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 Another Random Document on
Scribd Without Any Related Topics
 CHAIRS IN VARIANTS OF
WILLIAM AND MARY
Covered with petit point of the
time
WILLIAM AND MARY CANED
CHAIRS, ONE WITH FLUTED
SPANISH FOOT Plate XXV
Every ship that came in from far Eastern countries brought wise
parrots and tiny frisking monkeys, and these were valued by
decorative artists for models, as well as by my lady to pique gay
conversation in her drawing-room.
William and Mary styles, like all of the seventeenth century, are at
present in high vogue in America, and for this reason it interests us
to study them. They come in after the use of oak has passed its
vogue, and when walnut prevails, although woods of lighter colour,
such as pearwood and sycamore, are employed. In chairs and sofas,
carving prevails as decoration; but in cabinets and tables, the
preference is for veneer and for inlay.
At this time occurs a change in the style of cabinets. Hitherto they
had been closed cupboards; now, because of the fashion for
collecting Delft china from Holland, a need came for cabinets that
would display the collector's treasure. As furniture makers ever
express the whims and needs of the day, so they at once invented
the cabinet with shelf-top protected by glass. A feature of the design
is the hooded top, so characteristic of William and Mary.
Two types of carving prevailed in chairs in the last twenty years of
the seventeenth century, that of the broken C curve, originating
under Charles II, and that of great elaboration which in some
respects caught its details from the French. A study of the plates will
show that the post-like upright which flanks the back is retained in
both cases. Examples of fine carving under William and Mary show
the free fancy of the designer and the skill of the worker who was
possibly the designer as well. But the original chairs must be seen to
gain any idea of the beauty of colour and finish. The whole bears the
look of bronze that has been polished with caressing hands for
centuries.
The shape of the leg in these finely carved chairs is to be noticed, as
it is fathered by the chair-leg in vogue under Louis XIV in France,
and in slight variations it prevails all through the William and Mary
period. It is noticeable by a pear-shaped enlargement near the top.
The Spanish foot is often seen on this style.
Petit point, gros point, or mere cross-stitch embroidery you may call
it, was a fashionable occupation for dame and damsel. In Charles
II's time the stuffed high-relief stump work pleased the court. Sorry
stuff it looks now, much like the court ladies of that time, in that its
colour and gilt are gone and its false art is pitifully exposed. But the
good honest embroidery in wool and silk still stands, and is again
tremendously in vogue.

Plate XXVI—CHEST OF DRAWERS IN BURR

WALNUT VENEER
 Mounted on legs, used in the last quarter of
the XVII century

Plate XXVII—SMALL WALNUT TABLE

With spiral legs and inlay. Here is seen the
beginning of the flat serpentine stretcher
It was Madame de Maintenon who gave such inspiration to the work
in France that England copied. Her school at St. Cyr, which she
conducted solely for the purpose of giving happiness and education
to penniless daughters of fallen aristocrats, at that school the young
girls executed work that ranks with objects of art. A well-known
American collector has a large sofa executed thus under the hand of
Madame de Maintenon which represents scenes from a play of
Molière's, the piece having also been given by these same young
girls, then the cartoons drawn by an artist of high talent.
So petit point was almost a high art in France in the time of William
and Mary, and England did her best to follow the fine pattern set her.
If, in judging whether this work be French or English, the mind
hesitates, it is well to take the eye from the medallions and study
how the designer filled the big field outside. In French drawing the
whole is a harmonious composition; in the English, the hand is crude
and uncertain, and the motifs meaningless, though bold, without
coherence or co-ordination. Nowadays the lady who wishes to
embroider a chair gets from Paris a medallion already complete and
fills in the surrounding territory at her pleasure. It would seem that
the ladies in England did the same in the seventeenth century, but
with less taste.
Among minor points of interest, those little points used by the
amateur in identifying, is the marked change in the stretcher. Away
back in the beginning of the century, as seen on chairs and tables, it
was heavy, made of square three-or four-inch oak, and placed
almost on the ground. The first change was in using thinner wood;
the next was in giving the stretcher a look of ornamental lightness
by turning. When this happened the front stretcher of chairs was
lifted from the ground to spare it the heavy wear apparent in older
pieces. When carving attacked the stretcher, then it was placed well
out of the way of harm, and it took on the ornamental effect of the
chair's back. The Portuguese style of stretcher copied closely the
carving on the top of the back in graceful curves.
It was when the larger pieces of furniture took on a certain lightness
of effect that a change in their stretchers occurred, and this was in
the period of William and Mary. The stretcher became wide, flat and
serpentine. In chairs it wandered diagonally from the legs, meeting
in the centre. In tables its shape was regulated by the size of the
table top. In chests of drawers it wavered from leg to leg of the six
which like short posts supported the weight. If the piece of furniture
was inlaid these flat stretchers offered fine opportunity for
continuing the work.
Strangely enough the stretcher, in chairs at least, disappeared at just
the time it was most needed. That was at the introduction of the
curved or cabriole leg, in the early days of Queen Anne. Those who
know by experience how frail the curve makes this sort of
construction, sigh with regret that the fine old Queen Anne pieces of
their collection cannot be consistently stayed according to the older
method.

Plate XXVIII—CARVED CHAIRS. PERIOD OF

WILLIAM AND MARY
With all the fine characteristics of the
carved designs of the time
 Plate XXIX—WALNUT CHAIRS, WILLIAM
AND MARY
With the exquisitely carved backs, stretches
and legs characteristic of the time
It was in the interesting time of William and Mary that the kneehole
desk made its appearance. A certain enchanting clumsiness marks
these desks from later products on the same line, and a decided
flavour of Chinese construction. Such a desk was recently rooted out
of the dark in an obscure Connecticut town, it having been brought
over in the early days, and, not being mahogany, has lain despised
by local dealers until one more "knowledgeable" than his fellows
discovered that it was Elizabethan!
A contribution made by China was the art of lacquering. Although it
was not in the fulness of its vogue until the century had turned the
corner in Queen Anne's reign, it had its beginnings in the earlier
importations of lacquer and the desire of the cabinet-makers to
imitate the imported art.
Varnish as we know it had never been in use, else had we missed
the wonderful hand polish on old oak and walnut that cannot be
imitated. And when it appeared it was only to use it in the Chinese
manner, as a thick lacquer over painted or relief ornament. As the
art of lacquering grew, cabinets of great elaboration became
fashionable, and these were in many cases imported from China as
the cunning handicraft of the Chinese exceeded that of the English
in making tiny drawers and tea-box effects. Then these pieces were
sent to England where they were painted and lacquered by ladies as
a fashionable pastime, and were set on elaborate carved stands of
gilt in a style savouring more of Grinling Gibbons than of China,—
which is the true accounting of the puzzling combination of lacquer
and gold carving.
The metal mounts or hardware of furniture throughout the
seventeenth century was simple beyond necessity, yet this simplicity
has its charm. In earliest days, iron locks and hinges of a Gothic
prudence as to size and invulnerability, ushered in the century, but it
was still the time of Shakespeare, and that time threw a glance back
to the Gothic just left behind.
Knobs were needed as drawers appeared, and these were
conveniently and logically made of wood, and were cut in facets like
a diamond. But the prevailing metal mount for the rest of the
century was the little drop handle that resembles nothing so much
as a lady's long earring. It is found on old Jacobean cabinets, side-
tables, and all pieces having drawers and cupboards. Its origin is old
Spanish, and that smacks always of Moorish. With unusual fidelity
this little drop handle clung until under Queen Anne (1703) the
fashion changed to the wide ornamental plate with looplike handle,
and that in turn served, with but slight variations, throughout the
century.

QUEEN ANNE SINGLE CHAIR

Made of walnut with carved motives gilded.
This type of chair shows the strong effect of
Chinese motifs, especially on the legs.
QUEEN ANNE ARM CHAIR
Upholstered in gros point with splat black,
and Dutch shell on curved legs.
Metropolitan Museum of Art, New York
WALNUT QUEEN ANNE CHAIRS
With carbriole leg and claw and ball foot
adapted from Chinese Spanish leather set
on with innumerable nails elegantly covers
the taller. These chairs foreshadow the
Georgian styles. Plate XXX
 Plate XXXI—QUEEN ANNE CHAIR
With marquetry back and carved cabriole
leg with hoof and serpentine stretcher
Courtesy of P. W. French
In summing up the seventeenth century as a whole, it seems to
show a British and insular attempt to form its own styles, to dress its
homes and palaces in a British way, regardless of what the world
else-where was doing. Bits of outside product came drifting across
the Channel, but these were not treated with too great seriousness.
They were never adopted intact with all the feeling of foreign
thought shining from their elegant surfaces, but rather were cut
apart and certain bits were used to tack onto the more British work.
And it is just here that is found the secret of the charm which lies in
old English furniture. It is the endeavour of England to tell her own
story, and her story is necessarily different from that of France,
Portugal, Spain, Holland, the East. So, although she borrows motifs
from foreign lands, it is only to indicate her historical connection with
them and not to make a witless copy of their wares.
This holds true even at the time when two great artists dominated
the decorative arts in Europe, Rubens and Le Brun, and that
decorative monarch, Louis XIV, ruled art as well as politics. Yet the
insularity of England kept her, happily, from realising the fine
flowering of French art to imitate it, and, instead, she expressed her
own sturdy characteristic development.
And so we love the evidences of sincerity and the pursuit of beauty
that our English ancestors made for us, and in our homes of ease,
with these things about us, we like to dream of the men and women
who created and used these dignified time-kissed old pieces. And in
dreaming we forget the frailty and cruelty of courts and rulers and
think on the nobility and courage of the lesser yet greater folk who
laid the foundation of our country.

THE END
TABLE OF INTERESTING DATES
James I. 1603 to 1625
Shakespeare died 1616
First American Colonies, Yorktown, 1607
First American Colonies, Plymouth, 1620
Charles I. 1625 to 1649
Inigo Jones, Architect, died 1651
Van Dyck, court painter
Sir Francis Crane
Commonwealth Under Cromwell, 1649 to 1660
Charles II. 1660 to 1685
The Restoration
Queen Catherine of Braganza, 1660
Bombay Influence and East India Company,
1660
Great Fire of London, 1666
Sir Christopher Wren, 1632-1723
St. Paul's commenced, 1675
Grinling Gibbons, 1648-1726
Mirror Factory, 1673
Chatsworth Built, 1670
James II. 1685 to 1688
Revocation of Edict of Nantes, 1685
Spitalfields Silk Factories, 1685
William and Mary. 1689 to 1702
Daniel Morot
Hampton Court, principal parts built
 Queen Anne. 1702 to 1714

Transciber's Notes:
Punctuation errors repaired. italics converted to _
bold converted to =
small caps converted to +
gesperrt converted to ~
page 33 ...he native effort fred... typo repaired at
...the native effort freed...
illustration caption typo stretches repaired for
stretchers
illustration caption typo carbriole repaired at
cabriole
'patine' is the French version of the Latin/Italian,
and English word 'patina'
page 11 word screscent repaired for crescent
This book contains instances of hyphenated and
unhyphenated variants of words. All retained.
 *** END OF THE PROJECT GUTENBERG EBOOK JACOBEAN
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