[Ill.u.s.tration: Cylinder Secretaire, In Marqueterie, with Bronze Gilt Mountings, by Gouthiere. (_Mr. Alfred de Rothschild's Collection._) Period: Louis XVI.]

A specimen of this kind of work (an upright secretaire, of which we have not been able to obtain a satisfactory representation) formed part of the Hamilton Palace collection, and realised 9,450, the highest price which the writer has ever seen a single piece of furniture bring by auction; it must be regarded as the _chef d'oeuvre_ of Gouthiere.

In the Jones Collection, at South Kensington, there are also several charming examples of Louis Seize _meubles de luxe_. Some of these are enriched with plaques of Sevres porcelain, which treatment is better adapted to the more jewel-like mounting of this time than to the rococo style in vogue during the preceding reign.

[Ill.u.s.tration: Arm Chair In Louis XVI. Style.]

The upholstered furniture became simpler in design; the sofas and chairs have generally, but not invariably, straight fluted tapering legs, but these sometimes have the flutings spiral instead of perpendicular, and the backs are either oval or rectangular, and ornamented with a carved riband which is represented as tied at the top in a lover's knot. Gobelins, Beauvais, and Aubusson tapestry are used for covering, the subjects being in harmony with the taste of the time. A sofa in this style, with settees at the ends, the frame elaborately carved with trophies of arrows and flowers in high relief, and covered with fine old Gobelins tapestry, was sold at the Hamilton Palace sale for 1,176. This was formerly at Versailles. Beautiful silks and brocades were also extensively used both for chairs and for the screens, which at this period were varied in design and extremely pretty. Small two-tier tables of tulip wood with delicate mountings were quite the rage, and small occasional pieces, the legs of which, like those of the chairs, are occasionally curved. An excellent example of a piece with cabriole legs is the charming little Marie Antoinette cylinder-fronted marqueterie escritoire in the Jones Collection (ill.u.s.trated below). The marqueterie is attributed to Riesener, but, from its treatment being so different from that which he adopted as an almost invariable rule, it is more probably the work of David.

[Ill.u.s.tration: Carved and Gilt Causeuse or Settee, and Fauteuil or Arm Chair, Covered with Beauvais tapestry. (Collection "Mobilier National.") (_From a pen and ink drawing by H. Evans._) Period: End of Louis XVI.]

[Ill.u.s.tration: Carved and Gilt Canape or Sofa. Covered with Beauvais tapestry. (Colection "Mobilier Natioa.n.a.l.") Period: End of Louis XVI.]

Another fine specimen ill.u.s.trated on page 170 is the small cabinet made of kingwood, with fine ormolu mounts, and some beautiful Sevres plaques.

[Ill.u.s.tration: Marqueterie Escritoire. By Davis, said to have belonged to Marie Antoinette. (_Jones Collection, South Kensington Museum._)]

The influence exercised by the splendour of the Court of Louis Quatorze, and by the bringing together of artists and skilled handicraftsmen for the adornment of the palaces of France, which we have seen took place during the latter half of the seventeenth century, was not without its effect upon the Industrial Arts of other countries. Macaulay mentions the "bales of tapestry" and other accessories which were sent to Holland to fit up the camp quarters of Louis le Grand when he went there to take the command of his army against William III., and he also tells us of the sumptuous furnishing of the apartments at St. Germains when James II., during his exile, was the guest of Louis. The grandeur of the French King impressed itself upon his contemporaries, and war with Germany, as well as with Holland and England, helped to spread this influence. We have noticed how Wren designed the additions to Hampton Court Palace in imitation of Versailles; and in the chapter which follows this, it will be seen that the designs of Chippendale were really reproductions of French furniture of the time of Louis Quinze. The King of Sweden, Charles XII., "the Madman of the North," as he was called, imitated his great French contemporary, and in the Palace at Stockholm there are still to be seen traces of the Louis Quatorze style in decoration and in furniture; such adornments are out of keeping with the simplicity of the habits of the present Royal family of Sweden.

A Bourbon Prince, too, succeeded to the throne of Spain in 1700, and there are still in the palaces and picture galleries of Madrid some fine specimens of French furniture of the three reigns which have just been discussed. It may be taken, therefore, that from the latter part of the seventeenth century the dominant influence upon the design of decorative furniture was of French origin.

There is evidence of this in a great many examples of the work of Flemish, German, English, and Spanish cabinet makers, and there are one or two which may be easily referred to which it is worth while to mention.

One of these is a corner cupboard of rosewood, inlaid with engraved silver, part of the design being a shield with the arms of an Elector of Cologne; there is also a pair of somewhat similar cabinets from the Bishop's Palace at Salzburg. These are of German work, early eighteenth century, and have evidently been designed after Boule's productions. The shape and the gilt mounts of a secretaire of walnutwood with inlay of ebony and ivory, and some other furniture which, with the other specimens just described, may be seen in the Bethnal Green Museum, all manifest the influence of the French school, when the bombe-fronted commodes and curved lines of chair and table came into fashion.

Having described somewhat in detail the styles which prevailed and some of the changes which occurred in France, from the time of Louis XIV. until the Revolution, it is unnecessary for the purposes of this sketch, to do more than briefly refer to the work of those countries which may be said to have adopted, to a greater or less extent, French designs. For reasons already stated, an exception is made in the case of our own country; and the following chapter will be devoted to the furniture of some of the English designers and makers of the latter half of the eighteenth century.

Of Italy it may be observed generally that the Renaissance of Raffaele, Leonardo da Vinci, and Michael Angelo, which we have seen became degenerate towards the end of the sixteenth century, relapsed still further during the period which we have been discussing, and although the freedom and grace of the Italian carving, and the elaboration of inlaid arabesques, must always have some merit of their own, the work of the seventeenth and eighteenth centuries in Italy will compare very unfavourably with that of the earlier period of the Renaissance.

[Ill.u.s.tration: A Norse Interior, Shewing Chairs of Dutch Design. Period: Late XVII. or Early XVIII. Century.]

There are many other museum specimens which might be referred to to prove the influence of French design of the seventeenth and subsequent centuries on that of other countries. The above ill.u.s.tration of a Norse interior shews that this influence penetrated as far as Scandinavia; for while the old-fashioned box-like bedsteads which the Norwegians had retained from early times, and which in a ruder form are still to be found in the cottages of many Scottish counties, especially of those where the Scandinavian connection existed, is a characteristic mark of the country, the design of the two chairs is an evidence of the innovations which had been made upon native fashions. These chairs are in style thoroughly Dutch, of about the end of the seventeenth or early in the eighteenth century; the cabriole legs and sh.e.l.l ornaments were probably the direct result of the influence of the French on the Dutch. The woodcut is from a drawing of an old house in Norwav.

[Ill.u.s.tration: Secretaire, In King and Tulip Wood, with Sevres Plaques and Ormolu Mountings. Period: Early Louis XVI.]

It would be unfitting to close this chapter on French furniture without paying a tribute to the munificence and public spirit of Mr. John Jones, whose bequest to the South Kensington Museum const.i.tutes in itself a representative Museum of this cla.s.s of decorative furniture. Several of the ill.u.s.trations in this chapter have been taken from this collection.

In money value alone, the collection of furniture, porcelain, bronzes, and _articles de vertu,_ mostly of the period embraced within the limits of this chapter, amounts to about 400,000, and exceeds the value of any bequest the nation has ever had. Perhaps the references contained in these few pages to the French furniture of this time may stimulate the interest of the public in, and its appreciation of, this valuable national property.

[Ill.u.s.tration: Clock, By Robin, in Marqueterie Case, with Mountings of Gilt Bronze, (_Jones Collection. South Kensington Museum._) Louis XVI.

Period.]

Soon after this generous bequest was placed in the South Kensington Museum, for the benefit of the public, a leading article appeared in the _Times_, from which the following extract will very appropriately conclude this chapter:--"As the visitor pa.s.ses by the cases where these curious objects are displayed, he asks himself what is to be said on behalf of the art of which they are such notable examples." Tables, chairs, commodes, secretaires, wardrobes, porcelain vases, marble statuettes, they represent in a singularly complete way the mind and the work of the _ancien regime_.

Like Eisen's vignettes, or the _contes_ of innumerable story-tellers, they bring back to us the grace, the luxury, the prettiness, the frivolity of that Court which believed itself, till the rude awakening came, to contain all that was precious in the life of France. A piece of furniture like the little Sevres-inlaid writing table of Marie Antoinette is, to employ a figure of Balzac's, a doc.u.ment which reveals as much to the social historian as the skeleton of an ichthyosaurus reveals to the palaeontologist. It sums up an epoch. A whole world can be inferred from it. Pretty, elegant, irrational, and entirely useless, this exquisite and costly toy might stand as a symbol for the life which the Revolution swept away.

[Ill.u.s.tration: Harpsichord, from the Permanent Collection belonging to South Kensington Museum. Date: About 1750.]

[Ill.u.s.tration: Italian Sedan Chair. Used at the Baptism of the Grand Ducal Family of Tuscany, now in the South Kensington Museum. Period: Latter Half of XVIII. Century.]

Chapter VII.

Chippendale and his Contemporaries.

Chinese style--Sir William Chambers--The Brothers Adams'

work--Pergelesi, Cipriani, and Angelica Kauffmann--Architects of the time--Wedgwood and Flaxman--Chippendale's Work and his Contemporaries--Chair in the Barbers' Hall--Lock, Shearer, Hepplewhite, Ince, Mayhew, Sheraton--Introduction of Satinwood and Mahogany--Gillows of Lancaster and London--History of the Sideboard--The Dining Room--Furniture of the time.

Soon after the second half of the eighteenth century had set in, during the latter days of the second George, and the early part of his successor's long reign, there is a distinct change in the design of English decorative furniture.

Sir William Chambers, R.A., an architect, who has left us Somerset House as a lasting monument of his talent, appears to have been the first to impart to the interior decoration, of houses what was termed "the Chinese style," after his visit to China, of which a notice was made in the chapter on Eastern furniture: and as he was considered an "oracle of taste" about this time, his influence was very powerful. Chair backs consequently have the peculiar irregular lattice work which is seen in the fretwork of Chinese and j.a.panese ornaments, and PaG.o.das, Chinamen and monsters occur in his designs for cabinets. The overmantel which had hitherto been designed with some architectural pretension, now gave way to the larger mirrors which were introduced by the improved manufacture of plate gla.s.s: and the chimney piece became lower. During his travels in Italy, Chambers had found some Italian sculptors, and had brought them to England, to carve in marble his designs; they were generally of a free Italian character, with scrolls of foliage and figure ornaments: but being of stone instead of woodwork, would scarcely belong to our subject, save to indicate the change in fashion of the chimney piece, the vicissitudes of which we have already noticed. Chimney pieces were now no longer specially designed by architects, as part of the interior fittings, but were made and sold with the grates, to suit the taste of the purchaser, often quite irrespective of the rooms for which they were intended. It may be said that Dignity gave way to Elegance.

Robert Adam, having returned from his travels in France and Italy, had designed and built, in conjunction with his brother James, Adelphi Terrace about 1769, and subsequently Portland Place, and other streets and houses of a like character; the furniture being made, under the direction of Robert, to suit the interiors. There is much interest attaching to No. 25, Portland Place, because this was the house built, decorated and furnished by Robert Adam for his own residence, and, fortunately, the chief reception rooms remain to shew the style then in vogue. The brothers Adam introduced into England the application of composition ornaments to woodwork. Festoons of drapery, wreaths of flowers caught up with rams'

heads, or of husks tied with a knot of riband, and oval pateroe to mark divisions in a frieze, or to emphasize a break in the design, are ornaments characteristic of what was termed the Adams style.

Robert Adam published between 1778 and 1822 three magnificent volumes, "Works on Architecture." One of these was dedicated to King George III., to whom he was appointed architect. Many of his designs for furniture were carried out by Gillows; there is a good collection of his original drawings in the Soane Museum, Lincoln's Inn Fields.

The decoration was generally in low relief, with fluted pilasters, and sometimes a rather stiff Renaissance ornament decorating the panel; the effect was neat and chaste, and a distinct change from the rococo style which had preceded it.

The design of furniture was modified to harmonize with such decoration.

The sideboard had a straight and not infrequently a serpentine-shaped front, with square tapering legs, and was surmounted by a pair of urn-shaped knife cases, the wood used being almost invariably mahogany, with the inlay generally of plain flutings relieved by fans or oval pateroe in satin wood.

Pergolesi, Cipriani and Angelica Kaufmann had been attracted to England by the promise of lucrative employment, and not only decorated the panels of ceilings and walls which were enriched by Adams' "_compo_'" (in reality a revival of the old Italian gesso work), but also painted the ornamental cabinets, occasional tables, and chairs of the time.

[Ill.u.s.tration: Fac-simile of Original Drawings by Robert Adam (Reduced).]

Towards the end of the century, satin wood was introduced into England from the East Indies; it became very fashionable, and was a favourite ground-work for decoration, the medallions of figure subjects, generally of cupids, wood-nymphs, or ill.u.s.trations of mythological fables on darker coloured wood, formed an effective relief to the yellow satin wood.

Sometimes the cabinet, writing table, or spindle-legged occasional piece, was made entirely of this wood, having no other decoration beyond the beautiful marking of carefully chosen veneers; sometimes it was banded with tulipwood or harewood (a name given to sycamore artificially stained), and at other times painted as just described. A very beautiful example of this last named treatment is the dressing table in the South Kensington Museum, which we give as an ill.u.s.tration, and which the authorities should not, in the writer's opinion, have labelled "Chippendale."

Besides Chambers, there were several other architects who designed furniture about this time who have been almost forgotten. Abraham Swan, some of whose designs for wooden chimney pieces in the quasi-cla.s.sic style are given, flourished about 1758. John Carter, who published "Specimens of Ancient Sculpture and Painting"; Nicholas Revitt and James Stewart, who jointly published "Antiquities of Athens" in 1762; J.C. Kraft, who designed in the Adams' style; W. Thomas, M.S.A., and others, have left us many drawings of interior decorations, chiefly chimney pieces and the ornamental architraves of doors, all of them in low relief and of a cla.s.sical character, as was the fashion towards the end of the eighteenth century.

Josiah Wedgwood, too, turned his attention to the production of plaques in relief, for adaptation to chimney pieces of this character. In a letter written from London to Mr. Bentley, his partner, at the works, he deplores the lack of encouragement in this direction which he received from the architects of his day; he, however, persevered, and by the aid of Flaxman's inimitable artistic skill as a modeller, made several plaques of his beautiful Jasper ware, which were let in to the friezes of chimney pieces, and also into other wood-work. There can be seen in the South Kensington Museum a pair of pedestals of this period (1770-1790) so ornamented.

It is now necessary to consider the work of a group of English cabinet makers, who not only produced a great deal of excellent furniture, but who also published a large number of designs drawn with extreme care and a considerable degree of artistic skill.

The first of these and the best known was Thomas Chippendale, who appears to have succeeded his father, a chair maker, and to have carried on a large and successful business in St. Martin's Lane, which was at this time an important Art centre, and close to the newly-founded Royal Academy.

[Ill.u.s.tration: English Satinwood Dressing Table. With Painted Decoration.

End of XVIII. Century.]

[Ill.u.s.tration: Chimneypiece and Overmantel. Designed by W. Thomas, Architect. 1783. Very similar to Robert Adam's work.]

Chippendale published "The Gentleman and Cabinet Maker's Director," not, as stated in the introduction to the catalogue to the South Kensington Museum, in 1769, but some years previously, as is testified by a copy of the "third edition" of the work which is in the writer's possession and bears date 1762, the first edition having appeared in 1754. The t.i.tle page of this edition is reproduced in _fac simile_ on page 178.

[Ill.u.s.tration: Chairs, With ornament in the Chinese style, by Thomas Chippendale.]