ISi ipi^ WBf 1 HI- I. P/\L)I. (’,E1TY MUSEUM UBRAR iiifiiwii L‘S«!f ...-•' . ^ ' ".'■ •'■ • "'.' y.' *“' ' w‘ V '.;■ ■ ‘ •■ i»‘"' fc; - ■ «« i:". •'■s-as .5' / V . . r* '#•' •?. . .•ST’ 4 4tf ‘ .V SV.**/' .! :.a» Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/talbotjtaylorcolOOunse }• ■’ 5 i- C ‘ ■- •** , I “ ' ' ■ k, i ^ . I 1 TALBOT HOUSE THE TALBOT J. TAYLOR COLLECTION FURNITURE, WOOD-CARVING, AND OTHER BRANCHES THE DECORATIVE ARTS 9 WITH ONE HUNDRED AND EIGHTY-SEVEN ILLUSTRATIONS G. P. PUTNAM’S SONS NEW YORK LONDON Zbc IknicRcrbocLcr prcse 1 906 To THE J. PAUL GCHY MUSEUM LIBRARY COPYRIGHT, 1906 BY TALBOT ). TAYLOR miustrations PAGE Talbot House Frontispiece The entrance . . . . Flemish chair. Seventeenth century, walnut ....... Flemish chairs. Seventeenth century, walnut The hall Folding-chair, Flemish. Seventeenth century, walnut ..... The drawing-room . Stalls, oak. Seventeenth century Flemish chairs. Seventeenth century, walnut . Carved oak bed from Brittany. Adapted for divan Old alcove bed, carved oak. Adapted for open cabinet ..... Carved and gilded seat, covered in Beauvais tapestry representing a scene from the fables of La Fontaine. Period of Louis XV. Carved and gilded seat, covered in Beauvais tapestry representing a scene from the fables of La Fontaine. Period of Louis XV Carved and gilded screen, with panels in Beauvais tapestry representing Boucher subjects. Period of Louis X\L Carved and gilded console. Period of Louis XV Commode in marqueterie. Period of Louis XV. Chaise a porteiirs. Feriiis Martin. Front view Back view of chaise a portenrs. / 'crnis Martin Carved wood figure representing Saint Anne. Cothic period .... Carved wood pieta. Gothic period Carved wood pieta. Gothic period Beaker made in Nuremburg. Seventeenth century Church vessel. French, seventeenth century Silver vase. Alsatian workmanship. Seventeenth century .... 4 c y 6 n J 8 q 10 12 13 M 1 s 1 6 17 1 8 IQ 20 20 2 I 2 1 o 0 ivi -4 Hllu6tration0 PAGE i\' Silver vase. Alsatian workmanship. Seventeenth century .... Carved wood llgure representing a queen. French, sixteenth century Carved wood column in polychrome. French, seventeenth century . Carved wood tlgure in polychrome, representing the Virgin of Charity. Spanish, seventeenth century Carved wood llgure in polychrome, representing a cardinal. Spanish, seventeenth century Carved wood Figure in polychrome, representing a bishop holding the model of a church. Spanish, seventeenth century The conservatory Carved wood Figure representing the Virgin holding a ship. French, sixteenth century Fountain in terra-cotta representing the infant Bacchus. French, eighteenth century ('Juiise bcrgcrc. Period of Louis XIV Foot-rest. Period of Louis XIV Arm-chair. Period of Louis Xlll Arm-chair. Period of Louis Xlll Side chair. Period of Louis Xlll Column in polychroiue Side chair. Period of Louis XIV., late Octagonal brazier table. Period of Louis Xlll Carved wood tigure representing the Virgin. German, sixteenth century . Carved tlgure of a saint. Flemish, sixteenth century Carved Figure representing Saint Anne. Flemish, sixteenth century Carved tlgure representing Saint Peter. French, Fifteenth century Fragment of a carved group. French, tlfteenth century Carved group representing Saint John supporting the fainting Virgin. French, Fifteenth century Fragment of a carved group. French, fourteenth century Carved Figure representing Saint Veronica. French, fourteenth century . Carved Figure representing Saint John the Baptist. French, sixteenth century Carved Figure representing a prophet. French, sixteenth century Carved wood caryatid. French, seventeenth century ..... Carved wood pilaster. French, late seventeenth century 24 25 2=1 27 27 27 28 29 30 31 31 32 32 33 33 34 34 33 33 3(^ 3 b 3 b 37 37 38 38 38 39 39 miustratione v PAGE Carved wood figure representing a bishop. French, sixteenth century . . 40 Dining-room. View from the hall 41 Carved bracket. Gothic period 42 Dining-room. View from the library 43 Carved bracket. Gothic period 44 Stone mantel of the Renaissance period 4s Carved wood column, in polychrome. Spanish, seventeenth century , . 46 Carved wood column, in polychrome. Spanish, seventeenth century . . 46 Stone statue in polychrome. French, late fifteenth century .... 46 Carved wood statue of the Virgin and child. French, sixteenth century . . 47 Pa net ie re or bread-basket 48 Petrin, or kneading-trough 48 Old country fountain in beechwood and pewter 49 Tall clock. Signed “ Le Tellier ” 50 Tall clock. Signed “ Leree of Brecey ” 50 Table of the Louis XIV. period 51 Carved wood altar railing. French, seventeenth century 51 Table in elm. English, sixteenth century 52 Octagonal table in elm. Sixteenth century 52 Carved walnut table. Period of Louis XIV 53 Jacobean table 53 “ Drawinge table.” Period of Louis XIV. 54 “ Drawinge table.” Early seventeenth century 54 The library. View from the gallery 5s The library, looking towards the gallery s6 Morocco binding, with the arms and ehiffre of Colbert sy Italian binding. Sixteenth century s8 Prayer-book belonging to Henriette, Duchesse d’Oiieans, sister of Charles 11 . sq Italian binding. Early seventeenth century 50 One of Colbert’s Bibles, bound in morocco, with his arms and ehiffre . . bo A seventeenth-century Italian binding, with arms of a cardinal . . . .60 Italian binding, early seventeenth century, with the arms of a cardinal . . Pi Two arm-chairs, covered in old Cordoue leather. Period of Louis Xlll . . 62 Chaise beri(ere, cajvered in old Q)rdoue leather. Period of Louis XIV. . . 03 Side chair, covered in old Gord(;ue leather. Period of Louis Xlll. . . • b3 vi miuetrations PAGE Arm-chairs, covered in old Cordoue leather. I^eriod of Louis Xlll. ... 64 Arm-chair, covered in old Cordoue leather. Period of Louis Xlll. ... 65 Arm chair, covered in old Cordoue leather. Period of Louis XIV. ... 65 Divan covered in tapestry jii point. Period of Louis XIV 66 C//jAv / u//^4^7/c covered in tapestry j// /)u////. Period of Louis XIV. ... 66 Ctijisc loi!o-itc\ Flemish, seventeenth century 67 Flemish chairs. Seventeenth century 68 Flemish chairs. Seventeenth century 69 Desk chair. Period of Louis XIV 70 Side chair in marqueterie. Period of Louis Xlll. 70 Divan with loose cushion. Period of Louis XIV. . . . . . .71 Oak table. Period of Louis XIV. 71 Trousseau chest covered in leather and studded with copper nails. French, sev- enteenth century 72 Stron.or Pox. French, sixteenth century 73 Coffrot in old red morocco with gold tooling. French, seventeenth century . 74 Bjnqiicttc covered in old Cordoue leather. Period of Louis Xlll. . . . 74 Six-panel screen painted by Bourguignon. French, sixteenth century . , 75 Four carved wood panels representing the Evangelists ... 76 and 77 Carved wood panel representing the blessing of the bread, with emblems of the Evangelists in the four corners 78 Carved wood panel representing the Mater Dolorosa 79 Carved wood tabernacle. Erench, seventeenth century 80 Carved wood group representing Saint Anne and the child Virgin. Erench, sixteenth century 81 Carved wood figure representing the Virgin in the temple. Erench, six- teenth century. 82 Carved wood fgure representing Moses writing on the tablets. Erench, sixteentli century 82 Carved wood fgure representing a pope. Erench, sixteenth century . . 82 Lectern in carved wood. Erench, seventeenth century 83 Carved wood bust of a pope. French, sixteenth century 84 Carved wood f gures representing bishops. French, sixteenth century . . 83 Bust of a bishop, forming reliquary, decorated in polychrome. Spanish, sixteenth century 85 HUustratione vii PAGE Bust in carved wood. French, sixteenth century 85 Pietii in carved wood. French, fourteenth century 85 Figure of Christ in carved wood. French, fourteenth century . . . .86 The Louis X!V. upper gallery . . 87 The south-east bedroom of the Masters’ suite ....... 88 The north-east bedroom of the Masters’ suite 89 Banquette ox bench. Period of Louis XIV. 90 Four-poster bed witli Gothic panels, formerly a judge’s seat .... 91 Carved four-poster bed. Period of Louis XIV -92 Two commodes in walnut. Period of Louis XIV 93 Carved oak anuoirc. Made in Normandy, eighteenth century .... 94 Arm-chair covered in Flemish tapestry. Period of Louis XIV. ... 93 Table of the Louis XIV. period 93 Carved wood mantel clock. Period of Louis XIV 93 Curtains in toile de Jouy 9b The boudoir of the Masters’ suite ........ 97 Carved console table. Period of Louis XVI. 98 Two arm-chairs, covered in old Cordoue leather. Period of Louis Xill. . . 99 Two arm-chairs, covered in Flemish tapestry. Period of Louis XIV. . . 100 Vitrine table. Period of Louis XVI. 101 Screen of the Louis XVI. period 102 Miniature writing-desk. Period of Louis XVI. . 102 Marqueterie commode, made at a chateau in the country. Period of Louis XVI 103 Chiffonier in marqueterie. Made early in the reign of Louis XVI. . . .104 Chaise bergcre. Period of Louis XVI los Side chair. Made late in the reign of Louis XVI los Console table with trenieau above. Period of Louis XVI. . . . . . loo Lit d VAugtais or three-sided bed. Period of Louis XVI .107 A bedroom furnished in the Louis XVI. style 108 Arm-chair. Period of Louis XVI. ion Fire-screen. Period of Louis XVI ion Tabouret or stool. Period of Louis XVI ion A boudoir furnished with an old Louis XV. salon set i lo Canape or sofa. Period of Louis XV. . . . . . . .111 viii miUijtrations PAGE Arm-chair, l^eriod of Louis XV. . . .112 Smail Period of Louis XV. .112 Table, with canework top. Period of Louis XV. in Table of the Louis XV. period in bois dc rose, forming poiuireiise and writing- desk combined in Arm-chair. Period of Louis XV. . . . . . . , . ,114 Tabouret or stool. Period of Louis XV. . . . . . . . ,114 A Chippendale cabinet. Chinese design .in The panelled guests’ room . . . o 117 Carved J/7//U//V made in Normandy. Eighteenth century . . . . .118 Carved j/7//u/>c made in Brittany. Eighteenth century 119 Old Normandy prie-dieii or praying-desk .120 Side chair. Period of Louis XIV. ......... 120 Arm-chair. Period of Louis XI 11 . . . ,121 of the Regence period , . .121 Stone mantel of the Cothic period 122 Carved four-poster bed. Period of l.ouis XIV 123 Normandy linen press. Eighteenth century .124 Talbot House. View from the garden . . . . , . , .127 The piazza 129 A walk in the vegetable garden iii A walk in tbie garden 133 A corner of the garden ns A summer-house in the garden H7 A walk in the tlower garden . . . . , . . . , .139 The Talbot J. Taylor Collection The Talbot J. Taylor Collection ALBOT HOUSE, the home of Mr. Talbot J. Taylor at Cedarhurst, Long Island, contains, although this is perhaps not generally known, a collection of old furniture, wood carvings and other objects of art, which is likely to make this spacious and beautiful country residence famous. It is the purpose of the brief comments that accompany the illustrations in this volume to give the reader some idea of the treasures of art and craft which Talbot House contains, and to point out the good taste displayed in arranging them, and the beautiful and harmonious setting which the house itself, with its rooms, halls, galleries and conservatory, affords the collection. The building that houses this collection is in the style which, though generally known in this country as Elizabethan, was originally pure Norman. It is a repro- duction on an elaborate scale of the kind of building still to be seen throughout Normandy. Talbot House was not always just as it now stands. Wings have been thrown out from time to time to make the original building more spacious, with the result that it is now a low, rambling structure with many gables and red chimne\' stacks, the main part of it being only two stories in height and covered with ivy, vines and roses. The casement windows, in leaded glass, are just in the style of Marie Antoi- nette’s Laiterie and the Moulin in the gardens of the Little Trianon. The hugh-pitched roof and the gay and ingeniously varied dormers delightfully suggest the irregular plan of the interior and the surprises that meet one in going from room to room. The house is enteretl through a vestibule of leaded glass thickly overgrown with ivy, and this again opens into the hall, which is large and square, panelled in dark oak, with a low ceiling, which is of plaster, ivory in tone, and decorated with a design of scrolls and foliage. On either side of the stone facing of the lireplace stands the THE ENTRANCE 3 tTbc tlalbot 3. ^a^Ior Collection heroic figure of a knight in armour. Both of these figures are entirely of carved wood- work of the seventeenth century. Before examining the different objects of the Taylor collection piece by piece, it may not be amiss to say a few words in a general way with regard to the furniture and carv- ings of the periods which are best represented in it. And in the course of these comments upon the more notable features of the decoration and furnishing ofTalbot House, occasion will be taken to point out the changing characteristics of the productions of different times, and to indi- cate the interesting relation that exists between the develop- ment of social life and the forms assumed by the decora- tive arts. A study of the furniture of the best known periods, com- bined with a knowledge of the history of those periods, of the infiuences that created them, and of the personalities that dominated them, can hardly fail to interest even the least en- thusiastic ; and with very little study come an appreciation of the fitness of things, a know- ledge of what should go together, and the capacity for creating an atmosphere that is harmonious and pleasing, even though it be simplicity itsell. In tael over- ornamented furniture is not the most beautiful. There is furniture of extieme simplicity where the ornamentation consists of exciuisite carving instead of heav}' Zbc C:albot 3. Easier CoUcction ormolu, mid where the eolouring of the wood is of that indescribable tone which age alone can give and no tac-siniile can appioach. The French, beyond all other natons, have always set in a fitting background the beautiful turniture which they made and of which they have been the master crattsmen ever since Francis 1. introduced the gior>- of the French Renaissance. Fie it was who invited to France architects, ) { i\ FIG. la FIG- sculptors and painters from Italy, which heretofore had led in art. In Francis they found a liberal patron, rich, ambitious, courageous. A worshipper of beauty, he has left his unmistakeable mark on every building that he ever touched. His intluence lasted after him through succeeding reigns, slowly diminishing, THE HALL 6 the tTalbot 3. ^a^lor Collection however, until, towards the end of tlie reign of Louis Xlll., it was scarcely more than a tradition. Then came Imuis XIV., and with him a fresh artistic im- pulse. The resolution to lift France to the foremost rank as a home of the arts, which originated with Fouquet, had been adopted and enlarged after his disgrace and banishment in iPPi by his successor Colbert ; and Louis, in his pro- digious egotism and superb ostentation encouraged every step that conduced to his own magnificence. Thus began a new era in the history of furniture. No coiisideration of expense was allowed to interfere, and this extravagance continued during the seventy-two years’ domination of the Grand Monarch, and reduced the nation to the verge of bankruptcy. But tliOLigh the country suffered,we, posterity, have profited by what is left to us of the glory of Ic Roi Soldi. The changes wrought in Paris affected the country slowly, and provincial artists working at the period of Louis XIV. pro- duced furniture very different from the showy and gaudy pieces in vogue at Court. Examples of these are most in- teresting and give a true keynote to the sentiment of the times throughout France. In Paris to-day there is much enthusiasm over the provincial furniture of this period ; but there is a drawback in connection with collecting it, for almost all Parisian homes are apartments, where space is limited, and where, consequently, these massive creations do not show to advantage. These considerations were not, however, objections which Mr. Taylor had to consider. In his Cedarhurst home, the rooms are immense and absorb this massive furniture, and set it off as well, if not better, than did its original resting-place. The great square hall of Talbot House, panelled in oak, is hung all round with bits of carving, pilasters, caryatids and brackets. One side is lined with stalls from a FIQ. 2— FOLDING-CHAIR, FLEMISH Seven teenth-Century THE DRAWING ROOM 8 ^bc Calbot 3 . CIa\>Ior CoUcctioii devastated monastery. In the centre is a large oak extension table of the period of Lonis XIV., around which, are grouped three old Flemish chairs (Figures, i'\ i^) ot the seventeenth century. In England in the time of Charles II. the wealthy people all indulged in these chairs, wfiich were made to order tor them, and each chair is marked with the name (C the family for which it was made, in Figure 2 , we have a small folding-chair, alsr) Flemish, of which there are four in this collection. They SEVENTEENTH-CENTURY STALLS are all exactly like one in the South Kensington Museum in London, and like two in the room of Diane de Poitiers in the Chateau of Chaumont, in the Touraine. The residence of Charles 11. abroad had accustomed him and h.is friends to the much more luxurious furniture of France and Holland. Up to this time in England there had been little or no luxury. Chairs of any kind were rare, and the average house possessed but two, one for the master and one for the mistress, the rest of the company being provided with stools. Charles IF, indolent and fond of luxurv. came tCbe tTalbot 3. tTapIor Collection 9 to the English throne in 1660. He imported from Holland cane fnrnitLire of a superior quality, which became very much the fashion and was indulged in by all who could afford it. in this collection we have eleven chairs of this style, varying slightly in design and form, as shown in Figures 3 and 4. These chairs are now rare. The FIG. 3.— FLEMISH CHAIR F'Q' 4.— FLEMISH CHAIR Seventeenth-Century Seventeenth-Century Louvre contains only two examples and the Cluny but lour. There are still some to be seen in a few old English houses, such as Knole, the ancient home of the Earls of Dorset, and also in the English museums. Figure 5 represents an old carved bed from Brittany, which has been cut down lO ZTaibot 3. ^a\>Ior Collection and covered with Flemish tapestry. It was made to lit in an alcove, and conse- quently only the front is carved. Another and a much more magnificent example of this style of bed is given in Figure P. In this instance an open cabinet was made from it— a transformation easily accomplished by simply inserting shelves. The drawing-room, which is entered by a door leading from the hall, is also panelled in oak. I'he pilasters and cornice of this apartment are richly carved in the best style of the Renaissance, while the panels are plain, affording repose and bringing the ornament into relief FIG. 5. -CARVED OAK BED FROM BRITTANY Adapted for Divan In Figure 7, we have a Louis XV. seat, the frame beautifully carved and gilded and covered in Beauvais tapestry. There are four like it in this room. The original set consisted of six, but the other two were bought by the King of England, Edward VIE, then Prince of Wales, and were put in the State drawing-room in Marlborough House. On these seats, and on the two like that in Eigure 8, the tapestry repre- sents the fables of La Eontaine. The screen shown in Figure 9 is also in Beauvais ^be Talbot 3. Easier Collection 1 1 tapestry with designs after Boucher. The carved and gilded frame of this beautiful piece has transparent glass panels at the top. Apropos of this screen and the chairs, a word regarding French tapestry might not be out of place. Late in the sixteenth century two brothers, Gilles and Jean Gobelin, had introduced from Venice the art of dyeing scarlet and other colours, and this enterprise, at first considered foolish, acquired the name of “ Folie Gobelin.” But later it attracted the attention of Francis 1 ., who, appreciating the beauty and value of the Flemish tapestries, wished to introduce the industry into France, and in 1603 he added a tapestry factory to the dye-works of the Gobelin family to which he gave his royal patronage. These works continued and prospered, but their great ultimate success was due to Gharles Le Brim who, though a painter by profession, had been appointed by Fouquet as director of the tapestry factory which he had started at Maincy. When this factory was subsequently transferred by Golbert to the Gobelins, Le Brun was maintained in his post. In 1609, Golbert ordered the manufacture, at Gobelin, of tapestry suitable for furniture, but afterwards transferred this particular branch of the art to the State Works of Beauvais where the more special work of making coverings for chairs and sofas was carried on the looms of Gobelin being generally employed to produce large panels for hangings. After the death of Colbert and Le Brun, such large subjects were less in demand, and then the Gobelins also turned their attention to the more profitable coverings for furniture, although the Fictory at Beauvais was long granted the palm for excellence in llowers, trees and tlgures. Besides the tapestry made for furniture, sometimes at Gobelin, but more gen- erally at Beauvais, a great deal was produced by the looms at Aubusson, but this latter manufactory never acquired a very high reputation, for it met the demand of the people, the productions of (fobelin and Beauvais being monopolised by the Court. It was from these looms that there came those coverings for furniture, with designs after Boucher, La Fontaine’s fables, and Don Qj/ixoto. During the Revolu- tion so many of these tapestries were destroyed tliat those remaining are simply priceless, and at the recent sales at the H( 3 tel Drouot in Paris, and at Christie s in London, even inferior pieces have brought prices that are fabulous. When we remember that the reign of Louis XIV. lasted for nearly seventy-seven years, it is not surprising that before his death the general style of the furniture shoukl gradually change, becoming less severe and following the lines of a more free and flowing treatment. The curled endive, which afterwards became so characteristic of 12 ^bc (Talbot 3 . ^Ta^Ior Collection the furniture of Louis XV., lirst appeared towards the end of this reign, as did also the cabriole leg. FIG- 6.— OLD ALCOVE BED .Adapted for Open Cabinet Louis XV. was but five years of age when he succeeded his great-grandfather to the tbirone of France. During his minority Philippe Due d’Orleans, the nephew of Louis XIV., was appointed Regent, and this period of some eight years is known as ^Tbe Talbot 3. ^a^lor Collection 13 V epoch lie Ij Rtpviicc, and is celebrated for the scandals and intrigues which abounded at a Court which was quite as magnificent and infinitely more gay than that of the preceding reign. The great formality, which had been the distinctive feature of the FiG. 7.-CARVFD AND GILDED SEAT OF THE PERIOD OF LOUIS XV Covered in Reauvais Tapestry Court of Louis XIV., disappeared, social intercourse became more easy and iii/iiiic, and the inlluence of the boudoir began to prevail. This change in social tone was reflected in the furniture, which showed more profuse decoration. Louis XV. was brought up in too frivolous a school to encourage any great severity in his furnishings, which abouiukal in the most coquettish tlecoration doves, wreaths, iLjwing scrolls aiul cupids. The paintings by Boucher, l.ancixd and W'atteau 14 f IQ. 8.— CARVED AND GILDED SEAT OF THE PERIOD OF LOUIS XV Covered in Beauvais Tapestry 15 FIQ.9. THREE FOLD SCREEN OF THE PERIOD OF LOUIS XV Curved und (dlded w ith lli uuvais I upe-.try, Kepri seiiting Sidijei ts ufur I'.om lier I ^Tbe Talbot 3. ^a^Ior Collection 17 depict very ncciirately the spirit and sentiment of the age, which was one of gallantry and intrigue— with love the ever prevailing theme. In Figure lo we find a console. This collection possesses a pair of consoles, which are very excellent examples of the Louis XV. period. Time has moderated the colour of the woodwork and the tint of the gold with which it is overlaid. The combina- tion of the lights and shadows, caused by the relief of the work and the consequent darkening of the parts more depressed, together with the brightness of the prominent FIQ. 11.— COMMODE IN MARQUETERIE WITH BRONZE MOUNTS, PERIOD OF LOUIS XV ornaments, produces an effect which is exceedingly elegant and rich. One cannot wonder that connoisseurs are prepared to pay such large sums for genuine specimens of this sort, or that clever imitations are extremely costly to produce. In Figure 1 1 we have a Louis XV. rosewood commode, with curved front and ends handsomely decorated with ormolu work in leaves and scrolls. ’Lhe mounting on this piece is simple and takes the subordinate place that ornament should, letting the beauty of the wood and the design in marcinetry stand out. In a great deal of the work of this period— the pieces executed by the celebrated CalTieri, for i8 FIQ. 12— CHAISE A PORTEURS— IN VERNIS MARTIN From View 19 FIQ. 13— BACK VIEW OF CHAISE A PORTEURS— IN VERNIS MARTIN 20 ^Talbot 3. (ToUection example — the wood became merely the vehicle on which a wealth of ormolu was hung. One ot the most interesting objects in this room is the ciuise j porteiirs, with the arms ol the Due d'Oiieans, supported by centaurs, on the front and back, while FIG. 14.— CARVED FIGURE OF THE GOTHIC PERIOD FIG. 14^*.— CARVED PIETA OF THE GOTHIC PERIOD Representing Ste. Anne the sides are decorated with the double L entwined and encircled by the O. The original upholstery in yellow damask is in the interior. This chair (Figures 12 and 13) is in the genuine Vernis Martin, and it is but rarely that such a perfect example of this work can be seen. ^be Talbot ^a^lor Collection 2 I Even as early as 1691 the Langlois, pereet fils, Sieur Paty, and the Essartshad ac- quired reputations for imitating the splendid lacquer work of the Orient, so that the Martin brothers did not originate, but greatly perfected, the transparent varnish which bears their name. The elder Martin had been a coach-builder, and it was in the dec- oration of the panels of these vehicles that he first became tamous. So great was the BEAKER MADE IN NUREMBURQ , Seventeenth-Century j success of the Martins that in 174s the four brothers were given the privilege, during j twenty years, to fabricate, exclusively, all sorts of work in relief in tlie styles of japan i and China. They did not confine themselves, however, to Oriental subjects, but : decorated extensively in the style of the artists of that day, representing mythological scenes and ftHes gjlantcs. In the open cabinet (Figure 6) before referred to, there are a few small bits of wood-carving of the (T)thic period (see Figure 14) and a collection of old church ves- ' sels, consisting of chalices, reliquaries, incense holders, etc., among which are some very fine specimens indeed. The two vases in Figure ;s are exquisite exanqdes of : Alsatian work of the time of Imuis Xlll. ( Kiio-mqs). The vase on the left is I signed with the initials P. ]., and that on the right is signed T. B. They were I made in Ribeauville in the seventeenth century, although from the principle of the 22 CHURCH VESSEL French, Seventeenth-Century tTbe ZCalbot 5 . ^Tai^Ior Collection 23 decoration, it is easy to see that these rare pieces partake of the inspiration of the Renaissance. Figures 14, 14'' and 14* represent three Gothic carvings. The craze for wood-carv- ings, which is now rampant in Paris, has not yet reached this country. People here will perhaps not very readily sympathise with the enthusiasm of the connoisseur over a fragment of primitive wood, crudely and grotesquely carved at a time when the art was in its infancy. But such pieces have an archaic charm, and often reveal a pure and fervent religious inspiration. The recent upheaval in France, caused by the separation of the Church and the State, and resulting in the banishment of the religious orders, has brought to light un- told treasures in this style of carving. The figures of saints and of the Virgin, the crucifixes, the pietas so long hidden in the obscurity of convents and monasteries, have been dispersed and sold ; and this for a short time gave to the collector the opportunity of securing exquisite examples of the work of the hfteenth, sixteenth, and seventeenth centuries, and occasionally even rarer specimens of the work of the twelfth and fourteenth centuries. A recent law passed in France has forbidden the further sale of these objects by the religious orders, and, to enforce this enactment, an inventory of the contents of every church in France has been taken, which will be gone over at stated intervals by oftkials of the Government. Hence those who have secured good examples of this art are indeed lucky, as they are every day becoming rarer and more priceless. The museums have absorbed all that they could lay their hands on. The Cluny Museum in Paris is replete with these treasures, and the opening of the new Musee des Arts Decoratifs has given to the public galleries filled with the finest examples of the primitive art of wood-carving. Mr. Taylor was fortunate in being able to secure a great number of carved figures before the passing of the new law in France, and probably no one in this country has finer examples. In Talbot House they find a setting which shows them to the best advantage, and so well do they suit the vast rooms with the dark oak panelling that they have been favoured there above all other bibelots. In Figure 16 we have the carved figure of a queen, sixteenth century, a most interesting specimen, because of the subject, which is most unusual, and because of the grace of the attitude. This figure stands four feet high, and is mounted on a pedestal (Figure 17), a low, carved column in French polychrome of the seventeenth century, with a design in grapes and leaves. Figure 18 represents a Spanish polychrome carving of the sixteenth century, — 24 tlhc ilalbot 3. ^a\)Ior Collection the Virgin of Charity. The Virgin is seen carrying the Divine child, and protecting another child. There is a great charm, and exquisite warmth and colour in this piece. Figure iQ represents a cardinal, in polychrome. He wears his red hat. The piece is graceful in form, and an exquisite bit of colour. This and the Bishop (Figure 20) holding the min- iature model of the Church he built, are of Spanish workmanship too, and in polychrome, but of the seventeenth century. FIQ. 15.— SILVER VASE FIG. 15« SILVER VASE ALSATIAN WORKMANSHIP OF THE SEVENTEENTH CENTURY Figure 21 represents the Virgin with the Ship, sixteenth century. This is the sailors’ Virgin, The Star of the Sea, before whom seafarers burned their votive offerings on a return from perils. There is much charm in the pose of this figure and in the flowing draperies. FIQ. 16.— CARVED WOOD FIGURE OF A QUEEN F'rcnch, Sixtccnth-Ccntiiry Flo. 17.- CARVED COLUMN IN POLYCHROME French, Seventeenth-^ i ntury Zbe ZTalbot 3. ^aplor Collection There are many collectors who prefer Gothic statues, with their awkward rigid- ity, to the more technically perfect works of a later period ; and certainly they do pos- sess a great interest. But for real grace, finished carving, and attractive subjects, the productions of the sixteenth century of course surpass earlier attempts. The Conservatory in 'falbot House is particularly original. It consists lirst of a balccaiy furnished like a lajoiii, and this leads down a few steps to the conservator)' 26 Z\x ^Talbot 3. lor Collection proper, a mass of palnis, foliage, and glowing colour, the whole enclosed in leaded glass. In one corner there is a fountain worthy of particular attention, as the central hgure is of terra-cotta representing the Intant Bacchus, Figure 22. This comes from an old French garden, and is a genuine eighteenth-century piece. Terra-cotta has been used for decorative purposes from a very early period of the world’s history. Take, for instance, the Tenagra hgures. But it was in the eighteenth century, when there reigned in France a perfect passion for colour, that, in seeking something less rigid than bronze and warmer than marble, they resorted to clay to express the esprit and charm of the gay mythological subjects, which had conie into vogue, and no one who has ever beheld the work of Clodion can doubt the power of expression that lies in this material. Genuine pieces of eighteenth-century terra-cotta are almost im- possible to find, and for this reason there have arisen establishments in Paris where reproductions of the eighteenth-century subjects in terra-cotta are made, which are extremely difficult to detect, and these are scattered through the antique shops and very often sold for genuine. The balcony of the Conservatory is furnished with chairs and tables and shaded lamps that make a delightfully informal room. Figure 23 represents a L'liaisc bergcre the Louis XIV. period, covered with Flemish tapestry, which is generally called verdure tapestry. The cluise hergere, which is an arm-chair with upholstered instead of open sides, is supposed to have been an inno- vation during the reign of Louis XV. , but this collection possesses two of the Louis XIV. period, thus provingthat, although rare, there were a few made duringthe latter epoch. The small foot-rest ( Figure 24) is also in verdure tapestry. This, when drawn in front of the bergcn\ forms a cluise longue. In Figures 25 and 26 there are two examples of arm-chairs of the Louis XIII. period, while Figure 27 shows a side chair of the same epoch, and there are two such chairs in Mr. Taylor’s collection. The side chair in Figure 28 is of the Louis XIV. period, but was made late in that reign when the cabriole leg was beginning to appear. The Flemish tapestry which covers these chairs had been used previous to the reign of Henry IV. in all the palaces and chateaux for the arras or wall hangings, but when the practise of panelling the walls in wood came into general vogue, it was quickly adopted by the rich and luxurious, as it rendered more air-tight the draughty buildings. Consequently many of the old arras, whether in tapestry or leather, when no longer required for wall hangings, were put to practical use by employing them as coverings for chairs and sofas. This practise especially appealed to people living in 1 REPRESENTING A BISHOP HOLDING THE MODEL OF A CHURCH FIG 18. — CARVED FIGURE IN POLYCHROME Spanish, Seventeenth-Century REPRESENTING THE VIRGIN OF CHARITY Spanish, Sixteenth-Century’ THE CONSERVATORY Zbc Talbot 3. ^aplor Collection 29 chateaux in the country, and most of the old chateau furniture of the time of Louis Xlll. and Louis XIV. was upholstered in this way. The octagonal table (Figure 29), with eight turned legs, is of the Louis Xlll. period. The top is covered with brass. This table was used at that time to hold the brazier of live charcoals which served to heat the rooms where there was no open fire. On the railing dividing the raised balcony or room portion of tlie Conservatory from the sunken or garden part, there are ranged more carved saints. The sixteenth-century Virgin in Figure 10 is of German workmanship. Figure 31 represents Ste. Anne, the mother of the Virgin Mary, holding on her arm the small figure of the Virgin, who in her turn holds the still smaller figure of the Infant Jesus. This piece is also sixteenth century, but the work of Flanders. The almost grotesque manner, exemplified in this piece, of presenting the three figures in one, was a favorite conceit of even earlier periods. There is a small Gothic figure of this same subject in the cabinet in the drawing-room (Figure 14). The Pope (Figure 32 ), holding a book and the key of Heaven, is of the fifteenth century, and a very good specimen of Gothic work. It is supposed to represent St. Peter. Returning through the hall, which hns in it so many carvings that we shall not attempt to enumerate them all, we notice particularly a group (Figure 11), also of the fifteenth century. This is only a fragment — all that remaiiT=; of some large piece — but interesting as an example of fifteenth-century work. Figure 34 is a small fifteenth-century piece. The subject is St. John supporting the fainting Mother of God. There is one almost identical with this, but possessing a third figure in the group, in the Cluny Museum in Paris. Figure is is quite a small bit, but one of the gems of the collection,— a carving of the fourteenth century. Gousidering its date, it is remarkable for fineness and finish. There are but two figures iu it,— knights in characteristic postures of the victor and the vaiu]uished but it is evident that origi- nally there were more in the group, for there is a superfluous leg in the background, FIQ. 21--CARVED FIGURE REPRESENTING THE VIRGIN HOLDING A SHIP French, Si.\teentli-Ccntury FIQ. 22.— FOUNTAIN IN TERRA-COTTA, REPRESENTING THE INFANT BACCHUS French, Eighteenth-Century FIQ. 23-— CHAISE BERGERE OF THE PERIOD OF LOUIS XIV FIG. 25.— ARM-CHAIR OF THE LOUIS XIII PERIOD tlbe tlalbot 3. ZTai^Ior Collection 33 FIQ- 27— SIDE CHAIR OF THE LOUIS XIII PERIOD COLUMN IN POLYCHROME teenth-ceiitury carving, a Ste. Veronica — a crude and primitive production in which the form is defined by a few lines that just serve to detach the figure from the wooden block out of which it is cut. Figure 37 is a caryatid, and Figure 18 a pilaster, both of the seventeenth century, and interesting as architectural bits of the Louis XIV. period. Figure 39 represents a bishop, a very effective piece. The high mitre, the flowing robes, the head and trunk that belong to it having been broken off. But, despite the unfor- tunate mutilation, this work is remarkably interesting ; and happily there has been no modern attempt to supply the missing figure. As we all know, the real enthusiast for wood-carving insists that the restoration of a broken statue ruins its value, and that it is far more in- teresting to possess a piece lacking head, arms or legs, than to have these members restored. The Louvre, the Cluny, the Musee des Arts Decoratifs; all possess plentiful examples of broken and defaced primitive carvings, all absolutely sj/is restjiirjtioii. Figure 36 is an example of four- tTalbot 3. ^Ta^Ior Collection 35 the poise, and expression constitute a statue at once beautiful and thoroughly charac- teristic of sixteenth-century work. Figure 40 represents brackets of the Gothic period. Passing into the dining-room, we hnd ourselves in a gallery-like room, with windows on both sides. The floor consists of great blocks of marble, some white, some green. The ceiling has heavy beams with plaster decoration of fruit and flowers. The high stone chimney-piece (Figure 41) is of the Renaissance period. The walls are hung with heavy, violet damask, and this, combined with the stone and marble, produces a colour effect that is really unique. Between the win- dows stand high columns (Figures 42 and 4s ) in poly- chrome of the seventeenth century. These are fitted for electricity and surmounted with silk shades. So used they carry out the purpose for which they were origin- ally designed. And here, in connection with these columns, something may appropriately be said in regard to polychrome. The word “polychrome” is used both in English and French to describe the much-used process of painting and gilding which seems to have been in practice from a very early date, sometimes for the decoration of the walls of dwellings and public buildings, both inside and out, but more often for churches. In the eighteenth century Diderot did not hesitate to say, that to paint a statue was to commit an act of barbarism. However this may be, it is an established fact, that nearly all the very old statues were painted, whether the material used was of stone or of wood; and traces of the original painting have been found on the statues which decorate Notre Dame de Paris. CARVED FIGURE OF A SAINT Flemish, Sixteenth-Century FIG. 30 —CARVED FIGURE OF THE VIRGIN German, Sixteenth-Century tN. fO FIG. 34.— CARVED FIGURE REPRESENTING SAINT JOHN SUPPORTING THE FAINTING VIRGIN .rr. a FIG 35. — FRAGMENT OF CARVED GROUP French, Fifteenth-Century r- l t.^ i. r' French, r ourteenth-Century 38 ^bc ZTalbot 3. {Tailor Collection In Figure 44 we have a stone statue (late fifteenth century) which still retains some of the old colours — blue and red — with which it was originally painted. Figure 4s, a sixteenth-century piece, is in wood, and represents the Virgin and Child. It was originally placed in a niche outside of a church, and was so long exposed to the elements as to be almost the colour of stone. Figure 46J presents a pefriii or kneading- trough; above it is the pjiictierc or bread-basket. The nuie or pctriii is spoken of as FIG. 36--FIQURE REPRESENTING CARVED FIGURE REPRESENTING A PROPHET SAINTE VERONICA French, Sixteenth-Century A Crude Carving of the Fourteenth Century CARVED FIGURE OF SAINT JOHN THE BAPTIST French, Sixteenth-Century early as the year 1389 in the inventory of the Chateau de Port-Mars, '' Mobilier gar- nissjHt Ic four, mu iiuyt u pctrijf The word panetierc originally signified a game bag, but afterwards came to mean this sort of wooden bread-basket. The poet Ron- sard, it may be said by tlie way, in his Cluut pjstorul, apropos of the marriage of Claude de France, daughter of Henri IF, with the Due Charles de Lorraine (1587), addressing the latter v/rote: “"Appollou flit berger et le Troyen Paris; Ei le jeiiiie ainonreiix de Pen us, Adonis, Aiiisi qite toy, portoit an fane la panetiere Fd par les bois soiiiia I’ amour d’liiie bergere/’ Another quaint old country piece is the fountain (Figure 47) in ctciiii or pewter, 39 FIG. 38.- CARVED PILASTER Frciicli, L;ite ScvciUcintli-Ceiitiiry ^be ^Talbot 3. ^a\?lor Collection with a small figure ou the to’p. T his is mounted on a simple stand of beechwood. Figure 48 represents a tall dock, beantifully carved. The original movement is still in it, and it bears the name of the maker, Le Tel- lier. It is one of two clocks ofthiskindin Mr. Taylor’s collection, the other, in the great Hall, being signed by Leree of Breccy (see Figure 49 )- Beyond the dining- room is the library which is of truly magnificent dimen- sions, and, although at the extreme end of the house, its real centre. High mul- lioned windows, with an occasional door leading out on the terraces, break the monotony of the bookcases which line one side of the room and contain all the modern books of Mr. Tay- lor’s collection, — over two thousand volumes. Direct- ly opposite are cases, form- ing a succession of vifriiies containing a very interest- ing collection of old bind- ings, early examples of printing, and manuscripts on vellnm, signed succes- sively by kings of France, in an almost uninterrupted line, from Louis XL to the un- fortunate Louis XVL The Taylor Collection possesses also many bindings that are FIQ. 39— CARVED FIGURE REPRESENTING A BISHOP French, Sixteenth-Century THE DINING-ROOM View from the Hall 42 tibe Talbot 3. ^av’lor Collection interesting and valuable not only for their beauty but for their historical associations. There can be no doubt that the prac- tice of binding books had its origin in the desire to protect them, but what was once regarded as a work of necessity developed into a great luxury. The art of applying gold ornament to leathers is of unknown antiquity, but we have proof that it v^as practised in Ancient Egypt. Aldus Manutius, the celebrated Venetian printer, was the first, however, to apply decorative art of the highest character to book-binding. From Italy the art spread to France where it reached its acme. The saying. La re- liiirc est iiii art tout fraiifais, is not without foundation, for the French soon abandoned the Italian treatment and struck out a line for themselves. It was that lover of all the arts, Francis 1., who first introduced the mania for book-bindings in France. He was a friend and a great admirer of the cele- brated Jean Grolier de Servin, Vicomte d’Aiguise, and they both collected ex- tensively books printed by the Venetian, Aldus. Francis was the first French- man to adopt a device to ornament his bindings, and this fancy for decorating the covers of books with the arms or monogram of the owner became very FIG 40— CARVED BRACKET OF THE GOTHIC PERIOD geiieial. Tlieie liave beeu many nota- ble collections made in France by kings, ministers, and authors. Henri 11. owned a number of beautiful bindings, as did his wife, Catherine de Medici, and also Diane de Poit- iers. The Cardinals Richelieu and Mazarin were both collectors of note, so also were THE DINING ROOM View from the Library. 44 Z\K Clalbot 3. ^a^lor Collectioit Charles Louis Fouquet and Jean Baptiste Colbert. Louis XIV. had a fancy for books and sprinkled his covers with fleiirs dc lys and the Royal Crown. There is a hook of songs which belonged to him in the library at Talbot House. There, also, are two books with Mazarin’s arms decorating their covers. Mr. Taylor possesses, too, four books from Colbert’s library, ornamented with his device, an adder on a shield sur- mounted by a crown. Three of these four works are Bibles, and it is in- teresting to note that the one bound when he was a simple 5c/4v/c//r living on his small estate in the country, is com- paratively plain although decorated with his arms on the front and back covers. The second volume was bound when Colbert was first called to the Ministry, and is more pretentious, being orna- mented not only with his arms, but the chiffre, J. B. C., on the back. The third volume is adorned with the arms, and with the c'hiffre on the back and in the four corners of both sides ; it was bound after Colbert had become successively Prime Minister, Treasurer of the King- dom, and favourite of the King. There are so many rare books in this collection that a separate volume might well be devoted to them. We can only mention, and reproduce in the illustrations, a very few, to give a slight idea of the treasures of which this room is the repository. The great tl replace in the library is of severe simplicity. Before this stands a beautifully carved altar rail of the seventeenth century (Figure 50) with an angel at either end. This piece is particularly effective where it is placed, for it serves as a FIQ. 41.— STONE MANTEL OF THE RENAISSANCE PERIOD FIG. 44.— STONE STATUE IN POLYCHROME French, Late Fifteenth-Century FIG. 42 FIGS. 42 AND 43. — TWO COLUMNS IN POLYCHROME Spanish, Seventeenth-Century fig. 43 46 tLbe Talbot % ^ai^Ior Collection fender, while the angels seem to be guardians of the fireside. The centre of the : room is filled by three immense i tables. That in Figure 5 1 is massive I in its simplicity of rugged elm ; it I is of sixteenth-century workman- 1 ship, as is also the octagonal table I in Figure 52. The table in Figure I 53 is Louis XIV. — an ornate piece, with twisted legs, and an elaborately carved stretcher. It was in the sixteenth century that tables became more general as complete articles of furniture made of wood, and carved and inlaid. In the fifteenth century with few exceptions the table for meals had consisted of an arrange- ment of boards and trestles, and we have a reminiscence of this moveable kind of table in the still common expression “ a seat at the board.” A table which seems to have been introduced during the first half of the seventeenth century is the ‘‘drawinge table,” which was oblong in shape, with a flap pull- ing out from either end to make its length greater. By an ingenious contrivance, its centre or main top was lowered and the Haps came to the new level so that the whole area was then of the same French, sixtcemh-cent„ry height. There are three examples of the drawinge table in the Talbot House col- lection (Figures 54 and 55). FIQ. 463.— PETRIN OR KNEADING-TROUGH ZTbe tTalbot 3. ^a\>Ior Collection 49 The chairs in the library are of great variety and number. Many of these are covered in old Cordoue leather, a material little known in America, but very much appreciated and sought after in France, where little genuine Cordoue is now to be had. The best evidence of this is that the Cluny Museum only possesses a few scraps of it which are listened on the wall. This leather was extensively used during the fourteenth and fifteenth centuries as a wall covering and even sometimes for rugs on the floor. Later on when walls began to be panelled in wood, this material, like the ver- dure tapestry, was utilised for cover- ing furniture, and in the number of its examples of chairs upholstered in genuine old Cordoue, Talbot House is perhaps unique. The two arm-chairs in Figure s6 are of the Louis Xlll. period and covered in this old leather. That on the left is a particularly fine specimen as the scrolls and flowers are in high relief from the gold background. The chair on the right is very original because of the picture on the back which represents a priest clad in his robes. During the reign of Louis Treize, furniture became more comfortable and there was more variety. The chairs were high-backed and were made with arms, the legs and stretchers were visible and were of oak or walnut wood FIQ.49-TALL CLOCK SIGNED LEREE OF BRECCY FIQ. 48.— TALL CLOCK SIGNED LE TELLIER 5 ° TABLE OF THE LOUIS XIV PERIOD FIQ. 50.— CARVED ALTAR RAILING OF THE SEVENTEENTH CENTURY, FRENCH 51 FIG. 51.— SIXTEENTH-CENTURY TABLE IN ELM FIG. 52.— OCTAGONAL SHAPE TABLE IN ELM Sixteenth-Century 52 FIG. 53— CARVED WALNUT TABLE OF THE LOUIS XIV PERIOD JACOBEAN TABLE 53 FIQ. 54.— "DRAWINGE TABLE”, PERIOD OF LOUIS XIV FIG. 55.-“DRAWINGE TABLE” Early Seventeenth-Century 54 THE LIBRARY View from the Gallery THE LIBRARY Looking towards the Gallery 57 MOROCCO BINDING WITH THC ARMS AND CHIFFRE OF COLBERT ITALIAN BINDING OF THE SIXTEEN I H CENTURY ^be Talbot 3. ^aplor Collection 59 — the high backs and seats upholstered. The word chaise as a diminutive oichaire found its way into the French vocabulary to denote a less throne-like seat than that of the type which had been in use up to this time. The hergere in Figure 57 is of the Louis XIV. period, upholstered in old Cordoue and studded with copper nails. It is interesting to notice the ditference m the angle PRAYER-BOOK OF HENRIETTE, DUCHESSE D’ ORLEANS, SISTER OF CHARLES II of the backs of the chairs in Figure s8. That on the left was made for an older person who must necessarily sit upright and have the back supported, while the back of the chair on the right slants perceptibly so as to allow the person using it a more reclining attitude. The high-backed divan (Figure so) of the Louis XIV. period has carved legs and stretcher and is upholstered in tapestry an point of the period. This tapestry was the production of the needles of the ladies of that time and filled in many weary hours for the chateiaine and her bower maidens while my I.ord was away at the A SEVENTEENTH-CENTURY ITALIAN BINDING, WITH ARMS OF A CARDINAL ITALIAN BINDING, EARLY SEVENTEENTH-CENTURY, 'WITH THE ARMS OF A CARDINAL 6t FIG. 57.— CHAISE BERGERE OF THE LOUIS XIV PERIOD, COVERED IN OLD CORDOUE LEATHER SIDE CHAIR OF THE LOUIS XIII PERIOD, COVERED IN OLD CORDOUE 6, LEATHER ARM-CHAIftS OF THE LOUIS XIII PERIOD, COVERED IN OLD CORDOUE LEATHER ARM-CHAIR OF THE LOUIS XIII PERIOD, COVERED IN OLD CORDOUE LEATHER ARM-CHAIR OF THE LOUIS XIV PERIOD, COVERED IN OLD CORDOUE LEATHER FIQ. 59.— DIVAN OF THE LOUIS XIV PERIOD, COVERED IN TAPESTRY AU POINT 66 FIQ. 60.— CHAISE LONGUE OF THE LOUIS XIV PERIOD, COVERED IN TAPESTRY AU POINT ^be Talbot 3. CoUection 67 wars. The persomugcs in the design of this piece are particularly interesting as they are in the costumes of that day. Another piece covered in the tapestry Jii point is the chaise longue ( Figure 60). It is exciuisitely carved and studded with copper nails. The chaise tongue was an innova- tion during the reign of Louis XIV., but such early examples are rare, as they were not in general use before the time of Louis XV. This collection possesses another reclin- ing chair of so rare a kind that few indeed are the museums which have been able to FIG. 61.- CHAISE LONGUE Flemish, Seventeenth-Century secure one. We refer to that shown in Figure 61, which is of Flemish construction of the seventeenth century with the design of two cupids in a Hying attitude support- ing a crown surmounting the back, and a similar design enriching the stretcher. This chaise longue was imported into Fngland at the time of Charles 11 . when the chairs of the same kind of which we have before spoken were so much iu vogue with everyone rich enough to afford them, 'fhose in Figure 02 are further examples of these chairs. That on the left, in Figure represents one that was made for the King himself, Charles 11 . Figure 04 represents an exquisitely carved desk chair of the Louis XIV. period, the back and seat are of stretched leather stiulded with heavy OJ iO FLEMISH CHAIRS OF THE SEVENTEENTH CENTURY FLEMISH CHAIRS OF THE SEVENTEENTH CENTURY FIG. 64.- DESK CHAIR OF THE LOUIS XIV PERIOD FIG. 65.— SIDE CHAIR IN MARQUETEPIE, PERIOD OF LOUS XIII FIQ. 67— OAK TABLE OF THE LOUIS XIV PERIOD FIQ- 66.— DIVAN OF THE LOUIS XIV PERIOD, WITH LOOSE CUSHION V 12 (Tbe tlalbot 3. Ior Collection copper nails. The chair in Figure os is of tlie Louis Xlll. period with marqueterie rich in tone. There is a second divan in this room (Figure 60 ) which is of the l.ouis XIV. period also, but smaller than that in Figure 59. The form of the turned legs and stretcher is particularly pure in style and resembles greatly the general lines of the table in Figure 07 which was made about the same time. The trousseau chest in Figure 08 is of the seventeenth century, covered in leather and studded all over with copper nails, which form an ornamental design. The FIQ. 68.— TROUSSEAU CHEST COVERED IN LEATHER AND STUDDED WITH COPPER NAILS French, Seventeenth-Century lining on the inside of this chest is in a wonderful state of preservation, being the toilc of the period, and so interesting and beautiful in itself that Mr. Taylor has been advised by experts to take it out and frame it. But the chest is so complete that to mutilate it in any way would seem an act of vandalism. Chests are among the oldest known pieces of furniture. Tfiey were used in medieval times as seats by day and beds by night. And as receptacles for miscellaneons articles they have been used in all the ages of the world. Marriage chests were more or less elaborately decorated. The amount of linen that a bride took in them to her husband represented as a rule the greater part of her dowry. Zhc ^lalbot 3. tCa^lor Collection 73 In Figure 69 we see a coffre fort, or strongbox, of the sixteenth century — a very fine specimen, the lock so intricate and the plate so finely engraved as to be of great interest to the modern student of old iron and steel work of which in late years there have been many collectors. The strong box served as a safeguard for valu- ables at a time when the modern, burglar-proof safe had not been invented. In FIQ. 69.— STRONG BOX French, Sixteenth-Century an inventory of some of Charles V.’s effects, dated 1380, there is mention of a coffrc fort which he took with him on all his travels, and of which he, himself, always kept the key. The strong box in this collection is almost identical with one in the Musee de Cluny, sotte dc hi Ferromicric. The small coffret in old red morocco (Figure 70), beautifully tooled and containing three small drawers on the inside is a very tine specimen of seventeenth-century leather work. There is a gallery overlooking the library in Talbot House, and this is furnished FIG, 70.—COFFRET IN OLD RED MOROCCO WITH GOLD TOOLING French, Seventeenth-Century FI3. 71-BANQUETTE OF THE LOUIS XIII PERIOD, COVERED IN OLD CORDOUE LEATHER 74 F'rench, Sixteenth-Century CARVED PANELS— THE EVANGELISTS CARVED PANELS— THE EVANGELISTS and waterfalls, with a number of pcrsounjges in the costume of that day, — a most interesting and unique affair. It is impossible to reproduce a picture that will do justice to its beauty, as the painting has been so darkened by age. The four panel medallions (Figure 71) are beautifully carved in wood. The heads, which are in high relief, represent the four Evangelists. Figure 74 shows a carved panel, also in high relief, in the centre of which is set forth the Blessing of the Bread at the at the Last Supper. In the four corners are the emblems of the four Evangel- ists enclosing the wheat and the grape vines, which signify Plenty. These panels were removed from a monastery chapel during the late religious upheaval in France, and have, by some experts, been pronounced Gothic, although there is a difference of opinion on the subject. 78 ^Ibc {Talbot 3. {Ta\>lor Collection with a number of benches (Figure 71) of the Louis Xlll. period, which are beautiful examples of this style at its purest and best. These benches are uoholstered in old Cordoue, and studded with nails. Figure 72 is a screen of six panels painted on canvas by Bourguignon in the sixteenth century, each panel forming part of a continued landscape panorama repre- senting a chateau of the period with formal gardens and fountains, trees and streams FIQ. 74 — CARVED PANEL REPRESENTING THE BLESSING OF THE BREAD, WITH EMBLEMS OF THE EVANGELISTS IN THE FOUR CORNERS sign of grape vines and birds. Tliis has been utilised as a base to support the massive and beautiful statue (Figure 77) representing Ste. Anne and the child Virgin, one of the choicest gems of the collection. This carving, pronounced a work of the sixteenth century, could, in its way, hardly be lovelier. There is a wonderful strength and piety revealed in the attitude of the figure of Ste. Anne as she points with one hand towards Heaven, her face soltened a little by the tenderness of the mother, while Fia. 75.— CARVED PANEL REPRESENTING THE MATER DOLOROSA ^be tTalbot 3 . ^a^Ior Collection 79 The panel representing the Mater Dolorosa (Figure 75) is of a later period, as the ornamentation which frames it conclusively shows. The face, hand and veil are, however, of such beauty and strength as to suggest very early work. The tabernacle in Figure 76 is beautifully carved with cherubs’ heads and a de- 8o Talbot 3. Collection with the other liand slie caresses the tiny ligure of the female cliild who was destined to become the Mother of God. The Virgin in the Temple (Figure 78) is of sixteenth-century workmanship, as are also the ligures of Moses writing on the tablets (Figure 79), and the Pope (Figure 80). This IMpe was one of the Avignon pontiffs who held the chair of St. Peter at the time when the Church was obliged temporarily to take refuge in France. This collection possesses three statues of popes — this one; that before referred to as of lifteenth-century workmanship (Figure 32 ; and the bust, a sixteenth-century carving, shown in Figure 81. The two bishops ( Figure 82) are of the sixteenth century, and the bust of a woman saint (Figure 83) holding in one hand a book, is of the same epoch. The pieta ( Figure 84) of the fourteenth century is a fine exainple of the Gothic treatment of this subiect. There are two other pietas in the cabinet in the drawing-room (Figure 14), which are also Gothic, and it is interesting to notice the extraordinary disproportion in the size of the two tigures. But, notwithstanding their crudenesses, these primitive carvings pos- sess a power that is almost startling. One can imagine the blind faith and devotion that inspired such work, since it still has, even in our twentieth century, this deep, religious charm. Another fourteenth-century carving, shown in Figure 8s, represents the cruci- lixion. The figure of the Christ is absolutely without restoration, but unfortunately it has been taken from its original cross, and it now hangs upon a modern one which is not entirely appropriate, but which serves temporarily. The South Kensington Museum in London possesses two crosses which have been deprived of the figures that were originally upon them. The vandals through whose hands these carvings passed hoped for more pecuniary profit by separating them and selling them apart. In the gallery of the Louvre in Paris there are three ligures of Christ, which have been temporarily fastened to modern crosses in this way. It is impossible, in the space at disposal, to enumerate the quantities of figures in wood-carving contained in Talbot House, and we have endeavoured to comment FIQ. 76.-CARVED TABERNACLE French, Seventeenth-Century FIG. 77-— CARVED STATUE REPRESENTING STE. ANNE AND THE CHILD VIRGIN French, Sixtccnlh-Centiiry 8i FIG. 78.— CARVED FIGURE REPRESENTING THE FIG. 79. — CARVED FIGURE REPRESENTING MOSES FIG. 80.-CARVED FIGURE REPRESENTING A POPE VIRGIN IN THE TEMPLE WRITING ON THE TABLETS French, Sixteenth-Century French, Sixteenth-Century French, Sixteenth-Century CARVED LECTERN French, Seven tceiuh-Century 84 Zbc Talbot 3. ^a^lor Collection only upon those which, in our opinion, merit particular mention as examples of the styles that distinguished the different epochs. In the dark ages and in mediaval times, the talent of the carver was required more for the embellishment of the churches than for the adornment of houses, which were for the most part of severe simplicity. Then it was the Church that pre- served the arts, which, after the downfall of Rome, threatened to become extinct. In the monasteries, learning was kept alive and art was fostered until the outside world had readjusted itself and was again ready to encourage the production of the beautiful. Before passing from the library to the raised gallery which overlooks it, attention should be called to the live old silver sanctuary lamps that hang from the panelled ceiling, and to a number of other lamps, all of them originally old carved Church candlesticks, arranged for electricity, and shaded by jbjts-Joiirs made of ecclesiastical laces and embroideries. A number of stained-glass windows taken from a convent chapel soften the sun-light that pours into this room and suggest thoughts of other cent- uries, for these windows date from the days when Saint Louis held the throne of France, and they are no less beautiful than those in that King’s Sainte Chap die. Mounting the few steps that lead to the gallery, we ascend from there a wide staircase leading to the second lloor, and arrive in the Louis XIV. upper gallery, which is one of the features of the house. It is one hundred and twenty feet long, with a number of turns wliich break the monotony, and were inevitable from the irregular, rambling plan of the house. The walls in this gallery are panelled and hung with yellow damask ; the lights are facsimilies of those in the Grand Palais at Versailles. Along the entire length at regular intervals are placed banquettes or benches (Figure S6), the exquisitely carved legs and stretchers of which are of the inimitable colour that only time can give. This series of benches of the purest Louis XIV. type was in an old Hotel de Ville in a provincial town in France, and it was by the rarest luck that Mr. Taylor secured the full set. FIG. 81.— CARVED BUST OF A POPE French, Sixteenth-Century FIG. 82 FIG. 82a FIGS. 82, 823.— CARVED FIGURES REPRESENTING BISHOPS French, Sixteenth-Century BUST OF BISHOP FORMING RELIQUARY— DECORATED IN POLYCHROME Spanish, Sixteenth-Century 83 FIG- S3. — CARVED BUST French^ Sixteenth-Century FIG 84. CARVED PIET^^ Kren Fouriccnili-Century 86 FIG. 85.— CARVED FIGURE OF CHRIST French, Fourteenth-Century (The cross is of a later period) R? THE LOUIS XIV UPPER GALLERY THE SOUTH-EAST BEDROOM OF THE MASTERS’ SUITE NORTH-WEST BEDROOM OF THE MASTERS’ SUITE go ^be ^Talbot 3. ^Ia\>lor Collection At the farther end of the gallery is the Masters’ suite consisting of two bedrooms and a boudoir. The bedrooms are very quaint in shape because of the gables and dormers in the roof. Both are panelled and painted, and hung with verdure tapestry, d'he beds are four-posters. That in Figure 87 is especially interesting as it is composed of pure Gothic panels and was originally a judge’s tribunal, the head-board having been the high-backed seat, and the foot-board the railing dividing the justice from the person on trial. The shape of the piece adapted itself very readily to its present use and shows to advantage the exquisite carving. FIG. 86.-BANQUETTE OR BENCH OF THE LOUIS XIV PERIOD Of the oldest complete beds still in existence there are in France some of the time of Francis 1 ., while in England a few still remain that were made during the reign of Elizabeth. The curtains and hangings of such beds, which we regard as ornaments, were at that time used for protection from the draughts which wandered through the tapestry-hung rooms, for the windows were as a rule unglazed. The substitutes for glass, which was considered a luxury, were shaved horn, parchment and sometimes mica let into the sliutters which enclosed the window-opening. At best in many a castle but one bed would be found, and that belonged to the lord and lady, the rest of the family taking their rest on rugs or cushions on the Boor, or on chests, or even on tables. It is difficult for us to imagine the discomforts to which our forefathers were accustomed, — a state of things which the study ot turnituie impresses indelibly upon our minds. FIG. 87.— FOUR-POSTER BED WITH GOTHIC PANELS 91 92 Z\K ^Talbot 3. zrav’lor Collection The four-poster bed (Figure 88) of the Louis XIV. period is much carved and has a design of birds and tlowers on the head-board. These two bedrooms are fur- nished entirely with good old pieces of carved oak and walnut. The 'Normandy FIG. 88.— CARVED FOUR-POSTER BED OF THE LOUIS XIV PERIOD aniioire (Figure 8o) is exciuisitely carved. It is singular that of all the provinces of France it was Normandy that most speedily adopted the new fashions in designs set by the Court, the Rouen carvers and joiners becoming quite famous for their work; and it is for this reason that the furniture made in Normandy during the reigns of Louis XIV., l.OLiis XV., and Louis XVI. is extremely tine in line and ornamentation. COMMODE OF THE LOUIS XIV PERIOD COMMODE OF THE LOUIS XIV FERIOD FIG. 89.-CARVED OAK ARMOIRE Made in Normandy, Eighteenth Century' 94 TABLE OF THE LOUIS XIV PERIOD FIG. 90— CURTAINS IN TOILE DE JOUY THE BOUDOIR OF THE MASTERS' SUITE oS ^be tialbot 3. ^av^Ior Collection The curtains (Fi<>:ure no) witli winch these bedrooms are hung are of genuine old toilc dc fony with the design in red on a white ground. This printed linen came into vogue, especially for country houses, during the reign of Louis XVI. It was some- times used to cover rjuite elaborate sets for salons and bedrooms in Paris itself. In the record of sales at auction in the year 17S4, mention is made of a house where here were " djiis //// boudoir, 11 11 i\wjpc, qiiatrc ptdits fji/fo/iils, cd deux chaises en FIG. 91.— CARVED CONSOLE TABLE OF THE LOUIS X I. PERIOD toile de Joiiy.” We have for a long time associated with the name ot this stamped linen all the cotton Librics marked with these well known designs. But the genuine toile de foiiy was of linen, and was manufactured by the celebrated Oberkampf, a Bavarian by birth, who went to France at the age of nineteen with a capital of six hundred francs, bought an old abandoned ruin, and started his factory in the town of joLiy. He himself was the artist, engraver, and dyer combined, and his success was immediate and prodigious. In 1787 Louis XVI. visited the kictory and so impressed was he that he wished to confer on Oberkampf letters ot nobility, but the latter declined to accept the honour. •ARM-CHAIR, P£RIOD OF LOUIS X II, COVERED IN OLD CORDOUE LEATHER ARM-CH£IR, PERIOD OF LOUIS XIII, COVERED IN OLD CORDOUE LEATHE ARM-CHAIR, PERIOD OF LOUIS XIV, COVERED IN FLEMISH TAPESTRY ARM-CHAIR, PERIOD OF LOUIS XIV, COVERED IN FLEMISH TAPESTRY ^be ^Talbot 3 , ^aiplor Collection lOI III 1815, however, the Allies, jealous of his glory, and the English above all furious at his success, destroyed the Eictory, and Oberkampf, ruined at the age of seventy-seven, had not the courage to recommence, and died of a broken heart. The best known designs of this celebrated material represent pcrsomugcs and pastoral scenes, the seasons, etc., but there were many decorated with dowers, the colouring in these last-named designs being particularly clear and beautiful. The FIG. 92.-VITRINE TABLE, PERIOD OF LOUIS XVI Musee des Arts Decoratifs in Paris contains a large collection of the original drawings, and many of these are being reproduced with great success. The boudoir which connects with these two bedrooms is panelled and hung with a collection of rare old engravings by Beauvaiiet, Gaillard, Lempereur, and others of eighteenth-century fame. The hangings are of red damask, and the furni- ture is of the Louis XVI. period in oak and walnut. The console (Figure 9O is beautifully carved and very line in style. There is one almost iulentical with this in the Paris Musee des Arts Decoratifs. d'he vilriiie table (Eigure 02) and the low screen (Figure 93) are both good examples of the work of this epoch. Q O o: UJ £L > X o _1 uJ X h- li. o z UJ UJ cc o to oo o> o u. FIG. 94. — MINIATURE WRITING- DESK OF THE LOUIS XVI PERIOD IN BOIS DE ROSE ^be Talbot 3. ZTa^Ior Collection 103 former traditions. Lalonde and Lafosse were the first to give back to the legs of tables and seats the straight simple lines that Meissonier and Oppenord had con- torted, so that what has come to be known as the style Louis XVi. was really intro- duced towards the end of the reign of l.ouis “ le Bien-Aime.” Be that as it may, to Marie Antoinette is given the credit for innueucing the purity and simplicity of outline that gradually superseded all else, and certainly under her regime everything was of dainty elegance : tables, chairs, commodes, sccrcljircs Even before the death of Louis XV. there had commenced a sort of reaction from the over-abundant ornamentation which had for a long time been the vogue. This change has been attributed by some writers to the discoveries of ancient treasures in Pompeii and Herculaneum, where excavations were being conducted. Drawings and frescoes found in these old Italian cities were used to some extent by the draughtsmen and designers of this time. Little by little the furniture returned to its FIG. 95.— MARQUETERIE COMMODE OF THE LOUIS XVI PERIOD, MADE AT A CHATEAU IN THE COUNTRY 104 Zbc Talbot 3. cTa^lor Collection are all exainples of the grace, the prettiness, the frivolity that we associate with het personality. She disliked pomp and ceremony, delighted in simplicity, and took an almost childish pleasure in the dairy of the toy tarm in the gardens of the Little Trianon. It maybe that such ex- cessive simplicity was a form of affectation, for to her the world was a playground, and during this reign the necessary articles of furniture resembled toys, so diminutive were they. The little bureau or writing- desk (Figure 94) of bo/s de rose is typical of that time. Pretty, grace- ful, and utterly useless, it might stand as a symbol of that elegant and pleasure-loving court which was so soon to be shattered by the Revolution. It is often stated that, notwith- standing the vagaries of fashion, a revival of classic taste invari- ably follows lapses into fanciful over-decoration. At all events, during the reign of Louis XVI. architecture, as well as furniture, became more simple. Columns and pilasters reappeared in the facade of buildings, curves and arches were introduced, and broken scrolls were replaced by straight lines. In the FIG. 96.-CHIFFONIER IN MARQ'JETERIE, MADE EARLY !N THE REIGN OF LOUIS XVI illtei'iOr deCOratiOll, tile iri'egUlar panels enclosed by curled scrolls gave way to rectangular panels and simpler mouldings and cornices. In the furniture, the cabriole leg was gradually aban- doned for the straight and tapering support. The backs of sofas and chairs became either oval or rectangular, and were ornamented with a carved rib- bon, often represented as tied at the top in a lover’s knot. There are plen- Zbc Talbot 3, ^a^Ior Collection 105 tiful examples of tlie fumiture of this reign in the rooms on the second lloor at Talbot House. Passing into the blue suite, we first call attention to the commode (Figure 95) which is a particularly interesting specimen. It was made at a chateauhn the coun- try during the time of Louis XVI. The woods used in the marqueterie work were all taken from the trees on the place. The apple tree, the pear, the peach, all came into service, with the result that the piece is extremely odd and original. Another FIG. 97.-CHAISE BERGERE OF THE LOUIS XVI PERIOD FIG. 98. -SIDE CHAIR, MADE LATE IN THE REIGN OF LOUIS XVI point worth remarking is the fact that the general lines are so serious, especially those of the feet, that, were it not for the beautifully wrought bronze mounts, it might be thought to belong to the reign of Louis XIV. This, however, is only another instance of how the provincial workmen held long and tenaciously to the lines of earlier periods and were slow to accept the fashions set at Court. The chiffonier (Figure qo) is a very elegant example of martiueterie work of this time. d'he fashion of (inishing furniture in wliite paint instead of gold, wxis very popu- lar with Marie Antoinette who affected this style in her own apartments at tiie Little FIG. 99.--CONSOLE TABLE WITH TREMEAU ABOVE, PERIOD OF LOUIS XVI io6 i°7 FIQ. 100.— LIT A L» ANGLAIS OF THE LOUIS XVI PERIOD A BEDROOM FURNISHED IN THE LOUIS XVI STLYE FIG. 101. ARM-CHAIR OF THE LOUIS XVI PERIOD piG 102.— FIRE-SCREEN OF THE LOUIS XVI PERIOD A BOUDOIR FURNISHED WITH AN OLD LOUIS XV SALON SET ^be ^Talbot 3. ^aplor CoUcction I I I it^M IsiSii WW t«i|^:;;;?5i that time it was supposed to set off to better advantage than gold the picturesque gowns of the period. The bcrgere (Figure 97), upholstered in old blue brocade, is simple in design, but pure in style, while the chair in Figure 98 displays in its lines the tendency which later on merged into the form which we know as Directoire. The trcmeaii in Figure 99 has been cut from the wall where it once formed a panel. The lower part has still the old mirror, while above is the ciuaint painting on canvas set in a frame of the carved ribbon design which was so popular. 'I'he con- sole in the same illustration is simple, but has very good lines. Both beds in this blue suite are genuine and of the I.ouis XVI. period. Figure 100 represents a three-sided bed which is in the dressing-room of thegreen suite. This is of the kind known as a lit j FAngLiis, which commenced to be the Trianon. Carved chairs painted white were covered with tapestry from the Aubus- son. Gobelin and Beauvais factories, and later with brocades from Lyons. The Lictories at this last named place not being so well patronised as formerly, the Queen made an effort to revive interest in them, and for this reason ordered a set of furniture to be upholstered in brocade, with curtains and hangings to match. There is no daintier style of furnishing than this, which is so essentially feminine ; and at FIG. 104.— CANAPE OR SOFA OF THE LOUIS XV PERIOD FIG. 104«.— ARM-CHAIR OF THE LOUIS XV PERIOD FIG. 104<'.-CANAPE OF THE LOUIS XV PERIOD FIG. 104'. -TABOURET, LOUIS XV »15 A CHIPPENDALE. CABINET, CHINESE DESIGN 1 1 6 tTbe Talbot 3 , trailer Collection piece in oak, and, besides the book-rest, possesses a small cupboard below for holding devotional books. In the room adjoining the one of which we have been speaking, there is a stone mantel (Figure 109) of the Gothic period. It may seem strange to find so exquisite a piece of medieval chiselling of in a bedroom, but the mantel in question was imported for the Great Hall on the first tloor, and when the simple stone facing now there was found more appropriate to the architecture and panelling, this was rele- gated to a place in an upper room. The four-poster bed (Figure no) of the Louis XIV. period is massively carved and has a dome in marqueterie. The linen press (Figure 111) was made in Normandy late in the eighteenth century, and, like all the work of that province, follows the designs which were at that time being made by the great Riesener in Paris. We have now touched upon the more noteworthy features of the first and second doors. Of the third story, with its twelve large bedrooms, we shall not here take occasion to speak, though it should be said in passing that it, as well as the lower doors, contains many objects well worth the attention of the lover of antique furniture. In Talbot House, the aim has been to create an ideal country home where every room should be furnished with old pieces, each as interesting in its way as the other. All have been collected with great care and have been pronounced by the greatest experts in this country to be genuine products of the periods to which they are assigned. The old oak country furniture of the provinces in France seems to particularly suit the requirements of this house and is more appropriate in it than any other style would be. There is no discordant note, all has been arranged to create an atmosphere with the association of by-gone ages that is at once a delight and an instruction ; and the result is a combination of modern comfort and old-time beauty that will be appreciated by every one who possesses that exquisite sixth sense, the sense of the beautiful. It has been the purpose of what has liere been said to give a brief account of French furniture and to relate it to the historical and social changes which have brought about its gradual evolution from grim medi- eval severity to the grace, daintiness, and luxurious elegance of the pleasure-loving period that immediately preceded the Revolution. With few exceptions, the furni- ture and carvings of which we have spoken are French. France was the nation which, from the beginning of the Renaissance, originated the forms and designs of furniture that were followed by all Europe. Such an account, it is hoped, may prove FIG. 105— THE PANELLED GUESTS’ ROOM iiS F!Q. 106. — CARVED ARMOIRE MADE IN NORMANDY IN THE EIGHTEENTH CENTURY FIG. 107.— CARVED ARMOIRE MADE IN BRITTANY IN THE EIGHTEENTH CENTURY iig A SIDE CHAIR OF THE LOUIS XIV PERIOD FIG. 108.— OLD NORMANDY PRIE-DIEU OR PRAYING-DESK 120 ARM-CHAIR OF THE PERIOD OF LOUIS XIII BERGERE OF THE REGENCE PERIOD FIG. 109.— STONE MANTEL OF THE GOTHIC PERIOD FIG. 110.-CARVED FOUR-POSTER BED OF THE LOUIS XIV PERIOD t23 FIG. 111.— NORMANDY LINEN PRESS IN CARVED OAK, EIGHTEENTH CENTURY 124 ^be tTalbot 3. ^a\>lor Collection 125 acceptable to many, who, without wishing to study deeply the subjects here considered, still desire to gain some general information with reference to them. We have also endeavoured in these comments to give a sketchy account of Talbot House, to call attention to the unity of effect it and its collection produce, and to indicate the way in which its various elements have been combined into a harmoni- ous whole. TALBOT HOUSE. VIEW FROM THE GARDEN THE PIAZZA i ! A WALK IN THE VEGETABLE GARDEN A WALK IN THE GARDEN - i \ V-: - ■ o • -r • f • ti, ■ s. ! ! A CORNER OF THE GARDEN A SUMMER-HOUSE IN THE GARDEN I • i IN THE FLOWER GARDEN wMm n«f)9i(44^?/r iMKiSraCfM^^ GETTY CENTER LIBRARY ^ .‘)i9i; nn^i;n Qin^