The Art of Interior Decoration Part 10

Henry VIII made England _Protestant_, it having been Roman Catholic for several hundred years before the coming of the Anglo-Saxons and for a thousand years after.

{QUEEN ELIZABETH.

PROTESTANT. { {"The Elizabethan Period."

STUART. {JAMES I. 1603.

ROMAN CATHOLIC. { "JACOBEAN." {CHARLES I. (Puritan Revolution), 1628.

{Oliver Cromwell. 1649.

PURITAN. { {Commonwealth.

STUART. {Charles II. (1660), Restoration.

ROMAN CATHOLIC. { "JACOBEAN." {James II. (1686), Deposition and Flight.

{William--Prince of Orange (Holland), 1688.

PROTESTANT. { Who had married the English Princess { Mary and was the only available _Protestant_ { (1688).

PROTESTANT. --Queen Anne (1702-1714).

CHAPTER XXI

THE MAHOGANY PERIOD

It is interesting to note that the Great Fire of London started the importation of foreign woods from across the Baltic, as great quant.i.ties were needed at once for the purpose of rebuilding. These soft woods aroused the invention of the cabinet-makers, and were especially useful for inlaying; so we find in addition to oak, that mahogany, pear and lime woods were used in fine furniture, it being lime-wood that Grinling Gibbons carved when working with Sir Christopher Wren, the famous architect (seventeenth century).

During the early Georgian period the oak carvings were merely poor imitations of Elizabethan and Stuart designs. There seemed to have been no artist wood-carvers with originality, which may have been partly due to a lack of stimulus, as the fas.h.i.+on in the decoration of furniture turned toward inlaying.

THE PERIOD OF WILLIAM III AND QUEEN MARY AND EARLY GEORGIAN

are characterised by _turned_ work, giving way to _flattened forms_, and the disappearance of the elaborate front stretcher on Charles II chairs.

The coming of mahogany into England and its great popularity there gives its name to that period when Chippendale, Heppelwhite, Sheraton and the Adam Brothers were the great creative cabinet-makers. The entire period is often called CHIPPENDALE, because Chippendale's books on furniture, written to stimulate trade by arousing good taste and educating his public, are considered the best of that time. There were three editions: 1754, 1759, and 1762.

The work was ent.i.tled "The Gentleman and Cabinet-maker's Director and Useful Designs of Household Furniture in the Gothic, Chinese and Modern Taste" (and there was still more to the t.i.tle!).

Chippendale's genius lay in taking the best wherever he found it and blending the whole into a type so graceful, beautiful, perfectly proportioned, light in weight and appearance, and so singularly suited to the uses for which it was intended, that it amounted to creation.

The "Chinese Craze" in England was partly due to a book so called, written by Sir William Chambers, architect, who went to China and not only studied, but sketched, the furniture, he saw there.

Thomas Sheraton, we are a.s.sured, was the most cultivated of this group of cabinet-makers. The three men made both good and bad styles. The work of the three men can be distinguished one from the other and, also, it can be very easily confused. To read up a period helps; but to really know any type of furniture with certainty, one must become familiar with its various and varying characteristics.

The houses and furniture designed and made by the Adam brothers were an epoch in themselves. These creations were the result of the co-operation of a little band of artists, consisting of Michael Angelo Pergolesi, who published in 1777, "Designs for Various Ornaments"; Angelica Kauffman and Cipriani, two artist-painters who decorated the walls, ceilings, woodwork and furniture designed by the Adam brothers; and another colleague, the great Josiah Wedgwood, whose medallions and plaques, cameo-like creations in his jasper paste, showed both cla.s.sic form and spirit.

The Adam brothers' creations were rare exotics, with no forerunners and no imitators, like nothing the world had ever seen--yet reflecting the purest Greek period in line and design.

One of the characteristics of the Mahogany Period was the cabriole leg, which is, also, a.s.sociated with Italian and French furniture of the seventeenth and eighteenth centuries. As a matter of fact this form of leg is as old as the Romans and is really the same as the animal legs of wood or bronze, used as supports for tripods and tables by a.s.syrians, Egyptians and Greeks. The cabriole leg may be defined as "a convex curve above a concave one, with the point of junction smoothed away. On Italian console tables and French commodes we see the two simple curves disguised by terminal figures."

The rocaille (sh.e.l.l) ornament on the Chippendale as well as the cabriole leg copied from Italy and France, and the Dutch foot from Holland, substantiate our claim that Chippendale used what he found wherever he found it irrespective of the stigma of plagiarism.

There is a beautiful book by F.S. Robinson in which the entire subject of English furniture is treated in a most charming fas.h.i.+on.

Now let us return a moment to the Jacobean period. It was under Charles I that couches and settles became prominent pieces of furniture. Some of the Jacobean chairs are like those made in Italy, in the seventeenth century, with crossed legs, backs and seats covered with red velvet. Other Jacobean chairs had scrollwork carved and pierced, with central panel in the back of embroidery, while the seat was of cane.

Some of the Jacobean cabinets had panels of ebony, the other parts inlaid with mother-of-pearl and ivory.

The silver Jacobean furniture is interesting and the best examples of this type are said to be those belonging to Lord Sackville. They are of ebony with silver mountings.

Yorks.h.i.+re is noted for its Jacobean furniture, but some famous rooms done in this style are at Langleys, in Ess.e.x, the seat of Col.

Tufnell, where the ceilings and mantels are especially fine and the library boasts interesting panelled walls, once enlivened by stained gla.s.s windows, when this room was used as a private chapel for the family.

Jacobean carving was never ornate.

Twenty years later came the Queen Anne period. Queen Anne chairs show a solid splat, sometimes vase-shaped, and strap-work arabesques. Most of the legs were cabriole, instead of the twisted turnings (on Stuart lines) which had been Supports for chairs, cabinets and tables. The Queen Anne chair legs terminated when cabriole, in claws and b.a.l.l.s or simple b.a.l.l.s. Settees for two were then called "love seats," and "pole-screens" belonged to this period, tall, slender poles with small, sliding screens.

Queen Anne hangings were of rich damasks, silks and velvets, and the wainscot of rooms was painted some pale colour as an effective background to set off the dark, turned walnut or gorgeous lacquer made in red, green or black, and ornamented with gold. Some of the Queen Anne pieces of this variety had hinges and lockplates of chased bra.s.s. Another variety was of oak, veneered with walnut and inlaid.

The very high ceilings of the Queen Anne period led to the use of "tall boys" or family bureaus, those many-storied conveniences which comprised a book-case above, writing desk in the middle, and drawers below.

Lockwood says in giving the history of chairs, in his "Cabinet Makers from 1750 to 1840": "Extravagance of taste and fluctuation of fas.h.i.+on had reached high water mark due to increase of wealth in England and her colonies. From the plain, stately pieces of Queen Anne the public turned to the rococo French designs of early Chippendale, then tiring of that, veered back to cla.s.sic lines, as done by the Adam brothers, and so on, from heavy Chippendale to the overlight and perishable Heppelwhite. Then public taste turned to the gaudily painted Sheraton and finally, took to copying the French Empire."

The American Revolutionary War stopped the exportation of furniture to America, with the result that cabinet-makers in the United States copied Chippendale and neglected all other later artists. When America began again to import models, Sheraton was an established and not a transitional type. Beautiful specimens are shown in the Nichols house, at Salem, Ma.s.s., furnished in 1783. The furniture used by George Was.h.i.+ngton when President of the United States in 1789, and now in the City Hall, New York, is pure Sheraton. (See Colonial Furniture, Luke Vincent Lockwood.)

Sir Christopher Wren, architect, with Grinling Gibbons, designer and wood-carver, were chiefly responsible for the beautifully elaborate mouldings on ceilings and walls, carved from oak and used for forming large panels with wide bevels, into which were sometimes set tapestries.

The Italian stucco mouldings were also used at that time. The fas.h.i.+on for elaborate ceilings and sidewalls had come to England via Italy and France. The most elaborate ones of those times were executed under Charles II and William III, the ceilings rivalling those of Louis XIV.

William and Mary (1687-1702) brought over with them from Holland, Dutch cabinet makers, which accounts for the marked Dutch influence on the Mahogany Period, an influence which shows in a Dutch style of inlaying, cabriole legs and the tulip design. A sure sign of the William and Mary period is the presence of jasmine, as designed for inlaying in bone, ivory or hollywood.

Lacquer came to England via Holland, the Dutch having imported Chinese workmen.

The entire Mahogany Period, including the Adam brothers, used the sh.e.l.l as a design and the backs of settees resembled several chair backs places side by side.

A feature of the Mahogany Period were the knife-boxes and cases for bottles, made of mahogany and often inlaid, which stood upon pedestals constructed for the purpose, at each side of the sideboard. Later the pedestals became a part of the sideboard. The urn-shaped knife-boxes were extremely graceful as made by Adam, Chippendale and Heppelwhite.

It is impossible to clearly define all of the work of the cabinet-makers of the mahogany or any other period, for reasons already stated. So one must be prepared to find Chippendale sofas which show the shapes originated by him and, also, at times, show Louis XVI legs and Louis XV outline. Chippendale's contemporaries were quite as apt to vary their types, and it is only by experience that one can learn to distinguish between the different artists, to appreciate the hall marks of creative individuality.

The early Chippendale was almost identical with Queen Anne furniture and continued the use of cabriole leg and claw and ball feet. The top of the Chippendale chairs were bow-shaped with ends extending beyond the sides of the back and usually turned _up_. If turned down they never rounded into the sides, as in the case of Queen Anne chairs. The splats have an upward movement and were joined to chair seats, and not to a cross-rail. They were pierced and showed elaborate ribbon and other designs in carving. There were, also, "ladder backs," and the Chinese Chippendale chairs, with lattice work open carved and extending over entire backs. The characteristic Chippendale leg is cabriole with claw and ball foot.

The setting for Chippendale furniture was a panelled dado, cla.s.sic mantelpiece, architraves and frieze, and stretched over sidewalks, above dado, was silk or paper showing a large pattern harmonising with the furniture. The Chinese craze brought about a fas.h.i.+on for Chinese wall papers with Chinese designs. This Chinese fas.h.i.+on continued for fifty years.

Chippendale carved the posts of his bedsteads, and so the bed curtains were drawn back and only a short valance was used around the top, whereas in the time of William and Mary bed curtains enveloped all the woodwork. Still earlier in the Elizabethan period bed posts were elaborately carved.

In the eighteenth century it was the fas.h.i.+on to embroider the bed curtains.