There are in London other excellent examples of Elizabethan oak carving.

Amongst those easily accessible and valuable for reference are the Hall of Gray's Inn, built in 1560, the second year of the Queen's reign, and Middle Temple Hall, built in 1570-2. An ill.u.s.tration of the carved screen supporting the Minstrels' Gallery in the older Hall is given by permission of Mr. William R. Douthwaite, librarian of the "Inn," for whose work, "Gray's Inn, its History and a.s.sociations," it was specially prepared. The interlaced strap work generally found in Elizabethan carving, encircles the shafts of the columns as a decoration. The table in the centre has also some low relief carving on the drawer front which forms its frieze, but the straight and severe style of leg leads us to place its date at some fifty years later than the Hall. The desk on the left, and the table on the right, are probably later still. It may be mentioned here, too, that the long table which stands at the opposite end of the Hall, on the das, said to have been presented by Queen Elizabeth, is not of the design with which the furniture of her reign is a.s.sociated by experts; the heavy cabriole legs, with bent knees, corresponding with the legs of the chairs (also on the das), are of unmistakable Dutch origin, and, so far as the writer's observations and investigations have gone, were introduced into England about the time of William III.

The same remarks apply to a table in Middle Temple Hall, also said to have been there during Elizabeth's time. Mr. Douthwaite alludes to the rumour of the Queen's gift in his book, and endeavoured to substantiate it from records at his command, but in vain. The authorities at Middle Temple are also, so far as we have been able to ascertain, without any doc.u.mentary evidence to prove the claim of their table to any greater age than the end of the seventeenth century.

The carved oak screen of Middle Temple Hall is magnificent, and no one should miss seeing it. Terminal figures, fluted columns, panels broken up into smaller divisions, and carved enrichments of various devices, are all combined in a harmonious design, rich without being overcrowded, and its effect is enhanced by the rich color given to it by age, by the excellent proportions of the Hall, by the plain panelling of the three other sides, and above all by the grand oak roof, which is certainly one of the finest of its kind in England. Some of the tables and forms are of much later date, but an interest attaches even to this furniture from the fact of its having been made from oak grown close to the Hall; and as one of the tables has a slab composed of an oak plank nearly thirty inches wide, we can imagine what fine old trees once grew and flourished close to the now busy Fleet Street, and the bustling Strand. There are frames, too, in Middle Temple made from the oaken timbers which once formed the piles in the Thames, on which rested "the Temple Stairs."

In Mr. Herbert's "Antiquities of the Courts of Chancery," there are several facts of interest in connection with the woodwork of Middle Temple. He mentions that the screen was paid for by contributions from each bencher of twenty shillings, each barrister of ten shillings, and every other member of six shillings and eightpence; that the Hall was founded in 1562, and furnished ten years later, the screen being put up in 1574: and that the memorials of some two hundred and fifty "Readers" which decorate the otherwise plain oak panelling, date from 1597 to 1804, the year in which Mr. Herbert's book was published. Referring to the furniture, he says:--"The ma.s.sy oak tables and benches with which this apartment was anciently furnished, still remain, and so may do for centuries, unless violently destroyed, being of wonderful strength." Mr.

Herbert also mentions the masks and revels held in this famous Hall in the time of Elizabeth: he also gives a list of quant.i.ties and prices of materials used in the decoration of Gray's Inn Hall.

[Ill.u.s.tration: Three Carved Oak Panels. Now in the Court Room of the Hall of the Carpenters' Company. Removed from the former Hall. Period: Elizabethan.]

In the Hall of the Carpenters' Company, in Throgmorton Avenue, are three curious carved oak panels, worth noticing here, as they are of a date bringing them well into this period. They were formerly in the old Hall, which escaped the Great Fire, and in the account books of the Corporation is the following record of the cost of one of these panels:--

"Paide for a planke to carve the arms of the Companie iij_s_."

"Paide to the Carver for carvinge the Arms of the Companie xxiij_s_.

iiij_d_."

The price of material (3s.) and workmanship (23s. 4d.) was certainly not excessive. All three panels are in excellent preservation, and the design of a harp, being a rebus of the Master's name, is a quaint relic of old customs. Some other oak furniture, in the Hall of this ancient Company, will be noticed in the following chapter. Mr. Jupp, a former Clerk of the Company, has written an historical account of the Carpenters, which contains many facts of interest. The office of King's Carpenter or Surveyor, the powers of the Carpenters to search, examine, and impose fines for inefficient work, and the trade disputes with the "Joyners," the Sawyers, and the "Woodmongers," are all entertaining reading, and throw many side-lights on the woodwork of the sixteenth and seventeenth centuries.

[Ill.u.s.tration: Part of an Elizabethan Staircase.]

The ill.u.s.tration of Hardwick Hall shews oak panelling and decoration of a somewhat earlier, and also somewhat later time than Elizabeth, while the carved oak chairs are of Jacobean style. At Hardwick is still kept the historic chair in which it is said that William, fourth Earl of Devonshire, sat when he and his friends compa.s.sed the downfall of James II. In the curious little chapel hung with ancient tapestry, and containing the original Bible and Prayer Book of Charles I., are other quaint chairs covered with cushions of sixteenth or early seventeenth century needlework.

[Ill.u.s.tration: The Entrance Hall, Hardwick Hall. Period Of Furniture, Jacobean, XVII. Century.]

Before concluding the remarks on this period of English woodwork and furniture, further mention should be made of Penshurst Place, to which there has been already some reference in the chapter on the period of the Middle Ages. It was here that Sir Philip Sydney spent much of his time, and produced his best literary work, during the period of his retirement when he had lost the favour of Elizabeth, and in the room known as the "Queen's Room," ill.u.s.trated on p. 89, some of the furniture is of this period; the crystal chandeliers are said to have been given by Leicester to his Royal Mistress, and some of the chairs and tables were sent down by the Queen, and presented to Sir Henry Sydney (Philip's father) when she stayed at Penshurst during one of her Royal progresses. The room, with its vases and bowls of old oriental china and the contemporary portraits on the walls, gives us a good idea of the very best effect that was attainable with the material then available.

Richardson's "Studies" contains, amongst other examples of furniture, and carved oak decorations of English Renaissance, interiors of Little Charlton, East Sutton Place, Stockton House, Wilts, Audley End, Ess.e.x, and the Great Hall, Crewe, with its beautiful hall screens and famous carved "parloir," all notable mansions of the sixteenth century.

To this period of English furniture belongs the celebrated "Great Bed of Ware," of which there is an ill.u.s.tration. This was formerly at the Saracen's Head at Ware, but has been removed to Rye House, about two miles away. Shakespeare's allusion to it in the "Twelfth Night" has identified the approximate date and gives the bed a character. The following are the lines:--

"SIR TOBY BELCH.--And as many lies as shall lie in thy sheet of paper, altho' the sheet were big enough for the Bed of Ware in England, set em down, go about it."

Another ill.u.s.tration shows the chair which is said to have belonged to William Shakespeare; it may or may not be the actual one used by the poet, but it is most probably a genuine specimen of about his time, though perhaps not made in England. There is a ma.n.u.script on its back which states that it was known in 1769 as the Shakespeare Chair, when Garrick borrowed it from its owner, Mr. James Bacon, of Barnet, and since that time its history is well known. The carved ornament is in low relief, and represents a rough idea of the dome of S. Marc and the Campanile Tower.

We have now briefly and roughly traced the advance of what may be termed the flood-tide of Art from its birthplace in Italy to France, the Netherlands, Spain, Germany, and England, and by explanation and description, a.s.sisted by ill.u.s.trations, have endeavoured to shew how the Gothic of the latter part of the Middle Ages gave way before the revival of cla.s.sic forms and arabesque ornament, with the many details and peculiarities characteristic of each different nationality which had adopted the general change. During this period the bahut or chest has become a cabinet with all its varieties; the simple _prie dieu_ chair, as a devotional piece of furniture, has been elaborated into almost an oratory, and, as a domestic seat, into a dignified throne; tables have, towards the end of the period, become more ornate, and made as solid pieces of furniture, instead of the planks and tressels which we found when the Renaissance commenced. Chimney pieces, which in the fourteenth century were merely stone smoke shafts supported by corbels, have been replaced by handsome carved oak erections, ornamenting the hall or room from floor to ceiling, and the English livery cupboard, with its foreign contemporary the buffet, is the forerunner of the sideboard of the future.

[Ill.u.s.tration: Shakespeare's Chair.]

[Ill.u.s.tration: The Great Bed of Ware. Formerly at the Saracen's Head, Ware, but now at Rye House, Broxbourne, Herts. Period: XVI. Century.]

Carved oak panelling has replaced the old arras and ruder wood lining of an earlier time, and with the departure of the old feudal customs and the indulgence in greater luxuries of the more wealthy n.o.bles and merchants in Italy, Flanders, France, Germany, Spain, and England, we have the elegancies and grace with which Art, and increased means of gratifying taste, enabled the sixteenth century virtuoso to adorn his home.

[Ill.u.s.tration: The "Queen's Room," Penshurst Place. (_Reproduced from "Historic Houses of the United Kingdom" by permission of Messrs. Ca.s.sell & Co., Limited._)]

[Ill.u.s.tration: Carved Oak Chimney Piece in Speke Hall, Near Liverpool.

Period: Elizabethan.]

Chapter IV.

Jacobean furniture.

English Home Life in the Reign of James I.--Sir Henry Wootton quoted--Inigo Jones and his work--Ford Castle--Chimney Pieces in South Kensington Museum--Table in the Carpenters' Hall---Hall of the Barbers'

Company--The Charterhouse--Time of Charles I.--Furniture at Knole--Eagle House, Wimbledon, Mr. Charles Eastlake--Monuments at Canterbury and Westminster--Settles, Couches, and Chairs of the Stuart period--Sir Paul Pindar's House--Cromwellian Furniture--The Restoration--Indo-Portuguese Furniture--Hampton Court Palace--Evelyn's description--The Great Fire of London--Hall of the Brewers'

Company--Oak Panelling of the time--Grinling Gibbons and his work--The Edict of Nantes--Silver Furniture at Knole--William III. and Dutch influence--Queen Anne--Sideboards, Bureaus, and Grandfather's Clocks--Furniture at Hampton Court.

[Ill.u.s.tration]

In the chapter on "Renaissance" the great Art revival in England has been noticed; in the Elizabethan oak work of chimney pieces, panelling, and furniture, are to be found varying forms of the free cla.s.sic style which the Renaissance had brought about. These fluctuating changes in fashion continued in England from the time of Elizabeth until the middle of the eighteenth century, when, as will be shewn presently, a distinct alteration in the design of furniture took place.

The domestic habits of Englishmen were getting more established. We have seen how religious persecution during preceding reigns, at the time of the Reformation, had encouraged private domestic life of families, in the smaller rooms and apart from the gossiping retainer, who might at any time bring destruction upon the household by giving information about items of conversation he had overheard. There is a pa.s.sage in one of Sir Henry Wootton's letters, written in 1600, which shews that this home life was now becoming a settled characteristic of his countrymen.

"Every man's proper mansion house and home, being the theatre of his hospitality, the seate of his selfe fruition, the comfortable part of his own life, the n.o.blest of his son's inheritance, a kind of private princedom, nay the possession thereof an epitome of the whole world, may well deserve by these attributes, according to the degree of the master, to be delightfully adorned."

[Ill.u.s.tration: Oak Chimney Piece in Sir Walter Raleigh's House, Youghal, Ireland. Said to be the work of a Flemish Artist who was brought over for the purpose of executing this and other carved work at Youghal.]

Sir Henry Wootton was amba.s.sador in Venice in 1604, and is said to have been the author of the well-known definition of an amba.s.sador's calling, namely, "an honest man sent abroad to lie for his country's good." This offended the piety of James I., and caused him for some time to be in disgrace. He also published some 20 years later "Elements of Architecture," and being an antiquarian and man of taste, sent home many specimens of the famous Italian wood carving.

It was during the reign of James I. and that of his successor that Inigo Jones, our English Vitruvius, was making his great reputation; he had returned from Italy full of enthusiasm for the Renaissance of Palladio and his school, and of knowledge and taste gained by a diligent study of the ancient cla.s.sic buildings of Rome; his influence would be speedily felt in the design of woodwork fittings, for the interiors of his edifices. There is a note in his own copy of Palladio, which is now in the library of Worcester College, Oxford, which is worth quoting:--

"In the name of G.o.d: Amen. The 2 of January, 1614, I being in Rome compared these desines following, with the Ruines themselves.--INIGO JONES."

[Ill.u.s.tration: Chimney Piece in Byfleet House. Early Jacobean.]

In the following year he returned from Italy on his appointment as King's surveyor of works, and until his death in 1652 was full of work, though unfortunately for us, much that he designed was never carried out, and much that he carried out has been destroyed by fire. The Banqueting Hall of Whitehall, now Whitehall Chapel; St. Paul's, Covent Garden; the old water gate originally intended as the entrance to the first Duke of Buckingham's Palace, close to Charing Cross; Nos. 55 and 56, on the south side of Great Queen Street, Lincoln's Inn; and one or two monuments and porches, are amongst the examples that remain to us of this great master's work; and of interiors, that of Ashburnham House is left to remind us, with its quiet dignity of style, of this great master. It has been said in speaking of the staircase, plaster ornament, and woodwork of this interior, "upon the whole is set the seal of the time of Charles I." As the work was probably finished during that King's reign, the impression intended to be conveyed was that after wood carving had rather run riot towards the end of the sixteenth century, we had now in the interior designed by Inigo Jones, or influenced by his school, a more quiet and sober style.

[Ill.u.s.tration: The King's Chamber, Ford Castle.]

The above woodcut shews a portion of the King's room in Ford Castle, which still contains souvenirs of Flodden Field--according to an article in the _Magazine of Art_. The room is in the northernmost tower, which still preserves externally the stern, grim character of the border fortress; and the room looks towards the famous battle-field. The chair shews a date 1638, and there is another of Dutch design of about fifty or sixty years later; but the carved oak bedstead, with tapestry hangings, and the oak press, which the writer of the article mentions as forming part of the old furniture of the room, scarcely appear in the ill.u.s.tration.

Mr. Hungerford Pollen tells us that the majority of so-called Tudor houses were actually built during the reign of James I., and this may probably be accepted as an explanation of the otherwise curious fact of there being much in the architecture and woodwork of this time which would seem to have belonged to the earlier period.

The ill.u.s.trations of wooden chimney-pieces will show this change. There are in the South Kensington Museum some three or four chimney-pieces of stone, having the upper portions of carved oak, the dates of which have been ascertained to be about 1620; these were removed from an old house in Lime Street, City, and give us an idea of the interior decoration of a residence of a London merchant. The one ill.u.s.trated is somewhat richer than the others, the columns supporting the cornice of the others being almost plain pillars with Ionic or Doric capitals, and the carving of the panels of all of them is in less relief, and simpler in character, than those which occur in the latter part of Elizabeth's time.

[Ill.u.s.tration: Carved Oak Centre Table. _In the Hall of the Carpenters'

Company._]

The earliest dated piece of Jacobean furniture which has come under the writer's observation is the octagonal table belonging to the Carpenters'

Company. The ill.u.s.tration, taken from Mr. Jupp's book referred to in the last chapter, hardly does the table justice; it is really a very handsome piece of furniture, and measures about 3 feet 3 inches in diameter. In the spandrils of the arches between the legs are the letters R.W., G.I., J.R., and W.W., being the initials of Richard Wyatt, George Isack, John Reeve, and William Willson, who were Master and Wardens of the Company in 1606, which date is carved in two of the spandrils. While the ornamental legs shew some of the characteristics of Elizabethan work, the treatment is less bold, the large acorn-shaped member has become more refined and attenuated, and the ornament is altogether more subdued. This is a remarkable specimen of early Jacobean furniture, and is the only one of the shape and kind known to the writer; it is in excellent preservation, save that the top is split, and it shews signs of having been made with considerable skill and care.