Chapter viii.

Rohan, J. de. " 16th " } "Maitre Menuisiers" Rohan, J. de. " " " } of Lyons, 1548. Rosch, J. Germany 15th " Rossi, P. de Italy 15th & 16th centuries Lady artist of Bologna, carved minute work on peach stones. Rovezzano, B. da England 16th century Employed by Cardinal Wolsey. Ruckera, Th. Augsburg " " Chapter iii. (German section), steel chair, Longford Castle.

S

Saint-Germain France 18th century Saint Yues, Antoine de " " " Salambier, ---- " 18th & 19th Designed room centuries decorations, mirror frames, etc. Sangher, J. de Flanders 17th century Schelden, P. van der " 16th " Schwanhard, H. Germany 17th " Invented the "Wavy" mouldings used in Dutch and German furniture. Seddon, Thomas England 19th " Chapter viii., contemporary with early Gillow. Seddon, Thomas & George " " " Chapter viii., furnished Windsor (sons of above) Castle. Serlius, S. France 16th " Servellino, G. del Italy 15th " Shearer, ---- England 18th " Chapter vii. Sheraton, Th. " " " Chapter vii. Slocombe, P. " 19th " Chapter ix., p. 245, designer. Smet, R. de Flanders 16th " Chapter iii. (Bruges chimney piece). Smith, G. England 18th " Chapter viii. (published book of designs). Snell, ---- " 19th " Somer, Jacques France 18th " Stewart, Jas. (architect) England " " Chapter vii. Stobre, Laurent France 17th " Stockel, Joseph " 18th " Worked at Fontainebleau. Stoss, V. Germany 1438-1533 Street, Sir G., R. A, England 19th century The New Law Courts (mediæval woodwork). Swan, Abraham (architect) " 18th " Chapter vii. Swerdficher, F. France " " Made the jewel cabinet of M. Antoinette, now in the "Garde Meuble." Syrlin, J. Germany 15th " Syrlin, J., the younger " 15th and 16th Chap. iii. centuries (choir stalls, Ulm Cathedral, 1462-1474).

T

Taillebert, U. Flanders 16th century Talbert, B. J. (architect) England 19th " Chapter ix. Designed furniture in Gothic style. Tasso, D. Italy 15th & 16th centr's.} Known as wood carvers Tasso, G. " " " " } in Florence. Worked from M. Tasso, G. B. " " " " } Angelo's designs. Tasso, M. D. Italy 15th century Tatham, C. H. (architect) England 18th " Designed interior decorations, &c., for the Duke of York. Taurini, R. Italy 16th " Pupil of A. Durer (stalls of Milan Cathedral). Thomas, ---- (architect) England 18th " Chapter vii. Thomire, P. Ph. (mounter) France 1751-1843 Museum of "Mobilier National," Paris. Tolfo, G. Italy 16th century Toms and Luscombe England 19th " Chapter ix., p. 235 (French style). Topino, G. France 18th " On examples in Jones Collection. Toro, ---- " 18th " Style of Boule (made for Palace of Versailles). Torrigiano, ---- England 1472-1522 Designed shrine of Henry VII. (Westminster Abbey). Toto, ---- " 1331-1351 Town and Emanuel " 19th century Chapter xi., pp. 233-5 (French style). Travers, R. France 18th " Worked in Paris, 1774. Trevigi, G. da England 1503-44 Court painter and decorator to Henry VIII. Triard, J. B. France 18th century Tuart, ---- " 18th " Lacquer work.

U

Uccello, P. Italy 1396-1479 Ugliengo, C. " 18th century

V

Vasson, ---- France 18th century A Mounter, or _Bronziste_. Venasca, G. P. Italy 18th " Verbruggen, P. Flanders 17th " Chapter iii.} Carved church } ornamental work. Verbruggen, P. the " 1660-1724 Chapter iii.} Pulpit of Jesuits' younger } College, Antwerp. Verhaegen, Th. " 18th century Carved work in several Mechlin Churches. Vincenzo, Fra Italy Worked at Verona (intarsia). Vion, ---- France 18th century A Mounter, or _Bronzister_. Voyers, ---- England 18th " Louis Seize style of furniture. Vriesse, V. de France 17th " Chapter iii.

W

Waldron, ---- England 18th century Originally carver, afterwards actor. Walker, H. " 16th " Watson, ---- " 17th and 18th Chapter iv., pupil centuries of G. Gibbons.

Webb, ---- " 19th century Chapter ix., p. 235. Wedgwood, Josiah England 18th century Chapter vii., introduced his plaques for furniture. Weinkopf, W. Germany 16th " Worked in Nuremberg, temp. A. Durer. Wertheimer, S. England 19th " Chapter ix., p 233. Wilkinson, ---- " " " Chapter viii. Willemfens, L. Flanders 1635-1702 William the Florentine England 13th century Court painter and house decorator to Henry III. Wilton, J. England 18th " Employed by Sir W. Chambers. Wren, Sir C. " 16th to 17th centuries Chapter iv. Wright and Mansfield " 19th century Adams style of furniture.

Z

Zabello, F. Italy 16th century Stalls in Cathedral of Bergamo. Zorn, G. Germany 17th "

NOTE.--The Monogram "ME," branded on some of the old eighteenth century French cabinets, stands for "Menuisier Ébeniste," and generally accompanies the name or initials of the maker.

WOODS.

The following different kinds of wood are used in the manufacture of Furniture.

FOR THE BEST FURNITURE.

Amboyna. Black Ebony. Brazil Wood. Coromandel. Mahogany. Maple. Oak (various kinds). Rosewood. Satin Wood. Sandal Wood. Sweet Chestnut. Sweet Cedar. Tulip Wood. Walnut. Olive. Zebra Wood.

FOR COMMON FURNITURE AND INTERIOR FITTINGS.

Pines. Deals. Beech. Birch. Cedars. Cherry Tree. Walnut. Mahogany. Ash.

Also some selections of Honduras mahogany when finely marked, and different varieties of the Eucalyptus.

The most expensive of these are used in veneers; and in the more ornamental and polychromatic marquetry, holly, horse chestnut, sycamore, pear tree and plum tree are used, being woods easily stained.

Amongst some of the rarer and more beautifully marked woods, used in small quantities, are the following:--

Mustaiba. Palmyra. Partridge Wood. Peruvian. Pheasant Wood. Purple Wood. Princes Wood. Rosetta. Snakewood. Yacca Wood.

TEAK is an extremely strong East India wood; there is also an African teak (Sierra Leone), called African oak.

SHISHAM or BLACKWOOD (Dalbergia Sps) is a heavy close-grained wood, dark brown in color, resembling ebony when polished, and is much used for furniture in India.

SANDAL WOOD, TEAK, MANGO WOOD.--Sir George Birdwood, in "Indian Arts," gives a complete list of these Indian woods, with their botanical names and other valuable information.

For a more complete list of the different woods used by cabinet makers, the reader is referred to Mr. J. Hungerford Pollen's "Introduction to the South Kensington Collection"; to many of these he has been able, after much research, to give their botanical names, a task rendered somewhat difficult owing to the popular name of the wood being derived from some peculiar marking or colouring but giving no clue to its botanical status. Amongst these are tulip wood, rose wood, king wood, pheasant wood, partridge wood, and snake wood. It is worthy of remark that, whereas in England the terms "king wood" and "tulip wood" represent the former, a wood of rich dark reddish-brown color, or "purple madder," and the latter one of a yellowish-red, prettily-streaked, in France these terms have exactly the reverse equivalents. These were very favourite veneers in the best French marqueterie furniture described in Chapter VI., and are frequently found, the one as bordering to relieve the panel or drawer front of the other.

In the Museum at Kew Gardens, and also in the Colonial Galleries of the Imperial Institute, are excellent collections of many rare woods well worth examination.

_Some particulars of the different woods mentioned in the Bible, from which examples of Ancient Furniture were manufactured, and to which reference has been made in Chapter I._

_These notes have been kindly supplied by Dr. Edward Clapton, whose collection of specimens of these scarce woods is of great interest._

SHITTIM WOOD is the wood of the Shittah tree, or Acacia Seyal. This spiny tree especially abounded in the peninsula of Sinai and around the Dead Sea, but was also found in various parts of Syria, Arabia, and Africa. In the present day the shittah trees are very few and small, but in the time of Moses there were forests of them, and of a size sufficient to form long and wide planks. It is, as Jerome says, "a very strong wood of incredible lightness and beauty," and, he adds, "it is not subject to decay." This corresponds to the translation of the Hebrew term for shittim wood in the Septuagint, which is "incorruptible wood." Though light, it is hard, strong, and durable. As a proof of this, the Ark, and other furniture of the Tabernacle, which were made of shittim wood, must have lasted for a period of some 500 years before all traces of them were lost. Dean Stanley remarks that the plural word shittim was given to the wood of the shittah tree from the tangled thickets into which the stems of the trees expand.

ALMUG.--The wood of the Pterocarpus Santalinus, a large tree of the order "Leguminosœ."--The wood is very hard, has a reddish color, and takes a fine polish. It is a native of India and Ceylon, whence it was in Solomon's time conveyed to Ophir, on the east coast of Africa, and from Ophir to Palestine; "and the navy also of Hiram, that brought gold from Ophir, brought in great plenty of almug trees, and the king made of the almug trees pillars for the house of the Lord, and for the king's house, harps also and psalteries for singers." 1 _Kings_ x. 11, 12. Almug is not the same as Algum, which grew on Lebanon with the cedar and fir. 2 _Chron._ ii. 8.

THYINE WOOD.--The wood of the Thuja Articulata, now named Callitris Quadrivalvis, a tree of the cypress sub-order of coniferæ, from 20 to 30 feet high. It is a native of Algiers and the Atlas range of North Africa. The wood is dark colored, hard, and fragrant, taking a fine polish; it yields an odoriferous resin called Sanderach, which was much used by the Romans for incense in the worship of their gods. Thyine takes its name from "to burn incense." It was much prized by the ancient Greeks and Romans, not only because it was considered sacred but also on account of the beauty of the wood for various ornamental purposes. Pliny speaks of the mania of his countrymen for ornaments made of this wood, and tells us that when Roman ladies were upbraided by their husbands for their extravagance in pearls, they retorted upon them for their excessive fondness for tables made of thyine wood. So great a rage was there for ornamental cabinet work in ancient Rome that Cicero had a table made of it that cost £9,000. Ornaments made of this wood can be seen in the Museum at Kew, presented by the late Jerome Napoleon. The ceiling and floor of the celebrated Mosque of Cordova are of thyine wood, and it is also referred to in the Bible.

TAPESTRY USED FOR FRENCH FURNITURE.

GOBELINS, BEAUVAIS, AND AUBUSSON TAPESTRY.--The famous factory of Gobelins originated in the establishment of some dye works in the Faubourg St. Marcel of Paris, by two brothers, Gilles and Jean Gobelin, who had introduced from Venice the art of dyeing scarlet; they also produced some other excellent colors, and this enterprise--at first considered foolish, and acquiring the name of _Folie Gobelin_--afterwards became most successful. This was in the reign of François I.; they subsequently added a tapestry factory to their dye works. Either in 1662 or in 1667, as different authorities state, Colbert, who had succeeded Cardinal Mazarin as Chief Adviser and Minister of Louis XIV., purchased the factory from the Gobelin family, and reorganised the establishment as the Royal Upholstery Works, employing the artists Lebrun, Berain, Simon Vouet, and others, to furnish subjects for the cartoons, the former artist being appointed Director of the Works. Since 1697 the manufacture of tapestry only has been carried on, and the product of these celebrated looms has become known as Gobelins tapestry. Previous to this time, however, namely, 1669, Colbert ordered the manufacture at Gobelins of what is termed the "low warp" tapestry suitable for furniture--a branch of manufacture which had been transferred to the State works of Beauvais, where the special mode of making tapestry, suitable for the covering of chairs and sofas, has since been carried on, the looms of Gobelins being more generally employed to produce larger panels for hangings. The fine texture, the brilliant colorings of the famous tapestry, are world famous; and enormous sums are commanded by some of the older panels, the tints of which are softened by age, while the condition remains good. Besides the tapestry for furniture, sometimes made at Gobelins, and more generally at Beauvais, a great deal has been produced by the looms at Aubusson, a factory said to have been originated by the immigration of some Flemish workmen into La March during the fourteenth century. Owing, however, to the difficulty in obtaining good patterns and the quality of wool required, their tapestry did not acquire a very high reputation. Colbert granted these manufactories a Charter in 1669, and also gave them protection against foreign rivals; and the looms of Aubusson became busy and their proprietors prosperous. The productions of Gobelins and Beauvais being monopolised by the Court, the works of Aubusson had to provide for the more general requirements of the people, and, therefore, though good of its kind, and occasionally excellent, this tapestry has never attained the reputation of its more famous contemporaries. To those who would learn more of Tapestry, its history, methods of production, and many instructive details, the little South Kensington handbook, "Tapestry," is highly commended; it was written for the Science and Art Department by M. Alfred de Champeaux, and translated by Mrs. R. F. Sketchley.

THE PROCESSES OF GILDING AND POLISHING.

WOOD GILDING.--The processes of applying gold to wood and to metal are entirely different. In the former the gold, which has been supplied to the gilder in extremely thin layers, generally placed between the leaves of a little paper book to prevent them sticking together, is transferred therefrom to the surface to be gilt, by a dexterous movement of a flat gilder's camel's hair brush, or "tip," as it is termed, the wood having been previously prepared by successive coatings of whitening and thin glue, a thicker body of preparations being required for those parts which are to be burnished. A great deal depends upon the care and time bestowed on the preparation of the work, sometimes as many as ten coatings being given to the wood, and these are successively rubbed down with pumice stone and glass paper, care being taken not to lose the sharpness of carved ornaments. This application of gold leaf is termed mechanical gilding, and is used for gilt furniture, picture frames, or other decorations. Within the last ten years the gold has been applied to the more richly carved furniture in a powder. This preparation of gold is very expensive, costing about £7 the ounce, and is only used for the more costly chairs and couches, etc., generally of old French make, which require re-gilding.

METAL GILDING.--The process of gilding metal which was practised by the mounters of the fine old French furniture described in Chapter VI., consisted in applying to the "ormolu" an amalgam of gold and mercury; the latter was evaporated by heat, and the gold remained firmly adhered to the metal mount, and was afterwards colored as desired, a slightly greenish tinge being effected by such masters as Caffieri, Gouthière, and others. This kind of gilding requires a considerable quantity of the precious metal to be used, and is therefore very costly, but is rich in effect, and, under favourable conditions, permanent. It is, however, very injurious to the workers, on account of the fumes of the mercury poisoning the system; and it has generally been abandoned in favour of the much quicker and far cheaper process of electro-gilding, by which an effect can be produced by an infinitesimal coating of gold. The water gilding process is still used to a moderate extent by the makers of the more expensive reproductions of old furniture in Paris. There is a very cheap and effective process of lacquering which sometimes is termed "gilding," used to give ormolu mounts the color of gold; this is done by applying a solution of shellac and spirits of wine to the metal when heated, and, as with water-gilding, the volatile spirit evaporates and leaves a thin coating of the shellac, which may also be treated so as to have very much the appearance of gold, to the inexperienced eye. It should be mentioned that where mounts are gilt, it is usual to make the material more like the color of gold than ordinary brass would be; this is done by the admixture of a considerable amount of copper, the amalgam being generally termed "or-molu."

POLISHING.--The older method of polishing woodwork consisted in the application of a mixture of turpentine and beeswax to the surface; this would be repeated again and again, and then well rubbed down with a hard brush, when a very durable polish was obtained. For flat surfaces, and particularly for the tops of dining tables which were formerly uncovered to show the wood, oil polishing was the fashion; this was effected by rubbing the table-top with a heavy weight backwards and forwards, using oil as a lubricant. Good housewives used to polish up their dining tables very frequently. Oil polishing had the great advantage, too, of producing a surface which hot plates did not easily mark. The cost, time, and trouble, however, caused these older processes to be abandoned in favour of "French" polishing, which is the application on a prepared surface of shellac dissolved in methylated spirits, and often other ingredients to give poor-looking wood a richer color. This polish is quicker, and therefore, cheaper than the old-fashioned method. It has come into general adoption since the Great Exhibition of 1851.

THE PIANOFORTE.

The Pianoforte is such an important article in the furniture of the present time, that a few notes about its development, from a decorative point of view, may be acceptable. In "Musical Instruments," one of the South Kensington handbooks, Carl Engel traces the Pianoforte from the "Clavicembalo," which he tells us, "was, in fact, nothing but a Cembalo or Dulcimer, with a key board attached to it." Our present Grand Piano was, however, more immediately a development of the Harpsichord[29] and Spinet, which had succeeded the Virginal of the 16th century. These were made of oblong shape and supported on stands, which were simply supports for the instrument, and did not form a part of it as do the legs of a modern "grand." In an original play bill, which is still preserved at Messrs. Broadwoods', there is an announcement that at the Theatre Royal, Covent Garden, on the 16th of May, 1767, at the end of Act I. (of the Beggars' Opera), "Miss Brickler will sing a favourite song from 'Judith,' accompanied by Mr. Dibden, on _a new Instrument, called Pianoforte_."

There is an illustration on p. 172 of a Harpsichord which is in the South Kensington Museum, and in the same collection are others, varying in types as instruments, and of different decorations. The one which belonged to Handel is a good specimen of the decoration bestowed on these instruments. Others of about the middle of the eighteenth century, were covered with a coating of lacquer, like some of the furniture referred to in Chapter VI., the parts of the cases to be so decorated having been sent to China, and returned when coated with the preparation, then only known to the Chinese, but afterwards imitated in Europe. Some of these lacquered cases are very beautiful, and those which were elaborately painted in the Vernis Martin style, are finished with the care of cabinet pictures or miniatures. They have, as a rule, the fine subject painting, or landscape, inside the lid of the case, as in the illustration on p. 172, while the outside of the case is decorated with arabesques of gold on a dark colored ground. Such an Instrument was sold at the sale of Lord Lonsdale's furniture, a few years ago, for some three hundred pounds.

The rectangular shape appears to have been partially abandoned for the "Wing form," of which the modern "Grand" is a development, about the time of Queen Anne, and was, in some cases, adapted to the Harpsichord of the time. The earlier pianofortes were rectangular in form, with the idea of preventing the unequal appearance produced by the bent treble side of the Grand, and the writer has in his possession such an instrument, without pedals, which bears the inscription:--"By Royal Patent. Longman and Broderip, Musical Instrument makers, 13, Haymarket, and 26, Cheapside, London." Collard and Collard are the successors of this firm, and still retain the same premises in Cheapside. The oldest Broadwood _piano_, at present on exhibition in Vienna, bears the name of "Schudi and Broadwood," with date 1780. It is square and without pedals.

Towards the end of the last century pianos were made to harmonize with the Adam, Hepplewhite, and Sheraton furniture of the day, and some were elaborately inlaid with small plaques of Wedgwood's Jasper ware.

There are also instruments in existence, and designs, which shew that as the style of furniture changed during the time of the French Revolution, and subsequently to the Classic Greek, the Piano followed the new fashion. There is in St. James's Palace the instrument made by Broadwood for the Princess Charlotte, who died early in the nineteenth century. This is square in form, and is veneered with a single sheet of ivory, the elephant's tusk having been first softened by acid, and then cut circular fashion.

In France, the older Harpsichord and the later Pianoforte have followed the different styles which have affected the decorative furniture of that country, and the same remark applies to the more limited productions of such instruments in other countries.

During the period of had taste which prevailed in England thirty or forty years ago, those who made and those who purchased pianos were content to have either the instrument in the most ordinary and commonplace case of mahogany, walnut, or the rosewood which about 1840 came into great favour, or else the cases were designed in an extravagant fashion, and covered with a superabundance of ornament, quite out of keeping with the use of a musical instrument.

Two illustrations in Chapter IX., one of Broadwood's Grand, and the other of an upright in Bottle's style of work, by Leistler, of Vienna, may be taken as the most favourable examples of pinaoforte decorations at the time of the 1851 Exhibition.

Latterly there has been amongst leading manufacturers, especially those of our own country, a marked improvement, and the cases are made of rare and carefully chosen woods, and the style adapted, in many instances to the furniture of the room. Sir Alma Tadema designed cases in the Byzantine style. Mr. Burne-Jones painted one with an elaborate design of figures and scrolls; another with a shower of roses right across the sounding board, and he also revived the old-fashioned trestle support, formerly used for harpsichords. Mr. Waterhouse, R.A., Mr. John Birnie Philip, who executed the podium of the Albert Memorial, Mr. T. G. Jackson, R.A., and others, have also designed piano cases for friends and clients.

In the "Inventions" Exhibition, a few years since, there was a very good opportunity of noticing the advance in design of the Pianoforte. In nearly every instance the old fashioned fretwork front had been abandoned for a painting or a marquetry panel. Some were enamelled white, and relieved by gilding; others had a kind of gesso-work decoration, and the different fashionable styles of furniture were reproduced with various modifications. Amongst others, Kirkmans exhibited a grand and an upright made from designs by Col. Edis, and Hopkinson a boudoir grand and some small cottage pianos in satinwood and marquetry, and also in satinwood painted in the old English style, and having silk panels in front with copies of Bartolozzi prints. The designs were in the latter case made by the author. Broadwoods, and other English firms, also produced special designs.

Since this Exhibition, if there has not been improvement, there has been endless variety, and the piano case is now designed and decorated to please the taste of the most fastidious or the most eccentric.

FOOTNOTES:

[Footnote 29: The Harpsichord made for Frederick the Great, by Burkardt-Tschudi, whose son-in-law was the first John Broadwood, was in the style of German Renaissance.]

INDEX.

NOTE.--The Names of several Designers and Makers, omitted from the Index, will be found in the list in the Appendix, with references.

PAGE

Academy (French) of the Arts founded, 146

Adam, Robert and James, 174, 175, 195, 227, 236

Æstheticism, 239, 240

Ahasuerus, Palace of, 2

Alcock, Sir Rutherford, Collection of, 131

"American Sketches", 246

Angelo, Michael, 48, 49, 169

Anglo-Saxon Furniture, 24, 28

Arabesque Ornament, origin of, 138

Arabian Woodwork, 141-143

Ark, reference to the, 1

Armoires, mention of, 61, 62, 147, 221

Art Journal, the, 104, 111, 219, 222, 223, 224, 225, 231

Arts and Crafts Exhibition Society, 241, 258

Aspinwall, of Grosvenor Street, 212

Assyrian Furniture, 2, 3

Aubusson Tapestry, 166, 264

Audley End, 77, 87

Austrian Work, 227

Barbers' Company, Hall of the, 96, 98, 181

Baroque, the style, 216

Barry, Sir Charles, R.A., 217

Beauvais Tapestry, 151, 154, 155, 159, 166, 264

Bedroom Furniture, 226

Bedstead of Jeanne d'Albret, 60

Bedstead in the Cluny Museum, 61

Bellows, Italian, 52

Benjamin, Mr., referred to, 136, 138

Berain, Charles, French artist, 146

"Bergére (Chaise)", 159

Bethnal Green Museum, 108, 133, 168

Biblical references, 1, 2

Birch, Dr., reference to, 8

Birdwood, Sir George, referred to, 135, 263

Black, Mr. Adam, reference to, 198

Bloomfield, Mr. Reginald T., 242

Boards and Trestles, 104, 105

Boleyn, Anna, Chair to, 76

Bombay Furniture, 133

Bonuaffé, referred to, 48, 55, 59, 70

Boucher, artist, 154, 161

Boudoir, 150, 153

Boole, André Charles, 146, 149

Brackets, Wall, 52

British Museum, reference to specimens in the, 1, 3, 4, 5, 6, 7, 8, 9, 11, 23, 26, 28

Brittany Furniture, 62, 63

Broadwood, Messrs, 231, 266, 267

Bronze Mountings, 146, 158, 159, 162, 163, 179, 232, 265

Bruges, Chimney-piece at, 63

Bryan, Michael, referred to, 48

Buffet, The, 43, 44, 50, 60

Buffet, 199

Buffet, Old English, 44

Buffet, Old French, 43

Buffet, Old Flemish, 43

Bureau du Roi, 159, 160

Burges, Mr. W., 246

Burleigh House, 77

Byzantine-Gothic, Discarded, 48

Byzantine style, 18, 42

"Cabinet Maker and Art Furnisher", 246

Caffieri, work of, 158, 159, 179, 265

Cairo Woodwork, 139

Canopied Seats, 37, 38

Canterbury Cathedral, 32, 102

Carpenters' Company, 84, 86, 95, 96

Cashmere Work, 135

Cauner, French carver, 179

Cellaret, The, 200

Cellini, B, 49

Chambers, Sir William, R.A., 125, 173, 176, 179

Chair of Dagobert, 21

Chairs of St. Peter, 19, 20

Chairs, Canopied, 37, 38

Chair, The Coronation, 30, 31

Chair of Charles I., 108, 109

Chair, The Glastonbury, 78

Chair, Jacobean style, 109

Chair of Cromwell's Family, 109, 110

Chairs become common, 104

Chairs, German Gothic, 42

"Chaise Bergére", 159

Chardin, reference to, 161

Charlemagne, reference to, 17, 21

Charles I., reference to, 103, 104, 105, 107, 109

Charles II., reference to, 110, 111, 112

Charlton, Little, 87

Charterhouse, The, 81, 82

Chaucer quoted, 105

Chimney-pieces, 88

Chippendale's Work, 125, 168, 173, 177, 178, 179, 180, 181, 182, 183, 200

Chippendale's "Gentleman and Cabinetmaker's Director", 177-180

Christianity, Influence of, 18

Christie, Manson & Wood, Messrs, 147, 151

" " " reference to old catalogues of, 220, 221

Cicero's Tables, 13

Cipriani, 174, 192

Clapton, Dr, Edward, reference to, 13

Cleyn Francesco, 103, 104, 123

Club Houses of London, 221, 222

Cluny Museum, reference to, 61

Colbert, Finance Minister, 146

Collard's predecessors, 267

Collinson & Lock, 220

Collman, L. W., Work of, 220

Constantinople, Capture of, 17

Cope, Sir Walter, 103

Cope Castle, 103

Coronation Chair, The, 30-32

Correggio, 49

Couch, introduction of, 107

Crace, Work of, 212

Crane, Mr. Walter, 241, 242, 246

Cromwell referred to, 110, 111

Crusades, Influence of the, 17

Cutler, Mr. T., 246

Cypselus of Corinth, Chest of, 11

Dado, the, described, 216

Dagobert Chair, 21, 22

Dalburgia or Blackwood, 133

Damascus, Room from a house in, 139-141

Davillier, Baron, 69

Dickens, Charles, referred to, 238

"Dining Room," the, various definitions, 200

Divan, derivation of, 143

Douthwaite, Mr. W. R., referred to, 83

Dowbiggin (Gillow's apprentice), 194, 212

Dryden quoted, 199

Dürer, A., referred to, 70

D'Urbino Bramante, 48

Du Sommerard referred to, 20

Dutch Furniture, 61, 63-66, 170, 206

Eagle House, Wimbledon, 104

Eastlake, Mr. C., reference to, 99, 100, 102, 245

Edis, Col. Robert, referred to, 245, 267

Elgin and Kincardine, Earl of, Collection of, 131

Elizabethan Work, 67, 77, 102

Empire Furniture, 203-215

English Work, 71

Evelyn's Diary, 112

Exhibition, The Colonial, 133

" The Great (1851), 228, 229, 230, 231, 242, 246

" of, 1862, 235

" Retrospective of Lyons, 61

" Inventions, 267

" The Stuart, 109

Exhibitions, Local, 223

Falké, Dr., reference to, 11, 79, 204

Faydherbe, Lucas, 65

Fitzcook, H., designer, 225

Flaxman's Work, 176

Flemish Renaissance, 63, 66

Flemish Work, 226

Florentine Mosaic Work, 50

Folding Stool, 29

Fontainebleau, Chateau of, 58

Fourdinois, Work of, 227, 236

Fragonard, French artist, reference to, 161

Frames for pictures and mirrors, 79

Franks, Mr. A. W., 24

Fretwork Ornament, 181

"Furniture and Decoration", 246

Gavard's, C., Work on Versailles, 145

German Work, 70, 71

Gesso Work, 50

Ghiberti, L., 49

Gibbon, Dr., Story of, 195

Gilding, Methods of, 50, 265

Gillow, Richard, extending table patented by, 193

" " Work of, 208, 210

Gillow's Records, 194

Gillow's Work, 174, 237

Giraud, M., Work by, 61

Glastonbury Chair, 78

Gobelins Tapestry, 146, 151, 154, 159, 166, 264

Godwin, Mr. E. W., 246

Godwin, Mr. G., referred to, 74, 76

Goodrich Court, 78

Gore House, Exhibition at, 221

Gothic Architecture, 30

Gothic Work, French, 44, 46

" " German, 42

" " Chippendale's, 180

Gough, Viscount, collection of, 131

Gouthière, Pierre, 159, 164, 165

"Grandfather" Clocks, 121-2

Gray's Inn, Hall, 83

Greek Furniture, 9, 10, 11

Greuze, reference to, 161

Hall, Mr. S. C., referred to, 111

Hamilton Palace Collection, 146, 147, 157, 158, 160, 163, 164, 165, 166

Hampton Court Palace, 72, 73, 79, 112, 113, 168

Hardwick Hall, 77, 86, 181

Harpsichord, the, 172, 231, 266, 267

Harrison quoted, 73

Hatfield House, 77, 78

Heaton, J. Aldham, Mr., referred to, 202

Hebrew Furniture, 2

Henri II., time of, 61

Henri IV., style of Art in France, 61

Henry VIII., 72, 73, 79

Hepplewhite, Work of, 184, 186, 191, 200

Herculaneum and Pompeii, Discovery of, 161

Herbert's "Antiquities", 84

Hertford House Collection, 247

Holbein, 72, 76, 79

Hook, Theodore, 107, 108

Holland House, 102, 103, 104, 123

Holland, Lord, 102, 103

Holland & Sons, 194, 212

Holmes, W., designer, 225

Home Arts and Industries Association, 242

Hope, Thomas, design by, 210

Hopkinson's Pianos, 267

Hotel de Bohéme, 36

Howard & Sons, firm of, founded, 212

Ilchester, Lady, referred to, 103

Ince, W., contemporary of Chippendale (Ince and Mayhew's Work), 183, 184, 187, 188

Indian Furniture, 132, 136

Indian Museum, The, 134, 135, 136

Indo-Portuguese Furniture, 111, 112

Intarsia Work, or Tarsia, 53, 70

Inventories, Old, 77

Ireton, General, House of, 111

Italian Carved Furniture, 226, 227, 246

Italian Renaissance, 48-57

Jackson, Mr. T. G., A.R.A., referred to, 53, 104, 242, 246

Jackson & Graham, 220

Jacobean Furniture, 91, 240

Jacquemart, M., reference to, 46

Japan, The Revolution in, 130

Japanese Joiner, The, 131

Japanned Furniture, 192

Jeanne d'Albret, Bedstead of, 60

Jones, Inigo, 92, 93

Jones Collection, The, 133, 146, 147, 148, 151, 156, 158, 162, 165, 167, 170, 171, 172

Kauffmann, Angelica, 174, 192

Kensington, South, Museum, foundation of, 237

" " " reference to specimens in the, 21, 22, 41, 42, 44, 51, 52, 54, 56, 57, 61, 63, 64, 65, 66, 75, 79, 80, 81, 95, 96, 98, 110, 129, 131, 133, 136, 137, 139, 140, 141, 142, 146, 158, 161, 162, 165, 167, 170, 171, 172, 176, 199, 236, 237

Khorsabad, reference to, 3, 4, 5

King, H.M. the, Art Collection of, 136

Kirkman's Exhibit, 267

Knife Cases, 199

Knole, 79, 98, 102

Lacquer Work, Chinese and Japanese, 129, 130, 131, 155, 156

" " Indian, 135, 136

" " Persian, 138

Lacroix, Paul, reference to, 21, 22, 37, 38

Lancret, artist, 154, 161

Layard, Sir Austen, reference to, 3

Lebrun, artist, 146, 147, 149

Leighton, Sir F., referred to, 240

Leo X., Pope, 49

Lethaby, Mr. W. R., 242

Liechtenstein, Princess Marie, 103

Linger, Sir Henry, 44

Litchfield & Radclyffe, 235

Livery Cupboards, 73, 78

Longford Castle Collection, 70

Longman & Broderip, 267

Longleat, 77, 97

Louis XIII. Furniture, 61

Louis XIV., 147, 151, 167, 168

" death of, 161

Louis XV., 152, 159

" death of, 152

Louis XVI., 160-167

Louvre, The, 58

Lucas, Seymour, Mr., A.R.A., referred to, 44

Lyon, Dr., quoted, 121-2

Lytton, Lord, quoted, 28

Macaulay, Lord, quoted, 103, 112, 167

Machine-made Furniture, 222, 238

Madrid, French Furniture in, 168

Magniac Collection, 52

Mahogany, introduction of, 195

Mansion House, the Furniture of, 214

Manwaring, Robert, Work of, 183

Marie Antoinette, 146, 159, 160, 161, 163, 164, 172

Marie Louise, Cabinet designed for, 204

Marqueterie, 54, 61, 66, 150, 155, 237, 238

Maskell, Mr., reference to, 20, 53, 105

Mayhew, J., contemporary of Chippendale, 183, 190, 191

Medicis Family, Influence of the, 58

Meyrick, S., 79

Middle Temple Hall, 83, 84

Miles and Edwards, 212

Milton quoted, 199

Mirror Frame, Elizabethan, 78, 79

Mirror, Mosaic, 135

Mirrors, introduction of, 79, 150

"Mobilier National," Collection of, 60, 61, 159, 163

Modern fashion of Furnishing, 244, 245, 246

Mogul Empire, The, 132

Monbro, 232

Morant's Furniture, 212

Morris, Mr. W., 240, 246

Mounting of Furniture, 54

Munich, Work and Exhibition of, 248

Napoleon alluded to, 204, 206

Nilson, French carver, 179

Norman civilisation, influence of, 28

North Holland, Furniture of, 66

Notes and Queries, 107

Nineveh, Discoveries in, 3, 4, 5

Oak Panelling (see Panelling)

Oriental Conservatism, 139, 143

Ottoman, derivation of, 142

Oxford Museum, 111

Panelling (oak), 79, 80, 81, 89, 216

Papier-Maché Work, 232

Passe, C. de, 65

Paxton, Sir Joseph, 230

Penshurst Place, 32, 34, 87, 106, 111, 112

Perkins, Mr. C., translator of "Kunst im Hause", 204

Persian Designs, 136-139

Pianoforte, the, 231, 266, 267

Picau, French carver, 179

Pietra-dura introduced, 54

Pindar, Sir Paul, House of, 109

Pirdnesi, 174

Pollen, Mr. J. Hungerford, reference to, 12, 14, 18, 30, 31, 59, 76, 80, 95, 134, 161, 199, 242, 244, 249

Pompadour, Madame, 159

Portuguese Work, 69

Prie Dieu Chair, the, 35, 58

Prignot, Designs of, 220

Prior, Mr. Edwards, Essay on Furniture, 242, 244

Pugin, Mr. A. W., work of, 212, 217, 218

Queen Anne Furniture, 239, 240

Queen Victoria's Collection, 57, 68, 69, 133

Racinet's Work, "Le Costume Historique", 132

Radspieler of Munich (manufacturer), 247

Raffaelle, referred to, 48, 49, 169

Raleigh, Sir W., 92

Regency, Period of the, in France, 152, 153

Renaissance, 44, 48, 86, 87, 169

Renaissance in England, 72-89

" " France, 57-62

" " Germany, 70-71

" " Italy, 48-57

" " The Netherlands, 63-66

" " Spain, 67-70

Restoration, the, 111

Revolution, the French, 168, 203, 204

Revival of Art in France, 58

Ricardo, Mr. Halsey, 241, 242

Rich, Sir Henry, 103

Richardson's "Studies", 70-78

Riesener, Court Ebeniste, 159, 163, 164, 165, 167, 203

Robinson, Mr. G. T., quoted, 105, 108, 111

Rococo Style, the, 195, 216, 225, 226

Rogers, Harry, Work of, 223, 224

Roman Furniture, 12, 13, 14, 15, 16

Rowe, Miss, and School of Woodcarving, 242

Ruskin, Mr., quoted, 55, 239, 240, 241

Russian Woodwork, 23

St. Augustine's Chair, 32

St. Peter's Chairs, 18, 19, 20

St. Peter's Church, 48

St. Saviour's Chapel, 71

Sallust, House of, 14

Salting, Mr., Collection of, 131

Salzburg, Bishop's Palace at, 168

Sandringham House, referred to, 244

Saracenic Art, 69, 139-143

Sarto, Andrea del, 49

Satinwood, introduction of, 174

Saxe-Coburg, late Duke of, Art Collection of, 131

Scandinavian Woodwork, 22, 23, 169, 170

Science and Art Department, the, 96

Scott, Sir Walter, reference to, 24, 26

Screens, Louis XV. period, 154

Scrowled Chair, 107, 108

Secret Drawers, etc., in Furniture, 101

Sedan Chair, the, 154

Seddon, Thomas, and his Sons, Work of, 210

Serilly, Marquise de, Boudoir of, 161

Sêvres Porcelain, introduction of, 158, 167

Shakespeare's Chair, 87, 88

Shakespeare, quoted, 87, 103, 105, 107

Shaw, Mr. Norman, R.A., 246

Shaw's "Ancient Furniture", 78, 112

Sheraton, Thomas, 192, 195, 197, 198, 207, 208, 210

Shisham Wood, 135, 136

Sideboard, reference to the, 183, 192, 199, 200, 225

Skinners' Company, The, 215

Smith, Major-Gen. Murdoch, reference to, 136, 141

Smith, Mr. George, explorer, reference to, 3, 4

Smith, George, manufacturer, 212, 213, 214

Snell, Work of, 210

Soane Museum, The, 174

Society of Arts, The, 217

Society of Upholsterers and Cabinet Makers, 182, 183

Sofa, Derivation of, 142

South Kensington. _See_ Kensington.

Spanish Furniture, 67, 68, 69

Speke Hall, Liverpool, 78

Spitzer Collection, The, 61

Spoon Cases, 199

Stationers' Hall, 106, 192

Steam power applied to manufactures, 222

Stephens, Mr., referred to, 23

Stockton House, 87

Stone, Mr. Marcus, 100

"Strap Work", 104

Strawberry Hill Sale, 157, 219

Street, Mr., R.A., 246

Strudwick, J., designer, 225

Sydney, Sir Philip, 87

Tabernacle, The, 1

Table "Dormant", 105

" "Drawinge", 105

" Extending, 193

" Folding, 106

" Framed, 105

" Kneehole, 195

" Pier, 192, 194

" Side, 192

" Joined, 105

" Standing, 105

" Wine, 201

Tables and Trestles, 104, 105

Tadema, Sir Alma, design by, 210, 240, 246, 267

Talbert's Designs, 237, 246

Tapestry, 151, 154, 159

Tarsia Work, or Intarsia, 53, 54, 70

Tea Caddies, 201

Tea-poys, 201

Thackeray, quoted, 53, 81

Theebaw, King, Bedstead of, 135

Thyine Wood, 13

"Times" Newspaper, The, quoted, 172

Titian, 49

Toms & Luscombe, 233

Town & Emanuel, 221, 233

Trades Unionism, 241

Traditions, Loss of old, 240, 241

Transition period, 43, 46

Trianon, The, 145, 146

Trollopes founded, 210

"Tunbridge Wells" Work, 238

Ulm, Cathedral of, 41, 42

Urn Stands, The, 187, 200, 201

Veneers, 237, 238

Venice, Importance of, 20

Venice, referred to, 98, 226

Verbruggens, The, 65

Vernis Martin, 156, 157

Versailles, Palace of, 145, 146

Victorian (early) Furniture, 216

Vinci, L. da, 48, 169

Viollet-le-Duc, 58

"Vitrine," The, 151

Vriesse, V. de, 65

Wallace, Sir Richard, Collection of, 247

Walpole, Horace, 219

Ware, Great Bed of, 87

Waterhouse, Mr., R.A., 246

Watteau, 146, 154

Watts, artist, referred to, 103

Webb, Mr. Stephen, 242, 246

Webb, manufacturer, 235

Wedgwood, Josiah, 176, 236

Wertheimer, S., 233

Westminster Abbey, 73, 97, 98

Wilkinson, of Ludgate Hill, 212

Williamson (Mobilier National), 60, 163

Woods used for Furniture, 263

Wotton, Sir Henry, quoted, 91, 92

Wren, Sir Christopher, referred to, 112

Wright, Mr., F.S.A., referred to, 26

Wyatt, Sir Digby, Paper read by, 20

York House, described in "The Art Journal", 219, 220

York Minster, Chair in, 32

* * * * *

+----------------------------------------------------------------+ | Transcriber notes: | | | | P. xi. Chapter VIII. is on p. 203, not p. 201, changed. | | P. 53. Footnote 5: 'Maggoire' changed to 'Maggiore' as noted | | in other edition. | | P. 122. 'wallnut' changed to 'walnut.' | | P. 254. 'Green Musuem', changed 'Musuem. to 'Museum'. | | P. 272. 'Sta ioners', changed to 'Stationers'. | +----------------------------------------------------------------+