After the period of the purer forms of the first Renaissance, the best time for carved woodwork and decorative furniture in the Netherlands was probably the seventeenth century, when the Flemish designers and craftsmen had ceased to copy the Italian patterns, and had established the style we recognise as "Flemish Renaissance."

Lucas Faydherbe, architect and sculptor (1617-1694)--whose boxwood group of the death of John the Baptist is in the South Kensington Museum--both the Verbruggens, and Albert Bruhl, who carved the choir work of St.

Giorgio Maggiore in Venice, are amongst the most celebrated Flemish wood carvers of this time. Vriedman de Vriesse and Crispin de Pa.s.se, although they worked in France, belong to Flanders and to the century. Some of the most famous painters--Francis Hals, Jordaens, Rembrandt, Metsu, Van Mieris--all belong to this time, and in some of the fine interiors represented by these Old Masters, in which embroidered curtains and rich coverings relieve the sombre colors of the dark carved oak furniture, there is a richness of effect which the artist could scarcely have imagined, but which he must have observed in the houses of the rich burghers of prosperous Flanders.

[Ill.u.s.tration: A Barber's Shop. From a Wood Engraving by J. Amman. 16th Century. Shewing a Chair of the time.]

In the chapter on Jacobean furniture, we shall see the influence and a.s.sistance which England derived from Flemish woodworkers; and the similarity of the treatment in both countries will be noticed in some of the South Kensington Museum specimens of English marqueterie, made at the end of the seventeenth century. The figure work in Holland has always been of a high order, and though as the seventeenth century advanced, this perhaps became less refined, the proportions have always been well preserved, and the att.i.tudes are free and unconstrained.

A very characteristic article of seventeenth century Dutch furniture is the large and ma.s.sive wardrobe, with the doors handsomely carved, not infrequently having three columns, one in the centre and one at each side, and these generally form part of the doors, which are also enriched with square panels, carved in the centre and finished with mouldings. There are specimens in the South Kensington Museum, of these and also of earlier Flemish work when the Renaissance was purer in style and, as has been observed, of less national character.

The marqueterie of this period is extremely rich, the designs are less severe, but the colouring of the woods is varied, and the effect heightened by the addition of small pieces of mother of pearl and ivory.

Later, this marqueterie became florid, badly finished, and the colouring of the veneers crude and gaudy. Old pieces of plain mahogany furniture were decorated with a thin layer of highly coloured veneering, a meretricious ornamentation altogether lacking refinement.

There is, however, a peculiarity and character about some of the furniture of North Holland, in the towns of Alkmaar, Hoorn, and others in this district, which is worth noticing. The treatment has always been more primitive and quaint than in the Flemish cities to which allusion has been made--and it was here that the old farm houses of the Nord-Hollander were furnished with the rush-bottomed chairs, painted green; the three-legged tables, and dower chests painted in flowers and figures of a rude description, with the colouring chiefly green and bright red, is extremely effective.

[Ill.u.s.tration: A Flemish Citizen at Meals. (_From a XVI, Century MS._)]

The Renaissance in Spain.

We have seen that Spain as well as Germany and the Low Countries were under the rule of the Emperor Charles V., and therefore it is unnecessary to look further for the sources of influence which brought the wave of Renaissance to the Spanish carvers and cabinet makers.

[Ill.u.s.tration: Sedan Chair Of Charles V. Probably made in the Netherlands.

Arranged with moveable back and uprights to form a canopy when desired.

(_In the Royal Armoury, Madrid._)]

After Van Eyck was sent for to paint the portrait of King John's daughter, the Low Countries continued to export to the Peninsula painters, sculptors, tapestry weavers, and books on Art. French artists also found employment in Spain, and the older Gothic became superseded as in other countries. Berruguete, a Spaniard, who had studied in the atelier of Michael Angelo, returned to his own country with the new influence strong upon him, and the vast wealth and resources of Spain at this period of her history enabled her n.o.bles to indulge their taste in cabinets richly ornamented with repousse plaques of silver, and later of tortoisesh.e.l.l, of ebony, and of scarce woods from her Indian possessions; though in a more general way chesnut was still a favorite medium.

Contemporary with decorative woodwork of Moorish design there was also a great deal of carving, and of furniture made, after designs brought from Italy and the North of Europe; and Mr. J.H. Pollen, quoting a trustworthy Spanish writer, Senor J.F. Riario, says:--"The brilliant epoch of sculpture (in wood) belongs to the sixteenth century, and was due to the great impulse it received from the works of Berruguete and Felipe de Borgona. He was the chief promoter of the Italian style, and the choir of the Cathedral of Toledo, where he worked so much, is the finest specimen of the kind in Spain. Toledo, Seville, and Valladolid were at the time great productive and artistic centres."

[Ill.u.s.tration: Silver Table, Late 16th or Early 17th Century. (_In the Queen's Collection, Windsor Castle._)]

The same writer, after discussing the characteristic Spanish cabinets, decorated outside with fine ironwork and inside with columns of bone painted and gilt, which were called "Varguenos," says:--"The other cabinets or escritoires belonging to that period (sixteenth century) were to a large extent imported from Germany and Italy, while others were made in Spain in imitation of these, and as the copies were very similar it is difficult to cla.s.sify them." * * *

[Ill.u.s.tration: Chair of Walnut or Chesnut Wood, Covered in Leather with embossed pattern. Spanish, (Collection of Baron de Valliere.) Period: Early XVII. Century.]

[Ill.u.s.tration: Wooden Coffer. With wrought iron mounts and falling flap, on carved stand. Spanish. (Collection of M. Monbrison.) Period: XVII.

Century.]

"Besides these inlaid cabinets, others must have been made in the sixteenth century inlaid with silver. An Edict was issued in 1594, prohibiting, with the utmost rigour, the making and selling of this kind of merchandise, in order not to increase the scarcity of silver." The Edict says that "no cabinets, desks, coffers, braziers, shoes, tables, or other articles decorated with stamped, raised, carved, or plain silver should be manufactured."

The beautiful silver table in Her Majesty's collection at Windsor Castle, ill.u.s.trated on page 68, is probably one of Spanish make of late sixteenth or early seventeenth century.

Although not strictly within the period treated of in this chapter, it is convenient to observe that much later, in the seventeenth and eighteenth centuries, one finds the Spanish cabinet maker ornamenting his productions with an inlay of ivory let into tortoisesh.e.l.l, representing episodes in the history of _Don Quichotte_, and the National pastime of bull-fighting.

These cabinets generally have simple rectangular outlines with numerous drawers, the fronts of which are decorated in the manner described, and where the stands are original they are formed of turned legs of ebony or stained wood. In many Spanish cabinets the influence of Saracenic art is very dominant; these have generally a plain exterior, the front is hinged as a fall-down flap, and discloses a decorative effect which reminds one of some of the Alhambra work--quaint arches inlaid with ivory, of a somewhat bizarre coloring of blue and vermilion--altogether a rather barbarous but rich and effective treatment.

To the seventeenth century also belong the high-backed Spanish and Portuguese chairs, of dark brown leather, stamped with numerous figures, birds and floral scrolls, studded with bra.s.s nails and ornaments, while the legs and arms are alone visible as woodwork; they are made of chesnut, with some leafwork or scroll carving. There is a good representative woodcut of one of these chairs.

Until Baron Davillier wrote his work on Spanish art, very little was known of the different peculiarities by which we can now distinguish examples of woodwork and furniture of that country from many Italian or Flemish contemporary productions. Some of the Museum specimens will a.s.sist the reader to mark some characteristics, and it may be observed generally that in the treatment of figure subjects in the carved work, the att.i.tudes are somewhat strained, and, as has been stated, the outlines of the cabinets are without any special feature. Besides the Spanish chesnut (noyer), which is singularly l.u.s.trous and was much used, one also finds cedar, cypress wood and pine.

In the Chapel of Saint Bruno, attached to the Carthusian Convent at Granada, the doors and interior fittings are excellent examples of inlaid Spanish work of the seventeenth century; the monks of this order at a somewhat earlier date are said to have produced the "tarsia," or inlaid work, to which some allusion has already been made.

The Renaissance in Germany.

German Renaissance may be said to have made its debut under Albrecht Durer. There was already in many of the German cities a disposition to copy Flemish artists, but under Durer's influence this new departure became developed in a high degree, and, as the sixteenth century advanced, the Gothic designs of an earlier period were abandoned in favour of the more free treatment of figure ornament, scrolls, enriched panels and mouldings, which mark the new era in all Art work.

Many remarkable specimens of German carving are to be met with in Augsburg, Aschaffenburg, Berlin, Cologne, Dresden, Gotha, Munich, Manheim, Nuremberg, Ulm, Regensburg, and other old German towns.

Although made of steel, the celebrated chair at Longford Castle in Wiltshire is worthy of some notice as a remarkable specimen of German Renaissance. It is fully described in Richardson's "Studies from Old English Mansions." It was the work of Thomas Rukers, and was presented by the city of Augsburg to the Emperor of Germany in 1577. The city arms are at the back, and also the bust of the Emperor. The other minute and carefully finished decorative subjects represent different events in history; a triumphal procession of Caesar, the Prophet Daniel explaining his dream, the landing of Aeneas, and other events. The Emperor Rudolphus placed the chair in the City of Prague, Gustavus Adolphus plundered the city and removed it to Sweden, whence it was brought by Mr. Gustavus Brander about 100 years ago, and sold by him to Lord Radnor.

As is the case with Flemish wood-carving, it is often difficult to identify German work, but its chief characteristics may be said to include an exuberant realism and a fondness for minute detail. M. Bonnaffe has described this work in a telling phrase: "_l'ensemble est tourmente, laborieux, touffu tumultueux_."

[Ill.u.s.tration: The Steel Chair, At Longford Castle, Wiltshire.]

There is a remarkable example of rather late German Renaissance oak carving in the private chapel of S. Saviour's Hospital, in Osnaburg Street, Regent's Park, London. The choir stalls, some 31 in number, and the ma.s.sive doorway, formed part of a Carthusian monastery at Buxheim, Bavaria, which was sold and brought to London after the monastery had been secularised and had pa.s.sed into the possession of the territorial landlords, the Ba.s.senheim family. At first intended to ornament one of the Colleges at Oxford, it was afterwards resold and purchased by the author, and fitted to the interior of S. Saviour's, and so far as the proportions of the chapel would admit of such an arrangement, the relative positions of the different parts are maintained. The figures of the twelve apostles--of David, Eleazer, Moses, Aaron, and of the eighteen saints at the backs of the choir stalls, are marvellous work, and the whole must have been a harmonious and well considered arrangement of ornament. The work, executed by the monks themselves, is said to have been commenced in 1600, and to have been completed in 1651, and though a little later than, according to some authorities, the best time of the Renaissance, is so good a representation of German work of this period that it will well repay an examination. As the author was responsible for its arrangement in its present position, he has the permission of the Rev. Mother at the head of S. Saviour's to say that any one who is interested in Art will be allowed to see the chapel.

[Ill.u.s.tration: German Carved Oak Buffet, 17th Century. (_From a Drawing by Prof. Heideloff._)]

The Renaissance In England.

England under Henry the Eighth was peaceful and prosperous, and the King was ambitious to outvie his French contemporary, Francois I., in the sumptuousness of his palaces. John of Padua, Holbein, Havernius of Cleves, and other artists, were induced to come to England and to introduce the new style. It, however, was of slow growth, and we have in the mixture of Gothic, Italian and Flemish ornament, the style which is known as "Tudor."

It has been well said that "Feudalism was ruined by gunpowder." The old-fashioned feudal castle was no longer proof against cannon, and with the new order of things, threatening walls and serried battlements gave way as if by magic to the pomp and grace of the Italian mansion. High roofed gables, rows of windows and glittering oriels looking down on terraced gardens, with vases and fountains, mark the new epoch.

[Ill.u.s.tration: Carved Oak Chest in the Style of Holbein.]

The joiner's work played a very important part in the interior decoration of the castles and country seats of this time, and the roofs were magnificently timbered with native oak, which was available in longer lengths than that of foreign growth. The Great Hall in Hampton Court Palace, which was built by Cardinal Wolsey and presented to his master, the halls of Oxford, and many other public buildings which remain to us, are examples of fine woodwork in the roofs. Oak panelling was largely used to line the walls of the great halls, the "linen scroll pattern" being a favorite form of ornament. This term describes a panel carved to represent a napkin folded in close convolutions, and appears to have been adopted from German work; specimens of this can be seen at Hampton Court, and in old churches decorated in the early part of the sixteenth century. There is also some fine panelling of this date in King's College, Cambridge.

In this cla.s.s of work, which accompanied the style known in architecture as the "Perpendicular," some of the finest specimens of oak ornamented interiors are to be found, that of the roof and choir stalls in the beautiful Chapel of Henry VII. in Westminster Abbey, being world famous.

The carved enrichments of the under part of the seats, or "misericords,"

are especially minute, the subjects apparently being taken from old German engravings. This work was done in England before architecture and wood carving had altogether flung aside their Gothic trammels, and shews an admixture of the new Italian style which was afterwards so generally adopted.

There are in the British Museum some interesting records of contracts made in the ninth year of Henry VIII.'s reign for joyner's work at Hengrave, in which the making of 'livery' or service cupboards is specified.

"Ye cobards they be made ye facyon of livery y is w'thout doors."

These were fitted up by the ordinary house carpenters, and consisted of three stages or shelves standing on four turned legs, with a drawer for table linen. They were at this period not enclosed, but the mugs or drinking vessels were hung on hooks, and were taken down and replaced after use; a ewer and basin was also part of the complement of a livery cupboard, for cleansing these cups. In Harrison's description of England in the latter part of the sixteenth century the custom is thus described:

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