italian furniture1 we shall see that the ,french and ,flemish artists at first frankly copied what they had seen when they accompanied the three expeditions to ,naples4 ,in the sixteenth1 as in the preceding century1 the ,italians were particularly fond of the ,roman triumphal arch and sarcophagus1 as forms for furniture4 ,the ,classic ,orders were in great vogue1 and the arabesque and candelabra-shaped pilasters1 introduced so long ago into decoration1 were renewed and made popular by ,raphael4 ,to the ancient style of marquetry1 composed of little geometrically-cut cubes of natural wood1 there succeeded a marquetry of coloured woods arranged to form actual pictures with perspective4 ,some of the furniture was carved1 and then painted1 or gilded2 but other furniture shows large surfaces that are decorated with beautiful oil paintings4 ,the ,italian furniture was particularly da pompa1 made for the adornment of long galleries1 enriched with paintings1 gildings1 tapestries1 velvets1 damasks1 brocades1 cushions1 curtains1 mirrors1 and sumptuous cassoni4 ,beds1 chairs1 tables1 cabinets1 mirror and picture frames1 standing candelabra1 bellows1 coffers1 chests1 seats and buffets 7credenza71 are of the most luxurious nature2 and the latter display magnificent gold and silver work 7,cellini is busy at this period71 and marvellous examples of faence2 for1 be it remembered1 it is also the period of ,luca della ,robbia and his school4 ,the ,italians cared little or nothing for the large chimney-pieces1 so dear to the northern races in their colder climate2 and the great seats by the fireside have also no attractions4 ,the ,italian has no oak1 nor half-timbered houses with pointed gables without and heavy beams within3 his woods are walnut1 pine and chestnut for ordinary furniture1 and ebony1 cedar and cypress for his luxurious articles4 ,his materials1 like his taste1 are more decorative than practical4 ,such was the taste that invaded the ,low ,countries during the ,renaissance2 much of it brought home by the ,flemish artists who visited ,italy2 and some of it coming into the country by way of ,france1 where ,serlio was the guiding spirit1 ,cellini had settled1 and the school of ,fontainebleau was in full blast4 ,the characteristic feature of ,renaissance furniture consists in the monumental faade that is like a ,roman temple1 and various orders of ,classic architecture are superimposed3 it is ,doric at the base2 ,doric in the centre2 and ,corinthian at the top4 ,the whole is surmounted by a pediment1 the triangle of which is broken in the centre to receive a bust1 vase or statuette4 7,see ,plate ,,viii47 ,the projections stand out boldly and form sharp cornices4 ,in the panels1 in the supports and between the columns1 niches are cut out and framed in an architectural motive of some kind4 ,in them are figures of heroes or classic deities4 ,sometimes also there are round medallions in the form of dormer windows from which curious heads with outstretched necks peer forth4 ,illustration3 ,,plate ,x4--,bedroom1 by ,de ,vries 8,cubiculum40 ,ornate pieces of furniture exhibit a whole world of real or imaginary beings1 mingled with garlands of fruits1 or flowers1 and ribbons4 ,often the figures are fantastically developed out of the leaves and floral branches4 ,the favourite decorative motives are antique columns1 pediments1 broken pediments1 terms1 garlands1 pagan deities1 classical heroes1 caryatides1 grotesque figures1 initial letters smothered in branches of foliage1 cartouches1 pilasters and arabesques4 ,gothic perforations are also used1 although they are more geometrical than during the preceding period4 7,see ,plate ,x47 ,the favourite linen-fold pattern dies very hard4 ,strips of leather called 8cuirs10 variously folded and plaited1 enjoy a great vogue4 7,see panel on ,plates ,,xxi and ,,xx74 ,the encoinon 7see ,figs4 #ag and #ah7 is also popular2 and the 8compartiment0 appears in hundreds of designs4 ,the compartment ceiling is a favourite room decoration1 and is often ornamented with roses1 brackets1 floral designs and monograms4 ,a compartment ceiling of intricate design appears in ,plate ,,xxiv4 ,the arabesque1 which so often forms a central motive1 is usually in the form of a flower stem1 a knot of ribbon or a candelabra1 symmetrically arranged with branches to right and left1 and charged with trophies1 vases1 fantastic beings1 animals1 etc41 at the caprice of the artist4 ,these delicate ornaments flourish in the panels1 mingling with the horn of plenty1 bold sirens1 and medallions of antique heroes in high relief4 ,the arabesque was beautifully treated by many artists1 but the most successful were ,marc ,gerard1 a celebrated painter1 sculptor and architect of ,bruges1 and ,lucas van ,leyden whose style of treating arabesques follows ,albrecht ,drer4 ,examples of ,lucas van ,leyden appear in ,figs4 #aj1 #aa and #ab4 ,the pilaster is a decorative necessity of the upright1 marking the division of the faades1 or accenting the uprights of the chests1 chairs1 dressoirs1 etc4 ,the cartouche 7,italian cartoccio7 scrolled paper1 is generally composed of a frame made of mouldings1 or scrolls1 enclosing a plain1 convex1 or concave space1 of regular or irregular form intended for an inscription1 coat of arms1 cypher1 etc4 ,vredemann de ,vries and ,theodore de ,bry decorate their cartouches with swags of fruits1 which were copied by ,gerrit ,hessels1 a ,dutch engraver whose compositions mark the transition between those artists and ,crispin de ,passe1 ,francouart and the school of ,rubens4 ,one of the peculiar features of the cartouche of the sixteenth century is the use of motives composed of strips of leather twisted1 and variously decorated4 ,vredemann de ,vries calls these 8,compartments0 in his well-known ,multarum variarumque protractionum 7compartimenta vulgus pictorum vocat7 libellus utilissimus1 jam recens delineatus per ,johannem ,vreedemanum1 ,frisium ,gerardus ,judaeus exculpebat 7,antwerp ,,mdlv74 ,this peculiar style of leather ornamentation known as cuirs1 and consisting of strips interlaced in so many forms1 is a much loved decoration of the ,flemish school4 ,a notable collection of cuirs was published by ,jerome ,cock1 the printer-engraver1 in ,antwerp1 his native town4 ,among the favourite decorations is the banderole1 the floating ribbon or streamer which had been much used during the ,middle ,ages4 ,it was used in great variety by many artists during the ,renaissance4 ,the peculiar form of caryatid called gane or terme1 a species of support1 is also extremely popular4 ,it is used by ,peter ,coeck of ,alost1 in most of his compositions2 and by his pupil ,vredemann de ,vries1 who composed a special collection of ,caryatides ou termes4 ,illustration3 ,,plate ,,xi4--,flemish ,bedstead 7#aehj74 ,figs4 #aj-ab3 ,designs by ,,lucas ,,van ,,leyden2 ,figs4 #ac-af3 ,designs by ,a4 ,,claces2 ,figs4 #ag-ah3 ,,coin,,on1 by ,,de ,,vries4 ,in studying the furniture of the early ,renaissance1 the works of the masters of design are most important aids4 ,before #aejj1 as we have seen1 publications of purely decorative design1 and even of architecture as a whole1 are exceedingly scarce4 ,from the opening of the sixteenth century1 however1 such publications rapidly multiply4 ,interior decorators who used the chisel in panel and pillar1 and the contemporary joiners and cabinet-makers decorated their surfaces with details and motives taken from the ,italians1 and from the designs of native goldsmiths1 engravers1 painters and architects4 ,as we have seen1 it was no uncommon thing for one individual to be an adept in all these branches4 ,therefore1 the decorations of the designers of the early ,renaissance have a special interest for us when we want to see what motives supplanted ,gothic tracery1 ,biblical scenes and angels on carved chests1 credences1 armoires1 beds and seats4 ,the first decorative designers who adopted the style of the ,renaissance were ,alaert ,claas1 ,lucas van ,leyden and ,cornelis ,bos4 ,claas 7painter and engraver7 worked in ,utrecht from #aebj to #aeee4 ,lucas van ,leyden 7painter and engraver71 whose family name was ,damesz1 was born in ,leyden in #adid and died in #aecc4 ,cornelis ,bos 7glass painter1 architect and engraver71 was born in ,bois-le-,duc about #aeaj4 ,he worked in ,rome and was famous from #aecj to #aefj4 ,another artist and engraver who belonged to the same school of decorative art was ,martin van ,heemskerck 7#adid-aegd74 ,he worked and died in ,haarlem4 ,a mascaron with typical floral scroll-work dated #aebc1 the work of ,lucas van ,leyden1 appears in ,fig4 #aj4 ,another decorative composition with grotesque sirens and floral scrolls in ,fig4 #aa1 also by the same master1 is dated #aebh4 ,a third and very graceful design of the same date by ,lucas van ,leyden is shown in ,fig4 #ab4 ,decorations for panels1 or other flat surfaces in wood1 stone or goldsmith's work are represented in ,figs4 #ac and #ad and ,figs4 #ae and #af2 these are by ,alaert ,claas 7or ,claasen74 ,,chapter ,,iv ,,the ,,renaissance3 ,,part ,,ii ,second ,period of the ,renaissance--,court of ,mary of ,hungary--,charles ,v a ,fleming--,influence of ,burgundian ,court in ,spain--,gilded ,leather-- ,wealth of the ,nobles in the ,netherlands--,margaret of ,valois at ,namur--,antwerp in the ,sixteenth ,century--,christopher ,plantin-- ,cornelius and ,james ,floris--,jerome ,cock--,hans and ,paul de ,vries-- ,jacques van ,noye--,famous ,designers--,characteristics of the ,second ,period of the ,renaissance--,bedsteads1 ,tables and ,chairs1 ,armoires1 ,cabinets and ,chests--,porcelain1 ,glass and ,glass ,cupboards--,windows and ,glass-painters--,guicciardini on the ,artists of the ,low ,countries--,paul de ,vries--,crispin de ,passe the ,elder--the ,collaerts-- ,wood-carving--,music and ,musical ,instruments4 ,the first half of the sixteenth century in western ,europe was completely filled with the ambitions1 intrigues and wars of three powerful sovereigns--,charles ,v1 ,francis ,i and ,henry ,,viii4 ,each of these was a chivalrous and luxurious monarch1 devoted to the arts1 science and literature4 ,at their courts1 the ,renaissance received every encouragement2 and at their death1 half-way through the century1 the ,renaissance is generally regarded as entering on its second period4 ,henry and ,francis both died in #aedg1 and ,charles in #aeeh4 ,on the death of ,margaret of ,austria in #aecj1 ,charles had intrusted the government of his ,burgundian inheritance to his sister1 ,mary of ,hungary4 ,she was as liberal a patron of the arts as her aunt ,margaret had been4 ,she kept a splendid court1 and was entirely in sympathy with the new school4 ,the artists who were struggling against foreign influence could not look to ,mary for support4 ,the stream of ,flemish pilgrims to ,rome was constantly broadening2 and the ,romanists under her ,regency gained disciples daily in ,brussels1 ,mechlin1 ,lige and ,antwerp4 ,at this period1 the ,low ,countries bowed to no foreign authority in the art domain except the ,italian4 ,it must be borne in mind that ,charles was a prince of the ,house of ,burgundy1 who had been brought up by his aunt1 the daughter of the heiress of ,burgundy1 and the ,emperor of ,austria4 ,he was a ,fleming by birth and training4 ,he was born at ,ghent in #aejj1 and spent the first sixteen years of his life in the ,netherlands4 ,his pride in his natal town is well known4 ,it is recorded in his famous pun--that he could put the whole of ,paris in his ,gant 7glove74 ,spanish influence1 therefore1 did not affect the studios and workshops of the ,flemish hives of industry till late in the century2 for when ,charles went to ,spain1 his train was full of ,flemings1 who influenced ,spanish art2 but we find no return influx of ,spaniards to modify ,flemish art4 ,the splendid traditions of the ,court of ,burgundy still dominated in the ,low ,countries2 and its unbending formality survives in ,spain to-day4 ,when ,philip ,,ii joined his father ,charles ,v in ,brussels in #aedh1 his natural inclination led him readily to adopt the multitudinous equipage and minute and pompous etiquette of his ,burgundian ancestors2 all this he retained and transmitted to his descendants4 ,till the end of the century1 the ,flemish ,renaissance was a domestic development of purely ,italian inspiration4 ,the principal things that the ,netherlands obtained from the ,iberian peninsula were ornamental leather and ,oriental wares1 through ,lisbon4 ,the ,renaissance gave a great impetus to gilded leathers1 the manufacture of which was still flourishing at ,cordova and increasing in the ,netherlands4 ,it would seem that workmen emigrated from ,spain to other countries4 ,tomaso ,gazoni in his ,piazza universale 7#aefj7 writes regarding gilded leather3 8,some people think that the origin of this noble work is due to ,spain1 because from that country come the best masters of modern times who have obtained the greatest renown in this kind of work40 ,a native of ,cordova1 ,ambrosio ,morales1 writing in #aege1 says3 8,this manufacture brings much wealth to the town1 and also gives a fine appearance to its principal streets4 ,in truth1 when these stamped1 painted and gilded leathers are spread out on large tables to dry in the sun they make a beautiful sight1 for the streets are adorned with the greatest splendour and variety40 ,the inventories of the period show us how important was the use of leather4 ,margaret of ,austria has at ,mechlin in #aebg several pieces of 8tapisserie de marroquin10 as we have noted4 ,the gilded leather was often called or bazan and regarded as a mark of opulence4 ,for instance1 ,pierre ,binard1 a tapestry-worker and author of a collection of ,nols1 dedicated to ,marguerite1 wife of ,henri ,,iv1 says in one of his verses3 ,au moins est-elle bien coffe ,de fins rzeaux8 ,et sa couche est-elle estoffe ,de beaux rideaux8 ,son ciel n'est-il pas de brodeure ,tout campan8 ,n'a-t-il pas aussi pour bordeure ,l'or bazan8 ,the nobles vied with royalty in luxury1 and the beautiful tapestries1 furniture1 gold and silver work1 enamels1 etc41 found ready sale4 ,such magnificent homes as the ,counts of ,egmont excited the anger of the populace2 and those of many successful artists and rich merchants were hardly inferior4 ,the clergy did not suffer either4 ,granvelle1 for example1 made ,bishop of ,arras1 and chief adviser to ,philip ,,ii in all the affairs of the ,netherlands1 had a magnificent establishment4 ,his furniture1 tapestry and other personalty amounted to no less than #ej1jjj4 ,contemporary travellers are constantly speaking of the startling splendours they encountered in the ,low ,countries4 ,when ,marguerite of ,valois1 ,queen of ,navarre1 who was certainly used to splendour1 went to ,spa in #aegg1 with the excuse to drink the waters1 but really to intrigue in ,hainault so as to advance the interests of her brother1 the ,duke d',alenon1 in the ,netherlands1 she was received at ,namur by ,don ,juan of ,austria4 ,when this gallant escort1 who rode by her litter1 escorted the ,queen to her lodgings1 she was 8astonished at the magnificence of the apartments40#c ,a superb hall gorgeously furnished led into a series of chambers4 ,the bedroom and bed prepared for the ,queen were hung with superb tapestries1 which1 appropriately enough1 represented the ,battle of ,lepanto4 ,footnote #c3 ,memoirs of ,marguerite de ,valois4 ,antwerp now becomes the centre of commerce1 and the town expressed so much wealth and was so crowded with ships that when the ,ambassador from ,venice1 ,marino ,cavalli1 landed on the ,scheldt1 in #aeea1 he exclaimed in amazement3 8,venice is surpassed60 ,in #aefg1 ,guicciardini wrote3 8,one word alone can define the number of trades exercised in ,antwerp2 it is the word all60 ,in #aefj1 ,antwerp numbered three hundred and sixty painters and sculptors3 artists and decorators flocked thither1 and many new industries were likewise attracted2 for instance1 ,piccol ,passo of ,urbino established a factory for ,italian majolica2 ,amould van ,ort of ,nimeguen1 the celebrated stained-glass maker1 transplanted his workshops2 ,jahn de ,lame of ,cremona1 ,murano glass2 and ,christopher ,plantin of ,tours 7#aead-hi71 his printing-presses1 from which so many books of decorative design were issued4 ,he settled in ,antwerp in #aedi2 but from #aegf to the present day1 the business has been conducted in the house known as the ,muse ,plantin-,moretus1 in the ,march du ,vendredi4 ,plantin's son-in-law ,moretus or ,moerentorf1 succeeded him4 ,in #ahgf1 this house1 with its antique furniture1 pictures1 tapestries and other collections1 was bought by the city of ,antwerp for a ,museum4 ,the greater part of the furniture1 staircases1 mantelpieces1 etc41 date from the seventeenth century2 but despite this fact and many restorations1 this house affords an interesting picture of the dwelling and office of a rich ,fleming of the sixteenth century4 ,the printing offices are untouched1 and two of the rooms are hung with gilt ,spanish leather of the sixteenth century4 ,in the last chapter we brought the masters of ,decorative ,art down to the middle of the sixteenth century4 ,after these came ,cornelius and ,james ,floris1 whose family name was de ,vriendt4 ,the head of the family1 ,cornelius de ,vriendt1 a stone-cutter1 used the name of his grandfather1 ,floris de ,vriendt1 a member of the ,guild des ,quatres-,couronnes in #adgf4 ,cornelius had four sons3 ,john1 a potter1 who settled in ,spain2 ,frans ,floris 7#aeah8-gj71 a painter2 ,james 7#aebd-ha71 a celebrated glass-painter2 and ,cornelius 7#aead-gd71 a sculptor and architect1 who was responsible for the ,antwerp ,town ,hall1 the house of the ,hanseatic ,league1 the tabernacle of ,lan and the rood-loft of the ,cathedral of ,tournay4 ,james was also a skilful engraver1 and was particularly noted for his panels1 or compartments1 which in his day were such favourite designs4 ,his drawings were edited by ,jerome ,cock1 and obtained a great success4 ,jerome ,cock produced a great deal of decorative design in the second half of this century4 ,his figures are graceful and well disposed1 and his draperies and garlands of fruits and flowers are charmingly effective4 ,two of his designs for goldsmiths' work are reproduced on ,plate ,,xix and ,plate ,,xx4 ,cornelius and ,james ,floris developed a new style1 still known in ,flanders as the ,floris style4 ,the school included many able designers whose names still survive1 including that of ,vredemann de ,vries4 ,the ornamentation is principally composed of 8cuirs0 cut into various shapes and rolled1 accompanied by a mixture of figures1 animals1 birds1 flowers and fruits1 all tied together by ornamental motives1 ribbons1 draperies1 etc41 a form of decoration which the ,flemish masters carried to its highest point of perfection4 ,it was the custom of the day for these masters of ornament to supply designs for furniture when 8the newest thing out0 was required4 ,their designs that have survived consist chiefly of grotesques1 cartouches1 8cuirs10 panels1 compartments1 friezes1 trophies1 8pendeloques0 and other goldsmiths' motives4 ,contemporary with ,floris were ,hans ,liefrinck 7#aeaj-hj72 ,cornelis ,matsys 7#aejj-ef72 ,jerome ,cock 7#aeaj-gj72 ,john ,landenspelder 7b4 #aeaa72 ,adrian ,collaert 7b4 #aebj72 ,hans ,collaert 7#aedj-afbb74 ,these all worked at ,antwerp4 ,the most famous designers of the ,renaissance1 however1 were the ,de ,vrieses1 father and son1 ,hans and ,paul4 ,hans ,vredemann de ,vries1 painter1 architect1 sculptor1 designer1 and poet1 was born at ,leeuwarden in ,friesland 7whence his name7 in #aebg4 ,for five years he studied in ,amsterdam in the studio of ,reijnier ,gerritsz1 the painter1 and he studied architecture under ,coeck of ,alost4 ,his pictures are valued highly and are crowded with architectural details4 ,he also studied painting on glass4 ,owing to his special aptitudes and varied knowledge1 as well as the skill with which he treated the different styles of architecture and ornamentation1 he may be said to sum up in himself the great period of the ,flemish ,renaissance4 ,vredemann published a great many collections of designs that are highly valued for the interesting studies they present of the ,flemish ,art of the ,renaissance4 ,his sons1 ,paul and ,solomon1 followed his style4 ,de ,vries was famous for his leather ornamentation 7cuirs7 and his encoinons1 which apply to oval frames and ornament the corners of twelve of his twenty-one oval plates among the fifty composing the collection1 ,variae ,architecturae formae a ,joanne ,vredemanni ,vriesio1 magno artis hujus studiosorum commodo inventae4 7,see ,figs4 #ag and #ah47 ,in his own country1 he was called the king of architects4 ,he may be called the ,dutch ,du ,cerceau4 ,he was contemporary with ,du ,cerceau2 and was apparently greatly influenced by the work of the latter1 or it may be that they both got their inspiration from the same ,italian source4 ,a comparison of the work of the two masters will show individuality in ,de ,vries4 ,his designs are not so light and graceful as the ,frenchman's4 ,besides all kinds of architecture1 gardens1 wells1 fountains1 vases1 armour and decorative work for goldsmiths1 he designed ,differents ,pourtraicts de ,menuiserie savoir1 ,portaux1 ,bancs1 ,tables1 ,escabelles1 ,buffets1 ,frises1 ,corniches1 ,licts de camp1 ,ornements prendre l'essuoir les mains1 ,fontaines laver les mains4 ,this collection of designs appeared about #aehj1 and forms a most valuable record for those who desire to study the style of the early ,renaissance in the ,netherlands4 ,it is noticeable that the change is not so much in the general form of the furniture as in the ornamentation4 ,as an example1 let us take the bedroom 7,plate ,x74 ,this was published in #aehj2 but it evidently belongs to the transitional period1 since the furniture reveals almost as many ,gothic as ,renaissance features4 ,it will be noticed that ,de ,vries expressly styles his design a modern bedroom2 so that it deserves study as the latest novelty about the middle of the sixteenth century4 ,the first thing that strikes one is that though the ornamental details of ,gothic tracery have almost disappeared1 yet the linen-fold in the panelling is everywhere4 ,even the dressoir on the left with its ,classic columns and spiralled caryatides has ,gothic panels2 and the presses between the fireplace and the window have ,gothic panels with a ,renaissance das4 ,the long heavy chests that serve as benches also belong to ,mediaeval days4 ,the massive table looks transitional also4 ,it is also to be noticed that the furniture cannot yet be designated as 8moveables02 it is still an integral part of the carpentry work that lines the walls of the room4 ,the chair beside the bed is the sole note that tones down its severity4 ,at the time the plate was published 7#aehj71 the ,renaissance was in full flower1 and its interest for us lies chiefly in the disposition of the furniture and the evidence it supplies of ,gothic tenacity4 ,the floor is tessellated diagonally with squares of wood or stone4 ,the chimney-piece with its funnel-shaped top is essentially the same as represented in miniatures of the fourteenth and fifteenth centuries4 ,the credence or dressoir is opposite to the door1 the bed1 well protected by woodwork and curtains against draughts1 is close to the fireplace1 and the table in front of the window4 ,a general effect of coldness is noticeable1 due to the almost total lack of upholstery2 but this is doubtless owing to the artist's intent to emphasize the woodwork4 ,though ,de ,vries was the most important designer of furniture in the ,netherlands during the sixteenth century1 he was by no means the only one to influence the taste of the day4 ,there were many architects1 goldsmiths and engravers whose designs contributed to the development of the ,renaissance style4 ,one of these was ,jacques van ,noye4 ,he was employed by ,cardinal ,granvelle1 ,bishop of ,arras1 to embellish the palace in ,besanon1 built by his father1 ,sebastian van ,noye1 also a notable architect4 ,in #aeej1 ,van ,noye became architect of ,philip ,,ii2 and called to ,spain by the ,king1 died in ,madrid4 ,one of his important works was the palace that the ,cardinal erected at ,brussels on the ,coperbeke4 ,other designers in decorative art who lived during the second half of the sixteenth century were ,mark ,geraerts 7#aecj-ij72 ,hendrick van ,schoel2 ,martin de ,vos 7#aeca-afjc72 ,g4 ,tielt 7#aehj-afcj72 ,cornelius ,grapheus 7#aedi-872 ,baltazar ,silvius 7circ4 #aeed72 ,guilhelmus de la ,queweelerie 7circ4 #aefj72 ,peter ,miricenis 7#aebj-ff72 ,hans ,bol 7#aece-ic72 ,abraham de ,bruyn 7#aech-872 ,crispin de ,passe1 the ,elder 7#aecf-872 ,peter van der ,borcht 7#aedj-afjh72 ,peter ,baltens 7#aedj-gi72 ,paul van ,wtanvael 7circ4 #aegj72 ,nicholas de ,bruyn 7#aefj-afce72 ,clement ,perrete 7circ4 #aefi72 ,assuerus van ,londerseel 7b4 #aedh72 ,jerome ,wierix 7b4 #aeea72 ,john ,wierix 7b4 #aeej72 ,john ,sadeler 7#aeej-afaj72 ,raphael ,sadeler 7#aeee-afbh72 gidius ,sadeler 7#aegj-afbi72 ,dominic ,custode 7b4 #aefj72 ,ger4 ,groningus2 ,cornelis ,galle 7#aegj-afda72 ,philip ,galle 7#aecg-afab72 ,theodore ,galle 7b4 #aefj72 ,cornelis ,dankherts 7b4 #aefa72 ,john ,sambuci 7circ4 #aegd72 ,francis ,sweert 7circ4 #afij72 ,jodocus ,hondius 7#aefc-afaa72 ,james ,hannervogt1 and some anonymous engravers4 ,illustration3 ,fig4 #ai3 ,,bed1 by ,j4 ,,straden2 ,figs #bj-bb3 ,,tables1 by ,,de ,,vries2 ,fig4 #bc3 ,,chair ,,and ,,footstool1 by ,,de ,,vries2 ,figs4 #bd-be3 ,,flemish ,,chairs4 ,of the above1 the most prolific were the ,galles4 ,they were particularly rich in frames1 but their ornamentation already shows signs of the ,decadence2 and the work of ,philip alone shows traces of the pure ,renaissance4 ,most of these masters of ornamental design were natives of1 or were attracted to1 ,antwerp2 though some of them travelled far afield4 ,custode worked at ,augsburg2 gidius ,sadeler died at ,prague2 ,geraerts died in ,england2 ,cornelius ,bos worked in ,rome2 and ,crispin de ,passe1 the ,elder1 worked in ,utrecht1 ,amsterdam1 ,cologne1 ,paris and ,london4 ,in the second period of the ,renaissance1 the general effect is more severe and geometrical2 the projections are more restrained1 and the general form of furniture more rectangular4 ,the vertical lines are more conspicuous than the horizontal lines2 and columns with elongated shafts and delicate flutings or grooves replace human figures that in the first period of the ,renaissance act as uprights and supports4 ,the bed on ,plate ,,xiv is a good example of the second period4 ,there is also during the second period a great1 and often elegant1 use of ceramics4 ,some pieces of furniture1 particularly cabinets1 are decorated with incrustations of stones1 amber1 enamelled work and even ,venetian glass4 ,gothic decoration still lingers for a time in the ordinary bedsteads 7see ,plate ,x7 but those of the new fashion show all the popular ornaments of the ,renaissance4 ,caryatides sometimes appear as columns2 and sometimes and ever more frequently as time wears on1 slender pillars cut in the form of balusters1 lances or distaffs1 often grooved1 and more or less decorated with carving4 ,later in the century1 the columns are frequently enveloped in the same material as the hangings1 which become so important that the sculptor and joiner give place to the upholsterer and embroiderer4 ,the beds are so high1 or built so high with mattresses1 that it is impossible to get into them without the aid of bed-steps4 ,a glance at ,plate ,,ii will inform us that the bed of the fifteenth century depends more for its effect upon the curtains and other draperies than on the framework4 ,in the time of the ,renaissance1 we find the bedstead of supreme importance4 ,it is carved in the richest fashion1 and is often enriched with gilding and painting2 it is also adorned with marquetry4 ,the mattresses1 bolsters and pillows are of down or feathers1 the sheets and blankets of finest linen and wool1 for which ,flanders is famous2 and the hangings are of silk1 velvet1 tapestry1 serge1 or gilded leather4 ,the ,renaissance bed is never allowed to stand in an alcove3 it is far too handsome a piece of furniture for that4 ,its canopy1 often richly carved1 is rectangular and exactly the size of the bed1 which is large2 and it is no longer suspended by cords from the ceiling1 but rests on carved or grooved columns4 ,it is usually finished with a projecting cornice1 variously ornamented1 and to this cornice the curtains are attached4 ,in ,fig4 #ai and ,plate ,,xii1 we see exactly how these curtains were hung4 ,these beds1 from engravings by ,j4 ,stradan 7#aegh71 also show us how the curtains were looped up in the daytime1 how the square pillows were placed formally at the foot of the bed1 and the shape of the round bolster4 ,these beds could be completely enclosed by curtains4 ,illustration3 ,,plate ,,xii4--,bedstead1 ,chairs and ,table1 by ,j4 ,stradan4 ,the bed in ,fig4 #ai is interesting as an example of a ,renaissance bed without supporting corner posts4 ,the canopy and curtains are evidently suspended from the ceiling by cords in the old style1 for there is no woodwork visible above the carved head-board4 ,this is very unusual and is doubly interesting as the bed in ,plate ,,xii1 by the same artist1 is massive in form1 and the dome is supported by strong ,classic columns4 ,in the latter design the curtains are looped around the columns and a pillow is placed on the bolster at the back4 ,the canopy is dome-shaped and the top of each column is decorated with a 8pomme10 destined to develop and survive as a decoration for the bedstead4 ,the head-board is quite ornate1 and the bedstead1 like that in ,fig4 #ai1 stands upon a low platform4 ,a similar dome-topped bed appears in the inner room in the background of ,plate ,,xxiv4 ,one of ,de ,vries' designs for a bed is reproduced on ,plate ,,xiii4 ,it has a heavy panelled head-board surmounted by a pediment with pommes2 and the four supporting posts consist of turned caryatides4 ,the bedstead proper that holds the mattress and other bedding is supported independently by vase-shaped legs4 ,the frieze of the canopy is decorated with scroll-work4 ,in this style of bed1 the curtains did not hide the elaborately carved woodwork2 they hung from the cornice and feet inside the outer posts4 ,the hangings could thus be very sumptuous without detracting from the effect of the carved woodwork4 ,plate ,,xiv1 which represents a beautiful bed of this period1 massive and richly carved1 shows the same arrangement of curtains4 ,it should be borne in mind that wherever the framework is richly carved1 curtains were never intended to hide it4 ,this magnificent specimen1 from the ,rijks ,museum1 ,amsterdam1 is of beautiful proportions4 ,the ornamentation is chaste and in perfect harmony1 consisting of carved panels1 cornice and ,corinthian columns4 ,the woodwork is walnut and the hangings are pale blue damask4 ,the ,plantin ,museum in ,antwerp contains an armoire and a bed after the designs of ,de ,vries4 ,another ,de ,vries bed in the now dispersed ,minard of ,ghent collection had a canopy and balusters and the central part was arranged in the form of an armoire with two shutters decorated with low reliefs of religious subjects4 ,upon the upper gallery was a cartouche held by two angels1 and on this cartouche the inscription1 8,vriese inv4 #aefe40 ,illustration3 ,,plate ,,xiii4--,bedstead1 by ,de ,vries4 ,an interesting example of ,renaissance work is the bedstead on ,plate ,,xi4 ,the distaff or lance-shaped columns shoot boldly upward from a floral calix that stands on the head of a mermaid at the foot1 and the head of a merman at the head of the bed4 ,a frame for a dome-shaped canopy is connected with the four posts by a tester4 ,the bedstead is panelled and stands on four large square blocks4 ,in the centre of the headboard is a cartouche for a coat-of-arms2 in the centre of the footboard the head of a cherub is carved4 ,the peculiar characteristic of the decoration of this piece of furniture is that the scrolls are all carved in the shape of the human ear4 ,this is an early example of the genre auriculaire1 which was destined to become popular in ,flanders and ,germany4 ,on this piece of furniture the ear is omnipresent--on the head and foot board1 on the sweeps of the canopy and on the square feet--wriggling1 squirming and unrestful4 ,folding-beds are frequently mentioned in the inventories4 ,margaret of ,austria 7#aebc71 had two wooden camp or folding-beds4 ,the ,flemings were particularly skilful in the production of tables and chairs4 ,we have now come a long distance from the simple board and trestles of the past1 for we find dining-tables1 writing-tables1 bureau-tables1 card-tables1 chair-tables1 bench-tables 7tables banc71 round tables1 square tables1 oval tables1 tables that stand on one foot1 tables that stand on three feet1 and tables of walnut1 oak1 maple1 cedar1 cypress1 marble and even silver4 ,we also find tables of mosaic work and of marquetry and tables beautifully carved and embellished with gold4 ,the drawing-table was much in vogue4 ,it was composed of extra leaves superimposed on lower ones that could be drawn forward so that the top leaves could fall into the space they made and form with the lower leaves1 thus lengthened1 one continuous surface4 ,the mechanism by which these leaves were lengthened and dropped was very intricate and ingenious4 ,jacques ,wecker1 a physician of ,colmar1 in his treatise ,de ,secretis 7,ble1 #aehb71 says3 8,one must not despise the make of these tables that ,i have often seen in ,ghent in ,flanders40 ,the tables designed by ,de ,vries and reproduced in ,figs4 #bj1 #ba and #bb1 are a great advance on the one that appears in his ,cubiculum4 7,plate ,x47 ,the form is much the same as those in ,figs4 #bj and #ba1 but the linenfold has given way to panels and pilasters of pure ,renaissance character and the corner supports of sphinxes and animals and vases have no memory of the ,gothic age4 ,fig4 #bb shows us a table of an entirely different character4 ,it is much lighter and has drawers4 ,with its foot-rails it is well adapted for a dining-table4 ,a much more ornate specimen of this period called a 8fan-shaped table10 78table l'ventail07 is owned by the ,dijon ,museum4 ,it is of ,burgundian workmanship4 ,the support1 which still shows traces of gilding1 is formed of an eagle with outspread wings standing between two winged chimaera with lions' paws1 these paws connected with a straining-rail1 or stretcher4 ,the open-work shelf is ornamented with leaves and a mascaron1 and the two upper and lower straining rails are ornamented with a very clearly defined and handsome decoration4 ,the top of the table is surrounded by a thread of marquetry4 ,folding-tables were also in use2 in ,margaret of ,austria's inventory1 mention is made of 8a little table in the ,spanish fashion which opens and closes40 ,illustration3 ,,plate ,,xiv4--,bedstead4 ,,rijks ,,museum1 ,,amsterdam4 ,chairs are still heavy and carved more or less richly4 ,two typical specimens appear in ,plate ,,xii4 ,as shown in these examples1 the seats and backs were often covered with stamped leather1 velvet1 silk1 or some woollen material and ornamented with tassels4 ,the covers are tacked to the frame by means of large-headed nails that also form part of the decoration4 ,a chair and footstool by ,vredemann de ,vries1 of very characteristic model1 are shown in ,fig4 #bc4 ,the chair is three-cornered1 with a triangular seat1 and the legs are connected with straining-rails4 ,it much resembles the voyeuse of which ,cardinal ,mazarin had several2 and which was again popular in the days of ,louis ,,xvi1 in ,france and elsewhere4 ,it was essentially a chair for a man1 who faced the back and rested his arms on the top rail4 ,a ,flemish chair of the second half of the sixteenth century is reproduced in ,figs4 #bd and #be4 ,this is pure ,renaissance in its simplest and certainly its least elegant form4 ,the legs consist of ,doric columns connected by stretchers close to the ground4 ,the back slants1 and is of somewhat confused carved decoration consisting of a mascaron and ,classic architectural and floral motives4 ,when not built in the panels of the room1 the armoire bears a very close likeness to the large double cabinet with doors1 which is1 as we have seen1 merely a chest-upon-chest1 and which we shall find developing into the great ,dutch kas of the seventeenth century4 ,plate ,,xv shows the great double cabinet1 or armoire1 of the ,renaissance with carved panels1 pillars and caryatides4 ,this stands on ball feet4 ,it is of the same period as the bed represented in ,plate ,,xiv4 ,a magnificent specimen of the late sixteenth century1 now in the ,muse des ,arts ,dcoratifs1 ,paris1 is reproduced in ,plate ,,xviii4 ,this is in two stories and is frankly architectural4 ,the doors of the armoire1 or cabinet1 are decorated to look like windows1 and the niches and pilasters lend their aid in making the front of this piece of furniture look like the faade of a handsome ,renaissance residence4 ,cabinets or armoires designed by ,de ,vries are reproduced in ,plate ,,xix and ,plate ,,xx4 ,as usual1 we have a large choice in central and side supports1 pediments and panels4 ,there is a good variety of mascarons for the cabinet-maker to select from4 ,it will be noticed that the 8cuirs10 so popular with the designers of the period1 enter largely into the decoration of the doors and drawers4 ,spanish influence was now making itself felt4 ,hispano-,flemish carving appears on many a panel and drawer front towards the end of this century4 ,characteristic carving of this style is shown in ,fig4 #bf and ,fig4 #bg4 ,perhaps of all kinds of furniture1 ,flanders excelled in making cabinets4 ,antwerp was especially renowned for them4 ,the cabinet is1 of course1 an object of special luxury1 for the display of little articles of value possessed only by the rich4 ,whether carved or inlaid1 its shelves were lined with crimson velvet1 cloth of gold1 green taffeta1 or beautifully tooled leather2 and very frequently silvered ribbon twined into a kind of geometrical lattice-work into the initials or monogram of the owner of the cabinet was hung behind the glass and supplied with hooks from which jewels1 watches1 pocket-mirrors and other pretty trinkets were suspended4 ,a cabinet collection in the sixteenth century included watches1 jewels1 rings1 bracelets1 necklaces1 pearls from the ,orient1 gold and silver work1 buttons1 perfumed gloves1 costly musk and amber1 scent-bottles1 pomanders on handsome chains1 small scissors1 pocket knives1 pocket mirrors1 coral beads1 rosaries of rock-crystal1 little books1 eau de ,damas1 eau de rose1 eau d'oeillet1 and other delicate essences1 medals1 little pictures1 rare stones1 fans1 etc4 ,illustration3 ,,plate ,,xv4--,armoire4 ,,rijks ,,museum1 ,,amsterdam4 ,french noblemen had such a fancy for collecting ,flemish cabinets that ,henri ,,iv sent ,french workmen to the ,netherlands to learn the art of making these choice pieces of furniture1 and particularly the trick of carving in ebony4 ,on their return1 he established them in the ,louvre4 ,the first was ,laurent ,stabre2 another was ,pierre ,boulle 7uncle of the great ,andr ,charles ,boulle71 supposed to be of ,flemish origin4 ,jean ,mac1 who called himself 8menuisier-bniste de ,blois10 was also given a studio in the ,louvre1 8on account of his long practice of this art in the ,low ,countries1 and the skill he has shown in his cabinet-work in ebony and other woods of various colours that he has presented to the ,regent ,queen40 ,another cabinet-maker who lived in the ,louvre was ,pierre ,golle1 a native of the ,netherlands1 whose name was originally ,goler1 and who left ,holland at ,mazarin's request to settle in ,paris4 ,he made various artistic pieces for the ,dauphin1 the great ,cardinal and other patrons of art4 ,burgundy was also remarkable for its cabinets1 and made a specialty of wall-cabinets that hung at the sides of a room on invisible supports4 ,a famous specimen of ,burgundian work was bought several years ago at the ,soltykoff sale by the ,baron ,sellires1 for no less than #af1ejj francs6 ,it was a large double cabinet1 the two parts of nearly equal dimensions1 both ornately carved with satyrs1 fruits1 garlands1 palms1 ,tritons and ,nereids4 ,the chest is as important as ever4 ,it is found in every room in the house4 ,in it are kept household linen1 clothing and many treasures and gifts4 ,when the top is flat1 in which case the article is still called huche1 it often serves as a seat4 ,although the chest is finely carved in the sixteenth century1 it never attains the sumptuousness nor the delicacy of either dressoir or cabinet2 it always remains a robust piece of furniture4 ,it is decorated with architectural motives1 fantastic arabesques1 panels ornamented with bas-reliefs representing ,biblical or mythological scenes1 allegorical subjects1 pilasters in the form of terms1 and not unfrequently mascarons4 ,sometimes chests are covered with stamped leather and sometimes decorated with marquetry4 ,flemish chests were in great demand in ,france4 ,in an inventory1 we learn that ,marguerite des ,bordes1 ,bordeaux1 had1 in #aehi1 a 8bahut de ,flandres10 barred with iron bands1 two locks and keys2 ,george ,beaunon1 a merchant of ,bordeaux1 had1 in #afjg1 8more than one coffre de ,flandres10 garnished with bands of white iron and three little 8cassettes de boys de ,flandres0 were owned by ,nicholas ,lemerotel of ,st4 ,malo in #afch4 ,illustration3 ,,plate ,,xvi4--,glass ,cupboard1 or ,vitrine1 by ,de ,vries4 ,porcelain as yet was very rare1 though kings and rich nobles had a few pieces of this ware on their shelves4 ,philip ,,ii had quite a respectable collection of ceramics1 and wealthy ,flemings were always fond of foreign and domestic wares of this nature4 ,palissy was at work and his productions were highly prized4 ,the ,netherlands had a brisk trade by sea with ,portugal1 and through ,lisbon considerable quantities of porcelain were finding their way into the cupboards of the wealthy4 ,venetian glass also was highly prized1 so that we are not astonished to find ,de ,vries devoting a good deal of attention to designing vitrines1 or small cupboards with glass fronts1 for the preservation and safe display of glass1 china and earthenware4 ,in many instances1 these were elaborately carved with all the ,renaissance ornamentation4 ,four handsome glass cupboards or vitrines1 designed by ,de ,vries1 are shown in ,plate ,,xvi and ,plate ,,xvii4 ,in the centre of the broken pediments1 we see ,bacchus and ,cupid4 ,the supporting sides consist of ,classic columns1 pilasters or caryatides2 and all the decoration is in harmony with the rest of the furniture of this period4 ,on looking over the pictures by the great artists of the ,netherlands1 we cannot help noticing their delight in painting glass4 ,the play of light and shade1 and direct and reflected rays in flasks1 bottles1 vases1 goblets and wine glasses of varied form strongly appealed to the great masters of genre and still life4 ,the ,flemings of the sixteenth century undoubtedly manufactured much glass for home consumption and export4 ,england took all they and ,germany and ,france could supply4 ,queen ,elizabeth tried to attract glass-blowers to settle in her realm4 ,the first recorded name to accept the invitation is that of ,cornelius de ,launoy4 ,in #aefg1 the ,queen sent to the ,low ,countries for ,jean ,quarr1 a native of ,antwerp1 and other workers in glass1 to establish a factory for making the same kind of glass as existed in ,france4 ,the windows not only of churches but of civic and palatial buildings were beautified with the work of great artists4 ,even in more modest dwellings1 the windows of the hall1 studio1 or living-room were decorated with the coat-of-arms of the owner4 ,designs for painted windows formed by no means an unimportant part of the activities of a great artist2 in fact1 they held the same rank as cartoons for tapestry4 ,in #aefg1 ,guicciardini notes as follows3 8,but it is also proper to mention some eminent artists in encaustic or painting on glass1 inasmuch as this department has also its pretensions to importance2 and ,vasari has observed that the ,flemings have brought it to perfection4 ,for1 not to dwell on the beauty and vivacity of the colours1 they invented the mode of burning them into the glass1 so as to be safe from the corrosion of water1 wind and even time2 which was not the case when they were only tempered with gum and some other mixture4 ,and the ,flemings also invented the manner of making leaden casements4 8,the first eminent painters on glass were ,arnold van ,hordt of ,nymwegen1 and a citizen of ,antwerp1 a great imitator of the ,italian school and the first inventor of the art of burning colours into crystalline glass4 ,theodore ,jacobs ,felaet1 an artist of eminent invention2 ,theodore ,stass of ,campen2 ,john ,ack of ,antwerp1 who executed the windows in ,st4 ,gudule's ,church and the ,chapel of the ,sacrament at ,brussels2 ,cornelis of ,bois-le-,duc4 ,illustration3 ,,plate ,,xvii4--,glass ,cupboard1 or ,vitrine1 by ,de ,vries4 8,there still flourish ,cornelis ,dale1 who1 with singular art1 burns any colours1 not only into glass1 but into crystal1 so that they appear like painting in oil2 and his designs are elegant2 ,jodoc ,vereg1 a skilful artist1 employed by the ,emperor2 ,james ,florence1 all of ,antwerp4 ,john ,stass1 son of the above ,theodore and the heir of his father's talents2 ,john ,zele of ,utrecht4 ,nor in architecture and sculpture have excellent artists been wanting in the ,netherlands4 ,such were ,sebastian ,oje of ,utrecht1 the celebrated architect to ,charles ,v1 and afterwards to ,philip his son4 ,he1 to his great praise1 planned the fortifications of ,hesdin1 ,charlmont1 and ,philipville1 strong towns on the frontiers4 ,william ,keur of ,gouda1 a good architect1 a superior sculptor4 ,among others were ,john ,dale1 a sculptor and poet2 ,lucas van ,leyden1 a celebrated engraver 7#adie-aecc72 ,william of ,antwerp1 a famous architect4 ,there still flourish ,james ,bruck of ,st4 ,omers1 a man of noble birth and an excellent sculptor and architect1 who1 while the ,queen of ,hungary governed the ,netherlands1 planned ,bossu and ,marimont and some grand buildings4 ,john ,bologne of ,douay1 his disciple1 now employed by the ,duke of ,florence4 ,john ,minsheeren of ,ghent1 an excellent architect and sculptor1 whose son ,lucas1 is an eminent painter1 the inventor of many things and excels in poetry2 ,matthew ,mandemaker of ,antwerp1 a famous sculptor1 in the service of the ,king of the ,romans2 ,cornelis ,florence1 brother of ,francis1 an excellent sculptor and architect1 diligent and attentive1 who has the praise of first bringing from ,italy the art of accurately rendering the insides of caves called by the ,italians grotescas4 ,henry ,paschen of ,antwerp1 an excellent architect1 who designed the ,palace and office of the ,hansa towns in ,antwerp1 and was afterwards called to ,london to plan the ,exchange2 ,lambert ,suaf of ,lige1 a good architect and engraver2 ,james ,iongeling of ,antwerp1 an excellent sculptor and statuary1 who lately made those wonderful brass statues of the seven planets and ,bacchus which the magistrates of ,antwerp presented to the ,prince of ,parma2 ,william ,paludan1 brother of the above ,henry1 a great and accurate sculptor1 whose son ,raphael is also of high repute2 ,john ,sart of ,nymegen1 an excellent sculptor1 as are ,simon of ,delft and ,jodoc ,janson of ,amsterdam2 ,george ,robins of ,yperen1 ,theodore ,volcart ,cornhert and ,philip ,galle1 both of ,haarlem1 exquisite engravers40 ,guicciardini continues3 8,the others it would be prolix to enumerate10 and informs us that most of these artists visit ,italy4 8,some return loaded with wealth and honour to their native country10 while 8others go to ,great ,britain and ,germany1 but chiefly to ,denmark1 ,sweden1 ,norway1 ,poland and even ,muscovy1 not to mention those who1 allured by honours and rewards1 visit ,france1 ,spain and ,portugal40 ,the younger ,de ,vries 7,paul71 was born at ,antwerp in #aeed4 ,he designed ,plusieurs menuiseries comme ,portaulx1 ,garderobes1 ,buffets1 ,chalicts1 ,tables1 ,arches1 ,selles1 ,bancs1 ,escabelles1 ,rouleaux pendre1 touailles1 ,casses vertes et beaucoup d'autres ouvrages4 ,the style of furniture shown in the works of the ,de ,vrieses lasted till ,rubens arose4 ,illustration3 ,,plate ,,xviii4--,flemish ,armoire4 ,figs4 #bf-bg3 ,,hispano-,,flemish ,,drawers4 ,crispin de ,passe1 or ,van der ,passe the elder1 was born in ,arnemuiden about #aefj1 and was a pupil of ,dirk ,coornhert 7born in ,amsterdam in #aebb1 died in ,gouda in #aeij74 ,he left a great number of compositions and many remarkable portraits painted in ,germany1 ,france1 and ,england1 as well as in ,holland4 ,a writer1 too1 of considerable merit1 he published many works which he illustrated with his own engravings4 ,in #aehe1 he became a member of the ,guild of ,st4 ,luke of ,antwerp4 ,being such a fine engraver1 it is not astonishing to find that he excelled in niello-work4 ,his composition in this medium1 representing 8,the ,five ,senses10 resembles in its delicacy the lace1 embroidery and incrustations of ivory of the same period4 ,his patterns1 sometimes in relief and sometimes in depression1 sometimes in white and sometimes in black1 are very beautiful4 ,crispin de ,passe had three sons3 ,crispin 7born in ,utrecht in #aehe72 ,william 7#aeij72 and ,simon 7#aeia71 all of whom were excellent engravers4 ,his daughter1 ,madeleine 7born #aehc71 was also a good engraver4 ,among the famous engravers also were the ,collaerts4 ,adrian ,collaert1 born in ,antwerp in #aefj1 was admitted to the ,guild of ,st4 ,luke in #aehj1 and died in #afah4 ,he studied in ,italy and on his return composed and engraved many designs of great merit4 ,his son1 ,hans1 born in ,antwerp1 was also a designer and engraver of note4 ,he worked until #afbb4 ,his son1 ,william1 was a famous engraver4 ,adrian ,collaert's designs for goldsmith's work1 silver plate and all artistic products of that nature had a great vogue1 and worthily represent the decorations of the ,flemish ,renaissance4 ,two of his characteristic designs are reproduced in ,plate ,,xxi and ,plate ,,xxii4 ,wood-carving continued to be one of the glories of ,flemish ,art4 ,sixteenth century pulpits1 bishops' thrones and choir-stalls still exist in many of the old churches4 ,the names of some of the masters of the chisel who executed these beautiful works have been preserved1 and may properly be recalled here4 ,st4 ,martin's ,church at ,ypres contains beautiful stalls carved by ,victor ,taillebert4 ,he received four thousand florins in payment for his work4 ,colyn van ,cameryck made a magnificent marble mantelpiece for the ,kampen ,town ,hall4 ,the work was done between #aedc and #aede4 ,jean van der ,scheldein1 carpenter and sculptor1 made a monumental door in the ,htel de ,ville1 ,oudenarde1 in the ,renaissance style in #aeca4 ,this is ornamented with columns1 a pediment1 figures and rectangular panels adorned with arabesques in the best taste and with masterly execution4 ,peter van ,dulcken carved the beautiful stalls for the chevins1 and the balustraded screen of the ,nimeguen ,town ,hall1 in the second half of the sixteenth century4 ,these are the finest that have escaped destruction except those of the ,kampen ,town ,hall1 which are even more elaborate4 ,illustration3 ,,plate ,,xix4--,cabinet1 or ,armoire1 by ,de ,vries2 ,design for ,goldsmith's ,work1 by ,jerome ,cock4 ,the ,netherlands early enjoyed a reputation for music1 and from about #adej to #aeej the most celebrated 8matres de chapelle0 came from the ,low ,countries4 ,they were engaged in the churches and in the courts of kings and establishments of the nobility in ,france1 ,germany1 ,italy1 ,hungary1 ,denmark and ,spain4 ,guicciardini says they had brought music 8to a state of perfection10 and praises the melodious songs of the men and the skill of the women who played all kinds of instruments4 ,he also pays tribute to their knowledge of harmony and proficiency in composition and says that ,flemish musicians are at the 8,court of every ,christian prince10 and he then gives a list of famous musicians of the ,low ,countries4 ,these are 8,giovanni del ,tintore di ,nivelli1 ,iusquino di ,pres1 ,obrecht ,ockegem1 ,ricciafort1 ,adriano ,willaert1 ,giovanni ,monton1 ,verdelot1 ,gomberto ,lupus ,lupi1 ,cortois ,crequillon1 ,clementi non ,papa and ,cornelio ,canis40 ,to these1 8who are now dead10 he adds the following list of living celebrities3 ,cipriano de ,rove1 ,gian le ,coick1 ,filippo de ,monti1 ,orlando di ,lassus1 ,mancicourt1 ,iusquino ,baston1 ,christiano ,hollando1 ,giaches di ,waet1 ,bonmarche1 ,severino ,cornetto1 ,piero du ,hot1 ,gherardo di ,tornout1 ,huberto ,waelrant1 ,giachetto di ,berckem vicino d',anversa1 ,andrea ,peuermage and ,cornelio ,verdonk and 8many other masters of music who are celebrated throughout the world40 ,this universal love of music is attested by the ,dutch and ,flemish masters4 ,in tavern scenes1 as well as scenes of domestic and social life1 musical instruments are frequently introduced4 ,to catalogue the works of ,jan ,steen1 ,terborch1 ,teniers1 ,metsu1 ,van ,mieris and other painters of the seventeenth century directly inspired by music1 such as musical parties1 harpsichord lessons1 duets1 lute-players1 ladies at the spinet1 etc41 would be quite a task4 ,no home of wealth was complete without musical instruments1 and owing to the exquisite paintings with which the case and top1 both inside and out1 were ornamented1 the clavecin1 harpsichord1 or spinet was frequently the handsomest and costliest piece of furniture in the house4 ,the case and legs were subject to changes in fashion4 ,sometimes the stand is simple with heavy ball feet connected by stretchers1 as shown in ,plate ,,xxiii1 a ,lady ,playing the ,spinet1 by ,j4 ,m4 ,molenaer1 in the ,rijks ,museum1 ,amsterdam4 ,sometimes the instrument stands on baluster legs and arches2 and sometimes case and stand are of lacquer in the prevailing taste for the ,chinese style4 ,the top was always delicately painted1 as shown in the picture just referred to2 and it is interesting to note that in nearly every case where a lady is playing an instrument1 she rests her foot upon a foot-warmer4 ,without being able to see the internal mechanism1 it is difficult to define the precursors of the pianoforte from their outward appearance in the pictures4 ,these instruments were so beautifully decorated that the clavecin-makers of ,antwerp ranked as artists and became members of the ,st4 ,luke's ,guild of that city4 ,they were first enrolled as 8painters and sculptors10 and not as clavecin-makers4 ,according to a pamphlet entitled ,recherches sur les ,facteurs de ,clavecins et les ,luthiers d',anvers1 by the ,chevalier ,lon de ,burbure 7,brussels1 #ahfc71 at the end of the fifteenth and beginning of the sixteenth centuries1 the clavichord was in greater vogue than the clavecin1 and about #aejj the clavecin had been made into the clavichord shape in ,venice and called the spinet4 ,the new form soon travelled to the ,netherlands and superseded the clavichord4 ,illustration3 ,,plate ,,xx4--,cabinet1 or ,armoire1 by ,de ,vries2 ,design for ,goldsmith's ,work1 by ,jerome ,cock4 ,a clavecin-maker named ,josse ,carest or ,joos ,kerrest was admitted to the ,st4 ,luke's ,guild as 8a sculptor and painter of clavichords0 as noted in ,de ,liggeren en andere ,historische ,archieven der ,antwerpsche ,sint ,lucasgilde1 by ,rombouts en van ,lerius 7,antwerp and ,the ,hague1 #ahgb71 and another ,carest had been admitted in #aeai as an apprentice painter of clavecins4 ,in #aeeg1 ,josse ,carest headed a petition of clavecin-makers to be admitted to the ,st4 ,luke's ,guild as clavecin-makers and not as painters and sculptors4 ,they were accepted4 ,their pupils and all who were subsequently admitted had to exhibit 8master-works10 namely3 8clavecins0 that were oblong or with bent sides 7square or grand1 we should call them now7 or to quote directly 8viercante oft gehoecte clavisimbale40 ,these had to be five feet long at least and made in the workshops of master-experts 7two of whom were yearly elected7 and to have the trade mark or device of the maker 8syn eygen marck teecken1 oft wapene40 ,this mark1 known as rose1 rosetta or rosace1 usually made of gilded lead1 was placed in the sound-holes4 ,the most famous clavecin-makers of ,antwerp1 and1 indeed1 of ,the ,netherlands1 were the ,ruckers1 who worked between #aegi and #affg1 or later4 ,the name is variously written4 ,the most celebrated was ,hans ,ruckers1 who was admitted a member of the ,st4 ,luke's ,guild in #aegi as 8,hans ,ruyckers1 clavisinbal makerre40 ,his beautiful instruments were bought in ,france and ,england1 as well as in the ,low ,countries2 and it is thought that ,queen ,elizabeth owned one4 ,in ,england they were called virginals4 ,many of the ,ruckers' instruments are still in existence1 owned by collectors and museums4 ,the ,museum of the ,brussels ,conservatory owns an oblong one1 dated #afaj4 ,this has two keyboards1 one above the other1 and consists of #d octaves1 and white naturals4 ,the ,museum of the ,paris ,conservatory has one of #e octaves1 black naturals1 and bent side1 dated #aeij2 ,the ,muse du ,steen1 ,antwerp1 owns an oblong one dated #afaa2 and ,messrs4 ,chappell and ,co41 of ,london1 have an undated oblong of #d octaves4 ,this stands on an arcade with six balusters and is decorated with fine paintings4 ,a similar instrument on ,plate ,,xxiiia1 by this maker1 is in the ,steinert collection at ,yale ,university1 ,u4,s4,a4 ,it is a double spinet of four octaves4 ,the painting on the lid represents the favourite ,apollo and ,marsyas contest4 ,above1 and below the movable spinet are painted landscapes with children dancing4 ,the little spinet on the left1 which sets into the spinet proper1 is tuned one octave higher than the one on the right4 ,in performing upon both instruments at once1 the smaller instrument is removed and set upon a table4 ,on the jack rails of both spinets may be read3 8,johannes ,ruqvers me fecit40 ,martinus ,vander ,biest entered the ,st4 ,luke's ,guild of ,antwerp in #aeeh as one of the ten clavecin-makers4 ,an oblong clavecin1 made by him in ,antwerp is in the ,museum at ,nuremberg1 and is signed and dated ,martinus ,vander ,biest1 #aehj4 ,illustration3 ,,plate ,,xxi4--,design for ,goldsmith's ,work1 by ,adrian ,collaert4 ,hans ,ruckers the younger1 known as ,jean1 because he used the initials ,j4 ,r4 in his rose1 was also a master in the ,st4 ,luke's ,guild of ,antwerp4 ,he made beautiful instruments from #afag to #afdb4 ,these were of both shapes1 bent side and oblong1 were furnished with one or two keyboards and were sometimes decorated with paintings in ,vernis ,martin4 ,a beautiful example with two keyboards1 #d octaves1 black naturals1 owned by the ,baroness ,james de ,rothschild4 ,the case and top are black and gold lacquer in the ,chinese style1 and the painting inside the top is said to be by ,lancret4 ,it is dated #afcj and inscribed 8,joannes ,ruckers me fecit1 ,antverpiae40 ,another by the same maker1 also in a black and gold case1 is owned by the ,south ,kensington ,museum4 ,this is bent side1 has one keyboard and is dated #afci4 ,the ,museum of the ,paris ,conservatory also owns a bent side clavecin1 made by ,jean ,ruckers1 of two keyboards and #e octaves4 ,this is painted outside by ,teniers and ,brouwer and inside by ,breughel and ,paul ,bril4 ,to him has also been attributed a spinet in the ,cluny ,museum with bent side1 one keyboard1 #d octaves and blackwood case incrusted with ivory4 ,in #afch1 the private secretary of ,charles ,i1 ,sir ,f4 ,windebank1 had a long correspondence with a painter named ,balthazar ,gerbier1 then in ,brussels1 regarding the purchase of a virginal in ,antwerp for the ,king of ,england4 ,gerbier described one made by ,hans ,ruckers for the ,infanta4 ,it had a double keyboard and four stops and was beautifully painted4 ,the picture inside the cover was ,cupid and ,psyche by ,rubens4 ,this instrument was bought for #cj1 but was unsatisfactory on account of insufficient compass4 ,gerbier was asked to exchange it1 but he wrote back that the maker had not another on sale4 ,andries ,ruckers1 another son of the elder ,hans1 was born in #aegi4 ,in #afai1 the ,guild of ,st4 ,luke ordered a clavecin from him4 ,the ,museum of the ,brussels ,conservatory owns one dated #afac1 with one keyboard and four octaves4 ,the ,muse ,archologique of ,bruges owns a bent side one1 dated #afbd1 of #e octaves and #c stops1 and the ,muse du ,steen1 ,antwerp has a bent side one1 undated1 with #c stops and two keyboards1 the lower one #d octaves and the upper #c octaves4 ,in the ,south ,kensington ,museum there is another by ,andries ,ruckers1 said to have been ,handel's4 ,this is dated #afea1 and inscribed ,sic transit ,gloria ,mundi and ,acta ,virum ,probant4 ,on the belly of the instrument1 of the bent side shape1 a concert of monkeys is represented4 ,one monkey is conducting4 ,andries ,ruckers the younger1 born in #afag1 married a daughter of ,dirck de ,vries1 also a clavecin-maker4 ,the ,chteau de ,perceau1 near ,cosn1 owned a bent side clavecin by ,andries the younger1 dated #afee4 ,its case was painted in blue camaeu in the rococo style4 ,this passed to a private collector4 ,christofel ,ruckers was the last important member of this family of clavecin-makers4 ,a beautifully decorated clavecin occurs in the picture of ,the ,young ,scholar and ,his ,sister1 by ,cocx 7,coques7 in the ,cassel ,gallery4 ,the room is decorated with hangings of blue leather1 ornamented with gold1 above which hang pictures in ebony frames4 ,the young man is seated at a table beneath the window and his sister is at the clavecin opposite4 ,the latter is exquisitely painted1 the top showing the story of ,apollo and ,marsyas4 ,illustration3 ,,plate ,,xxii4--,design for ,goldsmith's ,work1 by ,adrian ,collaert4 ,in the latter part of the sixteenth and throughout the seventeenth centuries1 the bass viol was much played in ,england1 ,france and the ,low ,countries and was called the viol da gamba4 ,this instrument frequently appears in the works of the ,dutch masters1 in which not unfrequently ladies are represented playing it1 as1 for example1 in ,jan ,verkolje's 7#afej-ic7 ,musical ,party in the ,rijks ,museum1 ,amsterdam1 where the lady is seated upon a low-backed leather chair with her foot upon a foot-warmer4 ,the instrument is turned from the spectator4 ,the lute1 which so frequently appears in early pictures1 was superseded about #afjj by the theorbo1 or double-necked lute with two sets of strings and two sets of tuning pegs4 ,the theorbo is represented in ,terborch's ,lute-,player in ,the ,cassel ,gallery2 a lute also appears in ,van ,mieris's ,the ,painter and his ,wife in the ,hague ,gallery1 a charming domestic picture1 in which the painter is teasing a puppy and its mother4 ,the lute lies carelessly on the table4 ,brassware contributed very greatly to the brightness and cheerfulness of an apartment during the ,renaissance period as well as during the centuries before and after4 ,the chandelier with its graceful curves appears in many a picture2 and the best art of the day was devoted to the hearth-furnishings4 ,dogs and andirons assumed large proportions and considerable decorative importance4 ,an interesting ,flemish dog of the sixteenth century is represented in ,fig4 #bh4 ,it is similar to those metal andirons on the hearth in ,plate ,,xxiv4 ,besides human and animal figures1 this kind of dinanderie assumed many other forms4 ,other kinds of dinanderie1 consisting of candlesticks of human figures in contemporary costumes are shown in ,fig4 #bi and ,fig4 #cj4 ,,chapter ,v ,,seventeenth ,,century 7,,flemish7 ,renewed ,italian ,influence--,rubens3 his ,studio1 his ,house1 his ,pupils1 his ,influence1 his ,successors--,seventeenth ,century ,woodcarvers-- ,developments and ,tendencies of ,furniture--,crispin ,van ,den ,passe-- ,rembrandt's ,goods and ,chattels--,old ,belgian ,houses--,the ,pitsembourg-- ,kitchens--,leather-hangings--,tapestry- -,marquetry--,chairs--,masters of ,ornamental ,design--,the 8,auricular ,style40 ,just as the seventeenth century was about to dawn1 the ,decadence that had affected ,italy for nearly half a century began to make itself felt in the ,low ,countries4 ,those responsible for it were1 ,michael ,angelo and ,borromeo1 who abandoned the graceful forms of the ,renaissance for disproportionate and exuberant decoration4 ,the ,flemish architects1 artists1 and decorative designers willingly subjected themselves to the ,italian influence again as they had done a century before4 ,rubens undoubtedly had the greatest influence on the art taste of ,europe during the first three-quarters of the seventeenth century4 ,going to ,italy in #afjj1 he spent1 with short breaks1 seven years there4 ,he found that the ,italians had already broken away from the sober lines of the antique1 and with an unrestrained curve were already giving promise of the exaggerations indulged in later by ,borromini1 who1 in line and form1 broke with all the old traditions4 ,rubens was affected by the new vogue2 and1 on his return1 the great ,fleming introduced into his own country the style of architecture and ornamentation still known as the style ,rubens4 ,rubens was too well inspired with the genius of the sublime ,michael ,angelo not to know where to use restraint1 but in the hands of his followers and imitators this style soon degenerated4 ,from breadth and amplitude1 it fell into weakness of form and contour1 and great heaviness in the ornamentation4 ,albert and ,isabella kept a splendid ,archducal court at ,brussels1 and there every form of art was sure of encouragement and support4 ,the palace was an imposing mass1 picturesquely situated in the highest part of the city4 ,a ,french visitor in #afab dwells on the magnificence of the various apartments filled with splendid works of art1 and thronged with courtiers and attendants1 the richness of the equipages and stables1 and the beauty of the park and gardens4 ,when ,rubens visited ,brussels at the ,imperial request1 he immediately found favour4 ,when ,rubens took up his abode in ,antwerp1 he bought a house1 and altered and enlarged it from time to time to suit his tastes or needs4 ,he embellished it in every possible way with his collections of pictures1 busts and archaeological objects4 ,in #afag1 he had the banisters of the chief staircase carved by ,jan van ,mildert4 ,he had very decided ideas on architecture1 and supplied the workmen with his own plans4 ,he was originally attracted to the house because it was built somewhat on the model of the ,italian houses he had so greatly admired4 ,in #afbb1 he published a book on the ,palaces of ,genoa1 and from the preface we learn that he was greatly delighted to see the old style known as 8barbarous0 or 8,gothic0 go out of style and disappear from ,flanders1 8giving place1 to the great honour of the country1 to symmetrical buildings designed by men of better taste1 and conforming to the rules of the ,greek or ,roman antique40 ,illustration3 ,,plate ,,xxiii4--,lady at ,spinet1 by ,j4 ,m4 ,molenaer4 ,,rijks ,,museum1 ,,amsterdam4 ,between the courtyard and his beautiful ,italian garden1 he built a small imitation ,pantheon1 lighted1 like its model1 by a window in the centre of the dome4 ,this he filled with busts1 antique studies1 valuable pictures brought from ,italy1 and other rare and curious objects4 ,these he arranged to his own taste2 and the arrangement of his cabinets1 etc41 served as a model for rich and noble collectors4 ,a picture representing ,rubens's ,drawing-room is in the ,national ,gallery1 ,stockholm4 ,it has been attributed to ,van ,dyck1 but it is now supposed to have been painted by ,cornelis de ,vos about #afbb1 for the elder of the two women in the foreground seems to be a portrait of ,de ,vos's wife1 while the other is ,isabella ,brandt1 ,rubens's first wife4 ,the room is simple but quite elegant in style1 with windows looking out upon a garden4 ,the walls are entirely hung with greenish leather on which the designs--chimaeras and children grouped around vases and pillars--are in gold4 ,the chimney-piece is of black marble supported by red marble pillars1 and the firedogs are brass4 ,on the right is a sideboard of light polished oak1 and opposite a table with a rich ,oriental carpet for a cover4 ,upon the leather chairs are cushions embroidered with flowers4 ,two pictures hang on the walls1 and a third is above the chimney-piece4 ,in the foreground1 there are two ladies engaged in friendly conversation1 while three children are playing with a puppy4 ,the mother of the latter1 a white spaniel marked with red1 anxiously watches this second group4 ,in the sale inventory of ,rubens's house in #agjg there is mention of the gilded leather that decorated one of the sitting-rooms4 ,illustration3 ,,plate ,,xxiiia4--,spinet1 by ,ruckers4 ,,steinert ,,collection1 ,,yale ,,university1 ,u4,s4,a4 ,this interior in general style and arrangement resembles a painting by ,barthol4 van ,bassen1 in the ,rijks ,museum1 ,amsterdam1 reproduced on ,plate ,,xxiv4 ,this represents a large hall or dining-room of the beginning of the seventeenth century4 ,the floor is tessellated or tiled2 and facing the spectator is a monumental chimney-piece supported by columns4 ,two superb andirons are placed in the fireplace1 but the absence of logs and the fireback show that the time is spring or summer4 ,the mantelpiece is surmounted by a niche containing a figure1 and above the broken pediment is a cartouche flanked by reclining figures in the ,renaissance style4 ,on either side of the chimney-piece stands a chair of the new style with square back and square seat4 ,the square seat and back of velvet or stamped leather--it is not clear what the covering is--is put on by means of large brass-headed nails4 ,the heavy legs are connected by stretchers4 ,these chairs are similar to the one on ,plate ,,xxviii2 but in the latter the stretchers are double4 ,on either side of the chimney-piece is a door4 ,one of these is open and shows an inner room containing an upholstered bed4 ,the doors are very decorative with heavy entablatures supported on columns and decorated with swags of drapery on the panels4 ,on the right is a colossal buffet or sideboard1 the pillars being caryatides1 and behind these is a half-hexagon cupboard4 ,busts and vases adorn the top4 ,below is a fine salver1 evidently in the style of ,collaert 7see ,plates ,,xxi and ,,xxii74 ,a very ornate doorway leads into an adjoining apartment2 it is ornamented with caryatides and decorated with elaborate carving4 ,opposite to this is an open portal that seems to be the entrance from the garden1 or courtyard4 ,this door is supported by ,corinthian columns4 ,three large and narrow windows give abundant light4 ,their panes are small4 ,the room is hung with gilt leather and above the moulding are three landscapes in simple frames4 ,a picture--,the ,sacrifice of ,abraham--stands over the sideboard and a landscape over the door on the right4 ,a long1 low bench is placed under the window1 on which a gallant is lounging4 ,the chair occupied by the lady with her back to us is a survival of the one shown in ,fig4 #i1 and also generally resembles those in ,plates ,,xxvi and ,,xlii and ,,xlvi2 a favourite type of chair with the artists of the seventeenth century4 ,the group in the foreground are sitting on stools4 ,the wine-cooler is also worth noting4 ,there are a number of pets in the room--dogs1 cats1 a monkey and a long-tailed parrot over the door4 ,the compartment ceiling--an extraordinary combination of octagons1 hexagons and crosses--should be noticed4 ,although ,rubens did not know it1 ,antwerp received a fatal blow to her prosperity at the very moment he settled there4 ,in the truce with ,holland concluded in #afji1 the ,archduke ,albert neglected to stipulate for the free navigation of the ,scheldt2 this enabled ,amsterdam to develop her own commerce at the expense of her rival4 ,the effects soon appeared4 ,seven years later1 the ,english ambassador1 ,rubens's friend1 describes ,antwerp as 8magna civitas1 magna solitudo1 for in the whole time we spent there ,i could never set my eyes on the whole length of a street upon forty persons at once3 ,i never saw coach nor saw man on horseback4 ,in many places1 grass grows in the streets1 yet the buildings are all kept in reparation 444 splendida paupertas1 fair and miserable40 ,as if in compensation for the loss of her commercial supremacy1 ,antwerp saw the dawn of an art of which ,rubens was the originator and most brilliant representative4 ,the pupils of ,rubens did not confine themselves to painting and ornamental design4 ,they were often practical carvers also4 ,only a month before his death1 ,rubens wrote a testimonial for ,louis ,faydherbe1 stating that this pupil had lived with him for three years and had made great progress in painting and carving1 excelling especially in ivory carving4 ,he therefore exhorts nobles and magistracies to encourage him to settle among them and embellish their dwellings with his works4 ,thus we see how the style ,rubens extended4 ,illustration3 ,,plate ,,xxiv4--,interior1 by ,barthol van ,bassen 7,seventeenth ,century74 ,,rijks ,,museum1 ,,amsterdam4 ,fig4 #bh3 ,,flemish ,,andiron 7,sixteenth ,century72 ,fig4 #bi3 ,,dinanderie1 double ,candlestick2 ,fig4 #cj3 ,,dinanderie1 single ,candlestick4 ,the universality of the style ,rubens in ,western ,europe for half a century is undeniable4 ,this great genius was known and honoured in ,italy3 he was a favourite of the ,king of ,spain and his brother1 the ,viceroy of the ,netherlands2 when he was not painting nor designing something1 he took a rest by going to some foreign court on an embassy4 ,on one of these1 ,charles ,i of ,england knighted him2 ,philip ,,iv made him ,secretary of the ,privy ,council4 ,pupils flocked to him as if his studio in ,antwerp was the ,mecca of art4 ,he had scarcely established himself there when he wrote 7#afaa73 8,on every side ,i am overwhelmed with solicitations3 without the least exaggeration ,i may assure you that ,i have already had to refuse more than a hundred pupils40 ,every kind of decoration and design was subject to his brush4 ,the ,flemish tapestry weavers pestered him for cartoons3 the famous printer1 ,moretus1 must have him design title-pages1 borders and vignettes for the 8,imprimerie ,plantin03 chapel ceilings1 cars for cavalcades and triumphal arches all came alike to him2 ,marie de' ,medici was not satisfied until he had immortalized her in grandiose canvases on the walls of her new palace4 ,one of the ,flemish artists who played a particularly important part in the introduction of the new ,italian style into the ,low ,countries was ,jacques ,franquart 7born in ,brussels in #aegg and died there in #afea71 an architect1 who studied in ,italy4 ,he became the chief architect of the ,archduke ,albert1 and engineer of the ,king of ,spain in the ,netherlands4 ,philip ,,iii made him a knight4 ,among his important works were the ,church of the ,jesuits in ,brussels 7the cornerstone of which was laid by ,albert and ,isabella in #afjf7 and the ,church of the ,grand ,bguinage in ,mechlin 7#afbi-dg74 ,the next name of importance is that of ,artus ,quillyn1 or ,quellin1 born at ,st4 ,trond in #afbe4 ,he studied sculpture with ,artus ,quillyn the elder in ,antwerp1 studied in ,rome and returned to ,antwerp1 where he died in #agjj4 ,the churches of ,antwerp are full of his bold and masterly works4 ,his masterpiece1 the statue of ,god the ,father1 was executed in #afhj for the ,cathedral of ,st4 ,sauveur in ,bruges1 where it still stands4 ,with ,quillyn ranks ,peter ,verbrugghen of ,antwerp4 ,it is generally believed that he carved the fine pulpit at ,st4 ,walburge in ,bruges1 a work unexcelled among the sculpture of the seventeenth century4 ,a kneeling figure representing ,religion supports the pulpit with one hand and holds a cross in the other4 ,her attitude is noble1 gracious and animated1 and her expression admirable and exalted4 ,each corner of the base is ornamented with the figure of an angel in a niche and decorated with four medallions representing the four evangelists whose features are of imposing majesty4 ,the sounding board in the form of a light and graceful shell1 although supported by two cherubim with outstretched wings1 seems suspended in the air4 ,the stairway is flanked by four figures representing ,adoration1 ,eloquence1 ,meditation and ,study2 and the balustrade1 which is beautifully pierced in designs of branches and figures1 is ornamented with figures representing the four elements3 ,earth1 a rabbit chase2 ,air1 hunting the falcon2 ,water1 fishing with a line2 and ,fire1 sacrifice of a material love4 ,it would be impossible to carve oak more elaborately and boldly4 ,this work was restored in #ahde by two ,bruges artists1 ,van ,wedeveldt and ,p4 ,buyck4 ,the ,flemish wood-carver had still plenty of work to do in the churches2 but in domestic furniture the lathe was making his services more and more unnecessary on bars and uprights2 and the increasing craze for marquetry and the invasion of lacquer and japanned wares left him comparatively little to do4 ,much beautiful carved work of the seventeenth century survives4 ,vilvorde ,church has thirty-six upper and thirty-two lower oak stalls carved originally in #affc for the priory of ,groenendael2 this is a magnificent specimen of the carver's art4 ,there is also lovely woodcarving of the middle of the century in ,st4 ,michael's1 ,louvain4 ,the ,church of ,st4 ,walburge1 ,furnes1 is also rich in carved oak4 ,on the pulpit is a figure of ,st4 ,john writing the ,apocalypse2 the upper part is supported by two palms1 and a rock with an eagle4 ,the choir stalls are particularly fine4 ,the ,ostend parish church has a fine pulpit carved in #afgd4 ,the ,church of ,st4 ,anne in ,bruges is rich in carved work of this period4 ,the choir stalls of oak were splendidly carved in the ,renaissance style by ,jean ,schockaert and ,fr4 ,schaepelinck in #affd4 ,the oak organ case was carved in #afhe by ,jacques ,vanden ,eynde1 who was also the organist at ,ypres4 ,fine bas-reliefs in the nave were executed by ,martin ,moenaert in #afgc and the ornate confessionals by ,jan de ,sangher in #afii4 ,there is also a handsome communion bench made by an unknown carver in #afgj1 which is decorated with the busts of the four ,evangelists and four ,doctors of the ,church with bas-relief panels of the ,virgin1 ,joseph1 ,st4 ,anne1 ,st4 ,joachim1 the ,pascal ,lamb and the ,eucharist ornamented with bunches of grapes and garlands of wheat4 ,carving was by no means confined to the churches3 those who could afford it still beautified the furniture of castle and hall with the work of the chisel4 ,chests or bahuts1 cabinets1 armoires1 tables1 chairs and the old 8sideboards10 known in ,england in ,jacobean days as 8court cupboards10 and in ,flanders as credences or 8buffet deux corps10 were as highly ornamented with carving in the late ,renaissance style as they were with ,gothic ornament during the fifteenth century4 ,during the ,louis ,,xiii period1 the more important pieces of furniture usually assumed the forms and lines of ,classic architecture4 ,a typical bahut of this period 7see ,plate ,,lvii71 owes its interest chiefly to its architectural decorations4 ,the fluted columns1 though somewhat squat1 which adorn the divisions of the front1 produce a pleasing effect2 the mouldings are strongly accented and their ornamentations are bold and in fine style4 ,one can easily understand that this chest would not be out of place in any late ,renaissance apartment1 but would contribute to the decorative effect of the whole4 ,the two side niches representing the two virtues contain statuettes--,prudence and ,strength4 ,the central panel tells the story of ,judith and ,holofernes with a directness and simplicity worthy of a ,botticelli4 ,the two-storied buffet 7buffet deux corps7 frequently received similar treatment1 totally at variance with the handsome one reproduced in ,plate ,,xliii4 ,a splendid example decorated with the arms of ,ypres1 ,ghent1 ,bruges and ,franc1 is preserved in the ,ypres ,museum4 ,this was the work of ,jan van de ,velde1 who carved it in #afdd1 and received #afb florins for his trouble4 ,the bench 7banc71 often forms part of the woodwork of the wall of a hall in ,flanders in the seventeenth century4 ,it was frequently placed between the windows and made luxurious with cushions4 ,movable benches were often used4 ,in these the backs turned on an axis and were most convenient1 as the occupant could arrange the seat in any position he pleased4 ,the benches in ,de ,vries's 8,cubiculum0 7,plate ,x71 should be compared with the bench against the wall in ,plate ,,xxxviii in studying the development of the banc4 ,the high banc1 or settle1 in this picture is interesting on account of its simplicity4 ,the general tendency of furniture was a gradual breaking away from immovables1 a development from monumental solidity into grace and lightness4 ,the heavy tables of ,de ,vries are cut away1 and return in general form to the original board and trestles4 ,a glance at ,fig4 #h will show that the workman had only to connect the struts of the trestles in the centre of the table in order to produce a rough model of the richly carved tables in vogue from the period of ,henri ,,ii to that of ,louis ,,xiv4 ,the box form of support1 therefore1 in this style of table gives way to what we may regard as two trestles connected in the middle by an upright board4 ,these1 as well as the edge of the table top1 are embellished by beautiful carving4 ,the trestles now consist of eagles1 lions1 chimaeras1 mermaids1 satyrs and other human and animal figures2 and the central connexion is pierced1 balustraded1 columned and treated in a thousand different ways4 ,in the seventeenth century1 lightness was carried a step further1 and the favourite table is simply supported by four turned legs with heavy bulb feet1 the legs have connecting rails close to the floor and usually have one or more heavy globular swellings4 ,in ,england during the ,tudor and ,jacobean periods1 this heavy form was known as the drawing-table4 ,it occurs in numberless interiors by ,dutch and ,flemish masters4 ,the desire for greater lightness1 however1 made itself increasingly felt2 and early in the seventeenth century we find legs turned in plain spirals1 or with beading4 ,chair frames naturally corresponded with table legs4 ,though the masters of ,decorative ,art were constantly increasing in numbers1 it was three-quarters of a century after the appearance of the furniture designs by ,de ,vries before another important work of the same nature was published4 ,this was by another ,dutchman4 ,in #afdb1 ,crispin van den ,passe published at ,amsterdam his 8,boutique ,menuiserie dans laquelle sont comprins les plus notables fondaments non moins arichesse avecq des nouvelles inventions40 ,of his life little is known1 except that he was the son of the great engraver of the same name and was born in ,utrecht in #aehe4 ,his ,boutique ,menuiserie contains a series of plates of furniture4 ,it is extremely rare today1 but was doubtless in every cabinet-maker's shop of the period4 ,the furniture1 it will be noticed1 is 8new40 ,the book was published two years after the death of ,rubens1 while the style ,rubens was still in its glory4 ,from a study of these plates1 together with the engravings of ,abraham ,bosse1 we can obtain a clear vision of an interior1 either ,flemish or ,french1 during the reign of ,louis ,,xiii1 for ,crispin's furniture designs were as well known to ,french as to ,flemish workmen4 ,three of his chairs1 two of them folding1 are reproduced in ,figs4 #ca1 #cb1 and #cc2 ,fig4 #cd also shows a small table by him4 ,we have already caught a glimpse of ,rubens's home in ,antwerp2 and now we cannot do better than look at the interior of the other great master in ,amsterdam4 ,when that city passed through a great financial crisis in #afec1 ,rembrandt suffered in company with his fellow-citizens4 ,he had been living like a lord in a splendid dwelling sumptuously furnished and decorated1 and surrounded by a multitude of objects of art which he loved to collect--armour1 robes1 busts1 ceramics1 engravings1 and famous pictures by ,italian and native artists1 as well as his own productions4 ,to satisfy his creditors1 these all came to the hammer in #afef4 ,the inventory gives us a good idea of his home4 ,in the vestibule1 there were four ,spanish chairs covered with ,russia leather1 four ,spanish chairs with black seats1 and one low form of pinewood4 ,the ,antechamber contained an ebony-framed mirror and an ebony stand1 a marble basin1 a walnut table with a ,tournay cover1 and seven ,spanish chairs covered with green velvet4 ,the 8,room behind the ,antechamber0 was furnished with a gilded frame1 a small oak table1 four common chairs1 a copper cauldron1 and a portmanteau4 ,in the 8,hall10 there were six chairs with blue seats1 a large mirror1 an oak table1 with an embroidered tablecloth1 a bed with blue hangings1 two pillows and two covers1 a matted chair1 a set of fire-irons1 and a 8sacerdan0 wood press1 and a 8sacerdan0 small kas with doors4 ,the 8,art ,cabinet0 contained three ,east ,india cups1 one ,east ,india powder box1 one ,east ,india 8jatte0 with a little ,chinaman1 one ,east ,india workbox1 two porcelain 8casoars10 two porcelain figurines1 one ,japanese casque1 plaster casts1 copper and pewter1 globes1 and seventy natural history specimens4 ,on the floor at the back were a great quantity of shells1 marine plants and other curiosities1 statues1 arms1 armour1 etc4 ,here also were many portfolios filled with choice engravings1 etchings and drawings1 besides one old chest1 four chairs with black leather seats1 and one pine table4 ,in the 8,small ,studio10 there are musical instruments and armour 7#aai pieces71 and a great number of casts of hands1 arms and heads from nature1 and many various kinds of woven materials4 ,the 8,large ,studio0 has in it twenty pieces--halberds1 swords1 and ,indian fans1 costumes of an ,indian man and woman1 cuirasses and trumpets4 ,the 8,studio ,entry0 is decorated with the skins of a lion and lioness1 and other furs4 ,a bedstead stands in the 8,little ,room40 ,the 8,small ,kitchen0 is furnished with a little table1 a larder1 some old chairs1 two cushioned chairs1 some pots and pans1 and a tin waterpot4 ,nine white plates and two earthen plates decorate the 8,corridor40 ,rembrandt owned a good deal of linen2 and most of the rooms contained pictures4 ,no one looking at ,rembrandt's own pictures can fail to appreciate his fondness for dressing himself and his models in feathers1 armour and fantastic costumes1 which1 as we have seen1 he kept as properties in his ,studio4 ,rembrandt resided in the ,jewish quarter in ,amsterdam from #afdj to #afef4 ,his house1 ,jodenbre ,straat1 ,no4 #d1 next door but one to the bridge1 is marked by a simple memorial tablet4 ,illustration3 ,,plate ,,xxv4--,panelled ,bedstead4 ,,rijks ,,museum1 ,,amsterdam4 ,we can form a very clear idea of the general appearance of a street of the ,renaissance period from many old houses that still stand in ,belgium and ,holland4 ,the interiors in some cases we can also reconstruct by the aid of inventories4 ,mechlin is particularly rich in buildings of the sixteenth century4 ,the ,mont de ,pit1 once the home of ,canon ,busleyden1 is a ,gothic building of #aejg1 restored in #ahfd2 on the ,quay au ,sel1 there are several old timber-houses1 the ,salm ,inn1 with a ,renaissance faade of #aecj-cd1 and a house in the ,franco-,flemish style1 very rich in detail4 ,there is also an interesting timber-house in the ,quay aux ,avoines4 ,bruges and ,ypres contain several houses of the seventeenth century2 ,ghent has two private houses on the ,quai de la ,grue 7one of which is named the ,vliegenden ,hert72 and ,antwerp1 several ,guildhouses4 ,holland is richer in houses and buildings of this century4 ,in ,amsterdam1 the royal palace--the ,dam--was built in #afdh as a ,town ,hall by ,jacob van ,kampen2 the house of ,admiral de ,ruyter may be seen on the ,prins-,hendrik-,kade1 and the house of ,baron ,six in the ,heerengracht1 and on the ,heerengracht and ,keizersgracht are many houses of the seventeenth century4 ,there are also a number of seventeenth century houses of great interest to the student of architecture in ,alkmaar4 ,the ,stadhuis1 in ,enkhuisen1 dates from #afhh2 ,sneek has a water-tower of #afae1 which was restored in #ahgh2 ,zwolle has a guard-house of #afad2 and the police-office of ,deventer is a ,renaissance structure of #afcb4 ,several brick buildings of the seventeenth century still stand in the ,zaadmarkt and ,groenmarkt of ,zutphen2 there are several houses in ,bommel of this period1 including the famous house of ,maarten van ,rossum1 now a district court2 and the weigh-house and meat market of ,gouda date from #affh and #afia4 ,the doors and interior woodwork of these houses in many cases are precious records of the skill of the ,dutch and ,flemish wood-carvers of the period4 ,one of the most famous houses in ,mechlin in the second half of the seventeenth century was a commandery called the ,pitsembourg2 and it was selected in #affh as the most suitable residence for the ,high ,constable of ,castile and ,leon4 ,an inventory of the furnishings of this establishment was taken in #afef1 which enables us to go through the house4 ,the first room that we enter is called de ,trappenye1 and was used as an office4 ,here we find a picture representing the ,birth of ,christ and two pieces of sculpture--,the ,offering and ,the ,three ,kings1 standing on two pedestals that bear the arms of ,cratz 7,cratz was commander of the ,house of ,mechlin from #aefd to #afjd74 ,in this room are two large cases-- one with twenty and the other with ten drawers1 one lettered1 and the other numbered--to preserve papers1 documents and charts4 ,it is warmed by a half-stove1 halve stove1 according to the inventory4 ,for diversion1 there is a backgammon board with white pieces of boxwood1 and black of lignum-vit4 ,illustration3 ,,plate ,,xxvi4--,the ,sick ,woman1 by ,jan ,steen4 ,,rijks ,,museum1 ,,amsterdam4 ,figs4 #ca and #cc3 ,,folding ,,chairs1 by ,,crispin ,,van ,,de ,,passe2 ,fig4 #cb3 ,,chair1 by ,,crispin ,,van ,,de ,,passe2 ,fig4 #cd2 ,,table1 by ,,crispin ,,van ,,de ,,passe4 ,passing from this into the camer beneffens de trappenye1 we find a bedroom1 de camer boven de trappenye1 the most conspicuous object of which is a bed4 ,so sumptuous is this1 in fact1 that no other furniture is needed to give this room distinction4 ,to begin with1 the framework is ornately carved1 and it is hung with rich silken curtains and sumptuously upholstered4 ,undoubtedly this bed was of the same type as the beautiful ,renaissance specimen reproduced in ,plate ,,xxv1 from the ,rijks ,museum1 ,amsterdam4 ,a reference to ,plate ,x will show this is later in style than the 8new0 one designed by ,de ,vries4 ,the 8linen-fold0 panel has entirely disappeared1 and the carved accessories are all pure late ,renaissance4 ,at the time this inventory was taken1 however1 these magnificent wardrobe-shaped beds with elaborate carving were already out of date and supplanted in favour by the lighter form with simple posts at the corners1 the whole being entirely closed with curtains4 ,this bed appears in ,plate ,,xxvi and ,plate ,,xxvii with both square and dome-shaped tops1 and in many other pictures by the ,dutch masters of the seventeenth century4 ,the bed in which upholstery had superseded carving had been growing in favour1 not only in the homes of the middle classes1 but also in those of the rich4 ,it even occurs in the inner room of the wealthy house represented in ,plate ,,xxiv4 ,this bed1 known as the lit en housse1 is the typical bed of the seventeenth century1 and is the one that appears in ,abraham ,bosse's engravings1 whenever a bed is introduced--in the homes of the rich1 in hospitals1 and in the rooms of tradesmen and school teachers4 ,in this style of bed1 the framework is of comparatively little importance4 ,the ciel1 or canopy1 is supported on four posts which are carved or painted in harmony with the curtains1 or covered with the same materials4 ,beneath the valance1 a rod runs under the canopy for the support of the curtains1 which are drawn up or down by means of cords and pulleys4 ,when closed1 the lit en housse looks like a square box4 ,the elegance of the bed depended upon its upholstery4 ,the richest beds were draped with tapestry1 silk1 damask brocade and velvet1 beautifully trimmed with gold and silver braid or lace1 narrow silk fringe1 or fringe of gold or silver threads1 or decorative cords and tassels4 ,serge1 cloth1 ,east ,indian goods1 linen and cotton materials were also employed4 ,the curtains were more or less richly lined and the four corners of the canopy above the posts were decorated with a carved or turned wooden knob called a pomme 7which was sometimes gilded or painted71 a bunch of feathers1 or a 8bouquet0 made of ravelled silk ornaments or inverted tassels4 ,returning now to our examination of the ,pitsembourg1 we note that the next room is that of the master brewer1 in which there is a very shabby bed1 an old picture representing the ,elevation during ,holy ,mass1 a wall map of ,germany and a standard with the arms of ,lant-,commander1 ,werner ,spies von ,bullesheim1 who was at the head of the house of ,mechlin from #afci to #afda4 ,illustration3 ,,plate ,,xxvii4--,woman1 with a ,parrot1 by ,jan ,steen4 ,,rijks ,,museum1 ,,amsterdam4 ,passing by the unimportant rooms of the servants1 we enter the old room of the commander1 where we note an alcove hung with two little green curtains with an embroidered border1 and in the alcove a bed with bolster1 pillow and two counterpanes1 one white1 and the other green1 a table covered with a cloth1 some little stools 7escarbeaux71 two chairs covered with green cloth1 andirons1 shovel and tongs of copper1 and a number of pictures1 among which are two little representations of castles1 the ,battle of ,calloo1 a portrait of ,lant-,commander ,bongaert in full-dress uniform1 one of ,lant-,commander van ,ruyssenbergh1 one of ,commander ,cratz1 and one of ,commander ,werner ,spies von ,bullesheim kneeling with a chaplain at the feet of the ,virgin4 ,two little rooms and a bathroom belonging to the chaplain follow1 and then we enter a room called ,in den inganck van't voorhuys4 ,in the centre stands an old table covered with a 8carpet of gilt leather40 ,there are some water-colours on the wall1 including two vases filled with flowers1 and two of decorative motives with the inscriptions 8,virtus parit honorem0 and 8,qui confidit in divitiis corruet40 ,there is also a large painting of the arms of the ,archduke ,maximilian1 ,grand ,master of the ,order 7son of the ,emperor ,maximilian ,,ii74 ,from the ,inganck van't voorhuys1 we step into a more luxurious hall called het cleyn salet naast het voorhuys1 hung with ten large pieces of leather with gold patterns on a silver background4 ,the furniture consists of a table with oak leaves1 covered with a ,turkish carpet1 chairs with stuffed backs of red ribbed silk1 a screen made of four painted canvases1 and eleven pictures1 one the ,battle of ,prague and the others landscapes1 ornamental copper andirons1 and a hearth-box4 ,the next salon1 de sale naar de ,trappenye1 is hung with portraits1 and some large pictures1 one of which represents ,samson proving his strength4 ,in the dining-room1 in de nieuwe gemaeckte stove1 there are also many pictures1 including portraits1 a 8winter scene0 and a 8,flemish ,kermesse40 ,the principal piece of furniture is a superb sideboard of carved oak1 on which the following pieces of silver are displayed3 one aiguire and basin with the arms of ,spies2 four candelabra with chiselled sconces1 an extinguisher with tray1 and an amphora1 all with the arms of ,lutzenrode2 two large jugs1 a deep dish1 a mustard-pot and six salt-cellars1 also with the arms of ,lutzenrode2 a chafing-dish with the ,ruyssenbergh arms1 twenty-two spoons1 twenty-six forks1 twenty-two knives1 and ten porcelain wine-jugs with silver tops4 ,next to this hall is the bishop's room1 which is luxuriously furnished4 ,the walls are hung with eight large 8tapestries of leather0 with gold patterns on a silver background4 ,the bed is upholstered with curtains of mauve silk trimmed with a silk braid of yellow and violet4 ,it is furnished with two mattresses1 a bolster1 two pillows1 and two counterpanes--one white1 the other green--and over the whole is thrown a large counterpane of embroidered silk trimmed with a fringe of silk and gold thread4 ,the window-curtains1 the six chairs1 and armchair1 are covered with the same silk as the counterpane4 ,there is a large mirror in an ebony frame and portraits of ,maximilian1 ,syberg1 and ,bongaert4 ,the bishop's room is next to the salon1 groot salet beneden d'aarde1 which is hung with thirteen pieces of 8leather tapestry10 showing gold patterns on a red background4 ,on the mantelpiece there is a crucifix carved of boxwood1 the foot of which is incrusted with mother-of-pearl1 and there is a magnificent mirror of gold and black wood1 the fronton of which is ornamented with a silk cord with large tassels1 the whole supported by three gilded griffins4 ,this room also contains sixteen pictures1 nine of which are still-life1 and are signed ,jacques van ,esch of ,antwerp 7#afjf-afff74 ,the commander's bedroom is very modest1 as becomes one who has assumed the vows of poverty3 a little walnut bed with very ordinary curtains1 with a mattress1 two bolsters1 three pillows 7one covered with white leather1 which he takes on his travels71 and a counterpane of quilted silk4 ,he allowed himself the luxury of a fire1 because there are andirons and a hearth-box4 ,a portrait of the ,virgin and ,the ,temptation of ,st4 ,anthony are his only pictures1 and the one ornament is a sculptured ,descent from the ,cross4 ,a little desk and a close chair covered in black leather and inlaid with copper1 complete the furniture of this room1 which makes an interesting contrast with the bishop's4 ,the enormous number of cooking utensils in the kitchen show that the most lavish hospitality was offered in this house4 ,every kind of copper pot and pan1 from the largest saucepan and boiler 7de schonck of hespenketel7 to the tiniest pans for cakes and pastry 7een clein coper panneke waarin men dry eieren kan doppen1 and koek and taart pannen71 are present in great numbers2 and1 moreover1 there are portable ovens to bake tarts1 ladles1 skimmers1 sieves1 spice-boxes1 spits1 skewers1 ten grills1 large and small1 some of them for roasting oysters--in short every article that a cook would need to prepare a feast for a gourmet4 ,the buffets1 armoires and shelves of the kitchen are filled with valuable metal ware1 including eight aiguires and eight dishes1 weighing sixty-five pounds4 ,these are marked with the arms of ,spies and ,syberg4 ,then there are seventeen candlesticks1 some of which have round and others square bases2 there are ninety-three large and small dishes with the arms of ,lutzenrode1 ,spies and ,syberg1 and a hundred and twenty-eight plates with the arms of the various commanders4 ,the shelves also contain a great number of wine jars and measures and pots for holding grape-juice and a great number of earthenware dishes1 crocks1 etc4 ,there is a special pantry1 and near this a pastry-room2 and a brewery1 a harness-room1 tool houses1 a house for the gardener1 and in the park1 which is a kind of botanical garden1 there is a pavilion on a knoll1 where any one desiring to fish could find rods and lines4 ,the kitchen is the most important room in the majority of the middle-class houses2 in fact1 in many a ,flemish and ,dutch interior it appears as the general living-room4 ,plate ,,xxvii and ,plate ,,xxxvi afford ,dutch examples4 ,a fine example of a ,flemish kitchen of the seventeenth century is by ,teniers the younger1 called ,the ,good ,kitchen in the ,hague ,gallery4 ,this was painted in #afdd4 ,another fine kitchen of the period occurs in a ,family ,group by ,cocx 7,coques71 in the ,cassel ,gallery4 ,in the foreground a man is seated at a table looking at his son's drawings4 ,not far away his wife is teaching her daughter to make lace1 and through a large door the kitchen is visible1 where fish1 oysters1 pastries and birds show preparations for a feast4 ,the ,stedelijk ,museum in ,amsterdam has a series of rooms fitted up in the old style with original furniture4 ,the kitchen represented in ,plate ,,xxxii is equipped with all the pots and pans dear to the heart of the ,dutch housewife4 ,the hearth1 ovens and shelves are furnished with all the implements and utensils necessary for good housekeeping3 cauldrons1 spits1 churns1 plate-warmers1 kettles1 bellows1 waffle-irons1 etc41 are all there4 ,a ,frisian clock hangs on the tiled wall1 and the cupboards contain everything necessary for cooking and cleaning4 ,the library of the ,pitsembourg was well stored with religious works4 ,the chapel1 a beautiful edifice built in #abbh and dedicated to ,st4 ,elizabeth of ,hungary1 contained some fine carvings1 two crucifixes1 one of silver and one of copper1 organs1 carved statues1 silver chandeliers2'and exceptionally rich vestments1 altar-cloths and ,flemish lace4 ,it will be noticed that all the principal rooms in this establishment were hung with leather1 or 8leather tapestry0 in accordance with the taste of the age4 ,the leather hangings of the seventeenth century are even more brilliant than those of the past2 and on the bright background of scarlet1 blue1 sea-green1 gold or silver1 a wealth of ornamentation appears--animals1 birds1 flowers1 fruits1 mascarons and other favourite devices of the time4 ,leather hangings are always present in wealthy homes of ,holland4 ,an excellent example is shown in the picture of ,the ,young ,scholar and his ,sister by ,coques 7,cocx71 now in the ,cassel ,gallery4 ,the room1 which is richly furnished1 is hung with blue and gold leather4 ,this picture was painted in the seventeenth century4 ,the ,low ,countries by this time had become renowned for their fine leather and exported a vast amount of it4 ,notwithstanding the rivalry of the ,french and ,italian workshops1 there was a special shop in the ,rue ,st4 ,denis in ,paris where ,flemish and ,dutch leathers could be obtained4 ,some of the ,french inventories of this century mention especially 8tapestries of leather0 from the ,netherlands2 for example1 ,fouquet has at his ,chteau of ,vaux1 in #affa1 8a rich hanging of tapestry of cuir dor from ,flanders1 consisting of eight pieces02 and in #afih1 a rich ,parisian owns 8a hanging of tapestry of cuir dor de ,hollande10 with a red background4 ,the ,rijks ,museum in ,amsterdam contains a great number of gilt leather hangings of the seventeenth century2 at the ,htel de ,ville of ,furnes1 there are some hangings of ,spanish leather and the ,antiquarian ,museum of ,utrecht also contains some embossed gilt leather hangings4 ,in the seventeenth century1 the great centres for the production of tapestry shifted to ,paris and ,london4 ,this is the period when the famous looms of the ,gobelins and ,mortlake were established4 ,the directors and workers in these famous establishments were ,flemings4 ,it was largely owing to the influence of ,le ,brun that ,paris triumphed over ,brussels with her ,gobelins manufactory established in #affb4 ,this was really the outgrowth of the high-warp looms established by ,henry ,,iv in #aeig1 under an excellent tapestry-worker named ,laurent4 ,these workshops were first situated in the house of the ,jesuits in the ,faubourg ,st4 ,antoine1 and were transferred to the ,louvre in #afjc4 ,the ,king sent to ,flanders for tapestry-workers over whom he placed the ,sieur de ,fourcy4 ,in #afjg he sent for more workers1 among whom were ,marc ,comans 7or ,coomans7 and ,franois de la ,planche1 who were given charge of the workshops at ,tournelles4 ,these were removed to the ,faubourg ,st4 ,marceau4 ,the tapestries had to be made faon de ,flandres4 ,illustration3 ,,plate ,,xxviii4--,flemish ,chair4 ,,cluny ,,museum1 ,,paris4 ,the ,king's enterprises were not universally approved4 8,they cost large sums to his ,majesty10 says a contemporary1 and loss and ruin to his subjects4 ,witness the ,brussels tapestries at ,st4 ,marcel1 the ,flemish linens at ,mantes and the cloths of silk and gold of ,milan4 ,after the ,king's death1 ,comans and ,de la ,planche continued to work in ,paris1 and in #afcj were engaged at the manufactory that afterwards became the ,gobelins4 ,flemish workmen were also employed at ,maincy near ,vaux in #afeh4 ,when1 owing to the wars1 the ,gobelins was closed in #afid1 some of the workmen entered the army1 twenty-three returned to ,flanders and others went to ,beauvais4 ,this great factory was no less indebted than was the ,gobelins to the ,flemings4 ,it was established in #affd by a 8marchand tapissier10 named ,louis ,hynart1 a native of ,beauvais1 who owned a large number of workshops in ,flanders as well as in ,paris4 ,as ,beauvais was at that time an important centre for woollen stuffs1 ,hynart proposed to the municipality that he should establish workshops of high-warp tapestry 8in the manner of those of ,flanders40 ,hynart obtained a subsidy and brought a number of ,flemish workmen to ,beauvais4 ,he was negligent1 however1 and in #afhd the directorship of the ,beauvais manufactory was given to ,philippe ,bhagle 7originally ,behagel7 of a famed family of tapestry-weavers of ,oudenarde4 ,under ,bhagle the 8,royal ,manufactory of ,tapestry10 flourished until his death in #agjd4 ,another workman who contributed greatly to the success of ,beauvais was ,georges ,blommaert1 who was also called to ,beauvais in #afhd from ,lille1 where he had established a workshop in #afgg4 ,when ,georges ,blommaert left ,lille to go to ,beauvais1 he was succeeded by ,franois and ,andr ,pannemaker1 descendants of the famous ,pannemaker family of tapestry-makers4 ,in #afhh1 they had a rival in ,jean de ,melter1 of ,brussels1 who was particularly fond of reproducing compositions after ,rubens4 ,the ,pannemakers devoted their skill chiefly to 8,verdures40 ,the looms at ,nancy1 established in the seventeenth century1 and closed in #afbe1 were also worked by men from the ,low ,countries1 among them one ,melchior van der ,hameidan4 ,the ,brussels looms were still busy in this century1 but the corporation of tapestry-workers was recruited from a few families1 such as the ,de ,vos1 ,de ,castros1 ,ras1 ,van der ,borchts1 ,van der ,heckes1 and ,leyniers4 ,they repeated the cartoons of the last century2 but in the middle of the seventeenth ,teniers produced many rustic scenes that1 known as ,tenires1 became very popular4 ,flemish tapestry-weavers are found in ,rome2 in ,denmark 7twenty-six were there about #afjd72 in ,russia 7,martin ,steuerbout of ,antwerp had a manufactory in ,moscow in #afjg72 and in ,england4 ,illustration3 ,,plate ,,xxix4--,flemish ,chair4 ,,cluny ,,museum1 ,,paris4 ,the ,mortlake manufactory1 established by ,james ,i near ,london in #afai1 was practically a ,flemish manufactory4 ,in a short while its only rival was the ,gobelins4 ,the ,king sent specially to ,flanders for skilled workmen and no less than fifty arrived in one month1 among whom were ,josse ,ampe of ,bruges1 ,simon ,heyns1 ,jacques ,hendricx1 ,josse ,inghels1 and ,pierre ,foquentin of ,oudenarde4 ,rubens and ,van ,dyck were commissioned to supply cartoons2 but many of the old favourite historical and religious sets of the past century were reproduced4 ,paris and ,hampton ,court ,palace contain a number of these4 ,mortlake had closed when ,william ,,iii ordered his victories to be commemorated in woven pictures4 ,the cartoons for ,the ,battle of ,bresgate1 ,the ,descent on ,tor bay and ,the ,battle of the ,boyne1 were drawn by ,jean ,lottin1 the painter1 and made by ,clerck1 ,vander ,borcht1 ,cobus and ,de ,vos of ,brussels4 ,flemish tapestry-weavers settled in ,sandwich1 ,canterbury1 ,maidstone1 ,norwich and ,colchester in #aefg-h1 after the persecutions of the ,duke of ,alva2 but notwithstanding the good work produced in ,england1 ,admiral ,howard ordered the famous set of six pieces to commemorate the destruction of the ,spanish ,armada from the painter ,h4 ,cornelis de ,vroom of ,haarlem and ,franz ,spierinx of ,delft4 ,these fine pieces hung in the ,house of ,lords1 ,london1 until destroyed by the fire of #ahbd4 ,religious1 mythological and allegorical subjects continue in favour during the seventeenth century2 and subjects inspired by contemporary history are also popular4 ,the cartoons by ,rubens1 however1 take precedence of everything2 and his ,history of ,achilles1 ,history of ,constantine1 ,scenes from the ,old ,testament1 ,triumph of the ,church1 etc41 are reproduced in every workshop in ,europe4 ,his most famous work1 ,the ,history of ,marie de' ,medici1 was finally completed at the ,gobelins manufactory during the reign of ,louis ,philippe4 ,in furniture1 during the seventeenth century1 it may be said that carved figures gradually gave way to turned supports1 and uprights2 and the surfaces depended for decoration on panelling of geometrical designs and applied ornaments of real or imitation ebony4 ,another favourite way of decorating the broad surfaces was to inlay them in various designs with wood of different colours4 ,the latter taste rapidly advanced during this century with the constantly increasing importation of the beautifully coloured woods of the ,east and ,west ,indies4 ,as the ,flemish artists1 moreover1 went so often to ,italy for inspiration1 ,flemish marquetry1 doubtless1 took its first stimulus from ,italian taste4 ,to quote a learned critic#d3 8,the ,italians of the ,decadence had a passion for ebony and coloured woods1 and theatrical and complicated decorations4 ,furniture completely changed its physiognomy2 the decorative panels with all their ornaments1 are renounced for plain surfaces on which marquetry can be displayed to advantage4 ,forsaken by fashion1 walnut drops out of use2 profiles are multiplied2 the fine cuirs that were cut in solid bosses sprawl about in an enervated1 weakened fashion2 the straight1 firm and springing ,classic column now becomes twisted and distorted2 and the stale and banal decoration has neither sinews nor youth4 ,the sculptor yields his place to the marquetry-worker and the carpenter 7menuisier7 becomes a cabinet-maker 7bniste740#e ,footnote #d3 ,bonaff4 ,footnote #e3 ,a literal translation is more to the point3 the carpenter becomes a worker in exotic woods1 ebony1 etc4 ,illustration3 ,,plate ,,xxx4--,chairs4 ,,cluny ,,museum1 ,,paris4 ,until the sixteenth century1 marquetry seems to have chiefly consisted of ivory and ebony2 but at this period exotic woods began to be employed4 ,beautiful marquetry was a mark of luxury2 for example1 in the famous pamphlet ,l',isle des ,hermaphrodites1 directed against ,henri ,,iii and his ,court1 the author says3 8,as for the furniture of wood1 we should like to have it all of gold1 silver1 and marquetry1 and the pieces1 especially the canopies of the beds1 if possible1 of cedar1 rose1 and other odoriferous woods unless you would rather have them of ebony and ivory40 ,in this century ,italy carried to perfection1 the inlay of rare and polished marbles1 lapis-lazuli1 agates1 pebbles1 etc41 called pietra-dura1 and this style was imitated in other countries4 ,during the ,decadence1 the old marquetry of wood gave place to incrustations of mother-of-pearl1 shell1 precious stones and coloured marbles1 and the furniture was made even more sumptuous by the additions of chiselled mounts1 key-plates1 handles1 feet1 etc41 of silver or gilt bronze4 ,painted glass was also a popular kind of inlay4 ,a good example of this work is in the hospice of ,lige--a walnut cabinet with plaques of painted glass in many colours in imitation of what the ,italians call mille fiori4 ,a new kind of marquetry1 however1 made its appearance in the seventeenth century and gained in popularity4 ,this consisted of large designs of flowers--particularly the tulip--birds and foliage represented in very gaily-coloured woods of many varieties and dyes1 and bits of ivory or mother-of-pearl are added to the eyes of birds1 or petals of flowers1 to give a touch of brilliancy4 ,cabinets1 bedsteads1 writing-desks1 china-cupboards1 tall clocks1 the frames of chairs--in short every piece of furniture was subject to this style of decoration4 ,this kind of marquetry was popular in ,england during the reign of ,william and ,mary1 when everything ,dutch was the rage4 ,it is well known that the ,dutch were even fonder of marquetry than the ,flemings4 ,a ,dutch cabinet1 which depends for its decoration entirely on the contrasted colours and shapes of its inlaid woods1 standing on a low frame with spiral legs and knob feet connected by a plain stretcher 7see ,plate ,,xxxi71 is in the ,rijks ,museum1 ,amsterdam4 ,this is a good specimen of geometrical inlay4 ,motives of marquetry of a formal floral nature are reproduced in ,fig4 #cg4 ,illustration3 ,,plate ,,xxxi4--,marquetry ,cabinet4 ,,rijks ,,museum1 ,,amsterdam4 ,during the ,spanish dominion in the sixteenth century1 the chair in which great personages sit for their portraits has a high straight back with the side posts usually ending in carved lions' heads1 straight or scrolled arms and carved or plain straight legs connected by stretchers4 ,the feet are sometimes carved with the heads or feet of animals4 ,the back and seat are upholstered with velvet or stamped leather fixed to the frame with large brass-headed nails4 ,this 8,spanish chair0 was common in ,spain1 ,italy1 ,france and ,england1 as well as in the ,netherlands4 ,we find it in the pictures of the great portrait painters of the ,renaissance--,raphael1 ,titian and ,velasquez--as well as the great ,dutch and ,flemish masters4 ,fig4 #cf shows a fine solid and simple example of this style of chair of ,flemish workmanship4 ,it is well-proportioned2 both front and back legs and the arms are turned1 and the stretchers are grooved and shaped4 ,when in use1 of course1 the seat would be comfortably cushioned4 ,the back1 seat and arms are covered with leather4 ,the most common chair of the seventeenth century1 however1 is one without arms4 ,it is rather low and is a simplified form of the above 8,spanish chair40 ,a fine early example of this model is represented in ,plate ,,xxviii1 now in the ,cluny ,museum1 ,paris4 ,it will be noticed that the heads on the back posts are still carved1 and that the legs are shaped and turned1 while the rails are grooved4 ,the ,cluny ,museum has a considerable number of ,flemish chairs of this style and period4 ,one of them1 stamped with the monogram of ,christ and the date #afgb1 probably belonged to an ecclesiastic4 ,the ordinary form of this chair appears on either side of the chimney-piece in ,plate ,,xxiv4 ,the low-backed chair without arms is very common in interior scenes by ,dutch and ,flemish masters4 ,sometimes we see guests seated on them at the table2 and sometimes it will serve as a seat for a lady as she takes a music-lesson4 7,see ,plate ,,xxxix47 ,it is found in various dimensions and proportions4 ,sometimes it has one set of rungs and sometimes two2 sometimes the legs are plain1 and sometimes elegantly turned4 ,sometimes the back posts have lions' heads and frequently not4 7,see ,plates ,,xxxv and ,,xxxix1 and ,fig #ce47 ,the design by ,crispin de ,passe1 ,fig4 #cb1 shows the style for an armchair of the middle of the century4 ,here the centre of the top back bar is raised with ornamental carving and the lions' heads are suppressed4 ,a variety of the same style of chair fashionable during the period of ,louis ,,xiii is represented by the handsome piece of ,flemish workmanship in ,plate ,,xxix1 also in the ,cluny ,museum4 ,the arms and bars and front legs are turned in elegant spirals effectively relieved4 ,the back posts do not rise above the top rail1 and have no lions' heads1 but finely carved heads terminate the arms4 ,the back and seat are covered with gilt leather stamped with a beautiful floral design and fastened to the frame with the usual large-headed nails4 ,sometimes instead of lions' heads1 we find carved heads of other animals and of women4 ,besides leather and velvet1 this style of chair was frequently covered with embroidered material and tapestry4 ,a ,dutch chair of this general form1 though with sloping and scrolled arms1 is in the ,rijks ,museum4 7,see ,plate ,,xxxiii47 ,the legs are turned in spirals2 and the back and seat are upholstered with a rich material figured with large flower forms--tulips1 roses1 irises1 etc4 ,illustration3 ,,plate ,,xxxii4--,kitchen4 ,,stedelijk ,,museum1 ,,amsterdam4 ,still another model of this style of armchair with spiral rungs and supports1 scrolled arms1 carved top and leather back and seat1 appears on ,plate ,,xxxiv4 ,this is also a ,dutch chair in the ,rijks ,museum4 ,it is interesting to compare it with another armchair on the same plate4 ,this1 of carved oak1 turned back posts1 front legs of carved heavy scrolls1 diagonal connecting rails also formed of heavy scrolls1 and scrolled front bar1 is an interesting example of an armchair of the ,dutch work of the ,louis ,,xiv period4 ,the back has a central panel with a scrolled frame1 elegantly carved4 ,it is filled with woven cane instead of leather1 or other upholstery4 ,the seat is cane also4 ,a chair without arms1 which looks as if it might have belonged to the same set1 though it is now preserved in the ,cluny ,museum1 ,paris1 is shown in ,plate ,,xlv4 ,another armchair of the same period and general style 7see ,plate ,,xxxiii7 has a carved panel filled with cane1 cane seat1 scrolled arms1 turned rails and legs1 and carved front bar4 ,chairs of this fashion were extremely popular in the ,low ,countries and in ,england during the second half of the seventeenth century4 ,in all probability1 they originated in the ,netherlands1 and became familiar and favourites with the exiled ,cavaliers between #afdj and #affj2 and at the ,restoration the style was imported into ,england4 ,however this may be1 this well-known carved oak chair1 with cane back and seat1 is still popularly known as the 8,charles ,,ii ,chair40 ,a light ,dutch model of this type1 with elegantly carved front bar1 turned rails and posts and scrolled front legs1 is shown in ,plate ,,xxxiv4 ,it has no arms and the back panel is divided into two narrow panels of cane1 producing a very light and elegant effect4 ,the scrolls of the feet are much lighter and more graceful than those of the armchair at its side4 ,an armchair of the same style and period1 also from the ,rijks ,museum1 is in the centre on ,plate ,,xxxv4 ,the central panel of the back is gracefully treated with open carved and turned work4 ,the panel proper is framed with heavy scrolls1 and the central bar is pierced and carved with graceful bellflowers running downwards and upwards4 ,this chute of the bell-flower now becomes a very favourite ornamentation in decorative art1 and ,brain1 ,marot and other artists of the period make free use of it4 ,the curved stretchers with the vase ornament in the centre is very characteristic of ,dutch1 ,english1 and ,french furniture of the second half of the seventeenth century4 ,it occurs in ordinary tables1 dressing-tables1 stands for cabinets1 and1 in fact1 every piece of furniture that stands on four legs4 ,the arms and legs consist of the usual scroll1 and the feet of carved bulbs4 ,a chair with the characteristic scrolled stretcher just alluded to occurs on ,plate ,,xxxiii4 ,it is richly carved1 and has turned and carved straight legs1 with bulbed feet4 ,the back is a richly carved frame1 filled with cane4 ,the top is crowned with delicate ribbon and foliage carving1 and the shape of the back is a favourite one for the mirrors of the period4 ,the proportions of the seat1 which is stuffed and covered with velvet fastened with small brass nails is quite modern4 ,this chair1 however1 belongs to the end of the seventeenth century4 ,the affinities between the chairs we have been describing and the designs by ,marot1 which were so popular in ,holland1 may be studied in the next chapter4 ,illustration3 ,,plate ,,xxxiii4--,chairs4 ,,rijks ,,museum1 ,,amsterdam4 ,the masters of this school of ornamentation were numerous4 ,hitherto ,flanders has overshadowed the ,northern ,provinces of the ,netherlands in art products2 but beginning with ,de ,vries1 ,holland assumes equal importance4 ,peter ,soutman 7,haarlem #aehj-afej71 was a pupil of ,rubens2 ,william ,buytenweg worked at ,rotterdam2 ,adrian ,muntink was famous in ,groningen 7circ4 #afaj72 other goldsmiths and engravers1 named ,laurens1 ,janss ,micker1 ,geraert van ,ryssen1 ,meinert ,gelis1 ,jacobus van der ,tverff1 ,gerritz ,hessel 7,amsterdam71 ,abraham ,hecker 7,amsterdam71 ,hendrik de ,keyser 7,amsterdam71 ,jacobus ,collan 7,rotterdam71 and ,arnold ,houbraken 7,dordrecht71 all flourished during the first half of the seventeenth century4 ,their motives of garlands1 fruits1 flowers1 human and animal figures1 birds1 insects1 etc41 were used in the decoration of sumptuous1 carved furniture1 and for marquetry and mosaics1 as well as for the gold and silver ware of which the nobles and rich merchants were so fond4 ,other masters of ornament of the ,netherlands of this period1 whose works have survived1 are ,martin van ,buten 7circ4 #afjg71 ,franz ,aspruck 7circ4 #afja71 ,jacques de ,gheyn 7circ4 #afaj71 ,j4 ,b4 ,barb 7b4 #aehe71 ,blondus 7#aeij-afef71 ,raphael ,custode1 ,michel van ,lochon1 ,henderick ,lodeweycke 7circ4 #afbf71 ,andr ,pauli 7circ4 #afbh74 ,following the above1 when the style ,rubens was giving way to the ,decadence1 we find ,michel ,natalis 7#afji-hj71 ,arthus ,quellin 7b4 #afji71 ,jacob van ,campen 7circ4 #affj71 ,peter van den ,avont 7b4 #afai71 ,james ,collan 7circ4 #afej71 ,arnold ,houbraken 7d4 #affj71 ,l4 ,hendericks 7circ4 #affj71 ,romanus de ,hooghe 7#afch-agah71 ,gaspard ,bouttats1 7#afdj-agjc71 ,j4 ,j4 ,falkema 7circ4 #afhj71 ,isaac ,moucheron 7#affj-agdd71 ,antony de ,winter 7circ4 #afij71 ,peter ,paul ,bouche 7circ4 #afic71 ,j4 ,thuys 7circ4 #afij71 ,j4 and ,f4 ,harrewyn 7circ4 #afid71 ,heinrich van ,bein 7#afhi-ih71 and ,g4 ,vischer1 ,erasmus ,kamyn1 ,p4 ,schentz and ,m4 ,heylbrouck1 who all worked at the close of the century4 ,the most extraordinary style of ornamentation employed by the masters of ,decorative ,art during the seventeenth century is that known as the genre auriculaire4 ,in this1 every part of the human ear is used as a decorative motive4 ,the outer rim and lobe had been used long before it was carried to excess4 ,a very early example is shown in the bed dated #aehj on ,plate ,,xi where auricular curves are plainly recognizable in the carving4 ,in the 8,buire0 7,plate ,,xlvi7 by ,mosyn1 however1 this style is seen in its most exaggerated form4 ,this design is by ,m4 ,mosyn1 an engraver1 born at ,amsterdam about #afcj4 ,his chandeliers are equally extravagant4 ,peter ,nolpe1 born at the ,hague 7#afja-gj71 was another designer of this school1 as was also ,john ,lutma of ,amsterdam 7#afji-hi74 ,the latter represents the very decadence of art1 with his hideous cartouches1 compartments1 frames and aiguires1 composed of distorted and tortured ears4 ,another master of ,amsterdam who published many plates in the same extraordinary taste was ,gerbrandt van der ,eeckhout4 ,he also worked in the middle of this century4 ,this style attained its greatest vogue in ,germany4 ,there ,friederich ,unteutsch1 a master carpenter of ,frankfort1 published 7#afej7 #aaj plates of all kinds of furniture1 on which the ear is prominent as an ornament4 ,daniel ,rabel 7d4 #afcg71 also used the genre auriculaire in ,france1 but there its life was short and feeble4 ,,chapter ,,vi ,,seventeenth ,,century 7,,dutch7 ,famous ,dutch ,architects--,the ,royal ,palace on the ,dam1 ,het ,loo1 the ,mauritshuis and ,huis ten ,bosch--,interior ,carvings--,specimens of ,rooms and ,ceilings in the ,rijks ,museum--,love of the ,dutch for their ,houses--,miniature ,dutch ,houses and ,models of ,old ,amsterdam ,houses in the ,rijks ,museum--,architecture of the ,seventeenth ,century--,a ,typical ,dutch ,home--,the ,luifel1 ,voorhuis and ,comptoir-- ,interior ,decorations and ,furniture--,dutch ,mania for ,cleaning-- ,descriptions by ,travellers of ,dutch ,houses and ,cleaning--,cleaning ,utensils--,house and ,furniture of ,andreas ,hulstman ,janz1 in ,dordrecht--,inventory of ,gertrude van ,mierevelt1 wife of the painter1 in ,delft--8,show-rooms0 and their ,furnishings--,cooking ,utensils--,bedroom in the ,house of ,mrs4 ,lidia van der ,dussen in ,dordrecht--,the ,cradle and 8,fire-,basket0--,the ,baby's ,silver--,the 8,bride's ,basket0--,the 8,bride's ,crown0 and 8,throne0--,decorations for a ,wedding--,description by ,sir ,john ,lower of the ,farewell ,entertainment to ,charles ,,ii at ,the ,hague4 ,the most important architects of this period were ,hendrik de ,keyser 7#aefe-afba71 ,jacob van ,kampen 7#aeih-afeg71 and ,philip ,vinckboons 7#afjh-ge74 ,the ,royal ,palace on the ,dam1 ,amsterdam1 was built by ,jacob van ,kampen for a ,town ,hall2 it was begun in #afdh and finished in #afee4 ,it is interesting to note that the structure rests on a foundation of #ac1fei piles4 ,the gables are ornamented with allegorical reliefs by ,artus ,quellin the ,elder 7see page #acg71 representing the glories of ,amsterdam4 ,artus ,quellin and his assistants also adorned the interior with carvings and sculptures in marble4 ,there are also in the various rooms elaborately carved chimney-pieces1 some of them with painted overmantels by ,jan ,lievens1 ,ferd4 ,bol1 and ,n4 de ,helt-,stocade 7#afef74 ,the ceilings were painted by ,j4 ,g4 ,bronchorst1 ,cornelis ,holsteyn and others4 ,this was not used as a palace until the time of ,louis ,napoleon in #ahjh4 ,het ,loo1 near ,apeldoorn1 the favourite residence of ,william ,i1 ,william ,,iii and the reigning ,queen ,wilhelmina1 received additions during this period2 and the ,royal ,palace at ,the ,hague was also built in the time of ,william ,,iii4 ,the ,mauritshuis1 on the ,vyver 7now the home of the famous ,hague picture gallery71 was erected in #afcc-dd1 for ,count ,john ,maurice of ,nassau1 the ,dutch ,west ,india ,company's ,governor of ,brazil1 who died in #afgi4 ,the architects were ,jacob van ,kampen and ,pieter ,post4 ,this house was rebuilt in #agjd-ah1 after a fire4 ,these two architects were also responsible for the ,huis ten ,bosch 7,house in the ,wood71 the royal villa near ,the ,hague1 built about #afde for the ,princess ,amalia of ,solms1 widow of ,prince ,frederick ,henry of ,orange 7#afbe-dg74 ,the wings were added by ,william ,,iv in #agdh1 and many of the decorations are of the eighteenth century4 ,the famous apartments are3 the ,chinese ,room1 the ,japanese ,room1 and the ,orange ,saloon1 in which the ,peace ,conference met in #ahii4 ,illustration3 ,,plate ,,xxxiv4--,chairs4 ,,rijks ,,museum1 ,,amsterdam4 ,the ,trves ,saloon in the ,binnenhof in ,the ,hague was built by ,william ,,iii in #afig as a reception-room4 ,it is embellished with a handsome ceiling and portraits of seven stadtholders4 ,the two chimney-pieces in the hall of the first chamber represent ,war by ,jan ,lievens and ,peace by ,adr4 ,hanneman4 ,an example of ,philip ,vinckboons's work is the ,trippenhuis in ,amsterdam1 built in #affb in the classic style4 ,this is now occupied by the ,royal ,academy of ,science4 ,exceptionally noteworthy specimens of interior carving of this period are3 ,renaissance chimney-piece and a ,gothic chimney-piece in the ,louis ,,xiv style in the ,antiquarian ,museum1 ,utrecht2 a chimney-piece dating from the end of the seventeenth century1 with a group of the stamp-masters of the cloth-hall1 by ,karel de ,moor1 in the ,municipal ,museum1 ,leyden2 carved panelling in the council chamber1 ,woerden 7#afaj72 carvings in the church at ,venlo2 panelling in the palace of the ,princess ,marie on the ,korte ,voorhout1 ,the ,hague2 a pulpit of #afhe in ,broek in the ,waterland2 and a monument in the church of ,st4 ,ursula1 ,delft1 to ,william of ,orange1 begun in #afaf by ,hendrik de ,keyser1 and finished by his son ,peter4 ,the ,rijks ,museum possesses many examples of panelling1 chimney-pieces1 and separate pieces of furniture2 and several entire rooms have been correctly arranged4 ,among these is a room with wall-panellings and chimney-piece from ,dordrecht 7#afbf74 ,the ceiling1 supposed to be by ,th4 van der ,schuer 7about #afgh71 represents ,morning and ,evening1 and is from the bedroom of ,queen ,mary of ,england1 wife of ,william ,,iii1 in the ,binnenhof1 ,the ,hague4 ,the gilt leather hangings and other furniture in this room are of the same date4 ,another room contains a beautifully painted cylindrical ceiling of wood from the apartment of ,mary ,stuart1 wife of ,william ,,ii1 ,prince of ,orange1 also in the ,binnenhof4 ,the panelling1 chimney-piece1 gilt leather hangings and furniture are also of the seventeenth century4 ,a notable room is that taken from the house of ,constantia ,huygens in ,the ,hague1 built by ,jacob van ,kampen4 ,blue silk is curiously used to embellish the panelling4 ,the ceiling1 painted by ,grard de ,lairesse 7#afdj-agaa7 represents ,apollo and ,aurora4 ,this room is in the ,louis ,,xiv style4 ,a later fashion is1 however1 shown in the splendid 8,chinese ,boudoir0 of the latter part of the seventeenth century from the ,stadtholder's palace at ,leeuwarden4 ,another room deserving attention is from a small hunting-lodge called the ,hoogerhuis1 near ,amersfoort1 built about #afcj by ,jacob van ,kampen and inhabited by him4 ,the room is lighted by eight small windows1 over which paintings were hung4 ,there is an interesting bedstead here1 ornamented with painted garlands1 and with three compartments1 beneath the centred one of which is the ,spanish motto1 8',el todo es nada0 7,everything is nought74 ,the ,dutch of the seventeenth century passed practically all their lives at home4 ,with the exception of merchants1 students and men of affairs1 people rarely visited their friends and relatives in neighbouring towns4 ,as ,pieter van ,godewijck wrote3-- ,het reysen is een taeck nyet yder opgelegt1 ,en 't is nyet al te veel en sonder blam gezegt1 ,het huys is als een graf1 waerin wy altyt wonen1 ,in 't aerdsche tranendal4 7,travelling is a task not given to everybody1 ,and it's not said so much and without blame ,that the home is like a grave1 wherein we always dwell1 ,in the earthly vale of tears47 ,illustration3 ,,plate ,,xxxv4--,chairs4 ,,rijks ,,museum1 ,,amsterdam4 ,the house was therefore 8their world1 their toy1 their god02 they loved to embellish and decorate it1 they loved to take care of it and keep it clean1 they loved to see it painted on panel and canvas2 and some of them even went so far as to have their house reproduced in miniature1 with all its furniture and belongings copied in wood and metal4 ,it would be a mistake to suppose that the so-called dolls' houses1 which may be studied in the museums of ,amsterdam1 ,utrecht1 and other towns1 were merely the somewhat elaborate toys with which the ,english-speaking juvenile race sometimes amuse themselves4 ,as the old inventories show1 dolls' houses and all their appurtenances were very vivid mirrors of contemporary life1 including furniture and costume4 ,this is particularly true of ,holland1 although other countries of ,western ,europe preserved evidences of the taste for similar 8toys0 of earlier date4 ,henry ,,iv of ,france1 for instance1 when a child1 played with toys1 among which are noticeable a suit of clothes in wrought silver4 ,these dolls' houses were elaborate and costly2 for every detail of the real model was represented1 including the small articles of porcelain1 ,delft1 earthenware1 pewter1 brass and silver4 ,dolls' salons1 too1 were often painted by noted masters1 and cost thousands of florins4 ,for example1 a beautiful doll's house of the date #afhj1 in the ,antiquarian ,museum of ,utrecht1 has its walls covered with paintings by ,moucheron4 ,the houses consisted of from four to eight rooms with furniture of wood1 silver1 gold1 or filigree silver or gold4 ,such rooms as the kitchen1 lying-in room and death chamber were often included4 ,the latter was draped in black with a canvas or silver coffin containing a tiny wax corpse4 ,often1 too1 the house was completed with a pretty miniature garden embellished with a quantity of coral-work1 trees1 hedges1 seats1 paths and statuettes4 ,we may note that ,margaretha ,godewijck had a doll's house with a garden and arbour1 upon which she wrote the following poem3-- ,,op ,,myn ,,coraal ,,werk ,hier siet ghy van coraal in 't cabinet besloten1 ,een baeckermat1 een wiegh1 een korf1 een stoof1 een mandt1 ,een kleerben opgepronckt1 een bedst1 ledikant ,gevloghten van coraal en na de kunst gegoten1 ,gemaeckt van suyver glas1 en van verscheyden kleuren1 ,aen d' ,aemstelstroom gevormt van blaeuw1 van groen en peers1 ,want sulck corale werck verdient oock wel een vers1 ,en ,pallas sou het self voor wat bysonder keuren4 7,,on ,,my ,,coral ,,work4 ,placed in my cabinet here1 you see made of coral ,a baby's basket1 a cradle1 a child's foot-warmer and a warming-basket1 ,an ornamental clothes cupboard1 a bed and bedstead of twisted and cast coral ,and of pure glass1 of different colours1 ,shaped at ,amstel's stream of blue and green and purple4 ,for such coral-work deserves indeed a verse1 ,and even ,pallas would judge it more than ordinary47 ,,op ,,myne ,,thuyn ,,van ,,syde ,hoe seer dat ,crassus pronckt en stoft op al sijn fruyten1 ,gewassen buyten ,rom en aen het ,tybers stof1 ,hoe seer ,lucullus pryst sijn bloemen1 planten1 spruyten1 ,sijn ooft1 sijn boom-gewas1 sijn za'en1 sijn braven hof1 ,dit alles kan een wint1 een buy en vlaegh verdrijven1 ,soodat de bloem verdort en 't rijpe fruyt verstickt4 ,maer mynen hof van syd die sal gedurigh blyven4 ,mijn fruyt het greetigh oogh1 maer niet de mond verquict4 ,geen spin1 geen worm1 geen rups en kan mijn boomen deeren1 ,mijn bloemtjes somers sijn en 's winters even groen1 ,mijn kerssen altyd root1 mijn appelen1 mijn peeren ,sijn altyt even gaef1 sy konnen 't ooghe von4 7,,on ,,my ,,garden ,,of ,,silk ,how much ,cassius may pride himself and boast of all his fruit ,grown outside ,rome and on the ,tiber's border2 ,how much ,lucullus may praise his flowers1 plants and twigs1 ,his lawns1 his tree-garden1 his seeds and a fine orchard-- ,all these can be scattered by the wind1 a shower1 or a gust2 ,so that the flower fades and the ripe fruit perishes1 ,but my silken garden will remain for ever4 ,my fruit satisfies the greedy eye1 but not the mouth2 ,no spider1 worm1 nor caterpillar can hurt my trees2 ,my flowers are as green in winter as in summer1 ,my cherries always red1 my apples and my pears ,always ripe and sound2 they feed the eyes for ever47 ,the dolls' houses of the rich were always made of costly woods1 and were frequently inlaid with ivory and tortoiseshell4 ,at the exhibition of ,amsterdam in #aheh1 among a number of these curiosities1 was a notable one veneered with tortoiseshell and with painted glass doors--a present from the ,king of ,denmark to ,maarten ,harpertz ,tromp4 ,another was a typical ,dutch house of walnut-root wood1 furnished with silver furniture and wax dolls2 there were also two of ,italian make with tortoiseshell1 ebony and brass ornaments1 the doors of which were painted with ,italian sea-towns2 and one of ebony1 the door-panels of which were painted by ,peter ,breughel4 ,in the ,rijks ,museum are several models in miniature of old ,amsterdam houses4 ,the finest one is of tortoiseshell ornamented with white metal inlay4 ,according to tradition1 ,christoffel ,brandt1 ,peter the ,great's agent in ,amsterdam1 had this house made by order of the ,czar1 and it is said to have cost #bj1jjj guilders 7#b1ejj71 and to have required five years to produce4 ,dating from the latter part of the seventeenth or first part of the eighteenth century1 it contains all the furniture that was to be found at that date in an aristocratic dwelling on the ,heerengracht or ,keizersgracht4 ,every object in it was made by the proper artisan1 so that it is correct in every detail4 ,another dates from the first half of the eighteenth century4 ,architecturally it is very interesting2 but the interior furnishings are much simpler than the above4 ,a third house1 belonging to the family ,ploos van ,amstel1 dates from the first half of the eighteenth century1 and is supposed to be inhabited by a doctor4 ,it is three storeys high1 and has a wide door on the faade with the initials ,p4,v4,a4 7,ploos ,van ,amstel7 artistically interlaced4 ,of its twelve rooms1 the most remarkable are the parlour and the physician's study1 containing a library1 a collection of preparations and a collection of shells and artistic objects in ivory1 every item of which is reproduced in miniature4 ,according to ,mr4 ,e4 ,w4 ,berg1 who gives a minute description of this house in ,de ,oude ,tyd 7#ahgb71 it is said that by this doctor is meant ,christoffel ,ludeman1 the well-known 8wonder-doctor40 ,it was a fad with the wealthy to possess these curious silver toys1 which passed from generation to generation4 ,sometimes the collection consisted of hundreds of pieces4 ,mrs4 van ,varick1 of ,new ,amsterdam 7#afif71 had no less than eighty-three silver toys to divide among her children4 ,these silver and gold toys were so artistically made that they attracted the attention of many travellers1 who paid large sums for them4 ,many beautiful and quaint specimens are therefore to be seen in the ,european ,museums and private collections on both sides of the ,atlantic4 ,sets of dolls' porcelain were also collected in this century and preserved in show-cases or china-cabinets1 with a collection of dolls' clothes4 ,these cabinets of dolls' articles were even found in farmhouses1 and sometimes jewellery and small articles of value were kept in them4 ,many of the poorer houses in the seventeenth century were built of wood or stone1 with wooden gables that projected far over the narrow street1 so far indeed that the occupants of the one could shake hands across the street with those in the opposite house4 ,many of these houses were gradually replaced by newer houses of a more regular aspect4 ,as the century wears on they increase in height and solidity4 ,as a rule1 the house is of three storeys1 with a tiled roof4 ,in the lower floor there is a row of small windows with small panes set in lead and protected by ornamental iron-work4 ,these windows admit light into the small office and entrance-hall1 and run along the whole width of the house above the 8luifel0 7verandah71 under which in the daytime wares are offered for sale1 and where on fine evenings the burgher sits with his wife and family4 ,sometimes the thrifty housewife may be seen sitting under the verandah knitting1 spinning1 sewing1 or darning1 with her feet on a foot-rest1 and the children playing around her4 ,the baby's cradle is sometimes brought out as well4 ,on ,saturdays the children are bathed and washed under the 8luifel10 without the public taking the least notice4 ,gentlemen's houses1 however1 have no verandahs1 but both sides of the door or gate are flanked by windows with shutters1 and this door is on a level with the entrance4 ,the arrangement of the windows on the second floor is like that of the first4 ,chrysostomus ,napolitanus says in #aeaf1 8,the dwelling-houses have nearly all the same shape and architecture4 ,the back walls do not rise very high1 but end in a point and step-like40 ,these gable steps were sometimes ornamented with stone vases or images1 and the coping was also decorated4 ,in the seventeenth century the houses were built narrower but higher1 as also the windows1 while the wire screens and the verandahs gradually disappeared4 ,the copings and ornamentations of the cornice were1 however1 not less richly sculptured2 and1 under the top windows1 stone figures1 ,caryatides1 lions and coats-of-arms were often introduced4 ,in the third storey there were one or two windows1 above which the arms of the proprietor were carved4 ,instead of the armorial device1 sometimes a figure1 a pair of compasses1 or a bell was introduced1 from which the house took its name2 or again the family name would be carved in gigantic letters4 ,in the course of time the name of the occupant was used less than the name of the house in which he lived4 ,we find mention of the house ,blijenburgh1 ,moesienbroeck1 ,cruysenborch1 ,nuysenborch1 ,blijensteyn1 ,kleyn ,jerusalem1 't ,huys ,beaumont1 ,groot en ,kleyn ,rosendaeal1 etc4 ,behind the houses were gardens with summer-houses1 surrounded with fences of trellis-work4 ,in the common houses a stone-paved hallway leads through the house to an open back yard1 where there is a grass plot to bleach the clothes on1 and where a room is built with a fireplace and kitchen4 ,from the vestibule a stairway leads to the second floor1 which communicates with a smaller stairway and often with a ladder to the floor above4 ,let us enter a rich home and see how the rooms are arranged4 ,we pass through a great oaken door painted green and furnished with a heavy iron knocker1 to enter a high and commodious vestibule1 the walls of which are hung with pictures1 deers' heads or other hunting trophies4 ,on one side is a broad oak staircase with a lion1 griffin1 or dragon beautifully carved at the base1 and holding in his paws the same coat-of-arms that is carved in front of the gable4 ,facing the entrance hangs a magnificent oil painting4 ,in less wealthy homes the vestibule is encased with blue and white tiles1 and the floor is also laid in the same1 and a carved oak or stone bench faces the door4 ,as this 8voorhuis10 or vestibule1 is used by the less fashionable as a living apartment1 there also stands here a table1 and on the wall a mirror in an ebony frame1 and many polished brass vessels and ,delft dishes and plates give a homelike character to the spot4 ,a house of this type has a verandah outside1 on and under which the small merchant conducts his business1 although his office or 8comptoir0 is at the back4 ,if this happens to be a school1 the master or mistress teaches his or her class under the 8luifel02 or1 if an inn1 this is the meeting or smoking-room4 ,the 8comptoir0 is also found in the homes of the rich1 and the lady of the house often sits there with her children1 not because it is the most attractive place1 but in order to keep the better rooms neat and clean4 ,in rich houses many of the rooms are known by individual names1--some according to the use to which they were put1 others on account of the hangings1 the name of the occupant1 or an important piece of furniture4 ,hence we have the salon1 dining-room1 show-room1 the sleeping-room1 the little cabinet 7office71 the gold leather room1 the damask room1 the matted room1 the room of ,adam and ,eve1 ,mr4 ,arends's room1 ,miss ,emerentia's room1 ,mr4 ,cornelius van ,beveren's sleeping-room1 etc41 etc4 ,in wealthy homes the walls of some rooms were encased in tiles1 decorated with painted figures1 flowers1 arms1 or pictorial scenes or mottoes2 and upon these hung many fine paintings in richly carved ebony frames4 ,in some houses every available space on the wall in every room was occupied by a picture2 so that from top to bottom the rooms were filled with masterpieces of art4 ,some rooms on the ground floor were hung with splendid tapestries1 representing hunting-scenes1 ,biblical stories1 coats-of-arms1 mythological and historical legends and stories1 etc41 etc4 ,other rooms were hung with embroidered materials1 with red velvet1 with gold or silver flowered borders1 or with gold or stamped leather of various colours and patterns4 ,sometimes1 also1 the walls were panelled and wainscotted1 particularly where beds or cupboards stood4 ,in poor houses the walls were simply whitewashed or covered with square tiles of gay colours4 ,the ordinary burghers strewed their floors with fine sand1 and often arranged it so deftly by means of the broom in a design of flowers or geometrical figures that one would think a figured carpet was laid upon the floor4 ,in rich homes the floor1 as a rule1 was covered with fine ,spanish matting2 and when guests came1 a rug or carpet was spread over this1 but on their departure it was carefully rolled up and put away4 ,some of the floors--often those of the garret--were laid in coloured tiles4 ,one of the principal ornaments in rich houses was the painted glass4 ,in some rooms every window was adorned with painted glass1 but in less wealthy homes one window had to suffice4 ,this was generally a round one painted in gaudy hues and neatly framed4 ,such glass was a favourite present4 ,sometimes the engraver had inscribed upon it ,dutch or ,latin proverbs2 but more frequently it was embellished with the coat-of-arms of the master of the house1 portraits1 landscapes1 ,biblical and popular stories1 such as ,reynard the ,fox1 ,the ,adventures of the four ,heems ,children1 or ,the ,drolleries of ,tyll ,eulenspiegel4 ,the ceilings rested on heavy oak beams with many cross beams2 and even in rich houses ceilings and beams were artistically painted4 ,in the centre of the ceiling was hung a brass1 or gilded wooden chandelier for wax or tallow candles2 and additional light was derived from sconces fastened to the walls and on either side of the chimney-piece4 ,occasionally the candelabra were of crystal4 ,in some rooms models of ships correctly rigged hung from the beams2 and sometimes stuffed animals1 heads1 fish1 weapons1 and wedding ornaments and favours kept them company4 ,the chimney-piece always received a good deal of attention4 ,it was very wide and high4 ,wood and peat were both burned on the large silver1 brass1 iron or steel andirons4 ,the space in the overmantel was often painted by the best master available1 or was occupied by a painting in a carved frame4 ,on either side of the picture were sconces containing wax candles that illuminated the painting at night4 ,the broad chimney shelf was occupied with ,japanese and ,chinese porcelains and lacquers2 and in the summer time the pot that was suspended from a crane in the chimney was taken away and replaced by large porcelain vases and beakers4 ,a handsome chimney cloth was usually hung just below the shelf4 ,being exceedingly economical1 the ,dutch could not easily squander money for pleasures or recreations1 but for the 8home0 they would spend lavishly4 ,a handsome piece of furniture or silver1 beautiful porcelain1 rare tulips1 rich curtains and rugs1 valuable paintings1 fine glass1 and curios from the ,far ,east would induce the opulent ,dutchman to part with large sums2 and his wife spent the greater part of her life in ornamenting and beautifying the home1 taking care of the treasures it contained1 and1 above all1 in keeping the house and its contents clean and in order4 ,a rich merchant1 ,asselijn1 said3-- ,ziet wat een fraei kasteel6 wat heit het me gecost6 ,myn gelt is nyet verbrast aan keur van vremde cost4 ,voor paerden en gery en zeldzaeme sieraeden ,en gaf ik nyet een myt2 geen bloem-fluweelgewaden ,versieren 't stinckend lyf1 de logge madenzak4 ,myn huys is myn sieraet1 myn huys myn beste pack4 ,daer voor is myn tresoor1 daer voor myn koffer open1 ,en wat myn huys behoeft1 dat haest ick my te koopen4 7,see what a beautiful castle6 ,what a sum it costs6 ,my money is not spent in choice of foreign viands4 ,for horses and equipages and rare ornaments ,i did not spend a mite2 no flowery velvet dresses ,adorn the wasting body1 the clumsy stomach3 ,my home is my ornament1 my house my best costume1 ,therefore my treasury and my coffer are open1 ,and what my house needs ,i hasten to buy47 ,and ,godewijck puts these words into the mouth of a daughter of an alderman3-- ,myn stoffer is myn swaerd1 myn bussem is myn wapen4 ,ick kenne geene rust1 ick weete van geen slaepen4 ,ick denck aen geen salet1 ick denck niet aen myn keel4 ,geen arbeyt my te swaer1 geen zorge my te veel ,om alles gladdekens en sonder smet te maken4 ,ik wil niet dat de maegd myn pronkstuck aan zal raken2 ,ick selve wrijf en boen1 ick flodder en ick schrob1 ,ick aes op 't kleinste stof1 ik beef niet voor den tob ,gelyck de pronckmadam4 7,my brush is my sword1 my besom is my weapon4 ,i know no rest1 ,i know no sleep4 ,i don't think of my room1 ,i don't think of my throat4 ,no labour is too heavy1 no care ,i think too much ,to make everything smooth and without blemish4 ,i will not let the maid touch my pretty things2 ,i1 myself1 will rub and polish1 ,i will splash and scrub2 ,i hunt the speck of dust1 ,i do not fear the tub ,like a fine lady47 ,these are samples of many speeches in the old comedies1 where the women constantly talk about housecleaning and scrubbing4 ,english travellers of this period unanimously praised the way the ,dutch houses were kept4 ,one wrote3 8,they are not large1 but neat1 beautiful outside and well furnished inside2 and the furniture is so clean and in good order that it appears to be more an exhibition than for daily use40 ,the farms also attracted the attention of the stranger4 ,another traveller said3 8,the ,dutch farmer keeps his land as neatly as a courtier trims his beard2 and his house is as choice as a lady who comes out of her dressing-room4 ,a well-dressed lady cannot look neater than the fine gable and the thatched roof of a ,dutch farmhouse40 ,in his ,brief ,character of the ,low ,countries1 ,owen ,feltham describes an ,amsterdam house of the middle of the seventeenth century4 8,when you are entered the house10 he writes1 8the first thing you encounter is a ,looking-,glasse4 ,no question but a true ,embleme of politick hospitality2 for though to reflect yourself in your own figure1 #8tis yet no longer than while you are there before it4 ,when you are gone once1 it flatters the next commer1 without the least remembrance that you were ere there4 8,the next are the vessels of the house marshalled about the room like watchmen4 ,all is neat as you were in a ,citizen's ,wife's ,cabinet2 for unless it be themselves1 they let none of ,god's creatures lose anything of their native beauty4 8,their houses1 especially in their ,cities1 are the best eye-beauties of their ,country4 ,for cost and sight1 they far exceed our ,english1 but they want their magnificence4 ,their lining is yet more rich than their outside2 not in hangings1 but pictures1 which even the poorest are there furnisht with4 ,not a cobler but has his toyes for ornament4 ,were the knacks of all their homes set together1 there would not be such another ,bartholomew-,faire in ,europe4444 8,their beds are no other than land-cabines1 high enough to need a ladder or stairs4 ,up once1 you are walled in with ,wainscot1 and that is a good discretion to avoid the trouble of making your will every night2 for once falling out else would break your neck promptly4 ,but if you die in it this comfort you shall leave your friends1 that you dy'd in clean linen4 8,whatsoever their estates be1 their houses must be fair4 ,therefore from ,amsterdam they have banisht seacoale1 lest it soyl their buildings1 of which the statlier sort are sometimes sententious1 and in the front carry some conceit of the ,owner4 ,as to give you a taste in these3-- #8,christus ,adjutor ,meus2 ,hoc abdicato ,perenne ,quero2 ,hic ,medio tuitus ,itur4' 8,every door seems studded with ,diamonds4 ,the nails and hinges hold a constant brightnesse1 as if rust there was not a quality incident to ,iron4 ,their houses they keep cleaner than their bodies2 their bodies than their souls4 ,goe to one1 you shall find the ,andirons shut up in network4 ,at a second1 the ,warming-pan muffled in ,italian ,cutworke4 ,at a third the ,sconce clad in ,cambrick40 ,english travellers are not the only ones to bear witness to the extremes to which cleanliness was carried by the housewives of the ,low ,countries4 ,a ,french writer1 ,de ,parival1 says3-- 8,the wives and daughters scour and rub benches1 chests1 cupboards1 dressers1 tables1 plate racks1 even the stairs until they shine like mirrors4 ,some are so clean that they would not enter any of the rooms without taking off their shoes and putting on their slippers4 ,the women put all their energy and pleasure in keeping the house and the furniture clean4 ,the floors are washed nearly every day and scoured with sand1 and are so neat that a stranger is afraid to expectorate on them4 ,if the city women keep their houses clean1 the farmers' wives are not less particular4 ,they carry this cleanliness even into the stables4 ,they scour everything1 even the iron chains and mounts until they shine like silver40 ,the same traveller also says3 8,the furniture of the principal burghers1 besides gold and silver ware1 consists of tapestries1 costly paintings 7for which no money is saved1 but rather eked out in economical living71 beautifully carved woodwork1 such as tables1 treasure-chests1 etc41 and pewter1 brass1 earthenware1 porcelains1 etc40 ,another foreigner says3 8,their interior decorations are far more costly than our own ,english1 not only in hangings and ornaments1 but in pictures1 which are found even in the poorer houses4 ,no farmer or even common labourer is found who has not some kind of interior ornaments and so varied that if all were put together it would often fill a booth at the fair40 ,chrysostomus ,napolitanus1 who visited ,holland in #aeaf1 says3 8,goede ,hemel6 welk eene netheid van het gereedschap6 welk eene kostelijkheid van bedden en welk eene blankheid van servetten1 tafels en tafellakens6 welk een sieraad aan de stoelen6 welke zindelijkheid eindelijk aan muren1 vloer en al het overige6 ,den bodem der spijs-1 noen- en slaapvertrekken bestrooien zij met een weinig zand1 opdat1 zoo er bij geval iets morsigs op mocht vallen1 zoo iemand somwijlen er vuile voeten op mocht zetten1 de vloer zelve er niet door besmet zou worden1 maar men het terstond1 eer het er zich aan vasthecht1 met bezems uit zou kunnen keeren40 78,good ,heavens6 ,what a neatness of the utensils6 how costly the beds and bedding1 and how white the sheets1 serviettes and tablecloths6 ,what an ornamentation on the chairs1 and1 lastly1 what cleanliness of the floors1 walls and everything6 ,the floors of the eating1 sleeping and sitting rooms are strewn with a little sand1 so that if anything should drop and one should accidentally step upon it1 the floor would not be soiled1 and before the matter could stick to it1 the dirt might be removed with a broom407 ,fifty years later1 ,guicciardini1 after praising the general state of the civilization and courtesy of the people1 and remarking on the beauty of the public and private buildings1 says3 8,but after all this if one enters their homes and notices the abundance of all kinds of furniture1 and the order and neatness of everything1 it gives one great pleasure1 and one looks upon it as a wonder4 ,and indeed it is1 for there is nothing like it anywhere else in the world40 ,the inventories of the day give evidence of a great variety and number of cleaning utensils4 ,brooms and brushes of all kinds1 tubs1 pails1 buckets1 scrubbers tied with red leather1 dust brushes called hogs1 floor brushes1 hearth hair brushes with brass and wooden handles occur in every house4 ,one inventory of #afhe shows how well supplied a rich home was with articles for cleaning and scrubbing4 ,these are as follows3 five whiting brushes1 one brush to clean the floors1 five rubbers1 three small painting brushes1 four dust brushes1 two floor brushes1 two hair brushes1 two hearth brooms1 one chamber broom1 one rake brush1 one brush1 one hay broom without a stick1 and two ,bermudian brooms with sticks4 ,cooking and cleaning implements and utensils were kept in the kitchen and in the cellar underneath4 ,pictures by ,dutch masters show that in clement weather a good deal of housework was done in the tiled court or yard adjoining the kitchen4 ,as an example of the ordinary burgher's home1 let us take the house on one of the corners of the ,mat ,wharf on the ,voorstraat in ,dordrecht1 dating from the beginning of the seventeenth century1 and dwelt in by ,andreas ,hulstman ,janz1 merchant in wood1 his wife ,elizabeth ,balen ,matthews1 and his children ,jan1 ,christine and ,alette4 ,the house has a sharp pointed gable and is three storeys high4 ,the windows are provided with balconies1 and a larger verandah runs along above the blue stone stoop4 ,on each side of the rounded door embellished with iron-work are small windows supplied with trellises1 as are likewise the four windows above the verandah that light the little office or 8comptoir40 ,as we tap the iron knocker1 a man or maid servant opens the door1 and we notice that the little windows dimly divined through the creeper-shaded trellis are set in lead and supply but little light4 ,the front hall runs on the left-hand side directly through the house1 opening into a little yard that communicates with some smaller apartments and the kitchen4 ,on the right hand side is a small apartment1 called the 8little comptoir10 the favourite room of the mother and her daughters when the housework is done1 for they can see through the trellis and 8watch the street40 ,in the hallway1 a narrow staircase leads to the second floor1 8the best part10 where the 8show0 and 8guestrooms0 are situated1 while on the third floor are the bedrooms1 and in the garret1 the drying-room1 mangle-room1 brass and tin rooms4 ,here also the peat and firewood are kept4 ,passing up the stairway1 we enter the living-room1 which looks upon the front hall1 and from which1 when the door is open1 a view of the street is obtained4 ,this arrangement is familiar in many ,dutch pictures1 notably in that of ,the ,sick ,lady 7,plate ,,xxxvii74 ,the living-room is rather sombre4 ,the white walls are partly covered with pictures1 and the floor is strewn with fine sand in a pattern resembling a carpet4 ,three large pieces of furniture are conspicuous1 two oak cupboards standing on heavy ball feet1 their broad flat tops ornamented with handsome beakers and vases of porcelain2 the third piece is a large sacredaan kas hung with green curtains4 ,in this the library is contained1 consisting of a few books of travel1 atlases1 poetry by ,cats1 ,vondel1 ,godewijck1 ,antonides1 a number of religious works1 commentaries on the catechism1 hymn-books1 the medical works of ,battus and ,beverwijck1 and a few translated novels 7for in this day there was but little ,dutch fiction74 ,in the centre of the room there stands a large and heavy oak table1 with low chairs of the same1 and covered with leather seats arranged symmetrically around it4 ,in one corner of the room we note a reading-desk on which rests an enormous ,bible bound in leather1 with great brass mounts4 ,the chimneypiece is enormous2 if it is winter1 a tremendous peat and wood fire is perpetually burning2 if summer1 the fireplace is ornamented with large1 handsome faence1 or porcelain vases4 ,this is the room in which the family gathers for breakfast1 dinner and supper1 and passes the winter evenings pleasantly enough4 ,from this room we enter the kitchen4 ,we hardly know what to notice first--the marble tiles shining like glass1 the brass and pewter gleaming like gold and silver from the racks and dressers1 the well-filled china closet1 the rose-red painted table1 with the yellow painted rush-bottomed chairs1 or the general effect of charm1 cheerfulness1 colour and neatness4 ,we are told that the lady of the house calls this her 8holy0 7as she calls the show-room the 8tabernacle071 and allows no cooking to be done here4 ,there is a small back kitchen built for this purpose called 8snuiver0 7cooking shed71 where all the food is prepared4 ,before leaving this room we must describe the dresser1 in which all the articles for breakfast service are kept and1 in poor houses1 left-over food4 ,the used napkins are folded and placed here1 and there are drawers for table linen and other small utensils4 ,it contains a candle-drawer1 and upon one of its shelves stands the heavy brass candlestick4 ,the peculiar extinguisher is called familiarly 8the cat's head10 on account of its resemblance to the head of a cat4 ,this is narrower at the bottom than the top1 and has a handle on each side4 ,this stands next to the peat-box1 often the lower part of a pot cupboard opened and shut with a slide ,underneath the chimney is placed the fire-pot1 for stoves are not known4 ,these innovations1 imported from ,germany1 were heartily despised and called contemptuously 8stink-pots0 and 8muff-boxes40 ,omitting the cellar and store-rooms1 we pass upstairs to the bedroom of the master and mistress on the second floor4 ,pictures1 chiefly family portraits1 adorn the walls4 ,the floor is of wood1 highly polished1 and so slippery that great care is required in walking across it4 ,the furniture consists of chairs with tall backs and low seats1 a carved table with a tapestry or rug cover1 a large oak cabinet and a cupboard on four legs1 the treasure-chest and the wash-buffet1 with wash-mops and toilet appliances4 ,a heavy green damask curtain hangs before the bed1 which is so high above the floor that it must be entered with the aid of a small stepladder that stands in one corner of the room next to the brass warming-pan4 ,sometimes a cradle1 called 8coach10 for the baby stands at the foot and sometimes under the bed4 ,these beds have often been ridiculed4 ,the bedstead1 however1 soon supplanted the panelled bed1 although it has never banished it altogether4 ,the inventory of ,gertrude van ,mierevelt 7#afci71 wife of the painter ,van ,mierevelt of ,delft who died in #afch1 gives an excellent idea of a comfortable ,dutch home of the early seventeenth century4 ,first should be mentioned six beds with handsome draperies1 tapestries1 rich furniture covers1 and other woollen articles 7wollegoet71 that prove how much the artist and his wife liked rich textiles4 ,the tinnewerk1 consisting of plates1 dishes1 salt-cellars1 etc41 shows that the table-service was of pewter1 although twenty-eight articles in porcelain and faence1 consisting of plates1 bowls and dishes1 valued at about twenty-six florins1 are also enumerated4 ,the house also contained a great many copper articles and utensils1 from tongs and shovels to those fine repousse dishes so highly prized to-day by collectors2 and there was a considerable amount of ironware1 including two lanterns4 ,there were some statues in plaster1 including a 8,suzanne10 ninety-four paintings1 chiefly religious1 and family portraits1 although one representing 8,pomona and ,flora0 is mentioned4 ,the artist also had some violins1 a little book of engravings1 some wooden panels1 and a library of thirty-seven volumes4 ,many of these were illustrated1 and dealt with religious and historical subjects2 and as they were all in ,dutch it would seem that the artist could read no other language4 ,especially noticeable is the fine collection of linen1 the pride of the mistress4 ,she had no less than twenty-five pairs of sheets1 a hundred and eighteen serviettes and fifteen tablecloths1 one of which fetched as much as fifteen florins at the sale in #afci1 and another of damask 7damast taefellaecken71 twenty florins4 ,the most important room of the home of a burgher of moderate means was the hall1 or general living-room4 ,this1 as so many pictures show1 had a great fireplace1 at which meals were often cooked4 ,the furniture consisted of tables1 chairs1 cabinets1 and1 very frequently1 a bed4 ,the chimney-piece is massive1 high and often elaborately carved1 and above it a landscape1 fruit piece1 ,kermesse1 flower-piece or battle-scene by a favourite painter1 is hung to form part of the decoration4 ,this chimney-piece is1 moreover1 filled with porcelain dishes1 cups1 plates1 teapots and curios4 ,below it hangs an ornamental chimney cloth embroidered with gaily-coloured flowers1 red or green silk1 white muslin1 or figured calico4 ,the hearth is framed in blue and white tiles1 furnished with an iron fireback and supplied with brass and irons1 racks for the fire-irons1 pot-hooks1 spits1 a crane on which a large brass kettle hangs1 and small hooks from which the bellows1 hearth brooms1 shovel1 tongs1 etc41 hang conveniently for use4 ,a brass or copper warming-pan is not far away4 ,the walls are adorned with pictures1 a large looking-glass in an ebony frame1 a wall-board with hooks for small cans and jugs and a plate rack or two in which some handsome plates and dishes are formally arranged4 ,a great linen press1 or kas1 filled with tablecloths and napkins1 the head of which is decorated with large ,japanese beakers and smaller cups and vases1 stands on one side of the room1 and a glass case filled with teapots1 cups and saucers1 dishes1 etc41 and an ,east ,india cabinet on the other4 ,a gaudily-painted ,hindeloopen clock ticks on the wall4 ,a large table stands in the centre of the room1 covered with a heavy ,turkish rug or 8carpet10 and several little tables are conveniently disposed4 ,the ,russia leather1 ,turkey work and matted chairs are symmetrically arranged around the walls beneath the many pictures of landscape1 interiors or still-life4 ,the windows are curtained1 the hangings of red or green striped silk or flowered calico matching those of the bedstead1 which can be completely closed like a large box4 ,on the four corners of the cornice of this bed are bunches of feathers or a painted wooden ornament4 ,the casement windows have tiny diamond-shaped or round panes set in lead1 and on the outside creepers and roses are carefully trained1 forming a beautiful framework4 ,upon the sills stand flower-pots in which a bright tulip or other favourite flower is blooming4 ,the first apartment entered from the front door of a merchant's house was the 8voorhuis10 or front room1 where visitors were formally received4 ,this was more or less handsomely furnished in accordance with the means of the owner4 ,it was usually a sort of hall1 sometimes of considerable dimensions4 ,a 8voorhuis10 as it appears in an inventory of #afhf1 contains a very handsome marble table with a carved wooden frame1 a table covered with a handsome cloth1 and a very fine tall clock4 ,the seats consisted of seven ,russia leather chairs and one matted chair furnished with a cushion4 ,the room was lighted with three glass windows with leaden frames1 handsomely curtained1 and eleven pictures decorated the walls4 ,the value of this furniture was #abe in present money4 ,in many houses the second floor was only used for 8show rooms10 and the family slept in either the lower or the top floor4 ,bernagie writes3 8,if you go through the town1 you will find many houses where the husband is afraid so much as even to smell at his second floor rooms4 ,they always remain downstairs4 ,have they ever so many courtly rooms1 they will eat1 for their wives' sake1 in the small back kitchen40 ,this was the case in most of the burghers' houses4 ,these show-rooms were used only on some special occasion2 otherwise they were never entered except for cleaning4 ,this took place weekly and oftener1 with special cleaning in the spring and autumn4 ,rooms in constant use were daily stripped and cleaned1 and the housewife barely allowed herself time to eat4 ,some enthusiastic housekeepers--although wealthy--would not allow the servants to clean their best rooms1 but wielded 8the scrubbing-brush1 rubbing-towel and floor-cloth40 ,there are examples of houses where from thirty to forty pails of water were used every day1 and where the servants did nothing but rub and scrub and scour from morning till night4 ,many of the houses were exceedingly damp in consequence1 and the inmates constantly ill4 ,notwithstanding the ridicule the ,dutch housewife suffered in books and on the stage1 her mania for cleaning was so great that she cared not at all if the house was termed 8hell0 and the cleaners 8she-devils40 ,in some families home was made still more uncomfortable on account of the little amount of cooking done4 ,certain dishes were prepared once a week and then 8warmed up10 so that the stove would not be soiled4 ,in ,north ,holland a month would sometimes elapse between the making of fires for cooking in the fireplace4 ,all the cooking was done by means of a little boiling water in the fire-pot4 ,the show-room1 or 8holy of holies10 as the ,dutch woman was pleased to call it1 was furnished according to the means or class of the owner4 ,among the higher classes a party was often given in it4 ,in such homes the floor was covered with expensive ,turkish rugs1 and the walls hung with tapestries1 silk damask or gold leather4 ,these were further adorned with ,venetian mirrors and paintings worth their weight in gold4 ,the chairs were of rare exotic or foreign woods supplied with embroidered cushions1 or seats of ,utrecht velvet1 and the other furniture consisted of beautifully painted or inlaid or mosaic tables1 beautifully carved cupboards1 and rare cabinets inlaid with silver1 ivory or tortoiseshell1 and filled with the finest egg-shell porcelain4 ,porcelains and curios adorned the high carved chimney4 ,in older aristocratic homes the 8show-room0 was less lavishly furnished1 but none the less the pride of the mistress4 ,the floor was covered with mats1 the walls with painted linen1 or handsome paintings2 but in rare porcelain it was the equal of any alderman's or mayor's wife4 ,as time wore on1 the walnut cabinet supplanted the carved or oak cupboard1 the vitrine took the place of the china-cabinet and the console and glass appeared between the windows1 and finally we arrive at the period when the small bookcase with glass or mirror doors appears and chairs covered with figured rep4 ,the kitchen usually contained a bedstead with feather bed1 pillows and curtains1 a looking-glass in a black frame1 a cupboard1 chairs1 a table1 andirons1 innumerable brooms and brushes1 flint and steel for striking a light1 shovels1 tongs1 gridirons1 dripping-pans1 whetting-boards for knives1 tubs1 butter firkins 7earthenware1 pewter1 brass and tin71 knives1 forks1 spoons1 stills1 churns1 hanging boards1 can-boards1 pots1 pails1 skimmers1 funnels1 salt-boxes1 candle-boxes1 frying-pans1 beakers1 candlesticks1 dripping-pans1 skewers1 stewing-pans with covers1 copper kettles1 chafing-dishes1 hour-glasses1 lamps1 hammers1 tankards1 tin pans to roast apples1 pot-hangers1 dishes to boil fish on1 mortars and pestles1 waffle-irons1 bellows1 kettles1 a birdcage1 saucepans1 platters1 cans1 pepper mills1 tin ware to bake sugar cakes1 marzipan pans1 racks to hang clothes on1 wicker baskets1 hampers1 tubs1 glass knockers to beat clothes1 smoothing irons1 tin watering pots to wet clothes1 rainwater casks1 etc41 etc4 ,in order to gain an idea of a lady's bedroom of the period1 let us visit that of the wealthy ,mrs4 ,lidia van der ,dussen1 the daughter of ,jacob van ,beveren1 alderman of ,dordrecht and bailiff and dike-count of the ,country of ,strijen4 ,the house is one of those with a high peaked gable2 it has oblong round-headed windows with small panes set in lead1 and a faade decorated with carvings and arms1 while the name of the house is inscribed in marble at the top4 ,green and red damask curtains at the windows give the exterior an air of cheerfulness and comfort4 ,we enter4 ,to the right of the large vestibule1 the floor of which is laid in marble tiles of blue and white1 a wide marble staircase leads to a wide marble hallway4 ,the floor of this is covered with the finest ,spanish matting1 and on each side of the hall are doors opening into various rooms4 ,these heavy doors are of oak1 and are elaborately carved or painted with cherubs1 shepherds and shepherdesses1 etc4 ,opening one of these doors at the rear--the quietest part of the house--we find ourselves in a large room1 the stone floor of which is covered with rich rugs1 while tiles ornamented with bright pictorial designs1 or mottoes1 cover the walls4 ,the dark and heavy serge curtains that hang at the windows prevent us from distinguishing the furniture of the room very clearly2 but we gradually make out the articles one by one4 ,we note the splendid array of vases and beakers that adorn the wide mantelpiece1 and also the top of the china cabinet of sacredaan wood1 and the massive and richly carved1 or deeply panelled1 linen wardrobe1 or kas4 ,a handsome walnut bedstead stands in one corner of the room4 ,the four twisted pillars support a canopy1 from which fall heavy serge curtains1 that conceal a wealth of fine linen and ,flemish lace4 ,the four corners of the canopy are surmounted by the favourite ornament of the period1 the 8pomme0 consisting of a bunch of plumes1--in this instance of green1 red and black4 ,the walls1 although encased in tiles1 are hung with pictures in ebony frames1 in addition to which there is a large ,venetian mirror set in a rich crystal frame4 ,a drop-leaf table stands in the centre of the room1 surrounded by several chairs with high backs and low seats4 ,the woodwork of these chairs1 shining like glass from the devoted polishing it receives1 is1 like the china-cabinet already mentioned1 of sacredaan4 ,we also note in this room a beautifully made wicker cot1 or basket1 for the baby4 ,in early days this article of furniture was of large dimensions1 and the nurse sat beside it with a large screen at the side to keep away draughts4 ,some of these cots were shaped like cradles without the rockers1 and were supplied with a shelf or wing on the side as a protection from the heat of the peat fire4 ,at a later period of this century1 the cradle rested on two rounded rockers1 and had a rounded hood or canopy4 ,it was made of plum-tree wood1 or of wicker lined with yellow satin and trimmed with costly lace4 ,royalty was rocked in cradles of gold or silver2 that of ,charles ,v1 however1 shown in the ,brussels ,museum1 is of wood1 carved in the ,gothic style and painted4 ,a primitive form of ,dutch cradle was suspended from iron rings on two posts of wood1 and a later kind1 recommended by #8s ,gravesande1 had a spring on one side and a weight on the other1 so that when once put in motion it would continue rocking for a long time4 ,near the cradle stood the 8fire0 or 8napkin basket10 also made of wicker and covered with serge1 or with richer material if the home was one of wealth4 ,in the inventory of ,vrouwe ,reepmaker 7#afgj71 for example1 8white and satin basket covers0 occur4 ,the 8fire0 or 8napkin basket0 contained everything pertaining to the baby's outfit2 and mention is made in the inventories of 8a neat10 8a simple10 or 8a costly fire basket10 according to the circumstances of the owner4 ,the 8fire basket0 with its outfit was given as a present to the young mother by the husband's mother or one of the aunts4 ,in a celebrated farce of the period1 ,old ,brechtje says3 8,van mijn peetje een wonderlicke schoone corf ecregen1 die voor al myn kyeren eef edient4 ,ze eef hem van lapwerck en fraeykens van croonsaey en passementen emaeckt40 78,i got from my aunt a wonderfully beautiful basket1 which has served for all my children4 ,she made it of patchwork1 and covered it nicely with serge and embroidery407 ,on a table1 an open buffet1 or dressoir1 or a glass cabinet1 all the baby's silver was arrayed1 such as the herb-box1 the pap-pot1 the cinnamon bowl with cover and spoon1 and the large clothes tray--all inherited gifts from godfathers and godmothers of many generations4 ,each piece is variously inscribed1 sometimes dating as far back as the sixteenth century1 or earlier4 ,this large silver tray holds the costly clothing that will be used at the christening1 such as the cambric and lace robes and the red velvet robe lined with red silk1 the satin tufted blanket and other articles of baby dress4 ,nor must the large pincushion be forgotten1 on which the baby's name will be printed with pins4 ,the bride's basket was just as important as the baby's basket4 ,this was also made of wicker1 and1 according to the means of the parents1 lined with rich or simple material4 ,it was adorned with flowers1 and contained1 not the bride's dresses1 but the wedding-shawl and ornaments belonging to it1 the jewels and gloves that the bride was to wear at the wedding1 and also the gifts of the bridegroom4 ,the 8bride's crown0 and 8bride's throne0 received a great deal of attention from the loving hands that were busy with the preparations for the festivities4 ,the house was turned into a perfect bower on the occasion of a wedding4 ,garlands of palms1 flowers and evergreens were interwoven1 and hung upon the walls with the green boughs that were variously twined and twisted4 ,gold and silver favours1 love-knots1 marriage-bells and other devices and letters forming mottoes and riddles1 were displayed among the greenery and flowers1 and the name or initials of the bride and groom were to be seen on every side4 ,magnificent ,japanese vases filled with flowers1 particularly the brilliant tulip1 were placed in every available space4 ,handsome mirrors were removed from other rooms and hung among the garlands and flowers to add more light and beauty to the rooms4 ,not unfrequently the outside of the house received its share of decoration1 when the street doors were covered with greenery and garlands were hung from all the windows4 ,the ,dutch made lavish use of flowers and greenery on festive occasions4 ,when ,charles ,,ii was called home from ,holland in #affj to ascend the empty throne1 he received a magnificent farewell entertainment by the ,states-,general4 ,the festivities lasted over several days1 and are described in considerable detail by ,sir ,john ,lower1 who was present4 ,in his book we get an occasional glimpse of the furniture of the day1 particularly its disposition on gala occasions4 ,the great sideboards1 or cupboards1 are mentioned with admiration4 ,the great feasts were given in the ,mauritshuis1 ,the ,hague1 which was the scene of lavish hospitality4 ,describing one of these entertainments1 ,lower tells us3 8,from the centre of the lover or open roof descended a ,royal ,crown1 very gallantly made1 in the midst of four lusters or crystal candlesticks1 which with many other candlesticks1 arms of silver and a great number of torches1 enlightened all corners much better than the ,sun could have done at midday4 ,they gave particularly a marvellous lustre to the two bottoms of the chimney which is on the left side1 where two partitions of painted wood shut up as many cupboards of crystal glasses1 and a great store of vessels and of silver plate and vermillion gilt4 ,the ,hall was furnished with ordinary ,tapestry1 which is of crimson damask1 and had no other adornments but that here and there there were some fair pictures1 and that the ends of the chimnies and the void places above the cross-bar windows were adorned with garlands1 leaves and figures of trees loaden with oranges and mingled with all sorts of flowers1 which formed not only a very regular compartment1 but wonderfully refreshed also the chamber and charmed no less the smell by their perfume than they pleased the sight through the diversity of their rich enamel40 ,,chapter ,,vii ,,the ,,importance ,,of ,,porcelain ,rise of ,dutch ,taste in ,decorative ,art--,influence of ,foreign ,trade in the ,dutch ,home--,accounts of ,porcelain by ,mediaeval ,travellers3 ,edrisi1 ,ibn ,batuta and ,shah ,rukh2 ,quotation from ,pigapheta--,a great ,european ,collection--,monopoly of ,trade by the ,portuguese--,quotation from ,pyrard de ,laval--,portuguese ,carracks--,voyages to ,goa and ,japan-- ,porcelain and ,cabinets--,mendoza's ,description of ,earthenware--,dutch and ,english ,merchants--,presents to ,queen ,elizabeth--,dutch ,expeditions and ,establishment of the ,dutch ,east ,india ,company-- ,embassy to the ,emperor of ,china in #afee--;,descriptions of the ,manufacture of ,porcelain--,manufacture and ,potters of ,delft-- ,quotation from d',entrecolles on ,porcelain and ,oriental ,trade-- ,prices--,tea2 ,tea-drinking--,a ,dutch ,poet on the ,tea-table--,chrestina de ,ridder's ,porcelain--,prices of ,porcelain in #afec4 ,until the middle of the seventeenth century1 ,flanders may be said to have overshadowed ,holland in the field of ,decorative ,art1 although1 as we have seen1 the two most important designers of domestic furniture--,de ,vries and ,crispin van de ,passe--were ,dutch4 ,the reason of ,flemish preponderance was that the sovereigns and regents resided at ,mechlin1 ,ghent1 ,brussels and ,antwerp1 and to those courts the ablest men in the arts and crafts naturally flocked4 ,with the decay of ,antwerp1 we enter the period of the ,flemish ,decadence1 and ,amsterdam rises to wealth and power at her rival's expense4 ,after the death of ,rubens1 ,dutch art is supreme in the ,low ,countries2 and ,dutch taste undoubtedly influenced ,france and ,england4 ,the ,dutch home of the seventeenth century was profoundly affected by foreign trade4 ,the day of heavy carved furniture was over lightness and brightness are now the prevailing notes4 ,broad surfaces are veneered and inlaid with exotic woods2 and the lathe is freely used in the ornamentation of the supports of seats1 cupboards1 cabinets1 etc4 ,above all1 we notice a predominance of native and ,oriental ceramic ware4 ,the ,dutch were as fond of earthenware as of tulips2 and no study of a ,dutch interior could be adequate if it neglected to take into account the part played by ,delft and porcelain4 ,the three novelties that impressed the ,dutch home of the seventeenth century were tea1 porcelain and lacquer4 ,the importance of tea1 with its table and equipage as a domestic altar1 can hardly be overestimated2 but its consideration may be deferred for the moment4 ,porcelain affected the arrangement of furniture and the decoration of rooms4 ,the cabinet assumed new forms and proportions1 as porcelain decorated its exterior4 ,although ,chinese porcelains had appeared in the cabinets of amateurs of the sixteenth century1 the comparative rarity of this ware confined its enjoyment to the very wealthy4 ,the magnificent ebony cabinets1 armoires1 or kasten1 with drawers and interior shelves in which women delighted to set in beautiful order miniatures and jewels1 enamels and ivories1 shells and rock-crystals1 medals and coral1 now had also to find room for carved ivory and ebony1 gods and monsters1 jade1 porcelain1 sandal-wood and lacquer boxes1 and all the rarities that were to be found in the stores of the ,eastern traders4 ,porcelain was early held in high esteem1 and a vase was regarded as a fit present from one potentate to another4 ,it was very rare in ,western ,europe until the ,portuguese opened the ,eastern gates4 ,mediaeval travellers had frequently referred to its preciousness4 ,edrisi 7#aaed7 says of ,susah3 8,here are made an unequalled kind of porcelain1 the ,ghazar of ,china40 ,there was always a certain mystery attached to its composition and qualities till the beginning of the eighteenth century4 ,ibn ,batuta1 who travelled in ,bengal and ,china about #acej1 gives a more or less fabulous account of its manufacture4 ,he says3 8,porcelain in ,china is of about the same value as earthenware with us1 or even less4 ,it is exported to ,india and elsewhere1 passing from country to country till it reaches us in ,morocco4 ,it is certainly the finest of all pottery ware40 ,in #adbj the ,embassy sent by ,shah ,rukh to the ,chinese ,court mentions a buffet on which were arranged flagons1 cups and goblets of silver and porcelain4 ,the scribe also bears witness to the fact that 8in the arts of stone-polishing1 cabinet-making1 pottery and brick-making1 there is nobody with us who can compare with the ,chinese40 ,early in the sixteenth century1 before #aebj1 ,a4 ,pigapheta made a voyage to the ,east4 ,he describes a visit to the house of the ,queen of ,mindanao3 8,i sat down by the side of her2 she was weaving a palm mat to sleep upon4 ,throughout her house was seen porcelain vases suspended to the walls and four metal timbals40 ,he tells us that in ,borneo1 at ,bruni3 8,for one cathil 7a weight equal to two of our pounds7 of quicksilver they gave us six porcelain dishes2 for a cathil of metal they gave one small porcelain vase1 and a large vase for three knives4444 ,the merchandise which is most esteemed here is bronze1 quicksilver1 cinnabar1 glass1 woollen stuffs1 linens2 but above all they esteem iron and spectacles4 8,since ,i saw such use made of porcelain ,i got some information respecting it1 and ,i learned that it is made with a kind of very white earth1 which is left underground for fully fifty years to refine it1 so that they are in the habit of saying that a father buries it for his son4 ,it is said that if poison is put into a vessel of fine porcelain it breaks immediately40 ,it is generally supposed that the table service1 even among the rich1 was very limited during the sixteenth century4 ,a careful search of the inventories1 however1 shows that a complete service of faence was to be found on the tables of the opulent in the first half of the sixteenth century4 ,in #aecb1 we find that the widow of a minister of ,francis ,i had two complete services of beautiful faence3 one entirely white1 and the other 8historied0 with all kinds of coloured portraits4 ,these two services were composed each of four dozen large and three dozen small plates1 four aiguires1 three round and one oval basin1 three salts 7sallires71 eight pots1 twelve tazzi1 and three dozen spoons1 some of ivory and some of wood and mother-of-pearl1 8which we used in summer and autumn in serving collations of confitures1 junkets1 custards1 syllabubs1 fruits and cider to the great ladies who came to visit my daughters and myself2 and in addition ,i have also many other vessels of the best pottery of ,italy1 ,germany1 ,flanders1 ,england and ,spain40 ,besides the above1 this lady possessed forty-two vases1 pots1 tazzi and plaques of porcelain 8of the earliest days when ,europeans went to ,china1 which are of a beautiful white1 and decorated with all kinds of little paintings40 ,the owner1 who had evidently read ,pigapheta1 adds that the makers did not profit in their own lifetime by the manufacture of this 8ravissante0 porcelain1 because it had to be buried in the earth for a century in order to come to perfection4 ,another reason why it should be prized is that it is 8so healthy that if it is soiled with poison by evil doers who want to injure anybody1 it will immediately fall to pieces rather than suffer the vile draughts with which people would ravage our entrails40 ,at this date1 the ,oriental wares had not yet supplanted those that came through ,turkey1 ,asia ,minor and ,egypt by way of ,venice and other ,italian ports4 ,among the lady's possessions we find twenty-eight vases1 pots1 cups and little earthenware bowls of ,turkish work1 decorated on the necks and handles with little tufts resembling horses' tails4 ,she also had four hundred beautiful glasses of all colours1 and other ,venetian crystal vessels1 8adorned with the gayest fancies that the glass-blowers were capable of inventing1 with which we delighted the eyes of royalty and the great ministers of state at the great entertainments we gave40 ,after ,portuguese navigators had found the route to the ,east around the ,cape of ,good ,hope1 they were able to outstrip ,venice as a sea-carrier for ,eastern merchandise4 ,the ,levant trade1 with its costly loading and unloading from caravan to ship1 could not hope to compete with an all-sea route1 and therefore the ,portuguese soon acquired a practical monopoly of the traffic between ,western ,europe and ,eastern ,asia4#f ,lisbon became the great mart whence lacquer1 porcelain and other wares were distributed throughout ,europe4 ,dutch ships swarmed in the ,tagus1 and transferred ,oriental merchandise to ,amsterdam and other ,european ports4 ,footnote #f3 ,we know that much porcelain was brought into ,europe through ,venice from the ,levant long after the ,portuguese were dominant in the ,eastern seas4 ,as late as #afbc1 in ,minshen's ,spanish dialogues1 ,china metiall is defined as 8the fine dishes of earth painted1 such as are brought from ,venice40 ,the ,vicomte de ,santarem assures us that from #adig to #aeba from ,lisbon alone the ,portuguese despatched thirty-three fleets1 composed of #bbj ships2 and a fleet was despatched every year till the next century4 ,the fleet of #afjd even consisted of five ships4 ,two carvels also sailed the same year4 ,we learn what these great ships were like from ,pyrard de ,laval 7#afja71 who wrote3 8,three or four ,portuguese ships at most go out every year2 these are the carracks1 called by them naos de voyage1 which are sent out with the intention that they shall return if they can4444 8,the carracks are all built at ,lisbon 444 they are ordinarily of #a1ejj to #b1jjj tons burden4 ,sometimes more1 so that they are the largest vessels in the world so far as ,i have been able to learn2 they cannot float in less than ten fathoms of water4 8,these great carracks have four decks1 on each of which a man1 however tall1 can walk without touching his head against the deck above3 indeed1 he comes not within two feet of it4 8,the ships leaving ,goa are laden not only with silver1 but with divers goods of ,europe1 such as wines1 woollen fabrics1 and among others red scarlet2 all sorts of glass and crystal wares1 clocks which are highly prized by the ,chinese1 much cotton cloth1 precious stones cut and set in rings1 chains1 carkanets1 tokens1 ear-pendants and bracelets2 for the ,chinese like vastly to get gems and jewels of all sorts for their wives4 ,the ships leave ,goa towards ,october1 and touch at ,cochin for precious stones and spices1 such as pepper and cinnamon1 leaving there the merchandise of ,europe or of the northern parts of ,india4 ,thence they sail for ,malaca2 for they cannot make this voyage without touching at ,malaca in order to get the ,governor's passport1 and also to purchase the merchandise of the islands of ,sunda in exchange for cotton cloths and other goods of ,india and ,europe4 8,vessels making the voyage from ,goa to ,japan and back may reckon on taking three whole years2 nor can they reckon on less by reason of the winds called by them ,monssons and by us ,muesons1 which prevail for six months and more4 ,from ,malaca they go to ,macao1 and thence to ,japan4 ,at all these places they must await the ,muesons2 in the meantime while waiting they carry on their trade4 ,at ,macao they leave the greater part of their goods1 and all their silver1 relading with other goods of ,china1 such as silks and ,spanish white 444 it is dear1 and much in request in ,japan1 where all the women whiten the whole body with it1 even down to the legs4 ,this white comes from the island of ,borneo1 whence it is carried to ,china4 ,then they carry to ,japan all those ,china goods and some others from ,europe and ,india1 which they sell exceeding well2 they bring back only silver1 which they get cheap1 and return to ,macao to resell all their silver1 exchanging it for other merchandise4 ,they make a long sojourn in all those places1 and then return to ,malaca1 where they must call2 there they make another exchange of goods for those of ,malaca and the islands of ,sunda4 ,thence they return to ,goa1 or whatever other place the master of the ship belongs to40 ,in ,goa1 8,they have no glasses1 except what are brought from these parts or from ,persia1 and that is but little1 and1 moreover1 not much esteemed1 as they get the porcelaines of ,china at small cost4 8,the ,maldives take their food so nicely that they spill nothing1 not even a drop of water1 though they wash the mouth before and after dinner in basins served on purpose4 ,the vessel used is of earthenware1 like that of ,fayance1 fashioned in the native style1 and imported from ,cambaye2 or else it is of ,china porcelain1 which is very common and used by almost all4 ,but they use not any plate of earthenware1 or of porcelain1 saving one kind of round box1 polished and lacquered1 with a cover of the same2 it is manufactured in the island4444 8,his 7the ,king's7 plate is neither gold nor silver1 for that is forbidden by their law1 but of porcelain or of other ,china fabric4 8,it is impossible to tell all the great riches and all the rare and beautiful things which the ships bring back2 among others they bring much gold in ingots4 ,some gold also they have in leaf and some in dust2 also great store of gilded woodwork1 such as all sorts of vessels and furniture lacquered1 varnished and gilded with a thousand pretty designs2 then all kinds of silk stuffs1 good store of unwrought silk1 great quantities of musk and civet1 plenty of the metal called calin1#g which is much esteemed over all the ,indies1 and even in ,persia and elsewhere4444 ,of this metal they make all their utensils and ornaments as we do have of silver and tin2 they even use it for rings and bracelets for girls and children4 ,they import also from thence much porcelain ware1 which is used throughout ,india as well by the ,portuguese as by the ,indians4 ,besides all this1 many boxes1 plates and baskets made of little reeds covered with lacquer and varnished in all colours1 gilded and patterned4 ,among other things ,i should mention a great number of cabinets of all patterns in the fashion of those of ,germany4 ,this is an article the most perfect and of the finest workmanship to be seen anywhere2 for they are all of choice woods and inlaid with ivory1 mother-of-pearl and precious stones2 in place of iron they are mounted with gold4 ,the ,portuguese call them ,escritorios de la ,chine40 ,footnote #g3 ,malayan tin4 ,j4 ,g4 ,mendoza was another traveller who gave ,europe the results of his observations of ,portuguese activities in the ,far ,east1 and helped to stimulate a popular taste for porcelain4 ,his book was translated into ,english in #aehh1 by ,r4 ,parke4 ,among other interesting information he tells us3 8,there be also shops full of earthen vessels of divers making1 redde1 greene1 yellow1 and gilt2 it is so good cheepe that for foure rials of plate they give fiftie pieces3 very strong earth1 the which they doo breake all to pieces and grinde it and put it into sesternes with water1 made of lime and stone2 and after that they have well tumbled and tossed it in the water1 of the creame that is upon it they make the finest sort of them1 and the lower they go1 spending that substance that is the courser3 they make them of what colour they please1 the which will never be lost3 then they put them into their killes and burne them4 ,this has beene seene and is of a truth1 as appeareth in a booke set forth in the ,italian tongue by ,duardo ,banbosa1#h that they do make them of periwinkle shelles of the sea3 the which they do grinde and put them under the ground to refine them1 whereas they lie #ajj years4 ,but if that were true1 they should not make so great a number of them as is made in that kingdome1 and is brought into ,portugall1 and carried into the ,peru1 and ,nova ,espania1 and into other parts of the world4444 ,and the ,chinos do agree for this to be true4 ,the finest sort of this is never carried out of the countrie1 for that it is spent in the service of the king1 and his governours1 and is so fine and deere1 that it seemeth to be of fine and perfite cristal3 that which is made in the province of ,saxie is the best and finest4444 ,footnote #h3 #aebj4 8,the fine earthen dishes that are in this countrie cannot be declared without many wordes4 ,but that which is brought from thence into ,spaine is verie course2 although1 unto them that hath not seene the finer sort1 it seemeth excellent good2 but they have such with them1 that a cubbard thereof amongest us would be esteemed as though it were of golde4 ,the finest cannot be brought forth of the kingdome upon paine of death2 neyther can any have the use thereof1 but onely the loytias1 which be there gentlemen40 ,the glowing accounts of the riches of ,ind and ,far ,cathay brought home by the early voyagers naturally fired the imagination and cupidity of ,dutch1 ,english and ,french merchants and adventurers1 who said to one another3 8,we too will go to the hills of the ,chankley ,bore02 and every potentate in ,europe connived at their subjects' efforts to trespass on the ,king of ,portugal's ,tom ,tiddler's ,ground4 ,independent efforts had been made by the ,english to get a share of the riches of the ,east long before the ,dutch and ,english ,east ,india companies were formed4 ,in #aefj1 the ,portuguese ambassador exhibited articles for restraining the traffic of ,english merchants in the ,indies4 ,in #aeff1 8,dr4 ,lewes takes bonds of ,george ,fenner not to spoil any of the ,queen's subjects1 nor to traffic into ,india1 or any other places privileged by the ,king of ,spain40 ,about the same date1 the merchants petitioned 8for reopening the trade with ,portugal suspended in consequence of the irregular trade of some ,englishmen to the ,indies40 ,instances of poaching and piracy in ,portuguese preserves might be multiplied1 but three will suffice4 ,in #aeih1 ,cecil receives a report from a ,lisbon agent that1 8,on ,august #ast1 three carracks arrived from ,india and one was burnt there full laden4 ,they bring news that two ,english ships in ,india have taken two ,portugal ships1 rich with treasure1 that were on their voyage from ,goa to ,chine40 ,and again1 on ,october #af1 #afja1 ,sir ,john ,gilbert writes to ,cecil3 8,my ship 444 has brought home silks1 having taken a ,brazil vessel with porcelain and other wares40 ,elizabeth's luxurious ministers had choice collections of porcelain richly mounted in precious metal1 from which they sometimes offered her presents4 ,for instance1 among her ,new ,year's gifts in #aehh1 we find3 8,one porrynger of white porselyn1 garnished with golde1 the cover of golde1 with a lyon on the toppe thereof2 all given by the ,lord ,threasorour1 #ch oz4 ,item1 one cup of green pursselyne1 the foot1 shanke and cover silver guilte chased like droppes4 ,given by ,mr4 ,robert ,cecill1 #ae oz4 ,item1 one cup of pursseline1 th' one side paynted red1 the foote and cover sylver guilte4 ,given by ,mr4 ,lychfelde1 #ad oz40 ,it is natural that from the fact that the ,portuguese had the monopoly of the ,east ,indian trade1 the finest examples of ,oriental workmanship should be found in ,portugal and ,spain1 ,lisbon being the entrept of ,european distribution4 ,the ,spanish dominions in the ,low ,countries were well supplied with these wares by the ,dutch mariners4 ,during the sixteenth century1 the ,dutch were already famed as sea-carriers 7rouliers des mers74 ,with ,lisbon as a base of supplies1 they soon destroyed the monopoly of the trade in ,oriental wares which ,venice had so long enjoyed4 ,when ,philip ,,ii annexed ,portugal in #aehj1 however1 he naturally sought to take revenge on his rebellious subjects of the ,low ,countries by closing against them the ports of the ,iberian peninsula4 ,finding that their profits from the trade with the ,east ,indies were thus practically extinguished1 their only course was to go to those distant lands themselves4 ,how to get there was the question2 and this was a secret which the ,portuguese navigators had carefully guarded4 ,the ,dutch knew that they were reached by some southern route which could only be traversed by force of arms1 but thought that the lands where one might 8swim in golden lard0 might be reached by a north-east passage4 ,dutch ships vainly attempted this in #aeid and #aeif1 being barred by the ice4 ,in the meantime1 ,corneliz ,houtman had managed to buy some ,portuguese charts1 and thus to learn the real route around the ,cape4 ,he induced ten merchants of ,amsterdam to form a 8,foreign ,company0 7van verre7 and send out a sort of exploring expedition4 ,this first attempt was made on no lavish scale4 ,the ships could not hope to fight the mighty ,portuguese armed carracks4 ,the four ships of this first voyage were the ,maurice1 #djj tons2 the ,amsterdam1 #bjj tons2 the ,dove1 #cj tons2 and the ,holland1 #djj tons4 ,they left ,texel early in ,april1 #aeie1 and arrived home in ,august1 #aeig4 ,their glowing reports encouraged the despatch of a second flotilla of eight ships in #aeih1 four of which went to the ,moluccas and the rest no farther than ,bantam1 returning with rich cargoes of spices and other merchandise4 ,several other companies were started in consequence1 but in #afjb they were all consolidated with a capital of #f1ddj1jjj florins1 and the ,dutch ,east ,india ,company was established4 ,the ,dutch navigators and travellers who sailed the ,vanderdecken course to the ,spice ,islands1 naturally1 on their return1 gave their fellow-countrymen a full account of the wealth and curiosities of art they had witnessed in ,india1 ,polynesia1 ,china and ,japan4 ,two or three of these1 not being foreign to our subject1 may be quoted here4 ,the ,netherland ,east ,india ,company sent an embassy to the ,emperor of ,china in #afee1 and the reporter was evidently most interested in supplying his fellow-countrymen with the secrets of the manufacture of porcelain1 which the ,dutch were trying to imitate with their delft ware4 ,he says3 8,upon the #beth of ,april we came to a village famous for shipping called ,ucienjen1 where lay great store of vessels of several sorts and sizes1 which were come thither from all parts of ,china1 to lade with ,china earthenware1 whereof great store is sold in this village4444 ,quite through the middle of this rich village rims a broad street1 full of shops on both sides1 where all manner of commodities are sold2 but the chiefest trade is in ,purceline1 or ,china dishes1 which is to be had there in great abundance4444 8,the earth whereof this porcelain is made1 is digged in great quantity out of the mountains situated near the chief city ,hoei-cheu1 in the province of ,nanking1 from whence it is brought in four-square clods to the above-mentioned village1 which have the ,emperor's arms stamped upon them to prevent all manner of deceit4 ,the earth is not fat1 like clay1 or chalk1 but like to our fine sand1 which they mingle with water1 and so make it into four-square clods4 ,they likewise beat and powder the broken ,china dishes1 and make new ones of them2 7but such as are made of broken ware never take so fine colour and gloss as those which are made of fresh mould47 ,the earthen clods which are thus brought from the mountains are afterwards framed into what fashions they please1 after the same manner as our potters in ,europe form their earthenware4 ,upon the great pots which are made of this earth1 they have an art to themselves to paint all manner of creatures1 flowers and trees1 which they do very curiously only with ,indico4 ,this art of painting upon the pots is kept so private and secret that they will not teach it to any but to their children and near relations1 wherein the ,chineses are so dexterous that you cannot show them anything1 but they will imitate it upon their pots and dishes1 which being framed and made of this earth1 are first dryed in the ,sun before they are baked in the oven2 and when they are thoroughly dryed1 they are put into an oven and stopt very close1 where they bake for fifteen days together with a good fire under3 the time being out1 they are continued in the oven fifteen days more without any fire2 however the oven all that while is kept close stopt1 and not opened till it be quite cold2 for if they should take their earthenware red-hot out of the oven1 it would endanger the breaking and losing their gloss4 ,after the expiration of thirty days1 the furnace is opened in the presence of an officer appointed by the ,emperor to take an account of this earthenware1 and to receive the ,emperor's duty which is of such sort the fifth piece1 according to the laws of the kingdom2 the rest they afterwards sell to the inhabitants of this village1 ,ucienjen1 where 7as they say7 is the staple of this ,purceline trade1 which is sent from this village1 not only through all ,china1 but also through the whole world40 ,from ,samedo's ,history of ,china1 we learn3 8,they have altogether relinquished to ,europe to be served in plate1 there being scarce found among them a vessel of silver of a considerable bigness1 no not in the ,emperor's palace1 being content to eat in porcelain1 which is the only vessel in the world for neat and delightful cleanliness4444 ,kiamsi is famous for the ,porcellane dishes 7indeed the only work in the world of this kind7 which are made only in one of its towns3 so that all that is used in the kingdom1 and dispersed through the whole world1 are brought from this place3 although the earth whereof they are made cometh from another place3 but there only is the water1 wherewith precisely they are to be wrought to come to their perfection1 for if they be wrought with other water the work will not have so much glosse and lustre4 ,in this worke there are not those mysteries that are reported of it here1 neither in the matter1 the form nor the manner of working2 they are made absolutely of earth1 but of a neat and excellent quality4 ,they are made in the same time1 and the same manner1 as our earthen vessels2 only they make them with more diligence and accuratenesse4 ,the blew1 wherewith they paint the porcellane1 is anill1 whereof they have abundance1 some do paint them with vermilion1 and 7for the king7 with yellow40 ,the same traveller also notes3 8,the workmanship of ,europe which they most admired were our clocks1 but now they make of them such as are set upon tables1 very good ones40 ,a ,jesuit father1 writing from ,china in #afhh1 sheds further light on the wares that were made there and prized in ,europe4 ,he says in part3 8,as for porcelain1 it is such an ordinary moveable1 that it is the ornament of every house2 the tables1 the sideboards1 nay1 the kitchen is cumber'd with it1 for they eat and drink out of it1 it is their ordinary vessel4 ,there is likewise made huge flower-pots of it4 ,the very architects cover roofs and make use of it sometimes to incrustate marble buildings4 8,amongst those that are most in request1 there are of three different colours2 some are yellow1 yet though the earth be very fine1 they appear more coarse than the others2 and the reason is1 because that colour does not admit of so fine polishing2 it is used in the ,emperor's palace4 ,yellow is his own proper colour1 which is not allowed to any person to bear2 so that one may safely say1 that as for the business of porcelain1 the ,emperor is the worst served4 8,the second sort is of a grey colour1 with abundance of small irregular lines in it1 that cross one another1 as if the vessel was all over striped1 or wrought with inlaid or mosaic work4 ,i cannot imagine how they form these figures1 for ,i have much ado to believe that they are able to draw them with a pencil4 ,however it is1 these sort of vases partake of a particular beauty2 and sure ,i am1 the curious amongst us would much value them4 8,last of all1 the third sort of porcelain is white1 with divers figures of flowers1 trees and birds1 which they paint in blue1 such as come hither into ,europe4 ,this is the commonest of all1 and everybody uses it40 ,the minute descriptions of the manufacture and varieties of porcelain furnished by ,dutch and other travellers must not be charged up to an artistic appreciation exclusively4 ,the ,dutch were very much in earnest in their efforts to manufacture a home product which might compete with the foreign4 ,as we have seen1 ,dutch pottery had already attained a high reputation1 and was much sought after in foreign markets2 and now1 with the influx of porcelain1 the ,guilds strained every nerve to meet the demand4 ,the manufacture of delft began at the end of the sixteenth century with ,hermann ,pietersz1 a native of ,haarlem4 ,in the first days of its existence1 the style of decoration was rather complicated1 for the subjects representing kermesses1 combats1 etc41 were designed en camaeu4 ,in order to sell a piece of pottery1 the potter had to belong to the ,guild of ,st4 ,luke4 ,the ,delft ,guild of ,st4 ,luke was established in #afaa and included all the skilled workmen in the arts and crafts3 7#a7 painters2 7#b7 stainers of glass1 engravers and glass-makers2 7#c7 potters2 7#d7 embroiderers and weavers of tapestry2 7#e7 sculptors and carvers2 7#f7 sheath or scabbard-makers2 7#g7 art-printers and booksellers2 and 7#h7 engravers and dealers in paintings4 ,in the second half of the seventeenth century1 particularly under the influence of ,abraham de ,kooge 7#afcb7 and ,albrecht de ,keizer 7#afdb71 the ,delft potters began to imitate the ,oriental products in both modelling and decoration4 ,de ,kooge was famous for his landscapes and portraits with names and dates--all in blue2 but de ,keizer1 who was the precursor of the celebrated ,cornelis de ,keizer and the two ,pynackers1 also produced coloured ware in imitation of the ,chinese and ,japanese4 ,other followers were3 ,pieter ,oesterham1 who devoted himself chiefly to landscapes and national portraits2 ,frederick van ,frytom1 who was particularly fond of blue camaeu3 ,gerrit ,pietersz1 who delighted in elephants and ,chinese subjects2 and ,augustijn ,reygensbergh1 who made fine imitations of ,chinese and ,japanese ware in red1 blue and gold4 ,lowys ,fictoor 7#afhi7 and ,lambertus ,eenhoorn 7#afia7 were famous for their black delft1 with wonderful glaze and ornamented in the ,chinese style with pagodas and trees in yellow and green2 ,lucas van ,dale1 for his olive-brown decorated with yellow2 ,leonard van ,amsterdam1 for figures1 small landscapes and shipping scenes painted in colours on the backs of brushes as well as small dishes2 and ,verhagen sought the prints of ,goltzius4 ,among other celebrated potters of this period are the names of two other ,eenhoorns1 five ,kams1 four ,van der ,hoevens1 and two ,dextras4 ,the many factories of ,delft were known under fanciful names1 such as ,the ,rose1 ,the ,star1 ,the ,peacock1 ,the ,claw1 ,the ,three ,bells1 etc41 etc4 ,delft ware declined about the end of the seventeenth century4 ,the ,european potters did not gain a clear and sane understanding of the composition and manufacture of porcelain till the last years of the reign of ,louis ,,xiv1 when d',entrecolles1 a ,jesuit father1 sent home a full report of the mystery4 ,a few extracts from his letter will be extremely illuminating on certain points relating to ,european trade and ,chinese guile3 8,as for the colours of the porcelain1 they are of all kinds4 ,in ,europe1 scarcely any are to be seen but those that have a strong blue on a white ground4 ,i believe1 however1 that our merchants have brought others in4 ,there are some with grounds like our miroirs ardents2 some again are entirely red1 and amongst these some are dotted with little points like our mignatures4 ,when these are perfect1 which is very hard to attain1 they are infinitely esteemed and extremely dear4 8,finally there are porcelains in which the landscapes painted on them are made up of almost every colour and relieved by gold4 ,they are very beautiful1 if we judge by their cost3 otherwise the ordinary porcelain of this kind is not comparable to that painted with azure alone4444 ,black porcelain has also its own price and beauty4444 ,the gold that is applied to it1 gives it a novel charm4444 8,here also is made another species that ,i had never yet seen3 it is all pierced and cut-work3 in the centre is a cup to contain liquor4 ,the cup is in the same piece and forms a part of the cut-work4 ,i have seen other porcelains in which ,chinese and ,tartar ladies were painted to the life4 ,the draperies1 the complexion and features of the faces were all well rendered4 ,from a distance you would take this work for enamel4 8,the ,chinese complain of a lost secret3 they once had the art of painting on the insides of porcelains fishes and animals that only became visible when the vessels were filled with some liquid4 ,they try from time to time to recover the art of this magic painting1 but in vain4444 ,however that may be1 we may say that at the present day the beautiful blue has been revived on porcelain after having disappeared from it4444 8,the ,chinese chiefly succeed in grotesques and the representations of animals4 ,they make ducks and turtles that float upon the water4 ,i have seen a cat painted to the life4 ,in its head had been put a little lamp the flame of which shone through the eyes1 and ,i was assured that rats were terrified at it4 ,they also make here many statues of ,kouan in1 a ,chinese goddess1 with an infant in her arms4 8,european merchants often order from the ,chinese workers porcelain plaques to form the top of a table1 or back of a chair1 or frame of a picture4 ,these works are impossible3 the greatest length and width of a plate is about one foot4 ,if they are made larger than that1 no matter how thick1 they bend4444 ,the history of ,king te ching speaks of divers works ordered by ,emperors that workmen tried vainly to execute4444 ,the ,mandarins of this province presented a petition to the ,emperor begging him to have the attempts cease4444 ,however1 the ,mandarins who know how ingenious ,europeans are in invention1 have sometimes asked me to have new and curious designs sent from ,europe in order to have something singular made for presentation to the ,emperor4 ,on the other hand1 the ,christians strongly urged me not to procure such models1 for the ,mandarins are not so readily satisfied as our merchants are when the workmen tell them that a work is impracticable2 and frequently the bastinado is liberally bestowed before the ,mandarin abandons a design from which he has promised himself great advantages4 8,we should not be astonished that porcelain is so dear in ,europe3 we shall be still less so when we learn that besides the great profits taken by the ,european merchants and by their ,chinese agents1 it is rarely that a baking is entirely successful2 sometimes indeed it is a total failure4 ,thus for one workman who grows rich1 there are a hundred ruined2 but this does not deter them from tempting ,fortune4444 ,moreover1 the porcelain that is sent to ,europe is almost always made on new and often strange models in which success is difficult4 ,however slight the blemishes may be it is rejected by the ,europeans1 who will not take any but perfect pieces2 so that it remains in the hands of the workmen1 who are not able to sell it to the ,chinese because it is not to their taste4 ,the consequence is that the pieces that are taken bear the additional charge of those that are rejected4 8,according to the history of ,king te ching1 the profits were formerly much greater than they are now4 ,it is hard to believe this1 for there must then have been a great sale of porcelain in ,europe4 ,i have said that the difficulty in executing certain models sent from ,europe is one of the causes of the excessive price of porcelain1 for it must not be imagined that the workmen can work on all the models that reach them from foreign countries4 ,there are some impracticable ones in ,china1 just as there are some made that astonish foreigners who would not think them possible40 ,the price of china-ware fluctuated considerably during the seventeenth century4 ,sometimes a critic complained1 as above1 that values had greatly appreciated because of the demand1 and then again others wailed that the enormous importations had driven prices down till the game was not worth the candle4 ,in ,mendelslo's ,voyages 7#afci71 we read3 8,the ,chinese bring to the island of ,java porcelain which they sell there very cheaply3 for when boats arrive from ,china they buy six porcelain dishes for a thousand caxas 7a string of two hundred caxas are called sata and are worth about nine deniers of ,french money1 and five satas tied together make a sapocon740 ,again1 from ,recueil des ,voyages 7,constant7 we learn3 8,the 7,chinese7 ships also bring 7to ,java7 fine and coarse porcelain4 ,when the ,dutch first arrived1 they bought five or six dishes of both kinds for #a1jjj caxas1 but afterwards they got no more than two or three1 rarely more4 8,for return freight1 they take1 besides pepper1 all the lacca brought from the city of ,tolonbaon1 where there is great abundance4 ,they also load with the anil#i that comes from ,anier in pots2 sandal wood1 musk and tortoiseshell1 with which in ,china they make beautifully wrought coffres2 elephant tusks1 with which they make beautiful seats that are esteemed as much as if they were of silver1 and that are used by ,mandarins and ,viceroys40 ,footnote #i3 ,a species of indigo4 ,the importations were indeed enormous1 as the bills of lading of the ,dutch vessels prove4 ,for example1 among the cargoes of eleven ,dutch ships that arrived in ,holland from the ,east ,indies in ,july1 #affd1 were #dd1idc pieces of very rare ,japanese porcelain and #aja ,japan cabinets4 ,the eleven ships that left ,batavia on ,december #bd of the same year1 brought home #af1ehj pieces of porcelain of divers kinds4 ,the ,dutch brought to ,europe such vast quantities of porcelain in the first quarter of the seventeenth century as practically to monopolize the trade and undersell the ,english4 ,thus1 ,methwold1 writing from ,masulipatam to the ,east ,india ,company in #afai1 says3 8,the great profit first obtained on porcelain has filled all men's hands with plenty 7by the ,dutch71 which makes theirs 7the ,east ,india ,company's7 not sought after40 ,turning now1 for a moment1 to tea1 we find that it made its way into public favour somewhat slowly--far more so than porcelain4 ,it was known to the ,dutch before #afjj1 but was not in general use till half a century later4 ,j4 ,h4 van ,linschoten1 describing the manners and customs of the ,island ,japan 7#aeih71 says3 8,after their meat1 they use a certain drinke1 which is a pot with hote water1 which they drinke as hote as ever they may indure1 whether it be ,winter or ,summer 444 and the gentlemen make it themselves2 and when they will entertaine any of their friends1 they give him some of that warme water to drinke3 for the pots wherein they seeth it1 and wherein the herb is kept1 with the earthen cups which they drinke it in1 they esteeme as much of them as we doe of diamonds1 rubies1 and other precious stones1 and they are not esteemed for their newnes1 but for their oldnes1 and for that they were made by a good workman3 and to know and keepe such by themselves1 they take great and special care1 as also of such as are the valuers of them1 and are skilful in them4444 ,so if their pots and cups be of an old and excellent workman's making1 they are worth four or five thousand ducats or more the peece4 ,the ,king of ,bungo did give for such a pot1 having three feet1 fourteen thousand ducats1 and a ,japan1 being a ,christian in the town of ,sacay1 gave for such a pot fourteen hundred ducats1 and yet it had three pieces upon it40 ,as late as #afci1 ,mendelslo thought it worth while describing again4 ,he says in his ,voyages3 8,the ,japanese bray the tea as fine as powder1 and taking a little on the point of a knife put it in a porcelain or earthenware cup filled with boiling water4444 ,they have no more luxurious articles of furniture than belong to this service3 teapots have been seen that cost twenty-eight thousand crowns40 ,the use of tea became common among the well-to-do and fashionable classes from #affj to #afhj4 ,every house had a special tea-room fitted up1 and even the burghers had their tea-offices1 or drank tea in the front room or voorhuis2 for the social tea always took place in the front part of the house4 ,the tea-room was furnished like a reception-room1 the important pieces of furniture being the tea-buffet and the tea-table4 8,a corner tea-buffet of costly wood0 is mentioned in the inventory of ,develstein1 while other inventories mention 8properly inlaid ,chinese lacquered tea-tables mounted with silver and mother-of-pearl10 also fir-wood and oak tables and tables with drop leaves4 ,on the tea-table the porcelain was displayed4 ,this was bordered with gold or silver1 or was a blue ,chinese or a coloured ,japanese set with the 8waffle-mark10 or the six marks of the 8,long ,eliza10 8the cuckoo out of the house0 and 8the cuckoo into the house10 and all kinds of red and gold1 ribbed or plain porcelain4 ,a complete tea-set included large and small teapots1 large and small cups with and without covers1 sugar basins1 pastry dishes with a small golden fork1 and saffron pots4 ,these little pots and dishes were of different shapes2 and we should note that there were a double set of teapots--one in which the tea was drawn and the other into which it was poured1 to be poured out into the cups in turn4 ,sometimes these pots were curiously shaped with open or basket sides1 the spout formed like the head of a bird or animal1 while others carried inscriptions or coats-of-arms1 and the top of the lid bore some grotesque fowl1 bird or ornament4 ,square teapots profusely decorated with gold paint were very costly4 ,the teacups were also gaily decorated4 ,an exhibition in ,delft in #ahfc showed thirty famous designs of cups and saucers4 ,if we were to enter a fashionable tea-room of the seventeenth century1 we should find ourselves in the front of the house in a room furnished according to the rank and means of the proprietor4 ,rich or poor1 it is always exquisitely clean4 ,as carpets and rugs are not common1 the floor is covered with bright mats1 and the walls are either whitewashed1 or encased in blue and white tiles4 ,upon them hang pictures1 more or less valuable4 ,the round table and the chairs are of sacredaan wood1 and the latter are furnished with cushions of ,utrecht velvet4 ,the chimney-piece is ornamented with ,chinese knickknacks that will interest the visitor for several hours1 and on either side of it are two oak cupboards inlaid with ebony4 ,facing the chimney stands the china-cabinet with its fragile treasures1 the vrouw's idol1 the object of her tenderest care4 ,the guests usually arrived between two and three in the afternoon1 and were received and extended many formalities peculiar to the occasion4 ,unless it rained1 no cloak or wrap was worn1 so the guests were received in the tea-room at once and immediately seated themselves1 resting their feet--winter or summer--on a foot-warmer4 ,the hostess takes a sample of tea from her many tea-caddies1 each filled with a different kind of tea1 and puts them into a different pot1 each pot having a little silver strainer in the spout4 ,when the tea is drawn1 she fills the smallest cup with a sample from each pot and hands these tiny cups to her friends1 so that they may discover what kind they prefer4 ,one prefers this1 and one prefers another2 but1 as a rule1 the choice is left to the hostess4 ,now the tea-making begins in earnest4 ,according to the number of guests1 the hostess takes a single or double teapot1 and from a larger caddy the tea that has been chosen4 ,while this is being drawn1 she takes some saffron1 and infuses this in a small red pot1 and serves the tea and saffron in a covered cup1 so that none of the sweetness nor aroma shall be wasted4 ,in spring the saffron is discarded in favour of young peach leaves4 ,the tea is sweetened to taste1 but milk is never served until #afhj1 when it is used in imitation of the ,french2 for the idea of milk in tea originated with the ,marchioness de la ,sablire4 ,the conversation at these gatherings turned on tea and general gossip4 ,the tea-table was of great importance in social life4 ,even poets sang its praises in ,holland1 as they did in ,england4 ,a picturesque stanza from a ,dutch poet is worth quoting3 8,in 't midden van de zaal daar stond een gueridon1 ,op 't zelve een keteltje1 zo blank gelijk een zon4 't ,trekpotje was bekleed met zuiver zilverlaken1 ,opdat geen vogt het goud van 't lofwerk zou mismaaken ,waar meed het was beleid2 de schoteltjes in 't rond ,van onder net beplakt met zagte stukjes bont1 ,uit vrees dat 't porcelein het lakwerk mogte schaaren1 ,van 't lief japansche-blad1 't geen ruste op drie pylaaren ,van sakredaan1 kaneel en pik-zwart ebbenhout4 ,het schenken van de thee werd juffrouw ,rois vertrouwt1 ,die evenwigtig thee met water wist te mengen40 7,in the middle of the hall there stood a table ,upon which was a small kettle1 bright as the sun4 ,the teapot was covered with pure silver cloth ,so that no liquid would deface the gold from the ornamentation ,with which it was covered2 the small saucers around it ,pasted underneath with soft furry cloth1 so that ,the porcelains might not scratch the lacquer ,from the pretty ,japanese tray1 which rested on a tripod ,of sacredaan1 cinnamon and jet-black ebony4 ,the pouring of the tea was trusted to ,miss ,rois1 ,who knew how to mix tea and water properly47 ,thus we see that the tea-table was firmly established as a social institution in ,holland by the middle of the seventeenth century1 and porcelain was an important factor in interior decoration long before ,dutch ,william drove the ,stuarts out of ,england4 ,a ,dutch inventory of the time of the ,glorious ,revolution 7#afhi7 is worth citation for the sake of illustrating the prevailing taste and the price of porcelain of the day3 ,,statement ,,and ,,inventory ,,of ,,the ,,contents ,,and ,,the ,,goods ,,of ,,dirck ,,van ,,kessel ,,and ,,chrestina ,,de ,,ridder1 ,,left ,,without ,,owner ,,by ,,the ,,aforesaid ,,chrestina ,,de ,,ridder ,,by ,,her ,,death ,,on ,,the #ae,,th ,,of ,,january ,,of ,,this ,,year #afhi ,in the ,porcelain ,room4 ,,florins4 ,two porcelain 8beguine0 pots #aej ,one porcelain chamber-pot with cover #f ,one porcelain box1 without cover #f ,three porcelain preserve pots #abj ,four large porcelain bowls #cj ,one high pyramidal shaped water jug #ab ,two porcelain fruit dishes #ae ,a jug with a silver lid #aj ,a porcelain box with lid #ab ,one porcelain cover #aj ,one porcelain pot with handles #d ,two porcelain crackle bowls #aj ,four porcelain boxes #aj ,a little stewing pot #aj ,two porcelain teapots #f ,one porcelain sexagonal pot #bj ,two porcelain printed oil pots #aj ,one porcelain stewing pan coloured1 without cover #ah ,one porcelain apple pot #cj ,two porcelain crackle jars 7one broken7 #ae ,two long porcelain boxes #e ,two porcelain 8beguine0 pots #cj ,four porcelain boxes with covers #ae ,four butter dishes #f ,twenty-four porcelain teacups with covers #dh ,an ,east ,india box with a bamboo #aj ,thirteen 7with inside decoration7 #ac ,two porcelain bottles with ,french flowers #fj ,five porcelain butter dishes on the back yellow and green #aj ,thirteen coloured tea-saucers 7one broken7 #h ,two porcelain cups with knobs on the covers #f ,three large ,east ,india teapots #bd ,four little ,east ,india teapots #f ,four old porcelain stewing pots #dj ,five old long shaped bottles1 one of which is in pieces #cj ,four porcelain boxes that can be shut 7with covers7 #bj ,eleven little porcelain pieces #e ,two little candlesticks with extinguishers #af ,two round shaped oblong bottles1 one of which is in pieces #ae ,three porcelain small plaques #h ,six porcelain dinner plates #ab ,eight porcelain printed red dishes #ab ,two pots with ,chinese acrobats #ah ,two pots with ,french scrolls #bd ,two old porcelain bottles with a cover #ae ,four porcelain pots with overlapping covers #dh ,five porcelain swans #e ,eighteen porcelain cups1 red1 with one blue #ab ,forty porcelain yellow cups #ab ,four porcelain slop basins #ab ,fifty porcelain coffee saucers #cj ,three porcelain sexagonal pin-trays #h ,five porcelain pieces1 red and blue #c ,two old inscription bowls #af ,two porcelain bowls with birds on branches #bj ,one porcelain rosemary bowl #h ,three porcelain coloured starch basins #f ,one porcelain 8beguine0 pot with a delft cover #af ,one porcelain sexagonal pot #aj ,one porcelain chain pot #aj ,one porcelain pot with a bottle #h ,one porcelain bottle with ,chinese #cj ,one porcelain 8beguine0 pot1 with handles #cj ,one porcelain four-square 8beguine0 pot #f ,three ,persian basins #h ,seven porcelain butter dishes #ba ,one porcelain1 broken1 open-work tray #b ,three porcelain mustard pots1 with a perforated cover #h ,eight candlesticks ,two porcelain butter dishes #ba ,one porcelain slop basin1 one starch basin1 and one crackle #e jar ,six porcelain printed cups #h ,three porcelain printed saucers #d ,twenty-one porcelain printed coffee cups #aj ,ten coloured ,east ,india tea-saucers1 cups with ducks painted #bj on them ,two ,japanese beakers #ej ,one ,east ,india beaker with ,chinese letters #cj ,one ,east ,india beaker with pieces #ab ,one pot with a jardinire #bj ,one ,chinese pot #cj ,china ,closet near the ,windows4 ,five ,east ,india half-size wash basins #gj ,five ,east ,india basins #dj ,five ,east ,india basins #ej ,five ,east ,india basins #df ,three old porcelain dishes #cj ,three double butter dishes #bj ,three ,east ,india round dishes1 in three parts1 with flower #cj pots ,one ,east ,india round dish1 in three parts1 with flower pot and #ab stork ,one engraved tumbler #bj ,seven porcelain crackle bowls #bd ,two old porcelain pots #ae ,one porcelain beaker with a crack4 #aj ,twenty-four brown bottles #ae ,four porcelain boxes with covers #ab ,one porcelain basin and mustard pot without cover #c ,two porcelain salt cellars1 with two mustard pots #ab ,twelve teacups and saucers #dh ,four porcelain perforated cups #ae ,six porcelain perforated cups #ah ,six porcelain perforated cups ,two ,east ,india slop basins with storks #aj ,eight little old porcelain saucers #af ,six porcelain saucers with dragons #ab ,six old porcelain saucers with frogs #ah ,nine old porcelain saucers with handles #cf ,two slop bowls #f ,six old porcelain cups #f ,two porcelain crackle bottles #cj ,three porcelain breakers #cj ,three old porcelain dishes in three parts #aj ,five old porcelain mustard holders #ah ,seven old porcelain mustard holders #aj ,five great deep saucers #bj ,two porcelain blue bowls #ab ,two porcelain blue small bottles #c ,one porcelain new dish #d ,two porcelain butter dishes #h ,six porcelain butter dishes #ae ,three porcelain butter dishes #f ,six porcelain deep saucers #ab ,one hundred teacups and saucers4 #bjj ,one ,east ,india mat with three ,chinese figures #d ,upstairs in the ,front ,room4 ,three pestles with flowers #dj ,two printed cups #b ,upstairs in the ,rear ,room4 ,two 8beguine0 pots with landscapes #gj ,one ,east ,india 8beguine0 pot with ,chinese #af ,two printed small bottes #dj ,two small bottles with ,chinese #be ,six teacups and saucers #ae ,one bottle with a small bird on a tree #aj ,three butter dishes #bj ,six little old small bottles #h ,six little old boxes with covers #h ,two teacups #f ,six dragon cups #f ,three flat saucers #d ,four coloured ribbed dishes or saucers #f ,six teacups and tea-saucers #ae ,six dishes with a box cover #h ,two small baskets and two shelves #f ,the porcelain on the shelves #ab ,in the ,vestibule4 ,the porcelain in the shop1 comprising thirteen pieces #bd ,in the ,porcelain ,room4 ,firstly1 an olive wood carved cabinet #bej ,one gilt and engraved jewel casket #ej ,one olive wood table with stands #be 8,now follows a collection of large mirrors1 which we consider of less importance4 ,of more interest is the following3 ,,florins4 #adh sheets and one half of gold leather1 being white and gold1 #agjae valued at #bc stuivers the sheet ,the pine-apple with colours 7decoration71 #dd sheets1 valued at #ebaf #fa sheets1 the unicorn green and gold #gj #hj sheets of gold leather #dj #db ditto #db #a lot of remnants1 leather #cj #a lot of patterns and friezes #ajj #h screens #acj #b curtains and balance and the gold leather that hangs in #i the kitchen in the rear 8,hereafter follows again some porcelain and other articles1 as-- ,,florins4 #h painted figures #dj #b broken roll wagons 7round shaped bottles7 #bd #a porcelain stewing pan #ab #b half-size wash basins #bd #b ditto #af #b porcelain bowls #d #f porcelain cups with a broken wash jug and a broken roll #d wagon #a delft stewing pot #d #f gold leather chairs #bj #a clavecin #d #a bundle of old gold leather #bj #a large cup engraved with a battle scene and a large cup with #cj0 a vine ,the value of porcelain may be gathered from the pieces mentioned in the inventory of ,joh4 ,gemeelenbrouck1 8meester silversmith10 in #afec3 ,,guilder4 ,,stuiver4 ,in the shop #dh ,four whole lamps ,sixteen half lamps #ef ,sixteen round dishes in three parts #dj ,four double butter dishes #f ,forty-five cornered butter dishes #cc #ae ,one round shaped oblong bottle #f ,five 8beguine0 pots #cj ,nine 8beguine0 pots 7small7 #bb #aj ,three drinking cups #d #aj ,four drinking cups 7small7 #b #h ,three beakers #c #ae ,three bottles #d ,three large bottles #ah ,five mustard pots #c #ae ,four wine cans #af ,four chamber-pots #aj ,twenty-four parrot basins #bd ,forty-four cups and saucers #ae #d ,two cups and saucers #b ,four oil pots #b #h ,ten snuff boxes #aj #aj ,seventy-five mustard pots #bi ,twenty-five deep saucers #af ,three boxes with lids #c ,four deep saucers #b #h ,five red pots #j #ae ,,chapter ,,viii ,,the ,,dutch ,,home ,love of ,porcelain--,the ,amsterdam ,mart--,prices of ,china in #afae--,oriental ,wares before #aebj--,luxury of the ,dutch ,colonists--,rich ,burghers in ,new ,amsterdam--,inventories of ,margarita van ,varick and ,jacob de ,lange--,dutch ,merchants in the ,east--,foreign ,views of ,dutch ,luxury-- ,dutch ,interiors after the ,great and ,little ,masters-- ,house-furnishing by a young married couple--,the ,linen ,chest--,clothes ,chests and ,cupboards--,the ,great ,kas--,the ,cabinet--,the ,toilet-- ,table-,covers--,foot-warmers--,looking- glasses--,bedsteads--,tables and ,chairs--,woods--,kitchen ,utensils--,silverware--,household ,pets4 ,in the preceding chapter1 we have seen the constantly increasing importance of porcelain in the ,dutch home4 ,in ,england there was quite as great a demand for this ware among the wealthy classes2 but the ,london ,east ,india ,company could not supply the demand1 and the reason is not far to seek4 ,the ,dutch were more energetic1 or1 at least1 more successful in ousting and supplanting the ,portuguese1 and the ,stores of the ,indies in ,amsterdam became recognized as the headquarters of distribution of ,oriental ceramics4 ,in all probability1 the ,english company was not able to import wares of such superior quality as were the ,dutch4 ,the ,dutch made themselves masters in the ,eastern ,seas1 and ,british trade had a hard uphill fight there for a century and a half4 ,the ,dutch carried things with a very high hand1 and the laws of neither ,god nor man were respected on the course of ,vanderdecken from ,cape ,verde to ,japan4 ,the massacre of a few inoffensive ,english traders at ,amboyna aroused quite a coolness in ,england towards ,holland1 and caused a good deal of embarrassment to the ,government early in the reign of ,charles ,i1 which was too busy with home affairs to insist on reparation4 ,however1 the ,dutch were only carrying on the traditions of 8the spacious times of great ,elizabeth10 when the methods of the great navigators were frankly piratical4 ,england became well acquainted with ,eastern wares when ,hawkins1 ,drake1 or ,cumberland sailed into ,plymouth with the rich freight of ,portuguese carracks which they had waylaid around the ,azores4 ,the ,dutch love of porcelain was very real3 it appears in many a diary1 letter and anecdote4 ,in every home1 the humble rectory and the house of the rich burgher-master alike1 the same desire to own porcelain is found4 ,when one ,pastor ,arnold ,moonen was asked how much he would charge for his translation of ,cicero's ,epistol ad familiares1 he answered3 8,mijnheer6 ,ik mij in geenen staet bevindende om iet voor mijnen arbeit te kunnen eischen1 als diergelijken handel ongewoon1 zal enelijk van ,u,ed4 verzoeke te voldoen1 de raet van die vrouwe volgen1 die de ,heer mij tot een hulpe gegeven heeft4 ,deze eischt van mij een nooteboomen kabinet met een stelsel in porselein1 als zijn toebehooren1 om daarop te setten1 zoo als de vrinden kunnen goetvinden40 78,sir6 not being in a position to charge anything for my labour1 as this is not an habitual thing1 ,i should take heed of my wife1 whom the ,lord hath given me for a helpmate4 ,she wishes to possess a nutwood cabinet with a set of porcelain to go with it1 and to place ornaments on the top1 if the consistory will grant this607 ,such a set of porcelain as the good lady required to decorate the top and fill the shelves within1 cost at that time as much as #cjj double ducats 7equal to about #acf72 but the ladies of that period had desires for fine furniture1 dress and fashion that their husbands were often unable to gratify4 ,the best china-ware was obtainable in ,amsterdam only1 and ,english travellers used to buy porcelain there1 as they now go to ,brussels or ,mechlin for lace or ,cashmere for shawls4 ,as late as the reign of ,charles ,,ii1 ,holland maintained her pre-eminence in this trade4 ,in ,henry ,sidney's ,diary1 ,november #ah1 #afgi 7on the eve of his departure for ,holland7 we read3 8,my sister ,sunderland spoke to me for a ,china cup40 ,later he notes3 8,i went to see the magazine1 the ,east ,india ,stores40 ,we have already seen the prices of various kinds of porcelain in ,holland in #afec and #afhi4 ,it may be interesting to compare these with ,english prices earlier in the century4 ,from the bill of lading of the ,java 7#afae7 we gather that the prime cost of porcelain was3 8,saucer dishes1 nearly #b;d4 a piece2 flat sallet dishes1 about #c;d42 sallet cups1 #c;d42 posset dishes1 #d;d42 small 7quarter7 basins1 #as4 #i;d42 larger 7half7 basins1 #bs4 #f;d42 largest 7whole7 basins1 #es40 ,this was evidently china-ware of the cheapest kind1 and the prices show that porcelain was now on the market in such quantities as to drive out the old pewter plates and dishes from the homes of the middle classes as well as the aristocracy4 ,during the first quarter of the seventeenth century1 however1 the ,oriental wares to be found in opulent houses were by no means confined to china-ware4 ,the art furniture brought from the ,east was varied and choice4 ,the inventory of a ,dutch or ,english noble of wealth of that period shows the same taste for ,eastern fabrics1 lacquer and porcelain1 and evidences the elegance that made ,madame de ,rambouillet famous in ,france4 ,as an example1 let us take the ,earl of ,northampton1 who was famous and infamous in late ,elizabethan and early ,jacobean days4 ,he died in #afai4 ,among his possessions we find the following goods of ,oriental manufacture3 8,a cupbord containynge seven parcels of purslane cups trimmed with silver and guilte valued at #ab2 a field bedstead of ,china worke1 black and silver1 branched with silver1 with the ,arms of the ,earle of ,northampton upon the headpiece1 the toppe and valance of purple velvett striped downe with silver laces and knots of silver1 the frindge blewe silk and silver with #h cuppes and plumes spangled suteable1 the five curtains of purple taffata with buttons and lace of silver1 the counterpoint of purple damaske suteable laced2 one ,china cushen imbrodred with birdes1 beastes and flowers1 the ground of white ,grogeron lined with yellow taffeta1 #ajs42 thirteen yeardes and a quarter of purple gold velvett1 ,china with flower-de-luces and diamond work1 #h #acs4 #d;d42 a ,china striped quilt of beastes and antiques1 the ground whice calico frindged about with a straw coloured frindge1 #e2 another ,china quilte stayned and spotted in colours #d2 another ,china quilt stitched in checquer work with yellow silke1 the ground white1 #d2 and a ,china carpett of several colours1 the ground white and weaved in with antiques of several colours lined with watchett taffata1 #d4 8,a ,china guilte cabonett upon a frame1 #a #ajs42 a large square ,china worke table and frame of black vernishe and gold1 #f2 one faire crimson velvet chaire richlie imbosted with copper and spread eagles and blewe and white flowers ,china worke1 the frame painted with gold and my ,lord's crest upon the same2 one small table of ,china worke in golde and colours with flies and wormes upon a pillar suitable1 #a2 a little gilded couch carved and cutt1 #aes42 an ebony cabinett inlaid with mother-of-pearle1 #acs42 a very large bedstead with wreathed pillars ballastars for head1 side and feete1 all coloured blacke and gold1 #g2 a foldinge ,indian screne1 #c #ds40 ,the bonds between ,england and ,holland were very close in ,puritan days1 and the household belongings of the two countries1 both in hall and cottage1 were practically identical4 ,in ,holland1 the ,puritans found a refuge and congenial surroundings before sailing for the ,new ,world4 ,the homes of the prosperous burghers of ,new ,amsterdam1 now ,new ,york1 faithfully mirrored the comfort and taste of those of ,amsterdam and ,the ,hague2 and here we may pause a moment to examine a couple of inventories of early dwellers in what is still the most important city in the ,western ,hemisphere4 ,mrs4 ,margarita van ,varick died in #afif1 and her bequests to her children are eloquent testimony of the estimation in which she held her various household goods4 ,in her will she leaves3 8,in a great chest bound up in a napkin for ,johanna van ,varick1 a silver spice-box1 a silver egg-dish1 a silver thimble1 a silver wrought ,east ,india box1 #ah pieces of silver children's toys1 #aa pieces ,arabian and ,christian silver money1 one gold ring with seven diamonds1 two gold drops for the ear1 one gold ,arabian ducat1 one ,dutch ,testament with gold clasps1 one gold chain with a locket with seven diamonds1 one pearl necklace1 one small silver knife and fork1 one small bundle beaten leaf gold1 two gold pins headed with pearls1 one gold bodkin1 and one looking-glass with gilt frame4 8,in another napkin for ,marinus van ,varick1 three silver wrought ,east ,india cups1 one ditto dish1 three pieces of silver money1 one medal1 #bj pieces of silver children's toys1 one silver knife1 one gold ring with a table diamond1 two gold rings1 one gold ducat1 one gold medal1 and one small gold box as big as a pea4 8,in another napkin for ,rudolphus van ,varick1 three silver wrought ,east ,india boxes1 one small ditto dish1 one silver tumbler marked ,r4 ,v41 #ag pieces silver playthings or toys1 #h pieces of silver money1 one silver knife1 one fork silver studded handle1 one gold ring with three small diamonds1 one gold ring1 one ducat1 two gold buttons1 one gilded medal1 and a gold piece the shape of a diamond4 8,in another napkin for ,cornelia van ,varick1 a silver wrought ,east ,india trunk1 a ditto box1 a saltcellar1 #bh silver playthings or toys1 #bj silver pieces of money1 a small mother-of-pearl box1 a gold comb1 a ,bible with gold clasps1 a small bundle of leaf gold1 a pair of diamond pendants1 two gold chains1 two gold rings with a diamond in each1 two small gold rings1 one pair crystal pendants edged with gold1 one ,arabian ducat1 and two gold pins4 8,also for ,johanna1 the biggest and finest ,turkey-work carpet1 a set of white flowered muslin curtains1 a chintz flowered carpet1 an ,east ,india cabinet with ebony foot wrought1 the picture of ,mrs4 van ,varick1 the picture of ,johanna1 three china pots1 one feather bed1 one bolster1 two cushions1 one quilt1 one white calico blanket4 8,also for ,marinus1 a ,turkey-work carpet1 a gold bell and chain1 a blue satin flowered carpet1 a calico ditto1 a silver-headed cane1 a ,moorish tobacco-pipe1 a calico nightgown1 a hair brush1 a red box1 two ,east ,india cabinets with brass handles1 a feather bed1 bolster1 quilt1 two cushions and green blanket1 a picture of ,j4 ,abramson1 and a #8large picture of images1 sheep and ships that hung above the chimney4' 8,also for ,rudolphus1 a small ebony trunk with silver handles1 a picture with a gilt frame1 a cane with a silver head1 a flowered carpet stitched with gold1 a calico carpet1 and a large picture of himself4 8,also for ,cornelia1 the second finest ,turkey-work carpet1 two pictures with glasses before them1 a calico nightgown1 a hair brush1 a chintz flowered carpet1 a small black cabinet with silver hinges1 the picture of ,cornelia ,hester deceased1 the picture of a flower pot1 a china cup bound with silver1 a large looking-glass with ebony frame1 two white china cups with covers1 a feather bed covered with checkered linen1 a bolster1 three wadding cushions1 two feather ditto1 one quilt and a homespun blanket4 8,also for ,johanna and ,cornelia1 two glaasen cases with #ci pieces of small china-ware1 #aa ,indian babyes1 and #f small and #f larger china dishes4 8,also for ,marinus and ,rudolphus1 #bc pieces of china-ware4 8,also to be divided equally among them1 #cg ,dutch books #d2 and #df ditto #hvo2 and #d ditto folio2 a chest with children's babyes playthings and toys2 and #ac ebony chairs40 ,mrs4 van ,varick's home in ,new ,amsterdam did not suffer in comparison with the rich ,dutch houses in ,holland4 ,her clothes1 jewels and bequests to her children prove that her life was one of ease1 luxury and fashion4 ,her house was not only furnished with every comfort known to the period1 but was filled with curios1 treasures from the ,far ,east1 rich furniture1 and a fine collection of china and paintings4 ,her furniture included fine and richly upholstered bedsteads1 tables1 chairs1 cabinets1 glass cupboards for china1 great ,kasten1 a handsome 8painted wooden rack to set china-ware in10 six looking-glasses1 and ten ,indian looking-glasses1 8two ,east ,india cane baskets with covers1 one fine ,east ,india dressing-basket1 one round ditto1 two wooden gilt ,east ,india trays1 lackered1 and one round thing ditto40 ,five brass hanging candlesticks and handle candlesticks1 a double brass ditto1 snuffers and extinguisher1 a pair of brass standing candlesticks1 and a standing candlestick with two brass candlesticks to it1 prove that the house did not suffer for want of illumination4 ,it was also bright with rich curtains and cushions4 ,among these were six satin cushions with gold flowers1 a suit of serge bed-curtains and valance with silk fringe1 six scarlet serge bed-curtains with valance and silk fringe1 a green serge chimney cloth with fringe1 two chimney cloths of flowered crimson gauge and six window curtains of the same1 a painted chimney cloth1 a calico curtain1 a fine chintz carpet1 many handsome ,turkey-work carpets and white flowered muslin curtains4 ,she had fourteen ,east ,india pictures1 some with gilt and some with black frames1 and twelve prints also in black and gilt frames1 two maps with black frames1 and about twenty well chosen paintings4 ,some of the subjects of these clearly show that they were in the style of ,jan ,steen1 ,dou1 etc4 ,in addition to landscapes1 battles and fruit-pieces1 the inventory notes 8two pictures of ships with black ebony frames10 8one picture of the ,apostle10 8one large flower pot10 8one with a rummer10 8one birdcage and purse1 etc410 8a large horse battle10 and 8a large picture of roots40 ,the china exhibited in the cabinets and on the mantelpieces and cupboards made a fine display2 for in addition to the ,oriental curios and other pieces willed to her daughters the house contained3 three large china dishes1 ten china dishes1 four ditto 7cracked71 three teapots1 two china basins1 one ditto 7cracked71 one smaller ditto1 two ditto 7cracked71 three fine china cups1 one china jug1 four china saucers1 six ditto smaller tea dishes1 one ditto 7cracked71 six painted tea ditto1 four tea ditto1 eight teacups1 four ditto painted brown1 six smaller ditto1 three ditto painted red and blue1 two white ,east ,india flower pots1 one ditto 7cracked71 three ditto smaller1 two ditto 7round71 one lion1 one china image1 and a china ink-box and two sand-boxes4 ,among her articles for the table she also owned three wooden painted dishes and a wooden tray with feet2 also 8a thing to put spoons in40 ,a parcel of toys and a collar for a dog are among the miscellaneous articles4 ,turning now to another ,dutch house in ,new ,amsterdam--that of the barber-surgeon1 ,mr4 ,jacob de ,lange1 whose inventory was taken in #afhe--we find the rooms consisting of a foreroom1 side chamber1 chamber1 kitchen1 shop and cellar4 ,mr4 de ,lange has a remarkable collection of porcelain and pictures1 a great deal of fine furniture1 rich clothing1 jewels and ,east ,india cabinets1 beautiful hangings1 etc41 etc4 ,mr4 de ,lange's furniture consists of twelve chairs upholstered with red plush1 six with green plush1 eleven matted chairs1 seven chairs with wooden backs and a church chair4 ,he has two 8cann boards10 two small 8cloak boards10 a hat press1 a clothes press1 a square table1 a round table1 a small round table1 and an oak drawing-table1 a small square cabinet with brass hoops1 one waxed ,east ,india small trunk1 one square black small sealing waxed trunk1 one silver thread wrought small trunk1 and an ivory small trunk tipped with silver4 ,he also owned an ,east ,india rush case containing nineteen wine and beer glasses1 and an ,east ,india waxed cabinet with brass bands and hinges1 containing gloves1 ribbons1 laces1 fourteen fans and seven purses in the first partition2 laces1 buckles and ribbons in the second2 cloth in the third2 caps in the fourth2 fans1 bands1 scarfs1 garters and girdles in the fifth2 silk1 fringe and calico in the sixth2 silk and materials for purses in the seventh1 and spectacles in the eighth4 ,the side chamber was furnished with eleven pictures1 consisting of five ,east ,india pictures with red frames1 four landscapes1 one evening and a 8small zea40 ,a looking-glass with a gilt frame also hung upon the wall4 ,there was an enormous amount of porcelain here4 ,the chimney was adorned with seven half-basins1 two belly flagons1 three white men1 one sugar pot1 two small pots1 six small porringers and a small goblet4 ,on and in the kas were two great basins1 one goblet1 two pots1 two flasks1 four drinking glasses1 five drillings1 six double butter dishes1 thirty-three butter dishes1 two white teapots1 seven small red teapots1 a hundred and twenty-seven teapots1 one can with a silver joint1 one ditto with a joint1 two flaskets1 one barber's basin1 five small basins1 sixty-seven saucers1 four salt-cellars1 three small mustard pots1 five oil pots1 one small pot1 three small men1 two small men1 one basin1 two small cups1 one small oil can1 one ditto spice pot1 five saucers1 four small men1 one small dog1 two small swans1 one small duck1 two tobacco boxes1 one sand-box1 four small cans1 one small spoon1 six small flasks1 two small oil cans1 one small chalice1 and two fruit dishes4 ,this room contained an ,east ,india cupboard1 ninety books1 and a pair of blue curtains and valance4 ,the 8foreroom0 contained a black nutwood chest with two black feet under it1 worth #b #ajs41 and some pieces of linen1 #bd #abs42 a looking-glass with a black frame1 #a #es42 two curtains before the glass windows2 the family coat of arms in a black frame1 #e #ds42 and the following paintings3 8,a great picture being a banquet with a black list10 8one ditto something smaller10 8one ditto a bunch of grapes with a pomegranate10 8one with apricocks10 8a small countrey10 8a ,break of ,day10 8a small ,winter10 8a ,cobler0 and 8a portrait of my lord ,speelman40 ,the pictures in the chamber include 8a great picture banquet1 worth #c #es42 one ditto1 #b #ajs42 one small ditto1 #a #aes42 one ,abraham and ,hagar1 #a #es42 four small countreys1 #d2 two small ditto1 #a #abs42 one flower pot1 one small ditto1 one country people frolick1 one sea-strand1 one portraiture1 and a plucked cock torn1 two small countreys1 one flower pot small1 without a list1 one small print broken1 and thirteen ,east ,india prints pasted upon paper40 ,this room was well furnished4 ,there were sixteen linen curtains before the glass windows1 a large and valuable kas covered or veneered with ,french nutwood1 standing on two ball feet1 worth #ac2 a great looking-glass with a black frame1 a white valance before the chimney1 8six cloths which they put on the shelves of the kas1 one ditto with lace1 two small calico valances before the glass windows1 one red chimney cloth 7probably placed over the white valance71 two red striped silk curtains and two valances of the same1 two green silk curtains and two embroidered valances1 three grey striped silk chair cushions1 four pieces of tapestry to be thrown over chests1 one bedstead with white calico hangings and luxuriously supplied with cushions1 and eight ,east ,india spreads1 besides other spreads of flowered calico1 red calico1 and white calico in squares4 ,there were five small ,east ,india boxes and a great deal of linen1 also one white box marked ,e4 ,w40 ,illustration3 ,,plate ,,xxxvi4--,the ,oyster ,feast1 by ,jan ,steen4 ,the ,hague4 ,figs4 #ce-cf3 ,,chairs 7,seventeenth ,century72 ,fig4 #cg3 ,,marquetry ,,designs 7,seventeenth ,century74 ,wherever the ,dutch went1 they lived not only in comfort1 but in all the elegance and even splendour that their means would allow4 ,in the ,new or the ,old ,world1 the merchant princes surrounded themselves with sumptuous furniture of mahogany1 ebony1 marquetry1 ivory1 lacquer1 teak and sandal-wood1 as well as porcelain1 embroideries1 rugs1 screens and all kinds of stamped metal and bric--brac4 ,in #afhe1 the ,count de ,forbin says that the ,general of the ,east ,india ,company at ,batavia has a court quite royal in numbers and brilliance4 8,on my arrival 7at the palace71 the usual guard10 he writes1 8which is very numerous1 stood at arms1 and1 between two ranks of men1 ,i was introduced into a gallery adorned with the most beautiful ,japanese porcelains40 ,evelyn and other travellers are enthusiastic in their admiration of the riches and luxury they witnessed in ,holland1 although1 as we have seen1 ,england was not unfamiliar with ,oriental art products4 ,the ,stuarts were art connoisseurs of the first rank1 and ,james ,,ii1 to whom ,macaulay denies mental and aesthetic appreciation1 was an intelligent collector4 ,the most brilliant figure in the ,court of ,louis ,,xiv1 the ,marquis de ,dangeau1 notes in his ,diary 7,january #h1 #afhi71 on the arrival of the fugitive ,stuart3 8,the ,king of ,england found the apartments 7of the ,dauphin7 admirable1 and talked like a connoisseur of all the pictures1 porcelains1 crystals and other things that he saw there40 ,one of the travellers who describes the ,eastern goods seen in the shops and houses of ,amsterdam and other ,dutch cities1 ,charles ,patin1 writes in #afij3 8,i had a sight of all their curiosities and those of all sorts1 and among other divers paintings that we know1 and others which are unknown to us2 as also ,indian and ,chinese pieces of an inestimable value4 ,in these last a curious eye may discover all the secret particulars of the history1 the manner of living1 customs and religion of those countries1 and there are represented certain martyrs1 who sacrifice their blood to the transport of their zeal1 if it may be allowed to make so bad an application of that sacred name1 which belongs only to the heroes of the true religion40 ,wills and inventories are invaluable aids to the student of ,dutch furniture2 but even more illuminating are the interiors painted by the ,great and ,little ,masters--,jan ,steen1 ,metsu1 ,cocques1 ,teniers1 ,rembrandt1 ,terburg1 ,don ,weenix1 ,hoogstraten1 ,koedyck and a host of others4 ,these are valuable as showing not only individual pieces of furniture1 but also the general arrangement of rooms4 ,plate ,,xxvi1 representing ,the ,sick ,woman1 by ,jan ,steen1 in the ,rijks ,museum1 shows a very simple room with bare floor and bare walls4 ,at the back of the room is an upholstered bed with long straight curtains1 and tester ornamented with fringe and surmounted with 8pommes40 ,on the wall hang a lute and a ,frisian clock4 ,the back of the chair is carved with lions' heads above the arms4 ,the table is covered with a handsome 8carpet40 ,illustration3 ,,plate ,,xxxvii4--,the ,sick ,lady1 by ,hoogstraten4 ,,rijks ,,museum1 ,,amsterdam4 ,a similar bed stands in the right hand corner of the room1 represented in ,plate ,,xxxvii1 also the picture of a ,sick ,lady1 by ,s4 van ,hoogstraten4 ,the arrangement of this room is extremely interesting1 as a short flight of seven steps leads into a narrow passage and room above4 ,a round window hung with a curtain lights the passage-way above1 which contains a number of fine paintings and a low-backed chair with spirally turned legs1 the back and seat covered with velvet put on with large-headed nails4 ,a door leads into the room beyond1 but all that we can see of this is a marble mantelpiece with a handsome painting above it1 and heavy andirons4 ,a large square armchair with spirally turned legs stands on the left of the bed4 ,the invalid is seated on a common stiff chair of no decorative interest4 ,the obvious upper room was always a favourite feature of the houses in the ,low ,countries4 ,an interior balcony is shown in ,plate ,,xxxviii4 ,this interior1 painted by ,j4 ,koedyck about #afej1 now in ,brussels1 is very interesting4 ,the ceiling is unusually high1 and consists of heavy beams2 the windows are flush with the outside wall with deep interior recesses1 and beneath them is a long wooden bench rudely carved4 ,the old woman seated in a plain1 two-backed1 rush-bottomed chair seems to be dusting the legs of a spinet4 ,another two-backed chair stands in front of the bed1 which from the positions of its pillows looks as if it might consist of an upper and lower berth1 as was and still is often the case in the simpler homes in the ,netherlands4 ,straight curtains hang from the cornice1 a warming-pan is seen on the right1 while above the cornice of the bed a child looks out of the shutters in the upper gallery4 ,the chimney-piece is without the usual funnel-shaped top1 and is also lacking in flat architectural ornamentation or a large painting4 ,a candlestick and a few plates are the sole ornaments4 ,it is carved with caryatids1 however1 and furnished with a chimney-cloth4 ,near the only caryatid visible stands what seems to be a metal 8blower02 but there is probably no fire in the hearth1 for the cat has found what she considers the most comfortable spot in the room on the foot-warmer4 ,the most interesting piece of furniture in the room is the high-backed settle in the space between the fireplace and the window4 ,this is panelled1 and a little decoration occurs below the arms4 ,of course1 the seat lifts up1 and the box is used as a receptacle for articles4 ,plate ,,xxvii1 one of ,jan ,steen's famous interiors1 from the ,rijks ,museum1 has several interesting features3 the architectural door and the high chimney-piece with stove being the most curious4 ,the bed is dome-shaped and upholstered4 ,a good type of chair stands in the foreground1 and a table1 on which is a cloth with deep fringe4 ,a beautifully painted birdcage hangs from the ceiling4 ,illustration3 ,,plate ,,xxxviii4--,interior1 by ,j4 ,koedyck1 ,brussels4 ,plate ,,xxxvi1 known as the ,oyster ,feast1 by ,jan ,steen1 in ,the ,hague1 shows an interesting room1 which serves as hall1 dining-room and kitchen4 ,a large curtain is looped over the balustrade1 which runs midway across the hall4 ,this gallery leads from one of the upper sleeping apartments to another4 ,one large window1 with four panes1 supplies the light4 ,to the left of it is a bed1 and next to it a mantelpiece with marble columns4 ,near this a parrot is sitting in a ring4 ,next comes the fireplace1 where the oysters are being cooked4 ,waffle-irons lean up against the handsome chair in the foreground4 ,beneath the window a jovial man sits in a low-backed chair1 near the group playing tric-trac on the long table1 over which hangs a landscape in a handsome frame4 ,another table with a rich carpet is placed on the extreme right1 at which two persons are enjoying their oysters4 ,a clock hangs on the wall1 and also a lute and birdcages4 ,a large birdcage1 similar to the one in ,plate ,,xxvii1 hangs before the window4 ,a dog1 a kitten and playful children add a merry touch to the scene4 ,plate ,,xxxix represents ,the ,music ,lesson1 by ,terburg1 in the ,national ,gallery1 ,london4 ,here we have an ordinary sitting or living-room of a well-to-do household4 ,the bed in the background resembles those in ,plate ,,xxvi and ,plate ,,xxxvii4 ,on the wall hangs a picture in a rich frame4 ,the fair musician sits on a low-backed chair with her foot on a foot-warmer4 ,the table is covered with a very handsome carpet4 ,upon it stands a handsome candlestick4 ,plate ,,xli1 ,the ,breakfast1 by ,g4 ,metsu 7#afcj-fg7 7,dresden ,gallery71 shows us the interior of an inn1 with comparatively little furniture4 ,the chair on which the woman is sitting is a good example of the period4 ,the table1 on which a 8buire0 stands1 is of the most primitive kind4 ,the birdcage hanging from the ceiling is similar to the one represented in ,plate ,,xxvii4 ,plate ,,xlii1 by ,jan ,steen1 representing a jovial company1 is chiefly interesting for our purpose on account of the chair in which the host sits1 the tablecloth and the larder at the back of the room1 on which stand a mortar and pestle1 a vase with flowers1 a pot and two plates4 ,in the right-hand corner stands a bed1 and from this hangs the legend on a piece of paper3 8,as the old ones sing1 so will the young ones pipe40 ,plate ,,xl1 by ,j4 ,b4 ,weenix 7#afba-fj71 shows a simple interior from the ,brussels ,museum--a lady at her toilet4 ,the chair on which she sits is very interesting1 with its low back1 carved top rail and spirally turned stretchers4 ,the 8table carpet0 is a superb ,oriental rug1 and the mirror with its massive frame is a magnificent example of carving and gilding4 ,the candlestick is also massive4 ,the windows1 flush with the walls1 are set with small panes1 and are furnished with a curtain4 ,a very interesting interior of the seventeenth century occurs in a picture by ,g4 ,metsu in ,the ,hague ,gallery4 ,in a room with a very fine chimney-piece supported by marble pillars1 and above which is a fine picture and a beautiful chandelier1 a lady is standing improvising upon a lute4 ,another lady seated at a table is taking down the music1 while a man looks over her shoulder4 ,the lady is seated upon a low-back leather chair studded with heavy nails4 ,her foot rests upon a foot-warmer4 ,the table has heavy ball-feet connected with stretchers1 and the heavy cloth or carpet is pushed back carelessly4 ,a tray or 8standish10 holding the ink bottles1 etc41 is carelessly placed upon the folds of the cover4 ,the lady holds a quill pen in her hand4 ,illustration3 ,,plate ,,xxxix4--,the ,music ,lesson1 by ,terborch4 ,,national ,,gallery1 ,,london4 ,no subject was more congenial to the ,dutch painters than scenes of home life and familiar interiors4 ,not only were ,jan ,steen1 ,teniers1 ,dou1 ,metsu and others of like rank attracted to the home1 but an army of mediocre masters devoted their talents to this subject4 ,if the works of the 8,little ,masters0 found their way into royal and princely collections1 the works of more obscure painters decorated the homes of the citizens1 country people and colonists4 ,the stranger who visited the ,dutch cities was amazed at the many interiors and landscapes that were exhibited in the booths1 at the fairs1 and under the verandahs in front of the houses of the masters4 ,these were often bought for a small sum by travellers1 who sold them in their own country at considerable profit4 ,when a bride went to her new home1 she often found that it had been furnished from top to bottom2 but this was not always the case4 ,as a rule1 wealthy burghers did not do this4 ,the young wife1 accompanied by one or two of her near relatives and followed by a couple of servants and a truckman1 went about from shop to shop to select what she needed4 ,this was called 8ten huisraet vaeren0 7going furnishing71 and ,de ,vrij devotes a chapter to this pleasant occupation under the title of 8,de vrou vaert ten huysraet0 7the wife goes out to furnish74 ,in his time the old simplicity had vanished in favour of a general luxury hardly equalled to-day4 ,de ,vrij1 therefore1 allows his wealthy lady to purchase 8down beds1 fine plush and wadded coverlids1 costly hangings1 large ,venetian mirrors1 ,indian crackle porcelain1 lounging chairs1 ,turkish carpets1 ,amsterdam gold leather1 costly paintings1 a silver service1 a sacredaan cupboard1 an ebony table1 a curio cabinet1 a napkin kas1 a large quantity of napkins1 tablecloths and other fine household linen1 and a thousand other articles40 ,one has only to glance at the contemporary inventories to realize the wealth and luxury of the period4 ,it is only in a few instances1 such as the old ,castle of ,develstein1 when occupied by ,cornelius van ,beveren1 that the old simplicity rules2 for the old grey town on the ,merwede 7,dordrecht71 although the richest and oldest1 was not the most luxurious in ,holland4 ,it conserved its own customs1 while ,amsterdam1 ,rotterdam1 ,delft and other cities vied with ,the ,hague4 ,one or two large chests always stood in the bedroom4 ,in these linen and clothing were kept4 ,as a rule1 the chest was of sacredaan1 with brass or silver mounts1 and neatly lined inside with cloth4 ,linen was also kept in the great kasten4 ,these were ornately carved or panelled1 made of different woods1 and often inlaid with mother-of-pearl4 ,some of them cost as much as #a1jjj fl4 ,rare porcelain was always placed on the top of the kas4 ,the great linen chest or coffer1 and the great cupboard in which household linen and articles of clothing were kept1 were among the most important articles of furniture in a ,dutch household4 ,the chest was tall and wide1 and made1 as a rule1 of lignum vit1 or sacredaan1 or other ,east ,india wood1 frequently covered outside with leather and lined inside with linen or some other textile4 ,it was often mounted with brass or silver1 sometimes richly wrought4 ,the cupboard1 or kas1 was very broad and very tall1 and was made of oak1 ebony1 or walnut1 and stood on four heavy balls1 which were often repeated on the four corners of the top1 and are described by ,van ,nispen as 8guardians of the porcelain ornaments10 which adorned the top4 ,illustration3 ,,plate ,,xl4--,interior1 by ,j4 ,b4 ,weenix1 ,brussels4 ,as many as ten or twelve each of chests and kasten have been noticed in old inventories in one dwelling1 and they are described according to the wood of which they are made1 or the name of the room in which they stood4 ,accordingly1 we read of coffers and cupboards of oak1 sacredaan1 cherry1 and plum-tree wood1 blue and red grained ,east ,india wood1 iron coffers1 ,prussia leather and lacquered coffers1 the office coffer1 the office cupboard1 the kitchen cupboard1 the cupboard of the green painted room1 of the gold leather room1 of the tapestry room1 etc41 etc4 ,let us examine some of the cupboards in the home of ,sara de ,roovere1 second wife of ,adriaan van ,blyenborgh1 ,keeper of the ,count's ,mint1 and known as a ,latin poet4 ,this home is in ,dordrecht4 ,in the 8gold leather room0 stand several cupboards1 some of which are of rare wood and richly carved4 ,these cupboards contain a rich store of snow-white linen1 damask tablecloths1 napkins1 bed-clothing1 towels1 shirts1 bibs1 neckerchiefs1 frills1 handkerchiefs1 etc41 8saved from grandmother's time with economy1 or inherited from great-aunt and kept as precious treasures10 all for her own use1 or as wedding gifts to her children1 ,jacob1 ,adriaan1 ,charlotte1 or ,adriana4 ,like many another ,dutch lady1 every penny won at play1 every present1 and everything that could be saved from the household money1 this thrifty housewife devoted to increase the treasure4 ,a great part of the day she spent with her daughters in the front room 7voorhuis71 or with the maids in the kitchen1 at the spinning-wheel1 the sewing-cushions1 the work-table1 or the ironing-board4 ,she considered it an honour to have a rich ,linnenkast1 and she was proud of being called a 8house jewel careful of the third part0 and deserving of the name1 as she possessed 8mountains of her own make and foreign produced stuff40 ,her inventory shows that she possessed no less than twenty-four dozen chemises1 forty dozen tablecloths and napkins1 and coffers full of uncut linen4 ,some burghers' wives had their linen made up by the seamstress4 ,in another cupboard1 called the 8scalloped10 owing to the many ,st4 ,james' shells carved upon it1 ,joffer van ,blyenborgh kept one of the most costly articles of her attire--the breast or forepiece4 ,these breast-pieces1 or stomachers1 were worn on the corsage1 to which they were fastened by means of pretty silk cords4 ,they were made of silk1 satin1 or velvet1 and often profusely decorated with pearls or jewels1 and sometimes cost as much as #aj1jjj4 ,vrouwe van ,blyenborgh had coffers filled with petticoats of scarlet cloth and also of wool cloth1 coarse grey1 black and white linen under petticoats1 jackets1 hoop skirts1 mantles and rain cloaks4 ,her cupboards and coffers also included3 rich robes of sarcenet and serge of fire colour1 rose colour and ground colour1 covered with ribbons1 bows1 galloons2 bodices embroidered and trimmed with lace and fringe2 petticoats garnished with fringe of fire colour2 grey cloth dresses lined with blue serge2 and ,japanese night robes of dead leaf colour1 embellished with aurora hued flowers and lined with wadding4 ,neatly folded among these rich articles were white satin robes lined with amaranth taffeta1 black velvet robes with cloth of silver1 and petticoats embroidered with golden flowers and lined with taffeta d',avignon4 ,she also had some cloth of gold valued at #af a yard4 ,illustration3 ,,plate ,,xli4--,breakfast1 by ,g4 ,metsu1 ,dresden4 ,dress and furniture became so extravagant during this period that the stage ridiculed the lavish expenditure1 and the other censor of public morals--the pulpit--denounced the needless splendour as degrading before ,god and men4 ,the ,dordrecht preacher1 ,joh4 ,becius1 exclaimed3 8,are the pride and splendour of to-day more extreme than with the people of ,israel8 ,certainly not2 but rather worse2 for women go about1 not only with bare necks1 but half-bared bosoms partly covered with a thin net or cambric cloth--and in the robes and dresses they are more splendid than the proud peacock1 more changeable than the chameleon or the weather-cock on the church steeple4 ,they almost dance along the streets dressed up as dolls for a kermesse2 and these creatures1 so gaily attired1 vie with each other to enter the ,lord's ,house where is preached ,christ born in a manger and wrapped in swaddling clothes40 ,among the other vanities carefully preserved in the drawers and on the shelves were the fans1 masks1 lace and jewels2 chtelaines1 ribbons1 hats1 bonnets and caps2 silk1 cloth and serge stockings richly embroidered2 fancy shoes and slippers with high heels1 and leather and silk gloves sweetly perfumed4 ,vrouwe van ,blyenborgh had a number of thin1 beautiful1 scented1 leather gloves2 a large stock of 8shoework0 of silk1 satin1 gold and silver leather1 and yellow1 green and scarlet stockings4 ,we must not forget to mention the round silver mirrors suspended from gold hooks at the belt1 and the delicately painted miniatures worn as lockets or breast-pins4 ,the great kas was as conspicuous in the houses of the ,dutch colonists as it was at home4 ,every inventory of the prosperous burgher of ,new ,amsterdam mentions it1 and it is highly appraised4 ,to take a few instances3 8,one great case covered with ,french nutwood and two black knots 7balls7 under it1 #ac0 7#afhe72 8a cupboard or case of ,french nutwood1 #bj0 7#afhf72 a white oak cupboard1 #b #es4 7#afhh72 a large cupboard1 #f 7#afij72 cupboard for clothes1 a press and porcelain1 #e2 and a 8,holland cubbart furnished with earthenware and porcelain10 #ae 7#afib72 a great black walnut cupboard1 #aj 7#agjb72 a ,dutch painted cupboard1 #a 7#agjb72 a black walnut cupboard1 #i 7#agjc72 and a case of nutwood1 #aj 7#agab74 ,the kas was often a valued bequest3 ,mrs4 van ,varick had one 8great ,dutch kas that could not be removed from ,flatbush02 and1 therefore1 was sold for #be4 ,illustration3 ,,plate ,,xlii4--,interior1 by ,jan ,steen4 ,the ,hague4 ,in the rooms of the ,castle of ,develstein were standing mirrors and mirrors in ebony1 metal and crystal frames1 on the walls2 and in the 8salon0 was a mirror of ,venetian glass4 ,in this room was seen the 8kingwood hall buffet10 where1 on festive or ceremonial occasions1 the family silver and crystal were exhibited1 such as silver plates1 dishes1 spoons1 knives1 beakers1 decanters and mugs1 silver-mounted horns and night cups--all engraved with the family arms1 or with conventional rhymes or mottoes4 ,in the 8salon0 or 8show salon0 was placed the 8root-wood 7root of the walnut tree7 table10 formed like steps 7a survival of the dressoir71 on which the rarest and finest porcelains were shown4 ,here also was the richly carved walnut kas containing a rare display of fine china1 while on the wall walnut racks1 beautifully carved and ornamented with gold1 the handsomest plaques were arranged4 ,there was also a pewter table in this room1 on which stood many pewter dishes1 cups1 tankards1 etc41 engraved with the family arms2 but most of the pewter was kept in the pewter cupboards 7tinkasten71 in the pewter room1 or in rows upon the dresser in the kitchen1 ready for immediate use4 ,silver table-ware was not in general use1 for pewter took its place as an everyday article4 ,among the glassware shown in this room were cordial1 wine and beer glasses1 chalices and loving-cups of white and green glass1 engraved with arms1 ornaments1 proverbs1 and shell-like ,venetian glasses1 supposed to be proof against poison4 ,two interesting examples of kasten are given on ,plates ,,xliii and ,,xliv4 ,plate ,,xliii represents a large ,dutch kas1 or buffet deux corps1 from the ,rijks ,museum1 ,amsterdam4 ,this magnificent specimen is of solid ebony inlaid with ivory4 ,its grooved columns1 panels and niches break up the plain surface with much variety4 ,it stands on eight bulb feet4 ,it is similar in shape to the ,english 8court cupboard0 of the same century4 ,plate ,,xliv represents a large armoire1 or kas1 from the ,cluny ,museum1 ,paris4 ,this was made in ,holland4 ,the front is ornamented with three pilasters with carved capitals1 between which are the two doors or wings decorated with carved panels4 ,the cornice is ornamented with three lions' heads4 ,beneath the columns are drawers with simple knobs4 ,this piece of furniture stands on flattened bulb feet4 ,in the latter part of the seventeenth century1 the cabinet was found in every home of moderate wealth4 ,in an inventory of #afgi1 8a root-wood cabinet1 with ,japanese small dishes and #8colossol' 7very large7 pots under its high feet0 is mentioned4 ,these cabinets stood on high legs1 sometimes with only one drawer underneath4 ,they were frequently made of rough pinewood painted red2 but often they were very handsome 7see ,plate ,,xxxi74 ,in the bedroom of ,lady ,reepmaker in the ,castle of ,develstein there was a 8cabinet-maker's small cupboard to put dresses in1 one one-drawer cabinet on a high base1 one hair-dressing table1 one ditto chair1 one ditto mirror with ebony frame1 one gold leather comb-holder1 and the #8nachtbouquet'0 7night bouquet71 a piece of furniture used by the upper classes after #afgb1 in which everything relating to the toilet of the period was found1 such as3 a silver framed mirror1 powder boxes1 silver trays1 pin-books1 patch-boxes1 hair and clothes brushes1 and other small toilet articles1 as well as silver candlesticks1 snuffers and snuffer-trays4 ,when a wealthy lady sat in front of her 8dressing-cloth10 as her dressing-table was familiarly called1 she had before her an array of bottles and boxes containing perfumes1 powders1 paints and beauty patches1 as well as a treasure-house of pearls1 diamonds1 rings and bracelets set with glittering stones1 ear-rings1 necklaces1 chains of pearls1 gold and silver pins1 spangles1 half-moons1 so that she looked like 8a sun surrounded by suns10 or a 8diamond surrounded by rubies40 ,illustration3 ,,plate ,,xliii4--,kas of ,ebony and ,ivory4 ,,rijks ,,museum1 ,,amsterdam4 ,her innumerable toilet-boxes of tortoiseshell and mother-of-pearl1 her silver and gold scent-boxes1 her boxes of filigree1 her ivory1 ebony and porcelain boxes and trays for her patches and cosmetics1 her rich jewel cases of gold1 silver1 tortoiseshell or ivory1 lined with velvet1 her brushes and her shoe-horns1 and her beautiful work-boxes supplied with thimbles1 bodkins1 knitting-needles1 hooks1 scissors1 and everything that could be used for sewing and fancy needlework are displayed on her toilet-table and in her cabinets4 ,the table-cover or 8carpet0 was a most important decorative feature of the ,dutch room4 ,it was generally a handsome ,oriental rug4 ,this was thrown over the dining-table1 the ordinary table in the hall or kitchen 7see ,plate ,,xxvii and ,plate ,,xxxvi71 in the bedroom 7see ,plate ,,xxvi and ,plate ,,xxxvii71 and used also for the toilet-table 7see ,plate ,,xl74 ,often it was ornamented with handsome fringe 7see ,plate ,,xxvi and ,plate ,,xxvii74 ,when an impromptu meal was served1 it was the custom to cover the handsome cloth with a white cloth1 of which the ,dutch housewife always had a large supply 7see ,plate ,,xxxvi and ,plate ,,xlii74 ,four exceptionally handsome table 8carpets0 appear in ,plate ,,xl1 ,plate ,,xxxix1 ,plate ,,xxvi and ,plate ,,xxxvii4 ,in nearly every ,dutch interior one notes the presence of the foot-warmer or foot-stove--a little wooden box with a perforated top and sometimes perforated sides of wood or brass4 ,in this1 glowing embers were placed4 ,one of these is seen in ,plate ,,xxvi and another in ,plate ,,xxxvii1 while in ,plate ,,xxxviii a cat is seen comfortably keeping itself warm4 ,on ,plate ,,xxxix the lady playing the double-necked lute has her foot on one of these universally used articles4 ,these foot-warmers that served as footstools1 and were carried to church1 are described in ,roemer ,visscher's ,sinnenpoppen 7,animated ,dolls74 ,he calls them 8mignon des dames10 and says3 8,een stoef met vier daer in1 is een bemint juweel by onse ,hollandsche vrouwen1 bysonder als de sneeuwvlocken vlieghen ende hagel ende rijp het lof van de boomen jaeght40 78,a stove with fire in it is a beloved jewel of our ,dutch wives1 especially when the snowflakes are flying and the hail rattles407 ,the author of the ,dutch ,mercurius calls it 8a small wooden piece of carpentry with four holes in the top40 ,the 8,looking-,glasse0 that attracted ,owen ,feltham's attention was a luxury4 ,the spiegel-maker 7mirror-maker7 was only to be found in the large cities4 ,he was not allowed to make the frames1 nor to gild them2 for this was the work of the ,carpenters' and ,gilders' ,guild4 ,the signs1 however1 read--8spyeghelwinckel10 8de nyeuwe spyeghelwinckel10 8spyeghel-magazijn10 8allerley spyeghels groot en clijn10 and 8de ,venetiaense spyeghelwinckel40 7,the 8mirror shop10 8the new mirror shop10 8mirror magazine10 8all kinds of mirrors1 large and small10 and 8,venetian mirrors407 ,illustration3 ,,plate ,,xliv4--,dutch ,kas4 ,,cluny ,,museum1 ,,paris4 ,the glass mirror was a novelty1 for1 until the seventeenth century1 polished metal was used2 but at this period a method of silvering glass with a mixture of quicksilver and pewter was invented in the celebrated factory of ,murano4 ,the ,venetians monopolized the trade until the end of the century1 when ,abraham ,thevart made mirrors 7#hd #ej inches7 in ,paris4 ,both ,venetian and ,french mirrors adorned the reception rooms of the rich stadhouders and mayors of ,holland1 and hung above the toilet-tables of ladies 7see ,plate ,,xl74 ,the archives of the ,castle of ,develstein mention3 a 8very large mirror from ,france10 8,venetian mirrors10 8a small coarse mirror in a black frame10 8a fine ,venetian mirror in the ,salon1 with flowered crystal border02 8an ,amsterdam mirror of medium size10 and 8one ,french mirror1 large and beautiful40 ,mirrors were not only valued for their thick glass and fine silvering1 but on account of their choice frames4 ,inventories speak of scroll frames1 open-work frames1 frames with lions or griffins supporting a coat-of-arms1 etc4 ,ladies also carried ,german and ,english mirrors suspended from their waists1 for the purpose of arranging their coiffure1 ruff1 or patches4 ,the mirror1 like other expensive luxuries1 was often prohibited by the clergy of the ,protestant ,church2 and many a rich burgher was reprimanded for spending so much money on mirrors1 porcelain and furniture1 and giving so little to the ,church4 ,the most beautiful mirrors were probably found in ,the ,hague1 where the reception rooms and bedrooms were usually decorated in the 8style ,louis ,,xiv40 ,some of these were of ,venetian glass with beautiful crystal borders and crystal lustres at the side4 ,frequently these were placed above the richly carved mantelpiece4 ,the bedsteads1 often richly carved1 were of oak1 walnut or sacredaan1 and were always hung with curtains4 ,a deep valance often decorated the base4 ,the centre of the canopy was ornamented with the family coat-of-arms1 and each corner with a bouquet of many coloured plumes4 ,sometimes the bedstead was on a platform1 and the rich hangings were supported by caryatides and the festoons of the canopy by carved cupids4 ,the bedsteads were high1 and a ladder or steps was required to climb into them4 ,little steps or foot benches stood in front of the bedstead and were sometimes used for seats or tables1 somewhat like the old escarbeau of ,mediaeval days4 ,one species of bedstead was known as the 8coach10 or 8rolling coach40 ,this was intended for children1 and the name 8coach0 was extended to include the children's sleeping-place4 ,mention is made in a treasurer's account of ,dordrecht 7#aehf7 of 8three bedsteads with a coach underneath10 which shows that the coach is the trundle or truckle bed4 ,tables and chairs were found in every room4 ,about #afdj1 the 8drop-leaf0 or 8hang-ear0 tables came into use4 ,they were usually made of solid walnut- or sacredaan wood4 ,the chairs had high curved1 or leather1 backs and low seats of leather1 on top of which were placed loose cushions or pillows1 which were often piled up so high on the seat that a child standing on tiptoe could not see over the pillow on the seat of the chair4 ,chairs were also covered with rich damask1 serge and other woollen goods4 ,in the old inventories mention is made of 8,prussia leather table chairs10 ebony carved chairs1 red cloth covered sacredaan wood chairs with pillows of different shapes1 and of high-backed carved walnut table chairs4 ,illustration3 ,,plate ,,xlv4--,flemish ,chair4 ,,cluny ,,museum1 ,,paris4 ,typical chairs are shown in ,plates ,,xxxiii and ,,xxxiv from the ,rijks ,museum4 ,in the first there is a caned armchair on the left1 an upholstered armchair on the right1 with turned legs and rails2 and in the middle a chair in the ,marot style1 with a mirror-shaped back1 cane panel1 straight legs and crossed straining-rails4 ,the example on the extreme left of ,plate ,,xxxiv is an armchair of carved oak1 with scrolled arms and cane seat and back4 ,it is similar to the one without arms from ,cluny in ,plate ,,xlv4 ,a cane chair without arms appears in the centre1 and on the right an armchair with turned legs1 carved top rail1 and leather back and seat4 ,the ,flemish chair on ,plate ,,xlv is constantly seen in the rooms of the seventeenth century4 ,the chair on the left of ,plate ,,xxx in the ,cluny ,museum1 called 8,spanish of the ,seventeenth ,century10 is a curious transitional piece4 ,the high back and seat are covered with ,spanish leather put on with large-headed nails4 ,the pattern of the leather represents peacocks1 flowers and human figures4 ,the ornamentation of the top rail consists of a leaf and scrolls ending in sharp spikes at the corners1 very much in the early ,regency style4 ,on the rail below the seat is carved a heart-shaped ornament4 ,the front legs are cabriole1 connected with stretchers and ending in hoof feet4 ,the back legs1 also connected by stretchers1 are straight4 ,other furniture included spinets and harpsichords1 ,friesland clocks1 table watches and pocket watches1 which1 when not in use1 were placed in little cases1 as were the mirrors the ladies wore at their waists4 ,sand- or hour-glasses were to be found especially in the kitchens1 and the table-bell1 which had now supplanted the whistle as a call for the servants4 ,the woods used for furniture were oak1 walnut1 cedar1 olive1 nutwood1 ebony 7black1 green and yellow72 kingwood1 from ,brazil1 a hard wood with black veins on a chocolate ground2 beef-wood1 from ,new ,holland1 of a pale red used for borders2 palissandre1 or violet wood1 from ,guiana1 for inlays on fine furniture2 and1 above all1 sacredaan1 or ,java mahogany1 a very hard wood1 sweet smelling and of a bright yellow or pale orange colour4 ,this was a favourite wood for chests1 as the odour served to protect furs and woollen stuffs from the attacks of moths1 etc4 ,the ,dutch kitchen towards the end of the century was fully equipped with all kinds of brushes1 brooms1 pots1 pans and every utensil that was necessary to effect the cleanliness and produce the good cheer so necessary to every prosperous burgher4 ,in #afhj1 a kitchen of a man of moderate means in ,new ,amsterdam contained the following3 s4 d4 ,fourteen pewter dishes1 little and great #c #e #j ,three ditto basons1 one salt seller1 one pye plate #j #i #j ,four chamber potts1 one warming pan of brasse #j #ae #j ,two pewter flagons1 a little one and a greate one #j #e #g ,two smoothing-irons1 three pewter quart potts #j #g #f ,three pewter pint potts1 #a pint pot and two muck potts #j #f #i ,four old pewter saucers and doz4 plates #j #f #j ,six dozen wooden trenchers1 three tin cover lids #j #h #j ,two frying pans1 five spitts1 two dripin pans1 iron and tin #a #b #f ,one puding pan of tin1 one greate brasse kettle1 three iron #a #af #j potts1 one brasse skillett ,two copper saucepans1 one little iron kettle #j #f #j ,two pair iron pott hookes1 a jack with a wt of #ef lbs4 #a #ad #j ,two pair andirons1 one brasse ladle1 one iron beefe forke #a #j #f ,two pair of tongs1 one fire shovell1 a long bar of iron #j #d #f ,one iron chaine in the chimney and three pot hangers #j #ae #f ,one bellows1 a board to whet knives upon #j #a #j ,two copper pots1 two brass candlesticks1 six tin #j #aj #j candlesticks ,illustration3 ,,plate ,,xlvi4--8,buire10 by ,mosyn1 ,auricular ,style4 ,silverware was an important item in the possessions of the merchant class as well as the nobility4 ,in #afhb1 we find the following items in the inventory of a prosperous butcher3 s4 d4 ,twenty-two silver spoons1 one silver forke1 three silver #dh #j #j gobletts1 one ditto tankard1 one ditto mustard pot1 one ditto cup with two eares1 five silver small cuppes1 one ditto1 one goblet1 two ditto salt sellars1 one ditto cup1 two ditto saucers1 one ditto cup1 one ditto spice box1 a ,cornelia tree cup with silver1 two ditto dishes1 weight in all ten pounds ,a silver girdle with hanging keys1 one ditto with three #a #d #j chaines with hookes1 one gold bodkin1 two silver bodkins1 8silver for my booke with a chaine10 silver to a belt for a sworde ,one silver hat band #j #ac #f ,one silver tumbler #a #j #j ,one silver bell #j #ah #j ,one silver watch #a #j #j ,two pair silver buckles #j #h #j ,fourteen gold rings #aj #g #f ,one pair silver buttons1 and one silver knife #j #ab #j ,no view of a ,dutch interior of the seventeenth century would be complete if it neglected to take into consideration the family pets4 ,these are very much in evidence in the pictures1 by ,dutch masters4 ,these consist of monkeys1 parrots1 peacocks1 pheasants1 cats and dogs4 ,the monkey is quite a privileged character4 ,sometimes he is perched on the top of a spinet and sometimes on a kas or a chimney-piece4 ,the masters of vessels that sailed the ,eastern ,seas1 both ,english and ,dutch1 were commissioned by nobles and potentates to bring home rare animals4 ,in #afji1 for instance1 the ,east ,india ,company issued letters for reserving 8all strange fowls and beasts to be found there10 for the ,council4 ,in #afbc1 we find a note that to the governor of the ,company a 8,caccatoa0 was sent from ,batavia4 ,the cockatoo is a familiar resident in ,dutch homes4 ,he and other kinds of parrots1 domiciled in wicker and wire cages1 are very much in evidence in the genre pictures of the age4 ,the golden and silver pheasants were also privileged members of the household1 and were allowed the freedom of the hall4 ,sometimes we see them perched on cornices1 and sometimes strutting on the tiled floor4 ,the monkey1 which played so important a part in the 8singerie0 decoration of the late ,louis ,quatorze1 ,rgence and ,louis ,quinze periods1 was imported in considerable numbers4 ,a gossipy journal--,le ,courrier du temps1 conducted by ,fouquet de ,croissy who undertook to tell the secret happenings in the court of every prince in ,europe-- records the following item of news from ,amsterdam1 under date of ,september #a1 #afdi3 8,this week several ships have arrived here from the ,indies4 ,among the other riches with which the good agent was charged1 he has brought a dozen of the rarest and most beautiful monkeys that have ever been seen in these parts4 ,cardinal ,mazarin has sent for them to put them in his wardrobe and anti-chambers to divert those who pay court to him and to judge the affection they have for his service by the civility and good treatment of the animals1 the favourites of his ,eminence1 receive from them40 ,,chapter ,,ix ,,dutch ,,furniture ,,under ,,french ,,and ,,oriental ,,influence4 ,the ,dutch ,craftsmen in the ,employ of ,louis ,,xiv--,huguenot ,emigration-- ,marot--,the ,sopha--,upholstery--,the ,bed--,chairs--,sconces--,tables--,rooms -- ,english and ,dutch ,alliances--,hampton ,court--,queen ,mary-- ,looking-glasses--,chandeliers--,chimney -pieces--,the style refugi-- ,john ,hervey's ,purchases--,oriental ,furniture manufactured after ,european ,patterns--,complaints of ,home ,manufacturers--,trade with the ,indies--8,prince ,butler's ,tale0--,enormous ,importations--,imported ,textiles--,foreign ,textiles for ,upholstery4 ,the last designer of furniture of any importance that has hitherto demanded attention is ,crispin van de ,passe4 ,the next one is also a ,dutchman4 ,it is noticeable that the arts and crafts of ,france and ,england were always deeply affected by the activities of the ,low ,countries4 ,france1 even during the reign of ,louis ,,xiv1 owed much to ,dutch culture and energy4 ,boulle1 who was of ,dutch extraction 7see page #aae71 gave his name to a special kind of furniture which he developed and elaborated4 ,another name famous in ,decorative ,art was that of ,cander ,jean ,oppenordt1 born in ,guelderland in #afci4 ,he emigrated to ,paris to seek his fortune1 and became 8bniste du ,roi10 was naturalized in #afgi1 and allowed a lodging in the ,louvre in #afhd4 ,to him was given the charge of furnishing the ,palace of ,versailles1 and in #afhh he made some beautiful marquetry furniture for the ,duke of ,burgundy4 ,his son1 ,gilles ,marie ,oppenord 7#afgb-agdb71 was architect to the ,duke of ,orleans4 ,france owed much to ,italy1 ,belgium and ,holland during the first half of the seventeenth century1 but what she borrowed she repaid with interest4 ,in #afhe1 the ,revocation of the ,edict of ,nantes induced fifty thousand families of the best ,french blood1 intellect1 art1 culture and craftsmanship to seek voluntary exile4 ,the ,huguenots took refuge from the ,dragonnades in ,england1 ,holland and ,germany2 and those countries benefited by the short-sighted policy of a bigoted king4 ,so many goldsmiths1 carvers1 architects1 designers and artists were among the emigrants that their subsequent work in the art world came to be known as the style refugi4 ,undoubtedly the most commanding figure in this band was ,daniel ,marot4 ,he was a member of a family of eminent ,french artists4 ,he was a pupil of ,lepautre1 who for many years worked at the ,gobelins manufactory and dominated the first period of the ,louis ,,xiv style4 ,this style was particularly majestic1 pompous and heavy1 the general forms consisting of a mixture of the straight line and curve1 and broad surfaces adapted for decoration4 ,the heavy straining-rail and pilaster as a support are also characteristic4 ,the ornaments consist of ,roman and heroic trophies of antiquity1 helmets1 cuirasses1 casques1 plumes1 swords1 shields1 laurel-wreaths and clubs1 winged ,victories1 the elliptical cartouche1 river gods leaning on urns1 large cornucopias1 heavy garlands1 or swags1 of fruit and leaves1 the broad acanthus leaf1 the mascaron1 the swelling scroll1 and the combination of scroll and shell4 ,lepautre was also fond of introducing the alcove into a room4 ,illustration3 ,,fig4 #ci4--,screen in the style refugi4 ,a typical screen of this period is shown in ,fig4 #ci4 ,the massiveness and boldness of curve of the lines of the frame are characteristic of the artists of the ,louis ,,xiv period who formed the style refugi2 and the grace and fancy of the design in the tapestry filling are worthy of more than passing consideration4 ,the ,chinoiserie influence is already apparent in the small hanging canopy4 ,at this date the sopha was greatly in vogue4 ,this was really nothing more than the old settle with carved framework1 and richly upholstered4 ,it rarely accommodated more than two persons1 and1 as a rule1 only one is shown sitting upon it4 ,the legs and straining-rail followed the general lines and decoration of those of the stands for cabinets1 toilet-tables1 etc4 ,the arms were sometimes solid or stuffed1 and sometimes open-work covered with velvet or other textiles4 ,sometimes the sopha is furnished with a bolster at both ends4 ,typical forms are shown in ,figs4 #dj1 #da and #db4 ,although ,marot was well acquainted with porcelain and ,eastern wares in ,france1 he found the prevailing taste much more extravagant when he took refuge in ,holland4 ,there he became the supreme exponent of the style refugi4 ,william of ,orange appointed him his chief architect and minister of works1 and ,marot accompanied him to ,england at the ,glorious ,revolution a couple of years later4 ,in ,holland1 he designed much interior work for palaces and noblemen's seats1 including staircases1 panelling1 chimney-pieces1 cornices1 china-shelves and brackets1 and all kinds of domestic furniture4 ,he was also extremely prolific in designs for sumptuous upholstery in velvet1 worsted and other textiles for chairs1 screens1 hangings1 curtains1 bed-heads1 etc4 ,marot died in #agah2 and his published works of ,decorative ,art include many hundred designs representative of that period immediately preceding the ,regency1 known in ,england as 8,william and ,mary0 and 8,queen ,anne40 ,upholstery was an exceedingly important part of interior decoration at that period1 and there were right and wrong ways to hang curtains and decorate the framework of beds with valances1 fringes1 lambrequins1 etc4 ,figs4 #dd and #de show two of ,marot's arrangements of lambrequins4 ,the massive bed with its four posts of carved oak1 which had so long been in fashion1 had now been supplanted by one in which upholstery was the chief decorative feature4 ,this bed consisted of a light frame supporting a canopy1 the four corners of which were surmounted by a bunch of plumes1 or ornaments1 or knobs1 in imitation of ostrich feathers1 called 8pommes40 ,the furnishings of the bed1 including head-board1 canopy1 counterpane1 curtains and valances1 were of the same material--velvet1 brocade1 silk1 satin1 chintz1 or white dimity worked in coloured crewels or worsted4 ,three beds of this period are to be seen at ,hampton ,court ,palace--,william's1 ,mary's and ,queen ,anne's4 ,both ,william's and ,mary's are now in the ,private ,diningroom4 ,the former1 which is about fifteen feet high1 is covered entirely with crimson damask1 and ,mary's1 which is much smaller1 with crimson velvet4 ,the small bed used by ,george ,,ii when he lived in this ,palace1 and which stands between ,william's and ,mary's1 may also belong to this period4 ,queen ,anne's bed is more elaborate4 ,this stands in her ,state ,bed-chamber2 and it is not unlikely that ,queen ,anne's bed originally belonged to ,mary2 for she owned a number of very handsome beds draped with materials of the latest fashion4 ,the elaborate designs upon the rich ,genoa velvet that adorns this piece of furniture are quite in the ,marot style4 ,illustration3 ,,plate ,,xlvii4--,carved ,oak ,bahut4 ,,cluny ,,museum1 ,,paris4 ,fig4 #ch3 ,ornament in the ,auricular ,style4 ,the bed of this period was particularly suited to ,marot's taste1 and he made many designs1 in which the festoon is conspicuous4 ,the bed shown in the frontispiece of this book is a typical example of ,marot4 ,the heavy cornice is adorned with a cartouche in the centre and four 8pommes0 of ostrich feathers in vases at the corners4 ,the headboard is also characteristic of ,marot1 and consists of an urn with swags of leaves and husks1 with mermaids as caryatides or supporters at the sides4 ,at the base of the bed is a mascaron4 ,the silk draperies are arranged in formal swags tied with bows of silk and cords and tassels1 and the valance around the bottom of the bed is similar to the cornice decoration4 ,running around the cornice is a brass rail for the outside curtains1 which can be drawn around the bed enclosing it entirely1 with the exception of the 8pommes40 ,the counterpane1 bolster and pillow are covered with material that carries ,marot designs4 ,the pillow is adorned with tassels4 ,another of ,marot's designs for a bed is reproduced in ,plate ,,xlviii4 ,this is interesting on more than one account4 ,the carving of the canopy shows the advent of the rocaille work that ran mad during the periods of the ,regency and ,louis ,,xv4 ,the scrolls in the woodwork at the foot of the bed are of the same form as the stretchers in tables1 chairs1 stands and stools of the period4 ,the decoration of the room is worth notice also4 ,the walls are covered with tapestry1 and the same lambrequin that adorns the bed is repeated all along the walls under the cornice4 ,the same decoration is repeated around the seat of the armchair on either side of the bed4 ,the low foot-posts of the bed are surmounted by 8pommes10 which usually hold the positions above1 here occupied by carved shells4 ,finally1 the sconce mirror over the chair is graceful in form4 ,queen ,anne's bed at ,hampton ,court ,palace gives one a good idea of the ,marot decoration4 ,it has a square canopy and tester1 below which hang curtains that when drawn enclose the entire bed4 ,the head-board is upholstered4 ,the furnishings of this bed are entirely of stamped or cut velvet1 a white ground with formal patterns of crimson and orange4 ,the chairs1 tabourets and long forms are also covered with this material4 ,a beautiful chandelier of silver decorated with glass balls hangs from the ceiling1 which was painted by ,sir ,james ,thornhill4 ,the design depicts ,aurora rising from the ocean in her chariot1 drawn by four white horses and attended by cupids1 while ,night and ,sleep sink away4 ,illustration3 ,figs4 #dj1 #da and #db4--8,sophas40 ,fig4 #dc4--,lower part of ,chair1 by ,marot4 ,figs4 #dd and #de4--,lambrequins1 by ,marot4 ,marot's armchairs owe their effect almost entirely to upholstery3 the framework is certainly solid1 heavy and ungainly4 ,he prefers carved feet of animals' claws to the popular ,dutch bulb4 ,a typical form of the seat and legs appears in ,fig4 #dc4 ,the top of the back is usually a straight line1 though1 if the chair is designed for a prince or noble1 the centre sometimes rises in a carved crown or coronet4 ,the woodwork is generally gilded4 ,marot's sconces usually had only one candle socket 7see ,plate ,,xlix74 ,when the mirror was of silver1 or any burnished metal1 its surface was generally convex4 ,when it was of glass it was flat1 but very often the edges were bevelled4 ,the three examples on ,plate ,,xlix show the characteristic ornamental details of mascarons1 floral scrolls1 and heavy chutes of the bell-flower or wheat-ear4 ,the same ornamentation1 intermingled with 8pommes10 geometrical lines and broken scrolls1 distinguishes the two large mirrors above4 ,other handsome oval and rectangular mirrors appear on ,plate ,l4 ,the lower one on the right1 with cornucopias disgorging chutes of fruit1 bears the crossed double ,l of ,louis ,,xiv1 with a royal crown1 and therefore must belong to ,marot's early period before he went to ,holland4 ,the mascarons and human figures on the other mirrors on this plate also belong to the early ,louis ,quatorze period4 ,on ,plate ,,li are two more mirrors1 large and small1 one above an inlaid console table and three candle or candelabra stands4 ,these are interesting as showing the extent to which ,marot made use of caryatides and swags in decorative work4 ,it will be noticed that his ,junos1 ,floras and ,venuses are functional as well as graceful and decorative4 ,with their heads and arms they have real work to do and weights to support4 ,tables of ,marot's design are represented on ,plate ,,lii1 which also gives a series of eight mascarons4 ,plate ,,liii shows three of ,marot's tall clocks1 with details of decoration and designs for key handles4 ,the little frieze of designs for keyholes at the top of the ,plate show that the forms of china-ware were even invading goldsmiths' work4 ,it will be noticed that the grandfather's clock in ,marot's mind was somewhat more ornate than the modern idea of that timepiece4 ,chippendale owed a heavy debt to ,marot's forms of clocks and candlestands4 ,marot's designs for rooms show the limit to which porcelain could be used as a decorative feature4 ,there are brackets1 brackets everywhere4 ,vases of different shapes and sizes stand on the ledges1 oval1 circular or straight1 above the doors and stud the cornices2 but it is the chimney-pieces that serve1 as the tiered dressoir did in ,mediaeval days for plate1 in the display of porcelain4 ,the corner chimney-pieces of ,hampton ,court with their diminishing shelves give some faint idea of the many plates of ,marot's designs4 ,some of these show brackets and shelves that support hundreds of cups1 saucers1 pots1 bowls1 bottles and vases4 ,in one extreme case more than three hundred pieces may be counted on the chimneypiece and hearth alone4 ,these are not merely suggestions1 for we have evidence that1 in ,holland1 rooms decorated in this style really existed4 ,thus one poet sings3 ,,of ,,the ,,porcelain ,,room 4444 ,geheel zijn huis1 ja zelfs het klein gemak1 ,blonk als een diamant--duizend fijne kopjes ,vercierden 't kabinet1 hoe veel japanse popjes1 ,uit amber1 zeekoraal en roosverw paerlemoer1 ,vervulden 't groot salet4 7,his whole house1 even his small parlour1 ,shone like a diamond--a thousand small cups ,decorated this parlour2 how many ,japanese figures 7dolls7 ,of amber1 sea-coral and pink mother-of-pearl ,filled the big room67 ,illustration3 ,,plate ,,xlviii4--,bed and ,bedroom1 by ,marot4 ,on ,plate ,l two brackets will be noticed1 for the support respectively of one and three ,china jars4 ,a typical ,english mansion of this period is ,holme ,lacy in ,herefordshire4 ,though dating from ,tudor days1 it was partly rebuilt and decorated in the reign of ,william ,,iii4 ,the principal apartments are well proportioned1 and are embellished with richly stuccoed ceilings1 with compartments of flowers and other designs4 ,the 8saloon0 is particularly remarkable for its ceiling of pendent flowers and fruits1 and carvings by ,grinling ,gibbons over the chimney-piece4 ,superb carvings by this great master1 representing birds1 shell-fish1 fruit and flowers1 are to be seen in all of the rooms on the ground floor1 which communicate with one another by folding doors4 ,the gardens1 too1 are noticeable1 for they were also laid out in the style of ,king ,william's day1 and contain yew hedges of extraordinary height and thickness4 ,at this period ,english and ,dutch taste were identical4 ,this is only what we might expect when we consider the bonds that united the reigning houses and nobility of the two countries4 ,mary1 the eldest daughter of ,charles ,i1 married the ,prince of ,orange2 and their son1 ,william1 married ,mary1 the daughter of ,james ,,ii4 ,during this period1 also1 some of the ,english nobility went to the ,low ,countries for wives4 ,in #afej1 the ,earl of ,derby married ,dorothea ,helena1 a daughter of ,john ,baron de ,rupa1 in ,holland4 ,she was a ,maid of ,honour of another ill-fated ,stuart1 ,elizabeth1 the beautiful ,queen of ,bohemia4 ,baron ,colepepper married ,margaret van ,hesse1 and the ,earl of ,arlington married another ,dutch woman1 ,isabella1 daughter of ,henry of ,nassau1 ,lord of ,auverquerque1 in the early days of the ,restoration4 ,the ,earl of ,bellomont married ,isabella's sister4 ,the ,earl of ,ailesbury1 in #agjj1 married ,charlotte d',argenteau1 ,countess d',esseneux and ,baroness de ,melobroeck in ,flanders3 and the list might be extended4 ,incidentally we may note that1 in #afdf1 the ,earl of ,berkeley married ,elizabeth ,massingberd1 the daughter of the treasurer of the ,east ,india ,company4 ,it has already been noted that ,charles ,,ii was hospitably entertained in ,holland at his sister's court during part of his exile4 ,we have also seen that ,james ,,ii was a connoisseur in ,oriental art products4 ,when the daughter of the latter1 ,mary1 married her cousin ,william and settled down in ,holland1 her mind was fully receptive to ,dutch tastes and ways of living4 ,when she became ,queen of ,england1 on the exile of her father1 it was a ,dutch palace into which she transformed ,hampton ,court1 that splendid enforced gift of ,wolsey's to ,henry ,,viii4 ,the ,english student1 therefore1 need not cross the ,channel to study ,dutch interior decoration and furniture of the close of the seventeenth century4 ,the majority of the rooms and grounds are still practically in the same condition as they were when inhabited by ,william and ,mary1 under whose direct orders the work was designed and supervised by ,marot and ,sir ,christopher ,wren4 ,a considerable amount of the ,marot furniture still survives there4 ,defoe tells us in his ,tour 7#agbd73 ,illustration3 ,,plate ,,xlix4--,mirrors and ,sconces1 by ,marot4 8,her ,majesty 7,mary7 had here a fine apartment 7,hampton ,court71 with a set of lodgings for her private retreat only1 but most exquisitely furnished1 particularly a fine chintz bed1 then a great curiosity2 another of her own work while in ,holland1 very magnificent1 and several others2 and here also was ,her ,majesty's fine collection of delft ware1 which indeed was very large and fine2 and here was also a vast stock of fine china-ware1 the like whereof was not then to be seen in ,england2 the long gallery1 as above1 was filled with this china1 and every other place where it could be placed with advantage40 ,although an ,englishwoman1 ,mary had all the virtues and tastes of a ,dutch vrouw4 ,she kept her husband informed of all that happened from day to day1 bewailed his absence and neglect1 and busied herself and her ,maids of ,honour with needlework1 and1 perhaps1 with tenderly dusting her cherished porcelain4 ,when in ,london1 she used to spend many an hour and all her pocket money shopping at the ,india houses and in the ,new ,exchange4 ,she set the fashion for china-mania1 and may well have inspired ,lady ,mary ,wortley ,montagu's lines3 8,what shall ,i do to spend the hateful day 444 ,strait then ,i'll dress and take my wonted range ,thro' ,india shops1 to ,motteux's1 or the ,change1 ,where the tall jar erects its stately pride1 ,with antique shapes in ,china's azure dyed2 ,there careless lies a rich brocade unrolled1 ,here shines a cabinet with burnished gold4 ,but then1 alas6 ,i must be forced to pay1 ,and bring no penn'orths1 not a fan away60 ,hampton ,court was remodelled under ,mary's direction4 ,it almost entirely lost its ,tudor character1 and became characteristically ,dutch in appearance4 ,sir ,christopher ,wren's talents were called into requisition to design the shelves1 cornices and tiered corner chimney-pieces that are still to be seen there4 ,verrio was employed to adorn the staircases and ceilings with his gaudy frescoes4 ,grinling ,gibbons1 a ,dutchman1 whom ,evelyn had discovered1 was responsible for the carvings that even to-day are the admiration and despair of the woodworker4 ,the fish-ponds and gardens were laid out in the formal ,dutch taste1 with fountains1 clipped trees1 hedges1 avenues1 geometrical beds1 an orangery and an aviary of tropical birds4 ,the furniture was due to ,marot and ,wren4 ,the comparatively small amount of furniture now to be seen in the show-rooms of ,hampton ,court belongs mainly to this period4 ,it consists principally of chairs1 stools 7tabourets71 beds1 card-tables1 mirrors and chandeliers4 ,many of these specimens are extremely interesting1 showing the ,marot taste4 ,of the latter1 there are stools1 chairs and tables with the heavy scroll foot and stretchers1 the latter joining in the centre and supporting there a carved ornament2 other tables have four scroll supports and stand on bulb feet4 ,some of the stools and tabourets have gilded woodwork4 ,among the later style we may note a chair in ,william ,,iii's ,presence ,chamber1 with tall back1 jar-shaped splat1 cabriole leg1 hoof feet and straining-rails1 the front one higher than the other2 and also two card-tables in the ,king's ,drawing-room1 with slender legs ending in the hoof foot1 and the tops supplied with wells for the counters and slight depressions for the candles4 ,illustration3 ,,plate ,l4--,mirrors1 by ,marot4 ,about thirty handsome looking-glasses of the period are there4 ,many of them are pier-glasses hung1 of course1 between the windows4 ,one of the most noticeable of these is a fine pier-glass in ,william ,,iii's ,state ,bedroom1 dating from his time4 ,this has a border of cut blue glass1 the edges are bevelled1 and the centre contains the monogram ,w4 ,r41 surmounted by the crown in blue and white glass4 ,a similar mirror hangs over the fireplace4 ,another looking-glass with a blue glass frame hangs between the windows in ,queen ,mary's ,closet4 ,another beautiful chandelier hangs in ,william ,,iii's ,presence ,chamber3 this is of silver1 with eight lower and four upper arms4 ,it is decorated with the harp1 thistle1 etc4 ,a still more ornate one hangs in the ,queen's ,audience ,chamber4 ,this is a magnificent combination of silver and crystal1 with silver sea-horses and lions supporting the silver branches1 crystal balls and drops1 and a crystal crown on top4 ,the mantelpieces are extremely interesting1 as many of them are of the old inverted funnel shape1 and are supplied with tiers of shelves-- sometimes as many as six--for the reception of ornaments4 ,upon these now stands a good deal of blue and white china1 many pieces of which belonged to ,queen ,mary4 ,pieces that are known to have belonged to her are two blue and white jars and two goddesses in ,queen ,mary's ,closet1 and two goddesses and two vases1 about eighteen inches high1 on the mantelpiece of ,william ,,iii's ,presence ,chamber4 ,charles ,,ii1 who1 while a royal refugee1 spent much time in ,holland1 had acquired the new taste4 ,it was there1 doubtless1 that he saw visions of wealth in the ,indies that later led him to grant the ,english ,east ,india ,company a charter1 and to embark on a disastrous and inglorious war1 which resulted in ,london hearing foreign guns for the first time since ,england was a nation4 ,his keen appreciation of ,oriental works of art1 however1 was somewhat dulled when his bride1 ,catherine of ,braganza1 brought him a shipload of cabinets and ceramics in lieu of the dowry her mother had promised1 although ,evelyn1 in his description of ,hampton ,court 7#affb71 says3 8,the ,queen brought over with her from ,portugal such ,indian cabinets as had never before been seen here40 ,it is frequently asserted with apparent authority that ,mary carried the ,dutch taste for porcelain and the manufactures of the ,far ,east into ,england2 but1 as we have seen1 this idea is not well founded4 ,herself a china-maniac1 she merely set the royal stamp of approval on contemporary taste1 and made ,hampton ,court a model of the style refugi4 ,that style dominated ,english and ,dutch homes before she heartlessly danced in the ,palace of ,whitehall from which her father had fled4 ,hampton ,court1 remodelled under her directions1 was not completed till #afic4 ,many documents show that the style refugi was popular in ,english aristocratic homes before that date4 ,illustration3 ,,plate ,,li4--,mirrors1 ,console ,table and ,candlesticks1 by ,marot4 ,under ,william and ,mary1 ,london swarmed with ,dutch merchants and refugee ,huguenot arts and craftsmen1 and was almost as much of an ,eastern bazaar as ,amsterdam was4 ,mary set the pace1 and wealth and aristocracy gladly followed4 ,as an example of the vogue1 we cannot do better than take the diary of the wealthy ,john ,hervey1 afterwards ,earl of ,bristol1 and quote a few entries of expenditure4 ,he was always buying porcelain and other ,oriental wares 8for dear wife40 ,on ,july #f1 #afhi1 he notes3 8,paid to ,katherine ,scott for #ab leaves of cut ,japan skreens1 #b pieces of ,india damask and #f ,dutch chairs1 #fe40 ,in the following ,july1 he also bought from ,john van ,colima1 a ,dutchman1 who had probably followed ,william ,,iii to ,london1 8a parcel of old ,china for #c #bs4 #f;d40 ,though the ,earl dealt more extensively with 8,medina ye ,jew10 8,leeds ye mercer10 8,seamer ye goldsmith0 and many 8,india houses0 in the ,new ,exchange1 we find him still patronizing the ,dutchman after the death of his first wife1 as is shown by the following entries3 8#afif1 ,jan4 #aa3 ,paid ,calama1 ye ,dutchman in ,green ,street1 for a parcell of china for my dear wife1 #ca #hs4 #d;d4 ,may #d3 ,calamar1 ye ,dutchman1 for another parcel of ,china1 #aj #ds40 ,two years later he also pays 8,john ,van ,collema1 for an ,indian trunk1 #ce40 ,another ,dutchman who enjoyed this nobleman's patronage was 8,mr4 ,gerreit ,johnson1 ye ,cabinett-maker10 who1 on ,may #be1 #afif1 was paid #gj 8for ye black sett of glass1 table and stands1 and for ye glasses1 etc41 over ye chimneys and elsewhere in my dear wife's apartment40 ,gerreit ,johnson1 whom the ,earl patronized1 was a fashionable cabinet-maker who made the china-cabinets for ,queen ,mary that were placed in a room at ,hampton ,court called 8the ,delft ,ware ,closett40 ,it is interesting to note that the mirrors and cabinets in the ,countess of ,bristol's boudoir had black japanned framework4 ,his diary and expense account shows that his purchases of furniture and bric--brac faithfully reflected the prevailing taste for ,oriental wares and the style refugi4 ,he did not exclusively patronize ,dutchmen4 ,in #afhh1 he paid 8to ,frenoye1 the silkman1 for the fringe of the bed1 edgings for the window curtains1 etc41 #aee02 8to the joyner who made the chairs1 stools and squabs for my wife1 #ai02 and 8for gold and crimson fringe for the ,india bed quilt1 #ag40 ,in #afhi1 he bought 8for dear wife0 a white teapot and basin1 #d #afs4 #i;d42 two china basins1 #a #as4 #f;d42 an ,india trunk1 #g2 ,india quilt for a bed1 #ch2 a 8brockadal hanging in my wife's anti-chamber1 #aa #ajs402 and 8to a ,french varnisher for ten chairs1 a couch and two tabourettes1 #ab40 ,in #afij1 his purchases included 8silver andirons1 for my dear wife her closett chimney1 #ac #es482 8a glass screen1 #a #as4 #f;d402 8two pair of basins for dear wife1 #a #abs482 8a large ,china punch-bowl1 with a large jarr and two white cupps1 #c #es482 8sett of cupps and saucers1 #b02 six other saucers1 #ajs42 8two china beakers1 #b #aas482 two great jarrs of china and two smaller ones1 8with one very little one10 #g #cs42 a parcel of old china1 #ba2 another parcel of old china1 #f #ajs42 8another sett of old china for dear wife1 #bb02 8a pair of old china roul wagons0 7large blue and white vases71 #g #ajs4 #f;d42 a pair of china cupps and a little jarr1 #a #fs42 for a china teapot basin1 #a #as4 #f;d42 an old china bottle and two china dishes1 #a #aes42 8at a curiosity shop1 #ajs482 8a rich piece of ,india atlas1 #ac #ajs402 8a parcel of ,indian things1 #e #gs4 #f;d402 and 8a pair of china jarrs1 #a #ds40 ,illustration3 ,,plate ,,lii4--,tables and ,mascarons1 by ,maret4 ,in #afia1 he bought a 8,jappan travelling strong water cellar1 #e #gs4 #f;d402 a 8,persian carpet 7all of silk7 to lay under a bed1 and an old china roulwaggon1 #bb guineys02 8a piece of blue ,indian stuff1 #b #aes402 and 8a candle-skreen1 #a #fs40 7,the 8roulwaggon0 is a kind of vase47 ,in #afib1 he enters 8two china rice potts for dear wife1 #e02 8a china jarr1 #b #ajs402 and 8a parcel of china1 #b #ads40 ,it is evident from the above that at the close of the seventeenth century1 ,huguenot1 ,chinese1 ,japanese1 ,indian1 ,english and ,dutch artists and artisans had combined to produce a style1 the leading spirit of which in ,england and ,holland was ,marot4 ,a noticeable fact in connexion with the ,european craze for ,asiatic art products is that1 though the ,english and ,dutch highly admired the native wares1 the ,european merchants sent out their own patterns and designs for furniture and ceramics4 ,it is even maintained that the famous 8,willow ,plate0 was the design of a ,dutchman4 ,the evidence of the practice of exploiting foreign labour in the field of home taste is overwhelming2 and1 as the century advanced1 the guilds1 city companies and other trades unions in ,england1 ,france and ,holland grew more and more restive under the burden of 8,chinese cheap labour40 ,mazarin was one of the early enthusiasts in ,france to encourage ,eastern importations4 ,in the ,mmoirs of ,la ,grande ,mademoiselle 7#afeh71 we read3 8,the ,cardinal 7,mazarin7 behaved in a very delightful and galant manner4 ,he took the two ,queens 7,anne of ,austria and ,henrietta ,maria7 and the ,princess of ,england and myself into a gallery that was filled with all that could be imagined in the way of precious stones1 jewels1 furniture1 stuffs and everything beautiful from ,china2 crystal chandeliers1 mirrors1 tables and cabinets of all kinds1 silver vessels1 perfumes1 gloves1 ribbons and fans40 ,towards the close of the century the craze for ,oriental wares had assumed such proportions that in ,france ,louis ,,xiv enacted sumptuary laws to protect native industries2 and in ,holland and ,england the artisans grumbled bitterly over the hard times occasioned by the vogue4 ,the ,eastern workmen accepted patterns and supplied orders that natives of ,western ,europe could not venture to undertake4 ,the guilds and city companies admitted the superiority of ,oriental work1 and cried aloud for protection4 ,thus1 in #agjj1 the ,joiners' ,company addressed a petition against the importation of manufactured cabinet work from the ,east ,indies4 ,in this they state that they have 8of late years arrived at so great a perfection as exceeds all ,europe40 8,but several merchants and others10 they continue1 8have procured to be made in ,london of late years and sent over to the ,east ,indies patterns and models of all forms of cabinet goods1 and have yearly returned from thence such quantities of cabinet wares1 manufactured there after the ,english fashion1 that the said trade in ,england is in great danger of being utterly ruined1 etc41 etc40 ,the following goods1 manufactured in ,india1 have been imported within these four years1 viz43 ,illustration3 ,,plate ,,liii4--,clocks and ,details1 by ,marot4 #bdd cabinets4 #fee tops for stands4 #f1ehj tea-tables4 #hah lacquered boards4 #dbh chests4 #eig sconces4 #gj trunks4 #ehi looking-glasses4 #eb screens4 #d1abj dressing1 comb and powder-boxes4 ,the ,japanners also brought their grievances before the authorities in #agaj4 ,the taste for japanned goods had forced them to endeavour to make worthy imitations for home consumption1 and they thought they were entitled to patronage and tariff protection4 ,the evils are fully indicated in the preamble to their petition3 8,many of the artificers 7cabinet-makers1 turners1 goldbeaters and coppersmiths7 have brought 7the curious and ingenious art and mystery of japanning1 so much improved in ,england of late years7 to so great perfection as to exceed all manner of ,indian lacquer1 and to equal the right japan itself1 by enduring the fire in the boiling of liquors4 8,also it will1 if encouraged1 vastly improve both the wood and iron trades for cisterns1 monteiths1 punch-bowls1 tea-tables and several sorts of ironware1 which would be useless if not improved by our ,english lacquer4 8,but the merchants1 sending over ,english patterns and models to ,india1 and bringing such quantities of ,indian lacquered wares 7especially within the last two years71 great numbers of families are by that means reduced to miserable poverty40 ,the trade with the ,indies thus encountered bitter opposition1 and many tracts were published calling attention to the alleged grievances of native workmen from its prosecution4 ,in #agjj1 ,reasons1 a tract1 tells us3 8,the charter of the ,east ,india ,company was confirmed by ,king ,charles ,,ii in the thirteenth year of his reign1 and the law for permitting bullion to be exported was made soon after4 ,in #afgb or #afgc1 several artificers were sent over by the ,company with great quantity of ,english patterns to teach the ,indians how to manufacture goods to make them vendible in ,england and the rest of the ,european markets4 ,after which began the trade in manufactured goods from the ,indies40 ,in #afii1 also1 a bitter wail went up in a broadside entitled ,prince ,butler's ,tale3 ,when first the ,india trade began1 ,and ships beyond the tropics ran ,in quest of various drugs and spices1 ,and sundry other strange devices4 ,saltpetre1 drugs1 spice and such trading ,composed the bulk of all their lading3 ,bengals and silks of ,india's making ,our merchants then refused to take in1 ,knowing it would their country ruin ,and might prove to their own undoing4 ,nor did they carry gold or bullion ,to fetch home what supplants our woollen2 ,nor were this nation fond to wear ,such ,indian toys which cost so dear4 ,then were we clad in woollen stuffs1 ,with cambric bands and lawn ruffs1 ,or else in silk which was imported ,for woollen goods which we exported2 ,which silk our ,english weavers bought ,and into various figures wrought4 ,that scarce a child was to be seen ,without ,say frock1 that was of green4 ,our hangings1 beds1 our coats and gowns ,made of our wool in clothing towns1 ,this nation then was rich and wealthy ,and in a state which we call'd healthy4 ,but since the men of ,gath arose1 ,and for their chief ,goliath chose1 ,and since that mighty giant's reign ,whose chiefest aim was private gain1 ,this trade was drove on by such measures ,as soon exhausted much our treasures2 ,for then our chiefest artists went ,with patterns1 and with money sent1 ,to make and purchase ,indian ware1 ,for which this nation pays full dear4 ,then by great gifts of finest touches ,to lords and ladies1 dukes and duchess1 ,so far prevailed as set the fashion ,which1 plague-like1 soon spread o'er the nation4 ,our ladies all were set a gadding1 ,after these toys they ran a madding2 ,and nothing then would please their fancies1 ,nor ,dolls1 nor ,joans1 nor wanton ,nancies ,unless it was of ,indians' making2 ,and if #8twas so1 #8twas wondrous taking4 ,this antick humour so prevailed1 ,tho' many #8gainst it greatly railed1 #8,mongst all degrees of female kind ,that nothing else could please their mind4 ,tell #8em the following of such fashion ,wou'd beggar and undo the nation ,and ruin all our labouring poor ,that must or starve1 or beg at door1 ,they'd not at all regard your story1 ,but in their painted garments glory2 ,and such as were not ,indian proof ,they scorn'd1 despised1 as paltry stuff2 ,and like gay peacocks proudly strut it1 ,when in our streets along they foot it4 99 99 99 99 99 ,and happy thrice would ,england be1 ,if1 while they're living1 we could see ,our noble ladies but beginning ,to wear our wool of finest spinning1 ,or in such silks our workmen make1 ,for which our merchants cloth to take2 ,which soon would bring them in such fashion ,as they'd be worn throughout this nation1 ,by all degrees1 and sex1 and ages1 ,from highest peers to lowest pages2 ,nor would the meanest trull1 or besses1 ,delight to wear these ,indian dresses1 ,which certainly would profit bring ,to them1 their tenants1 and their king4 ,to show how enormous was the trade with the ,east ,indies at the end of the century1 we need only examine the records of sales of the cargoes of three ships at the ,east ,india ,house in #agjj4 ,in this we omit all mention of sugar1 tea1 coffee1 bezoar stones1 ambergris1 drugs of all sorts1 sweetmeats1 gems1 musk1 aloes1 carpets1 rugs1 and all kinds of woven silk and cotton goods4 ,the other goods1 8besides great quantities unsold of toyes and small goods10 fetched over #bjj1jjj1 which at the present day might represent three-quarters of a million sterling3 ,china-ware pieces #aej1jjj ,fans #ch1eeg ,lacquer'd sticks for fans #ac1dgj ,lacquer'd trunks1 escretors1 bowls1 cups1 dishes1 etc4 #aj1ejj ,lacquer'd tables inlaid #ahi ,lacquer'd panels in frames1 painted and carved for rooms #dg ,lacquer'd boards #agh ,lacquer'd brushes #c1jii ,lacquer'd tables not inlaid #bgg ,lacquer'd fans for fire #agd ,lacquer'd boards for screens #ed ,screens set in frames #ga ,paper josses #a1gii ,shells painted double gilt #bha ,paper painted for fans #cgg ,images of copper1 stone1 wood and earth #fjj ,pictures #ffi ,brass and iron leaves for lanthorns ,brass hinges in chests ,embroideries for curtains1 valloons and counterpanes ,among the textiles that were imported from the ,east ,indies1 ,persia and ,china at the end of the seventeenth century1 and used for curtains1 upholstery1 cushions1 etc41 were many varieties of wrought silks1 8dyed ,bengals10 and printed or stained 8callicoes10 known under the following names3 ,allibanies4 ,allejaes4 ,ammores4 ,addecannees4 ,agentbannies4 ,atlasses4 ,addaties4 ,brawles4 ,bengalis or ,nilas4 ,china silks4 ,chawters4 ,cherconnees4 ,chucklaes4 ,checquered silks4 ,carpetts4 ,callawaypoose4 ,canvas bolts4 ,cuttannees4 ,cuttannees1 ,striped4 ,cuttannees1 ,flowered4 ,cuttannees1 ,wrought4 ,culgees4 ,chints1 ,serunge4 ,chints1 ,caddy4 ,chints1 ,surrat4 ,chints1 ,brampore4 ,chints1 ,culme4 ,chints1 ,pattanna1 ,chints1 ,gulconda4 ,chints1 ,wrought4 ,damasks4 ,derribasts4 ,damask nankeens4 ,elatches4 ,elatches1 ,lingua4 ,ginghams coloured4 ,gelongs4 ,gelongs1 printed and painted4 ,gelongs1 striped4 ,gorgoreas4 ,gauzes4 ,goachon ,cherulas4 ,guiney stripes4 ,girdles4 ,herba ,taffeties4 ,herba ,lungees4 ,hockings4 ,jammawars4 ,longes ,flowered4 ,mahobutt ,bannes4 ,mocha silks4 ,muttrasses4 ,nankeen ,taffeties4 ,nillaes4 ,niccannees4 ,paunches4 ,pelongs4 ,putkaes4 ,peniascoes4 ,phota ,lungees4 ,pallungpores4 ,peniascoes or ,penasses4 ,pholcarees4 ,quilts4 ,romalls silk4 ,romalls cotton4 ,romalls serunge4 ,rastaes4 ,shalbasts4 ,soofeys4 ,sattins plain4 ,satin nankeens4 ,soops4 ,seersuckers4 ,sacerguntees4 ,sooseys4 ,shaulbasts4 ,silk ,lungees4 ,taffeties4 ,taffety nankeens4 ,velvets4 ,the above list is copied from a tract protesting against foreign importations that was printed about #agjj4 ,,chapter ,x ,,furniture ,,of ,,the ,,eighteenth ,,and ,,nineteenth ,,centuries ,lacquer--,oriental ,methods--,european ,importations and ,limitations--,prices-- ,an ,ambassador's ,report--,singerie1 ,chinoiserie and ,rocaille-- ,the ,dutch ,decadence--,interiors of ,cornelis ,troost--,mirrors--,wealth and ,luxury of ,dutch ,merchants--,court ,contrast--,tapestry--,brussels as a ,centre of ,art and ,luxury--,eighteenth ,century ,furniture--,the ,empire ,style in the ,low ,countries--,dutch ,homes of the ,nineteenth ,century-- ,the ,maarken ,house and ,furniture--,typical ,farmhouse and ,furniture-- ,country ,seats and ,town ,houses--,hindeloopen ,houses and ,furniture--,a ,friesland ,house--,canal ,boat ,furniture--,dutch ,love of ,symmetry-- ,collectors and ,collections4 ,so far little attention has been paid in these pages to lacquer1 though important articles of household furniture that owed their beauty and value to this species of ornamentation have appeared in inventories and diaries under the designation of 8vernish10 8japan0 or 8japanned40 ,sometimes this work was referred to as 8black0 merely1 as in the case of ,john ,hervey's 8dear wife's0 boudoir4 ,the ,oriental method of lacquering requires a vast amount of patience and skill4 ,after the wood has been smoothly planed1 it is covered with a thin sheet of paper or silk gauze4 ,over this is spread a thick coating of buffalo's gall and powdered red sandstone4 ,when dry1 this is rubbed with wax and polished1 or washed over with gum and chalk4 ,the varnish is laid on with a flat brush4 ,the article is now thoroughly dried1 and again moistened and polished with a piece of soft slate1 or the stalks of a special grass4 ,the workman then repeats the process1 giving it a second coating of lacquer1 and again dries and polishes it4 ,sometimes as many as eighteen or twenty coatings are applied1 but never less than three4 ,the lacquer used by the ,chinese and ,japanese is derived from the juice of the 8varnish tree40 ,this juice1 a natural secretion1 is acrid1 and soon hardens into a black resin4 ,to obtain it1 pieces of bamboo are inserted into the bark and allowed to remain all night1 for the juice flows more freely at night than during the day4 ,this is boiled with equal parts of oil obtained from the fruit of the mimusops elengi4 ,the chief trees that yield this gum are the black varnish tree 7melanorrhoea usitata7 and the ,japan varnish tree 7rhus vernicifera74 ,there are grades in lacquer4 ,lacquer on a gold ground is the most highly prized2 and the first examples of this kind that reached ,europe were gifts to ,dutch officials from ,japanese princes4 ,this sort of lacquer is seldom found on furniture1 with the exception of delicate little boxes and occasionally plaques that were inserted into furniture4 ,lacquered wares were brought into ,holland1 ,england and ,france in large quantities all through the seventeenth century1 as the bills of lading 7see page #bib7 show4 ,we have seen that the ,european merchants sent out designs for forms and decorations of ,oriental porcelain2 and they did the same for carved ebony1 teak and ivory1 and especially lacquer4 ,many of the screens1 clocks1 bedsteads1 cabinets1 panels1 tables1 etc41 of the period show unmistakable signs of ,oriental attempts to supply ,european demands4 ,in textiles also1 especially in screen-fillings1 and other textiles used in upholstery for couches1 chairs and hangings1 we frequently find views of ,dutch towns and social life1 indoors and outdoors4 ,the framework of large pieces of furniture was sometimes both carved on the edges1 and the flat surfaces were lacquered4 ,sometimes the frames of screens were of carved rosewood 7home-made71 and the apertures were filled with genuine ,eastern textiles4 ,tables of inlaid ivory and mother-of-pearl were also in general vogue4 ,lacquered furniture was highly prized and very costly during the days of ,william of ,orange1 our 8,dutch ,william40 8,a grand ,japan cabinet0 7probably a wardrobe7 in the bedroom of a ,countess in #afge was valued at #bjj in present money4 ,in #afih an 8,indian trunk0 is listed at #ce in money of that date4 ,in valuations that might be perhaps multiplied fivefold to-day in actual cash1 apart from appreciation in art or sentimental value1 we find also3 a pair of ,india cut ,japan screens1 #fj2 a black bureau1 #f2 a ,japan scrutoire1 #fj2 a ,japan cabinet1 #ce2 and ,india-cut ,japan frame and glasses1 #aj #ajs4 ,we have seen from the complaint of the japanners in ,england that strong attempts had been made to imitate the home demands2 and considerable success had rewarded the efforts of the artists and cabinetmakers4 ,the trouble was that they could not obtain the proper lacquer or 8vernish0 in ,england1 ,france or ,holland for many years4 ,the ,dutch1 holding such a dominant position in the ,east ,indies1 practically throughout the seventeenth century1 naturally had the best chance to discover the secret of the constitution and manufacture of the far-famed varnish4 ,they tried to reproduce the ,oriental product of lacquer just as persistently as they did the porcelain with delft4 ,good as their imitations were1 however1 they could not produce a lacquer that could compete with the ,japanese any more than the ,english could4 ,they used native varnishes1 therefore1 and produced beautiful work which1 alas6 was not destined to last4 ,the surface soon cracked1 scaled off and left the framework decrepit and friendless1--relegated to the attic1 kitchen or wood pile4 ,as ,dutch enterprise led the way in imitations of ,oriental wares1 of porcelain in delft1 so also imitations of lacquer first found fame in the ,netherlands4 ,a ,dutchman named ,huygens was famous for his japanned work early in the eighteenth century4 ,he was called to ,france1 and was probably largely instrumental in the invention or perfection of the celebrated ,vernis ,martin4 ,this was a species of lacquer that beautifies many sumptuous examples of ,louis ,quinze furniture1 and is highly prized by collectors4 ,the character of lacquered and other ,oriental wares obtainable early in the eighteenth century may be gathered from the report of an ambassador to ,pekin in #agba4 ,among other things he says3 ,illustration3 ,,plate ,,liv4--,interior1 by ,cornelis ,troost4 ,,rijks ,,museum1 ,,amsterdam4 8,the most valuable furniture of lackered ware1 viz41 cabinets1 chairs1 tables1 baskets1 and other things of that sort1 as also the richest porcelain ware1 come from ,japan4 ,for when the ,emperor sends any person to ,japan in a public character1 most of the princes and great men of the court seldom fail to engage him to bring them some of those things at his return4444 8,after the lackered ware of ,japan1 that of the province of ,fokien1 is looked upon as the best2 but none of it comes to ,pekin because the great lords of ,china oppress the merchants to a great degree and take their goods from them upon many frivolous pretences1 without leaving them the least hopes of ever obtaining any payment4 8,they have at ,pekin a people dexterous enough at lackering1 but their works fall short of those of ,japan and ,fokien1 which may be attributed to the difference of climate2 and it is for this reason that the lackered work made at ,pekin is always much cheaper than the other4 ,nevertheless1 the lackered work made at ,pekin infinitely exceeds any work of that kind made in ,europe4444 ,the ,european merchants carry away from ,canton raw silk2 damasks wrought according to draughts furnished to them2 wrought silks2 lackered ware2 tea1 green and bohea2 badians1 a seed having a taste like aniseed2 canes and china-ware1 made according to models given them4 8,for the rest they carry to ,china from ,europe1 and bring back from ,china1 a very great variety of toys and different sorts of curiosities1 upon which they make a very considerable profit2 but these are so numerous that it is not possible to furnish a complete specification of them40 ,during the eighteenth century ,dutch and ,belgian furniture1 in common with ,english and ,german1 humbly submitted to the dictates of the great ,french designers4 ,the ,singerie1 ,chinoiserie and ,rocaille work of ,watteau1 ,boucher1 ,meissonnier1 ,oppenord1 ,cressent1 ,huet1 ,gillot and others were welcomed and adapted to local tastes in the ,low ,countries4 ,many of the most beautiful cabinets and china-closets of the ,rgence and ,louis ,quinze period that are preserved in ,continental museums owe their origin to the skilled workmen of ,belgium1 especially of the ,school of ,lille4 ,many fine specimens of the decorative work of this period may be seen in the ,lille ,museum4 ,a typical example from ,lige appears in ,fig4 #df4 ,this shows the use as an ornamental feature of the broken curve1 the auricle1 a more sober descendant of the style auriculaire4 ,the use of this ornament encountered rabid opposition in ,regency days in ,france1 ,england and the ,low ,countries1 but it forced its way into favour shoulder to shoulder with the ,chinoiserie1 ,singerie and ,rocaille ornamentation4 ,this double-bodied cabinet is made for the preservation and display of delft and porcelain4 ,ledges at the top are also provided for urns and jars as decorative accessories4 ,it may be interesting to see what a typical china-cabinet contained at the beginning of the eighteenth century4 ,in #agjj1 we note one of carved walnut with four doors4 ,in the lower compartment there were twenty vases of red ,india ware1 a porcelain vinaigrette1 a cup of enamelled glass1 a little horn cup and a multitude of miscellaneous curios4 ,another cabinet having two lower doors1 a middle drawer and one glass door above1 contained fine delft vases1 two cups and saucers1 a big faence jug and two little ones1 six big rare sea-shells and other ,oriental curios4 ,illustration3 ,fig4 #df4--;,cabinet from ,lige4 ,fig4 #dg4--;,dutch ,mirror ,frame4 ,dutch art was now in its decadence2 it had lost its pre-eminence4 ,the ,french artists set the fashion4 ,the painter who is commonly held responsible for the decadence is ,grard de ,lairesse 7,lige1 #afda-agaa74 ,he shows all the technique of the old school1 and arranges his compositions in accordance with the laws of ,italian taste1 but he is decidedly artificial4 ,his contemporaries and successors are feeble imitators of the ,great and ,little masters1 and those who have the greatest reputations are miniaturists and still-life painters4 ,for ,dutch interiors we now have to go to the pastels of ,cornelis ,troost 7,amsterdam1 #afig-agej71 whose compositions gained for him the name of the 8,dutch ,hogarth40 ,two reproductions of interiors by this artist are shown in ,plates ,,liv and ,,lv4 ,the chairs1 tables1 sideboards1 candlestands1 chandeliers1 buffets and chimney-pieces in these pictures in nowise differ from those used in ,england during the early ,georgian era4 ,dutch taste ran to heaviness and over-loading in ornamentation4 ,during the ,louis ,quinze period1 ,schubler was more in favour in wealthy ,dutch houses1 as he was in ,germany1 than were the ,french designers of a lighter touch4 ,a handsome example of ,dutch carving of the early eighteenth century is shown in the mirror frame in ,fig4 #dg4 ,this is of carved and gilded wood1 representing scrolls1 leaves1 flowers1 a mascaron and a female figure issuing from one of the scrolls4 8,this kind of mirror1 made to be hung upon the woodwork or tapestries of the rooms1 is often of a rather heavy and inelegant execution10 writes a critic1 who referring to this special example continues1 8but in this specimen where the outlines are so accentuated the effect is quite happy4 ,the hooks intended for the metal sconces in the lower part of the frame should be noticed40 ,holland was profiting so much by her mercantile ventures and1 perhaps1 unscrupulous trade dealings as to arouse bitter envy1 jealousy and animosity4 ,the famous despatch of ,canning3 8,in matters of business the fault of the ,dutch ,lies in giving too little and asking too much10 would have been investigated a century earlier by both ,english and ,french merchants if they could have forced their ,governments' hands4 ,thus in ,the ,trade and ,navigation of ,great ,britain ,considered the following occurs3 8,trade with ,holland3 the balance paid us is thrice as much as we receive from either ,portugal or ,spain4 ,but when we consider the great number of smuggling ships that are employed between this country and ,holland1 and the supply we have from them of pepper and all other sorts of ,india spice1 with callicoes1 muslins1 ,india silks and romals1 and other manufactures of ,india1 coffee1 tea1 ,china-ware1 and very great quantities of ,hollands and fine lace1 etc41 it is apt to furnish the thinking part of mankind with other notions40 ,illustration3 ,,plate ,,lv4--,interior1 by ,cornelis ,troost4 ,,rijks ,,museum1 ,,amsterdam4 ,the ,dutch merchants were able to indulge all their artistic and luxurious tastes in furnishing their houses4 ,some of them were wildly lavish and ostentatious in interior decoration and furniture years before the frenzied finance of the ,mississippi ,scheme and ,south ,sea ,bubble1 when valets became millionaires while they slept and senselessly squandered their gains in a month4 ,as early as #agji1 in ,shaw's ,travels ,through ,holland1 we read3 8,glorious monuments of the excessive wealth acquired in trade are to be seen at ,mr4 ,tripp's and ,pinto1 the rich ,jew's houses2 in this last is a room pav'd with ducatoons1 or crown-pieces1 and these laid edgewise4 ,but1 indeed1 the whole new ,heer ,graff is fronted with houses like the palaces of princes1 where glittering guildings1 exquisite paintings1 rich china1 screens1 gold1 pearls1 diamonds enchant you1 and rival the apartments of monarchs in haughty magnificence40 ,it is no exaggeration to say that the establishments of opulent merchants of the ,low ,countries at this period could match and sometimes even outshine those of princely courts4 ,life was very dull in ,belgium at the court of the ,austrian princess who ruled the ,netherlands when ,george ,,ii came to the throne4 ,marie ,elizabeth was forty-five when her brother gave her the rule of the ,low ,countries in #agbe4 ,she was very pious1 and eschewed all gaiety4 ,the only description of a festival given during her reign is that of the ,fte de l'oiseau given in ,brussels1 ,october #aj1 #agbi1 on the occasion of the birth of ,monseigneur le ,dauphin 7born ,september #d1 #agbi71 and was written by the minister from ,france1 ,chaillon de ,joinville1 who arranged it1 to the ,marquis de ,chauvelin4 ,after the ball they went to supper at half-past ten1 and we learn that 8,in the #8grande gallerie' there was a long table of ninety covers with two large buffets at the two ends1 and in the balcony of the #8gallerie' there were four trumpeters and a drummer1 who played all through supper2 and there were eighteen instrumental players for the ball40 ,the ,flemish tapestries of the eighteenth century are of slight importance1 for the great workshops of the ,low ,countries have now fallen into evil days4 ,at the beginning of this century1 ,brussels has only eight manufacturers1 fifty-three looms and about a hundred and fifty workmen1 and by #agfh only one manufacturer is left--,jacques van der ,borcht4 ,the last loom perishes at his death in #agid4 ,the ,oudenarde looms are stilled for ever in #aggb1 and those of ,ghent about the same time4 ,flemish workmen are1 however1 still employed at ,beauvais1 of which ,oudry becomes director in #agbf2 and their services are valued throughout ,europe4 ,adrian ,neusse of ,oudenarde1 a former workman at ,beauvais1 establishes a workshop at ,gisors in #agjc1 and ,jean ,baert and his son one at ,cambrai in #agbd4 ,until #agch1 when ,boucher takes charge of them1 ,lille's workshops are directed by ,wernier of ,brussels4 ,when the first high-warp loom was established at ,madrid in #agbj1 the first director was ,jacques van der ,goten1 a tapestry-weaver of ,antwerp1 who aided in founding that of ,seville in the same year2 and the tapestry manufactory1 founded by ,peter the ,great in ,st4 ,petersburg1 employed workmen from ,brussels in #aggg-h4 ,during the eighteenth century1 tapestry is put to a new use1 which makes it especially important in connexion with the study of furniture4 ,in the ,middle ,ages1 we found it was a custom for the rich to throw over their carved chairs and benches1 sumptuous pieces of tapestry and other handsome textiles2 in this age we now find the weavers making covers for the backs and seats of chairs1 sofas and screens1 the patterns or pictures for which are specially designed4 ,throughout ,europe1 the drawing-rooms are furnished with these beautiful sets of tapestry furniture1 always consisting of two sofas1 armchairs and chairs4 ,this new fashion practically made the fortune of the ,beauvais manufactory4 ,the most delicate pictures1 artistically framed1 were woven3 landscapes1 scenes from sop's ,fables1 pastorals1 emblems1 mythological stories1 baskets of fruit1 baskets of flowers1 garlands of flowers1 bird cages1 shepherds and shepherdesses1 monkeys1 swings1 children playing1 animals1 birds1 etc41 etc4 ,the majestic style of ,le ,brun gives place to the airy charm of ,watteau1 ,boucher and ,van ,loo4 ,the ,hunts of ,louis ,,xv1 ,the ,adventures of ,don ,quixote1 ,the ,gardens of ,armida1 ,aurora and ,cephalus1 ,venus on the ,waters1 ,venus at the ,forge of ,vulcan1 ,cupid and ,psyche1 ,children ,playing1 ,the ,swing1 ,genii of the ,arts1 ,endymion1 ,rustic ,festivals1 ,fortune ,tellers1 ,fishing1 ,rural ,amusements1 scenes from ,molire's comedies1 ,indian hangings1 ,chinese hangings and scenes in which monkeys appear in grotesque attitudes and costumes1 supplant heroic triumphs and religious pictures as subjects for wall decorations4 ,some of the last historical pieces that were made in ,brussels were ,the ,campaigns of the ,duke of ,marlborough1 ,the ,history of the ,duchy of ,brabant and ,victories of ,prince ,eugene4 ,the ,flemings of the early eighteenth century still maintained their ancient eminence in ,decorative ,art4 ,their weavers were still sought after1 and their craftsmen produced many pieces of carved furniture of the ,rgence and ,louis ,quinze periods that are still preserved and admired4 ,the schools of ,lige1 ,brussels and ,lille 7the latter just across the border in ,france1 being practically still in ,belgium1 as originally it was7 were famous for the high excellence of workmanship produced4 ,jacques ,verberckt1 who was born in ,antwerp and died in ,paris in #agga1 was accepted at the ,academy of ,painting and ,sculpture1 and executed or planned the greatest number of decorative sculpture made during the reign of ,louis ,,xv at ,versailles4 ,he was also employed by the ,marquise de ,pompadour to decorate her chteau of ,bellevue4 ,verberckt worked with a delicate touch in marble1 wood1 or metal4 ,brussels was an important centre of industry and art throughout the century4 ,its citizens included many men of wealth who took interest in art1 science and literature4 ,in his ,journey in the ,year #agic through ,flanders1 ,brabant and ,germany1 the ,rev4 ,c4 ,este says3 8,the town is tolerably well built as to the walls of the houses2 but their windows and doors are after the manner of the ,french4 ,the lower windows are also deformed with iron bars1 offensive even beyond the eye1 as implying something wrong in the place1 either from real danger1 or from false fear4 8,the buildings at ,bruxelles compare in one point advantageously with ,paris4 ,for the houses having fewer floors1 but three or four1 generally have but one family under one roof4444 ,the places for a traveller to see1 if he has time1 are the ,archduke's ,chteau de ,schoemburg 7in the village of ,lack71 and the villa of ,m4 ,walkiers the banker4 ,they are not half an hour's drive from ,bruxelles and close to one another2 besides the way is through the ,alle ,verte1 those beautiful vistas of elms and limes1 where the canal goes to join the ,scheldt4444 8,the ,archduke's chteau is a modern building1 ,ionic without1 ,corinthian within1 with two fronts of #bfj feet1 the depth #aej1 with a central portico at the entrance and a bow in the centre behind4 ,the effect of the building at a distance is gay and imposing enough2 when close to it the effect is maimed by bad figures at the top of the building1 and the pediment of the portico being filled by a clock1 which seems fit only where the character of the building is appropriate1 as at ,inigo's church at ,covent ,garden1 to simplicity and use4 ,the gate of approach1 loaded with bad ornaments1 cupids and what not1 is at once lofty and trifling1 elaborate and dull4 8,in the internal distribution the best rooms are forty feet square--a dining-room #eb by #dj--;a chapel #bg by #bb--;and the state room a circle #ed feet in diameter2 the dome is the ceiling of the room1 and midway between the bottom and the top there is a small gallery on twelve ,corinthian pillars4 ,the floors in the other rooms are inlaid mixture1 angular shapes of oak1 mahogany and petrified cedar4 ,in the circular room the floor is shewy1 formed of various marbles4 ,there are five windows1 which should have five looking-glasses opposite--there are but two1 with three glass doors1 but not looking-glass4 ,the looking-glasses are the manufacture of ,venice4 ,and these1 eight feet by six1 are among the largest ever blown there4 ,for that is the ,venetian process2 not by the mould as in ,france and ,england4 8,there are few objects of art4 ,the only pictures are four large ones by ,de ,lance of ,antwerp4 ,they are mythological subjects2 of course1 the worst in the world4 ,le ,roi of ,namur supplied the five feet full length of the ,virgin in the chapel4 ,it is not bad statuary1 for it has1 which is very rare1 thought and emotion4 8,the architect was ,montoyer4 ,he built also the ,vauxhall in the park at ,bruxelles4 ,the house was begun in #aghb--;it was finished in #aghh4 ,a small temple and the pagoda1 the only buildings in the garden1 are also by him4' ,the pagoda has eleven floors4 ,and there1 as in ,kew1 it may be considered as a well-placed trifle4444 8,the grounds the ,archbishop keeps in his hands are between two and three hundred acres4 ,there is an artificial water1 fifty toises across and a quarter of a league long--the lawn sloping down to it from the house1 with the uplands on the other side1 and the fine woody hill form the prettiest scene4 8,the adjoining villa of ,m4 ,walkiers1 the banker1 is another more pretty building by ,montoyer1 amidst the same little fertile scenery4 ,the architecture is ,ionic4 ,with a loggio throughout the middle floor of one front1 like an ,italian villa1 the ground plan of the house is about #aej feet by #ej4 ,there is a small grass plot before and behind with side walks1 through very small trees1 in half a dozen strait alleys3 not one of the trees are worth five shillings4 ,there is no gravel for the feet1 no water for the eye1 and the inclosure is a flimsy two-feet hedge which a child may either pass through or step over40 ,illustration3 ,,plate ,,lvi4--,room in the ,stedelijk ,museum4 ,the new style of ornamentation of the ,rgence and ,louis ,quinze periods1 with its broken curves1 auricles1 rococo and rocaille work1 was carried to greater extremes in ,germany and ,holland than in ,france4 ,the school of ,borromini1 ,oppenord and ,meissonier carried everything before it1 in spite of great opposition on the part of those who clung stubbornly to the traditions of ,renaissance art4 ,carved panelling adorned the walls of rooms1 and ceilings1 picture and mirror frames1 chairs1 beds1 tables1 etc41 all submitted to the new designs for chisel-work4 ,a room with furniture of the early eighteenth century is illustrated in ,plate ,,lvi4 ,this is in the ,stedelijk ,museum in ,amsterdam1 and the woodwork and painted ceiling come from an old ,dutch chteau4 ,the chairs1 with their carved frames and stretchers1 were in vogue in the last years of ,louis ,,xiv and under the ,regency4 ,the cabinet with its graded top for the accommodation of porcelain vases is characteristic of the period4 ,the frames of the mirror and picture and the mantelpiece are also fine examples of ,decorative ,art of the days immediately after ,british soldiers used such bad language in the ,low ,countries4 ,in passing it may be noticed that ,marlborough's campaigns in the ,netherlands had considerable influence on ,english taste of the day and forming the 8,queen ,anne0 style1 by familiarizing ,british officers with the ,decorative ,arts of the ,united ,provinces4 ,the ,peace of ,utrecht 7#agac7 left the ,netherlands free to pursue the arts of peace1 which they did1 so far as internal decoration is concerned1 in the wake of the foe they had so bitterly combated4 ,we may note here that the richly carved table on which the ,peace of ,utrecht is said to have been signed is preserved in the ,antiquarian ,museum of ,utrecht4 ,the course of ,dutch and ,flemish furniture during the rest of the eighteenth century tamely follows the channels of ,french design4 ,at the beginning of the nineteenth century1 the ,empire style was in vogue in ,holland1 as it was throughout ,europe4 ,when the ,town ,hall on the ,dam in ,amsterdam was presented by the city to the ,king of ,holland1 ,louis ,napoleon1 in #ahjh1 the ,royal apartments were fitted up in the ,empire style1 and these hangings and furniture may be seen to-day4 ,a great deal of ,empire furniture is scattered through the museums of ,belgium and ,holland1 as well as in the castles and mansions of the nobles and merchants who followed the fashions4 ,a trace of the ,empire style is found in the following description of the palace of ,laeken1 the residence of the royal family1 near ,brussels1 by ,robert ,hill 7,sketches in ,flanders and ,holland1 #ahaf73 8,the apartments had very little of royal magnificence about them3 there were no pictures4 ,a few pieces of indifferent tapestry1 pier glasses economically put up in three pieces each1 and tables1 chairs1 etc41 which might only be called handsome1 made up all that ,i recollect of their furniture4 ,this palace has undergone strange vicissitudes4 ,it was built for an ,austrian archduchess2 in one of the rooms a sky blue canopied bed was shown1 which had belonged to the late ,empress ,josephine1 had next been occupied by ,maria ,louisa1 and1 shortly before my visit1 had been slept in by the ,queen of the ,netherlands40 ,mr4 ,hill was not greatly impressed with the ,dutch house of the middle class4 ,he says3 8,i saw few things about their furniture and household arrangements worth noticing4 ,the lower parts of their houses were commonly lined with glazed ,dutch tiles1 and stoves made of the same kind of clay were as commonly used to warm their apartments4444 8,there are two singularities about the houses of the ,dutch which must not be forgotten4 ,the first is that every country seat from the merchant's domain to the little peddling tradesman's smoking-box1 though surrounded perhaps by nothing but marshes1 damps and duckweed1 is almost sure to bear on its front or over its entrance the words ,land ,lust 7,country ,delight71 or ,land ,zight 7,country ,prospect71 ,belle ,vue1 or some other title expressive of the beauties of the situation1 or the comforts and ornaments which are to be found within4 ,the other is that the windows of these ,land ,lusts and ,zights1 as well as those of houses in the midst of towns1 are generally furnished with little looking-glasses1 which1 projecting from their sides1 command every passing object4 ,these are by no means to be considered as ornamental1 but they are so placed 7sometimes two or three on each side7 that they indulge the curiosity of their owners without putting them to the expense of showing themselves in return40 ,he also notes the peculiar custom of breakfasting and dining in bedrooms4 8,at the country box of one of the most respectable tradesmen in ,holland10 he writes1 8,i dined with his family in the principal room1 which had beds concealed behind parts of its wainscoting40 ,this was in ,rotterdam4 ,he says3 8,at the end of this garden stood a pretty little summer residence1 among whose lower apartments was a kitchen with furniture that displayed all the brightness and neatness for which the culinary arrangements of the ,dutch have been celebrated1 and above which was a large bay windowed room in which we dined4 ,a natural inquiry respecting bed-chambers was here answered by opening parts of the wainscot1 behind which were concealed canopies of the master1 mistress and their children40 ,the homes of ,holland changed little during the century1 and the cottages1 farmhouses and homes of the peasants may be said to have changed not at all4 ,take1 for instance1 the fishing village of ,maarken1 in the ,zuyder ,zee1 of which ,esquiros writes3 ,illustration3 ,,plate ,,lvii4--,in ,bruitlaen1 by ,artz4 8,most frequently the same room serves at once as bedroom1 kitchen and storehouse for the fishing utensils4 ,some houses1 however1 have a second and separate room1 called here the saloon1 in which furniture and clothes are kept1 but that is almost aristocratic luxury4 ,the rooms which are flush with the ground have no ceiling1 and communicate with the garret1 over which the tile or thatch roof rises at right angles4 ,the houses are equally deficient in chimneys as a rule1 but before the principal window there is a large flat stone surrounded by a row of bricks4 ,a piece of iron is fastened at the back of this stone1 against which the fire is kindled4 ,an opening in the roof allows exit to the smoke1 which1 before emerging1 spreads through the loft1 where the nets are dried4 ,only thirty houses are remarkable for possessing chimneys4 ,several times a year the interior is cleaned and whitewashed4 ,a table surrounded by very low chairs1 an old escritoire loaded with pretty china1 an eight-day clock1 milk tubs whose copper rings shine like gold1 produce in the houses of the island an alliance of facts rarely found among other races1 namely1 of cleanliness with poverty4 ,this taste for china1 old glass1 curtains and flowered counterpanes is a delicate feature in the ,batavian character4 ,art sits down by the side of ,misery at the fireside1 which it enlivens with a consolatory beam40 ,plate ,,lvii1 entitled ,in ,bruitlaen1 by ,artz1 in the ,rijks ,museum1 shows the modern artist's conception of a peasant room and furniture4 ,first we notice a large kas or armoire1 with heavy ball feet and pieces of china arranged on the top4 ,more china adorns the chimney-shelf1 and the chimney-piece with its valance is characteristic4 ,the heavy carved beams1 the windows with small leaded panes decorated with coats-of-arms1 the tiled floor spread with a carpet1 give an air of comfort to the room4 ,the chairs are of the four-backed variety1 the table is square1 the stool has turned legs and stretchers1 and there is a ,bible on a stand and a ,friesland clock on the wall4 ,the old farmhouse of which the modern traveller sees so many examples1 with its red-tiled or thatched roof visible beneath its sentinel poplars1 usually consists of a large living-room1 a kitchen1 a cheese-room1 a dairy1 two small bedrooms in the garret1 a big cow-stable at the back1 and an outside kitchen called the 8baking-house40 ,a native writer says3 8,the #8baking-house' is often used as a living-room in summer1 which is more cheerful than the solemn apartment into which the visitor is invariably ushered4 ,a wide chimney lined with tiles stretches nearly across one side of this room2 but the open fire on the hearth has long ago disappeared and given place to an ugly stove4 ,quaint brass fire-irons hang behind it1 and on either side is an armchair1 differing from its humbler brethren only in the possession of wooden arms4 ,if there is a baby in the family1 it is likely to be reposing in a cradle with green baize curtains as near as possible to the fireplace1 in defiance of all laws of health4 ,two or three large cupboards1 sometimes handsomely carved1 always kept well polished1 stand against the whitewashed walls4 ,one of them generally has glass doors in the upper part2 and on its shelves the family china--often of great value--is exposed to view4 ,unfortunately1 these heirlooms in old families have been largely bought up by enterprising ,jews4 ,sometimes1 however1 sentiment has proved stronger than the love of money1 and the farmer has not parted with his family possessions4 ,in a corner of the room a chintz curtain1 or sometimes a double door1 shows where the big press-bed is--an institution of pre-hygienic times which1 to the peasant mind1 has no inconveniences whatever4 ,in the middle of the room a table stands on a carpet2 and1 as people take off their shoes at the door and go about in their thick woollen stockings1 neither it nor the painted floor ever shows signs of mud4 ,another table stands near one of the windows1 of which there are two or three4 ,the linen blinds so closely meet the spotless muslin curtains1 which are drawn stiffly across the lower panes on two horizontal sticks1 that a stray sunbeam can hardly make its way into the room1 even if it has been able to struggle through the thick branches of the clipt lime-trees that adorn the front of the house4 ,on one of the tables a tray stands1 with a hospitable array of cups and saucers1 teapot1 etc41 and is protected from the dust by a crochet or muslin cover4 ,the huge family ,bible1 with its huge brass clasps1 has an honourable place1 often on a stand by itself4 ,rough woodcuts or cheap prints1 and a group of family photographs1 which do not flatter the originals1 are hung on the walls4 ,the framed and glazed sampler1 worked in wools by the farmer's wife in her young days1 usually makes a dessus de porte4 ,the alphabet is the principal part of this extraordinary work of art2 but it bears various other figures1 which1 on patient investigation1 appears to have some resemblance to certain birds and flowers40 ,the country home of wealth is usually built of small1 hard1 reddish-brown bricks resembling those used in the ,elizabethan houses in ,england4 ,the front entrance is often embellished with a handsome pediment and a stone loggia and steps4 ,flower beds1 canals and woods surround the house1 which has a dignified and attractive air4 ,it is no less so within1 for many ,dutch houses1 both in the country and city1 are beautifully finished4 ,the woodwork1 whether of oak or mahogany1 is often exquisitely carved and highly polished1 and consists of broad staircases with ornate banisters1 doors1 panelled walls1 mantelpieces and mirror frames4 ,many of the doors and windows are decorated with carvings of garlands of fruits1 flowers and other devices1 according to the period in which the house was built4 ,in some of the old houses the walls are still hung with the old gilt leather of the sixteenth and seventeenth centuries4 ,suburban houses as well as country seats bear fanciful names2 and on the outskirts of ,the ,hague1 ,rotterdam1 ,amsterdam and other large cities you may read ,lust en ,rust 7,pleasure and ,repose71 ,buiten ,zorg 7,without ,care71 ,myn ,rust 7,my ,repose71 ,mon ,bijou 7,my ,jewel71 ,rosen ,lust 7,rose ,pleasure71 ,honigbij 7,honey ,bee71 ,mijn ,lust en ,leven 7,my ,pleasure and ,life71 ,vriendschap en ,gezelschap 7,friendship and ,sociability71 and other such names4 ,these retreats are often covered with creepers1 and are situated in the centre of a lawn made gay with flower beds1 arbours and sometimes strange ornaments of painted clay-- gnomes trundling wheelbarrows1 curious vases1 windmills1 etc41 etc4 ,the town houses and such country houses as are built on reclaimed land are constructed on piles4 ,they begin to build in ,holland by digging to the depth of two or three feet4 ,this excavation soon fills with water4 ,piles are then driven into the ground1 and the ends are cut off evenly2 and on this level surface beams of oak are laid4 ,the back and front of the house are not added until long after the roof is laid on1 so that the air may pass through and dry the walls thoroughly4 ,the houses are lightly constructed of brick1 iron or wood1 with outer casings of stone or marble1 intended for show and not for solidity4 ,at the back of the house there is usually a little garden1 to which it is necessary to bring every year earth and gravel to replace the soil that the water has carried away4 ,frequently the ,dutch town house consists of two apartments2 for land is dear1 and so are house rents in the cities4 ,the lower apartment is called benedenhuis1 which comprises a cellar and the ground floor2 while the second apartment1 called bovenwoning1 is composed of the first and second floors and a garret4 ,each apartment has its separate entrance4 ,the houses are deeper than they are wide1 and the ordinary arrangement consists of a drawing-room in the front1 a dining-room in the back1 and a dark room in the middle4 ,the latter is the family sitting-room1 particularly in winter evenings1 for its complete isolation from the outside protects the inhabitants from the cold air4 ,of late years this middle room has become less popular1 and every room in recently built dwellings contains one or two windows4 ,the houses are comfortable1 and are heated throughout4 ,the outsides of the houses1 with their cheerful white cornices on windows and doors1 ornamental roofs and large windows with ,flemish shades and adorned with blooming plants and boxes of flowers1 give an impression of comfort and prosperity4 ,these homes are comfortably or luxuriously furnished1 according to the purses and tastes of the dwellers1 with the ordinary modern furniture2 but every prosperous family possesses a few inherited pieces of furniture4 ,nearly every home contains one kas1 if not more1 and a small collection of porcelain1 earthenware and silver4 ,oriental goods from the ,dutch colonies are not rare4 ,one peculiarity of the ,dutch home is the arrangement for storing and washing household linen4 ,from the moment of a little girl's birth her female relatives begin to collect the household linen she will have as a portion of her dowry2 and the large cupboards and presses of every well-to-do home are stored with linen and damask4 ,as the family washing is done but four times a year1 great hampers are used as receptacles for the soiled linen4 ,these are lowered by ropes from the cranes at the top of the house1 placed in the canal boats1 and carried to the meadows1 where they are washed in the canals and laid on the grass4 ,there they are sprinkled by means of curiously shaped wooden spoons with long handles that are dipped in the canal4 ,the clothes1 again packed in the hampers1 are carried to the house1 where they are mangled4 ,the mangle and the napkin-press are found in every house1 and the press is not unfrequently a decorative piece of furniture4 ,one of the most interesting provinces in ,holland is ,friesland--as yet unspoiled by tourists and rich in old buildings1 quaint villas and picturesquely costumed inhabitants4 ,workum and ,hindeloopen 7celebrated for its gaily-painted houses7 both contain some good buildings of the seventeenth century2 while at ,leeuwarden1 the residence of the governors of ,friesland 7of the ,nassau-,dietz family1 and ancestors of the reigning house of ,holland71 the ,frisian ,museum1 with its fine collection of antiquities and porcelain1 repays more than a brief visit4 ,here are two rooms from ,hindeloopen1 correctly furnished2 and many houses with similar rooms still exist in that town4 ,the walls of the smaller room are encased with blue and white ,dutch tiles1 ornamented with ,scriptural or other subjects4 ,the floor is laid with red and brown tiles4 ,a cabinet containing articles of porcelain and curious little silver ornaments hangs upon the wall2 and1 hidden behind the painted woodwork1 is a bed1 like a bunk in a steamer1 to which access is gained by means of a small and gaily painted ladder4 ,the tables1 chairs and other furniture are of simple form1 and are painted with bright flowers on a cream or white background4 ,the other room is similarly furnished1 and has a number of wax figures of men1 women and children dressed in the ,hindeloopen costume4 ,the ,rijks ,museum also contains a ,hindeloopen room with characteristic furniture4 ,we may1 perhaps1 be permitted to quote an extract from ,on ,dutch ,waterways1 by ,g4 ,christopher ,davies1 as a vivid picture of the modern ,frisian home4 8,we crossed a tiny little bridge1 over a tiny moat1 passed through a tiny and spotlessly clean yard to the back door4 ,the front door of a ,dutch house in the country is for ornament only1 and not for use1 and is rarely opened save to be cleaned and painted afresh4 ,this house was the most minutely clean and unique any of us had ever seen1 and was a perfect and rich museum of the wealthier side of ,frisian life4 ,in the passage by the house door was a well1 and the polish on its mahogany cover was only exceeded by the glisten on the copper bucket1 with brass bands1 and the shining brass chain which took the place of the ordinary rope4 ,the floor of the hall as well as the doors leading from it looked as if they had only been painted yesterday4 8,the kitchen1 the living-room on the ground floor1 the hall1 a passage and a staircase were lined with ,dutch tiles1 those in the passage and dark staircase and corridors being white1 or with a pattern or figure of an animal painted on them4 ,at the foot of the stairs were hung several wooden bowls1 painted with cupids and flowers in many colours4 ,climbing up the narrow staircase1 we were ushered into the sacred front room1 which would rarely be used for any purpose but show4 ,it was the museum of the house1 where a collection of antique treasures were preserved in a place which was worthy of them4 8,the room was so jealously guarded from daylight by drawn inner and outer blinds that we could see nothing distinctly until one shutter was opened1 and as we crept about cautiously over the highly polished oaken floor we had an uneasy feeling that we ought to have taken our shoes off1 and1 in fact1 did debate in whispers whether we should do so or not4 8,three sides of the room were completely lined with tiles4 ,up to the height of six feet or so the tiles were adorned with various ,biblical subjects1 the ,dutch conception of which was1 in many instances1 extremely comical4 ,above this dado the tiles were plain white1 except that a blue bordering went round the oaken beams which supported the roof4 ,on the fourth side was a range of magnificent oak cabinets1 with lattice or fretwork doors1 through the interstices of which the contents were visible4 ,these consisted of rare old china and antique silver articles of every kind1 spoons1 teapots1 pins1 brooches1 and even a silver birdcage4 8,many of the things were so curious that we could assign neither use nor ornament to them1 and much of the interest of the collection was lost to us for want of some one to explain the uses of what we saw4 ,probably the following paragraph1 which ,i have just seen in a weekly newspaper1 may give the true explanation of the small size of some of the objects3 ,the rich ,dutch burghers of old believed very much in teaching children by means of their playthings1 and used to give them elaborate dolls' houses furnished with utensils in solid silver that worked perfectly1 and were exact models of those in daily use in the family4 ,there were silver lamps and coffee pots1 dishes1 spice boxes and everything in miniature4 ,thus the little ,dutch girls were housewives from their babyhood4 8,along the top of this rare old piece of furniture was suspended a row of porcelain plates4 ,about the room were curiously carved and designed chairs and tables1 some of the latter finely inlaid2 and on the wall ,i particularly noticed mirrors with tortoiseshell frames4 ,the waning light left us too little time to examine the contents of the room in detail1 but we all thought it the choicest thing of the kind we had ever seen in public or private40 ,in a study of ,dutch furniture the canal boat should not be overlooked4 ,more than two centuries ago an ,english traveller asked if there were not more people living on the water in ,holland than on the land4 ,in that country canals lead from town to town and village to village1 and boats perform transport service4 ,vegetables1 fruits1 flowers and dairy produce1 flour and all kinds of merchandise are transported in boats2 furniture is moved from house to house by means of the canal boats1 and passengers are also carried4 ,many families know no other home than the trekschuyt3 cradled on the drowsy waters the inmates grow to manhood and womanhood1 and die in these floating homes4 ,the traveller in ,holland never fails to be interested in the canal boats that are constantly arriving and departing in the grachten of the large cities2 but he rarely sees their interiors4 ,the following description by ,alphonse ,esquiros shows how these canal homes are furnished1 and gives us an idea of the life spent there3 8,along nearly the whole length1 which is about thirty feet1 runs a box or wooden house1 frequently painted green2 the roof1 on which the sailors walk to perform sundry operations1 being covered with a layer of pounded cockle shells4 ,this house is divided into two compartments or cabins2 the larger one1 situated near the prow1 is common to passengers and luggage4 ,here1 during the winter1 the worthy people1 shut up as in a box1 swim along in a cloak of tobacco smoke1 which relieves the tedium of the voyage4 ,in summer the wooden shutters are removed1 and the hatch is raised from the orifice by which the travellers descend4 ,the second compartment is the cabinet1 called in ,dutch the roef1 which is entered through folding doors4 ,the second cabin is small1 but fitted up with some degree of taste4 ,the windows1 four or six in number1 are glazed and have red or white curtains1 according to the season4 ,in the centre is a table with a copper vessel containing fire1 and another smaller one to receive cigar ash1 both cleaned and polished in a manner only found in ,holland4 ,add to this1 to complete the furniture1 a mat1 a looking-glass1 and1 in winter for the ladies1 a foot-warmer1 called the stoef1 containing a small earthenware vessel with two or three lumps of lighted peat in it4 ,along two sides of this cabin run cushioned benches1 on which the travellers sit down opposite to each other4 ,sometimes there are on a shelf a few volumes belonging to the boat and forming a floating library at the service of the studious passengers4 ,the whole national character is revealed in this simple and minute attention to comfort4 ,at the bows1 the space not occupied by the cabinet is filled with merchandise1 bales1 and barrels2 while the poop is left to travellers who wish to take the fresh air1 and the helmsman1 who steers and smokes the while with the regularity of a steamer4444 8,on the trekschuyten floats old ,holland1 with its language1 manners and conscientious and powerful originality4 ,there are some trekschuyten in which you pass the night2 at about six in the evening1 in the event of the master being polite 7and we never met any who were not so71 he invites you to take tea4 ,you then see a little cabinet produced1 containing cups1 sugar-basin1 and teapot of black earthenware1 which is not inelegant4 ,the kettle is placed on a species of stove covered with ,chinese designs1 and containing a vessel filled with burning peat4 ,at night the roef is divided into two parts--a saloon and a small sleeping-room1 of which the curtains are raised4 ,a common bed1 occupying the entire width of the cabin1 and on which men and women sleep honestly side by side1 invites you to take your share of the universal calm and rest of nature4 ,this bed is composed of a mattress and counterpane1 and you lie down on it full dressed4 ,during this period the boat continues its noiseless voyage through the waters1 which divide in a silver furrow on either side the prow40 ,the ,dutchman has always been famous for his clinging to cleanliness1 order and symmetry4 ,cleanliness in the house and order in the garden1 with its clipped trees and hedges of formal designs and stiff flower beds1 still persist4 ,the ,dutch house of the present day is described by the ,rev4 ,j4 ,ballingal ,in the ,north ,holland ,polders as follows3 8,their houses are as often furnished in very modern style1 though the furniture is sure to be solid and good4 ,they have the utmost contempt for anything sham and flimsy4 ,in their jewellery1 of which a great deal is worn1 they would never think of buying false diamonds or imitation coral4 ,their houses are models of neatness and cleanliness1 but there is no trace of aesthetic feeling4 ,symmetry is admired above everything4 ,trees planted round the house at equal distances1 trimmed to an exact height1 and whitewashed to a certain height of the trunk1 windows and doors to correspond1 gates freshly painted1 and gravel walks without a foot-print--that is the country ideal4 ,there is a story of a ,boer who fancied a piano would be a handsome addition to his best room1 and having bought one and got it placed1 he returned a few weeks after to the piano warehouse4 #8,did the instrument give satisfaction8' the dealer anxiously inquired4 ,oh1 yes6 yes6 ,i've no complaint to make1 for nobody has even touched it4 ,what annoys us is we don't like the look of it in the room4 ,it is not symmetrisch1 so ,i've come to buy another1 exactly the same1 to stand in the opposite corner4' ,such a story is credible enough when one sees the exactly similar way in which1 through a large district1 houses are built1 and trees planted round them1 as if every detail were compulsory4 ,the love of cleanliness1 too1 has its extravagances1 as1 for instance1 in the neighbourhood we speak of we once enjoyed the comic spectacle of a man sitting astride on the ridge of his house1 with a pail slung round his neck1 scrubbing away at the tiles40 ,holland has not escaped the present taste for the collection of antiquities2 but in that country where there is so deep a love of home1 and where the peasants guard their possessions with the same tenacity and affection as the rich do their heirlooms1 the collector is only rewarded after long years of patient search4 ,however1 many of the wealthy merchants and travellers1 who are spending the well-earned afternoon and evening of their lives in their country seats near ,arnhem1 ,amsterdam1 ,rotterdam1 ,utrecht1 ,leyden1 ,dordrecht1 ,middelburg1 ,maestricht and other large cities and small towns1 are able to show rare and interesting relics of the past4 ,a house of a rich traveller will reflect naturally enough the wanderings as well as the taste of its owner4 ,the spoils of ,java1 ,dutch ,guiana1 the ,west ,indies and other colonies1 not to mention those of ,egypt1 ,spain and ,italy1 adorn his rooms and render his cabinets highly interesting4 ,as a rule his study and the boudoirs of his wife and daughters1 his drawing-room with its adjoining conservatory1 his library and his bedrooms are furnished in the latest ,french taste4 ,the dining-room is frequently painted in pale green1 and here are displayed in the cupboards vitrines1 cabinets1 and on the hanging shelves his family treasures1 consisting of curious and beautifully engraved glass1 silver1 and choice sets and individual pieces of porcelain4 ,if1 however1 as is often the case1 the owner is the collector1 then he takes especial delight in the 8antique-room10 which he has fitted up in the style of a cabinet of the seventeenth century4 ,the general impression of this apartment is brown1 derived not only from the panelled ceiling1 high wainscot and carved chimney-piece1 but from the wall hangings of leather with its raised patterns of faded gold and the high-backed carved furniture4 ,brightness is contributed by the array of brass1 porcelain1 delft1 rugs1 cushions and tiled fireplace1 with its fine brass andirons1 bellows and other equipments4 ,on the ledge of the wainscot handsome jars and vases and other specimens of porcelain and delft are symmetrically arranged1 and on the wall hang plaques and brass sconces4 ,the room receives additional light from old brass chandeliers4 ,a cabinet full of curios1 a large kas1 a ,bible on a stand1 a spinning-wheel1 foot-warmers1 pipes and old kitchen utensils are sure to be found here2 and to these articles we may add a carved napkin-press1 a mangle1 an old carved board and rolling-pin for doing up fine linen1 and an ancient carved1 gilded and painted sled4 ,collecting is not confined to the individual2 for the study of old furniture and other antiquities that contribute so great an aid to the historian in constructing the social life of the past and so great an aid to the artist1 architect and decorator1 is widespread in ,holland4 ,the great museums of the large cities contain many superb and valuable specimens1 and display them with great taste4 ,in some cases whole rooms have been removed from some old palace or stadhouder's house with their original ceilings1 chimney-pieces1 hangings and furniture2 and1 again1 entire rooms have been fitted up in the characteristic style of some province whose individual manners and customs are fast disappearing4 ,many of the small towns have a collection of local antiquities1 which are1 as a rule1 attractively displayed2 for the members of the numerous ,dutch antiquarian societies take great pride in the history of their country4 ,sometimes1 as in the case of the 8,museum van ,kunstnyverheid0 in ,haarlem1 the collection embraces the artistic industries of ancient and modern times4 ,this museum contains a particularly fine collection of kitchen utensils and other articles and furniture familiar to us in the pictures of ,jan ,steen1 ,maes and other ,dutch masters4 ,the museums of ,belgium are equally rich in old furniture1 tapestries and other treasures4 ,,the ,,end ,,index ,abbaye de ,montral1 #ej2 ---- d' ,oignies1 #be ,abbey of ,charlieu1 #ej2 ---- of ,citeaux1 #ej2 ---- of ,clairvaux1 #ej2 ---- of ,cluny1 #ej2 ---- of ,saint ,maximin1 #ci2 ---- of ,vzlay1 #ej ,abbeys of ,burgundy1 #ej ,aelst1 ,peter van1 #ge sop's ,fables1 #cje ,agnes ,sorel1 #bb ,aiguire1 ,aiguires1 #aj1 #aej1 #aea1 #aff ,alart du ,hameel1 #fb ,albert1 ,archduke1 #ace1 #acg2 ---- and ,isabella1 ,court of1 #acb ,alinor of ,poitiers1 quoted1 #dc-e1 #df-g ,alost1 looms1 #eh ,amsterdam1 #acf1 #bjc1 #bjh1 #bae1 #bci1 #bdi1 #bgj2 ----1 stores in1 #bcg2 ----1 ,leonard van1 #bba ,amber1 #gb ,andirons1 #abi ,anil1 #bbe ,antwerp1 #bc1 #gc1 #bjc1 #ace-f2 ----1 artists of1 #aja-c2 ----1 cabinets of1 #aad2 ----1 clavecin-makers of1 #abd-h2 ----1 wealth of1 #aja ,arabesques1 #fe-f1 #ic ,arche1 #ac ,architecture1 ,early ,renaissance1 #agg-h ,ards1 ,w41 #ea ,armchairs1 #g ,armoire1 ,armoires1 #aa1 #ab1 #ac1 #aac-d1 #bjd1 #bfa ,arphe1 ,juan de1 #eb ,arras1 #bj1 #ba1 #ec2 ---- looms1 #ce-f ,artisans1 #a-c1 #bh1 #dg-h1 #eb1 #ec1 #aja-c ,artists1 #bh1 #fg-h1 #ie-f1 #ajc1 #ajf-g1 #aah-bj ,artz1 picture by1 #cac ,aspruck1 ,franz1 #afe ,asselijn1 quoted1 #ahb ,auricular style1 #aaa1 #aff-g1 #cjj4 ,see ,genre auriculaire ,avignon1 #eh ,avont1 ,peter van den1 #afe ,babou1 ,philibert1 #gd ,baby's outfit1 #aii-bjj ,baert1 ,jean1 #cjd ,baerze1 ,jacques de1 #dh ,bahut1 ,bahuts1 #ab1 #ac1 #ff1 #aaf1 #adj ,baldwin1 ,count of ,flanders1 #ai ,ballingal1 ,j41 quoted1 #cbd-e ,banbosa1 ,d4 #bab ,banc1 ,bancs1 #ac-ad1 #adj-a ,banderole1 #id ,banquiers1 #dg ,barb1 ,j4 ,b41 #afe ,bass viol1 #abi ,bataille1 ,colin4 ,see ,bataille1 ,nicholas2 ----1 ,nicholas1 #bj1 #cg ,battle of ,nancy1 #ci2 ---- of ,nicopolis1 #cf2 ---- of ,pavia1 #gi ,beaugrant1 ,guyot de1 #eb1 #gh ,beaumetz1 ,john de1 #dh1 #ej ,beauneveu1 ,andr1 #ej ,beauvais1 tapestry of1 #aee-f1 #cjd-e ,becius1 ,joh41 quoted1 #bei ,bed1 ,beds1 #dc1 #dd1 #gj1 #ajh-aa1 #adg1 #aej1 #aea1 #aih1 #bff1 #cab2 ---- chest1 #ab2 ----1 folding1 #gj2 ----1 ,josephine's1 #caa2 ----1 ,mary of ,burgundy's1 #ef2 ----1 ,queen ,anne's1 #bgd1 #bge1 #bgf2 ----1 panelled1 #aia ----1 from ,rijks ,museum1 #aaj2 ---- tapestry1 #ef2 ----1 ,william's1 #bgd ,bedroom1 #i1 #dc-d1ajd-e4 #aij-a1 #aig-h2 ----1 ,marot's1 #bge-f2 ----1 ,mary's1 #bgd1 #bge1 #bgf ,bedsteads1 #bff ,beef-wood1 #bfh ,bhagle1 ,philippe1 #aef ,bein1 ,heinrich van1 #aff ,belgium1 buildings in1 #ade-f2 ----1 museums of1 #cbg ,benches1 #g ,brain1 #afd ,berent1 #fb ,berenberge1 ,pierre van1 #ea ,bernagie1 quoted1 #aid ,bernard1 ,michel1 #ba ,bernard1 ,pierre1 quoted1 #ii-ajj ,berruguete1 #eb ,beughem1 ,louis van1 #fh ,beveren1 ,cornelius van1 #bef ,blommaert1 ,georges1 #aef ,blondeel1 ,lancelot1 #ec1 #gi-hj ,blyenborgh1 ,adrian1 #beg2 ----1 ,vrouwe van1 #beg-i1 #bei-fj ,board and trestles1 #f1 #ae1 #ada ,boegarden1 ,henry van1 #ea ,bol1 ,f41 #agj ,bolsward1 ,church of1 #e ,bonaff1 quoted1 #aeh-i ,bonte1 ,c4 de1 #fa ,borromini1 #aca1 #cji ,borcht1 ,jacques van der1 #cjd ,bos1 ,cornelius1 #ie1 #ajg ,bosse1 ,abraham1 #adb1 #adg ,boteram1 ,rinaldo1 #ei ,bouche1 ,p4 ,p41 #aff ,boucher1 #cjj1 #cjd1 #cje ,boulle1 ,a4 ,c41 #aae1 #bga2 ----1 ,pierre1 #aae ,bouts1 ,derick1 #ae ,bouttats1 ,gaspard1 #aff ,brackets1 #bgh1 #bgi ,brassware1 #abi ,breda1 ,church of1 #e ,breughel1 ,pierre1 the ,elder1 #hh2 ----1 ,peter1 #age ,bride's basket1 #bjj2 ---- crown1 #bjj2 ---- house-furnishing1 #bee2 ---- throne1 #bjj ,broederlam1 ,m41 #dh ,broederkerk4 ,see ,bolsward ,broec1 ,l4 van den1 #ea ,bronchorst1 ,j4 ,g41 #agj ,bronzino1 #gc ,bruges1 #be1 #cb1 #dj2 ----1 looms of1 #eh2 ----1 ,palais de ,justice1 #gi2 ----1 ,st4 ,anne1 #aci2 ----1 ,st4 ,walburge 7pulpit71 #ach ,brulh1 ,van der1 #eb ,brussels1 #bj1 #ba1 #bc1 #be1 #cb1 #cjf2 ---- looms1 #eg1 #cjd2 ---- museum1 #aih1 #bed2 ---- school of1 #cjf2 ---- tapestries1 #gc1 #cjd ,bruyn1 ,charles de1 #ea ,bry1 ,theodore de1 #id ,buffet1 #ad-e1dc2 deux corps1 #adj ,bulteel1 ,john1 #ea ,burgundian etiquette1 #ih2 ---- style1 the1 #he-g ,burgundy1 ,dukes of1 #af1 #ca-b1 #bgb2 ----1 ,house of1 #ca-b ,buten1 ,martin van1 #afe ,buytenweg1 ,william1 #afe ,cabinet1 ,cabinets1 #aa1 #fb1 #hi-ij1 #ajg1 #aad-e1 #aaf1 #bjd1 #baa1 #bbf1 #bch-i1 #bdd1 #bde1 #bdf1 #bfb1 #bhd1 #cjj ,cabinet-makers1 #g1 #h1 #ac1 #aei1 #big ,calin1 #baa ,cambrai1 ,peace of1 #gi ,cameryck1 ,c4 van1 #abb ,campen1 ,j4 van4 ,see ,kampen ,canal-boats1 furniture of1 #cba-d ,candlesticks1 #dd-e1 #fj1 #abi ,canning1 quoted1 #cjb ,cape of ,good ,hope1 #bjh ,carest1 ,josse1 #abe ,caron1 #gc ,carpenter1 #h ,carpets1 #ai1 #gj1 #bdc2 ----1 table1 #bfc ,carracks1 #bjh-i ,cartoons1 tapestry1 #eh1 #ei1 #gc1 #acg1 #aef1 #aeg ,cartouche1 #id ,carvers1 #b1 #e1 #ej-c1 #abb ,carving1 ,carvings1 #b-f1 #g1 #hj-c1 #aae1 #aga1 #ach-dj1 #bgi1 #bhb1 #cja-b ,caryatid1 #id ,cathedral of ,antwerp1 #bg2 ---- of ,dietz1 #bg2 ---- of ,tournay1 #bg ,catherine of ,braganza1 #bhd ,cats1 #bfi2 ---- head1 #aij ,cavalli1 ,m41 #aja ,cecil1 #bad ,cedar1 #bfh ,ceilings from the ,binnenhof1 #aga1 #agb ,cellini1 #ia1 #ib ,ceramics1 #ajg1 #aaf-g1 #bhd ,chair1 ,chairs1 #ae1 #af1 #aab-c1 #adb1 #afj-d1 #bff-g1 #bgf-g ,chambre1 #ag2 ---- de parade1 #de ,champeaux1 #hf ,chandelier1 ,chandeliers1 #aj1 #fj1 #abi1 #aff1 #bhc ,charles ,i4 7,england71 #acf2 ---- ,,ii47,england71 #bja1 #bhj1 #bhd2 ---- ---- chair1 #afc2 ---- ,v4 7,france71 #bj1 #bb1 #bf-g2 ---- ,v4 7,emperor of ,germany71 #fe1 #ge1 #gf1 #gi1 #hg1 #ig1 #ih1 #aih2 ---- ,,vi4 7,france71 #bj1 #bb2 ---- ,,viii47,france71 #fe1 #fh2 ---- the ,bold1 #bg1 #dj1 #ci-dc1 #ed1 #fj1 #fa ,chastelain1 ,georges1 quoted1 #ce-f1 #ch ,chteau de ,schoemburg1 #cjg ,chest1 chests1 #f1 #ab-ac1 #ae1 #aaf1 #aci1 #bef1 #beg2 ---- bed1 #ab2 ---- -upon-chest1 #ab ,chimney-pieces1 #di1 #ec1 #gh-i1 #hh1 #abb1 #agj1 #aga1 #aha1 #bgh ,china1 #baf1 #bii2 ---- mania1 #bha2 ---- -cabinets1 #bhe1 #cjj2 ---- -ware1 #bbe1 #bci1 #bdj1 #bde1 #bdf1 #bdg1 #bfa1 #bha1 #bhc4 ,see ,porcelain ,chinese boudoir1 #agb2 ---- style1 #abg1 #cje4 ,see ,chinoiserie ,chinoiserie1 #bgc1 #cjj ,chippendale1 #bgh ,choir-stalls1 #c-f1 #gg-h1 #hj-c1 #abb1 #aci ,chronicle of ,st4 ,trond1 #eg ,claas1 ,alaert1 #ie1 #if ,claire1 ,godefroid de1 #f ,classic architecture in furniture1 #adj2 ---- orders1 #ia2 ---- style1 #fe ,clavecin1 #abd2 ---- makers1 #abd-h ,clavichord1 #abd ,clays1 ,pierre1 #hh ,cleaning-utensils1 #ahg ,clerc1 ,g4 de1 #bd ,clocks1 #bfg1 #bgh ,cluny ,museum1 #ac1 #ae1 #dh1 #ff1 #afj1 #afb1 #afc1 #bfa1 #bfg ,coach-bed1 #bff ,cock1 ,jerome1 #id1 #ajb1 #ajc ,cockatoo1 #bgj ,cocques1 #aec1 #bej ,coeck of ,alost1 ,peter1 #hg-h1 #id1 #ajc ,coffers1 #ff1 #beg ,colars1 ,n41 #e ,colima1 ,john van1 #bhe ,collaert1 ,adrian1 #ajc1 #aba2 ---- ,hans1 #ajc ,collan1 ,j41 #afe ,collection of porcelain1 #bjf-g ,collectors of tapestry1 #bj-b ,cologne1 #bh ,comans1 ,marc1 #aee ,communes1 ,the1 #a1 #b ,compartiment1 #ic1 #id ,comptoir1 #agi1 #ahh ,constant1 quoted1 #bbe-f ,constantinople1 fall of1 #fd ,cooking-utensils1 #aa1 #aea1 #aif1 #bfh-i ,coral1 #gb1 #agd ,cordova1 #bc1 #ii ,cosmo ,i41 #gg ,cotgrave1 #ab ,court-cupboard1 #adj ,court pointerie1 #ag ,coxie1 ,michel1 #gc ,cradles1 #aih ,credence1 #ab1 #ad-ae1 #adj ,cressent1 #cjj ,crispin de ,passe1 the ,elder4 ,see ,passe1 ,crispin van de ,croissy1 ,fouquet de1 #bgj ,crusade1 the ,first1 #ah ,crusades1 #a1 #g ,crusaders1 #bc ,cubiculum1 #ada ,cuirs1 #ic1 #id1 #ajc1 #ajd1 #aad ,cupboards1 #fb1 #bef1 #beg-h1 #bfj ,curios1 #fi1 #ga-b1 #hi1 #aad-e1 #adc1 #bjd-e1 #cjj-a ,curtains1 #ag-h ,cushions1 #f1 #ac1 #af1 #fi1 #gj1 #ga1 #ada ,custode1 ,dominic1 #ajg2 ----1 ,raphael1 #afe ,das1 #d ,dale1 ,lucas van1 #bba ,dam1 ,the1 #ade1 #afi ,damme1 #ai ,dangeau1 quoted1 #bdi ,daret1 ,jehan1 #ci ,davies1 ,g4 ,c41 quoted1 #cai-ba ,decadence1 ,the1 #ajg1 #aca1 #aeh-i1 #afe2 ---- of ,dutch ,art1 #cja2 ----1 ,flemish1 #bjc ,decorations1 #bi1 #bjj ,decorative designers1 #ajc1 #ajf-g1 #afe-f ,d',erembert1 #be ,defoe1 quoted1 #bha ,delft1 looms1 #gg2 ---- ware1 #bjd1 #baf1 #bbj-b1 #cjj2 ---- ware1 ,closett1 #bhe2 ---- ware1 ,mary's1 #bha ,de ,parival1 quoted1 #ahe ,develstein1 ,castle of1 #bbh1 #bef1 #bfj-a1 #bfb ,de ,vries4 ,see ,vries1 ,hans ,v4 de ,dextras1 ,the1 #bba ,dijon1 #cb1 #dg2 ---- ,museum1 #dh1 #di1 #ea1 #aab2 ---- ,palais de ,justice1 #he-f2 ---- ,st4 ,michel's1 #he ,dinant1 #aj1 #af1 #cb ,dinanderie1 #aj-a1 #abi ,dinantairs1 #aa ,dixmuiden1 ,st4 ,nicholas1 #hc ,dogs1 #bfi ,dolls1 #agc1 #agf-g2 ---- houses1 #agb-f ,don ,juan of ,austria1 #ajj ,dordin1 ,jacques4 ,see ,dourdain ,dordrecht1 #bef2 ----1 ,groote ,kerk1 #hj ,dou1 #bej1 #bed ,douay1 looms1 #eh ,dourdain1 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symmetry1 #cbd-e2 ---- luxury1 #bdi1 #bee-f1 #cjb-c2 ---- mania for cleaning1 #ahc-g1 #aid-e1 #cbd2 ---- and ,english marriages1 #bgi-hj2 ---- navigators1 #bad-f2 ---- ships1 #bae1 #bbf2 ---- taste1 #bjd1 #bgi1 #bhj1 #bhb1 #bhd-e1 #bhg ,duysbourg1 ,h4 van1 #ea ,ear1 as decorative motive1 #aff4 ,see ,auricular style ,earl of ,pembroke1 #eg2 ---- of ,warwick1 #eg ,east ,india ,company1 #bgj2 ---- of ,england1 #bcg1 #bhd1 #bij ,east1 trade with the1 #fd bniste1 #aei ,ebn' ,abd el ,nor el ,hamri et ,tonsi1 #bc ,ebony1 #g1 #aae1 #bfh ,ecclesiastical ,art1 #a-f1 #g2 ---- hangings1 #ah-i ,edrisi1 #bje ,eeckhout1 ,g4 van der1 #aff ,eenhoorn1 ,l41 #bba ,egmont1 ,counts of1 #ajj ,elizabeth1 ,queen1 #aag1 #abe1 #bad2 ---- ,queen of ,bohemia1 #bgi ,embroiderers1 #ef ,embroideries1 #ag1 #ef1 #fi1 #gj1 #ga ,empire ,style1 ,the1 #caj ,encoinons1 #ic1 #ajd ,engravers1 #afe ,england and ,holland1 relations of1 #bda ,english workmen1 complaints of1 #bhh2 ---- and ,dutch pirates1 #bch ,entrecolles1 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----1 ,francis1 #hh2 ----1 ,james1 #ajb2 ---- ,style1 the1 #ajb-c ,flowers1 #bjj1 #bja ,folding-beds1 #aaa2 ---- tables1 #aab ,fontainebleau1 #gd2 ---- ,school of1 #ib ,foot-stove1 #bfc-d ,forbin1 ,count de1 quoted1 #bdi ,forms1 #g ,fouquet1 #aed ,francis ,i41 #gd1 #ig ,franois de la ,planche1 #aee ,francouart1 #id ,franquart1 ,jacques1 #acg ,french influence in ,low ,countries1 #bii-cjj ,friar ,hugo1 #be ,friesland1 #cah ,frytom1 ,f4 van1 #bba ,furnes1 ,st4 ,walburge1 #aci ,furnishing1 house1 #bee ,furnishings of ,banquet ,hall1 #dj-c ,furniture1 #ada-b1 #bdd-e2 ----1 canal boat1 #cbb-d2 ----1 ,duchess of ,burgundy's1 #dc-e2 ----1 ,dutch painted1 #cai2 ----1 ,fourteenth and ,fifteenth ,century1 #fa-b2 ---- at ,hampton ,court1 #bhb-d2 ----1 inlaid1 #ij1 #ajg1 #aeh-fj2 ----1 ,italian1 #ij-ib2 ----1 ,japanned1 #big2 ----1 lacquered1 #big1 #bih-i2 ----1 ,margaret of ,austria's1 #fi-gb2 ----1 mediaeval1 #b1 #f-g1 #g-h1 #aa2 ---- mounts1 #aei2 ----1 ,renaissance1 #hc-d1 #ib-e1 #aje1 #ajg1 #ajh-ag1 #aci-db2 ----1 ,seventeenth century1 #adf-eb1 #aeh-fd2 ---- tapestry1 #cjd-e4 ,see ,cluny1 ,marquetry1 ,rijks ,gane1 #id ,galle1 ,theodore1 #ajg ,galles1 ,phillip1 #ajg ,gance1 ,j4 van den1 #ea ,gardens1 ,dutch1 #bgi1 #bhb ,gazoni1 quoted1 #ii ,genre auriculaire1 #aaa1 #aff-g1 #cjj ,geraerts1 ,m41 #ajf1 #ajg ,gerard1 ,marc1 #ic ,gerbier1 ,b41 #abg ,ghent1 #be1 #cb1 #ih2 ---- tapestry1 #cjd ,gheyn1 ,jacques de1 #afe ,giacomo d',angelo1 #ei ,gibbons1 ,grinling1 #bgi1 #bhb ,gilbert1 ,sir ,john1 #bad ,gillot1 #cjj ,giovanna1 ,francesca1 #ei ,giovanni da ,udine1 #gc ,glass1 #bf1 #aag-h1 #bjg1 #bdf2 ---- blowers1 #aag-h2 ---- makers1 #aja2 ----1 painted1 #aei2 ----1 painting on1 #aah2 ---- windows1 #bg ,glosencamp1 ,l41 #ec ,glusomack1 ,henry1 #dh ,goa1 #bji1 #baj1 #bad1 #baf ,gobelins1 #gf1 #aed1 #aee1 #aeg1 #aeh1 #bgb ,godewijck1 ,margaretha1 quoted1 #agd-e2 ----1 ,p4 van1 quoted1 #agb-c1 #ahb-c ,golden ,age of ,tapestry1 #ec ,golden ,fleece1 ,knights of the1 #ch2 ----1 ,order of 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#afe ,henri ,,ii41 style1 #hc2 ---- ,,iv41 #aae1 #aed ,henry le ,backer1 #fa2 ---- ,,viii41 #ig ,hervey1 ,john1 #bhe-g1 #bie ,hervormde ,kerk4 ,see ,breda ,heylbrouck1 ,m41 #aff ,hessels1 ,gerrit 7,gerritz71 #id1 #afe ,het ,loo1 #agj ,hicks1 ,robert1 #gg ,hill1 ,robert1 quoted1 #caj-b ,hindeloopen1 #cah1 #cai ,hoevens1 ,the van der1 #bba 8,hogarth1 ,the ,dutch10 #cja ,holland1 buildings1 #ade-f2 ----1 jealousy of1 #cjb4 ,see ,dutch ,holme1 ,lacy1 #bgi ,holsteyn1 ,c41 #agj ,hoogerhuis1 room from the1 #agb ,hooghe1 ,r4 de1 #afe ,hoogstraten1 ,s4 van1 #bej ,hosemant1 ,j41 #eh ,houbraken1 ,a41 #afe ,hour-glasses1 #bfh ,house-in-the-,wood1 #agj ,houses1 miniature1 #agc-f2 ,seventeenth century1 #ade-f ,houtman1 ,c41 #bae ,howard1 ,admiral1 #aeg ,huche1 ,huches1 #ac1 #ff1 #aff ,huchiers1 #h1 #ac1 #ch-i1 #ec2 ---- menuisiers1 #ag ,huet1 #cjj ,huguenot emigrants1 #bgb1 #bhd ,huis ten ,bosch1 #agj ,hulst1 ,john1 #dh ,huygens1 #bih ,hynart1 ,louis1 #aee ,ibn ,batuta1 #bje ,importations1 #bbf1 #bhi1 #bib ,india1 #bje1 #bji1 #baf2 ---- -houses1 #bha1 #bhe ,inlaid furniture1 #g1 #ij1 #ajg1 #aeh-afj ,interiors of the ,great and ,little ,masters1 #bej-e ,inventories1 ,dutch1 #adf-eb1 #aia-b1 #bca-e1 #bda-f1 #bdf-h1 #beg-fa1 #bfi ,isabella of ,bourbon1 #dc2 ---- of ,castile1 #gi2 ---- of ,portugal1 #cg ,isle des hermaphrodites1 ,l'1 quoted1 #aei ,italian furniture1 #ij-b ,ivory1 #g ,jackenon of ,nivelles1 #e ,jane of ,burgundy1 #ag ,janz1 ,house of ,a4 ,h41 #ahh-ia ,james ,,ii41 #bdi1 #bhj ,japan1 #bji1 #baj1 #bbf ,japanned furniture1 #big2 ---- goods1 #bhi1 #bie ,japanners1 complaint of1 #bhi1 #big ,jaspar1 #f ,java mahogany1 #bfh ,jehan de ,bruges1 #af1 #ei2 ---- de ,dinant1 #aa ,jewel-boxes1 #bfc ,jewelry1 #bdb1 #bdc1 #bfb ,john of ,brussels1 #fh ,john ,,iii41 ,count of ,hainault1 #be ,johnson1 ,gerreit1 #bhe ,joiners1 #h2 ---- ,company1 petition of1 #bhh-i ,joinville1 ,c4 de1 quoted1 #cjc-d ,joanna the ,mad1 #fe1 #gh ,joues1 #c1 #d ,kampen1 ,jacob van1 #ade1 #afe1 #afi1 #agj1 #agb ,kampen1 ,town-hall1 #abb ,kams1 ,the1 #bba ,kamyn1 ,erasmus1 #aff ,karcher1 ,john1 #gg2 ----1 ,nicholas1 #gg ,karel de ,moor1 #aga ,kas1 ,kasten1 #bjd1 #bdd1 #bdg1 #bef1 #beg1 #bfj1 #bfa ,keizer1 ,albrecht de1 #bba2 ----1 ,cornelis de1 #bba ,keldermans1 ,m41 #fb2 ----1 ,r41 #gh ,key1 ,william1 #hh ,keyser1 ,hendrik de1 #afe1 #afi1 #aga ,king-wood1 #bfj1 #bfh ,kitchen1 #aea1 #ahi-ij1 #aif1 #bfh-i2 ----1 ,rembrandt's1 #add2 ---- utensils1 #aa1 #if1 #aea1 #bfh-i ,koedyck1 #bej1 #bea ,kooge1 ,abraham de1 #bba ,lacquer1 #abg1 #baa1 #bie-i2 ---- imitation of1 #bih ,lacquered furniture1 #big1 #bih-i ,laeken1 ,palace of1 #caj-a ,lairesse1 ,g4 de1 #agb1 #cja ,lame1 ,jahn de1 #aja ,landenspelder1 ,john1 #ajc ,lange1 ,jacob de1 home of1 #bdf-h ,launoy1 #gi ,laval1 ,p4 de1 quoted1 #bjh-aa ,layens1 ,m4 de1 #fb ,leather hangings1 #ga1 #aec-d1 #aga1 #agb2 ----1 paintings on1 #c2 ----1 ,spanish1 #bfg ,leathers1 gilded4 #ii1 #ajb1 #acc1 #acd1 #ace1 #adi1 #aej ,le ,brun1 #aed1 #cje ,leeuwarden1 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#aed1 #bga ,lower1 ,sir ,john1 quoted1 #bja-b ,loyet1 ,grard1 #fa ,lucidel1 ,nicholas1 #hh ,luifel1 #agg1 #agi ,lute1 #abi ,lutma1 ,john1 #aff ,luxury1 #cb-dc1 #ajj-a1 #bei1 #cjb-c ,maarken1 #cab ,mac1 ,jean1 #aae ,mademoiselle1 ,la ,grande1 quoted1 #bhg-h ,madrid1 looms1 #cjd ,maes1 #cbg ,maestricht1 #be ,majolica factory1 #aja ,malaca1 #bji ,maldives1 #baj ,mantua1 #ei ,mantegna1 ,andrea1 #eh1 #ei ,mantel-piece1 #bhc ,maps1 ,tapestry1 #gg ,marchaut1 ,countess of ,artois1 #ba ,margaret of ,austria1 #dg1 #fg-gb1 #gh1 #gi1 #hg1 #hi1 #ig1 #ii2 ---- of ,york1 #dj ,marguerite of ,valois1 #ii-aja ,marie ,elizabeth1 #cjc-d2 ---- de ,medici1 #acg ,marot1 ,daniel1 #afd1 #bgb1 #bgc-h1 #bhj1 #bhb1 #bhg2 ---- style1 #bfg ,marquetry1 #ia1 #ajh1 #aaa1 #aab1 #aeh-fj ,marville1 ,john de1 #dh1 #di ,mary of ,burgundy1 #de1 #ef1 #fg1 #gi2 ---- of ,hungary1 #ig-h2 ---- of ,orange1 #bgi2 ----1 ,queen of ,england1 #aga1 #bhj-b1 #bhc1 #bhd1 #bhe ,mascarons1 #bgg1 #bgh ,masters1 ,the ,great1 #cja2 ----1 the 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,oesterham1 ,pieter1 #bba ,old ,brechtje1 quoted1 #aii ,olive-wood1 #bfh ,olivier de la ,marche1 quoted1 #cb1 #db-c ,oost1 ,peter van1 #ea ,oppenord1 ,g4 ,m41 #bgb1 #cjj1 #cji ,oppenordt1 ,c4 ,j41 #bga ,or bazan1 #ii ,orfvres4 ,see ,goldsmiths ,orfvrerie1 #bd-f ,oriental goods1 #g1 #bji1 #bdj1 #bdb1 #bdc1 #bdd1 #bdf1 #bhe1 #bhf-g ,orley1 ,bernard van1 #gc1 #ge1 #gf1 #hg ,ornamentation1 ,renaissance1 #ib-f ,ornaments1 decorative1 #afe-f ,ort1 ,a4 van1 #aja ,oudenarde1 #gh2 ----1 ,htel de ,ville1 #abb2 ----1 looms1 #eh1 #cjd ,paintings1 #fi ,palissandre1 #bfh ,palissy1 #aag ,panellings1 #aa1 #ab1 #ic1 #aje1 #aga1 #agb ,panelled-bed1 #aia ,pand1 ,le1 #gc ,pannemaker1 ,andr1 #aef2 ----1 ,franois1 #aef2 ----1 ,william de1 #gf ,paraclose1 ,the1 #c1 #d ,paris1 #bj1 #ba ,parrots1 #bfi1 #bgj ,passe1 ,crispin de1 or van de1 #id1 #ajf1 #ajg1 #abj-a1 #adb1 #afb1 #aga1 #bjc ,passo1 ,p41 #aja ,paston1 ,john1 quoted1 #dj ,pauli1 ,andr1 #afe ,patin1 ,charles1 quoted1 #bdi-ej ,peacocks1 #bfi ,pekin1 #bii ,penon1 ,j4 ,h41 #ch ,pentin1 ,j41 #fa ,peter the ,great1 #cjd2 ---- of ,campana1 #gc ,pets1 #acd1 #ace1 #bfi-gj ,perral1 ,john1 #fg-h ,pewter1 #aia1 #bfa ,pheasants1 #bfi ,philibert of ,savoy1 #fg1 #fh ,philip de ,comines1 #cb2 ---- the ,bold1 #bj1 #ca1 #dg1 #di-ej1 #ee2 ---- the ,good1 #cc-h1 #ee-f2 ---- 7of ,spain71 #gi2 ---- ,,ii41 #hh1 #hi1 #ih1 #ajj1 #aaf1 #bae2 ---- ,,iii41 #acg2 ---- ,,iv41 #acg ,pictures1 #bde1 #bdg-h ,pietersz1 ,gerrit1 #bba2 ---- ,hermann1 #bbj ,pietra-dura1 #aei ,pigapheta1 ,a41 #bje-f1 #bjg ,pilaster1 #ic ,pillow1 #ab ,pirates1 #bch ,pitsembourg1 ,the1 #adf-eb ,plantin1 ,christopher1 #aja ,plantin-,moretus house1 #aja-b ,pointed ,style1 ,the1 #c ,pommes1 #bge1 #bgf1 #bgg ,porcelain1 #aaf1 #aag1 #agg1 #aha-ij1 #aia1aif1 #bjd1 #bje-h1 #baj-d1 #baf-bj1 #bbb-h1 #bca-e1 #bcg1 #bch-i1 #bfj1 #bfa1 #bhe1 #bhf-g2 ----1 marks on1 #bbh2 ----1 ,marot's use of1 #bgh2 ----1 prices of1 #bci2 ---- room1 verse on1 #bgh-i ,pordenone1 #gc ,portugal1 trade with1 #bjh-ac ,portuguese navigators1 #bje1 #bjh ,post1 ,pieter1 #agj ,pourbus1 ,peter1 #hj ,primaticcio1 #gc ,prince ,butler's ,tale1 #bij-b ,princess ,amalia of ,solms1 #agj ,prindale1 ,j4 ,m4 ,h4 van1 #dh1 #ea ,printing1 #fd2 ---- presses1 #aja-b ,pynackers1 ,the1 #bba ,quarr1 ,jean1 #aag ,queen ,anne's bed1 #bgd1 #bge1 #bgf ,queen ,anne ,style1 #bgd1 #bgf1 #cji ,quellin1 ,artus1 #acg-h1 #afe1 #afi1 #agj ,quillyn1 ,artus4 ,see ,quellin ,rabel1 ,daniel1 #afg ,raephorst1 ,b4 van1 #ea ,rambouillet1 ,mme4 de1 #bdj ,raphael1 #ei1 #ia1 #gc1 #gd1 #ge1 #ia1 #afa ,rasch1 ,a41 #ec ,reasons1 ,the1 quoted1 #bij ,rgence period1 #bgj1 #cjj1 #cjf1 #cji ,regency style1 #bfg ,relai1 #aa-b ,rembrandt1 #adc-d1 #bej2 ----1 house1 furniture and porcelain1 #adc-d ,renaissance1 ,dawn of the1 #fc-g2 ---- in ,flanders1 #hd2 ---- furniture1 #ib-e1 #aja1 #ajh-ag1 #aci-db2 ---- ornaments1 #ib-if ,retables1 #dh ,revocation of the ,edict of ,nantes1 #bgb ,reygensbergh1 ,a41 #bba ,rheims1 #ag1 #ce ,rijks ,museum1 #fa1 #fb1 #aaj1 #abd1 #abi1 #adg1 #aed1 #afj1 #afb1 #afd1 #aga1 #agb1 #age1 #bej1 #beb1 #bfa1 #bfg1 #cac1 #cai ,richard ,,ii41 #eg ,robbia1 ,luca della1 #ia ,robert1 ,duke of ,albany1 #eg2 ---- of ,sicily1 #ah ,rocaille1 #bgf1 #cjj1 #cji ,roelants1 ,john1 #fb ,roman1 ,the1 #ai ,romano1 ,giulio1 #ei1 #gc ,rooms1 #acd-e1 #aga1 #agb ,root-wood1 #bfa1 #bfb ,roovere1 ,sara de1 #beg ,rost1 ,john1 #gg ,rozmital1 ,leo van1 #cc ,rubens1 #aca1 #acb-c1 #ace-g1 #aeg-h1 #bjc2 ----1 house of1 #acb-d2 ---- pupils of1 #acf1 #acg2 ---- ,school of1 #id ,ruckers1 ,andreas1 #abg-h2 ----1 ,andreas the ,younger1 #abh2 ----1 ,christofel1 #abh2 ----1 ,hans1 #abe-f2 ----1 ,jean1 #abf-g ,rugs1 #g ,sablire1 ,marchioness de1 #bcj ,sacerdan4 ,see ,sacredaan ,sacredaan-wood1 #adc1 #ahi1 #aig1 #aih1 #bbi1 #bee1 #bef1 #beg1 #bff1 #bfh ,sadeler1 gidius1 #ajf1 #ajg ,saffron-pots1 #bbh ,saint-,florent of ,saumur1 ,monastery of1 #ai2 ---- ,gertrude1 ,louvain1 #gg-h2 ---- ,waltrude in ,herentals1 altar-piece1 #e ,salutation anglique1 ,the1 #i-aj ,salviati1 #gc ,sambin1 ,hughes1 #he-f ,samedo1 quoted1 #bah-i ,sandom1 #ec ,sarto1 ,a4 del1 #gc ,schelden1 ,paul van1 #gh2 ----1 ,peter van1 #gh ,scheldein1 ,jean van der1 #abb ,schentz1 ,p41 #aff ,school of ,fontainebleau1 #ib2 ---- of ,lige1 #cjf2 ---- of ,lille1 #cjj1 #cjf2 ---- of ,rhine1 #be2 ---- of ,rubens1 #id ,scent-boxes1 #bfc ,schubler1 #cja ,serlio1 ,sebastian1 #gd1 #hg1 #ib ,serviettes1 #gb ,settle4 ,see ,banc ,shah ,rukh1 #bje ,sheldon1 ,william1 #gg ,ships1 ,portuguese1 #bjh-i ,show-rooms1 #aid1 #aie-f ,sideboards1 #ab1 #ad-e1 #bja ,sidney1 ,henry1 #bci ,silk manufactory1 ,palermo1 #ah ,silver1 #ce1 #ci-dj1 #da1 #de1 #fj1 #aej1 #aii1 #bja1 #bdb1 #bdc1 #bfj-a1 #bfi ,singerie1 #bgj1 #cjj4 ,see ,monkeys ,shaw's ,travels ,through ,holland1 quoted1 #cjc ,sluter1 ,nicholas1 #dg1 #di1 #ej ,smet1 ,roger de1 #ec ,smout1 ,williken1 #dh ,smuggling1 #cjb ,sopha1 ,the1 #bgc ,south ,kensington ,museum1 #bd ,soutman1 ,peter1 #afe ,spanish ,armada tapestry1 #aeg2 ---- chair1 #afj-a2 ---- influence in the ,netherlands1 #ih-i ,spenser1 #ba ,spierinck1 ,franz1 #gg1 #aeg ,spinets1 #abd1 #bfg ,staete1 ,p4 de1 #ea ,stavelot1 #be ,steen1 ,jon1 #bej1 #beb1 #bec1 #bed1 #cbg ,steen ,museum1 ,the1 #hh ,steenberch1 ,adam1 #ea ,stedelijk ,museum1 #cji ,stoef4 ,see ,foot-stove ,stool1 #af1 #dg ,stradan1 ,j41 beds by1 #aji ,stuarts as art connoisseurs1 #bdi1 #bhj ,style1 ,auricular1 #aaa1 #aff-g1 #cjj2 ----1 ,chinese1 #abg1 #cje 7see ,chinoiserie72 ----1 ,classic1 #fe2 ----1 ,empire1 #caj2 ----1 ,floris1 #ajb-c2 ----1 ,gothic1 #fb1 #fe1 #gg-h1 #hb-c1 #aje1 #ajh1 #acc2 ----1 ,henri ,,ii41 #hc2 ----1 ---- ,louis ,quatorze1 #bgj #bgb2 ---- ,louis ,quinze1 #bgj1 #cjj1 #cja1 #cjf1 #cji2 ----1 ,marot1 #bfg2 ----1 ,pointed1 #c2 ----1 ,queen ,anne1 #bbd1 #bgf1 #cji2 ---- ,refugi1 #bgb-c1 #bhd2 ----1 ,regency or ,rgence1 #bfg2 ---- ,rubens1 #acb1 #acf1 #adb1 #afe2 ----1 ,william and ,mary1 #bgd ,sultan ,bajazet1 #cf-g ,sumptuary ,laws1 #bhh ,sybrandszoon1 ,diderik1 #hc ,table in ,utrecht ,museum1 #caj ,tables1 #g1 #ae1 #aaa-b1 #ada-b1 #bff1 #bgg-h2 ,table-bell1 #bfh2 ---- -carpet1 #bfc2 ---- -cover1 #bfc2 ---- and trestles1 #ec ,taillebert1 ,v41 #abb ,tapestry1 ,tapestries1 #f1 #ag-h4 #ai-bb1 #cf-g1 #ci1 #dd1 #ec-i1 #fi-gj1 #gb-g1 #ajj-a1 #aed-h1 #cjd-e4 ,see ,leather4 ---- weavers1 #ai-ba1 #eg-i1 #aef-g1 #cjd ,tapisserie4 ,see ,tapestry ,tea1 #bjd1 #bbf1 #bcj2 ----1 afternoon1 #bbi-cj2 ---- buffet1 #bbh2 ----1 ,dutch poet on1 #bcj2 ---- pots1 #bbh2 ---- room1 #bbg-i2 ---- sets1 #bbh2 ---- table1 #bbh ,tenires1 #aef ,teniers1 #aef1 #bej1 #bed ,terburg1 #bej1 #bec ,terme1 #id ,tetzel1 quoted1 #cc ,textiles1 #ah1 #bib-c ,theophilus1 #bc ,theorbo1 #abi ,thornhill1 ,sir ,james1 #bgf ,thuys1 ,j41 #aff ,tiles1 #agi1 #ahj ,titian1 #gc1 #afa ,toilet-table1 #bfb-c ,tournay1 #bj1 #ba1 #be1 #cb ,toys1 #agc-d1 #agf1 #bdb1 #bdd1 #cba ,trade with the ,east1 #fd1 #bjg1 #bjh1 #bac1 #bad-bj1 #bbf1 #bcg-h1 #bhg1 #bhh-ib1 #bii2 ---- and ,navigation of ,great ,britain ,considered1 #cjb1 #cjc ,travellers1 #bje2 ---- in ,holland1 quoted1 #ahc-g ,trekschuyt1 ,the1 #cbb ,trestles1 #g1 #ec ,trves1 #ci ,troost1 ,cornelis1 #cja ,trundle-bed1 #bff ,trunk1 #ab ,tulips1 #bjd ,turquet1 ,pierre1 #ec ,turkey-work1 #bdc ,tverff1 ,j4 van der1 #afe ,unteutsch1 ,f4 #aff ,upholstery1 #bcd1 #bgd ,utrecht ,museum1 #agc1 #caj2 ----1 ,peace of1 #caj ,valance1 #bde ,valenciennes1 looms1 #eh ,valentin d',arras1 #ei ,van ,dyck1 #aeg ,van ,eycks1 ,the1 #ed1 #ee1 #eh ,van ,varick1 ,mrs41 possessions1 #bda-f1 #bfj2 ----1 toys of1 #agf ,van ,loo1 #cje ,varnish-tree1 #bif ,vasari1 quoted1 #ge-f ,vases1 #bgh ,velasquez1 #afa ,venice1 #bc1 #bg1 #fd1 #bjh ,venetian glass1 #aag1 #bfd1 #bfe ,verberckt1 ,jacques1 #cjf ,verbrugghen1 ,peter1 #ach ,verdures1 #aef ,verhagen1 #bba ,vermay1 ,jan1 #gf ,vernis ,martin1 #bih ,veronese1 ,paul1 #gc ,verrio1 #bhb ,versailles1 #bgb1 #cjf ,vestibule1 #agi ,vigarny1 ,p41 #eb ,villain1 ,jehan1 #fa ,vilvorde ,church1 #aci ,vinckboons1 ,philip1 #afi1 #aga ,viol da gamba1 #abi ,violet-wood1 #bfh ,virginals1 #abf1 #abg ,vischer1 ,g41 #aff2 ,visscher1 ,roemer1 quoted1 #bfd ,vlaenders1 ,jan1 #ea ,voeren1 ,g4 van der1 #fb ,voorhuis1 ,the1 #agi1 #aid1 #bbg1 #beg ,voyeuse1 #aac ,vriendt1 ,cornelius de1 #ajb2 ----1 ,floris de1 #ajb ,vries1 ,hans ,vredemann de1 #id1 #ie1 #ajc-f1 #aji1 #ada1 #adb1 #afe1 #bjc2 ----1 ,paul de1 #ajd1 #abj ,vrij1 ,de1 #bee ,vroom1 ,h4 ,c4 de1 #aeg ,waydere1 ,m4 de1 #gh ,wall-cabinets1 #aae ,walnut1 #hd1 #aeh1 #bfh ,wars of the ,roses1 #fd ,washing of linen1 #cah ,watches1 #bfg ,watervliet1 ,van1 #hi ,watteau1 #cjj1 #cje ,waulsort1 #be ,waydere1 ,m4 de1 #gh ,weenix1 #bej1 #bed ,wernier1 #cjd ,werve1 ,nicholas van de1 #dg1 #ej ,westerhem1 ,j4 de1 #ci ,westerhen1 ,roger1 #dh ,weyden ,roger1 van der1 #ee ,wilhelmina1 #agj ,william ,,iii4 of ,england1 #bca1 #bgc1 #bgi1 #big2 ---- and ,mary ,style1 #bgd ,willow ,plate1 #bhg ,windebank1 ,sir ,f41 #abg ,window-seats1 #aa ,windows1 glass1 #aah2 ----1 painted1 #aha ,winter1 ,antony1 #aff ,wood-carvers1 #ej-c1 #fb2 ---- -carving1 #b1 #f1 #g1 #di1 #gh1 #abb1 #ach1 #adf2 ---- -work1 #h1 #aa-b4 ,see ,panelling ,woods1 #beg1 #bfh2 ----1 exotic1 #aeh ,work-boxes1 #bfc ,workmen1 #h1 #bh ,workum1 #cah ,wren1 ,sir ,christopher1 #bhj1 #bhb ,ypres1 #cb2 ----1 looms1 #eh2 ----1 ,st4 ,martin's1 #abb ,butler and ,tanner1 ,the ,selwood ,printing ,works1 ,frome1 and ,london ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,did not change the word #8joues' as it was used consistently4 ,the word #8joues' might be more appropriate4 #b4 ,in ,bruitlaen might be an ,english-pseudo-phonetic transcription of ,in ,bruikleen 7,on ,loan74 ,did not change4 #c4 ,jehan_/,jan_/,jean ,maluel_/,malouel and ,hennequin_/,hannequin van_/of_/de ,prindale_/,prindael are likely two separate individuals4 ,they are considered sometimes as the same person and sometimes as different persons4 ,did not change4 #d4 ,did not attempt to correct any ,english translation errors from the ,dutch4 #e4 ,did not change #8das' as it is an old spelling of #8dais'4 #f4 ,changed #8,itedelijk' to #8,stedelijk' on p4 vii4 #g4 ,changed #8,aubri de ,bourguinon' to #8,aubri de ,bourguignon' on p4 #cg4 #h4 ,changed #8maestra di panni de razza' to #8maestra di panni de arazzi' on p4 #ei4 #i4 ,changed #8,turween' to #8,terween' on p4 #hb4 #aj4 ,changed #8,judocus ,hondius' to #8,jodocus ,hondius' on p4 #ajg4 #aa4 ,added #8in' before #8#aehi' on p4 #aaf4 #ab4 ,changed #8tart pannen' to #8taart pannen' on p4 #aea4 #ac4 ,did not change the dates 7#afhi-ih7 provided for ,heinrich van ,bein on p4 #aff4 ,could not determine the actual lifespan4 #ad4 ,changed #8studied with ,diamonds' to #8studded with ,diamonds' on p4 #ahe4 #ae4 ,changed #8,they left the ,texel' to #8,they left ,texel' on p4 #bae4 #af4 ,changed #8household gods' to #8household goods' on p4 #bdb4 #ag4 ,silently corrected typographical errors4 #ah4 ,retained anachronistic and non-standard spellings as printed4 #ai4 ,enclosed italics font in underscores4 #bj4 ,superscripts are denoted by a carat before a single superscript character or a series of superscripted characters enclosed in curly braces1 e4g4 ,mr4 or ,mister4