diff options
Diffstat (limited to '43805-8.txt')
| -rw-r--r-- | 43805-8.txt | 3415 |
1 files changed, 0 insertions, 3415 deletions
diff --git a/43805-8.txt b/43805-8.txt deleted file mode 100644 index 7e3197b..0000000 --- a/43805-8.txt +++ /dev/null @@ -1,3415 +0,0 @@ -The Project Gutenberg EBook of Little Books About Old Furniture. Volume -II. The Period of Queen Anne, by J. P. Blake and A. E. Reveirs-Hopkins - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Little Books About Old Furniture. Volume II. The Period of Queen Anne - -Author: J. P. Blake - A. E. Reveirs-Hopkins - -Release Date: September 23, 2013 [EBook #43805] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK OLD FURNITURE, VOL II *** - - - - -Produced by Chris Curnow, Sue Fleming and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - -[Illustration: FRONT COVER] - - LITTLE BOOKS ABOUT OLD FURNITURE - - II. QUEEN ANNE - - - - - LITTLE BOOKS ABOUT OLD FURNITURE - - Uniformly bound, Crown 8vo - Price 2s 6d net each - - - I. TUDOR TO STUART - - II. QUEEN ANNE - - III. CHIPPENDALE AND HIS SCHOOL - - IV. THE SHERATON PERIOD - - - LONDON: WILLIAM HEINEMANN - 21 Bedford Street, W.C. - - -[Illustration: QUEEN ANNE WALNUT TALLBOY AND STOOL (EARLY EIGHTEENTH -CENTURY.)] - - - - - LITTLE BOOKS ABOUT OLD FURNITURE - ENGLISH FURNITURE: BY J. P. BLAKE - & A. E. REVEIRS-HOPKINS. VOLUME II - - - THE PERIOD OF QUEEN ANNE - - - [Illustration: WILLIAM HEINEMANN LOGO] - - NEW EDITION - - - ILLUSTRATED - - - LONDON MCMXIV - - WILLIAM HEINEMANN - - - - - _First published October 1911_ - _New Edition January 1913_ - _Second Impression June 1914_ - - _Copyright London 1911 by William Heinemann_ - - - - -INTRODUCTION - - -The sovereigns of England, unlike those of France, have seldom taken to -themselves the task of acting as patrons of the fine arts. Therefore -when we write of the "Queen Anne period" we do not refer to the -influence of the undistinguished lady who for twelve years occupied the -throne of England. The term is merely convenient for the purpose of -classification, embracing, as it does, the period from William and Mary -to George I. during which the furniture had a strong family likeness and -shows a development very much on the same line. The change, at the last -quarter of the seventeenth century, from the Jacobean models to the -Dutch, was probably the most important change that has come over English -furniture. It was a change which strongly influenced Chippendale and his -school, and remains with us to this day. - -The period from William and Mary to George I. covered nearly forty -years, during which the fashionable furniture was generally made from -walnut-wood. No doubt walnut was used before the time of William and -Mary, notably in the making of the well-known Stuart chairs with their -caned backs and seats, but it did not come into general use until the -time of William. It continued in fashion until the discovery of its -liability to the attacks of the worm, combined with the advent of -mahogany, removed it from public favour. Walnut nevertheless remains a -beautiful and interesting wood, and in the old examples the colour -effects are probably unsurpassed in English furniture. Its liability to -"worming" is probably exaggerated, and in the event of an attack -generally yields to a treatment with paraffin. Certainly the furniture -of what is termed the "Queen Anne period" is in great request at the -present day, and as the period was so short during which it was made, -the supply is necessarily limited. - -We referred in the introduction to the first volume to the fact that the -present series does not in any sense pretend to exhaust what is -practically an inexhaustible subject. The series is merely intended to -act as an introduction to the study of old English furniture, and to -provide handbooks for collectors of moderate means. The many admirable -books which have been already written on this subject seem to appeal -mostly to persons who start collecting with that useful but not -indispensable asset--a large income. In the present volume, although -rare and expensive pieces are shown for historical reasons and to -suggest standards of taste, a large number of interesting examples are -also shown and described which are within the reach of persons of -moderate incomes, and frequently an approximate price at which they -should be acquired is indicated. - -In collecting the photographs necessary for this volume we are indebted -to the Director and Secretary of the Victoria and Albert Museum, South -Kensington, London, for placing the various exhibits at our disposal and -particularly for causing a number of new exhibits to be specially -photographed. However good a photograph may be, it can only be a ghost -of the original, which should always, if possible, be examined. We would -therefore strongly recommend readers when possible to examine the museum -objects for themselves. The South Kensington collection, admirable as it -is, is still far from complete, and increased public interest should -contribute to its improvement. For the further loan of photographs we -are also indebted to Mr. F. W. Phillips, of the Manor House, Hitchin, -Herts; to Mr. J. H. Springett, High Street, Rochester, and others to -whom we acknowledge our indebtedness in the text. - - J. P. Blake - - A. E. Reveirs-Hopkins - - 21 Bedford Street, W.C. - - - - -CHAPTERS - - PAGE - - I. THE QUEEN ANNE PERIOD 1 - - II. SIR CHRISTOPHER WREN AND GRINLING - GIBBON 18 - - III. MIRRORS, STOOLS, AND SOME NOTES - ON A QUEEN ANNE BEDROOM 34 - - IV. CHAIRS AND TABLES 47 - - V. CHESTS OF DRAWERS, TALLBOYS, - CABINETS AND CHINA CABINETS 65 - - VI. SECRETAIRES, BUREAUX, AND - WRITING-TABLES 76 - - VII. CLOCKS AND CLOCK-CASES 82 - - VIII. LACQUERED FURNITURE 95 - - - - -BIBLIOGRAPHY - - - It is with pleasure we acknowledge our obligations to the following - authorities: - - Percy Macquoid: "The Age of Walnut." - (The standard work on the furniture of this period.) - - J. H. Pollen: "Ancient and Modern Furniture and Woodwork." - An admirable little handbook and guide to the furniture - and woodwork collection at the Victoria and Albert Museum, - South Kensington. - - F. J. Britten: "Old Clocks and Watches and their Makers." - (Exhaustive in its treatment, and fully illustrated. The - standard book. A new edition has recently been published.) - - John Stalker: "Japanning and Varnishing." - (The earliest English book on this subject. Published in - 1688 during the craze for japanned furniture.) - - Law: "History of Hampton Court," vol. iii. - - Ashton: "Social Life in the Reign of Queen Anne." - - Evelyn: "Diary." - - Macaulay: "History of England." - - - - -CHAPTER I: THE QUEEN ANNE PERIOD - - WILLIAM AND MARY, 1689-1702 - - ANNE, 1702-1714 - - GEORGE I., 1714-1727 - - -William the Third was a Dutchman and, although he was for thirteen years -King of England, he remained a Dutchman until his death. His English was -bad, his accent was rough, and his vocabulary limited. He had a Dutch -guard, the friends whom he trusted were Dutch, and they were always -about him, filling many of the offices of the Royal Household. He came -to England as a foreigner and it remained to him a foreign country. His -advent to the throne brought about certain changes in the style of -furniture which are generally described as "the Dutch influence," which, -however, had its origin at least as far back as the reign of Charles II. - -Both William and Mary were greatly interested in furnishing and -furniture. They took up their residence at Hampton Court Palace soon -after their coronation, and the place suited William so well and pleased -him so much that it was very difficult to get him away from it. William -was a great soldier and a great statesman, but he was more at his -pleasure in the business of a country house than in the festivities and -scandals of a court life, both of which he perhaps equally disliked. The -Queen also cordially liked country life, and no less cordially disliked -scandal. Mr. Law, in his interesting book on Hampton Court, mentions the -story that Mary would check any person attempting to retail scandal by -asking whether they had read her favourite sermon--Archbishop Tillotson -on Evil Speaking. - -With the assistance of Sir Christopher Wren as Architect and Grinling -Gibbon as Master Sculptor, great changes were made in the Palace at -Hampton Court. The fogs and street smells of Whitehall drove William to -the pure air of the country, and there was the additional attraction -that the country around the palace reminded him in its flatness of his -beloved Holland. When one of his Ministers ventured to remonstrate with -him on his prolonged absences from London, he answered: "Do you wish to -see me dead?" William, perhaps naturally, cared nothing for English -tradition: he destroyed the state rooms of Henry VIII. and entrusted to -Wren the task of rebuilding the Palace. The architect appears to have -had a difficult task, as the King constantly altered the plans as they -proceeded, and, it is said, did a good deal towards spoiling the great -architect's scheme. In William's favour it must be admitted that he took -the blame for the deficiencies and gave Wren the credit for the -successes of the building. The result--the attachment of a Renaissance -building to a Tudor palace--is more successful than might have been -expected. The King's relations with Wren seem to have been of a very -friendly sort. Mr. Law mentions the fact that Wren was at this time -Grand Master of Freemasons; that he initiated the King into the -mysteries of the craft; and that William himself reached the chair and -presided over a lodge at Hampton Court Palace whilst it was being -completed, which is, in the circumstances, an interesting example of the -working rather than the speculative masonry. - -Mary was herself a model housewife, and filled her Court with wonder -that she should labour so many hours each day at her needlework as if -for her living. She covered the backs of chairs and couches with her -work, which was described as "extremely neat and very well shadowed," -although all trace of it has long since disappeared. It is appropriate -to observe, as being related to decorative schemes and furnishing, that -the taste for Chinese porcelain, which is so general at this day, was -first introduced into England by Mary. Evelyn mentions in his diary -(June 13, 1693) that he "saw the Queen's rare cabinets and collection of -china which was wonderfully rich and plentiful." Macaulay expresses his -opinion with his usual frankness. He writes: "Mary had acquired at The -Hague a taste for the porcelain of China, and amused herself by forming -at Hampton a vast collection of hideous images, and vases upon which -houses, trees, bridges, and mandarins were depicted in outrageous -defiance of all the laws of perspective. The fashion--a frivolous and -inelegant fashion, it must be owned--which was thus set by the amiable -Queen spread fast and wide. In a few years almost every great house in -the kingdom contained a museum of these grotesque baubles. Even -statesmen and generals were not ashamed to be renowned as judges of -teapots and dragons; and satirists long continued to repeat that a fine -lady valued her mottled green pottery quite as much as she valued her -monkey and much more than she valued her husband." It is strange to -consider in these days how greatly Macaulay, in this opinion, was out of -his reckoning. There is, perhaps, no example of art or handicraft upon -which the opinion of cultured taste in all countries is so unanimous as -in its admiration for good Chinese porcelain, amongst which the Queen's -collection (judging from the pieces still remaining at Hampton) must be -classed. Mary was probably the first English queen to intimately concern -herself with furniture. We have it on the authority of the Duchess of -Marlborough that on the Queen's first visit to the palace she engaged -herself "looking into every closet and conveniency, and turning up the -quilts upon the beds, as people do when they come into an inn, and with -no other concern in her appearance but such as they express." - -We find in this period lavishly painted ceilings, woodwork carved by -Grinling Gibbon and his school, fine needlework, upholstered bedsteads, -and marble mantelpieces with diminishing shelves for the display of -Delft and Chinese ware. The standard of domestic convenience, in one -respect, could not, however, have been very high, if one may judge from -the Queen's bathing-closet of this period at Hampton Court Palace. The -bath is of marble and recessed into the wall, but it is more like a -fountain than a bath, and its use in the latter connection must have -been attended by inconveniences which modern women of much humbler -station would decline to face.[1] - - [1] The bathroom is, however, not in itself so modern in England - as might be supposed. Wheatley mentions that as early as the - fourteenth century a bathroom was attached to the bedchamber in - the houses of the great nobles, but more often a big tub with a - covering like a tent was used. - -Good specimens of the wood-carving of Grinling Gibbon (born 1648, died -1721) are to be seen at Hampton Court, to which Palace William III. -appointed the artist Master Carver. He generally worked in soft woods, -such as lime, pear and pine, but sometimes in oak. His subjects were -very varied--fruit and foliage, wheat-ears and flowers, cupids and dead -game, and even musical instruments--and were fashioned with amazing -skill, resource, and ingenuity. He invented that school of English -carving which is associated with his name. His fancy is lavish and his -finish in this particular work has never been surpassed in this country; -but it is doubtful whether his work is not overdone, and as such may not -appeal to the purer taste. Often his masses of flowers and foliage too -much suggest the unpleasant term which is usually applied to them, viz. -"swags." Frequently nothing is left to the imagination in the boldness -of his realism. Fig. 1 shows a very happy example of his work over a -mantelpiece in one of the smaller rooms in Hampton Court Palace, which -is reproduced by the courtesy of the Lord Chamberlain, the copyright -being the property of H.M. the King. Upon the shelf are pieces of china -belonging to Queen Mary, but the portrait inset is of Queen Caroline, -consort of George IV. In the grate is an antique fire-back, and on -either side of the fire is a chair of the period of William and Mary. - -The Court bedsteads (and probably on a smaller scale the bedsteads of -the upper classes generally) continued to be at once elaborate and -unhygienic, and were fitted with canopies and hangings of velvet and -other rich stuffs. King William's bedstead was a great four-poster, hung -with crimson velvet and surmounted at each corner with an enormous -plume, which was much the same fashion of bedstead as at the beginning -of the century. Fig. 2 is an interesting photograph (reproduced by -permission of the Lord Chamberlain) of three Royal bedsteads at Hampton -Court, viz. those of William, Mary, and George II. The chairs and stools -in front are of the period of William and Mary. The table is of later -date. Most of the old furniture at Hampton Court, however, has been -dispersed amongst the other Royal palaces. - -An excellent idea of the appearance of a London dwelling-room of this -period is shown in Fig. 3. It was removed from No. 3 Clifford's Inn, and -is now to be seen at the Victoria and Albert Museum. The owner, John -Penhallow, must have been well-to-do, as the fine carving about the -mantelpiece and doors was expensive even in those days. The festoons of -fruit and flowers of the school of Grinling Gibbon around the -mantelpiece, in the centre of which are the arms of the owner, and the -broken pediments over the doors surmounting the cherubs' heads, are -characteristic of the time. The table with the marquetry top and "tied" -stretcher is of the period. The chairs retained for a time that rigid -resistance to the lines of the human form which marks the Stuart chairs; -but very soon adapted themselves in a physiological sense. - -What is termed the Queen Anne period of furniture may be said to date -from the reigns of William and Mary (1689-1702), and Queen Anne -(1702-1714), to that of George I. (1714-1727). The Dutch influence of -William and Mary became Anglicised during the reign of Anne and the -first George, and the influence remains to this day. Mahogany was -introduced about 1720, and thenceforward the influence of Chippendale -and his school came into force. - -The Queen Anne style has probably been over-praised, a little -misunderstood, and possibly a trifle harshly treated. Mr. Ernest Law, -whose studies of this period we have already mentioned, describes it as -"nothing better than an imitation of the bastard classic of Louis XIV., -as distinguished from the so-called 'Queen Anne style' which never had -any existence at all except in the brains of modern ęsthetes and china -maniacs," and as a case in point refers to Queen Anne's drawing-room at -Hampton Court Palace. This verdict is no doubt a true one as regards the -schemes of interior decoration, with their sprawling deities and the -gaudy and discordant groupings of classical figures of Verrio and his -school, to be seen at Hampton Court and other great houses. Verrio, as -Macaulay wrote, "covered ceilings and staircases with Gorgons and Muses, -Nymphs and Satyrs, Virtues and Vices, Gods quaffing nectar, and -laurelled princes riding in triumph"--a decorative scheme which -certainly does not err on the side of parsimony. The taste of a Court, -however, is by no means a criterion of taste in domestic furniture. -There can be no doubt that to this period we are indebted for the -introduction of various articles of furniture of great utility and -unquestionable taste. The chairs and tables in particular, depending as -they do for charm upon simple lines and the transverse grain of the -wood, for neatness of design and good workmanship are unsurpassed. -Amongst other pieces the bureaux and long-cased clocks made their -appearance; also double chests of drawers or tallboys, mirrors for -toilet-tables and wall decoration; and washstands came into general -use, as well as articles like card-tables, powdering-tables, &c. - -The houses of the wealthy were furnished with great magnificence and -luxuriousness in a gaudy and ultra-decorative fashion. Restraint is the -last quality to be found. Judging however from the many simple and -charming specimens of walnut furniture surviving, the standard of -comfort and good taste amongst the middle classes was high. Table glass -was now manufactured in England; carpets were made at Kidderminster; -chairs grew to be comfortably shaped; domestic conveniences in the way -of chests of drawers, writing bureaux, and mirrors were all in general -use in many middle-class houses. Mr. Pollen, whose handbook on the -Victoria and Albert collection is so much appreciated, writes of the -Queen Anne furniture as being of a "genuine English style marked by -great purity and beauty." - -Anne, the second daughter of James II., was the last of the Stuarts, -with whom, however, she had little in common, and indeed it is with -something of an effort that we think of her as a Stuart at all. -Personally she had no more influence upon the period which bears her -name than the Goths had upon Gothic architecture. The term "Queen Anne" -has grown to be a conveniently descriptive term for anything quaint and -pretty. We are all familiar with the Queen Anne house of the modern -architect, with its gables and sharply pitched roof. This, however, is -probably suggested by various rambles in picturesque country districts -in England and Holland; but it has nothing in common with the actual -houses of the period under review. - -The bulk of the genuine furniture which has come down to us was probably -from the houses of the merchant classes, the period being one of great -commercial activity. The condition of the poor, however, was such that -they could not concern themselves with furniture. Mr. Justin McCarthy, -in his book on these times, estimates that one-fifth of the population -were paupers. A few rude tables and chairs, a chest, truckle-beds, and -possibly a settle, would have made up the possessions of the -working-class house; and it is probable that not until the nineteenth -century was there any material improvement in their household -surroundings. - -It was a time in which the coffee-and chocolate-houses flourished; when -Covent Garden and Leicester Square were fashionable neighbourhoods; when -the Sedan chair was the fashionable means of transit; when the police -were old men with rattles who, sheltered in boxes guarded the City; and -when duels were fought, in Lincoln's Inn Fields. The coffee-house was a -lively factor in the life of the times: although wines were also sold, -coffee was the popular drink. The price for a dish of coffee and a seat -by a good fire was commonly one penny, or perhaps three-halfpence, -although to these humble prices there were aristocratic exceptions. -Anderton's Hotel in Fleet Street, "The Bay Tree" in St. Swithin's Lane, -and the now famous "Lloyd's" are interesting developments of the Queen -Anne coffee-houses. Coffee itself was retailed at about seven shillings -per pound. Chocolate-houses were small in number, but included names so -well known at the present time as "White's" and the "Cocoa Tree." -Chocolate was commonly twopence the dish. "Fancy the beaux," Thackeray -writes, "thronging the chocolate-houses, tapping their snuff-boxes as -they issue thence, their periwigs appearing over the red curtains." - -Tea-drinking was a social function and mainly a domestic operation, and -to its popularity we owe the number of small light tables of this -period. - - Snuff, or the fan supply each pause of chat, - With singing, laughing, ogling, and all that. - -The price of tea fluctuated very much--some years it was much cheaper -than others, varying from 10s. to 30s. per lb., although it is said -that in the cheaper sorts old infused leaves were dried and mixed with -new ones. - -As regards pottery and porcelain, the Chinese was in great request, -following, no doubt, on the fashion set by Queen Mary. The English -factories--Worcester, Derby, Chelsea, Bow, Wedgwood, and Minton--only -started in the last half of the eighteenth century. Mr. Ashton, in his -interesting book on "Social Life in the Reign of Queen Anne," quotes the -following advertisement, which points to the continued popularity of -decorative china: - -"Whereas the New East India Company did lately sell all their China -Ware, These are to advertise that a very large parcel thereof (as Broken -and Damaged) is now to be sold by wholesale and Retail, extremely cheap -at a Warehouse in Dyer's Yard. Note.--It is very fit to furnish -Escrutores, Cabinets, Corner Cupboards or Spriggs, where it usually -stands for ornament only." - -This fashion first brought into use the various forms of cabinets used -for the display of china. The earliest pieces would therefore date from -the end of the seventeenth, or the beginning of the eighteenth century. - -In the first volume of this series we referred to a characteristic of -Elizabethan woodwork, viz. inlaying--the laying-in of small pieces of -one or several kinds of wood in places cut out of the surface of another -kind. In the period under review two further practices are deserving of -special notice. The first is veneering, which consists of wholly -covering one sort of wood (frequently a common wood, such as deal or -pine, but also oak) with a thin layer of choice wood--walnut, mahogany, -&c. The object of veneering was not for purposes of deception, as it was -not intended to produce the effect that the whole substance was of the -finer sort of wood; but by means of applying these thin overlays a -greater choice of wood was possible, and a more beautiful effect was -produced by the juxtaposition of the various grains. - -Although at the present time the term veneer is frequently used as one -of approbrium, the principle it stands for is a perfectly honest one. It -is very much the same as the application of the thin strips of marble to -the pillars and walls of St. Mark's at Venice, which is called -incrustation, and of which Ruskin writes in the "Stones of Venice." The -basis of St. Mark's is brick, which is covered by an incrustation or -veneer of costly and beautiful marbles, by which rich and varied colour -effects are produced which would have been impossible in solid marble. -The same principle applies to veneers of wood, in which there is -likewise no intention to deceive but rather a desire to make the most of -the materials on hand. It would have been impossible to construct a -great many cabinets of solid walnut-wood, nor would the effect have been -so satisfactory, because, as already pointed out, the fact of veneers -being laid in thin strips immensely increases the choice of woods and -facilitates the composition of pleasing effects. There is, moreover, -often a greater nicety of workmanship in the making of veneered -furniture than in the solid article, and it is indeed often a complaint -that the doing up of old veneered furniture is so expensive and -troublesome. In old days veneers were cut by hand--sometimes one-eighth -of an inch thick--but the modern veneer is, of course, cut by machinery, -and is often a mere shaving. - -In the period under discussion walnut-veneering reached great -perfection, beautiful effects being produced by cross-banding various -strips and varying the course of the grains and the shades. Oak was -first used as a base, but later commoner woods such as deal. - -It is a mistake to condemn an article because the basis is not of oak. -As a matter of fact, after a time oak went out of use as a basis for the -reason that it was unsatisfactory, the veneer having a tendency to come -away from it. We frequently find the front of a drawer is built of pine, -to take the veneer, whilst the sides and bottom of the drawer are of -oak. - -Marquetry, which is also a feature in furniture of this period, is a -combination of inlaying and veneering. A surface is covered with a -veneer and the desired design is cut out and filled in with other wood. -Its later developments are of French origin, and it was first introduced -into England from Holland towards the end of the seventeenth century, -after James II. (who had been a wanderer in Holland) came to the throne. - -Most arts date back to ancient times; and the arts of woodcraft are no -exceptions. Inlaying, veneering, and wood-carving reach back to the -temple of Solomon; and the Egyptians also practised them. Ancient inlay, -moreover, was not confined to woods--ivory, pearls, marbles, metals, -precious stones all being requisitioned. - -During the reigns of William and Mary, Anne, and George the First, -events of great importance transpired. St. Paul's, that great monument -to Wren and Renaissance architecture, was opened; the Marlborough wars -were fought; the South Sea Bubble was blown and burst; Sir Christopher -Wren and Grinling Gibbon completed their work; Marlborough House and -Blenheim were built; Addison, Pope, and Daniel Defoe were at work; -Gibraltar was taken; England and Scotland were united; the Bank of -England was incorporated; and last, but not least, the National Debt -started. - - - - -CHAPTER II: SIR CHRISTOPHER WREN AND GRINLING GIBBON - - -The temper of a nation is reflected in its architecture and, in a lesser -degree, in its furniture. When we look at the furniture of the last of -the Stuarts, Mary II. and her sister Anne, we see written all over it in -large letters one great virtue--sobriety. - -In the oak furniture of the last of the Tudors and the first of the -Stuarts (Elizabeth and James I.) we find the same sober note; but in the -main it is more essentially English. In the Augustan era of Elizabeth we -certainly see in the more pretentious examples of Court-cupboards and -cabinets the influence of the Renaissance; but the furniture made by the -people for the people is simply English in form and decoration. - -During the troublous times of the two Charles and to the end of the -revolution which placed William and Mary on the throne, the country was -alternately in the throes of gaiety and Puritanism; and a dispassionate -view leads one to suppose that "Merrie England" had the greater leaning -towards merriment. The people of England knew well enough that sobriety -was good for them, and Cromwell gave it in an unpalatable form. The -remedy was less to the country's liking than the disease, and with the -Restoration in 1660 the passions of the nation ran riot in the opposite -extreme. - -The final lesson came with the twenty-nine years of misrule under -Charles II. and James II. Having drained the cup of degradation to the -dregs, the country set about her real reformation by the aid of Dutch -William, himself the grandson of a Stuart, and his cousin-consort Anne, -the daughter of the self-deposed James. - -James II. had learnt his lesson from the errors of his brother Charles, -but was not wise enough to fully profit by it. He realised that misrule -had stretched his subjects' patience to the breaking-point, and during -his short reign there was a certain amount of surface calm. But beneath -was the continual struggle for absolutism on the part of the monarch and -emancipation on the part of the people. The subject is familiar to -students of history. - -With the advent of the Orange _régime_ we find a distinct revolution in -English furniture. There is no evidence of a sudden change. We find -comparatively severe examples during James II.'s reign and flamboyant -patterns dating from the days of William. The transitional period was -shorter than usual, and once the tide had gathered strength in its flow -there was very little ebb. - -The Civil troubles in the country had given a severe check to the arts: -the influence of the Renaissance upon furniture was upon the wane, and -the ground was lying fallow and hungry for the new styles which may be -said to have landed with William of Orange in Torbay in 1688. - -The main influence in the furniture was Dutch, and the Dutch had been to -a large extent influenced by a wave of Orientalism. - -Twenty-five years before this, England's most renowned, if not greatest, -architect had designed his first ecclesiastical building--the Chapel of -Pembroke Hall, Cambridge--in the classical style which he made famous in -England. - -Christopher Wren was born in 1631 or 1632. He was son of Dr. Christopher -Wren, Dean of Windsor, and nephew of Matthew Wren, Bishop of Ely, who, -to celebrate his release from the Tower, built Pembroke Hall Chapel in -1663, employing his nephew as architect. - -In 1664, when Christopher Wren was about thirty-two years of age, he -came in contact with John Evelyn, the diarist, who in his journal, under -date July 13, writes of him as that "miracle of a youth." The -acquaintanceship ripened into a friendship, only broken by Evelyn's -death in 1706. From Evelyn's diary we are able to glean many things -concerning the then rising young architect. The idea of the Royal -Society was the outcome of a meeting in 1660 of several scientists in -Wren's room after one of the lectures at Gresham College. On being -approached on the desirability of forming the Society, Charles II. gave -his assent and encouragement to the project, and we learn that one of -the first transactions of the Society was an account of Wren's pendulum -experiment. The Society was incorporated by Royal Charter in 1663. - -It would appear that Wren had no world-wide reputation as an architect -at the time, but, probably through the instrumentality of his friend -Evelyn, he was appointed by the King as assistant to Sir John Denham, -the Surveyor-General of Works, and in the opinion of one of his -biographers, Lucy Phillimore, "the practical experience learned in the -details of the assistant-surveyor's work was afterwards very serviceable -to him." - -We find him occupied in 1664 in plans for repairing old St. Paul's and -in building the Sheldonian Theatre at Oxford, which was finished in -1669. During the plague of 1665 Wren made a tour of the Continent, and -there absorbed ideas which fructified in the new style of classical -architecture which has made his name famous. During further discussions -concerning the much-needed repairs to St. Paul's came the fire of London -in 1666. This solved the difficulty, for St. Paul's was left a gaunt -skeleton in the City of Desolation. Wren's plans for the rebuilding of -the City were accepted by the King, but were never carried out in -anything like their entirety. All attempts to patch up the cathedral -were abandoned in 1673, and the ground was cleared for the new -foundations. The architect and his master mason laid the first stone on -June 21, 1675. The cathedral and the story of its building is familiar -to us all. The great architect, having drawn the circle for the dome, -called to a workman to bring him a piece of stone to mark the centre. -The man brought a fragment of an old tombstone on which was the single -word "Resurgam." All present took it as a good omen. We all know how the -last stone of the lantern was laid thirty-five years afterwards by the -architect's own son in the presence of his father. During those -thirty-five years the great freemason's hands had been full, and in the -City which rose from the ashes of the fire of 1666 no less than -fifty-four churches were either built or restored by him. In addition, -we find that the rebuilding or restoration of thirty-six halls of the -City guilds, as well as upwards of fifty notable buildings--hospitals, -colleges, palaces, cathedrals and churches--in London and the provinces, -is laid to his credit. - -St. Paul's Cathedral, Wren's City churches, and the Monument, would in -themselves make London famous amongst the cities of the world. The -Monument was erected to commemorate the rebuilding of the City. The -inscription thereon absurdly attributes the origin of the fire to the -Papists. Pope satirises it in his "Moral Essays": - - London's Column pointing to the skies - Like a tall bully lifts the head and lies. - -Chief, for beauty, amongst the churches is St. Stephen's, Walbrook. -Canova, the great sculptor, after paying a visit to England for the -purpose of seeing the Elgin marbles, was asked if he would like to -return to the country. "Yes," he replied, "that I might again see St. -Paul's Cathedral, Somerset House, and St. Stephen's, Walbrook." - -A dozen or more of Wren's churches have been swept off the map of -London, in many cases with a wantonness amounting to sacrilege; but we -can still rejoice in the possession of such gems as St. Stephen's, -Walbrook; St. Nicholas, Cole Abbey; and St. Mary Abchurch, with its -flat roof and cupola supported on eight arches. St. Dunstan's in the -East, near the Custom House, still stands testifying to the fact that -Wren could restore a church without spoiling it. St. Dunstan's, built in -the latest style of perpendicular Gothic, was left a mere shell after -the fire. Wren added the fine tower, and capped it with the curious and -graceful spire supported on flying buttresses. It is said that the -architect stood on London Bridge with a telescope anxiously watching the -removal of the scaffolding from the spire. It is scarcely credible, -however, that such a man should doubt his own powers of building. This -legend recalls the story of the building of the Town Hall at Windsor in -1686. The spacious chamber on the street level is used as a corn -exchange and above is the great hall. The anxious town councillors -declared that the great room above would collapse. Wren knew exactly how -much his four walls and great beams could bear, but, to appease the -burghers, he promised to place four columns at the intersections of the -beams. He purposely built them about two inches short, and, to this day, -after the lapse of two hundred and twenty-five years, there is still a -two-inch space between the top of each column and the ceiling it is -supposed to support. On the exterior of the building are two statues -given by Wren in 1707: one of Queen Anne and the other of her Danish -consort, Prince George. Our good Christopher could flatter on occasion. -The inscription to Prince George in his Roman costume reads, _inter -alia_: - - Heroi omni saeculo venerando. - -Underneath the figure of Queen Anne is the legend: - - Arte tua sculptor non est imitabilis Anna - Annae vis similem sculpere sculpe Deam. - -The local rhyming and free translation runs: - - Artist, thy skill is vain! Thou can'st not trace - The semblance of the matchless Anna's face! - Thou might'st as well to high Olympus fly - And carve the model of some Deity! - -We admit this is a very free and extended translation, but it passes -current locally. To say the least, it is high praise; but Wren had a -staunch friend in Queen Anne, and every eye makes its own beauty. - -The exigencies of the time called for a great architect, and he appeared -in the person of Christopher Wren: they called for a great artist to -adorn the master's buildings, and he appeared in the guise of Grinling -Gibbon. - -The discovery of Gibbon in an obscure house at Deptford goes to the -credit of gossipy John Evelyn, who on January 18, 1671, writes: "This -day, I first acquainted his Majesty (Charles II.) with that incomparable -young man Gibbon, whom I had lately met with in an obscure place by mere -accident, in a field in our parish, near Sayes Court. I found him shut -in; but looking in at the window, I perceived him carving that large -cartoon or crucifix of Tintoretto, a copy of which I had brought myself -from Venice, where the original painting remains. I asked if I might -enter; he opened the door civilly to me, and I saw him about such a work -as for the curiosity of handling, drawing and studious exactness, I -never had before seen in all my travels. I questioned why he worked in -such an obscure and lonesome place; it was that he might apply himself -to his profession without interruption, and wondered not a little how I -found him out. I asked him if he were unwilling to be known to some -great man, for that I believed it might turn to his profit, he answered, -he was yet but a beginner, but would not be sorry to sell off that -piece; on demanding the price he said £100. In good earnest, the very -frame was worth the money, there being nothing in nature so tender and -delicate as the flowers and festoons about it, and yet the work was very -strong; in the piece was more than one hundred figures of men, &c.... -Of this young artist, together with my manner of finding him out, I -acquainted the King, and begged that he would give me leave to bring him -and his work to Whitehall, for that I would venture my reputation with -his Majesty that he had never seen anything approach it, and that he -would be exceedingly pleased, and employ him. The King said he would -himself go see him. This was the first notice his Majesty ever had of -Mr. Gibbon." - -The King evidently did not "go see him," for under date March 1 we read: -"I caused Mr. Gibbon to bring to Whitehall his excellent piece of -carving, where being come, I advertised his Majesty.... No sooner was he -entered and cast his eye on the work, but he was astonished at the -curiosity of it, and having considered it a long time and discoursed -with Mr. Gibbon whom I brought to kiss his hand, he commanded it should -be immediately carried to the Queen's side to show her. It was carried -up into her bedchamber, where she and the King looked on and admired it -again; the King being called away, left us with the Queen, believing she -would have bought it, it being a crucifix; but when his Majesty was -gone, a French peddling woman, one Madame de Boord, who used to bring -petticoats and fans and baubles, out of France to the ladies, began to -find fault with several things in the work, which she understood no more -than an ass, or a monkey, so as in a kind of indignation, I caused the -person who brought it to carry it back to the Chamber, finding the Queen -so much governed by an ignorant French woman, and this incomparable -artist had his labour only for his pains, which not a little displeased -me; he not long after sold it for £80, though well worth £100, without -the frame, to Sir George Viner. His Majesty's Surveyor, Mr. Wren, -faithfully promised to employ him. I having also bespoke his Majesty for -his work at Windsor, which my friend Mr. May, the architect there, was -going to alter and repair universally." - -Grinling Gibbon was born in 1648, and so the "incomparable young man" -would have been about twenty-three years of age when he sailed into -Royal favour. We do not know the whereabouts of the carved cartoon after -Tintoretto; but we shall find at the Victoria and Albert Museum a -carving by Gibbon, measuring 6 ft. in height by 4 ft. 4 in. in width, of -the "Stoning of St. Stephen." It is executed in limewood and lance-wood. -Walpole, in his "Catalogue of Painters," writes of the "Stoning of St. -Stephen," which was purchased and placed by the Duke of Chandos at -Canons,[2] as the carving which had "struck so good a judge" as Evelyn. -It is palpably not identical with the Tintoret subject which Evelyn -describes as "being a crucifix." Fig. 10 in Chapter III. is a remarkable -example of Gibbon's carving of fruits, flowers, and foliage. - - [2] James Brydges, Duke of Chandos, who as Paymaster of the Forces - during the wars in the reign of Queen Anne amassed a large - fortune, built Canons, near Edgware, in 1715. The building and - furnishing is said to have cost between £200,000 and £250,000. It - was in the classical or Palladian style of architecture, and was - adorned with costly pillars and statuary. The great _salon_ was - painted by the Paolucci and the ceiling of the staircase by - Thornhill. Although the building was designed to stand for ages, - under the second Duke the estate became so encumbered that it was - put up to auction, and as no buyer could be found the house was - pulled down in 1747. The materials of "Princely Canons" realised - only £11,000. The marble staircase and pillars were bought by Lord - Chesterfield for his house in Mayfair. The witty Earl used to - speak of the columns as "the Canonical pillars of his house." The - Grinling Gibbon carving of the "Stoning of St. Stephen" was - transferred to Bush Hill Park, near Enfield, and finally acquired - in 1898 by the Victoria and Albert Museum at a cost of £300. - -Readers who are familiar with the Belgian churches will remember the -wonderful carvings at Brussels and Mecklin by Drevot and Laurens, who -were pupils of Gibbon. They out-Gibbon Gibbon in their realism. - -In Fig. 4, photographed for this book by the South Kensington -authorities, we give an illustration of a carving in pinewood of a -pendant of flowers attributed to Gibbon. It originally decorated the -Church of St. Mary Somerset, Thames Street, E.C., built 1695--one of -Wren's City churches so wantonly destroyed. To see Gibbon's wood carving -at its best we must go to St. Paul's Cathedral, Windsor Castle, and -Hampton Court Palace. At Windsor we shall also see carved marble panels -of trophies, emblems and realistic fruits, flowers and shell-fish on the -pedestal of the statue of Charles II. At Charing Cross we have another -example of his stone carving on the pedestal of the statue of Charles -the Martyr. - -We have already referred to the Church of St. Mary Abchurch in Abchurch -Lane, between King William Street and Cannon Street, City. It was built -in 1686, eleven years after the first stone of St. Paul's was laid. It -also serves for the parish of St. Laurence Pountney. It lies in a quiet -backwater off the busy stream, and the flagged courtyard is still -surrounded by a few contemporary houses. Externally it is not beautiful, -but Wren and Gibbon expended loving care on the really beautiful -interior. The soft light from the quaint circular and round-headed -windows casts a gentle radiance over the carved festoons of fruit, -palm-leaves and the "pelican in her piety." - -Just across, on the other side of Cannon Street, is another backwater, -Laurence Pountney Hill. Two of the old Queen Anne houses remain, No. 1 -and No. 2, with beautiful old hooded doorways dated 1703. The circular -hoods are supported by carved lion-headed brackets. The jambs are -ornamented with delicate interlaced carving. No. 2 has been mutilated as -to its windows, and a modern excrescence has been built on to the ground -floor; but No. 1 appears to be much as it left the builders' hands in -1703, and still possesses the old wide staircase with twisted -"barley-sugar" balusters and carved rose newel pendants. These houses -may or may not have been designed by Wren. They seem to bear the impress -of his genius, and in any case they give us a glimpse--and such glimpses -are all too rare--of the homes of the City fathers, just as the little -church across Cannon Street brings us in touch with their religious life -in the early days of Queen Anne. - -Fig. 5 represents an interesting series of turned balusters taken from -old houses of the late seventeenth and early eighteenth centuries. They -are executed in oak, lime, ash and pinewood--mostly the latter; and -many of the details will be found repeated in the furniture legs of the -Queen Anne period. The photograph was specially taken for this volume -by the courtesy of the Director and Secretary of the Victoria and Albert -Museum. - -Fig. 6 represents a contemporary doorway of a room formerly at No. 3 -Clifford's Inn. It is of oak, with applied carvings in cedar of -acanthus-leaf work, enclosing a cherub's head and a broken pediment -terminating in volutes. We shall find members of the same cherub family -on the exterior of St. Mary Abchurch. Fig. 7 is the overmantel of the -same room with a marble mantelpiece of somewhat later date. This room, -now at the Victoria and Albert Museum, was erected in 1686 by John -Penhallow, who resided there till 1716. - -Fig. 8 is a beautiful doorway carved in yellow pine, with Corinthian -columns and pediment. We shall find similar pediments in the tower of -Wren's church, St. Andrew's, Holborn. This doorway with the carved -mantelpiece (Fig. 9) came from an old house in Carey Street, Lincoln's -Inn Fields. These belong to the early part of the eighteenth century. - -These are but a few isolated examples of beautiful settings to the -furniture of the period of the revival of classical architecture in -England. Such things are not for the modest collector, who will content -himself with the chairs, tables, and bureaux of the period--articles, -in the main, of severe outline devoid of carving, and relying for effect -much upon the rich tones of the wood employed, but withal eminently -beautiful, inasmuch as they were and are eminently useful. - - - - -CHAPTER III: MIRRORS, STOOLS, AND SOME NOTES ON A QUEEN ANNE BEDROOM - - -The mirror, at the present time, is so generally an accepted necessary -of life, and so indispensable in many of its situations, that it may -seem remarkable that not until the sixteenth century was it in anything -like general use in England. The pleasure and interest of reflection -must have been felt from the time when "the reindeer roared where Paris -roars to-night." Still water must have been the first mirror of the -first man and woman in which they discovered their astonished faces, and -where it is possible that, like Narcissus, they fell in love with their -own reflections. Thus we find Eve saying in "Paradise Lost": - - I thither went - And with unexperienced thought, and laid me down - On the green bank; to look into the clear - Smooth lake, that to me seem'd a second sky. - As I bent down to look, just opposite, - A shape within the wat'ry gleam appear'd, - Bending to look on me. - -No doubt a reflecting surface was one of the first things that human -ingenuity concerned itself about. Brass mirrors were used by the -Hebrews, and mirrors of bronze by the Egyptians, Greeks, and Romans; -surviving specimens may be seen in the museums. Silver mirrors were also -used in very early times. Glass mirrors are also of ancient origin. -Sauzay, in his work on "Glass-making," quotes from Aristotle as follows: -"If metals and stones are to be polished to serve as mirrors, glass and -crystal have to be lined with a sheet of metal to give back the image -presented to them." And here we have the foreshadowing of the -mercury-backed sheet of glass of modern times. - -In England mirrors of polished metal were well known in Anglo-Saxon -times, and from the twelfth to the fifteenth centuries the ladies -carried mirrors at their girdles or in their pockets. Venice has always -been the home of glass-work, and it was there, in the early fourteenth -century, that the immediate prototypes of our modern glass mirrors were -made. For something like a century and a half the Venetians had the -monopoly of the making of the best mirrors. Their secrets were carefully -guarded, and any workman emigrating had his nearest relative imprisoned. -It is interesting to note in passing that in Jan van Eyck's picture in -the National Gallery, London, painted in 1434, there is a framed convex -wall mirror which has an astonishingly modern look. It is difficult to -say whether or not this is made of glass, but it shows, of course, that -mirrors were used for wall decoration at that time. This picture, by the -way, is very interesting, as providing undeniable evidence as to the -nature of the Dutch furniture of the early fifteenth century. - -As regards the early history of the mirror in Britain, there is a glass -mirror in Holyrood Palace in the apartments used by Queen Mary the First -and said to have belonged to her. At Hampton Court there are mirrors -belonging to the period of William III. and later, some of which have -bevelled edges and borders of blue glass in the form of rosettes. Glass -mirrors were made in England by Italian workmen early in the seventeenth -century, but not extensively until about 1670, when the Duke of -Buckingham established works in Lambeth, where mirrors were made. The -edges were bevelled in Venetian fashion. We find Evelyn writing in his -diary under date of September 19, 1676: - -"To Lambeth to that rare magazine of marble, to take order for chimney -pieces, &c, for Mr. Godolphin's house. The owner of the workes had built -for himselfe a pretty dwelling house; this Dutchman had contracted with -the Genoese for all their marble. We also saw the Duke of Buckingham's -Glass Worke, where they made high vases of metal as cleare, ponderous -and thick as chrystal; also looking-glasses far larger and better than -any that come from Venice." - -As will be seen at Hampton Court, the glass in each of the large mirrors -of this time is in two pieces, for the reason that, by the methods then -in use, it was not possible to make larger sheets. This method of making -mirrors in two pieces is followed even in the present day in modern -copies of old mirrors. It was, no doubt, a cause of regret to the old -makers that they could not turn out a large glass in one sheet, and they -would no doubt have been astonished to think that succeeding ages would -deliberately copy their defect. A collector will not, probably, come -across a mirror earlier than William and Mary, and he should have little -difficulty in finding genuine mirrors of the next reign--Queen -Anne--which are at once interesting and inexpensive. Mr. Clouston thinks -that "the wall mirrors of the Queen Anne period may very well rank with -the best furniture of their time. They are simple yet satisfying, and -rich without extravagance." - -A mirror is not a mere looking-glass, although in this connection it has -always been greatly appreciated. Mirrors bring a sense of space to a -small room, and make a larger room appear more spacious. In the King's -writing-closet at Hampton Court there is a mirror over the chimney-piece -which provides a vista of all the rooms on the south side of the state -apartments. Great furniture-designers from the time of Grinling Gibbon -to that of Chippendale have appreciated the opportunities offered by -mirrors for the purposes of decoration. - -Fig. 10 is a mirror-frame of carved limewood by Grinling Gibbon to be -seen in the Victoria and Albert Museum. It is a rich and wonderful -example of chisel play, but, like his work in general, does not satisfy -a taste which inclines to less resplendent decoration. Such a mirror is -probably not within the reach of any collector, great or small; and it -is even probable--at least as regards the small collector--that, if by a -stroke of fortune such a piece descended to him, he would find that it -would scarcely harmonise with any ordinary scheme of decoration. Its -presence would be as embarrassing as the entertainment of Royalty in a -suburban home. - -The ordinary types--and they are many--of Queen Anne mirrors can with -perfect propriety find places in almost any room in any house of taste, -and on the walls of hall or staircase they are at once interesting and -decorative. Particularly are they in harmony with the surroundings of a -"Queen Anne" bedroom. In this connection, however, a word of warning is -in place regarding the old glass. This is very well on the wall mirrors, -but in the mirror for the toilet-table it should be replaced by new -glass. Nothing lasts for ever, and it is rare that the old glasses fully -retain their reflecting powers. Old mirrors are bad to shave by, and -are, moreover, extremely unpopular with ladies. The art of furnishing -consists of a tactful combination of whatever is best in the old and the -new. - -Figs. 11 and 12 are simple mirrors of the Queen Anne period. Fig. 11 is -a wall glass with a pleasing scroll outline, and Fig. 12 is a -toilet-table glass characteristic of the period, the gilt inner moulding -or "embroidery" being an interesting feature. We find similar decorative -devices to the above on many of the mirrors of this time, and such -examples should be purchasable at about two guineas each. - -Figs. 13 and 14 are more elaborate and expensive mirrors, the broken -pediments in each case suggesting the influence of Sir Christopher Wren. -Although the architectural inspiration, which was absolute in the Gothic -periods and strong in the Elizabethan, was very much less marked in the -time of Queen Anne, still the classical influence of Wren's Renaissance -style is shown in many ways, and particularly in the many varieties of -the broken pediment which are favourite forms of decoration for the tops -of mirror frames. Fig. 13, in addition to the broken pediment, is -decorated on the frame with egg-and-tongue mouldings, and on the base -with a bust of a cherub in high relief. Fig. 14 is surmounted by a -boldly carved figure of an eagle enclosed by the broken pediment. On -either side are carved festoons of fruit and flowers, possibly suggested -by the work of Grinling Gibbon. These important mirrors, interesting and -effective as they are, require large rooms to set them off. - -Simple mirrors, as in Figs. 11 and 12, present no difficulties regarding -their disposal. The more elaborate ones, however, apart from their -expensiveness, should not be purchased unless there is a suitable place -in which to hang them. This suggests a maxim which applies to the -collection of any sort of furniture, viz. not to purchase any piece -until you have decided what to do with it. Adherence to this rule may -involve the occasional loss of a bargain, but it avoids confusion and -possible domestic complications. We knew an enthusiastic collector who -resisted the purchase of old examples with the greatest difficulty. His -wife, on the other hand, whilst appreciating possibly as keenly as her -husband the attractions of the antique, was also fastidious regarding -the prompt settlement of tradesmen's bills. The climax was reached one -day when the husband, instead of settling certain pressing accounts, -attended a sale and purchased an enormous Dutch wardrobe which was found -to be at least eighteen inches too tall for any room in the house. - -Another form of decoration applied to mirror-frames of the Queen Anne -period was that known as "Gesso" work, whereby a design was built into -relief with layers of size and plaster applied with a brush. It gives -scope for delicate line work, and is often softer than carving. Figs. 15 -and 16 are mirrors decorated with Gesso ornament, to which, however, -little justice can be done in a photograph. - -Fig. 17 is a fine mirror of pinewood with Gesso ornamentation, in which -the broken pediment form has taken a somewhat fanciful shape. - -In Fig. 18 the broken pediment appears in a more strictly architectural -form. This mirror, which is of painted pine, was formerly in the "Flask" -Tavern, Ebury Square, Pimlico. Although its date would be about 1700, it -is clearly in its mouldings reminiscent of the Jacobean period, which -style no doubt continued in popularity amongst the poorer classes. This -mirror is an interesting instance of the merging of the two styles. - -Marquetry was also used on the mirror-frames of this period, an example -in a broad frame inlaid with a floral pattern being shown in Fig. 19. -This mirror was sold for seventeen guineas. - -Fig. 20 is an example of a toilet mirror of the Queen Anne period, the -front of which lets down with a flap, after the manner of a bureau, -revealing a nest of drawers. This form of mirror is not often met with, -and an opportunity of acquiring one at a reasonable price should not be -neglected. Fig. 21 is of similar construction mounted on a stand, an -architectural touch being given by the pilasters on either side of the -mirror. This pattern is singularly simple and charming. - - * * * * * - -Stools of the period under review are generally difficult and somewhat -expensive to acquire, but these are not reasons for giving up hope. A -type of the William and Mary stool is shown in Fig. 22. The scrolled -feet and X-shaped stretcher are characteristic. Stools were very popular -articles of furniture at this time. We find them in numbers in -contemporary prints, and they continued to be used as seats at -meal-times, as no doubt (providing the table were low enough) they were -more comfortable than the stiff-backed chairs of the time. In the face -of decided evidence of their prevalence in the Queen Anne period, their -scarcity to-day is somewhat remarkable. - -In the coloured frontispiece is shown a simple stool of the time of the -early Queen Anne period covered with Petit-point needlework, with which -the ladies of that period delighted to occupy themselves. This -needlework--which, in addition to being used as a covering for -furniture, was also framed to hang on the walls--is often patterned with -quaint trees, people, goats, dogs, and a sprinkling of lovers and birds. -A stool such as is shown in the frontispiece makes an admirable seat for -a knee-hole writing-table. - -Fig. 23 is a large stool of the Queen Anne period with escallop-shell -decoration, cabriole legs and an early form of the claw-and-ball feet. -It is covered with contemporary needlework. - - * * * * * - -A Queen Anne bedroom conjures up the possibility of composing a charming -scheme of interior decoration. First it is necessary to face the -inevitable and accept the position that a modern bedstead is essential. -This should be made of walnut-wood, and the ends shaped after the -manner of the solid splats in the simple chairs of the period. Such -bedsteads are made by several of the good modern furniture firms. They -are not, of course, literal reproductions of the bedsteads of the -period, which were of the four-poster order, but they will be found to -be in good taste. Upon this bed should lie a reproduction of the -bed-covers of the period in a pattern boldly coloured and Oriental in -design. The floor should be covered by antique Persian rugs (or modern -reproductions). A walnut toilet-table should stand in the window (_see_ -Fig. 64). Upon it should rest a toilet-glass (_see_ Fig. 12), and in -front of it, if possible, a stool covered with the needlework of the -period (_see_ Frontispiece). This stool will, however, be difficult to -obtain, and its place could be taken by a simple chair of the period -(_see_ Figs. 32 and 34). Two other simple chairs should find places -around the room, upon one side of which should be placed a walnut -tallboy (_see_ Fig. 56) surmounted by a piece of Chinese blue-and-white. -We cannot too strongly emphasise the desirability of associating old -Chinese blue-and-white pottery with eighteenth-century furniture. The -washstand of the period (too small to be efficient) should be replaced -by an unobtrusive wooden table painted white, the top of which should be -covered with tiles in a shade which does not disagree with a -reproduction of an old "Spode" or "Mason's Ironstone" toilet set. - -Toilet sets, as we understand the term to-day, were unknown in the days -of Queen Anne. Common earthenware pitchers and basins, or at best -English and Dutch Delft, did duty until the rise of the great -Staffordshire factories late in the eighteenth century. Orignal "Spode" -or "Mason" ware would not be of earlier dates than 1770 and 1804 -respectively, and so quite out of the Queen Anne period. We merely -mention these two styles of so-called "Indian" decorations as being most -suitable for the purpose in hand. We might, indeed, happen upon an -eighteenth-century blue-and-white service; but all these early ewers and -basins, like the early washstands, are altogether too diminutive for -modern requirements. The reproductions, whilst retaining the old -decoration, are built in more generous proportions. - -For wall covering a plain white-or champagne-coloured paper might be -adopted, and for wall decoration one or two old mirrors (_see_ Figs. 11 -and 15) and some reproductions of Dutch interiors by the old masters, -framed in broad black frames, would be in harmony with the surroundings. -A difficulty in composing a Queen Anne bedroom is to find a suitable -hanging wardrobe. The marquetry hanging-press or wardrobe of the -period, with its bombé-shaped lower section, is somewhat heavy in -appearance, except in a large room, and is, moreover, expensive to -acquire. Failing a hanging cupboard in the wall, a simple plain cupboard -should be built and painted white. Such a cupboard at least strikes no -false note, and is greatly to be preferred to a modern wardrobe or one -of another period. - -In this connection a schedule of the cost to the authors of furnishing a -similar bedroom may be of interest. - - £ s. d. - Walnut tallboy 10 10 0 - 3 simple Queen Anne chairs 9 0 0 - 1 " " toilet-table 5 0 0 - 1 " " toilet mirror 2 2 0 - 1 " " wall mirror 2 2 0 - ------------- - £28 14 0 - -The cost of such details as carpets, curtains, bed-covering, china, &c, -is not included. - -To this, therefore, must be added the various modern reproductions, -including the bedstead: the total cost of the room would be about fifty -pounds. The result is, of course, a combination of the old and the -new--the best points of each being preserved--and the effect will be -found harmonious. - - - - -CHAPTER IV: CHAIRS AND TABLES - - -In volume one we left the chair at the time of King James II. when it -was composed of tall and straight lines, generally cane-backed and -cane-seated, with a carved stretcher fixed rather higher than midway -between the two front legs. Such pieces would not, of course, have been -found in the homes of the poor. Historical books, for the most part, -concern themselves very much with the affairs of courts and the practice -of battles, but very little with the habits and surroundings of the bulk -of the people. We know that the amount of poverty and crime at the -beginning of the eighteenth century was enormous, and the social -condition of the people being such, it is unlikely that their homes -could have been either comfortable or decently furnished. Very little of -the wealth of the country percolated through the middle class to the -poor; but there is no doubt that as regards the middle-class homes, they -had by the beginning of the eighteenth century reached a very tolerable -standard of social comfort and convenience. - -It is probable that a good deal of this standard of comfort was -attributable to Dutch influence. The sense of home comfort seems to -have been developed in Holland in early times. In the picture of John -Arnolfini and his wife in the National Gallery, London, painted by Jan -van Eyck, who lived between 1390 and 1440, there is a vivid and -interesting glimpse of the furniture of this period. This picture should -be studied by all interested in furniture. In the bedroom shown in the -picture we find, in addition to the bed with its heavy red stuff -hangings, a coffer, probably for clothes; a tall chair with a Gothic -traceried top and a red cushion; a smaller chair with a red cushion; a -carpet of Persian pattern; a brass chandelier; and a mirror reflecting -the room and its two occupants. The mirror is in a round wooden frame -decorated with small medallion panels, with paintings illustrative of -the Passion of our Lord. The room is lighted by casement windows, and -the whole effect suggests a degree of comfort creditable to the taste of -the fifteenth century. - -A very notable feature in the male costume of the time of William and -Mary was the enormous periwig, which was considered a sign of social -importance. A man would not wear his hat (a _chapeau-bras_), but in -order that his wig might not be disarranged would carry his hat under -his arm. It is rather strange that a hard-headed business man like -William should have countenanced such a fashion by wearing a great -periwig himself. It appears to have been a custom to comb these wigs in -the coffee-houses, for which purpose each gallant carried an elegant -comb. The men's hats were adorned with feathers, and they also wore -full-skirted coats decorated with lace and embroidery, stockings, -breeches, buckled shoes, and huge cuffs garnished with lace. - -The ladies also wore a heavy head-gear, the hair being brushed away from -the forehead and surmounted by ribbons and rows of lace, over which was -thrown a lace scarf which hung nearly to the waist, giving the general -impression of a great mob-cap. "Stiff stays," writes Mr. Dillon, -"tightly laced over the stomacher and very long in the waist, became -fashionable; and to so great an extent was this pernicious fashion -carried that a lady's body from the shoulders to the hip looked like the -letter V." There was another fashion among the ladies of building -several tiers of lace to a great height upon the hair. These structures, -in the prints of the period, have the appearance of enormous combs. As -regards the dress of this period, "the general tendency," Mr. Calthrop -writes, "was to look Dutch, stiff, prim, but very prosperous." - -Costume and furniture have always had a close relationship, and we find -Mr. Percy Macquoid writing in his "Age of Walnut": "The settles and -chairs of the latter part of the seventeenth century were evidently -constructed with a view of forming backgrounds to the prevailing -fashions in costume; the strongest characteristic at this time being an -extremely high-backed seat to suit the voluminous periwigs and tall -head-dresses of the women." - -It will also be noticed that the arms of the chairs were set back from -the front of the seat to allow room for the ample skirts of the women. - -Figs. 24, 25, and 26 are three chairs of carved walnut with seats -covered with figured red velvet. These chairs, from the Old Palace, -Richmond, at first glance appear to be of the same pattern, but a closer -examination will show that no two are quite alike. Two of them certainly -have similar backs, but a difference appears in the legs. In shape there -is little difference between these chairs and those of the preceding -reign except that the stretcher is lower. The backs, however, differ -considerably from the Stuart chairs, the cane having disappeared and its -place being taken by pierced and elaborate carvings. Fig. 27 is another -and probably a later specimen of a fine William and Mary chair. Although -the back is less elaborate, the legs have now assumed the cabriole form -and the feet are extremely realistic. The stretcher in the front has, it -will be noted, disappeared. These chairs were, of course, made for the -wealthy classes, and were comparatively few in number as the fashion was -a brief one; but they show the prevailing ideas which in turn expressed -themselves on the simpler chairs. An example of the latter is shown in -Fig. 28, which, purely as a matter of taste, is possibly as pleasing as -some of the more elaborate chairs of this period. This example cost five -pounds. - -Figs. 29 and 31 are rush-seated chairs of the Queen Anne period and are -made of oak, probably in a country place where the prevailing walnut -fashion had not reached. They are exceedingly simple and pleasing in -shape and were sold at one pound each. The centre chair (Fig. 30) is a -child's chair of the same period--a type which, in our experience, is -not often met with. There is no example in the Victoria and Albert -Museum, a fact we mention in case any reader would like to offer such a -specimen. Here the splat is slightly different from those of its -companions. The present piece lacks a front rail to prevent the child -from falling. - -Queen Anne chairs of simple character should not be very difficult to -obtain, nor should they make extravagant incursions upon the purse. To -purchase a number of chairs of identical form sufficient to compose a -set is a far more expensive method than to collect more or less odd -chairs, singly or in pairs, and to make up a set for oneself. Each may -not be exactly similar to the other, but the family likeness is amply -sufficient to satisfy any reasonable taste. Indeed such little -differences as are expressed, say, in the splats and the legs may be -said to break the line of uniformity and to produce an effect which is -permanently pleasing and interesting. Such a set of chairs would be -admirable in a dining-room; and single chairs of this period and type -would be scarcely out of place in any room in the house. Elaborately -carved and marquetried chairs of this time are expensive, but it is a -question whether the plain chairs are not as pleasing. At present the -taste for old furniture runs to pieces which are highly carved and -decorated, but this is often for the simple reason that such pieces are -more uncommon, and therefore more expensive, than the plain ones. It is -possible, however, that in a succeeding age, when all old furniture, -both carved and plain, will be rare, that the latter may be as highly -favoured as the former. In many of the plain old chairs the lines are -charming and the woods rich and interesting, and possessing these, we -need scarcely envy those whose means enable them to prefer the richer -sorts. - -We now approach a departure in the designs of furniture which had a -far-reaching and lasting effect upon style in England. We refer to the -cabriole leg and the shaped foot, which ultimately developed into the -claw-and-ball. The first movement appears to have occurred when the -straight lines of the Stuart furniture were superseded by the curved -lines of the Dutch style; and occasionally we find the cabriole leg on a -William and Mary chair, as in Fig. 27. - -The cabriole leg has been traced back to China and Egypt, but was -introduced into England through Holland and France. It may be called the -leading characteristic of the domestic woodwork of the Queen Anne -period. It made its appearance on chairs, tables, sofas, and chests--in -fact, upon every form of furniture which is lifted from the ground. The -word is adopted from the French _cabriole_, a goat-leap, although it -must be admitted that this is scarcely a literal description of the form -the carving takes. At first the shaping was of the simplest description -and showed but the faintest resemblance to the leaping leg of an animal, -but later forms took a more realistic turn. The term cabriole has -become generic, and is now applied to almost any furniture leg built -with a knee. - -Fig. 32 is a simple type of Queen Anne chair with cabriole legs, carved -with an escallop-shell, a form of decoration which finds its way upon -very many forms of furniture of this time, and is as popular as the -crown and cherub decoration of the departed Stuarts. - -The claw-and-ball foot, which, like the cabriole leg, is traceable to -the East, we find on the more elaborate chairs of the Queen Anne period, -and is generally accepted to represent the three-toed claw of the -Chinese dragon holding the mystic Buddhistic jewel. The development of -the claw-and-ball is traceable through the feet of the furniture of this -period, and commenced by the base of the chair legs being slightly -shaped into a foot, which will be remarked in Figs. 29 and 31. Such form -is generally known as the club foot. - -Then the toe assumed the shape of an animal's foot, out of which a claw -was evolved, and, having to clutch something to make a base, a ball was -added, and we have the familiar claw-and-ball foot which has remained a -favourite decoration to the present time. The good examples are full of -spirit and significance, entirely different from the machine-made -inanimate examples on modern furniture. - -Figs. 33, 34, 35 are simple examples of Queen Anne chairs. Those with -arms should be purchasable for about five guineas and the single chairs -for about three guineas. Fig. 36 is an example of an inlaid chair[3] of -this period, the tall graceful back being particularly pleasing. The -earlier chairs of this period (Figs. 33 and 35) were provided with -strengthening rails between the legs, but later the knee was made -stronger and the cross rails dispensed with (Fig. 34), which had the -effect of lightening the appearance of the chair but not of increasing -its durability. The disappearance of these leg rails marks the later -Queen Anne chairs, so that it is a fair guide as to date of production. -Thus disappears the last link with the good old times, when the floors -were so dirty that rests were provided for the feet. - -Fig. 37, in addition to its cabriole legs and embryo claw-and-ball feet, -is especially interesting as foreshadowing the familiar ladder-backed -chairs of the Chippendale school. In this chair the rail connecting the -back legs has been retained. - - [3] The splat of the original is nicely inlaid, but it is - impossible to adequately reproduce this in a photograph. - -In this period the "knee" was either plain or ornamented with an -escallop-shell; it rarely had any other form of decoration: but it -developed many forms under the influence of Chippendale and his school. -It is well to remember, however, that in England the cabriole leg in its -original and simpler form belongs to the reign of Queen Anne. - -An essential and highly important development is at this period -particularly noticeable in the chair, which is now adapted to the human -frame instead of, as heretofore, the human frame having to adapt itself -to the chair. It is probable that the greater pliability of walnut over -oak made this departure feasible, but one has only to sit in the tall -straight-backed Stuart chair and the shaped chairs of the Queen Anne -reign to see in which direction the advantage in comfort lies. It will -be found that in the latter the top of the back is curved so as to fit -the nape of the sitter's neck, and that the splat is shaped to suit -itself to the back and shoulders. Examples of this shaping are shewn in -the chairs, Figs. 32 and 36, which also have the simple cabriole legs. - -Figs. 38 and 39 are arm-chairs of this period. Fig. 38 has a central -vase-shaped panel with a volute and leaves on either side. The arms have -flattened elbow-rests. Fig. 39 has curiously twisted arms. It has -suffered in the splat very much from the worms. In this chair it will -be noticed the side rail connecting the legs is missing. The seat is -stuffed and covered with canvas, which is decorated with needlework -("petit-point") in coloured wools and silks. - -These are arm-chairs for respectable people, but there were also -broad-seated arm-chairs at this time known as "drunkards' chairs." The -width of the seat in front was nearly three feet, which gave ample room -for a man to comfortably collapse. - -Figs. 40 and 41 are two fine chairs of the late Queen Anne period, -showing finely developed cabriole legs and claw-and-ball feet. In both -specimens the connecting leg-rails have disappeared and the back feet -are shaped. Fig. 40 is covered with gilt and embossed leather over a -stuffed back and seat. In Fig. 41 the back has almost lost its Queen -Anne character and is merging into what we know as the Chippendale -style. The seat of this chair is covered with silk. The Huguenot refugee -silk-workers had settled in Spitalfields, and in the reigns of William -and Mary and Anne large quantities of silks and velvets were produced, -which were frequently used to cover the chairs of the bedroom furniture -of the time. Stuffed and upholstered arm-chairs were also favoured at -this period, which was distinctly one for the appreciation of comfort. -Fig. 42 is a partly veneered corner or round-about chair of this time; a -type of chair largely made in mahogany during the Chippendale period. - -The double chair, or settee, remains to be noticed. This, by a process -of refinement and elimination, had no doubt been evolved from the -old-time settle. It was also called a love-seat, and was constructed in -such form as to allow for the pose of social gallantry, simpering, and -the plying of the snuff-box and fan, inseparable from the manners of the -period. These double seats were usually found in the drawing-rooms of -the rich, and simple ones are not as a rule met with. Fig. 43 is a -settee of the type of William and Mary; the tied stretchers beneath and -the inverted bowl turnery on the legs are characteristic features. Fig. -44 is a fine late Queen Anne specimen with a marquetried back, -claw-and-ball feet, and an insistent decoration of the escallop-shell. -Fig. 45 is another fine settee of the same period with a full back and -claw-and-ball feet. Both these specimens have beautifully shaped arms -and feet, and the back feet being also slightly shaped at the base, -suggest the latter part of the period. - -In the beginning of the eighteenth century, tapestries, as forms of wall -decoration, had been replaced either by wainscoting or, more generally, -by wall-papers. Needlework was a popular occupation amongst the women, -who made hangings for their bedsteads and windows and covers for their -chairs, stools and couches. Mary, the Queen of William III., set an -example as an industrious needlewoman. It was at this time that the gay -chintzes and printed cottons, of which so many admirable and inexpensive -reproductions can be purchased at the present day, came into vogue. Like -so many of the decorative ideas of the time, they were introduced into -England by the Dutch, who in their turn borrowed them from the East. -They were extremely Oriental in design, depicting trees, birds and -flowers, all more or less related to nature. This was, of course, the -period when everything Oriental was the fashion,[4] when Chinese -porcelain and red and black lacquer were desired by many and acquired by -some; and the gay Oriental chintzes contributed fittingly to the scheme -of decoration, as well as affording a protection for the cherished -needlework coverings of the furniture. The modern reproductions are no -less indispensable in any house in which the old furniture of this -period has a place. Some firms print them by hand from the old blocks, -and from such firms they should be purchased. Chintzes appear to have -been first produced in England by a foreign settlement in Richmond, -Surrey, early in the eighteenth century. The English workmen afterwards -greatly simplified the designs, and in Queen Anne's time they were -largely the fashion. - - [4] Addison wrote that "an old lady of fourscore shall be so busy - in cleaning an Indian mandarin as her great-granddaughter is in - dressing her baby." - -The Queen Anne home of the middle class would not have startled a -visitor from the present century who had elected to inspect it by means -of Mr. Wells's Time Machine. Its exterior was square, unpretentious and -a trifle heavy, and the interior comfortable and efficiently furnished. -In fact, it is at this period that we find the first tangible approach -to our own idea of a home. The bathroom was still a luxury even in the -great houses, but in most other respects the standard of comfort -approached the modern idea. - - * * * * * - -The first tables made of walnut-wood seem to have followed very much the -designs of the Jacobean oaken tables, and have the square sturdy look -which we associate with oak furniture. One of the first changes to be -noticed is in the appearance, on the legs, of an inverted bowl -decoration as in Fig. 46. Then we find a change in the stretchers or -bars connecting the legs; these instead of being straight rails between -the four corners, now assume the X or tied-stretcher pattern as shown in -Fig. 47. This table is inlaid with cedar and boxwood, and is valued at -twelve guineas. Fig. 48 is a Museum piece of the same period, the -marquetry work on which is very fine--the top being most elaborately -inlaid. The inlaid work of this period reached great perfection, -blossoms and birds, as well as geometrical designs, being worked out in -various woods with great taste and dexterity. It will be noticed that -there is a strong family likeness between the two tables, although the -latter is a much finer one.[5] Chinese pottery was (as has been pointed -out) the rage at this time, and the flat space in the centre of the tied -stretcher was very likely intended to hold a Chinese bowl. - - [5] Fine tables of this type are very expensive. One such was sold - at Christie's in June 1911 for fifty-eight guineas. It was thus - described: "A William and Mary walnut-wood table, with one drawer, - the top inlaid with a chariot, flowers and birds, in marqueterie - of various woods, on turned legs with X-shaped stretcher--38 in. - wide." - -William and Mary tables have turned legs, which were so popular on the -furniture of the preceding period but which were soon to disappear in -favour of the cabriole leg. In fact, the tables in a few years underwent -a great transformation, as will be seen in the next example, Fig. 49. - -The Queen Anne period was a drinking, gambling, duelling, dice-throwing -age. In fact, it is said that loaded dice could be purchased at the toy -shops in Fleet Street. The spirit of speculation was about. The nation -had accumulated wealth a trifle too quickly, and trustee securities, as -we now understand them, had small attraction for any one. Every one -wanted to grow rich at once. The wildest schemes were launched. These -culminated in 1720 in the South Sea Bubble. Companies, as is well known, -were formed with the most extraordinary objects, such as "for the -invention of melting down sawdust and chips and casting them into clean -deal boards without cracks or flaws"; "for the importing of a number of -large jackasses from Spain"; and "for an undertaking which shall in due -time be revealed." All classes were affected; and the Prince of Wales -became governor of a copper company which had an unfortunate end. - -The gambling spirit was continued in private, and to this fact we -probably owe the existence of the many interesting card-tables of the -late Queen Anne period. These were, of course, only found in the houses -of the richer classes, and are often beautiful pieces of furniture. - -Table legs developed similarly to chair legs. The ubiquitous cabriole, -which has already been dealt with at length, was applied generally to -tables, with, later, the escallop-shell decoration and the claw-and-ball -foot. The fine example, Fig. 49, possesses all these decorations, -together with a pendant under the shell. This specimen was purchased by -the Victoria and Albert Museum in 1904 for the sum of twelve pounds, -which figure has, of course, little relation to its present value. These -tables are generally built with a flap and covered with cloth, except at -the four corners, where round or square places are left to take -candlesticks or glasses; cups are also shaped in the tables to hold -money, and they are sometimes provided with secret drawers. We have read -extraordinary stories of great sums being discovered in these -drawers--the proceeds of a night when "the old home was gambled away"; -but personally we have not chanced on such a find. - -Tables with two flaps were also used as breakfast-and small -dining-tables. They were generally oval, but sometimes round, and -occasionally square. These types were repeated later in mahogany with -added decorative details, and later still Sheraton adopted the -folding-table, converting it to his own style. - -Tables in great variety were made in this period, but the heavy type of -table of the previous century went out with the banqueting-hall and has -never returned. The gate-leg table, which originated in the oaken -period, is dealt with in Volume I.; and no doubt in many parts of the -country it continued to be made in oak, but it does not appear ever to -have become popular in walnut, which, after all, was never a wood in -general use in country districts. Fashion has a strong controlling -influence over furniture, as it has over so many other matters of taste. -The table with cabriole legs came into fashion, and immediately cabriole -legs in some form or other became _de rigueur_. The slender-legged -gate-leg table did not offer sufficient opportunity to the wood-carver, -and was also rather unsuitable for card-playing. Its perfect plainness, -moreover, was not to the taste of an age which inclined towards richness -and colour in its household surroundings. - - - - -CHAPTER V: CHESTS OF DRAWERS, TALLBOYS, CABINETS AND CHINA CABINETS - - -In Volume I., dealing with the oak period, we traced the evolution of -the chest of drawers from the simple chest or coffer, first by the -addition of an under-drawer to the coffer; then, the main body of the -chest being subdivided into convenient drawers (with the consequent -disappearance of the lid), we had the primitive form of the chest of -drawers, the term "chest" still clinging--apparently for all time--to -the structure. - -The earlier chests of drawers, dating from about the middle of the -seventeenth century, were comparatively small, usually with raised -panels or mouldings; occasionally we find them with decorations of -simple carved scroll-work and guilloche banding. The prolongation of the -stiles to form feet, as in the simple chest, had disappeared in favour -of bracketed corners or ball feet, as in Figs. 50 and 51. - -Fig. 50 represents an interesting chest of drawers, simple in outline -but elaborately decorated. The top is inlaid _en parterre_ with four -corner scroll designs and a centre design of birds, flowers, and fruit, -in ebony and laburnum wood on a ground of holly. A delicately cut -laurel-leaf band of inlay (shaded with hot sand) frames the top, sides, -and drawer fronts. It belongs approximately to about 1680. The -dimensions are fairly typical for the period, being 36 in. high, 39 in. -wide, and 23 in. deep. - -Fig. 51 is of rather unusual form, having three large drawers in the -upper portion and one long drawer under, which is capped by a bold -moulding. The oblong panel decorations consist of marquetry designs of -conventional flowers in ebony, holly, rose, and laburnum woods. This -also belongs to the year 1680; 41 in. high, 40 in. wide, and 23 in. -deep. It has a value of about eighteen guineas. - -Marquetry began to come into favour in this country about 1675-1680. We -quote Mr. Pollen, who says: "At first the chief motives in design appear -to have been acanthus leaves, figures, and arabesques, under Italian and -French influence: a little later, designs of flowers and birds, treated -in a more realistic fashion, were introduced by the Dutch. Finally, -about 1700, these two styles passed into an English style of very -delicate leaf-work of conventional form, often intricately mingled with -scrolls and strap-work; and geometrical designs were used." Mr. -Macquoid remarks that "investigation proves that, compared with the -English manufacture, Dutch marquetrie is always duller in colour and -more disconnected in design." - -Late in the seventeenth and early in the eighteenth centuries we find -the chests of drawers raised on twisted or turned legs, which are fixed -to a shallow plinth or joined near the ground by shaped stretchers. For -the first-named type we refer readers to Fig. 52, a specimen at the -Victoria and Albert Museum. It is built of pinewood overlaid with lignum -vitę, sycamore and walnut, in small roundish pieces cut across the -grain. The top is further decorated with sycamore bands arranged in two -concentric circles in the centre, surrounded by intersecting segments. -In the corners are quadrants. Each side has a large circle of similar -materials. The structure is 3 ft. 8 in. high and 3 ft. 4 in. wide. It -cost the museum £10 in 1898. - -Fig. 53, another dwarf chest of drawers of the same period, also at the -museum, is of oak and pine veneered with various woods. This is an -excellent example illustrating the amount of labour expended by the -craftsmen of the day on the early examples of veneering. On the face of -the top drawer alone there are no less than twenty large and -thirty-three small pieces of veneer, exclusive of the bordering. The -feet are very unusual, having a curiously booted appearance, with the -soles clearly indicated. This and the previous example bear the brass -drop handles and fretted escutcheons of the period. Great variety is -displayed in these brass fitments. The handles more often are of -elongated pear shape, but occasionally resemble a flattened flower-bud. -The ring handles appeared somewhat later. - -As types of the chests of drawers on legs we give two illustrations. -Fig. 54, from a photograph supplied by Messrs. Hampton and Sons Ltd., -Pall Mall, represents a fine specimen of veneered work of the William -and Mary period. The figuring in the walnut veneer is very good and -finely matched. The stand is tall, with but one long shallow drawer. The -turned legs are particularly graceful in outline. It will be noticed -that the inverted cup detail is repeated in the china cabinet (Fig. 69), -amongst the illustrations of lacquered furniture. - -Fig. 55 possesses twisted legs, a survival of the Stuart period proper. -During the reign of William and Mary and that of Anne, we are, strictly, -still in the Stuart period--the two queens being wholly and William half -Stuart. With the abdication of James II. there was a change in the -temper of the people and a comparatively abrupt change in the furniture. -In the chest under discussion the upper portion is severely plain, -whilst the lower half or stand is of particularly graceful outline. We -see how the stand is gradually being brought into requisition, not only -as a stand, but to hold extra drawers--quite small drawers at first. The -lifting of the central arch and consequent shallowing of the -corresponding small drawer give a pleasing diversity of line. This -structure is scarcely a "tallboy," being rather a chest of drawers on a -stand; and the stand, more than anything (as in the previous -illustration), points to the reign of William and Mary. This piece is in -the possession of Mr. F. W. Phillips, of the Manor House, Hitchin. The -owner values it at ten guineas. - -Something more nearly approaching the genuine "tallboy" is shown in the -coloured frontispiece. Here we have the stand growing deeper and -containing five small drawers. The angular-kneed cabriole legs denote -the period--about 1710, the middle of Queen Anne's reign. The veneer is -of richly figured walnut banded with herring-bone inlay. It is furnished -with brass handles and engraved escutcheons. - -We begin to see how increasing wealth in clothes called for more -commodious furniture. This piece has six drawers in the upper carcase in -addition to the five small ones in the stand: altogether a very -considerable storage capacity as compared with the dumpy chests of -drawers of earlier make. - -By easy stages we arrive at the tallboy pure and simple, sometimes -called "double chest" or "chest on chest." The term "tall" is obvious, -but "boy" is not so clear. - -The tallboy was purely the outcome of a demand for something more -commodious than the early form. It was made in two sections, mainly for -convenience in moving, and partly, by breaking up the lines, to lighten -the appearance of what would otherwise be a somewhat ungainly structure. -There is scarcely room for much variation in form, and the tallboys of -the Queen Anne and early Georgian period are very much of one family. -Fig. 56 is of walnut-wood bordered with a herring-bone banding of -yew-wood. A lightness is given to the upper portion by the corners being -canted and fluted. The oval ring plates are a pleasing feature. This -double chest of nine drawers stands 69 in. high. A well-preserved -specimen of this calibre would have a value of from ten to fifteen -guineas. - -Fig. 57 is a less pretentious tallboy chest of six drawers, valued at -ten guineas, in the possession of Mr. J. H. Springett, of High Street, -Rochester. Like the majority of these old veneered walnut chests, the -drawer fronts and sides of the main structure are veneered on pine, -whilst the bodies of the drawers are of oak. The fretted escutcheons and -cusped handles (unfortunately not quite uniform) are exceptionally good. -There is interesting documentary evidence connected with this old piece -of furniture. Pasted on the back of the bottom drawer is the maker's -label, yellow with age. At the top of the label are engraved designs of -an elaborate cabinet and four coffins; underneath is printed the -following legend: - -"John Knowles Cabinet Maker and Sworn Appraiser, at the Cabinet and four -Coffins in Tooley Street Southwark maketh and selleth all sorts of -Cabinets and joiners goods, Viz Cabinets scruetores, desk and book -cases, bewrowes, chests of draws and all sorts of tables as wallnut tree -mehogny, wainscot and Japan'd. All sorts of corner Cubbords looking -glasses and sconces and all other joiner's goods made and sold both -wholesale and retail at reasonable rates. Likewise funerals decently -furnished." - -We have not been able to unearth any other record of John Knowles. His -name does not appear in the first edition of the London Directory, a -very small volume published in 1731, nor in any subsequent edition up to -1771. The style of printing and archaic spelling, however, would point -to a date fairly early in the eighteenth century, probably during the -reign of George I. The mention of "mehogny" practically precludes an -earlier date than 1715-20. - -In the earlier days--away back in the thirteenth and fourteenth -centuries--the wardrobe was a special room, fitted with closets set -apart for the storage of clothes. All through Tudor times the coffer was -in use, and was all-sufficient to hold the clothes and household linen. -We find in Jacobean times the coffer growing into the chest of drawers, -and, in addition, tall hanging-cupboards were coming into use. But it is -not till the reign of Queen Anne--the walnut period--that we find the -prototype of the present-day wardrobe, with its roomy drawers, -hanging-cupboards, and numerous shelves. - -The inspiration of this eminently useful article came from Holland. It -is made usually of oak and pine veneered with walnut and, as often as -not, inlaid with marquetry. The upper storey consists of small drawers -and shelves enclosed by two doors and surmounted by a curved cornice, -the lower portion being a chest of three or four long drawers. - -Even the admittedly English-made specimens are so extremely Dutch in -appearance, that it is probable the majority were designed and made by -the Dutchmen who came over in the train of William III. We give an -example in Fig. 58 of an inlaid hanging-press or wardrobe, showing -decidedly Dutch influence in the lower portion, particularly noticeable -in the protruding knees set at an angle of forty-five degrees. The -marquetry designs of vases and flowers are also of Dutch type. It is of -average size, being 91 in. high, 66 in. wide, and 22 in. deep. As with -the other furniture of the walnut period, the early wardrobes were -extremely solid and dignified in appearance. The modern maker has made -improvements as to interior fittings, but on general principles the old -pieces leave little or nothing to be desired. The old-time craftsman was -conscientious in his work. We do not find the doors flying open unasked; -the drawers have no nasty habits of refusing to open or close. The Queen -Anne or early Georgian wardrobe, which is sound to-day, bids fair to -outlive our great-grandchildren, and should be cheap at its average -selling-price--say, twenty to thirty pounds. - -The china cabinet came in with the craze for Oriental porcelain. We -shall have more to say upon this subject in the chapter on lacquer. -Fulham stoneware, Bristol and Lambeth "Delft" and other early English -"Clome" had no claim on cabinet space. The more pretentious pieces, when -not in actual use, adorned the court cupboard and sideboard cheek by -jowl with the family silver or pewter. In the main, all pottery was for -use rather than ornament until the blue-and-white and _famille verte_ -arrived from China, and we shall scarcely find a glazed china cabinet -earlier than the Orange accession. Many of the William and Anne bureaux -were surmounted by cabinets, the doors glazed with panes of glass set in -designs consisting of small squares or oblongs with larger sexagonals or -octagonals. This form was used either as a bookcase or a china cabinet. -Unglazed corner cupboards, often bow-fronted and lacquered, made to hang -in the angle of the wall, were for storage, rather than display, of -china. Another variety of corner cupboard made to stand on the floor has -a glazed upper storey. These belong to the varieties of furniture used -by the middle classes, whilst the cabinet of the china collector would -be an imposing structure of more elegant design surmounted on legs -joined by shaped stretchers. We give an example in the chapter on -lacquer. - -Fig. 59 is an example of a china cabinet in marquetry work, with -scrolled cornice, two glazed doors, two cupboards, bracketed base, and -shaped under-framing. This piece has a value of about £30. - -The walnut period is rich in cabinets, which were used for the storage -of papers and valuables--structures quite distinct from the -writing-desks of the period. Some types will be found in the -illustrations to the chapter on lacquered furniture. It must be borne in -mind that the lacquering was often but an afterthought decoration. -Scrape away the pseudo-Chinese decoration and we shall probably find the -beautiful old walnut veneer. - - - - -CHAPTER VI: SECRETAIRES, BUREAUX, AND WRITING-TABLES - - -One would naturally suppose that the writing-desk is as old as the art -of writing. So far as this country is concerned, the writing-desk of a -sort was known in very early times. In the art library of the Victoria -and Albert Museum are illuminated MSS. of about 1440-1450 showing -scribes working at sloping desks of simple construction. Coming to -Elizabethan and early Jacobean times, we find desks of small dimensions -mounted on table-stands, but it is fairly certain that the ordinary -tables of the house were more often used for writing purposes. The -composite article--secretaire, escritoire, or bureau (interchangeable -terms)--for writing and storage of writing materials is the product of -the end of the seventeenth century. The connection between the writer or -secretary (_secretus_, early Latin; _secretarius_, late Latin) and his -desk, the secretaire, is obvious. Escritoire is but another form of the -word; sometimes scrutoire or scruetoire in corrupt English. Bureau in -the French was originally a russet cloth which covered the desk (from -the Latin _burrus_, red), but came to mean the desk itself, and also the -office in which the business was transacted. - -We look back upon the Elizabethan times as the Renaissance period of -English literature, but even then the lettered were in the minority. By -the end of the seventeenth century literature had spread to the middle -classes, and we find the Press pouring out countless ponderous volumes -on every imaginable subject. It is the age of the diarists, conspicuous -amongst whom were Samuel Pepys and John Evelyn, whose gossipy daily -journals bring us so intimately in touch with the political and social -life of the times. It is the age of the pamphleteers and essayists whose -effusions led up to the semi-satirical periodicals of the early -eighteenth century--chief amongst them being the _Spectator_, started by -Joseph Addison and Richard Steele in 1710. - -This vast outpouring of literature called for more commodious -writing-desks, and the escritoire or bureau is the natural result. Like -the other furniture of the period, the desks were solid and dignified. -In the main they were severe in outline, but generally reflected the -prevailing architecture of the period, which was derived from the -Italian Renaissance. We find the desks often surmounted by finely -moulded, boldly carved cornices and broken pediments. As the Dutch -influence grew we find the lower portions, containing commodious long -drawers, with rounded or _bombé_ fronts. - -The principal wood used was walnut, sometimes solid and sometimes -veneered on oak and pine. We also find the same schemes in marquetry -work, as in the chests of drawers, cabinets, and clock-cases showing -Continental influences. - -Fig. 60 represents a William and Mary period bureau of simple outline -surmounted by a panelled cupboard with bookshelves. The raised panels -are of the late Jacobean type. It is built of solid walnut, oak and -limewood. Behind the visible stationery cases are concealed a number of -secret recesses; the two pillars flanking the small central cupboard are -the fronts of two narrow upright sliding receptacles; on removing these, -springs are released which secure inner secret drawers. This bureau, -valued at sixteen guineas, is in the possession of Mr. J. H. Springett, -of Rochester. - -Fig. 61, dating from early eighteenth century, is a bureau with four -serpentine drawers below decorated with sprigs of flowers. It stands on -depressed ball feet much like "China oranges." The knees set at an angle -denote the Dutch influence, if it were not actually made in Holland. -The piece, standing 43 in. high and 40 in. wide, is valued at eighteen -guineas. - -Fig. 62, a walnut-wood small bureau with sloping lid and knee-hole -recess, belongs to Queen Anne's reign. Beneath the lid are numerous -useful small drawers and stationery cases. It bears the charming -original brass drop handles in form of flattened flower-buds. This type -was very popular all through the eighteenth century. In general outline -it is of the pattern adopted by modern makers of small bureaux. - -Fig. 63 represents a charming type of Queen Anne period pedestal -writing-table with knee-hole recess. It is a beautiful example of -figured walnut veneered on oak; all the drawers are oak-lined. It was -recently purchased in London for ten pounds. The knee-hole writing -table--of which the present is an example--is a type of Queen Anne -furniture of the greatest utility. It has many drawers as well as a -cupboard underneath, and, for its size, may be said to represent the -maximum of usefulness. Whilst seated at it you may be said to have the -whole of its resources to your hand, which can scarcely be said of the -bureau, as, when the writing-flap falls, it is difficult to get to the -drawers beneath. The Queen Anne knee-hole table is becoming rarer, and -the writers would certainly recommend its purchase should opportunity -arise. Its pleasing lines and frequently beautiful arrangement of -veneers make it a desirable addition to almost any room. Its dimensions -are slender, usually measuring at the top about 30 by 21 ins. - -Fig. 64 represents a still simpler form of Queen Anne writing-table on -solid walnut cabriole legs. The drawer fronts and top are veneered and -inlaid with simple bands. This specimen has a value of about £5. The -photograph was supplied by Mr. Springett, of Rochester. This form of -table and the one previously illustrated are sometimes described as -dressing-tables. They were probably used for both purposes, and they -certainly lend themselves to either use. - -One of the most useful forms of the escritoire, or bureau, is of the -type given in Figs. 65 and 66. It was bought recently in Mid-Somerset at -a cost of thirty pounds. This type is made in two sections, sometimes -with bracketed feet and sometimes with ball feet. The bureau under -consideration is of an average size, being 5 ft. 3 in. high, 3 ft. 7 in. -wide, and 19 in. deep. It is of rectangular form and the falling front, -which serves as a writing-table, is supported by jointed steel rods. The -opened front discloses an assemblage of drawers and pigeon-holes. The -pigeon-holes at the top pull out in four sections, and behind are -hidden numerous small drawers. Other secret drawers are so ingeniously -contrived that they can only be discovered on pulling out the visible -drawers and the dividing pieces on which the drawers run. The middle -member of the cornice details forms the front of a shallow drawer -running the whole length and depth of the bureau top. This bureau, which -contains in all about thirty drawers and recesses, is built of red deal -overlaid with thick veneers of walnut and fine knotted pollard oak of -dark hue, with cross-banded edges of walnut in various shades. The -visible drawers are of oak throughout, whilst the hidden ones are -oak-bodied with red deal fronts to match the lining of the main -structure--thus ingeniously disguising their presence. - -We have seen specimens of the same type entirely veneered with walnut -and others inlaid with marquetry. These bureaux, dating from about 1690 -well into Queen Anne's reign, have selling values of from £25 to £35. - -There must be an added sentimental pleasure in sitting at an escritoire -which was possibly the treasured possession of a pamphleteer or diarist -of the last years of the rebellion: an ęsthetic joy in rummaging amongst -the secret drawers which contained the journals in cypher of the -wire-pullers of the new monarchy. - - - - -CHAPTER VII: CLOCKS AND CLOCK-CASES - - -A learned dissertation on clocks and the theory of time would be out of -place in a volume of this description, and anything we have to say -concerning the clocks of the "walnut period" will, of necessity, be of a -popular nature. In England the chamber clocks, as distinguished from the -costly and elaborate timepieces which adorned public buildings, appear -to have been introduced about the year 1600.[6] The type is fairly -familiar, and is known as the "lantern," "bird-cage," or "bedpost." -Amongst dealers such clocks are usually styled "lantern" or "Cromwell." -They usually stood on a wall-bracket, but sometimes were suspended from -a nail. The clocks are built of brass surmounted by a bell, sometimes -used for striking the hours and sometimes only for an alarm. The clocks -were often housed in hooded oak cases, which protected them from the -dust. - - [6] Strictly speaking, De Vyck's clock, invented about 1370, is - the earliest known type of the domestic clock. Made for the - wealthy few in days when the generality of people did not look - upon clocks as necessities, they only exist to-day as rare museum - specimens. - -These original cases are sometimes met with and are interesting in -themselves, but the brass clocks are more ornamental when minus the -cases. These clocks were made to run for thirty hours, the motive power -being a heavy weight with a cord or chain. At first the vertical verge -movement was used, but about 1658 the pendulum was introduced. The -alternate bobbing in and out of the short pendulum through slits in -either side of the clock accounts for the term "bob" pendulum. It has -been noticed that the doors of these early clocks were often constructed -from old sundial plates, the engraved figures of the sundial still -showing on the insides. Doubtless the sundial makers, finding their -trade falling off, used the materials in hand for the new-fangled -clocks. The dial-plate of the early lantern clock is circular, with a -band of metal (sometimes silvered) for the numerals, which at first were -rather short. About 1640 the hour-hands were made wider and the numerals -longer. After about 1660, we find the circular dial growing larger in -relation to the body of the clock and protruding slightly on either -side. During the latter years of Queen Anne's reign the dial-plates -often protruded as much as two or three inches on either side. This did -not improve the general appearance. Clocks of this pattern are known as -the "sheep's head." With such slight variations the lantern clock was -made from Elizabeth's to George III.'s reigns. The late ones, probably -made by provincial clock-makers, have square dials with arched tops. - -The tops of the square cases of the lantern clocks are often surrounded -by fretted galleries. As a rule the four fretted pieces are all of one -pattern, but generally the front one only is engraved. A favourite form -of fret is that in which the crossed dolphins appear; this pattern came -in between 1660 and 1670. These lantern clocks with ornamental galleries -are furnished with bells as wide as the clock-case suspended from two -intersecting arched bands stretching from corner to corner. They are -finished off by the addition of a turned pinnacle at each corner and a -fifth one on the apex of the bell. Such clocks were apparently not -intended to be covered by an outer wooden case. They would not be -greatly harmed by dust, as they contain no delicate mechanism. - -These old-world lantern clocks were practically indestructible, and -until a few years ago they could be found in plenty in the old -farm-houses, and would fetch but a pound or two at auction. Of recent -years, with the growth of the collecting habit, the dealers have found a -ready market, and to-day a well-made lantern clock in original condition -has an appreciable value of from five to ten pounds. They have but a -single hand, like the old clock on Westminster Abbey, and consequently -to tell the exact time of day is a matter of guess-work, as only the -quarters are marked. To tell the time within a quarter of an hour would -have been sufficient for the original owners, who had no trains to -catch. The usual process to-day is to substitute a modern eight-day -"fuzee" movement for the old thirty-hour "verge." Thus, by eliminating -the chain and weight, the clock is adapted for a place on the -mantelshelf. From a decorative point of view it is difficult to conceive -anything more charming as a finish to a "walnut period" room. - -Fig. 67 is a "bird-cage" clock at the Victoria and Albert Museum. The -dial, which is very nicely engraved with a flower design, is signed -"Andrew Prime Londini Fecit." It has dolphin-pattern frets on three -sides. The side frets are engraved to match the front one. This clock -cost the museum £4 4s. in 1892. Andrew Prime was admitted to the -Clockmakers' Company in 1647, and we shall be within the mark in -assuming that the clock was made some time between that date and 1680. -The dolphin decoration would, indeed, point to a date not earlier than -1660, and, furthermore, the length of the pendulum would suggest not -earlier than 1675. - -In Fig. 68 we give an illustration of a small lantern clock by Anthony -Marsh, of London, with its original hooded oak case. - -Fig. 69 is the same clock shown without the hood. This subject was -kindly lent for illustration by Mr. Whittaker, of 46 Wilton Road, -London, S.W., one of the comparatively few remaining clock-makers -following the old-time traditions. A talk with Mr. Whittaker in his -workshop takes us back to the old days of individual work at the lathe -and bench, when each clock-maker was an artist with ideas of his own--a -clock-maker in every sense of the word, making his own parts by hand -instead of, as in these days, buying them by the gross from the factory. - -Anthony Marsh, the maker of the clock illustrated, was a member of the -Clockmakers' Company in 1724, and worked "at ye dial opposite Bank of -England." Marsh is a well-known name amongst the clock-making -fraternity, no less than fifteen of the name following the trade between -1691 and 1842. - -Contemporary with the lantern clocks of the middle period (about 1660) -we find the "bracket" or "pedestal" clocks enclosed by wooden cases, as -distinguished from the brass-cased chamber clocks. The earlier patterns -had flat tops with brass handles for carrying. Sometimes they were -surmounted by perforated metal domes, resembling inverted baskets, to -which the handles were fixed. As time went on the tops of the -clock-cases were made more dome-shaped and the baskets and handles were -elaborately chased. The cases, often of exquisite workmanship, were -generally constructed of oak or ebony, and as timepieces these clocks, -by skilled makers, were far superior to the generality of lantern clocks -of the country-side. We associate these bracket-clocks with such names -as Tompion, Graham, and Quare. - -Thomas Tompion, "the father of English watchmaking," was born at -Northill, in Bedfordshire, in 1638, and died in London in 1713. He was -the leading watchmaker at the Court of Charles II. George Graham, -Tompion's favourite pupil, was born in Cumberland in 1673, and died in -London in 1751. He was known as "Honest George Graham," and was probably -the most accomplished British horologist of his own or any age. He was -admitted a freeman of the Clockmakers' Company on completion of his -apprenticeship in 1695, when he entered the service of Tompion. A -lifelong friendship was only severed by the death of Tompion in 1713. -Graham was elected a fellow of the Royal Society in 1720, and made a -member of the Society's council in 1732. Even to-day Graham's -"dead-beat escapement" is used in most pendulum clocks constructed for -really accurate time-keeping. The site of Graham's shop in Fleet Street -is now occupied by the offices of _The Sporting Life_. Tompion and -Graham lie in one grave in the nave of Westminster Abbey, near the grave -of David Livingstone. Daniel Quare, a contemporary maker of first rank, -was born in 1648 and died in 1734. He was Clockmaker to William III. -There is a fine example of a tall clock by Quare at Hampton Court -Palace. Quare was the inventor of the repeating watch. - -Fig. 70 is a bracket clock in marquetry case made by John Martin, of -London, in the seventeenth century. It is fitted with "rack striking -work" invented by Edward Barlow (born 1636, died 1716). It will be -noticed that the corners of the dial-plate are ornamented with the -winged cherubs' heads which we find so often in the scheme of decoration -of Sir Christopher Wren's churches. This clock, lent by Lieut.-Col. G. -B. C. Lyons, may be seen at the Victoria and Albert Museum. - -The "bracket" clocks were the favourite household timepieces before the -introduction of the long-cased or grandfather clocks, which came in some -time between 1660 and 1670. The earliest long-cased clocks were -furnished with the "bob" pendulum. The long or "royal" pendulum was -introduced about 1676. The "bob" pendulum clock-cases were very -narrow--just wide enough to comfortably accommodate the chain and -weights, the primal idea of the case being merely to hide the chains and -weights. The wide swing of the long pendulum necessitated more room in -the case, and examples are found with added wings, showing that long -pendulums have been added to the old movements. - -As with the lantern clocks, the early long clocks had thirty-hour -movements; but the great makers, such as Tompion, Graham, and Quare, -constructed clocks to run for eight days, a month, three months, and -even a year. The introduction of the eight-day movement appears to have -been coincident with the long pendulum. - -The cases of the grandfather clocks, in the main, harmonised with the -other furniture of the period. The majority of them were built of oak, -and those of country make were generally plain. Many were veneered with -walnut, and others (more rarely) with ebony. With the advent of William -III. came the taste for marquetry work, and the long-cased clocks -received their due share of this form of ornamentation. The fronts were -often pierced with an oval or circular hole filled with greenish -bull's-eye glass, through which the swinging pendulum bob could be seen. -About 1710 the taste for marquetry began to wane. The lacquering craze -was at its height. Clock-cases were sent out to China to receive -treatment at the hands of the Chinese lacquerers. It was a lengthy and -expensive process: it probably would take a year or so with the slow -travelling and slow drying of the various coats of lacquer. We show, in -the chapter on lacquered furniture, how the growing demand was met by -the English and Dutch lacquerers, who adopted less expensive and more -expeditious, if less satisfactory, methods. - -It is in the nature of things that the old long-cased clocks were gently -treated, and, consequently, genuine old specimens are still fairly -plentiful. Old thirty-hour clocks in plain oak cases with painted dials -may still be bought for four or five pounds apiece, whilst reliable -eight-day clocks of fair make will fetch anything from five to ten -pounds. We cannot expect to get a Tompion or Graham clock for anything -like these prices. We had the opportunity five years ago of buying a -magnificent Graham clock in a mahogany case of fine proportions for £20. -It was the chance of a lifetime, and--the chance was missed. - -The three illustrations we give (Figs. 71, 72, and 73) represent fine -examples of marquetry-decorated clocks at the Victoria and Albert -Museum. The simple naturalesque style of marquetry, showing direct Dutch -influence, is shown in Fig. 71. The carnations are exceedingly lifelike. -The dial-plate of this clock, which is still in good going order, bears -the inscription "Mansell Bennett at Charing Cross." It was probably made -about 1690. Figs. 72 and 73 represent the more typically English style -of delicate geometrical marquetry work, dating from about 1700. In both -of these clocks the fretted bands of wood beneath the cornices, as well -as the nature of the marquetry, would point to a later period than that -of the Mansell Bennett clock. They belong to the Queen Anne period. Fig. -72 was made by Henry Poisson, who worked in London from 1695 to 1720. -Fig. 73, unfortunately a clock-case only, has the original green -bull's-eye glass in the door. - -A word of warning may be in place in regard to grandfather clocks with -carved oak cases. Such things purporting to be "200 years old" are often -advertised for sale, but are scarcely likely to be genuine. Speaking for -ourselves, we have never seen one which bore the impress of genuineness. -We must bear in mind that at the date of the introduction of the long -case--say 1660-1670--the practice of carving furniture was rapidly on -the wane, and by the end of the century had practically ceased. In this -connection we quote that great authority on old clocks, Mr. F. J. -Britten, who says: "Dark oak cases carved in high relief do not seem to -have been the fashion of any particular period, but the result rather of -occasional efforts by enthusiastic artists in wood, and then in most -instances they appear to have been made to enclose existing clocks in -substitution of inferior or worn-out coverings." - -In regard to the wonderful time-keeping qualities of old grandfather -clocks, Mr. H. H. Cunyngham, in his useful little book, "Time and -Clocks," expresses the opinion that the secret lies in the length of -the pendulum. "This," he writes, "renders it possible to have but a -small arc of oscillation, and therefore the motion is kept very nearly -harmonious. For practical purposes nothing will even now beat these -old clocks, of which one should be in every house. At present the -tendency is to abolish them and substitute American clocks with very -short pendulums, which never can keep good time. They are made of -stamped metal and, when they get out of order, no one thinks of having -them mended. They are thrown into the ashpit and a new one bought. In -reality this is not economy." - -Mr. Cunyngham's remarks point the moral as to the economy of the long -clock. But we should say, more strictly speaking, that German and -Austrian wall and bracket clocks have to a large extent taken the place -of the old English long-cased clocks. The shortness of the pendulum is -not of necessity the weak point. The bracket clocks of the best English -makers since the seventeenth century, with short pendulums, have been -noted for their reliability as timekeepers. Efficiency from a badly -constructed clock, be it American, German or English, can scarcely be -expected. - -As we have already suggested, fine clocks by the great masters are -now beyond the means of the modest collector; but serviceable and -decorative grandfather clocks of the late seventeenth and early -eighteenth centuries are still obtainable at moderate prices. In many -cases the dials show great taste in the art of engraving. We must bear -in mind that the majority of these clocks--particularly those with -the painted dials and plain oak cases--were the joint productions of -the country clock-maker and the country joiner, and numbers of them -have the very smallest pretentions to correctness of design. We find -clock-cases which have the appearance of being "all plinth"; others are -too long or too short or too wide in the body; others are overweighted -in the head; and, again, others are too shallow and have an unhappy -appearance of being flattened out against the wall. The old oak -clock-case of perfect proportions is comparatively rare. The collector -must studiously avoid any clock-case which is "obviously out of -drawing," and in the main his eye will guide him in the selection. We -are indebted to Mr. Stuart Parker, an experienced amateur collector of -clocks, for a carefully thought-out opinion as to the ideal dimensions -of a clock-case. - -Supposing a full-sized clock-case 7 ft. 6 in. high: the three main -sections should measure as follows: - -The plinth: 2 ft. high and 1 ft. 10 in. wide. - -The body: 3 ft. high and 1 ft. 4½ in. wide. - -The head: 2 ft. 6 in. high and 1 ft. 10 in. wide. - -The width is taken at the middle of each of the three sections. The -base of the plinth and the cornices of the head section should each -measure 2 ft. 1 in. in width. - - - - -CHAPTER VIII: LACQUERED FURNITURE - - -English lacquered furniture "in the Oriental taste" belongs to the -last quarter of the seventeenth and the first half of the eighteenth -centuries. It is not surprising that when the rage for everything -Chinese and Japanese--at the time indiscriminately called "Indian"--was -prevalent, a school of Anglo-Oriental craftsmen should have sprung up. -The taste was at its height about 1710, and continued for many years. - -The art of lacquering is said by the Japanese themselves to have been -practised in Japan as early as the third century, when the Empress -Jingo conquered Corea. In the ninth century the Kioto artists inlaid -their lacquer with mother-of-pearl. In the fifteenth century landscape -decorations were used, and by the end of the seventeenth century the -art had reached its zenith. The material used in Japan is resin-lac, -an exudation from the lacquer-tree (_Rhus vernicifera_). Without going -into the details of the art, it is well to bear in mind that the -brilliant surface of Japanese lacquer is not obtained by varnishing, -but by the actual polishing of the lacquer itself. It is treated as a -solid body, built up stage by stage and polished at every stage. For -an exposition of the art one cannot do better than read Mr. Marcus B. -Huish's chapter on lacquer in "Japan and Its Art." - -It was probably not till late Tudor times that any specimens of -Japanese or Chinese lacquer found their way to this country, and then -principally in the shape of small cups, bowls, and trays. "Indian -Cabinets" are mentioned occasionally in inventories at the end of -Elizabeth's reign, and in the household accounts of Charles II. there -is an item of £100 for "two Jappan Cabinets." - -The English and Portuguese traded with Japan in Elizabeth's reign, -but were expelled in 1637. The Dutch were more tenacious, and from -the commencement of their trading operations with Japan, in 1600, -managed, at intervals, to keep in touch with their new market. Even -the Dutch were regarded unfavourably by the Japanese authorities, and -traded under considerable disabilities. The majority of the lacquered -ware which came to England filtered through Holland. It was brought to -Europe round the Cape in the armed Dutch merchantmen which, at the same -time, were bringing home the beautiful old Imari vases and dishes with -_kinrande_ (brocade) decorations, which served later on as the models -for the early Crown Derby "Old Japan" wares and the simple Kakiyemon -specimens copied at Chelsea, Bow, and Dresden. One of these old ships, -the _Middleburg_, trading from the China Seas, homeward bound and laden -with bullion and curios, went down in Soldanha Bay, off the South -African coast, on October 18, 1714. In August 1907 the divers salvaged -some of the cargo. Needless to say, the "Jappan Cabinets" had long -since perished, but the little Chinese blue-and-white cups and saucers -came to the surface none the worse for nearly two hundred years' -immersion in salt water. - -We are fortunate in still possessing at Hampton Court Palace a goodly -number of Kakiyemon hexagonal covered jars and bottle-shaped vases, and -tall cylindrical Chinese blue-and-white vases of the Khang Hi reign, -placed there by William and Mary; but the scarcity of contemporary -English furniture there is deplorable. The real beauty of old Oriental -porcelain is never so apparent as when displayed on the old "Jappan -Cabinets" or the sombre furniture of the Orange-Nassau dynasty. - -It was fashionable to decry the craze for things Chinese, and early -eighteenth-century literature teems with gibes at the china maniacs -of the day. We have referred in the first chapter of the volume to -Macaulay's small opinion of the merits of old Chinese porcelain. The -_Spectator_ for February 12, 1712, contains a letter from an imaginary -Jack Anvil who had made a fortune, married a lady of quality, and -grown into Sir John Enville. He tells how my Lady Mary Enville "next -set herself to reform every room in my house, having glazed all my -chimney-pieces with looking glasses, and planted every corner with such -heaps of China, that I am obliged to move about my own house with the -greatest caution and circumspection for fear of hurting some of our -brittle furniture." - -Daniel Defoe, in his "Tour of Great Britain," says: "The Queen (Mary) -brought in the custom or humour, as I may call it, of furnishing houses -with China ware which increased to a strange degree afterwards, piling -their China upon the tops of Cabinets, scrutores and every Chymney -Piece to the top of the ceilings and even setting up shelves for their -China ware where they wanted such places, till it became a grivance in -the expence of it and even injurious to their Families and Estates." - -At Hampton Court to-day we can see the chimney-pieces in the corners -of the smaller closets with the tiers of diminishing shelves reaching -almost to the ceilings, and displayed thereon are the "flymy little -bits of Blue" which Mr. Henley laughs at in his _Villanelle_. Perhaps -some day our National Museum will overflow and refurnish Hampton Court -Palace, which to-day in its furnishing, apart from the pictures and -tapestries, is but a shadow of its old self. - -Although germane to the matter, the foregoing is somewhat in the nature -of a digression from the subject of the "japanned" furniture, which -took such a hold of the popular fancy that the making of such things -was practised as a hobby by the amateurs of the period. "A Treatise -on Japanning and Varnishing" was issued by John Stalker in 1688, and, -just as "painting and the use of the backboard" were essentials in the -curriculum of the early Victorian seminary, so were the young ladies -of the reign of William III. taught the gentle art of "Japanning." In -the Verney Memoirs we find Edmund Verney, son of Sir John Verney, the -Squire of East Claydon, writing to his little daughter Molly (aged -about eight years) in 1682 or 1683, at Mrs. Priest's school at Great -Chelsey: "I find you have a desire to learn to Jappan, as you call -it, and I approve of it, and so I shall of anything that is Good and -Virtuous, Therefore learn in God's name all Good Things, and I will -willingly be at the Charge so farr as I am able--tho' They come from -Japan and from never so farr and Look of an Indian Hue and Odour, for -I admire all accomplishments that will render you considerable and -Lovely in the sight of God and Man.... To learn this art costs a Guiney -entrance and some 40's more to buy materials to work upon." - -John Stalker's treatise is probably the earliest printed work in -connection with furniture-making. We never hear of any individual name -connected with the manufacture of furniture during the oak period, -although there had been a guild of cofferers. The names of the makers -of the superb Charles chairs are lost in oblivion, and we have to wait -till the eighteenth century before any artist-craftsman or designer -gives his name to a style. - -Stalker's treatise is contained in a folio volume of eighty-four pages -of letterpress and twenty-four pages of copper-plate engravings. The -title-page reads: "A Treatise of Japanning and Varnishing, Being a -compleat discovery of those Arts. With the best way of making all -sorts of Varnish for Japan, Woods, Prints, Plate or Pictures. The -method of Guilding, Burnishing and Lackering with the art of Guilding, -Separateing and Refining metals, and the most curios ways of painting -on Glass or otherwise. Also rules for counterfeiting Tortoise Shell, -and Marble and for staining or Dying Wood, Ivory, etc. Together with -above an hundred distinct patterns of Japan Work, for Tables, Stands, -Frames, Cabinets, Boxes &c. Curiously engraven on 24 large Copper -Plates. By John Stalker September the 7th 1688. Licenced R. Midgley and -entered according to order. Oxford Printed for and sold by the Author, -living at the Golden Ball in St. James Market London in the year -MDCLXXXVIII." - -This comprehensive work is "Dedicated to the RIGHT Honourable The -Countess of Darby a lady no less eminent for her quality, Beauty and -Vertue, then for her incomparable Skill and Experience in the Arts that -those Experiments belong to, as well as in several others." - -In a page and a half of the preface the author takes us through the -history of painting from early Grecian times, particularly pointing -out that the art of portrait-painting alone can keep our memories -green. He goes on to say: "Well then as painting has made an honourable -provision for our bodies so Japanning has taught us a method, no way -inferior to it, for the splendour and preservation of our Furniture and -Houses. These Buildings, like our bodies, continually tending to ruin -and dissolution are still in want of fresh supplies and reparations. -On the one hand they are assaulted with unexpected mischances, on -the other with the injuries of time and weather; but the art of -Japanning has made them almost impregnable against both; no damp air, -no mouldring worm, or corroding time, can possibly deface it; and, -which is more wonderful, although its ingredients the Gums, which are -in their own nature inflamable yet this most vigorously resists the -fire, and is itself found to be incombustible. True, genuine Japan, -like the Salamander, lives in the flames, and stands unalterable, when -the wood which was imprison'd in it, is utterly consumed.... What can -be more surprising then to have our chambers overlaid with varnish -more glassy and reflecting than polisht Marble? No Amorous Nymph need -entertain a Dialogue with her Glass, or Narcissus retire to a Fountain, -to survey his charming countenance, when the house is one entire -speculum. To this we subjoin the Golden Draught, with which Japan is so -exquisitively adorned, than which nothing can be more beautiful, more -rich or majestick." - -In John Stalker's opinion Europe, both Ancient and Modern, must in -the adornments of cities give pride of place to Japan, for "surely -this Province was Nature's Darling and the Favourite of the Gods, for -Jupiter has vouchsaft it a visit as formally to Danae in a Golden -shower." - -In an epistle to "the Reader and Practitioner" he severely censures -inferior artificers who "without modesty or blush impose upon the -gentry such Stuff and Trash, for Japan work, that whether it is a -greater scandal to the name or artifice, I cannot determine. Might we -advise such foolish pretenders, their time would be better imployed in -drawing Whistles and Puppets for the Toyshops to please Children, than -contriving ornaments for a room of State." - -He cautions the reader against the common error of mistaking Bantam -work for real Japan. "This must be alledged for the Bantam work that it -is very pretty," &c. &c.; but the Japan is "more grave and majestick -... the Japan artist works most of all in Gold and other metals, and -Bantam for the generality in colours with a small sprinkling of Gold -here and there, like the patches on a Ladie's countenance." - -He professes, in the "Cutts or Patterns," to have exactly imitated -the towers, steeples, figures and rocks of Japan according to designs -of such found on imported specimens. "Perhaps we have helped them a -little in their proportions where they were lame or defective, and made -them more pleasant, yet altogether as Antick. Had we industriously -contrived the prospective, or shadowed them otherwise than they are: we -should have wandered from the Design, which is only to imitate the true -genuine Indian work, and perhaps in a great measure might puzzle and -confound the unexperienced Practitioner." - -It may interest readers to know the market prices of some of the -materials used in 1688. Seed-lac, 14s. to 18s. per lb.; gum sandrack, -1s. to 1s. 2d. per lb.; gum animę, 3s. to 5s. per lb.; Venice -turpentine, 1s. 6d. to 1s. 8d. per lb.; white rosin, 4d. to 6d. per -lb.; shell-lac, 1s. 6d. to 2s. per lb.; gum arabic, 1s. per lb.; -gum copall, 1s. to 1s. 6d. per lb.; gum elemni, 4d. to 5d. per oz.; -benjamin or benzoine, 4d. to 8d. per oz.; dragon's blood, 8d. to 1s. -per oz. "Brass dust," Stalker says, cannot be made in England, though -it has often been tried. The best, we learn, comes from Germany! He -goes on to describe various metal-dusts, such as "Silver dust," "Green -Gold," "Dirty Gold," "Powder tinn," and "Copper." Of the makers of -"speckles" of divers sorts--gold, silver, copper--"I shall only mention -two, viz. a Goldbeater, at the hand and hammer in Long Acre; and -another of the same trade over against Mercers Chappel in Cheapside." - -The twenty-four pages of "Cutts" include designs for "Powder Boxes," -"Looking glass frames," "For Drauers for Cabbinets to be placed -according to your fancy," and "For a Standish for Pen Inke and paper -which may also serve for a comb box." The drawings include "An Embassy," -"A Pagod Worshipp in ye Indies," and another sketch in which the central -figure would appear to be a hybrid Red Indian before whom several -devotees are grovelling. - -We have quoted John Stalker at some length as giving interesting -sidelights on an industry occupying the attentions of a numerous class -in his own day. For the actual carrying out of the methods employed we -must refer the reader to the book itself--a book which is invaluable to -any one who has a piece of Old English lac in want of repair. There is -an old-world charm about the work of the Stalker and contemporary -schools, but in point of real beauty it is as far removed from the -Japanese lacquer as the "Oriental" porcelain of the eighteenth-century -European factories is from its Chinese or Japanese prototype. The -complaint has often been made of the lack of perspective in the Oriental -decorations. This may be said, to use a hackneyed phrase, to be the -defect of its qualities. We have by this time come to see things to a -certain extent through Japanese eyes, and have learnt to love the -defect. - -The artist of Old Japan--be he painter, potter, metal-worker, or -lacquerer--was an artist to his finger-tips, and his work was full of a -symbolism utterly incomprehensible to the Western mind. Those in Japan -who know will tell you that a master lacquerer of the seventeenth -century would spend many years on the decoration of a simple, small box. -In the initial stage--the preparation of the background--it has been -calculated that 530 hours are required in the aggregate for drying the -various layers; but the young ladies at Mrs. Priest's school at Great -Chelsey in the seventeenth century expect, by the aid of Stalker's -instructions, to learn the art in twelve lessons! Honest John Stalker -thinks he can improve upon his Japanese models, with the result that, -whilst we may have a little less of the "defect," we have scarcely any -of the "qualities." It is ever thus when West attempts to copy East. - -We may mention in passing that the French furniture-makers of the -eighteenth century utilised, in the production of some of their finest -commodes, drawer-fronts and panels of genuine Japanese lacquer which -must have been manufactured specially for the French market, -exhibiting, as they do, shapes quite foreign to anything in use in -Japan. It is highly probable that these serpentine and bow-shaped -drawer-fronts were sent out to Japan to receive their decoration. In the -"Jones Bequest" at the Victoria and Albert Museum, we can see superb -examples of such belonging to the period of Louis XV. It is said that -Madame Pompadour expended 110,000 livres on Japanese lacquer. Marie -Antoinette's collection in the Louvre is considerable; but it is quite -certain that the finest examples of the art never left Japan. Mr. Huish, -to whose book we have above referred, gives some interesting statistics -pointing to the scarcity of fine old lacquer in this country during the -early days of trade with the East. In one year during the eighteenth -century eleven ships sailed, and, whilst carrying 16,580 pieces of -porcelain, they brought only twelve pieces of lac. - -To-day Old English lacquered furniture is much sought after, and prices -are advancing rapidly. The coloured varieties include red, blue, green, -violet, and occasionally buff. - -The red in particular is highly prized. Black lac, which was made in -great quantities in every shape of furniture, is still comparatively -plentiful. An early eighteenth-century grandfather's clock, which might -fetch anything from five to ten pounds if the case were of plain oak, -would have a selling value of from ten to twenty pounds if lacquered. - -Evidence points to the fact that, in the majority of cases, the lacquer -was an afterthought. The furniture of the day was turned out, in the -ordinary course of trade, quite innocent of lacquer, and afterwards -treated by professional japanners--sometimes maltreated by amateurs. Not -long since, in our own day, there was a similar craze for covering -furniture with enamel paints. - -Fig. 74 is an interesting china cabinet in black lacquer of William and -Mary period, 7 ft. 5 in. high and 5 ft. wide, priced at £30. A -first-class modern mahogany or walnut-wood cabinet of the size could -scarcely be made for the money, whilst the old lac, apart from its -intrinsic charm, has an additional sentimental value as marking a phase -in the history of furniture--a phase in decoration. In this cabinet we -have also a development in form; it is palpably the product of a period -when the rage for collecting porcelain was prevalent, and in the same -connection it is no less useful to-day. The modern designer scarcely -invents anything more appropriate. It is interesting to note this -cabinet as an example of the afterthought in decoration. The -owners--Messrs. Story and Triggs Ltd., of Queen Victoria Street, -London--have discovered that the lacquer is superimposed on walnut -veneer! It tells its own tale. - -Fig. 75 is an early example of red lacquer, a cabinet with boldly arched -cornice; the repetition of the arch at either end gives a fine -architectural finish to the top. The upper part encloses shelves, and -there are four drawers in the base. The decoration consists of various -Chinese views of ladies in a garden, a temple with a man and children, -trees, rocks and lakes. It was probably made about 1690; 75 in. high, 31 -in. wide, and 23 in. deep. - -Fig. 76 is somewhat later--about 1710--with typical Queen Anne period -cabriole legs and claw-and-ball feet. The doors, which enclose five -drawers, are decorated with figures, buildings, birds and flowers, and -are furnished with finely chased ormolu lock-plates and hinges. It is of -black lacquer with red and gold reliefs, measures 67 in. by 39 in. by 19 -in, and is valued at about £45. - -Fig. 77 is still later--about 1730--a cabinet surmounted on plain -cabriole legs. On the front is a view of a lake with Oriental figures, -cocks, and vegetation. Inside the doors are studies of the lotus-flower -in vases. The hinges and lock-plates are fine examples of English -metal-work in the Chinese taste. This piece is 56 in. high and 36 in. -wide, and is valued at £35. - -For comparison we give an example (Fig. 78) of a piece of lacquered -furniture made in China about 1740. This dressing-table, built of -camphor-wood, and still exhaling a delicate fragrance, was evidently -made for England and copied, as to shape, from an English table. It is -inlaid with mother-of-pearl designs of landscape, birds, and flowers; -and the interior is fitted with a mirror, writing-desk, and numerous -boxes. - -During the English "japanning" period, every imaginable shape of -furniture received this Oriental treatment. Besides the various forms of -cabinet, we find lacquered mirror-frames, dressing-tables, corner -cupboards, hanging cupboards, chests and chests of drawers, chairs, -work-boxes, writing-desks, coffee-tables, card-tables, pole-screens, -trays, barometer-cases, and even bellows-cases. - -We give an example of a simple mirror in red lacquered frame with arched -top (Fig. 79). It measures 39 in. by 19 in. This and the three preceding -examples are the property of Mr. F. W. Phillips, of The Manor House, -Hitchin. - -Fig. 80 is a barometer in lacquered case of about 1700. - -Fig. 81, at the Victoria and Albert Museum, is of Dutch make of the -early eighteenth century--a dressing-glass suspended between two -uprights, which are supported on a cabinet with sloping front. Inside -the cabinet is a compartment with a hinged door, flanked on either side -by an open compartment, one long and two short drawers. The lower part -has seventeen compartments fitted with boxes, brushes, and various -toilet requisites. The lacquer is raised and gilt on a red ground, -showing groups of figures in Chinese costumes, buildings, landscapes and -floral designs with birds. - -Fig. 82 is a somewhat similar glass but of English make. The woods -composing it are poplar, pine and oak, and it is decorated with blue and -gold lacquer, the effect of which is the reverse of pleasing. - -We have said that the European lacquer will not bear close comparison -with the Old Japanese. The methods of the Chinese were simpler, and the -English "japanner" (it is, of course, a misleading term) was more -successful in his attempts to copy the Chinese cabinets. His best -examples, if indeed they fell far short in technique, did in method to -a large-extent approximate to the work of the Celestial. - -English lacquer as a mere investment is worth buying at reasonable -prices, and in choosing pieces the collector will do well to look, as -much as possible, for the real Oriental feeling. - - [Illustration: FIG. 1. MANTELPIECE IN HAMPTON COURT PALACE] - - [Illustration: FIG. 2. BEDSTEADS AT HAMPTON COURT PALACE] - - [Illustration: FIG. 3. ROOM IN CLIFFORD'S INN (PERIOD WILLIAM AND - MARY)] - - [Illustration: FIG. 4. CARVING IN PINEWOOD ATTRIBUTED TO GRINLING - GIBBON] - - [Illustration: FIG. 5. TURNED BALUSTERS (LATE SEVENTEENTH AND EARLY - EIGHTEENTH CENTURIES)] - - [Illustration: FIG. 6. DOORWAY (LATE SEVENTEENTH CENTURY)] - - [Illustration: FIG. 7. OVERMANTEL (LATE SEVENTEENTH CENTURY)] - - [Illustration: FIG. 8. DOORWAY (EARLY EIGHTEENTH CENTURY)] - - [Illustration: FIG. 9. MANTELPIECE (EARLY EIGHTEENTH CENTURY)] - - [Illustration: FIG. 10. MIRROR FRAME ATTRIBUTED TO GRINLING GIBBON] - - [Illustration: FIG. 11. SIMPLE WALL MIRROR (QUEEN ANNE PERIOD) - - (The property of Mr. F. W. Phillips, The Manor House, Hitchin)] - - [Illustration: FIG. 12. SIMPLE TOILET MIRROR (QUEEN ANNE PERIOD) - - (The property of Mr. F. W. Phillips, The Manor House, Hitchin)] - - [Illustration: FIG. 13. WALL MIRROR (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 14. WALL MIRROR (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 15. "GESSO" MIRROR (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 16. "GESSO" MIRROR (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 17. FINE "GESSO" MIRROR (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 18. MIRROR FROM "FLASK" TAVERN PIMLICO, DATE ABOUT - 1700] - - [Illustration: FIG. 19. MARQUETRY MIRROR (EARLY EIGHTEENTH CENTURY)] - - [Illustration: FIG. 20. TOILET MIRROR WITH DRAWERS (QUEEN ANNE - PERIOD)] - - [Illustration: FIG. 21. TOILET MIRROR ON STAND (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 22. STOOL (PERIOD OF WILLIAM AND MARY)] - - [Illustration: FIG. 23. FINE STOOL (PERIOD QUEEN ANNE)] - - [Illustration: FIG. 24 - - FIG. 25 - - FIG. 26 - - FINE CHAIRS (PERIOD WILLIAM AND MARY)] - - [Illustration: FIG. 27. FINE CHAIR (PERIOD WILLIAM AND MARY)] - - [Illustration: FIG. 28. SIMPLE CHAIR (PERIOD WILLIAM AND MARY) - - (The property of F. W. Phillips, The Manor House, Hitchin, Herts)] - - [Illustration: FIG. 29 - - FIG. 30 - - FIG. 31 - - SIMPLE CHAIRS (PERIOD QUEEN ANNE) - - (The property of Mr. J. H. Springett, High Street, Rochester)] - - [Illustration: FIG. 32 SIMPLE CHAIR WITH CABRIOLE LEGS (QUEEN ANNE - PERIOD)] - - [Illustration: FIG. 33 - - FIG. 34 - - FIG. 35 - - SIMPLE CHAIRS WITH CABRIOLE LEGS (QUEEN ANNE PERIOD) - - (The property of Mr. J. H. Springett, High Street, Rochester)] - - [Illustration: FIG. 36. QUEEN ANNE CHAIR WITH INLAID SPLAT] - - [Illustration: FIG. 37. LATE QUEEN ANNE CHAIR] - - [Illustration: FIG. 38. FINE ARM CHAIR (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 39. ARM CHAIR (QUEEN ANNE PERIOD) COVERED WITH - "PETIT POINT" NEEDLEWORK] - - [Illustration: FIG. 40 FINE CHAIR (LATE QUEEN ANNE PERIOD)] - - [Illustration: FIG. 41 FINE CHAIR (LATE QUEEN ANNE PERIOD)] - - [Illustration: FIG. 42 - - CORNER OR ROUNDABOUT CHAIR (LATE QUEEN ANNE PERIOD)] - - [Illustration: FIG. 43. SETTEE (WILLIAM AND MARY PERIOD)] - - [Illustration: FIG. 44. FINE SETTEE (LATE QUEEN ANNE PERIOD)] - - [Illustration: FIG. 45. FINE SETTEE (LATE QUEEN ANNE PERIOD)] - - [Illustration: FIG. 46 TABLE (PERIOD WILLIAM AND MARY) - - (The property of Mr. F. W. Phillips, The Manor House, Hitchin)] - - [Illustration: FIG. 47 TABLE (PERIOD WILLIAM AND MARY)] - - [Illustration: FIG. 48. TABLE (WILLIAM AND MARY PERIOD)] - - [Illustration: FIG. 49. TABLE (LATE QUEEN ANNE PERIOD)] - - [Illustration: FIG. 50. CHEST OF DRAWERS (WILLIAM AND MARY PERIOD)] - - [Illustration: FIG. 51. CHEST OF DRAWERS (WILLIAM AND MARY PERIOD)] - - [Illustration: FIG. 52 CHEST OF DRAWERS ON TWISTED LEGS (WILLIAM AND - MARY PERIOD)] - - [Illustration: FIG. 53. DWARF CHEST OF DRAWERS ON FEET (WILLIAM AND - MARY PERIOD)] - - [Illustration: FIG. 54 FINE CHEST ON STAND (WILLIAM AND MARY PERIOD)] - - [Illustration: FIG. 55 SIMPLE CHEST ON STAND (WILLIAM AND MARY - PERIOD)] - - [Illustration: FIG. 56. TALLBOY (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 57. TALLBOY (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 58. WARDROBE IN MARQUETRY - - (The property of Mr. F. W. Phillips, The Manor House, Hitchin, - Herts)] - - [Illustration: FIG. 59. CHINA CABINET IN MARQUETRY] - - [Illustration: FIG. 60. SIMPLE BUREAU (WILLIAM AND MARY PERIOD)] - - [Illustration: FIG. 61. BUREAU (WILLIAM AND MARY PERIOD)] - - [Illustration: FIG. 62. BUREAU (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 63. WRITING TABLE (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 64 WRITING OR DRESSING TABLE (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 65. - - FIG. 66 - - ESCRITOIRE (QUEEN ANNE PERIOD)] - - [Illustration: FIG. 67. "BIRDCAGE" CLOCK (SECOND HALF SEVENTEENTH - CENTURY)] - - [Illustration: FIG. 68 LANTERN CLOCK IN HOODED CASE (FIRST HALF - EIGHTEENTH CENTURY)] - - [Illustration: FIG. 69 LANTERN CLOCK WITHOUT CASE (FIRST HALF - EIGHTEENTH CENTURY)] - - [Illustration: FIG. 70. BRACKET CLOCK (SEVENTEENTH CENTURY)] - - [Illustration: FIG. 73 - - FIG. 72 - - FIG. 71 - - MARQUETRY CLOCKS AND CLOCK CASES] - - [Illustration: FIG. 74. LACQUERED CHINA CABINET] - - [Illustration: FIG. 75. LACQUERED CABINET WITH DRAWERS] - - [Illustration: FIG. 76. LACQUERED CABINET] - - [Illustration: FIG. 77. LACQUERED CABINET] - - [Illustration: FIG. 78. LACQUERED DRESSING-TABLE] - - [Illustration: FIG. 79 LACQUERED MIRROR] - - [Illustration: FIG. 80 BAROMETER IN LACQUERED CASE] - - [Illustration: FIG. 81 LACQUERED TOILET MIRROR] - - [Illustration: FIG. 82 LACQUERED TOILET MIRROR] - - - - -INDEX - - - Architectural inspiration less marked, 39 - - Ashton on Queen Anne period, 13 - - - Balusters, examples of, 31 - - Baths at Hampton Court, 5 - in early times, 5 - - Bedroom, Queen Anne, 43-46 - - Bedsteads at Court, 7 - modern Queen Anne, 43-44 - - Buckingham's, Duke of, glass works, 37 - - Bureaux, Queen Anne period, 79 - William and Mary period, 78 - with secret drawers, 80-81 - - - Cabriole legs, 53 - - Chairs (_see_ Chapter IV.) - claw-and-ball decoration, 54 - double, 58 - drunkards', 57 - fine, 57 - ladder-backed, 55 - period of James II., 47 - Queen Anne, 51-57 - shaped, 56 - William and Mary, 50-51 - with cabriole legs, 53-54 - with rigid lines, 8, 50 - - Chests of drawers (_see_ Chapter V.) - history of, 65 - the tallboy, 70-71 - veneered, 67-68 - with cabriole legs, 69 - with marquetry, 66 - with turned legs, 67-69 - - China cabinets first introduced, 13 - varieties of, 74-75 - - Chinese porcelain, Defoe on, 98 - Evelyn on, 4 - first introduced into England, 3 - - Chinese porcelain, Macaulay on, 4 - popularity of, 13 - _Spectator_ on, 59, 98 - - Chintzes, 59-60 - - Coffee-houses, 11, 12 - - Claw and ball, 54 - - Clocks (_see_ Chapter VII.) - "Bob" pendulum, 83 - bracket or pedestal, 86-89 - Cromwell or lantern, 82-86 - Cunyngham on, 92-93 - Daniel Quare, 88 - George Graham, 87 - grandfather, 89-94 - in lacquer, 90 - in marquetry, 88, 91 - "sheep's head," 83 - Thomas Tompion, 87 - - Clouston on Queen Anne mirrors, 37 - - Cunyngham on clocks, 92-93 - - - Defoe, Daniel, on Chinese porcelain, 98 - - Doorways, carved, 32 - - Dutch influence, 1, 20, 47, 96 - - Dwelling-room, Clifford's Inn, 7 - - - Escallop-shell decoration, 54 - - Evelyn on Sir Christopher Wren, 21 - - Evelyn's Dairy, 4, 36 - - - "Gesso" work, 41 - - Gibbon, Grinling, and Charles II., 26-27 - examples at Hampton Court, 6 - his life and work, 25-30 - mirror frame, 38 - - Graham, George (clock-maker), 87 - - - Hampton Court Palace (_see_ Chapter I.), 97, 98-99 - - Homes of the poor, 11, 47 - - Houses of the wealthy, 10 - - Huguenot silk-workers, 57 - - Huish, M. B., on "Japan and its Art," 96, 107 - - - Inlay, 14 - - - Japanning or varnishing by John Stalker, 99-105 - - - Lacquer (_see_ Chapter VIII.) - cabinets, 109 - China cabinet, 108 - clock, 108 - dressing-glasses, 111 - dressing-table, 110 - French, 106-107 - history of, 95-97 - Japanese, 106 - mirror, 110 - - Law, Ernest, on Queen Anne period, 2, 3, 8 - - - Macaulay, on Verrio, 9 - views on collecting porcelain, 4 - - Macquoid, Percy, "Age of Walnut," 50 - on marquetry, 67 - - Mahogany introduced, 8, 72 - - Marquetry defined, 16 - Macquoid on, 67 - Pollen on, 66 - used on clock, 88 - mirror frames, 42 - tables, 61 - wardrobes, 73 - - Marsh, Anthony (clock-maker), 86 - - Martin, John (clock-maker), 88 - - McCarthy, Justin, on Queen Anne period, 11 - - Mirrors (_see_ Chapter III.) - by Grinling Gibbon, 38 - Clouston on, 37 - early examples, 35 - "Gesso" work, 41 - in Hampton Court, 36-37 - in Holyrood Palace, 36 - - Mirrors, in marquetry, 42 - in Van Eyck's picture in National Gallery, 35 - influence of Wren, 40 - mentioned in Evelyn's Diary, 36 - mentioned in "Paradise Lost," 34 - notes on purchasing, 40 - simple, 38-39 - toilet, 42 - - - Needlework, "petit point," 57 - popular with women, 59 - Queen Mary's, 3 - - - Pollen, J. H., on marquetry, 66 - on Queen Anne period, 10 - - - Quare, Daniel (clock-maker), 88 - - Queen Anne period, a gambling age, 62 - Anne's influence, 10 - Ashton quoted, 12 - bedroom, 43-46 - chairs and tables, &c. (_see_ Chapter IV.) - definition, 8-9 - houses of middle class, 60 - Justin McCarthy on, 11 - old city houses, 31 - ordinary types of mirrors, 38, 39 - simple furniture, 9, 10 - Thackeray on, 12 - writing-table, 79 - - Queen Mary, her needlework, 3 - - - Settee, 58 - - Stalker, John, on japanning and varnishing, 99-105 - - Stools, William and Mary, 42 - Queen Anne, 43 - - - Tables (_see_ Chapter IV.) - card, 62-63 - gate leg, 64 - - Tables, inverted bowl decoration, 60 - William and Mary, 61 - with cabriole legs, 63 - with claw-and-ball feet, 63 - with escallop-shell decoration, 63 - with flaps, 63 - with marquetry work, 61 - with tied stretchers, 61 - - Tallboys, 70-71 - - Tea-drinking, 12 - - Thackeray on Queen Anne period, 12 - - Toilet sets, 45 - - Tompion, Thomas (clock-maker), 87 - - - Van Eyck, picture by, 48 - - Veneering, 14-15 - - Verney Memoirs, 99 - - Verrio, his work at Hampton Court, 9 - - - Wardrobe (or hanging cupboard) in early days, 72 - in marquetry, 73 - of Dutch origin, 72 - - William and Mary at Hampton Court, 1 - costume, 48-49 - - Woodcraft, ancient, 16 - - Wren, Sir Christopher, 2-3 - builds St. Paul's Cathedral, 22 - Evelyn on, 21 - his life and work, 20-25 - - Writing-desks, history of, 76-78 - Queen Anne knee-hole, 79-80 - - - - -Transcriber's Note: The italics markup surrounding currency has been -removed. The hyphenation of some words has been standardised. - - - - - -End of the Project Gutenberg EBook of Little Books About Old Furniture. -Volume II. The Period of Queen Anne, by J. P. Blake and A. E. Reveirs-Hopkins - -*** END OF THIS PROJECT GUTENBERG EBOOK OLD FURNITURE, VOL II *** - -***** This file should be named 43805-8.txt or 43805-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/8/0/43805/ - -Produced by Chris Curnow, Sue Fleming and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |