. 1 a.
17.. uiz .

NK ..
22'5
La-
'17977
AZVCIENT M MODERN FURNITURE
' AND WOODWORK
IN cTHE SOUTH KENSINGTON MUSEUM
[a]
. * I n.
'In-
"h-I'ni'fl U

idal
KNIGHT Lambes
l 'I'\"PI _ I'
ZSZFC Lþ. ..=:._.\S\
arms: V 2: V_...N.._.._;u
Ikw l ._
'Ink-'17.- 'Imfl Kio'vYlclwz

__ an xuw
1. 'alt-

I a'.
I
'fir-'4 . N'lx'
N-




57; ==L= *
\\\\\\ \\
ye;
-*=5.n_ '
.- TMZ-BYFE- ſſ-
7.'
" r,.\.


m
-. --, , ._._- V, 3_,.._-,.-g t '_
Lvxma-Zu-LW wail-I' ' a

fflq
"uxn'd'xAiff-RV" *


ſiſi
- . - an QWK-Amsxrv t
\\\\ < -. azflffliziLzſih-zzzeyw \\
vBLL-ZDE-ZYF, -:25_=_v>3>s>35*23!6x2x>mr
" - eft-"- - *H>><-=<:5$x>%$"




T
V




A
AZ:




_# ___.__;= - _ 4. 322.;" e ;\ I -
- 'no , . - -*. \-._ \
/\/\ //\\\ w'flzy I. U.
by' '
/- 3 5
SNW













jub-aid xififfi ** "lfiix' Agtzza **, -__F*-*::. ',','-:_'_.*_- zffiWB-fiF- ' - -*-__

\\\_\\\
\\\\\\\\\\\ \\\ \\ \\\ \


No." 846. '68.


iW'" may "cures.- xuÞ-W ad Pa:- "muZi-MA"$Þ":* EI'" ' "71 ſilſi'ſi'
. . .- _- _.4 _..,__.. 5 Yf?
- A'-
k" "' "_-za._\-=-==;M *='*b*iſſWV"' W-Pr-m; W*-=W * 4*T'7Þ3i5m' *'--===*
_-=___F
)'




._ He' LLW
_
\




ſie

. m
.__ __
.-_. . *.JG'(*'-'",L\:*" __.
O. *' __-_ '. \.. ,
v__- _Wm
V _ſi-'JÞ*T 4; _


ZÞSZJLZ;







ANCIENT a? MODERN
FURNITURE AND
WOODWORK
IN THE
\
0
'
I.
'VO'
)
I
o'"
A
'3 '
K
SOUTH KENSlNGTON
MUSEUM


Deſcribed wit/1
AN INTRODUCTION BY
JOHN'HUNGERFORD
POLLEN


Publiſhed for the Science and ſirtct
Department of the Committee
of council an Education by
CHAPMAN AND HALL
LONDON
MDCCCLXX'V
t
_A __..__.y__.. 4 4..
xflffi
. . . -. . .. I. . 4- __ _.._
:_i:-_-.-__;_,r\-x-\-'_ "an


v. NLWEÞKMR _ ._; J'MÞPZYEZYZUKGKW-
'us-Lip -< _ mff'.
I' 'd-TI' - I; --
in' u-
'
MN. ' oT-z
'ſſil
i -'-- '- U '- -' '- -
* '->;:*-_ ' va ** a'
HIS-YE-


' r -_'-?A-*-;-'- "- i
- -='-:.- -> r.-"*-.-"** -- v - *
__ZPS;MZA _YZW r'dPZF-fliffi V)
w 'Li- 'c-dſi-I' c-M ſi-sd-'n-b W- ___.4 N-h- -'-ſi-'-ſi_d*-_1.\- u-'A-c-,L.._-'-'-'J-" w bſict-ſi-ſit 'flfl-fl Mad-'J- 'A '
'FFHVFZTZZV ct
If
'ſi
AWE F'TÞSZ

'i
n
A-RE'D . 062.."
FROM No. 18, CAREY STREET.
ÞEARSON . SC.

_.*


Alein." _ . it l- __
if 1- ſſ



.\\\\
\
\\\\\\


N-

___{>\4\\_\\
_ ZYZPZ-Tzſ'nl ,
'Z'LF' \/ A'ſ/ſ/z. V/ffld
n r t A zf'lugr




CONTENTS.
Page'
Liſt of the Photographs.
Liſt of the Woodcuts.
Introduction . . . . . i-ccxli
Names of Artiſts . . . . ccxliii-ccxlix
Catalogne and Deſcription . . . 1-358
Appendix . . . . ' . 3 59-3 9 I
Index to Regiſtered Numbers . . . 39 3-399
General Index . . . . . 400-41 5
LIST OF ILLUSTRATION'S.
CHROMOLITHOGRAPH.
Painted cheſt, I5th century . . . . Frontiſpiece.
PHOTOGRAPHS.
Page
Coffer, 15th century . . . . - . . 23
Drawer of a cabinet, I6th century . . . 45
Cabinet, I6th century . . . . . 56
Cabinet, I7th century . . . . . 60
Cabinet, 15th century . . . . . 66
Cabinet, I7th century . . . - . . 78
Chair, I7th century . . . . . . II 5
Miniature ſculpture, I6th centu . . . . 172
Mirror, I 5th century . . . . . . 184.
Mirror, I6th century . . . . . . 190
Mirror, I6th century . . . . . . 193.
Panelling, I4th or 15th century . . . . 200
Boudoir, 18th century . . . . . ' . 224.
Buffet, l5th century . . ' . . . . 268
Table, I6th Century . .. . . . . 288
Printed by t/zc Permanent Printzſing Company (Madbury proceſs)

[5]
LIST OF WOODCUTS.

Object. Page.
Door frame Title page
Egyptian chair V
Aſſyrian ſeat ix
Bas-relief of a chair Xi
Chair from Xanthus xiii
Greek chair xvii
Tripod Xxxi
Bronze couch xxxvi
Bronze ſella xxxvii
Chair of St. Peter xlviii
Chair of Dagobert lxi
Medieval bed lxix
Cornice . . xcvi
Carved angle of a cheſt xcviii
Chair c
Bellows ci
Knife-caſe cviii
Table cxiii
Carved Panel cxiv
ſſ ,, cxviii
Cabinet . cxxiii



Object. Page.
Carved frame cxxv
Chair cxxviii
Bracket . cxxXiv
Carved frame cxxxvi
,, cxxxix
Diſtaff . cxlv
Triclinium clxiii
Bed . clxv
Bed of Ware clxviii
Bed clxix
Chair clxxviii
Antique carriages cxcv
Mediaeval carriage cxcviii
State coach Cci
Carved bellows . Panels 196
n 206
Panel 214
Pedeſtal . 218
Coronation chair 3 59
State carriage _ 367




T HOUGH admirable ſculpture and painting have been em-
ployed for the decoration of woodworh and furniture, both for civil
and religious eyes, yet a connected hiſt'ory of the ſubject remains to be
written. Many pieces of furniture are included in de/criptions of
iroories and bronzes and much of wood con/traction in architectural
treatiſes. The following effay is an attempt to connect together
information which is to be met with, regarding both, in books
on many ſubjects. The writer knows but too well that much
remains to be gathered in order to complete it, and is prepared to
find many corrections required, as the make and decoration of orna-
mental woodworh and ſumptuous furniture of different periods
are better underſtood, and the beauty of theſe objects is more
generally appreciated.
______.___.______. . __ ._.__._____________-__-_.-_-_.__._
INTRODUCTION.
CHAPTER I.
__..__-__._ ,__- __ ,*4 .
HE ſtudy of a collection of genuine old pieces
of furniture has an intereſt beyond the mere
appreciation of the beauty they diſplay. The
carving or the Ornaments that ſet them off,
_ and the ſkill and ingenuity with which they
ae put together, are Well worthy of our attention. But the
furniture We are about to deſcribe has been in actual uſe, and
is, in general, unaltered; it ſhows the faſhions and uſages of
F. a


K-o
X)
ii I mma'uctim.
moſt of the modern nations oſ Europe, and it belongs to a
number of epochs. To ſtudy or deſcribe it is to go back to the
days in which theſe objects have been made, and to the wants
and manners, the habits and the ſentiments, of bygone ages.
The Muſeum contains cheſts, caſkets, cabinets, chairs, carriages,
and utenſils of all ſorts; of theſe ſome have held the bridal
dreſſes, ſans, and trinkets of Italian beauties, whoſe ſons and
daughters for many generations have long gone to the duſt.
There are beſides, inlaid folding chairs, uſed at the court of
Guido Ubaldo, in the Palace of Urbino, and of other Italian
potentates of the fifteenth century ; buffets and ſideboards that
figured at mediaeval ſeaſts; boxes that held the jeſſes and bells
of hawks; love tokens of many kinds, chriſtening ſpoons,
draught and cheſs men, card boxes, belonging to the fifteenth,
ſixteenth, and ſeventeenth centuries; carriages of the London
of Cromwell and Hogarth, and of the Dublin of Burke;
panelling of the date of Raleigh; a complete room made for
a lady of honour to Marie Antoinette.
Beſides theſe mementoes of periods comparatively well
known to us, we ſhall find reproductions of the furniture of
ages the habits of which we know imperfectly, ſuch as the
Chair of Dagobert, and various relics illuſtrating the old claffic
manners and civilization, as they have come down to us from
Roman maſters and Greek ſiartiſts, brought to light by the
diſcoveries at Herculaneum and Pompeii.
The fieſſld through which ſuch a collection ſtretches is too
wide to be filled with anything like completeneſs, and the works
of ſeveral periods have ſtill to be repreſented more thoroughly
as opportunities offer of completing and of houfing a collection
that requires much ſpace in order to be well ſhown. Yet the
South Kenfington Collection is already rich in pieces of furni-
ture, ſuch as carved cheſts and cabinets, that are examples of
the moſt finiſhed wood carving of Flanders, France, and Italy,
as well as of our own country.
I mroduct'z'm. iii
As wood is the material of which furniture for domeſtic
uſe has generally been made, there are, of courſe, limits to its
endurance, and not much of the furniture is older than the
renaiſſance. Earlier European furniture for houſes is ſeldom
to be met with.
Examples of mediffival woodwork are to be ſeen complete
and in good preſervation in churches, others have been kept in
ſacriſties, &c.; but objects for domeſtic uſe, ſuch as beds, chairs,
cheſts, tables &c., are rare, and have not often been collected
together. The Muſeum of the Hotel de Cluny, in Paris, is
the beſt repreſentative collection of woodwork anterior to the
. quattro or cinque cento period, z'.e. the end of the fifteenth and
beginning of the ſixteenth centuries. Examples of carved and
gilt carriages belonging to the laſt century are included in that
collection, and a ſet of carriages, alſo carved and gilt, made for
ſtate ceremonials uſed during the latter part of the laſt century,
and down to the days of the empire of Napoleon the Third,
are, or were till the war of 1870, kept at the Trianon, at
Verſailles.
Many cabinets and tables in Boule work, Vernis Martin
work, and in marquetry, by Rieſener, Gouthiere, David, and
others, in the poſſeflion of Sir Richard Wallace, are now (1872)
exhibited in the new muſeum at Bethnal Green, and examples
by the ſame artiſts from S. Cloud and Meudon are in the
Louvre in Paris.
A fine collection of carriages, the property of the royal
family of Portugal, is kept in Liſbon. Theſe are decorated in
the " Vernis Martin " method. A collection of various objects
in wood, decorated with the ſame material, belongs to the Earl
of Mansfield, and has been exhibited in the Muſeum. There'
is a collection of old royal ſtate carriages, carved and gilt,
the property of the Emperor of Auſtria, in Vienna.
The Muſeum at South Kenſington began a more ſyſtematic
collection of woodwork and wood carving, houſehold furniture,
az
iv I ntrocluctz'orz.
and other objects of perſonal uſe by the acquiſition of the col-
lection of cabinets,*chairs, cheſts, &c., bought during a period
of little intereſt in ſuch things by M. Soulages; and by pur-
chaſes from various ſources, but it is ſtill defective as a repre-
ſentative collection.
In order to take a general review of the kinds, forms, and
changes of perſonal and ſecular woodwork and furniture, as
manners and faſhions have influenced the requirements of
different nations and times, the ſubject of the following eſſay
will be divided in chronological order into:--Antique; Egyp-
tian, Ninevite, Greek, Roman :--modern; early and late me-
difflval :-'_-renaiſſance, ſeventeenth and eighteenth century work :
to be followed by an examination into the changes that ſome of
the pieces of furniture in moſt frequent uſe have undergone;
ſome notes on materials and methods, and ſuch notices of artiſts
in woodwork and furniture as the writer has been able to
gather from a number of books on various ſubjects.
ANTIWJE.
I. Furm'ſure of Egypt.-
Conſidering the periſhable nature of the material, we
cannot expect to meet with many exiſting ſpecimens of the
woodwork or furniture of Ancient Egypt. There are to
be found, however, abundant illuſtrations of theſe objects in
the paintings and ſculptures of monuments. The moſt com-
plete are on the walls of the tombs. In theſe are found detailed
pictures of domeſtic life. '
The interiors of houſes are ſhown, entertainments of parties
of ladies and gentlemen talking, liſtening to muſic, eating and
drinking.
The gueſts are ſeated on chairs of wood, framed up with
floping backs, of which ſpecimens are in the Britiſh Muſeum ;
i Introduct'ion. V
others are on ſtools or chairs of greater ſplendour, ſtuffed
and covered on the ſeat and back with coſtly textiles, having
the wooden frame-work carved and
gilt, generally in the form of the ſore
and hind legs of tigers, panthers, and
other animals of . the chace, ſometimes
ſupported, as in the accompanying
woodcut, on figures repreſenting cap-
tives. It is figured in colours in the
" Deſcription," Antiq., Vol. ii. pl. 89.
Of theſe more details are given
under the head of chairs. They
formed the moſt ſhowy and im-
portant pieces of Egyptian indoor
furniture of which we have any
record.
The Britiſh Muſeum contains fix Egyptian chairs. One
of theſe is made of ebony, turned in the lathe, and inlaid
with collars and dies of ivory. It is low, with a back, the
legs joined by light rails of cane, the back ſtraight, joined by
two croſs-bars and light rails between. The ſeat is ſlightly
hollowed, and is of plaited cane as in modern chairs.
Another is ſquare, alſo with ſtraight back, but with pieces of
wood floped into the ſeat to make it comfortable for a fitter.
A very elegant ſeat in the Britiſh Muſeum is ſhaped out
of two light frames of four pieces of wood, hinged together in
the centres of the longer ſides. The lower ends are cut into
the form of the head of an animal, and light lines of ivory are
inlaid in it. The ſeat has been ſome textile material or ſkin,
which has allowed the whole to fold flat. >
Small workmen's ſtools of blocks of wood hollowed out
and with three or four legs faſtened into them may alſo be
referred to, and a table on ſour legs connected by four bars
near the lower ends. The bars are connected with the top by


Vi I wrote/action. ſi
two upright rails each ſide, and two diagonal rails connect the
point of junction of the leg and bar with the point of junction
of theſe uprights with the top. The top is ſlightly curved.
There are examples of all theſe in the Louvre at Paris.
The French book " Deſcription de I'Egypte," vol. i. ; the
large work of Roſellini, and the " Ancient Egyptians " oſ Sir
Gardner Wilkinſon, give coloured plates of Egyptian chairs
and couches. They have been reproduced both in claſiic and
in modern days in a hundred variations. A
The Egyptians uſed couches ſtraight, like ottomans; with
head' boards curving over as in our modern ſoſas, ſometimes
with the head and tail of an animal carved on 'the ends, and the
legs and feet carved to correſpond. Theſe were ſtuffed and
covered with rich material. The Egyptians did not recline
at meals. Their double ſeats, stopen, or biſellia, were ſuch as
were uſed by the Greeks and Romans. They had ſhelves
and receſſes, cheſts and coffers, made of pine or cedar
wood, and of a material ſuch as is now uſed in Egypt, the
Caflffs; palm ſticks formed into plank by thin pegs or rods
of harder wood paffing through a ſeries of theſe ſticks laid
together.
" Of their bed-room furniture," ſays Sir G. Wilkinſon,
" we know but little." 1 They uſed their day couches, pro-
bably, or lay on mats (he tells us) and on low wooden pallets
made oſ palm ſticks in the way deſcribed. They had curved
blocks, which ſerved for a pillow, forming a hollow to re-
ceive the head. Examples in alabaſter and wood are in the
Louvre and in the Britiſh Muſeum. A couch, like a chair
prolonged with ſuch a curved pillow on it, and a ſet of ſour
ſteps to aſcend it, is figured in Vol. II. of the " Deſcription;
Antiquites," pl. 89, fig. 8.

1 Ancient Egyptians, chapter vi., vii., thoſe of Greece and Rome in the life-
in which are deſcriptions of Egyptian like Word pictures of Bekker.
manners as complete and detailed as
Ilztrocluct'z'm. V ii
Their materials for dreſs were of the moſt delicate and coſtly
deſcription. The robes of the ladies were often tranſparent, and
the gold and filver tiſſues, muflins, and goſſamer fabrics made in
India and Afia, introduced into Imperial Rome, were probably
alſo uſed in Egypt. All theſe, as well as their jewels and
Valuables, imply correſponding cheſts and ſmaller coffers.
Small toilet boxes elegantly carved into the form or with
repreſentations of leaves and animals, are preſerved in the
Louvre and in the Britiſh Muſeum and other collections.
They were generally of ſycamore wood, ſometimes of ta-
mariſk or ſont (acacia), and occaſionally the more coſtly
ivory or inlaid work was ſubſtituted for wood. Larger boXes
are alſo preſerved in the Louvre, ſome large enough to contain
dreſſes. They are ſquare with flat, curved, or gable tops, painted
on the ſurface, and generally lifted from the ground by four
ſhort legs or prolongations of the rails that form the framework.
Theſe boxes are dovetailed, and ſecured by glue and nails.
Their chariots and the harneſs of their horſes were rich in
proportion, the former painted, inlaid with ivory and gold, or
with ſurface gilding, containing caſes for their bows and arms,
and made of wood filled in with the lighteſt materials, perhaps
canvas ſtiffened with preparations of lac in the Japaneſe manner,
and put together with a ſkill that made the carriage makers
of Egypt famous in their day. Notice of ſome remains of
Egyptian carriages ſtill extant are given under the head of
Carriages. It will be ſufficient to add that the great Jewiſh
kings had their chariots ſupplied from Egypt, though, pro-
bably, they might have been had alſo from Tyre and other
powerful and warlike ſtates bordering the Mediterranean.
For a chariot Solomon paid about ſeventy-five pounds of
our money, and of theſe he kept (for war purpoſes alone) a
force of fourteen hundred, with forty thouſand horſes, beſides
a cavalry force of twelve thouſand men, which are deſcribed in
detail in 3 Kings, iv. 26, and x. 26.
viii Introa'zzctz'm.
Mummy caſes of cedar, a material readily procured and
valued for its preſervative qualities, are to be ſeen in many
collections, and examples can be examined in the Britiſh
Muſeum. 'They are richly decorated with hieroglyphic paint-
' ings executed in tempera, and varniſhed with gum maſtic.
Remains of muſical inſtruments are alſo known.
The extraordinary dryneſs of the rock-hewn tombs of
Egypt can alone account for the Preſervation of woodwork
ſpecially put by and ſealed up in ſuch receptacles. Wooden
dowels, which have been uſed for the purpoſe of faſtening to-
gether blocks of ſtone in the maſonry of the Egyptian temples,
are ſtill preſerved owing to the ſame cauſe.
2 . Nineveh.
The furniture of Nineveh is not ſo elaborately or completely
repreſented as that of Egypt, where the Preſervation of ſculp-
ture and painting was helped out by a climate of extraordinary
' dryneſs. But the diſcoveries of Mr. Layard have thrown on the
details of Ninevite domeſtic life light enough to give us the
means of forming a judgment on their furniture.
" Ornamentsfi' ſays Mr. Layard, " in the form of the heads
of animals, chiefly the lion, bull, and ram, were very generally
introduced even in parts of the chariot, the harneſs of the horſes,
and domeſtic furniture." In this reſpect the Aſſyrians reſembled
the Egyptians.
" Their tables, thrones, and couches were made both of
metal and wood, and probably inlaid with ivory. We learn
from Herodotus that thoſe in the temple of Belus in Babylon
were of ſolid gold." i
Caſe 4 5 in the narrow Aſſyrian gallery of the Britiſh Muſeum
contains a number of fragments of carved, inciſed, and, in many
inſtances, enamelled ivory that have. been inlaid in thrones.
Among the moſt notable are an ivory panel about eight inches
long, having in the centre in Egyptian hieroglyphics a car-
I ntrodueſiiion. iX
toon of UBEN RA, a deity or king, with a ſitting figure
elegantly deſigned. This has been completed with cloiſonne
enamel. Another, alſo finely deſigned, has a deity ſeated,
and4--TA in hieroglyphics; both come from the N. W.
Palace of Nimrfid.
Theſe and a ſtill finer piece, not ſo Egyptian in character,
are engraved in Mr. Layard's Monuments of Nineveh, p. 90.
This laſt is carved with two griffins endorſed, their wings filled
with cloiſonne': enamel, ſtanding on the flowers of a lotus, the
ſtems of which curve with conventional but graceful radiations
from a centre, and bold volutes over the top. This piece
is five and a half inches long by four inches.
According to Mr. Layard, the chair repreſented in the
earlieſt monuments is without a back, and the legs taſtefully
carved. This form occurs in
the Palace of Nimrud, and is
ſculptured on one of the baſ-
reliefs now in the Britiſh Mu-
ſeum._ Often the legs ended in
the feet of a lion or the hoofs
of a bull, and were made of
gold, ſilver, or bronze. " On
the monuments of Khorſabad
and by the rock tablets of Malthaiyah we find repreſentations
of chairs ſupported by animals and by human figures, ſome-
times priſoners, like the Caryatides of the Greeks. In this
they reſemble the arm-chairs of Egypt, but appear to have
been more maſſrve. This mode of ornamenting the throne of
the king was adopted by the Perſians, and is ſeen in the ſculp-
ture of Perſepolis." The woodcut at the end of this ſection
repreſents ſuch a chair, from a haf-relief at Khorſabad.
The lion head and lion foot were uſed by other Oriental
nations. The throne of King Solomon was ſupported by lions
for arms, probably in the ſame poſition as the horſes in the



X- Introductz'ozz.
Khorſabad, chair; and lions of gold or chryſelephantine work
ſtood ſix on each fide on the ſix ſteps before the throne.2
The throne of Tippoo Saib, deſtroyed in 1799, had heads
of tigers made of plates of pure gold under the footſtool and on
the ſteps of the throne. In this inſtance the occupant of the
throne deſcended by a hidden paſſage, and came by that means
up to his ſeat. Portions of one of theſe lions are preſerved in
the private collection of arms, &c. at Windſor Caſtle.
The forms of furniture of a later date in the ſculptures of
Nineveh at Khorſabad are of an inferior ſtyle. " The chairs
have generally more than one croſſ-bar, and are ſomewhat heavy
and ill-proportioned, the feet reſting upon large inverted cones,
reſembling pine-apples." All theſe ſeats, like the Bc'cppoz and
fill-e of important perſonages in Greece and Rome, were high
enough to require a footſtool.
" On the earlier monuments of Aſſyria theſe footſtools are
very beautifully carved or modelled. The feet were orna-
mented, like thoſe of the chair, with the feet of lions or the
hoofs of bulls." 3
The tables ſeem in general to have been of fimilar form
and decoration to the thrones or ſeats, the ends of the frame
projecting and carved as in the woodcut above, only on a
larger ſcale. The couches were alſo of ſimilar form but made
of gold and filver, ſtuffed and covered on the ſurface with the
richeſt materials. The tables and the chairs were often made
in the ſhape alſo found in Greece and Rome, with folding ſup-
ports that open on a central rivet like our camp-ſtools, and
like the curule chairs which were common not only in Rome,
but throughout Italy during the Renaiſſance.
Their chariots were elaborate-ly decorated. The wheels
ſeem heavier in the tire and calculated for rougher uſage than
thoſe of Egypt. Pieces, fragments of ivory and gold inlay,

2 3 Kings, x. 18. 3 Nineveh and its Remains, ii. 301, &c.
I mroaluctz'on. ' ' Xi
from which enamel has dropped out, made for decorating
their more coſtly furniture, ſuch as are deſcribed above, have
alſo been applied to the ornamentation of theſe carriages.
A piece of wood, or a beam perhaps, of pine or cedar, is
in the Britiſh Muſeum. It is of a full red colour, the effect of
time. Cedar was probably the wood moſt in uſe; but both
in Egypt and Nineveh, as alſo in Judffla under Solomon and
his ſucceſſors, woods were imported from Europe and India;
ebony certainly, perhaps roſewood, teak, Indian walnut, and
other precious or uſeful woods with which we are now familiar.
Ebony and ivory were continually uſed for inlaying' furniture.
Of their bedroom furniture we can ſay little, nor do we know
of what kind were the cabinets or cheſts made to preſerve their
dreſſes and valuables. ' It is probable, however, that theſe were
occafionally as rich and elaborate as any of their ſhow or ſtate
furniture.
In general it may be ſaid that the few complete or nearly
complete pieces of any deſcription that are known of Egyptian
or Ninevite furniture, are in their ſeveral kinds, all but unique.


On a baſ-relief, Khorſabad.
xii I mma'uction.
3. Hebrew Furniture.
Of Hebrew furniture we can give few details. It is pro-
bable that the Jews differed but little from the Aſſyrians in this
reſpect. The throne of Solomon has been already noticed. In
the ſtory of Judith the canopy and Curtains of the bed of Holo-
fernes may have been taken by the chronicler from familiar ex-
amples at home, or may have been ſtrictly drawn from traditional
details. In the figurative language of the Canticles, the bed
of Solomon is of cedar of Lebanon, the pillars of ſilver, the
bottom of gold. Ordinary bedroom furniture is ſpoken of in
2 Chron. ix. 17, when the Shunamite woman, a perſon of great
wealth, built for the prophet Elias " a little chamber on the
wall, and ſet therein a bed, a table, a ſtool, and a Candleſtick."
Solomon imported exotic woods from India, ebony and i
algum, a kind of ſandal wood. Theſe were mainly for the
purpoſe of manufacturing harps and other muſical inſtruments.
Ivory palaces, or more properly wardrobes, are mentioned in
the 45th Pſalm, but of what ſize or form we cannot determine.
In the book of Eſther, i. 6, allufions are made to Perfian
furniture decorations, white, green, and blue hangings faſtened
with fine linen to filver rings and pillars of marble. The beds
were of gold and filver, &c. The Perſian monarch reclined at
meals. The bed of Og, king of Baſan, as deſcribed in
Deut. iii. II, was nine cubits long by four, and was of iron.
It was preſerved as a trophy.
As the 'chariots of Solomon were made in Egypt, and the
artiſts employed on the temple came from Tyre, it is not un-
reaſonable to ſuppoſe that furniture was either made by foreign
workmen, or that the Hebrews borrowed freely the forms and
decorations of ſurrounding Afiatic nations. Though ſpecially
and purpoſely jealous of any innovation or interference with
religious rites and obſervances, and with ſuch domeſtic cuſtoms
as reſulted therefrom, 'we have no reaſon to think that they ob-
jected to the uſe of furniture or utenſils ſuch as they found during
Introduction. Xiii
the long ſojourn in Egypt and other countries. They are ſaid
in earlier times to have ſpoiled the Egyptians with reference to
the number of Ornaments and jewels carried away at the migra-
tion. Moſes is ſaid to have been "learned in all the wiſdom
of the Egyptians ;"4' and two particular artiſts, and two only, are
named in the Book of Exodus as qualified to carry into exe-
cution the ſacred Veſſels and utenfils. Whatever their technical
qualifications were, theſe had been acquired in Egypt.5
4. The Greeks.
In any attempt to picture to ourſelves the kind of furniture
and objects of daily uſe apart from chariots, arms, &c. that ſur-
rounded the Greeks in early ages, it will be neceſſary to bear
in mind the cloſe connexion which that people muſt have had
with the Aſiatic races, and the ſplendour and refinement that
ſurrounded the wealthy civilization of the Oriental monarchies.
They were ſo continually the allies or the rivals of the
various States in Aſia Minor, and
puſhed out into that fertile region
ſo many vigorous colonies, that it
cannot be doubted that the ſplendid


ſtuffs, beds, couches, thrones, chariots, \ O
&c., uſed by' Greeks on the Aſiatic ,
continent or in Europe, had much We o
of Oriental character in form and
method of execution; perhaps, at
firſt, in decoration alſo. ' =
This woodcut, e.g., repreſents a 1
chair of Aſſyrian character on a baſ-
relief from Xanthus, in the Britiſh Muſeum.

4' Acts, vii. 22. work and furniture after the manner of
5 Solomon's houſe and the ivory ſurrounding nations, with the exception
palace of Ahab ſeem to imply the uſe of figure clefigns, which were expreffly
of colour, gilding, ivory, &c. on Wood- forbidden to the Jews.
Xiv I ntroduct'z'an.
The methods of working the precious metals for jewellery
ſeem to have been the ſame for Etruſcans, Greeks, and Aſiatics.
To this day the tribes that inhabit central and ſouthern India -
retain the defigns and the ſkill in execution of trinkets and
textile fabrics that had been common to the Greeks and Etruſcans
time out of mind.
Much that is Oriental figures in poetic accounts of the arms,
furniture, and equipments of the Greek heroic ages. The chiefs
take the field in chariots. Theſe could have been uſed but in
ſmall numbers on ground ſo uneven as the rocky territories of
the Morea. The beds, however, deſcribed by Homer (Il. iii.
448; Odyſs. xxiii. I 9), coverlids of dyed wool, tapeſtries or
carpets (Odyſs. xix. 3 37), and other inſtances of coloured and
ſhowy furniture were genuine deſcriptions of objects known
and ſeen, though not common. Generally the furniture of the
heroic age was ſimple. Two beds of bronze of Tarteſſus, one
Dorian and one Ionian, the ſmalleſt weighing fifty talents, of
uncertain date, were kept in the Treaſury at Altis, and ſeen
there by Pauſanias towards the end of the ſecond century.6
The chariots differed little except in the ornamental carving,
modelling, or chafing, from thoſe of Egypt.
Claſiic chairs, thrones, tripods, and chariots of which we
can give any detailed account belong to a later age.
All theſe objects as well as arms, armour, and perſonal
Ornaments, changed but little till the Macedonian period, about
the middle of the fourth century B.C.
The oldeſt remaining models of Greek furniture to which
we can point are the chairs in which the antique figures in the
Syrian room at the Britiſh Muſeum are ſeated. Theſe are
dated ſix or nearly ſix centuries B.C. They repreſent i chairs
of timber with backs, quite perpendicular in front and behind.
The frame-pieces of the ſeats are morticed into the legs, and
6 Pauſanias, wepm'yija'ig, Vi. 19.
I mine/action.
XV
the mortices and tenons are accurately marked in the marble,
the horizontal paffing right through the upright bars. Theſe
early pieces of furniture were probably executed in wood, not
metal, which was but rarely uſed till the great period of Greek
art.
The cheſt or coffer in which Cypſelus of Corinth had been
concealed was ſeen by Pauſanias in the temple of Olympia.
It was made about the middle of the ſixth century B.C. The
cheſt was of cedar, carved and decorated with figures and baſ-
reliefs, ſome in ivory, ſome in gold, or ivory partly gilt, which
were inlaid on the four ſides and on the top. Some doubts are
entertained by modern writers as to its ſhape. The ſubjects
of the ſculpture were old Greek myths and local legends, and
traditions connected with the country. This coffer is ſuppoſed
by Pauſanias to have been executed by Eumelos of Corinth.
A detailed deſcription is given by him of the different mytho-
logical compoſitions of the carving.7
Numerous ſtatues by the early Greek maſters in wood
were to be ſeen ſtill in ſttu in the temples for which they had
been made as offerings in the time of Pauſanias: one, e.g., of
Minerva Polias at Erythrae.
hollow. The method of joining the various parts together, or
It was made of wood, and was
ſome mechaniſm connected with the ſtatue 'e'uBou T'ciu oiyo'wua-rog,
led Pauſanias to aſcribe this particular ſtatue to Endfflus.8
The great period of Greek art began in the fifth century
B.C. But thoſe were not days favourable to the development

7 Pauſanias, vrepm'ryno-Lg, Lib. V. I 7,ſgg.
See alſo de Luincy, Jupiter Olym-
pius, &c., Who gives a plate in illuſtra-
tion.
8 Wept-'hinting Lib. Vii. 5. Others
are mentioned by Pauſanias, e.g., in
the temple of Athenffl Eantis, three
ſtatues in ebony, i. 42; alſo a ſtatue
of Bacchus in Wood gilt, except the
face, Which Was painted Vermilion,
ii. I. Of Jupiter in wild pearwood
ZE OZXPaSog at Corinth, ii. 17. Others
are named, ii. 25, 32, 37. Of Eſcula-
pius in willow, iii. 14, and iii. 19, 20,
26. The ſtatue and throne of Jupiter
at Olympia had ivory, ebony, and
many other materials in its Compoſition,
v. ii. Of Cypreſs, vi. 18. Statuettes
Xvi Imma'uction.
An extreme ſim-
plicity in private manners balanced the continual publicity and
political excitement of Greek life. The rich claſſes, more-
over, had little inducement to make any diſplay of their
poſſeffions.
of perſonal luxury among the citizens.
V The State enjoyed an indefinite right to the property of
its members; the lawgiver in Plato declared ' ye are not your
yng
own, ſtill leſs is your property your own.
" In Sparta the exclufive training for war admitted of no
manner of earning money by buſineſs." In Athens the poorer
claſs had ſo excluſively the upper hand of the rich that the
latter had to provide the public with entertainments of ſacri-
" The
ficial ſolemnities, largeſſes of corn, and banquets.
'demos underſtood the ſqueezing of the rich like ſponges, by
means of liturgies, choragic, gymnaſiarch, architheoric, and
trierarchic." 10 It was the paradiſe of the poor.
It is, therefore, to be expected that the ſculpture of the
day, though employed ſometimes upon the decoration of
thrones or ſtate ſeats, chariots, cheſts, looking-glaſſes, tripods,
as the painting was on walls, vaſes, and moveable pictures on
panels, ſhould have been employed moſtly in temples and, with
occaſional exceptions, on objects of ſome public uſe. The cheſt
deſcribed above was kept as a relic, and the elaborately carved
thrones in the temples were thoſe of the ſtatues of gods and
heroes.
Ivory and gold laid over a ſub-ſtructure of olive wood
was the material quite as frequently uſed by the great ſculp-
tors as marble or bronze for ſuch ſtatues as did not form
parts of the actual decorations of their architecture. In later
times theſe materials were uſed in ſumptuous furniture.

in groups of Wood, inlaid with gold, preſerved a head of Dionyſus made of
vi. 19. A very old wooden ſtatue was olive, x. 19.
preſerved in the temple of Minerva 9 Do'llinger: Gentile and Jew, ix. I.
atgQDaulis, X. 4. The Methymnaeans 10 Hid.
gy
zj"
\
I ntroduct'ion.
Xvii
The Greeks uſed couches for ſleeping, but not for reclining
on at meals till the
period.
Rome, ſometimes on the couch at
the head or foot, on which the
maſter of the houſe or a gueſt re-
clined, generally on chairs.
Beſides chairs like the one re-
Women ſat always as in
Macedonian
preſented here, the Greeks made
arm-chairs. In the Parthenon frieze
Jupiter is ſeated in a ſquare ſeat on
thick turned legs, with a round bar
for a back reſting on ſhort turned poſts fitted into the ſeat.
The arms are leſs high than the back; they are formed by
flight bars framed into the uprights at the back and reſting on


winged ſphinxes.
They alſo made folding chairs of metal.11
Mirrors of mixed metal amalgams, filver, tin and copper
have come down to our times in great numbers.
They were
made occaſionally in pure ſilver and in gold, probably among
the Greeks, as they were in later times among the Romans.
The caſes are of bronze and engraved with figure deſigns of
the higheſt character.

11 Laborde Vaſes, ool. i.
amongſt many examples.
Chairs with backs, ſuch as are repre-
ſented in this woodcut, can be ſeen
on ſeveral of the Hamilton vaſes in
the Britiſh Muſeum, ſee plate xi.,
Hamilton Vaſes, fool. ii., When Caſſan-
dra is addreſſrng Apollo ſeated in ſuch
a chair. In Ed. Gerhard Griechiſche
and Etr. Trinſchalen, c. Io, copied from
a Vaſe in the Berlin Muſeum, agoddeſs
is ſeated in ſuch a chair mounted on a
plinth. The Egyptian leopard-legged
F'
lxiii.,
chair with and without upright backs,
the fore legs curioufly bent in the ſame
direction as thoſe behind, only the paWs
turning inwards, and covered with a
leopard's lkin, in pl. vi., Vii. from the
ſame collection repreſenting Hercules
and the Dii 'Majores The ſame
author gives an example (pl. clxxxi.
Etrufiſche ſpiegel) of the ſofas or
couches uſed at meals, each of which
Was occupied among the Greeks by
two gueſts inſtead of three, the uſual
number at Roman meals.
XV111 I ntroductz'm.
There is however no proof, ſo far as we are aware, that
theſe were uſed as furniture in houſes, as in Rome. They are
hand mirrors, and the deſcription of them, as works of art,
belongs to that of antique bronzes.12
Deſigns of the Greek couch, whether for fleeping or for
reclining at meals, are abundant on tomb paintings, and ſculp-
tures, and on the paintings of vaſes. To go no further than the
Britiſh Muſeum we may refer to a large vaſe in the ſecond vaſe
room, placed on table-caſe K., on which a couch for two perſons
is arranged with a long mattraſs, covered with rich material,
lying within what appears to be a border of ſhort turned rails
with a cuſhion on each end, alſo covered with rich ſtriped ma-
terial. A long low ſtool decorated with ivory lies below the
couch as a kind of ſtep. The legs', as in many vaſe repre-
ſentations, are thick turned ſupports with lighter parts below,
and a turned knob at the foot.
On a vaſe in wall-caſe Io, Dionyſus reclines on a thick round
cuſhion at the head of the couch, while Ariadne ſits on it.
Figures feaſting and ſtretched in death on fimilar couches can
be ſeen in two beautiful and perfect funereal cheſts in the
ZEgina room. On table A. in the former room a tall vaſe of
noble pro'portions has the figure of a god on an arm-chair,
the arms ſupported by winged figures. All theſe pieces of
furniture ſeem made of or decorated with ivory, and fur-
'niſhed with 'coloured cuſhions or coverings of an Oriental
character.
Tripods were made in bronze in great number for ſacred
uſe, and probably alſo as the ſupports of brafiers, tables, &c.
in private houſes. ſi
A
12 A mirror very dark, perhaps a What we have to ſay on ſuch'
flab of Obfidian, was let into the wall decorations is reſerved for the next
at a certain part of the temple of Per- fection when treating of Roman houſes.
ſephone at Acaceſium. Pauſan. viii. 37.
' Imroa'uctz'on. XiX
The tables of the Greeks were of wood, marble, and metal,
and the ſupports either lion or leopard-legs and heads, or
ſphinxes, with lifted wings, a favourite form in Greek ſculptural
ornamentation.
Of theſe various objects the forms continued to be tranſ-
mitted in Roman furniture, and in that ſection we have ma-
terials for entering upon them at greater length.
With regard to Greek houſes generally, their arrangements
differed very little from the earlier houſes of the Romans.13
The Greek chariot was of wood, probably differing little
from that of the Egyptians. It had ſometimes wheels with
four ſtrong ſpokes only. The chariot wheel of the car of
Mauſolus, in the Britiſh Muſeum, has ſix. The Ninevite wheels
have ſometimes as many as twelve, as may be ſeen in the
ſculptured baſ-reliefs of the narrow Aſſyrian Gallery of the
Britiſh Muſeum.
A chariot of bronze (gilt P) taken from the Boeotians and
Chalcideans at Eubosa, was preſerved at the Acropolis in
Athens.14 .
The woods uſed by the Greeks for ſculpture were ebony,
Cypreſs, cedar, oak, ſim'la, yew, willow, lows and Citron.15
Theſe materials were rarely left without enrichments of
ivory, gold, and colour. The faces of ſtatues were painted
Vermilion, the dreſſes, crowns, or other Ornaments, were gilt or
made in wrought gold.

13 The baſ-relief in the Britiſh Mu-
ſeum, repreſenting Bacchus received as
a gueſt by Icarus, repreſents a couch
with turned legs, the feet of which are
decorated with leaf work; a plain
ſquare ſtool, perhaps the top of a box,
upright mullion or Column, and la baſ-
relief of a charioteer driving two horſes
Ornaments a portion of the wall, and
may be intended for a picture hung up
or fixed againſt the wall. The whole
repreſents an Athenian houſe, decked_for
on which malks are laid, and a tripod
table with lion legs. The houſes in
the background are tiled. The win-
dows are divided into two lights by an
bz
afeſtive occaſion, and garlands and hang-
ings are ſeſtooned round its outer walls.
14 Paus. i. 28.
15 Paus. viii. 17.
xx I mroa'uctz'm.
5. The Tzſſzems.
During the ages of the Roman Kings their models of
perſonal Ornament and houſehold ſurroundings were derived
from the Tuſcans. That ancient race was in full poſſeffion of
the moſt fertile portions of the Italian peninſula at the date of
the foundation of Rome, 7 53 B.C., a date nearly correſponding
to that of the Olympiad of Coroebus in Greece, 776, from
which our authentic chronicles of Greek hiſtory take their
beginning.16
The Tuſcans or Tyrrhenians, again, were of Oriental de-
ſcent. Whether we accept the Greek tradition of their immi-
gration from Lydia or not, it is certain that their art in gold-
ſmiths' work and metallurgy in general was cloſely allied with
what we may ſtill ſee perpetuated in India, and as regards
furniture, with that of the couches, tables, chariots, thrones, &c.
that were in uſe in Afiatic and European Greece. All had,
probably, profited by the refinements and luxurious inventions
of the great Afiatic monarchies.
In the painted tombs of Etruria we recogniſe the couches
with turned ſupports, the tables and feats that have been found,
executed in bronze, in Pompeii, and which may be ſtudied
in electrotype caſts now in the Muſeum. It was from the
great Etruſcan cities, that ſubſiſted till ſo late a period, that the
earlier Roman art was derived.
6. The Romans.
The ſplendour that ſurrounded the perſonal uſages of the
earlier races of antiquity, the Egyptians, Ninevites, Perſians,
Greeks, and Tuſcans, was inherited by the Romans. Notonly
____
16 Father Marchi reckons 'coins of foundation of Rome. Dr. Smith, An"
forty mints in Italy anterior to the tiquities.
I ntroduct'ion. XXi
did they outlive thoſe powers, but they abſorbed their territory
as far as they could reach it; theyv affected to take in their
religious or deities to add to their own ſyſtem; they drained
theſe ſubject populations for ſlaves, and eagerly adopted from
them every art that could adminiſter to the magnificence and
luxury of their own private life. They have left both written
records in their literature and actual examples of their furniture,
made in metal or of marble.
The diſcovery of Herculaneum, and afterwards that of
Pompeii, have given us examples, not only of ſingle pieces
of furniture, but of complete houſes, ſhops, ſtreets, fora or
open public places of aſſembly, baths, and ſo on. It is in
thoſe remains of Roman ſocial life that we ſhall find the
materials for our preſent inquiry.
The Romans ſpent their earlier ages in unceafing ſtruggles
for independence and dominion. They came upon the ſtage
of European politics in the midſt of a circle of ſmall in-
dependent ſtates, of which that of the Etruſcans was the moſt
organiſed, civiliſed and formidable, from whom, probably,
all their early ſumptuary arts were derived. It took centuries
to eſtabliſh the Roman power, and like certain modern
European nations they became, by theſe inceſſant wars, an
abſolutely military race. _
It is readily underſtood that ſo long as the' older powers of
Italy ſurvived to diſpute the growth of Roman greatneſs, there
could not be much expanſion of private wealth or ſplendour
in the houſes of Roman citizens. Though ſurrounded by
ſplendid ſocial life in the Etruſcans,the Roman people long
remained exceptionally ſimple in perſonal habits. It was after
the Punic wars that oriental luxuries found their way into Italy
along with the Carthaginian armies. Tapeſtry is ſaid to have
been firſt brought to Rome by Attalus, the King of Pergamus,
who died B.C. I 3 3, poſſeſſed of immenſe wealth and bequeathed
tapeſtries, generally uſed in the Eaſt from the early ages, to the
xxii I ntraa'uct'z'm.
Roman citizens. When Auguſtus became Emperor, the con-
queſt of the world was complete. Thenceforward military
habits and fimplicity of individual life were no longer neceſ-
ſary to a ſtate that could find no political rivals. The great
capital of the world abſorbed like a vaſt vegetable growth the
thought, the ſkill, and the luxuries of the whole world.
Nothing was too valuable to be procured by. the great
Roman nobles or money makers, and nothing too ſtrange not
to find a place and be welcome in one or other of theſe vaſt
houſeholds.
While this was ſo at Rome in chief, it muſt be remembered
that other capitals were flo'uriſhing in various countries, as
wealthy, as luxurious in their own way and degree, only leſs in
extent and means, and lacking that peculiar ſeal of ſupremacy
that gives to the real capital a character that is never attained
in ſubordinate centres of civilization. Antioch was ſuch a
centre in the eaſt; Alexandria in the ſouth. Both theſe great
cities contained wealthy, refined and luxurious ſocieties. Both
were known as univerfities and ſeats of learning as well.
Antioch was the moſt debauched and luxurious; Alexandria
the moſt learned and refined of theſe great provincial capitals.
They did not exactly anſwer to the diſtinct capitals of modern
kingdoms and ſtates, ſuch as we now ſee flouriſhing in Europe,
to London, Paris, Vienna, Berlin, or St. Peterſburg, becauſe no
one ſupreme ſtate or city predominates over them; and further
ſtill, no one draws the pick and choice of the intellect and
refinement of the whole of Europe to abſorb them'into itſelf as
Rome did in the. old world.
Antioch, then, and Alexandria, one at the head of the wealth
and ſplendour of Afia, the other repreſenting the Greek learn-
ing grafted on the ancient ſcientific and artiſtic traditions of
Egypt, contributed not a little to the general fuſion of " ideas "
and notions on art and perſonal manners and cuſtoms in the
capital of the Roman empire.
'
I mroa'uctz'm. XXiii
Such was the world over which the Romans ruled, from
which they drew elements of ſplendour and luxury for their
houſes and eſtabliſhments, and to which they ſet the faſhions.
Roman houſes and houſe furniture have been diſcovered
tolerably complete in Pompeii and elſewhere; and, though made
by Greek workmen, after Greek and other foreign patterns, in
many inſtances furniture was more luxurioufly ſtudied and
developed in Rome than could have been poflible in ancient
Greece, ſo that claffical furniture and woodwork can be de-
ſcribed with more completeneſs in treating of the Imperial era.
We begin with the diſpoſitions of the Roman houſe.
It was of traditional plan, and conſiſted generally of two
or more ſquare encloſures ſurrounded by arcades, open to
the air in the centre, but which openings could be cloſed in
ſummer or winter by awnings when the courts were not large
enough to include a garden, as the inner encloſure uſually
did.
The houſe had in front a wſtzZuZum, an open ſpace
covered by a verandah-ſhaped roof, ſometimes encloſed by lat-
tices, ſometimes open. An oſtz'um or lobby, inſide the entrance
door, deep enough to contain a ſmall porter's lodge on one
ſide, led to an inner door, which opened on the alrium.
This court had an opening to the air, and an impluw'um
or tank for rain water was ſunk in the middle. Fountains with
jets or falls of water were not uncommon, the ancients being
well acquainted with the principle that water if brought from
an elevation in pipes will force its way up to its natural level.
A bronze ſtag, formerly a fountain in the houſe of Salluſt, is
preſerved in the Muſeum of Palermo. Sometimes 'theſe foun-
tains had various bafins, beſides one larger or central portion,
'i vaſa aenea ſalientis aqum," or the water fell down ſteps in tiny
caſcades, " aquarum per gradus cum fragore cadentium." 17

17 Sen. Ep. 86.
Xxiv I wren/action.
Inſide the atrz'um was the nuptz'ale, the nuptial bed, and
here were kept in earlieſt times the Pewter, houſehold or
family divinities, and the family hearth,18 though theſe ſacred
emblems were baniſhed in the Imperial times to diſtant parts
of the houſe, and ſtatues between the columns that ſupported
the central roof ſupplied their place. The atrz'um was the
general reception room, like the hall in medifflval houſes, but
not the dining room.
To this ſucceeded an inner open court, meum cedz'um, with
porticoes or corridors running round, ſupported on columns
round the open part, and with a fountain or bafin, ſhrubs and
flowers in the centre, like the courts of the Alhambra in Spain.
Compluw'um was the name given to the opening in the roof.
This court provided four halls in the four corridors, which could
be ſcreened off by tapeſtries and Curtains. The centre was
ſhaded in ſummer by canvas or carpet awnings. In winter a
wooden roof could be puſhed over the open ſpace.
Between the two halls or courts was a chamber called
tablinum, or the triclinium, or dining room. Theſe rooms
were roofed with timber richly painted and gilt, "aureum in
domo lacunar." And the roofs either hung on beams projecting
from the walls or were ſupported by pillars, or were carried up
to a high eompluw'um or opening, the roof floping back to the
walls ſo as to admit more light to the rooms, alcoves, or
ſcreened portions furtheſt removed from the opening. Occa-
fionally they were covered in wholly with a teſtudo-ſhaped roof,
and in ſuch caſes lighted, perhaps, by dormers, though it is not
quite clear how light was provided for kin ſuch conſtructions.
Roman rooms were not floored with boards, but paved with
marble, in large pieces, or in moſaic work, made of ſmall dies

18 The triclinium was ſometimes laid Deum." Hor. Sat. ii. 6, 6 5, con-
here, " Wibus ipſe meique ante Larem traſting the old with modern faſhions.
proprium," etc. " O noctes coenoeque
I ntrodublion. XXV
or ſquares. Coarſe ſpecimens of ſuch work manufactured
in our own times are laid down in the Muſeum at Kenſington,
and fragments of the old work may be ſeen on the walls.
Occaſionally theſe moſaics repreſent the houſe watch-dog,
chained, or the fable of Ganymede, or hunting ſcenes, all repre-
ſented in the ſame material, and ſometimes finiſhed with the
utmoſt nicety.
The triclinium or dining room took its name from the
three couches or ſofas, on each of which three perſons reclined
during meals. Later, and in ſumptuous palaces, ſeveral dining
rooms were built out beyond the inner courts. Deſcriptions
of this kind of ſofa or ſeat will be found further on.
The T riclinia, ſo called from the dinner arrangements within
them, were the principal rooms of the later houſes, and ſpecial
directions are found in Vitruvius for their proportions. The
breadth was half the length, and the height half of the ſum of
the length and breadth, and they were often thirty to forty
feet long, and fifteen to twenty-five high.
Inſide the eavum eedium, or inner court, and the room beyond
it, was the periſtylium, a large open court planted with ſhrubs
and trees, containing ſtatues, flowers in pots and vaſes, and
ſurrounded by a colonnade or open corridor.
As theſe courts were of various ſizes they were, no doubt,
in Rome, on a ſcale out of all proportion to thoſe found at
Pompeii; were fewer or more in number, and rooms were added
on as the proprietor could acquire 'ground for building, often a
difficulty in the older parts of the city.
Something of this ground plan ſurvives in ſome of the older
Roman churches, as, e.g., that of Sta. Pudenziana, formerly
the houſe of the ſenator Pudens, with veſtibules, open courts,
&c.
Around the inner court, in the ſumptuous Roman houſes,
and the country villas of the patricians, were built other rooms,
dining halls, no longer called T riclinium, but T riclinia in the
xxvi Imraduct'z'on.
plural, as admitting more than the number of nine perſons
reclining on the conventional three couches, to dine at once.
The ſize and proportion of ſuch halls has been noticed. In
Rome itſelf room was probably wanting in private houſes
for ſuch expanſion, the houſes being in ſtreets already laid out.
In the villas there was no ſuch reſtriction. Theſe halls,
in ſuch inſtances, were built to face different quarters of the
compaſs and to be uſed according to the ſeaſon. Verna and
Autumnalz's looked to the eaſt, Hyberna to the weſt, zflſtiw to
the north.
G'cz' were other rooms ſtill larger. Glaſs windows were to
be found in theſe rooms.19 In Pliny's villa were ſuch windows,
opening to the ground. They were glazed with lapz'sſpecularis
tale, of which large ſheets nearly, if not quite, five feet long,20
were brought from Segobria, in Hiſpania Citerior, and could
be ſplit into five laminations. Windows of tvz'trum glaſs were alſo
uſed, and the frames have been diſcovered at Pompeii.
In Greek houſes the inner court divided the woman's apart-
ments from thoſe of the men, and they inhabited the inner
portion of the houſe. In Roman houſes the diviſion was leſs
complete. There is nothing, however, in this diſpoſition that
concerns our preſent inquiry. Similar furniture would be uſed
however the rooms were arranged, and the ſize and require-
ments of theſe various kinds of chambers, as to furniture, is
all that can be diſcuſſed at preſent. .
The ſleeping rooms, cubicularz'a, were ſmall cloſets rather
than rooms, cloſed in general by curtains or hangings, and diſ-
poſed about the fides of the rooms between the courts, or round
the outer courts themſelves.

19 In a painting now in the Muſeum, lions and tranſoms of Wood, ſuch as
. No. 6 53. '72, given by the Emperor were conſtructed in Engliſh houſes in
Napoleon III., glazed windows can be the ſeventeenth century.
diſtinguiſhed, divided by upright mul- 20 Pliny, Hiſt. Nat., xxxvi.
I mroduct'z'on. Xxvii
The Roman houſes had upper fioors, at leaſt over the fide
rooms. They went by the general name of cas-medlar. Women
flept there. The maſter and miſtreſs of the houſe had large
bedrooms each ſide of the opening to the inner court. To
theſe the family treaſures were taken for ſafety. The lady of
the houſe uſed one of theſe, or ſome other room, as a woman's
.work-room, where her flaves ſpun wool, linen, &a. The
name of the upper rooms implies that they were ſometimes
uſed to ſup in; the more as they opened on ſolarz'a, terrace
gardens, with ſhrubs planted when the roofs below were
vaulted, or balconies containing plants in flower-pots and other
Veſſels of wood, metal, or pottery, from which the gueſts
could enjoy the evening breeze and proſpect.21 Several ſtair-
caſes were required, as the rooms on the ground were of various
height. They were of wood or ſtone, projected into the cor-
ridors round the courts, and gave room for cupboards under-
neath, occaſionally uſed as hiding places.
Beſides theſe rooms were built libraries and pinczcotlzem,
picture galleries, care being taken not to expoſe them to a
ſunny aſpect. The libraries were not provided with wooden
ſhelves, but the books, whether in rolls or ſewn together,
were kept in round boxes with lids, ſcrz'm'a, in one or two of
which the books treating 'of a particular ſubject, or the favourite
authors of the owner, could be put together and carried with
him on his journeys or country vifits. Scrz'm'a were of beech
wood, and could be locked or ſealed when occaſion required.
Horace ſpeaks to his book as ſomething that hates V claves et
grata ſigilla pudico,"22 though the keys and ſeal in this paſſage

21 "Formam aediſiciorum urbis no- Wooden ſtructures projecting into the
vam excogitavit et ut ante inſulas ſtreet. Parts of the actual roofs,however,
(lodging houſes) et domos porticus were covered with earth and planted
eſſent de quarum Solariis incendia ar- with terraced or hanging gardens.
cerentur." Suet. Nero. Theſe were 22 Hor. Ep. i. 203.
Xxviii I ntraeluctz'm.
may have reference to other matters. They were alſo called
Cap/58, and under that name were uſed as boxes generally.
Beſides the living and ſleeping chambers, there were ſtore-
rooms, eeZZa pemrz'a, penuezrz'a, proma promptuarz'a, in which,
however, as in the lzorreum, were kept food and corn rather than
cheſts, furniture, or houſehold valuables and utenſils. Wearing
'apparel was kept in veſtiarz'a, wardrobe rooms, fitted eſpecially
to ſtore them in. 'It is doubtful whether the dreſſes were in
'cheſtsz more probably in preſſes, or hanging on pegs. Horace
attributes to Lucullus the enormous number of five thouſand
cloaks, V Scribit ſibi millia quinque, eſſe domi Chlamydum," 23
offered for a theatrical performance. They were. all purple
cloaks, but the number is greatly reduced by' Plutarch, who
relates the anecdote.24 It would be difficult to keep wearing
apparel in ſuch enormous quantities unleſs in tolerably open
hanging cloſets.
The ornamental woodwork in ſome of theſe rooms was rich
in the extreme. The outer veſtibule was protected by an over-
hanging balcony or by the projecting rafters of the roof of
the firſt portion of the houſe, according as rooms were built
over that portion or not. It was in ſome inſtances encloſed by
carved or trelliſed woodwork. The doors were generally in two
Valves, and could be cloſed with locks, which in the age of the
empire were thoroughly underſtood,25 with latches ſecured by a
pin, or with a wooden bar. The term obſemre was uſed when
the ſecurity of a bar was added. The hinge was a pin or peg at
the top and bottom, which turned in a ſocket. Metal hinges
ſtrapped over the 'wood frame were not unknown. There are
in the Britiſh Muſeum antique hinges of bronze. The decora-

23 EP_ j_ 5_ 43_ 25 Notling Stud. iiber Altroemiſche
24' AouKouMog, xxxvi. 41, 5. Ed. Thur und Kaſten Schloſſer. Mann-
Bekker. _ heim, 1870.
I ntroduction. Xxix
tion of the door, which was of wood, conſiſted principally of
bronze mounts. In temples and tombs doors came to be
of bronze, marble, &c. The door poſts ante-pegmenta were
decorated with carving, ſometimes inlaid with tortoiſeſhell and
other rich materials.26 On the poſts, as on the doors of
temples, were hung votive or emblematic offerings, ſuch as
garlands on feſtive or mournful occaſions. It was to theſe
portions of woodwork that ſportſmen fixed horns and ſpoils
of the chaſe. The' wooctſiſidwork was painted. Bedrooms were
cloſed with doors; oftener by Curtains, <vela. The windows
were generally cloſed with ſhutters, hinged, and in pairs.27
They were ſome ſix feet ſix inches above the level of the ſtreet,
not out of reach of the knocks and ſignals of lovers or friends
outſide.28
Wooden benches were uſually provided in the veſtibule.
The door of the houſe (the inner door, where the veſtibule
was cloſed externally to the ſtreet) gave admittance to the
atrium. Here, as has been already ſaid, the traditional arrange-
ment placed the houſehold divinities, the ara or hearth, on
which incenſe could be burnt, and which typified the ſanctity of
family life. The fineſt furniture of the houſe was probably
always kept in this chamber, or at any rate pieces as valuable
as any in other rooms.
The walls had no woodwork decorations, except paint-
ings encloſed in frames, which could be ſhut by flaps like
mediaeval triptychs, as may be ſeen in a wall painting from
a freſco in the Palatine now in the Muſeum (No. 653. '72).
Everyone is familiar with the ſtyle in which the walls of
Roman houſes were painted.
26 Virg. Georg. ii. 463. 28 They were faſtened in various
27 "Junctas feneſtras." Hor. Carm., ways. Obdere, to cloſe (with bolt),
i. 25. " Pars adaperta fuit, pars altera obſhrare (with bar), obices-peſſuli bolts.
clauſa feneſtrae." Ovid, Amor., i. 3, 5.
XXx Introduct'z'm.
Beſides the inlaid door frames, the ceilings of all the
Roman rooms were ſumptuoufly decorated.- In more ſimple
conſtructions the wood joiſts of the floor above, or the ſtructure
of the roof when no room ſurmounted it, were ſhown and
painted; but in richer houſes the timbers were covered with
boards, and formed into coffers and panels, larunaria and
Zagumrz'a, painted, gilt and inlaid with ivory. This ſplendid
ſyſtem of decoration dates from the deſtruction of Carthage.
Curved bearers from the upper part of the walls were added to
form one kind of ceiling (camam), for which Vitruvius gives
directions, and glaſs moſaics, like thoſe uſed in the pavements,
were inlaid on a plaſter bed in the coffersffl?
The cornices were of carved wood, or of plaſter carved or
modelled ; the wood was always covered with a preparation of
geſſo, and gilt and painted like the walls.
An examination of the remains of Roman glaſs found at
Pompeii and elſewhere, and of which excellent examples may be
ſtudied in the Muſeum, ſeems to point to the uſe not only of
moſaics made of dies, but of mouldings, borders and panels
moulded in coloured glaſs of magnificent hues, and with the fineſt
ſtamped ornaments.80 Theſe were occaſionally gilt, or were made
in relief, or with a coat of opaque white glaſs over the tranflu-
cent material, which could be cut and modelled in the manner
of cameos, as in Nos. 1066, 1067, 1073, 1074, '68, in the
Muſeum collection of antique glaſs, and helped further to
decorate the ceiling, always one of the moſt ſplendid features
of the room.

29 Vitr, vii. 3, Pliny, Hiſt. Nat., Nat., xvi. 64. On the imitations of
xxxvi. 64.
30 Gem-like ſpots of clear white glaſs
were thought a great element in the
arrangement. " Maximus tamen honos
in candido tranflucentibus quam proxima
cryſtallis ſimilitudine." Pliny, Hiſt.'
obſidian in various hues in glaſs, in
ſome inſtances verſz'rolar, or of two or
more hues in the ſame piece for ſuch
Ornaments, ſhe Pliny, Hiſt. Nat., xvi.
64. ' '
I mroa'uct'im. xxxi
The walls, when not painted, were ſometimes hung with
mirrors of glaſs blackened, of ſilver, or of flabs of obſidian.31
They were of various ſizes, ſometimes large enough to reflect
perſons at full length.
Wall paintings do not come under diſcuffion here. In
the caſe of portable pictures, frames were added round them.
Borders were certainly painted round freſcoes. It is not to be
ſuppoſed that paintings which could be expoſed for ſale, moved
about, and hung up, could be finiſhed round otherwiſe than by
ornamental mouldings or framework ſufficient to protect and
properly ſet them off.
Among the ornamental pieces of furniture were tripods,
three-legged frames, forming the ſupports of tables, of
altars, of braziers, ſometimes of pieces of ſculpture. Theſe
were generally of bronze, and an example reproduced
from a tripod ſtand may be ſeen, No. '70. 7 of the Muſeum
collection.
Original pieces obtained in various parts of Italy can
be ſeen 'in the Bronze Room of the Britiſh Muſeum. Some
of theſe much exceed the height of high
modern tables. They are light, and or-_
namented on the upper ends with animal
or other heads ; ſome with the beginning
of a hind leg about halfway down. A
minute deſcription of ſuch pieces belongs
rather to the treatment of bronzes than
to that of furniture. They were, how-
ever, frequently moveable; one ſet of
legs, of which ſeveral are in the Bronze
Room of the Britiſh Muſeum, as the piece
in the accompanying woodcut, was often i


31 Nigerrimi coloris aliquando et rzz/z'r parz'etzm pro imagine umbras
tranſlucidi, craſſore viſu atque in ſpe- reddente. Pliny, Hiſt. Nat., xxxvi. 67.
XXXii I ntraa'uct'z'on.
made to contract by folding; the ſtays which connect the legs
internally flipping up and down them by means of loops in
ſome inſtances. Such pieces might ſerve as table legs, or hold
altar pans or common fire pans or could ſupport pots of flowers.
Beſides tripods the reception rooms were ornamented with
candelabra on tall ſtands of moſt graceful form and proportions.
It will ſuffice to point to more than a dozen of examples in the
Britiſh Muſeum. The ſtems are a fluted ſtaff or a light tree
ſtem, commonly ſupported on three animal legs ſpread at
the baſe, and branching out on the tops into one, two or
more boughs or hooks, with elegant modelled decorations or
ending in flat ſtands. One in the Britiſh Muſeum has a flight
rim round the diſh or ſtand, on which a candelabrum or wax
Candleſtick could be placed. In other caſes the lamps were
hung by their ſuſpenſory chains to the branches deſcribed.
Other candelabra ſtands were of marble, fix, eight, ten or more
feet in height, hybrid compoſitions of column caps, acanthus
leaves and ſtems, on altar baſes, &c., in great variety of deſign,
of which engravings may be ſtudied in the work of Piraneſi,
and of which it will be ſufficient here to point out caſts ſuch
as Nos. 93, 94 (Antiques), in the South Kenfington Muſeum.
Smaller candleſticks were made to place on tables or to be
carried about. Sometimes the lamps ſwung from the roofs, and
were probably ſet amongſt white and coloured reflectors, in the
manner of the lamps and oſtrich eggs hung in Arab moſques.
In case 5, Bronze Room, Britiſh Muſeum, are "five oſtrich
eggs; round them are inciſed in very low relief friezes, one of
which repreſents a procefiion of warriors in chariots and on foot,
and the other chariots or winged monſters. All theſe have
been painted with arbitrary colours. Theſe eggs are pierced
for ſuſpenfion." 32

32 Deſcript. Bronze Room, Britiſh Muſeum, p. 8; and Virg. En. i. 726,
" Dependent lychni laquearibus aureis."
I ntroduct'ion. XXXi ii
It is not very clear in what kind of repoſitories or pieces of
furniture the ancient Romans kept their ſpecimens of painting
or their Vaſes, ſome of which formed their moſt valued trea-
ſures. It is generally ſuppoſed that they were ſet on plutei,33
ſhelves faſtened to the wall. On ſuch ſhelves ſmall images,
boxes of alabaſter or glaſs, and ornamental vaſes of all kinds
were kept. Craters, ſculptured vaſes on a large ſcale, and
made of bronze or marble, were alſo mounted on pedeſtals
and ranged as Ornaments with the ſtatues. FBronzes and
ſtatues, pieces of ſculpture that had fixed places, ſtood i
either along the walls of the reception rooms or under the
eaves of the complu-vium, whence light was obtained to ſet
them off to advantage, and where turf, flowers, and fountains
were in front of them" A vaſe or crater, nearly eight feet
high, is in the hall of the Britiſh Muſeum, brought from
the villa of Hadrian at Paleſtrina; and in Nero's houſe in
the entrance hall, or atrium, there was a coloſſus Izo feet
high, with long arcades and a tank or baſin of water, maris
inſtar.34' But objects on this ſcale ſcarcely belong to the de-
ſcriptions of what might be found ordinarily in houſes of the
great patricians.
Sometimes a couch and a table of marble were placed cloſe
to the fountains in theſe delightful portions of the houſe.
It has been ſaid that looking glaſſes of various materials
and even, according to Vitruvius (vii.), of pieces of old plaſter-
work, darkened and very highly poliſhed, were let into the
walls or ſet in frames. Hand mirrors abounded, but their
decorations and artiſtic features belong to deſcriptions of
pbronzes, and'need not be diſcuſſed here. There are, how-
ever, mirror ſtands in the Britiſh Muſeum collection not large

33 Pluteus, a ſhelf, projection from a neering. See Dr. Smith's Dict. Antiqct.
wall, uſed firſt as a term in military engi- 34 See Bekker, Gallus Exc., i.
F. c
xxxiv I mroductz'on.
enough to ſtand except on a table, being not above a foot in
height. They are figures of divinities in various attitudes
and actions, and were more probably kept on tables in ſitting
rooms, as pieces of furniture, while hand mirrors were uſed at
the toilette, at which a number of flaves and attendants aſſiſted.
Tables were of many varieties in Rome, and enormous
expenſes were incurred in the making and purchaſe of choice
pieces of ſuch furniture. They were made of marble, gold,
ſilver, bronze ; were engraved, damaſcened, plated, and otherwiſe
enriched with the precious metals; were of ivory, and of wood,
and wood decorated with ivory; and in many other methods.
We ſhall here confine ourſelves to thoſe_ made of wood, or of
which the actual flab or table was of wood. Tripods, terminal
and other figures (as in No. '70. 8, Tables), made of bronze or
marble; winged ſphinxes, trapezoplzam, or leopards' and lions'
legs, columns and other architectonic forms, were the ſup-
ports on which theſe tables were faſtened. Seneca had ſive
hundred ſuch tables.35 Some were monapodz'a, with one central
ſupport only, in ſome inſtances finiſhed with animal heads of
ivory.36 .
Abacz' were ſmall tables with raiſed rims to hold valuables,37
Many 'tables were of cedar and on ivory feet. Horace 38 ſpeaks
of maple, ſo alſo does Pliny,'as a favourite wood for tables.
Birds'-eye maple eſpecially was much prized. The planks and
diſks that could be cut from the rootsYſſand-the boles of trees
that had been either pollarded or otherwiſe dwarfed in growth
in order to obtain wavy grain, knotty convolutions, &c., were
in requeſt for tables. Veneers of well mottled wood or of pre-
cious wood, ſmall in ſcantling, were. glued on pine, cedar, &c.,

35 See Bekker, Gallus Exc., 296. 37 Pliny, Hiſt- Nat- XXVil- 6-
36 " Latos ſuſtinet orbes grande 38 Sat" ii, 8, 10, '
ebur e't magno ſublimis pardus hiatu."
-Juv., xi, I 22.
I ntroa'uct'z'm. XXXV
as a baſe. Theſe pollard heads, root pieces, &e. were bought
at high prices, ſpecially thoſe of the citrus or Cedrus Atlantica.
The points pronounced deſirable in the grain of tables was
to have " Veins arranged in waving lines or elſe forming ſpirals
like ſo many little whirlpools. In the former arrangement the
lines run in an oblong direction, for which reaſon they are
called Tz'grz'me, tiger tables. In the latter caſe they are called
Pant/zerime, or Panther tables. There are ſome with wavy,
undulating marks, and which are more particularly eſteemed if
theſe reſemble the eyes of a peacock." 39
Next in eſteem to theſe was the veined wood covered, as.
it were, with denſe maſſes of grain, for which reaſon theſe
tables received the name of Apiatffl, parſley wood. But
the colour of the wood is the quality that was held in the
higheſt eſteem of all; that of wine mixed with honey was the
moſt prized, the Veins being peculiarly refulgent. The defect
in that kind of table was Lignum (dull log colour), a name
given to the wood when common looking, indiſtinct, with
ſtains or flaws. The barbarous tribes, according to Pliny,
buried the citrus wood in the ground while green, giving it
firſt a coating of wax. When it came into the workman's
hands they put it for a certain number of days beneath a
heap of corn. By this proceſs the wood loſt weight. Sea
water was ſuppoſed to harden it, and to act as a preſervative.
This wood was carefully poliſhed by hand-rubbing (juſt after
bathing).

39 Pliny, Nat. Hiſt, lib. Xiii. 30. Ptolemmus ofMauritania, the property
As much as 9,oool. (a million of ſeſ- of Nomius, a freed man of Tiberius,
terces) was paid for one table by Cicero. formed out of two llices or ſections of
Of two that had belonged to King the Cedrus Atlantica ſour feet and a
Juba, ſold by auction, one fetched over half in diameter, the largeſt known to
Io,ooo/. Theſe were made of citrus Pliny ; and of the deſtruction of a table,
(T/auya artz'ru/ata or Cedrm At/an- the property of the family of the Ce-
tz'm). We hear of two made for King thegi, valued at 1,4.oo,ooo ſeſterces._
c 2
xxXvi I mroductz'on.
The Roman patricians and their ladies ſat on chairs and
reclined on couches when not at meals. In the atrz'um, the
tablz'mtm, under the broad roofed corridors, and in the halls
not uſed for eating, were couches, ſuch as the couch of which
we give a woodcut (deſcribed No. '70. 14), of bronze or of
precious woods; the bronze damaſcened with Ornaments of
the precious metals, or of metal amalgam; the wood veneered
or inlaid with marquetry or tarſia work of ivory, ebony, box,
palm, birds'-eye maple, beech, and other woods.40



The chairs were of different kinds, and were uſed for various
occaſions. The alrium contained double feats, ſingle feats, and
benches to hold more than one ſitter; chairs that either folded
or were made in the form of folding chairs, ſuch as could be
carried about and placed in the chariot, eurules.
The ſtraight ſeats as well as the couches or ſofas were
oſſf different heights, ſome being meant to_ be placed on poles
like ſedan chairs and carried about as litters; the higher ſeats
required the uſe of a ſeabellum or footſtool, and were ſufficient
in elevation to enable the owner to ſee over the heads of
commoner people at ſhows, lectures, or other public meetings.
The higher couches alſo required a long ſtool or ſtep, by
which to mount them. The ſellae were made of wood with
legs turned in the lathe, and connected by ſtraight or curved
bars, which were in ſome caſes carved.

40 Pliny, Hiſt. Nat., lxvi. 76.
I ntroduction. XXXvii
Regarding the method by which ſuch furniture was ſome-
times entirely covered with ivory, as in the caſe of the chair of
the ſtatue of Jupiter at Olympia, the reader ſhould refer to the
Jupiter Olympien of Quatremere de Quincy.
The metal furniture followed the forms of that made of
wood: in many inſtances conſiſted of plates or hollow mem-
bers laid over or filled in with a core of wood.
This woodcut is of the ſella, of which a reproduction is de-
ſcribed in the collection (No. '70.9) ;
it is intended, robabl , for one I; M
perſon only, andphas noyneed of a .
footſtool. It has been covered iſi i
with a pul=vinar or Cuſhion.
Of the way in which the forms of theſe couches, chairs, and feats have been preſerved,
revived, and changed in the hiſtory of furniture, fuller details
are given in another ſection.
Scamnum was a bench or long ſeat of wood, uſed in pri-
mitive or poor houſes inſtead of the luxurious triclinium of the
men or arm-chairs of the women, for ſitting at meals or other
occaſions.










ll
:$.>

i lL 11 ii \. .
g * i,
..,-\=



Exedree were feats along a wall; marble benches in moſt
caſes, ſometimes wooden feats, particularly in the alcoves that
were conſtructed in the porticoes of baths and public build-
ings, where lectures of philoſophers were liſtened to.
The Romans had hearths in certain rooms. Numerous
paſſages in ancient writers, to which it is needleſs to refer,
concur in ſhowing that the hearth was a ſpot ſacred to the lares
of the family, the altar of family life. It was Occaſionally
made of bricks or ſtone, and immoveable, on which logs could
be heaped?1 It ſeems doubtful whether chimnies were uſed

41 Hor. Carm. i. 9, and EPOdU ii- 43'
xxxviii _ I mroa'uctz'on.
in the Roman houſes; probably occaſionally. Writers on
Roman antiquities ſpeak of ſuch rare conſtructions uſed, per-
haps, as ventilators to the kitchen. The uſual method of
warming was by means of a foculu's or brazier, of which
an example found at Cfflre, in Etruria, is preſerved in the
Britiſh Muſeum. It is a round diſh on three animal legs,
with ſwing handles for removing it. Another, ſquare in form,
is reproduced in a caſting in the South Kenſington Muſeum
collection No. '70. II, ſtanding on animal legs, and dama-
ſcened round the ſides with gold Ornaments. The Romans had
alſo kitchen braziers with contrivances for heating pans, water,
wine, &c. by charcoal. No. '70. 12 in the South Kenſington
Muſeum is a caſting of ſuch a piece, having a round metal
receptacle, like a ſmall caſk, on its end, and a raiſed horſe-
ſhoe frame, on which a pan could be placed, with fire ſpace in
the middle. Theſe braziers were ſilled with charcoal heated
thoroughly by the help of the bellows, follz's, to get rid of the
noxious gaſes.
It has been ſaid that the dreſſes of the Romans were pre-
ſerved, as in medieval caſtles, in a ſeparate room or wardrobe,
and this room-muſt have been fitted with apparatus for hang-
ing ſhelves and lockers for putting away. They had beſides
for keeping valuables, and uſually placed in the ſleeping room
of the maſter or miſtreſs of the houſe, cupboards, armaria,
cheſts, arc-e, of beech 42 ornamented with metal, ſome large
enough to contain a man; cheſts of all ſizes, of which examples
may be ſeen in the deſcription of the Mus. Borbon., V. p. 7 ;
loculz', czſtellae, large and ſmaller caſkets, camſtrae, often of coſtly
make. In theſe receptacles they conveyed their property to
and from country houſes, and on viſits. Enormous numbers
of ſlaves. moved to and fro with the family, and the cheſts

42 Pliny, Hiſt. Nat., xvi. 84..
[NNW/action, xxxi X
were carried on men's ſhoulders, or in waggons of various
ſhape and make, '
In the ordinary bedrooms of the houſe it is not probable
that much furniture beſides a bed, a ſcamnum, or ſtool to mount
to the bed, and a ſeat or two, was kept. Baſins, towels, mir-
rors, &e. were brought by ſlaves when required. The waſhing
was performed in the baths, which were provided privately
in larger houſes and in large country villas; and for public
uſe, on an enormous ſcale, in Rome and other large Cities.43
The moſt important action of the luxurious Roman day was
the dinner. This meal was late. It was temporarily ſuſpended
on occaſions, interrupted by the gueſts taking the bath or
trying to recover their appetites for a prolongation of the feaſt,
as in the meal deſcribed by Petronius, and given in detail in
the feaſt of Gallus by Bekker.
The meal was eaten on a couch: a luxurious Cuſtom not
introduced, as we have already ſaid, till after the Punic wars.
The women continued to ſit, as they did in Greek houſes,
and the Roman couches held each three gueſts inſtead of two
as in Greece.
The dining room was further provided with ſtools or low
benches, ſide tables, and the moveable table uſed for each
Theſe tables were put down and removed from the
ſupports on which they ſtood. The ſide tables were of marble
or of wood, covered with ſilver plates, inlaid, veneered, and
courſe.
ornamented in various ways; ſome were uſed for ſerving the
diſhes, others for the diſplay of plate. 44'

43 Alcoves, however, for dreſſing quae ſpecularibus (windows) et velis
were ſometimes attached outſide the bed-
room door, as in the houſe of Meleager
at Pompeii, or the Zotheca alluded to
by Pliny, which could be ſeparated
off from, or thrown into the bedroom.
" Zotheca per quam eleganter recedit
obductis reductiſque, modo adjicitur
cubiculo, modo aufertur."
17.
44 Pliny, Hiſt. Nat., XxXiii. 52.
Plate was a late introduction into
Roman houſeholds. Druſellus, a flave
Ep., ii.
ſſxl Introduct'z'on.
The fare was elaborate, and the experience of Roman
gourmands full of endleſs refinements to pleaſe the palate.
Sculptured objects of plate, partly ornamental, were put on
the table and removed with the Courſes. Petronius deſcribes an
aſs of Corinthian bronze, with ſilver paniers as the centre piece
of one courſe; ſauces dropped from the paniers on luſcious
morſels placed beneath. A hen of wood with eggs within, a
figure of Vertumnus, are alſo named by the ſame author as
centre pieces. Theſe were replaced on the ſideboard or removed
with the courſe in repoſitoriez or trays.45 i
Mention ſhould be made of tapeſtries and carpets before
leaving the ſubject of Roman houſe furniture.
Carpets, tapeta, blankets, or other woollen coverlids for
ſofas or beds, were made at Corinth, Miletus, and a number of
ſeats of fine wool manufacture. It is too large a queſtion to
go into in detail, and woven fabrics belong to another claſs of
objects in the Muſeum collections.
tapeſtries, as we underſtand them, z'.e., pictorial repreſentations
woven or embroidered were common in Rome, it is popularly
ſaid, after the death of Attalus the Third, king of Pergamus,
who made the Romans his heirs of ſuch textiles along with his
other perſonal property, about I 3 3 B.C.
It is certain, however, that

of Claudius, according to Pliny, Hiſt.
Nat., xxxiii., poſſeffcd an incredible
quantity of ſilver plate, one diſh alone
weighed 500 lbs. Pompeius Paulinus
of Arles, to the knowledge of the ſame
hiſtorian, carried in a campaign a ſer-
vice of plate weighing 12,ooo lbs. On
the other hand, Pliny, the younger,
ſpeaks of his friend Surinna, a model
Roman gentleman, eating with better
taſte off "plain but ancient plate."
Ep. iii. 1. For the account of a ſilver
toilet ſervice of a bride, now in the
Britiſh Muſeum, ſee the " Guide to the
Blacas Collection," by Mr. Charles
Newton. There is, in the S. K. Mu-
ſeum, at the preſent time, a ſet of re-
productions by Meffrs. 'Criſtoffie, the
Paris ſilverſmiths, of the contents of the
camp plate-cheſt of a Roman general
diſcovered at Hildeſheim in 1868.
Theſe conſiſt of drinking bowls ; one
with an elegant female figure in all but
full relief, on the inſide gilt to ſhow
off the ſplendour of the colour of the
white or red wines poured into it;
Veſſels for cooling Wine with ſnow, &c.
45 Pliny, Hiſt. Nat., xxxiii. 49.
I ntroduction. Xli
Tapeſtries and Vela played a great part in the actual diviſions
Bedrooms, it has been ſaid, were often
cloſed with Curtains only, and the corridors, tablinum, and other
of the Roman rooms.
rooms were cloſed at the ends and made comfortable by the
In the dinner detailed by Petronius, and de-
ſcribed by Bekker, in his Gallus, the hangings on the triclinia
ſame means.46
are changed between pauſes in the meal. The feelings con-
ſonant with the day or occaſion were ſymbolized or carried
out in theſe external decorations.
The triclinia or dining rooms were both furniſhed and
decorated (where there was more than one in the houſe), not
only temporarily in harmony with a ſpecial commemoration,
but for relatively quiet or ſumptuous entertainments. Lucullus,
according to Plutarchfl'7 was only allowed by Pompey and
Cicero, who offered to dine with him without preparation, to
tell his ſervants they would dine do nþ' ,A7Z'O,7\7\CUW, the room
dedicated to, or having in it a ſtatue of, Apollo. In this room
the ſteward could go to the expenſe- of 50,000 drachmas for
an entertainment, and the room was decorated accordingly.
After dining, the room was cleared, and flute players,
dancing women, jugglers, &c. were introduced to make ſport
for the gueſts while they finiſhed their wine.
Mention is made by Seneca of ceilings made ſo as to be
moved, and portions turned by machinery ; 48 perhaps the panels
or coffers were turned to ſhow different colours and decorations
according to the day, and to the hangings uſed during a feaſt,
which were ſometimes changed between the Courſes, or while

46 Vela, ſo called becauſe "objectu
ſuo interiora domorum T/Elettl. Vela
quae in hypoethris extenduntur," awn-
ings to keep out the ſun; others " quae
ſunt circa columnas," ſuch as divided or
ſcrccned off portions of the corridors
and arcades for privacy. See Bekker,
Gallus Exc, i.
4'7 AovKvMmg, XXXVi. 45; ed. Bek-
ker.
48 " Verſatilia coenantium laquearia
ita coagmentat ut ſubinde a/ia faeies
atque alia ſuccedat, et toties tecta
quotics fercula mutentur." Senec. Ep.
90.
Xlii [wren/action.
the gueſts took the bath before proceeding to the after meal.
The ſame author alludes to wood ceilings that could be raiſed
higher or lower by machinery, " pegmata per ſh ſurgentia et
tabulata meite in ſublz'me creſeentz'cz," making no noiſe in the
operation, Theſe contrivances were reſerved for dining rooms,
where the diverſions were of the freeſt deſcription and the gueſts
prepared for any exciting or ſenſational interludes.
The Romans required ſome of their furniture for out door
uſe. Beſides the curule chairs and lofty ſeats which were
carried into theatres or baths, and other places of public reſort,
they uſed litters, Zectz'ece. The ſofas or couches were ſometimes
carried "ſhxtd cer-vice," on the necks of ſix or more ſlaves,
'and ſerved as litters. But ſpecial contrivances like the Indian
palanquins were made with or hung under poles, with curtains
or ſhutters. Stations of ſuch conveyances for public uſe were
eſtabliſhed in Rome.49 They are ſaid to have become cuſtomary
after the victory of Antiochus. Women were not allowed the
uſe of chariots, as a rule, within the precincts of Rome.50
Of the varying forms of chariots, poſt carriages, waggons,
triumphal and ſtate cars, we give fuller particulars elſewhere.
The ſubjects of the carving and decoration of Roman fur-
niture were the claflic legends mainly derived from the Greek
mythology. Roman houſe walls were, however, in later years
profuſely decorated with conventionalirepreſentations of archi-
tecture, and panels richly coloured on which were painted
figures of dancers, cupids, gods and heroes; ſometimes
common-place landſcapes and domeſtic ſcenes.
To the laſt their ſolid furniture was decorated with maſks,
heads of heroes, legs and feet of animals, and decorative
mouldings or foliage, ſuch as the leaves of the acanthus, of an
architectonic kind.

49 Gron. Theſs. iii. 49. crorum publicorum cauſa." Liv.
50 The Lex Oppia forbid it to. xxxiv. I.
women on all occaſions " niſi ſa-
I mraductz'm. Xliii
The Romans carried their comforts and luxuries with them,
as may be ſeen by the table plate of Hildeſheim alluded to,
and by reference to the amphitheatres, &e. by the ſculpture of
the campaigns of Trajan. on his column 'at Rome, and by
the remains of Roman provincial and colonial villas found in
France, Germany, and England.
It was amongſt his flaves that the Patrician or moneyed
man found the means of creating and maintaining the luxuries
he enjoyed. Maſons, carpenters, joiners, ſilverſmiths, &e.
could be purchaſed as well as cooks and confectioners. He
could make money by ſelling their manufactures. The life
of flaves was terrible. Little or no accommodation was
provided for the porters, dreſſers, cooks, cajſczrii, or ward-
robe ſervants, taſters, carvers, overſeers, and ſo on; an endleſs
crew, the abſolute property and chattels of the maſter, and
worſe uſed than his beaſts.51
Beſides the furniture of private houſes, ſimilar pieces on a
ſumptuous ſcale, ſuch as feats, cuſhions, &e. were prepared for
religious celebrations, at which feaſts were ſet out for'various
divinities.
Other great achievements in woodwork of a conſtructive
kind were the machinery contrived for public ſhows, ſuch as
the cages ſhot up by machinery out of the ſand of the arena of
amphitheatres, of which the ſides fell down, leaving at liberty
the beaſts wanted for fights, or for the execution of criminals.
The ſize, number, and rapid conſtruction of their ſhips
might aſtoniſh the directors of modern dockyards. The fleet
of Scipio, in the ſecond Punic war, was launched and fitted for
ſea forty days after the firſt chop of the axe on the growing
timber. Of conſtructions in woodwork on dry land, probably

51 Agricultural ſlaves were chained and 'Ilept chained in cellars. Dollingcr,
ix. 11. 3.
Xliv - Imroductz'on.
nothing in the middle ages, when timber abounded and the
conſtruction of it was thoroughly underſtood, exceeds the
following.
C. Curio, in Africa, when celebrating the funeral games in
honour of his father, hit upon the following device z-
'c He cauſed to be erected cloſe together two theatres of
very large dimenſions, and built of wood, each of them nicely
Before mid-day a ſpectacle
of games was exhibited in each, the theatres being turned back
to back, in order that the noiſe of neither of them might
Then, in the
latter part of the day, all on a ſudden, the two theatres were
ſwung round, and, the corners uniting, brought face to face;
poiſed, and turning on a pivot.
interfere with what was going on in the other.
the outer frames too were removed (i.e. the backs of each
hemi-cycle), and thus an amphitheatre was formed, in which
combats of gladiators were preſented to the view; men whoſe
ſafety was almoſt leſs compromiſed than that of the Roman
people in allowing itſelf to be thus whirled round from ſide
to ſide." 52
The following woods were in uſe amongſt the Romans z-
For conſtruction: Pieea (Abz'es exeeZſez), uſed for laths;
ſiffilſiesſeandulee, vats, eupee, and other cooper's work.
zſþz'es larix (Law/2), uſed for building.58
For carpentry and joiner's work, not only with the Romans
but with Greeks, Egyptians, Aſſyrians, cedar was the wood
moſt in uſe.

52 Pliny, Hiſt. Nat., xxxvi. 24.
53 Female larch was uſed by the
Greek painters for their panels, The
larches required for the rebuilding of
the Naumachia deſtroyed by fire were
cut in Rhmtia and at the interlunium
(when the ſun was in conjunction with
the moon).
A book publiſhed by Maſſmann,
Leipſig, 1841, gives an account of two
ſets of ancient tablets (triptycher), in
three leaves, one of beech and the
other ſet of fir, found in Tranſyl-
vania.
I ntroduft'ion. XlV
Pine of different kinds was uſed for doors, panels, carriage
building, and all work requiring to be joined up with glue, of
which that wood is particularly retentive. '
Elm was employed for the framework of doors, lintels and
fills, in which ſockets were formed for the pins or hinges on
which the doors turned.
Hinge jambs were Occaſionally made of oli'oe.
d/h was employed for many purpoſes; that grown in Gaul
was uſed in the conſtruction of carriages on account of its
extreme ſuppleneſs and pliancy. Axles and portions which
were much morticed together were made of [lex (Holm
oah).
Beeeh was in frequent uſe, and for many purpoſes.
deer (Maple), (deer monperſulanus, Linn., and deer tribo-
lum) was much prized, as has been already ſtated, for tables,
only conſidered inferior to the eitrus " operum elegantia ac
ſublititate," the beauty of the wood and finiſh of which it
admits. One kind grew in Gaul and was known for its
Whiteneſs. Another, "criſpo macularum diſcurſu" (bird's-
eye) covered with waved ſpots like peacock's tails, was im-
ported from Rhmtia and Iſtria. An inferior kind was called
" craſtivenum," dull in grain.
The Greeks eſteemed wood grown on plains as the
whiter, and thoſe of the hill ſide and the male trees as the
harder.
Zygia (Carpinus betulus of Linn., hornbeam), was prized for
its red grain. Of all theſe woods, the fine grained portions
were ſought for in the bruſeum root, pollard, or wen pieces of
which the grain was moſt contorted.
The Zygia was reſerved for veneering couches and for ordi-
nary writing tablets and panels, along with the eitrus. It was
not in ſizes ſufficient for table veneers. '
Smilax aſ,1i>era(Sarſaparilla) was alſo uſed for tablets, and
is believed by Pliny to have given out a ſound when held to
Xlvi I mroductz'on.
the ear,54 and to have had (like the cloak of San Ranieri) the
faculty of allowing wine when adulterated to paſs through
Veſſels made of it, leaving the water behind, a notion ſaid to
have been borrowed from Cato.55
Ozz'ers were in uſe for chairs as in modern times.
Veneerz'ng was univerſal in wood furniture of a coſtly kind.
The ſlices of wood, ſectiles Zamime, were laid down with glue
as in modern work, and they uſed tarſia, or picture work of all
kinds. Figwood, wz'ZZow, Plane, eZm, aſtz, mu/oerry, e/zerry, Cor/le
wood, were amongſt the materials uſed for the-bed or ſubſtance
on which to lay ſuch work. Wild and cultivated olive, box,
eoony (Corſican eſpecially), z'Zex, beech, were uſed for veneering
boxes, deſks, and ſmall work. Beſides theſe, the Romans uſed
the eitrus, Syrian tereointh, maple, palm (cut acroſs), lzolly, root
of elder, poplar ,- the centres of the trees being moſt prized for
colour; horn, ivory plain and ſtained; tortoiſeſhell plain and
grained in imitation of various woods for veneering couches and
other large pieces of furniture, as well as door frames, &c., ſo
that this imitation of grains is not entirely a modern invention.
Walnut and pear, oak, e/zeſtnut, eZm were alſo in uſe for
furniture, though probably cedar, ſir, and pine were the woods
in general uſe for all purpoſes. Come! was uſed for Wedges,
pins, wheel ſpokes, and other ſubordinate purpoſes. Woods
were ſoaked in water or buried under heaps of grain to ſeaſon
them; ſteeped in oil of cedar to keep off the worms. The
cedar: of Crete, Africa, and Syria were the beſt of that claſs of
timber. The beſt fir timber was obtained from the Jura range,
from Corſica, Bithynia, Pontus, and Macedonia.
The Romans had admirable glue, and uſed planes, chiſels,
&c. Their ſaws, ſet in frames, had the teeth turned in oppoſite
ſſW directions to open the ſeam in working.

54' Pliny, Hiſt. Nat., xvi.
55 " De re ruſtica," Boſtock, Notes to Pliny, Hiſt. Nat., xvi. 13.
I mroduct'z'orz. xlvii
We have ſome records of the ſcantling of ancient logs of
timber. A ſtick of fir prepared to repair a bridge over the
Naamae/zz'a, or tank for exhibiting naval fights, in the time of
Nero was left unuſed for ſome timeito ſatisfy popular Curioſity.
It meaſured one hundred and twenty feet by two throughout
the entire length. The maſt of the Veſſel that brought the large
obeliſk from Egypt, afterwards ſet up in the Circus Maximus
(now in front of S. John Lateran), was one hundred feet by
one foot and a half, and the tree out of which it was cut
required four men holding hands to ſpan it. A ſtick of cedar,
cut in Cyprus and 'uſed as the maſt of an undecz'reme or eleven
banked galley of Demetrius, took three men to ſpan the tree
out of which it was cut.56 It was the exceptional ſizes of ſuch
pieces of timber and of veneers cut from them that made the
value of tables in Rome. i
There are ſome curious hiſtorical records of the endurance
of particular wood ſtructures. The cedar roof of the temple of
Diana of Epheſus was intact at the end of four centuries in Pliny's
time. Her ſtatue was black, ſuppoſed to be of ebony, but ac-
cording to other authorities, of were? and had outlaſted various
rebuildings of the temple. The doors were of Cypreſs, of
which material was the ſtatue of Jupiter Capitolinus, conſecrated
A.U.C. 661. The roof beams of the temple of Apollo at
Utica were of cedar and had been laid 348 years before the
foundation of Rome, nearly I,QOO years old in the time of
Pliny, and ſtill ſound. The ſame writer aſſerts that beams of '
jum'per in the temple of Saguntum, ſound in his day, had been
laid 200 years before the taking of Troy With theſe notices we take leave of this diviſion of the ſubject.
The Emperor Philip celebrated the ſecular games (recurring
every Ioo years), with great pomp, for the fifth time in the


55 Pliny, H-iſt. Nat. cathedral at Ravenna, ſtill exiſting, are
57 The doors of the church of the ſaid to be of vine wood.
XlV111 O"
I newer/action.
year 248. We may conſider this event, for our preſent purpoſe,
as a convenient finiſh of the clafiic period of antique art, and
of the reflections of it in the woodwork and furniture and the
ſurroundings of private life.
Ten centuries had elapſed ſince Romulus had fortified the
hills on the banks of the Tiber. "\During the firſt four ages, the
Romans, in the laborious ſchool of poverty, had acquired the
virtues of war and government; by the vigorous exertion of
theſe virtues, and by the affiſtance of fortune, they had obtained
in the courſe of the three ſucceeding centuries, an abſolute
empire over many countries of Europe, Aſia, and Africa. The
laſt three centuries had been conſumed in apparent proſperity
and internal decline." 58
7. Conſtantinople and Byzarztine Art.

t , _ . . . ' *
.my;z-Jmmugmmlmh[my'nlllluzwiuullqffinumllu'iuumuulmi t l .
}I*l\;!"i,>}illl! Llixxelz
man! man.murmur-Nunmmzſhffihe?" . -
'l ly ' -' >l '1 \'\ * ill i."-
p U ulutFy'þliML-ll
_l A ;{hl_q_j_zm_llþjfflp_rgj,ll1nli L'JyvmnmuPTÞBWWWVZM-r' .
"A, v X . 'gz :* -
2121- (Plglrfllrlg
' .mx *"" ſſ
LWLÞ. 'timummmmrm a
ctſilfll
am'
I
Chair ſiof St. Peter.
We may take as the next period for illuſtration the centuries
that witneſſed the break up of the old Roman Conſtitution and
the gradual formation of a new order of ſociety down to the
end of the firſt ten centuries of our era. Seven hundred and
fifty years out of thoſe ten hundred belong in great part to

53 Gibbon, Decline and Fall, e/y. vii.
Introductioni. Xlix
mediaeval hiſtory. The misfortunes, however, of Italy and the
inceſſant ſtate of war, invaſion, and ſtruggle in that peninſula
were too deſtructive of perſonal wealth and the means of ſhow-
ing it in coſtly furniture to leave us any materials in Italy for
the preſent inquiry. The old Conſtitution of the empire was
gradually breaking up. The hiſtory of furniture and woodwork,
as applied to civil and ſocial uſes, belongs, from this period,
to ſuch civilization as took its origin and its form from
Conſtantinople. Art of theſe centuries is called Byzantine.
The woodcut at the head of this ſection is from the chair
of St. Peter in Rome, the oldeſt and moſt intereſting relic of
antique furniture in exiſtence; that is of furniture made of wood
and kept in uſe from the days of ancient Rome. But it has
had repairs and additions, and a deſcription of it ſhall be given
in another ſection.
Byzantine art is a debaſed form of the claffic, but with a
large mixture of Greek; not of the old claſſlc Greek type
which had long been exhauſted, but of that Aſiatic Greek
which derived ſo much of its ſplendour from the rich but
unimaginative decorations of Perſia.
The old Rome and its faſhions continued the typical mode]
of the Byzantine art and ſocial habits, but modified as claſiic
art has been often modified ſince by the half Aſiatic medium
through which it was received and executed.
The objects actually executed at Conſtantinople or by
Byzantine artiſts now remaining can ſcarcely be included in a
treatiſe on furniture. They are moſtly caſkets and other ſmall
pieces executed in metal or in ivory. Accounts of many in-
tereſting pieces of Byzantine ſculpture will be found in the
" Deſcription of the Ivories of the South Kenſington Muſeum."
Amongſt them the diptychs of the conſuls are the moſt im-
portant, beyond diſpute, and thoſe moſt intereſting to a treatiſe.
on furniture, as we ſee in them conſular feats and thrones of
many varieties.
F. d
l i I ntroduct'ion .
We may ſelect amongſt other examples the following, which
can be ſtudied in the Muſeum or referred to in the work
of Mr. Maſkell. For inſtance, No. 368. '7I, deſcribed in
Mr. Maſkell's "Ivories," is. one leaf of a conſular diptych
of Anaſtaſius Paulus Probus Sabinianus Pompeius. It is ſimilar
in character to another leaf belonging to a diptych of Ru-
finus Gennadius Probus Oreſtes (No. I 39. '66 in the collec-
tion). In both theſe the conſuls are repreſented ſeated on chairs.
In the ivory, No. 368. '7I, the chair is the moſt ornate. It is
of the character of the old folding curule chairs of Rome, but
with elements both of Greek and Egyptian ornamentation,
ſuch as belong to the maſiive marble ſeats, ſupported by lions
or leopards, with the heads ſculptured above the upper joint
of the hind legs.59 In the mouths of theſe lions' heads are
rings, for the purpoſe of carrying the chair, and the top
frame is ornamented with little panels and medallions con-
taining winged maſks and portrait heads of' the conſul and his
family or of members of theImperial family. '
On each ſide of the ſeat are ſmall winged figures of Victory
ſtanding on globes and holding circular tablets over their heads.
Theſe probably repreſent the front of the arms, and are ſuppoſed
to have a' bar ſtretching from the heads or the circular tablets
to the back of the ſeat. This feature too is a continuation
of types that are to be found on Greek vaſes and in the chairs
of both Nineveh and Egypt. A, low footſtool with an em-
broidered cuſhion on it is under the feet of the conſul, and
another cuſhion, alſo embroidered, 'covers the ſeat. This re-
preſents a chair of 'the ſixth century. A ſeat ſtill more like

59 Several ſuch ſupports detached, chairs having ſphinxes for ſupports,
that have formed parts of tables or tri- with their wings for arms, from the
pods, are in the Britiſh Muſeum. Caſts compoſitions in the Louvre, known as
of 'ſome of theſe are amongſt the antique ſeats of Ceres and Bacchus, are alſo in
caſts of the South Kenſington Muſeum, the South Kenſington Muſeum, num-
numbered 85, 86, 87. Two caſts of bered '67. 37, and '67. 38.
Irzzrodactz'm. li
the curule chair, but with a high back, is repreſented in
No. 270. '67 of the South Kenſington collection. This piece
is a plaque or tablet with a baſ-relief repreſenting two apoſtles
ſeated. The chairs are formed of two curved and recurved
pieces each ſide, which are jointed together at the point of inter-
ſection. One pair of theſe pieces is prolonged and connected
by ſtraight croſs-bars, and forms a back. Two dolphins, with
the heads touching the low front pieces and the tails ſloping
up and connected with the back, form the arms. This belongs
to the ninth century. A piece of fictile ivory, No. '58. 22,
in the South Kenſington collection, of the eighth or ninth cen-
tury, repreſents chairs formed in the modern way by upright
legs turned in the lathe and ornamented with alternate eggs
and collars in the ſimpleſt form.
The lyre back, a form not unknown in old Greek and
thence adopted among Roman faſhions, is alſo to be ſeen in
chairs on ivories, and in manuſcripts. Round cuſhions were
hung on the back, others covered the ſeat. Theſe are ſeen
alſo figured in the moſaics of Venice, and later of Monreale in
Sicily, which retained much of the Byzantine ſpirit. The art
of Sicily continued longer ſubject to Conſtantinople than that
of moſt of its Italian provinces, and Venice preſerved its old
traditions well into the period of the European revival of art.
The beds, as repreſented in MS. illuminations, belong
chiefly to religious compoſitions, ſuch as the Nativity or viſions
appearing to ſaints in their ſleep. They are couches in the old
Roman form, or are ſupported on turned legs, from the
frames of which valances hang down to the ground. Some-
times a curtain acts as a ſcreen at the head or on one ſide,
but teſters are wanting. The changes that theſe various pieces
of furniture went through we endeavour to trace more con-
nectedly in another fection.
Chariots and carriages of all ſorts remained more or leſs
Roman in type. There were a greater number of waggons or
. d 2
lii Introdufiz'eez.
carriages for the conveyance of women and families than had
been in uſe in ancient times. Chriſtianity had materially altered
the ſocial poſition of women, and they appeared in public or
moved about with their families without the reſtraints which
in the old Roman ſociety forbad their appearance in chariots
and open carriages, and made the covered couch, Zectiea, or
cloſed litter, the uſual conveyance for ladies of rank in Rome.
Several forms of chariots or carriages of this larger kind can
be ſeen in the ſculptures of the column of Theodoſius in
Conſtantinople.60
The art and the domeſtic manners and cuſtoms therefore
that had been in faſhion in Rome maintained themſelves, with
ſome ſuch modiſications as have been noticed, in Conſtantinople.
The life there was more ſhowy and pompous, but it was
free from the cruelties and' the corruption of the older ſociety.
It was founded on - the profeſiion of Chriſtianity, and the num-
bers and magnificence of the religious hierarchy formed an
important feature in the ſplendid ſocial aſpect of the Greek
capital. The games of the circus, without the cruelties of
gladiatorial combats, were maintained. Chariots were in con-
ſtant uſe, much wealth was ſpent on their conſtruction, and
chariot races were kept up. The people, leſs manly than the
old Romans, entered into theſe ſports with an enthuſiaſm that
led to frequent riots between the " factions of the circus," the
ſupporters of the rival colours of the races.
Furniture, ſuch as chairs, couches, cheſts, caſkets, mirrors,
and articles of the toilet was exceedingly rich. Gold and
ſilver were probably more abundant in the great houſes of
Conſtantinople than they had been in Rome, or have ever
been ſince. As the barbarous races of the Eaſt and North
encroached on the flouriſhing provinces of the Roman empire,
conſtant immigration took place to Conſtantinople and the

60 For an engraving of the column, ſee Agincourt, vel. iv. pl. 11.
I ntroduct'ion. _ liii
provinces ſtill under its ſway. Families brought with them
ſuch property as could be eaſily moved, gold of courſe, and
jewels. It was natural that their furniture and their dreſs ſhould
afterwards become the depoſitories of this ſplendour. As
families wore out, and wealthy citizens or patricians died in-
teſtate, the number of houſes and the quantity of property that
lapſed to the Crown was prodigious. Gibbon ſpeaks of the
twelve reſidences in Conſtantinople itſelf, beſides the Imperial
palace; and of ſummer palaces by the ſeaſide, on the ſame
tempting ſites choſen by modern ſultans, with gardens and
fountains along the ſhores of the narrow ſtraits that divide
Europe and Aſia.
The emperor_Arcadius, according to S. Chryſoſtom,61
had a throne of maſſy gold. He drove out in a chariot drawn
by two milk white mules ſhining all over with gold. The
chariot itſelf was of pure and ſolid gold with purple Curtains
(covered therefore), and a ſnowy carpet ſet with precious ſtones.
" The new buildings of Theophilus," ſays Gibbon, " were
accompanied with gardens and with five churches, one of which
was conſpicuous for ſize and beauty; it was crowned with three
domes " (a feature of architectural conſtruction invented in Rome
to encloſe the great halls of the baths, ſuch as the Roman
"Pantheon," and partially developed in the ſemi-domes that
covered the apſes or receſſes at theiends of the baſilicas); " the
roof of gilt breſſs, repoſed on columns of Italian marble, and the
walls were encruſted with marbles of various colours. In the
face of the church a ſemi-circular portico of the figure and
name of the Greek ſigma" (a ſemi-circle, the ancient form
of that letter) V was ſupported by fifteen columns of Phrygian
marble and the ſubterraneous vaults were of a ſimilar con-
ſtruction. The ſquare before the ſigma was decorated with a
fountain, and the margin of the baſin was lined and encom-
51 Opera, tom. xiii. p. 192-6, Montfaucon's ed.
liv Iarrodactz'oa.
paſſed with plates of ſilver. In the beginning of each ſea-
ſon the baſin, inſtead of water, was repleniſhed with the moſt
exquiſite fruits, which were abandoned to the populace.
He enjoyed this tumultuous ſpectacle from a throne reſplea-
dent with gold and gems." Singers and jeſters amuſed the
company.
" The purple chamber was named from the annual diſtribu-
tion of robes of ſcarlet and purple by the hand of the Empreſs
herſelf. The long ſeries of apartments were adapted to the
ſeaſons, and decorated with marble and porphyry, with paint-
ing, ſculpture, and moſaics, with a profuſion of gold, ſilver, and
precious ſtones. The throne of the Emperors was a remark-
able object. It was furniſhed with a golden tree, with its
branches and leaves, which ſheltered a multitude of birds
warbling their artificial notes, and two lions of maſſy gold, and
of the natural ſize, who looked and roared like their brethren
of the foreſt." When Luitprand, Biſhop of Cremona, came
on an embaſſy to Phocas, and approached the throne, theſe
contrivances were put in motion, After ſundry proſtrations
the ambaſſador roſe, " but in the ſhort interval the throne
had been hoiſted by an engine from the floor to the
ceiling." 62
The ancient Cuſtom of reclining at meals had ceaſed. The
gueſts ſat on benches or chairs. At the ſame time the " triclinia
aurea," or golden dining room, was ſtill the title of the great
'hall of audience in the palace at Conſtantinople. The term
only ſerved to illuſtrate the jealous retention of the old forms
and names by the Emperors and patricians. It is to be
obſerved from theſe inſtances that this laſt branch of the ancient
empire did little for the arts of painting and ſculpture, though
it preſerved for many years the old traditions of ſumptuary
art, and increaſed the outward ſplendour due to the greater

62 Gibbon's Decline and Fall, rly. x'xiv.
Introduct'im. lv
quantity of the precious metals that had accumulated or been
inhcterited during ſo many centuries and generations.
The triptychs and ivory carvings preſerved the longeſt tra-
ditions of old Graeco-Roman art, but nothing except debaſed
art ſeems to have been applied to furniture or the utenſils of
daily life. The mechaniſm of the Imperial throne was probably
not a ſolitary inſtance of ſuch a puerile application of ikill and
ingenuity. Rich ſtuffs and hangings and coſtly dreſſes took
the place of the artiſtic ſtructures found in the houſes of the
Roman nobles.
More than one of the Emperors, nevertheleſs, were per-
ſons highly accompliſhed. Valentinian the Firſt painted and
modelled; Theodoſius was a patron of architecture on the
old models, beautified Antioch and Conſtantinople, and built
ſeveral of the palaces and baths of the capital. His column,
decorated with hiſtoric ſculptures after the type of thoſe of
Trajan and Antonine at Rome, has been already alluded to.
Honorius built and repaired churches in Rome, that of S. Paolo
fuore le Mure amongſt others. Architecture received a great
impulſe from the building of the church of Sta. Sophia by
Juſtinian in the year 5 38, and it is to be noted that in the
ivories and caſkets that have ſurvived from the fourth and
following centuries, architectural details, ſuch as acanthus
mouldings, &c., are frequent, and this architectural element
ſurvived or reappeared in much of the furniture and ſmall
woodwork of the Rheniſh Byzantine artiſts, and thoſe of the
later middle age and of the renaiſſance.
This decay of the old art and uſages in the old world was,
however, counterbalanced by the riſe of new ſocieties, which
were gradually forming in various parts of the empire. Theſe
conſiſted partly of the races of Huns, Goths, Saxons, and
others, who had invaded Italy and ſettled themſelves in it,
partly of the old municipal corporations, who defended their
property and maintained their privileges in the great walled
lvi Intrea'uctzm.
towns of Italy. They profited to a great extent 'by this infu-
ſion of new blood. They remained, however, ſo many diſtinct
ſtates of Italian origin, and became the parents of the future
ſocieties of Italy, ſo rich in genius and induſtry, ſo wealthy
and powerful in peace and war. Of theſe the moſt important
was Venice, and it is in Venice that, in the later middle ages,
we find the birthplace of moſt of the art with which the
ſumptuous furniture and utenſils of peaceful and warlike uſe
were ſo profuſely decorated.
We point to Conſtantinople as the laſt ſtronghold of the
old arts of the Roman period, but it is becauſe it was from the
Greeks that the new ſtates and ſocieties borrowed their early
notions of art.
Odoacer eſtabliſhed the firſt ſemblance of a modern king-
dom in Italy towards the end of the fifth century. Lom-
bardy became another. The exarchate of Ravenna con-
tinued. Rome came under the undivided ſway of the Popes.
At laſt Charlemagne was crowned Roman Emperor, eſta-
bliſhed a vaſt kingdom in the north of Europe and to come to
what concerns our preſent inquiry, introduced the architecture
and the perſonal requirements of a court in Gaul and on
the Rhine. All the early art we meet with in manuſcripts
and ivories here, as in the eaſt, bears a Greek or Byzantine
character.
A remarkable piece of monumental 'furniture has ſurvived
from theſe early centuries of the Chriſtian era, half Byzantine
and half weſtern in character, the chair of St. Maximian of
Ravenna, preſerved in the treaſury at Monza, and engraved
and deſcribed in the Arts Somptuaires of M. Du Sommerard.
Ravenna was the portion of the empire that moſt intimately
connected the eaſt with the weſt. The domed churches of
San Vitale, San Giovanni in Fonte, the'tomb of Galla Placidia,
the round church of Santa Maria, built by Theodoric, along
with the great baſilica of Saint Apollinare in Chiaſſe, and
I ntroduction. lvii
others of the Latin form, unite together the -characteriſtics of
the Eaſtern and Latin architecture. What is true of archi-
tecture can alſo be pronounced as to painting, ſculpture, textile
fabrics, and all decoration applied to the objects, ſacred or
domeſtic, that were in daily uſe.
But events occurred in the declining ſtate of the empire that
went far to transfer what remained of art to Northern Europe.
The fect of the Iconoclaſts, or image-breakers, roſe into power i
and authority under the Emperor Leo the Iſaurian, who pub-
liſhed an edict in 726 condemnatory of the veneration and uſe
of religious images and paintings. During a century this prin-
ciple was at wor'k, and it cauſed the deſtruction not only of
innumerable antique ſtatues, ſuch as thoſe defaced in the
Parthenon of Athens, but the loſs and concealment of vaſt
quantities of ivory and wood ſculpture and precious objects of
all kinds. Many artiſts took refuge in Weſtern Europe, ſettled
in Lombardy,-and were welcomed in the Rheniſh provinces
of the empire by Charlemagne.
How much ancient and domeſtic art in the form of bronze
or other metal furniture, ſuch as chairs, thrones, tripods, &c., A
whole or in fragments, ſurvived the taking of Conſtantinople by
Mahomet II. we cannot conjecture. Perhaps the palaces of
the Sultan, or ſtill more poſſibly the moſques which have been
the banks and depoſitories of family treaſures under Mahomedan
rule, may contain valuable bronzes, ivories, and carved wood,
relics of the ſumptuous life of the latter days of the Greek
Empire, and ſuch evidences may ſome day come to light.
No doubt, however, much antique art and much that belonged
to the firſt eight centuries of our era ſurvived the ordinary
ſhocks of time and war, only to be deſtroyed by the quiet
ſemi-judicial action of a furious ſect protected by Imperial
decrees, much in the way that medifflval art ſuffered under the
ſearching powers of government commiſiioners in our own
country. i
lviii I ntrodaflz'on.
It is to the impulſe which the Lombard and Frankiſh
monarchs gave to art in Weſtern and Northern Europe by the
protection of Greek refugee ſculptors and artiſts that we ſhould
trace the beginnings of the Northern ſchool called Rheniſh-
Byzantine.
MODERN.
8. T/oe Middle Ages.
It is not eaſy to determine on a date at which we can aſiign
a beginning to mediaeval art. It differs from the art that ſuc-
ceeded it in the ſixteenth century in many reſpects, and from the
late claſiic art that preceded it ſtill more widely. There enters
into the art of mediaeval times, as there does into the literature
and manners of the ſame ages, that peculiar character which we
call romantic. It took a living form in the half religious inſtitu-
tion of chivalry. The northern nations grew.up under the
leaderſhip of monks quite as much as under that of kings.
They lived in territories only partially cleared from foreſts,
puſhed their way forward to power pioneered by the great reli-
gious orders, and their world was one ſurrounded by oppor-
tunities of endleſs adventures. Hence the poetic mixture of
religion, devotion to women, and love of wild "queſts," war and
fighting, that made up the ideal of medifflval chivalry. But this
romantic ſtandard, though it took its riſe from the times in
which the Chriſtians carried their lives in their hands, under
the perſecuting emperors, did not pervade Europe or influence
the arts of religious and civil architecture, ſculpture, painting,
and metallurgy for many centuries. Claſiic art, in its decay,
had furniſhed both forms and ſymbols, ſuch, e.g., as that
of Orpheus, to the new ſocieties, and the names of Jupiter,
Mercury, and Saturn, have ſurvived as the titles of days of the
week. The two art traditions overlapped each other for a
while. Mediaevaliſm grew very gradually.
[nereal/action. lix
It has been ſaid that Charlemagne welcomed Byzantine
artiſts to the Rhine. It muſt be remembered, however, that
the Roman empire was firmly planted beyond the Alps, and
that Gaul produced good Roman art in the ſecond and third
Architecture, ſculpture, bronze caſting, were com-
pletely Roman in many parts of France. The theatres and
amphitheatres of Arles and Orange and the muſeums of France
are enough to ſhow how complete this character was.63 Roman
types in arches, vaults, and impoſts, the prevalence of hori-
zontal lines, &e. even diſtinguiſh the early French from the
early Rheniſh architecture, though there alſo, e.g., in ſome of
the Cologne churches, ſemi-claffic traditions are recognizable
centuries.
that are anterior to the Byzantine influence.
It was not till theſe old 'traditions had been much developed
or modified by Oriental influences that the thorough mediaeval
character of art was eſtabliſhed in Italy, France, Germany,
and England. To the laſt it remained ſemi-claſiic in Rome
itſelf.
We can give reference to few ſpecimens of houſehold furni-
ture or to woodwork of any kind before the eleventh century,
with a great exception to be noticed preſently. Ivories, in any
form, belonging to theſe ages are rare. The beſt objects are
Anglo-Saxon ivories, though not unknown, are all
but unique examples.Of Ivory was probably rarely employed
for any objects of ſecular uſe, unleſs on mirror caſes, combs, &c.,
or on the thrones of kings; o'n horns, caſkets, ſword hilts, &e.
Byzantine.
" tabula" than "tavola" is a more
plauſible aſſertion, but it is more pro-
bable that a remote province would
have preſerved provincialiſms of its
63 It has been attempted to prove
that the French language more nearly
repreſents the correct pronunciation
of Latin than modern Italian in any of
its dialects; that ſuch a word, e.g., as
" homme 7' is a truer pronunciation of
" homo " than "uomo," the ſinal O not
having been founded in Latin. That
ſuch a word as " table " is nearer to
own, than that the original ſeat of the**
language ſhould have abſolutely loſt the
traditionary pronunciation.
64' Ancient and Medieval Ivories,
&c., Pref., xlix.
lx I ntma'uctim .ſi
Metallurgy in the precious metals, in bronze, and the art of
gilding bronze, was probably the one art that ſurvived the de-
parture, if it had not even preceded the invaſion, of the Romans
in Britain. It is ſcarcely probable, that tin and copper ores
would have been obtained from Britain if manufactured orna-
ments of metal had not found their way in the firſt inſtance
from this country to the South.65 Be that, however, as it may,
the art of metallurgy ſurvived the downfall of ſuch architectural
and ſculptureſque ſkill as had been attained in England under
Roman traditions; and that metal thrones, chairs, and other
utenſils were made here as in Gaul can hardly be doubted.
There is an intereſting collection, bequeathed by Mr. Gibbs,
of Saxon Ornaments in gold, bronze and bronze ornamented
with gilding and enamel, in the South Kenſington Muſeum, to
which we can refer at once. Theſe objects were dug up chiefly
at Faverſham in Kent. Moſt of theſe antiquities are ſibulee,
brooches, and buckles, or portions of horſe trappings, boſſes,
&c., and not recognizable as parts of bronze furniture, ſuch as
the chair of Dagobert. But it is difficult to examine theſe
perſonal Ornaments and not believe that during the Saxon ,
occupation bronze thrones, tripods, mirrors, and other objects
of houſehold uſe were made as well.66
It might aſtoniſh us, that one art ſhould be ſo far advanced
(as, e.g., metallurgy, enamelling, weaving, and embroidery now
are in India and other Eaſtern countries), while literature and
other arts, painting, ſculpture and architecture have either diſ-
appeared or never been carried to any ſort of perfection; but
ſuch inſtances of ſingular perfection and refinement ſide by ſid
with barbariſm are not unknown. '

65 The reader ſhould conſulta paper 66 Catalogne of Anglo-Saxon and
by Mr. A. W. Franks in the Horae F e- other Antiquities ,by C., Roach Smith,
riales on two Britiſh Celtic ſhields, Pref. -
both now in the Britiſh Muſeum.
I ntroduct'ion. lXi
The Saxons drove the Britons always weſtwards, and the
arts known to them accompanied theſe emigrations made in
ſearch of ſhelter and ſecurity. The great monaſtic eſtabliſh-
ments of the Britiſh took refuge firſt on the coaſts of Wales
and Scotland, and then receded to the iſlands of theſe coaſts
and to Ireland. That they took with them the arts of work-
ing metals ſeems evident by the ſkill ſubſequently attained or
retained by the Iriſh in working bronzes of various kinds, as
well as ſilver and gold.
The metallurgy that was practiced in Britain was alſo
carried to a high excellence in Italy. It is probable that the
higheſt efforts were attained in the ſervice of religion, but a
portion of this ſkill muſt have been devoted to ſecular furniture
as well.
The earlieſt example of mediaeval furniture in the Muſeum
is a caſt of the chair known as *
that of Dagobert in the Louvre.
It is fully deſcribed and the
hiſtory of it is given under No.
'68. 16. We here give a wood-
cut of it.
But this work was executed
by a monk. France was pro-
bably even in a ruder condi-
tion in the ſeventh century than England. Old titles ſurvived I i
in the royal courts, but they iffl
repreſented little of the old civilization. In the time of Strabo
the Franks, even of rank, had no beds but the ground.

Chriſtianity and the artiſtic accompliſhments that accompanied
it made way very ſlowly. Great portions of France, the whole
of Burgundy, vaſt tracts of Northern and Southern Germany
were covered with impenetrable foreſts. Into theſe miſiionaries
penetrated, cleared the ground, collected populations till towns
lxii i I atrodact'ion.
and caſtles grew up, and under a leſs violent rule there aroſe
opportunities of cultivating the ſumptuary arts.
When we conſider the ſerocity of the barbarian inroads into
Italy and Rome, and the amount of ſpoil carried bodily away
from Conſtantinople, Rome and the great municipal centres of
- Italy, which ſo long maintained the old laws and cuſtoms of the
empire amidſt the general wreck, it is remarkable that ſo little
precious furniture ſhould have ſurvived in other parts of
Europe. The Goths under Adolphus in the fifth century
carried an immenſe treaſure into Gaul and Spain. A hundred
baſins of gold, fifty filled with gold pieces and fifty with precious
ſtones of an ineſtimable value, " formed," ſays Gibbon, " an
inconſideraale portion of the Gothic treaſures." 67 Many curious
and coſtly Ornaments of pure gold enriched with jewels were
found in their palace of Narbonne when it was pillaged in the
ſixth century by the F ranks, beſides ſixty cups for ſacred uſes,
an immenſe mſſriam or diſh for the ſervice of the table, of
maſiive gold, weighing ſive hundred pounds. It ſurvived to
the time of Dagobert, who tried in vain to get poſſeffion of it.
" When that treaſury, after the conqueſt of Spain, was plundered
by the Arabs, they admired, and they have celebrated, a table of
conſiderable ſize, of one ſingle piece of ſolid emerald,68 encircled
with three rows of fine pearls, ſupported by three hundred and
ſixty-five feet of gems and maſſy gold, eſtimated at the price
of ſive hundred thouſand pieces of gold,"-probably the moſt
expenſive table on record. It is the value of ſuch materials
that has prevented the Preſervation of ' many of theſe objects,
while the chair of Dagobert is of gilt bronze only.
Charlemagne was crowned Emperor of the Weſt December
25th in the year 800. He reſtored comparative tranquillity and
order over his vaſt dominions, reintroduced architecture and

67 Decline and Fall, xxxi. Lois, &c. Quoted by Gibbon, loco
63 Or paſte. Goquet: Origine des cit.
Irztroa'uct'z'm. lXiii
other arts, partly from the Eaſt, partly by encouraging the ſkill
exerciſed in the various monaſtic eſtabliſhments. The art of
metallurgy was. probably then, as elſewhere and at other times,
more advanced than that of ſculpture, architecture, or ſtill leſs of
painting. Objects made of metal were perpetually wanted for
the ſervice of the churches; and arms, armour, and portable
valuables were more uſeful and ſafer kinds of property than
any other in a ſtate of ſociety which, if tranquil, was kept
ſo only by a ſtrong hand, and was always on the brink of
revolution and war.
Charlemagne puſhed his conqueſts to Hungary, and he there
recaptured much of the treaſure that had been carried off by the
Huns in various incurſions into Italy. Theſe valuables were
moſtly of eccleſiaſtical character, and were reſtored to the
churches of Italy. But objects in metal for perſonal uſe were
probably amongſt theſe treaſures as amongſt thoſe carried to
Narbonne in the fifth century. He received from Haroun
Alraſchid, amongſt other preſents, a clepſydra or water clock.
From this period mediaeval art became a living tradition.
The action of Charlemagne in continental Europe was followed
by Alfred the Great in England. Learning, and with learning
the arts were encouraged and took a permanent place in this
country.
Alfred's jewel, a pendant Ornament of gold and enamel, is
preſerved in the Aſhmolean Muſeum at Oxford. It is an
example of the art of ſetting tranſparent paſtes and opaque'
enamel in cloiſſons of gold, applied to reliquaries and church
Veſſels, an art which was practiſed on the Rhine, and had been
long known, as we have already ſeen, in Britain. The ſame
king towards the end of the ninth century received a viſit
from Ohtere, the Norwegian, from whom he heard of the chaſe
of walruſes on account of their ivory.69 Ivory, either of walrus

A 69 Maſkell, Ancient and Mediaeval Ivories, Pref., ii.
lXiv I mrodzectz'm.
teeth or imported from the Eaſt, was in requeſt not only for
religious objects, but for ſeats, caſkets, ſword hilts, and other
Ornaments of civil uſe. *
Many other objects indicating a certain amount of ſplendour
were uſed by Saxon kings and their queens. Pope Boniface IV.
preſented to Edelburga, queen of Edwin of Northumberland,
beſides an ivory comb, a mirror of ſilver.'7O Bronze mounts,
ſuch as key ſcutcheons &c., for cheſts, are amongſt the Gibbs
collection of Anglo-Saxon antiquities.
In Archfflologia, vol. xxvii. 3 59, mention is made of a
double folding mirror, encloſed in a " thin circular þronze caſe,
divided horizontally into two nearly equal portions, which fit into
one another ; and being opened preſents a convex mirror in each
face of the interior." *A head of Nero is on one found at
Coddenham, Suffolk, in 1823, in a Roman burying place.
Early mediaeval art, ſuch as is included under the general
name of Gothic, continued, down to the twelfth century, full
of Romaneſque forms and details in architecture and ſculpture,
and in ſuch illuminations and miniature paintings as we have
extant in England and all over Northern Europe; and to a
great extent over Italy and Sicily, where the Normans were
ſettled. Claſiic draperies continued on the figures, but ſtiff and
ſevere with upright lines and childiſh attempts to indicate the
limbs or joints beneath. _
Nevertheleſs, the work of theſe centuries, rude and archaic
las it is, is full of dignity and force. The figures or legends of
the Apoſtles and local ſaints, the Sacred Trinity, the nine choirs
of Angels were the uſual ſubjects of ſculpture in wood and
ſtone. With theſe ſubjects were mixed figures of warriors and
incidents of the chace. ſiTheſe latter, generally, in the ſmaller
and ſubſidiary ſculpture, ſuch as the acanthus and other folia-
tion, that finiſhed capitals or formed the borders and cornices,

70 Bede, Hiſt. Eccles., ii. 11.
I ntroduelion. lXV
whether of architecture or caſkets, cheſts, thrones, combs, and
other objects of perſonal uſe. Animals, ſuch as lions and dogs,
or eagles and hawks, were alſo mixed with theſe vegetable
decorations. Throughout theſe ages the foliated ſculpture, the
paintings of books and carving of ivory, and no doubt of
wood alſo, was compoſed in endleſs convolutions, ſuch as may
be ſeen on ſculptured ſtones in Ireland. and on the Norwegian
doors of the twelfth century, of which caſts are in the Muſeum,
deſcribed p. 32 5'. Whether theſe different convolutions are
formed by figures or dragons, or by ſtalks of foliage twined and
knotted together in bold curved lines, ſymmetrically arranged,
each portion is generally carefully deſigned and traceable through
many windings as having a diſtinct intention and purpoſe.
Ornamental work was thus apparently conventional, but made
up of individual parts ſeparately carried out, and in ſome
degree, though not altogether, realiſtic: a character gradually
loſt after the early thirteenth century till the new revival in
the ſixteenth.
The fondneſs for animal ſculpture was characteriſtic of the
paſſion for dangerous adventure and for the chafe, inherent
in the whole temper of chivalry. Much, alſo, in early mediaval
art was inſpired by vague fears, engendered by the vaſt ſoli-
tudes and the extent of foreſt and waſte lands that ſurrounded
the inhabited country on all ſides.
The tenth century was not favourable to the development
of the requirements or comfort of perſonal life. Towards the
year one thouſand there prevailed over many parts of Europe
a notion that the world would come to an end when the
century was completed, and many fields were left uncultivated
in the year 999. The eleventh century made a great advance
in architecture and other arts, but down to the Norman inva-
ſion our own country was far behind the continental nations in
the fine arts; metallurgy only excepted. The Anglo-Saxons
advanced, though ſlowly, as the century wore on to the period
F C
lxvi . I atrodactz'on.
of the Norman conqueſt; but manners remained exceedingly
ſimple.
Early illuminations, though conventional, give us ſome de-
tails of Anglo-Saxon houſes.'71 They were of one ſtory, and
conſiſted generally of one room. The addition of a ſecond
was rare before the Norman conqueſt. The furniture of the
room conſiſted of a heavy table, ſometimes fixed. On this the
inhabitants of the houſe and the gueſts flept. A bedſtead was
occaſionally reſerved for the miſtreſs of the houſe. Bedſteads
when uſed by the women or the lord of the houſe were encloſed
in a ſhed under the wall of encloſure, and had a ſeparate roof,
as may be ſeen in many manuſcripts.72 In the Bayeux tapeſtry
a bed roof is tiled, and the framework ſhut in with curtains.
In many inſtances ſuch a deſign repreſents only a teſter with
poſts.
Otherwiſe beds of ſtraw ſtuffed into a bag or caſe were
ſpread on the table, and ſoldiers laid their arms by their
heads ready for uſe in caſe of alarm. Benches, ſome with lion
or other heads at the corners, like elongated chairs or ſettles
(with backs, for the lord and lady of the' houſe), were the uſual
ſeats. Thrones, ſomething like that of Dagobert, were the
property of kings. King Edward the Confeſſor is ſeated on
ſuch a chair (metal, and in the Roman ſhape) in the Bayeux
tapeſtry, and folding chairs of various forms, more or leſs fol-
lowing claſiical types, were uſed by great perſonages. Benches
were alſo uſed as beds; ſo were the lids or tops of cheſts, the
ſack or bag being ſometimes kept in 'it and ſilled with ſtraw
when required. The tables were covered with cloths at dinner.73
Stained cloths and tapeſtries, ſometimes worked with pictorial
deſigns, were uſed to. hang the walls of the houſe or hall. They
were called wah-hraegel, wall coverings.74 Perſonal clothing

71 FOr inſtance, Had Mg, 603_ 73 Woodcuts in Wright's Homes,
&c., p. 3.
72 Wright: Homes, &c- 74- Ibz'd 31
Imroduct'iorz. lXvii
was kept in cheſts of rude conſtruction. Silver candleſticks
were uſed in churches. Candles were ſtuck anywhere in houſes,
on beams or ledges.
The houſes were in general conſtructed of wood, and the
choice of material was probably determined all over Europe by
the abundance or the want of foreſts and timber immediately
at hand. Harold is repreſented in the Bayeux tapeſtry drinking
with his friends in an upper chamber; and the room below,
perhaps a cellar or ſtorehouſe only, as vaulted in ſtone. The
ſtairs were made of ſolid logs of oak, as was uſual in England
up to the cloſe of the Tudor period.
With regard to carriages during the Saxon and Anglo-
Norman period, carts on two wheels were common for agri-
cultural uſe,75 and ſerved to tranſport the royal property. Four-
wheeled cars drawn by hand labour are uſed for carrying war-
like ſtores in the Bayeux tapeſtry. In the battle of the Standard
the ſtandard of the Engliſh hoſt was carried on a wheeled car or
platform, and remained as the head-quarters or rallying point
during action (A.D. I I38).
Though ſociety was rude and perſonal comforts were few _
down to the Norman invaſion in England, much more progreſs
was made in the great municipal cities of Italy in matters
of ſocial reſinement. In the eleventh century Venice had
already ſurpaſſed the other ſtates of Europe in theſe reſpects.
In Venice had been retained unimpaired more of old claſiical
life, ſkill and refinement, probably, than in other cities; owing
to its peculiar ſituation in a ſhallow lagoon difficult of attack
by ſhips of heavy draught, and inacceffible to land armies
without peculiar preparation, it eſcaped ravages from which
all other ſtates ſuffered. The antique glaſs manufacture
of Murano, for inſtance, remains and has reproduced itſelf
in our own times with the ancient traditions unbroken. The

75 Cotton MS., Tib. B. 5.
CZ
lxviii I mew/action.
navy of Venice was powerful. It had the chief carrying
trade of Europe; ſent convoys to India, imported ivory,
ebony and other woods, Perſian geometric inlaid wares, ſilks
and tiſſues from India and Syria, along with ſpices, &c. Pro-
bably all Oriental and ſouthern produce that could be purchaſed
in Europe was brought up the Adriatic or through the Medi-
terranean by Venetian merchants.
9. TweZſt/J Century.
The Norman invaſion of England cauſed a new advance
in the luxury and refinement, ſuch as it was, of daily life. The
houſes began to grow-upper rooms or rooms at the ſide of
the great hall were added, called ſolars (ſolaria), the ſunny or
light rooms. Theſe ſeem to have been appropriated to the
ladies. In due time they added a parloir or talking room, a
name derived from the rooms in which converſation was allowed
in monaſteries where ſilence was the general rule. In the upper
rooms fireplaces were made occaſionally, but not always
chimnies. In the halls, when the upper room did not cover
the whole room, or when an upper room was not conſtructed,
fire was made in the centre of the floor. Stairs were of
wood. a
Glaſs was all but unknown in the windows of houſes.
Wooden ſhutters kept out the Weather. Wood was the ma-
terial of which not only furniture and houſe fittings were
conſtructed, but the houſes of the commonalty alſo, even in
towns. It was this fact that made the importance of the curfew,
which covered up the embers of the fire at the ſound of a bell
every evening. The frequency of fires muſt have been great.
The doors of two Norwegian churches of the twelfth century,
made wholly of wood, already alluded to, are preſerved by that
government.
The houſes of landowners in England were called manoir
or manor. Theſe were built of ſtone when that material could
I ntroduction. lXiX
be obtained. A houſe of this kind exiſts at Millichope.76
It has one chamber below, walls of great thickneſs, windows
ſmall on the outſide but wider within, and an encloſed circular
ſtair made ſo as to be defenſible by ſtout doors at different
ſtages. The upper ſtory is larger, the walls being leſs thick,
and has been probably divided by wooden partitions. It is
dated late in the twelfth century. In ſuch houſes furniture
was ſimple and conſiſted of few objects. The table was on
treſtles; the feats were benches. The Normans introduced
armaria, armoires, cupboards or preſſes, either in receſſes in the
wall, or complete wooden encloſures, Theſe had doors opening
horizontally. The frames were not panelled. All doors were
ledge doors of boards, nailed to ſtout croſſ-bars behind, and
decorated with iron hinges and clamps beaten out into ſcrolls
and other Ornaments.
Bedrooms were furniſhed with ornamental bed teſters, and
benches at the bed foot. Beds were furniſhed with quilts cul-
eitra plumata; pillows; punctata, ſpotted or ſtriped linen ſheets;
over all was laid a covering of green ſay, badgers' furs, beaver
ſkins, thoſe of martin cats, or other furs, and a Cuſhion.
A perch for falcons to ſit on was fixed in the wall. A chair at
the bed head, and a perch or projecting pole on which clothes
could be hung, completed the
furniture of the Anglo-Norman
bedroom.
In the accompanying wood-
cut from Willemin there is no
teſter, but carving on the poſts,
and the coverings are of the


richeſt deſcription.77

r*-*
76 For a woodcut of plan and eleva- 77 Wright: Homes,;b. '24. Monu-
tion, ſee Wright's Homes, p. 59. ' ments Franqais, i. pl. 77.
lxx Introdae'lz'on.
Woodwork generally was decorated with painted orna-
ment or with fanciful work on the hinges, nails and clamps ap-
plied to hold it together, rather than with ſculpture during all
this period, down to the fourteenth century; and in England,
France and Germany oak was the wood in uſe for furniture.78
Both in England and in the countries which had retained old
artiſtic traditions on the continent, ſuch as Italy, France, and
Spain (which profited by the ſkill of the Moors in painted
decoration), colour was uſed not leſs on walls and wood than
on metal and pottery. Tapeſtry was an important portion of
the furniture of all houſes of the richer claſſes. i
Io. Tbirfeentb and Fourteentlv Centuries.
During the thirteenth century, both in England and on
the continent, medimval art reached its greateſt perfection.
The claſiic traditions were forgotten everywhere except in Rome
itſelf, where there lingered a chain almoſt continuous between
the old ideas and thoſe which ſucceeded in the ſixteenth century.
Elſewhere mediaeval feeling in ſculpture, whether of wood or
other materials, was in uniſon with the pointed architecture, and
reigned unchallenged.
All ſorts of enrichments were uſed in the decoration of
furniture. A cheſt of the time of John is preſerved in the
caſtle of Rockingham. It is of oak richly decorated with
hammered iron plates, hinges, &c. The jewel cheſt of Richard
of Cornwall was long preſerved in the ſtate treaſury of Aix-la-
Chapelle, and is now at Vienna.79 It belongs to the firſt half
of the century, and was left at Aix when Richard was crowned
. king of the Romans. The body is of oak decorated with
wrought-iron hinges, lock, and clamps, and with boſſes of
metal on which are enamelled heraldic ſhields.

73 V.LeDuc,Mobilier Art. Armoire. der H. Romiſchen Reicher Deutſcher
79 Figured in Dr. Bock, Kleinodien Nation, Append. 45.
I nereal/action. lXXi
The conſtruction of woodwork gradually became more
careful and ſcientific. Panelled framework came into uſe,
though not for doors of rooms. With this method of con-
ſtruction the cheſts were put together that formed the chief
article of furniture during two centuries in the mediaeval
ſleeping, ſitting, or private room.
In the middle of the thirteenth century Eleanor of Pro-
vence was eſcorted on her journey to England, to marry
Henry III., by a troop or army of ladies, knights, nobles and
troubadours, from Provence to the ſhores of the Channel.
Thibault, king of Navarre, with his court, accompanied her
to the French frontier, and St. Louis to his own frontier.
Kings, whether in ctpeace or in war, were continually making
progreſs in this manner through their dominions, like the
Indian governors of our own days, and carried their furni-
ture and property in cheſts, called ſtandards, on the backs of
mules, or ſumpter horſes. Portable furniture and hangings
were the principal objects of houſehold uſe on ſuch occaſions,
and the greater portion of the royal train encamped round
the caſtles, abbeys, or cities in which accommodation was pro-
vided only for the perſonages of rank. When John Manſel,
a prieſt, Secretary of ſtate to Henry III., entertained the king
and queen, prince Edward and Eleanora of Caſtille at his houſe
at Tothill, moſt of the company encamped under huts made of
green boughs in the fields round the houſe.
A precept in the Qoth year of this reign directed that
" the king's great chamber at Weſtminſter be painted a green
colour like a curtain, that in the great gable or frontiſpiece of
the ſaid chamber a French inſcription ſhould be painted, and
that the king's little wardrobe ſhould be painted of a green
colour to imitate a curtain." The queen's chamber was
decorated with hiſtorical paintings. Remains of ſimilar wall
decoration are in tolerable Preſervation ſtill in one of the
vaulted rooms of Dover caſtle.
lxxii Introductz'm.
Till the fourteenth century candles were generally placed
on a beam in the manorial hall, whether in the caſtle of a king
Beams of wood (hercim) with prickets of wood
were in uſe for the lighting of the hall. .Iron frames were
fixed to the ſides of the fire-place when that was made in the
wall, and had a chimney conſtructed for it. More generally,
as regards halls, the hearth was in the middle of the room
or baron.
and a lantern juſt above it in the roof acted as a chimney.
Henry III., a monarch who, as we have ſeen, took great pains
to refine the manner of his court, and to cultivate habits of
external propriety, ordered iron chandeliers, or branches, to be
fixed to the piers of his halls at Oxford, Wincheſter, and other
places. Though the royal table might be lighted with valuable
candleſticks of metal, they were not in general uſe till a century
later. Beſides the rows of tallow candles ſo uſed pieces of pine
wood were lighted and ſtuck into iron haſps in the wall, or
round the woodwork at the back of the dais to give more
abundant light.
The wardrobe was a ſpecial room ſitted with hanging cloſets,
and in theſe clothes, hangings, linen, as well as ſpices and ſtores,
were preſerved. _ This arrangement was common in all large
caſtles during the thirteenth, fourteenth, and fifteenth centuries.80

30 Curious details of the expenſes of
, the Queen's houſehold are given in the
Exchequer Rolls of the forty-ninth
year of Henry III. Theſe enumerate
various-rooms or offices which by that
time formed parts of a royal eſtabliſh-
ment, ſuch as the linen department,
hutlery, kitchen, ſcullery, ſalſary, hall.
Amongſt the expenſes of the wardrobe,
in which office, dreſſes and hangings
were not only kept, but made and re-
paired, are charges for ſilks, mantles,
upper garments, linen hoſe for her la-
dies, amounting to a hundred and four
ſcore pounds eleven ſhillings and twelve
pence halfpenny. Ih horſes (for the
uſe of the women), robes for the
Queen's ſamily, mending ſhoes, ſaddles,
reins, almonds, Wax, and other nere/-
ſarz'erflr the wardrobe, one thouſand ſix
hundred and ninety-one pounds twelve
ſhillings and one penny, " with many
other items, including jewellery, theſe
expenſes mount to zl,96ol. 35. find."-
Madox: Hiſt. Excheq. Rolls, quoted
in the life of Eleanor of Provence.
Queens of England, 2101. ii.
I ntrodublion. lxxiii
Great preparations were made in the bedrooms of queens of
England to which 'they retired before the birth of children.
Henry III. directed that his queen's bedroom ſhould be freſhly
wainſcoted and lined, and that a liſt or border ſhould be made,
well painted with images of our Lord and Angels, with incenſe
pots ſcattered over the liſt or border ; that the four evangeliſts
ſhould be painted in the chamber, and a cryſtal vaſe be made
to keep his collection of relics.
Room panelling was introduced into England during the
reign of Henry III. Norway pine was imported for that
purpoſe. Henry ordered a chamber at Windſor Caſtle to be
panelled with this material; the men worked day and night.
The boards were radiated and coloured, and two clear days
only were allowed for the fixing and completion of the work.
During the ſame reign the great hall of Weſtminſter was
drained underground. The open drain from the kitchen had
formerly run through the hall. Great officers of ſtate rode on
horſeback up and down the hall during ceremonial banquets',
and pageants in which horſes were employed were introduced
during the entertainments. Indeed, this cuſtom continued, and
is repreſented ſtill in the action of the champion of England at
coronation feaſts.81 It is preſumable therefore that only the
dais, raiſed portion for the high or raiſed table, was boarded in
theſe great rooms, the reſt being paved.
Edward I. married a Spaniſh queen, and houſehold furniture
was further developed under his reign in many particulars.
Pottery for table uſe was imported from Spain, and the uſe of
oriental carpets was firſt introduced;' a luxury borrowed from
the extenſive uſe of them by the Moors in that country.

31 A vivid picture of the ancient to the ſeventeenth century, is given by
manner of rendering feudal homage William Meinhold. Sidonia, cbap. iii.
during a ceremonial feaſt of this kind, Trans. by Lady L. Duff Gordon.
as it was continued in Germany down
lxxiv I ntrodact'z'on.
Italian artiſts had already been invited to England by
Henry III. Maſter William, the Florentine, was painter to
that monarch and maſter of the works at Guildford caſtle.
John, of St. Omer, was another foreign artiſt employed by
Henry. To the former of theſe we probably owe the intro-
duction into this country of the method of gilding and tooled
gold work, with which wood was decorated. Specimens of the
work are ſtill diſcernible on the coronation chair, which is fully
deſcribed in the Appendix.
i In 128 5 Edward I. directed that in his ſmall hunting lodge
of Woolmar houſe, meaſuring 72 feet by 28, two chimnies
ſhould be conſtructed, a chapel and two wardrobes, and that
ſix glazed windows ſhould be provided for the chapel and
wardrobes; thoſe of the hall and chamber to be cloſed with
wooden ſhutters.82 Similar proviſion of ſhutters was made in
the Tower of London. Henry III. had ordered rooms to be
fitted for Edward's queen in Guildford Caſtle, with glazed
windows, a raiſed hearth chimney, wardrobe, and an adjoining
oratory.
At Edward's coronation the whole area of Old Palace
Yard was covered with wooden booths open at the top to let
the ſmoke out, in which all comers were feaſted for a fort-
night.83
The decoration and comfort of furniſhed houſes during
Edward's reign was further promoted by the general uſe of
tapeſtry. Eleanor is ſaid to have firſt introduced this kind
of furniture into houſes;84* but no authority is given for this
aſſertion. It was certainly in uſe for churches at earlier periods,
and hangings of various materials, ſtained or embroidered, were
employed, as wehave already ſtated, as early as the Anglo-

82 Wright: Homes, &c., 153.
83 Old chronicle in Lives of the Queens of England, ii. 162.
84 Queens of England, ii. 131.
I ntrodactz'm. lxxv
Saxon times. Tapeſtries, and Cypreſs cheſts to carry them,
probably became general in Eleanor's reign.
Amongſt the particulars collected in the hiſtory of the
city companies and by the Record Commiſſion are liſts of the
royal plate, ſhowing that objects of perſonal uſe beſides table
plate were made in ſilver and gold. 34. pitchers of gold and
ſilver, plates and diſhes of ſilver, gold ſalts, alms bowls, ſilver
hanapers or baſkets, a pair of knives with enamelled ſilver
ſheaths, a fork of cryſtal, and a ſilver fork with handle of ebony -
and ivory, combs and looking glaſſes of ſilver. Edward had
ſix ſilver forks and one of gold, Vipers' teeth ſet on ſpits. He
uſed ozier mats to lay over the benches on which he and his
queen fat at meals. Theſe were alſo uſed to put under the feet,
eſpecially in churches where the pavement was of ſtone or tiles.
During the ſame reign the will of John Lord Nevil, of
Raby, lieutenant of the duchy of Acquitaine, bequeaths 27
beds, 132 diſhes (36 of ſilver), 48 ſalts of ſilver, 18 ollas or
cruets, 32 peces, 48 ſpoons, 8 chargers, 28 jugs, 7 lavatories
or waſhing baſins, and 4 ewers.85
In the furniture of bedrooms linen cheſts and ſettles, cup-
boards and the beds themſelves were of panelled wood. Cheſts
ſerved as tables, and are often repreſented with cheſſ-boards
on them in old illuminations, and huſband and wife ſitting on
the cheſt and uſing it for the game, which had become familiar
to moſt European nations. Cheſts of later date than this reign,
of Italian make, ſtill ſhow this uſe of the lids of coffers. (See
No. 7223. '60 in the Muſeum.) As the tops of the coffers
ſerved for tables and for ſeats they began in the thirteenth
century to be furniſhed with a panelled back and arm-pieces
at either end.86 And this development of the cheſt was equally
in uſe in France.87 It does not ſeem to have been placed on


85 Turner and Parker, ii. 66. 87 Viollet le Duc, Mob. Francais,
85 Woodcut in Wright's Homes. I zth, I4th century.
lxxvi I mroa'uctz'on.
legs or to have grown into a cabinet till a later period. The
raiſed dorſal or back of the ſeats in large rooms was a protection
from the cold, and in the rude form of a ſettle is ſtill the comfort
of old farm and inn kitchens in this country ; it became the
general type of ſeats of ſtate in the great halls, and was there
further enlarged by a canopy projecting forwards to protect the
heads of the ſitters, panelled alſo in oak. In the fifteenth cen- .
tury in many inſtances this hood or canopy was attached to
the panelling of the upper end of the hall, and covered the
whole of that ſide of the dais. 'This backing and canopy
were ſometimes replaced by temporary arrangements of hang-
ings, as in modern royal throne rooms, the cloth being- called
cloth of eſtate and generally embroidered with heraldic devices.
Panelled cloſets called dreſſoz'rs or cupboards, to lock up food,
were general in properly furniſhed rooms; a cloth was laid on
the top at meals, with lights, and narrow ſhelves roſe in ſteps at
the back for the diſplay of plate, the ſteps varying in number
according to the rank of the perſons ſerved.
Tables uſed at meals were generally frames of boards, either
inone piece or folding in-the middle, as in No. 2 36. '69 of the
Muſeum collection. Theſe were laid on treſtles, and could be
removed as ſoon as the dinner was over, ſo that the company
might dance and divert themſelves. In a curious paſſage quoted
by Viollet le Duc, from the Cronica del Conde Don Pero
Nofio, giving a picture of daily life in a rich and well-provided
Chateau of the fourteenth century, after an account of the
dinner at noon, the writer ſays, " Le Benedicite dit et les
nappes otees, venaient les meneſtrels, et madame danſait avec
Pero Nifio et chacun de ſes chevaliers avec une damoiſelle, et
durait icelle danſe environ une heure." 88
All houſes, however, of kings could not be completely, or
even comfortablyyfurniſhed in ſuch a manner, far leſs thoſe

83 Dict. du Mobilier Frangais, i. 350.
I ntrodueſition. lxxvii
of feudal lords, not princes or ſovereigns. The kings moved
inceſſantly to their various ſtrongholds and manors in time of
peace to collect dues and revenues, much of which was paid in
kind, and could only be profitably turned to account by carry-
ing the Court to different eſtates and living on their produce as
long as it laſted. Orders were continually ſent to ſheriffs to
provide food, linen and other requiſites, while hangings and
furniture were carried by the train in its progreſs. Moſt of
the houſehold belongings of perſons of wealth were, therefore,
of a moveable kind.
A moſt oppreffive privilege was exerciſed in France, which
went beyond the legal right of the lord or owner to the rents
of his eſtates, whether paid in money, agricultural produce, or
manufactures carried on in his towns or villages. This was
the " droit de Priſage," a privilege of ſeizing furniture of all
kinds by the hands of ſtewards and others, for the uſe of the
king. Chairs, tables, and beds particularly were included in
theſe requiſitions.89 - _
Though the uſual conveyance during the thirteenth century
was a horſe litter for women of rank, and men rode on horſe-
back, yet covered and open carriages or waggons were not
unknown in that and in the following century. A charette
containing a number of maids of honour in attendance on
Anne of Bohemia at her public reception in London in 1392,
was upſet on London Bridge from the ruſh of the crowd to
get a ſight of the queen, and her ladies were, not without
89 The droit de priſage was modified
at various times in conſequence of the
remonſtrance of the Commons at ſo
oppreſlive an exaction; by St. Louis
in 1265, Louis le Hutin 1315,
Philippe de Valois 1345, john 1351.
But as late as the year 1365, Charles V.
ſeized beds. In 1313 Philippe le Bel
entertained the Engliſh King and his
Queen at Pontoiſe with no other furni-
ture than ſuch as had been ſeized in this
manner. A fire broke out in the night,
during their ſtay, the furniture was con-
ſumed, and the royal perſonages eſcaped
in their ſhirts. It Was not till 1407 that
this privilege was finally abandoned.
See an intereſting report on furniture
by the French Commiſiioners of the
Paris Exhibition, 1867.
lxxviii I ntrodact'z'on.
difficulty, replaced. Theſe charettes, cars, or waggons were
covered carts on four wheels, like country waggons of our
days, panelled at the ſides, and the tilt covered with leather,
ſometimes with lead, and painted. They will be further illuſ-
trated in another place.
It is neceſſary here to notice the large conſtructions of
roofs of wood begun as early as the twelfth, and continued and
improved through the thirteenth and fourteenth centuries, the
period during which the ſineſt efforts of medieval Gothic art
were embodied all over the north and over parts of the ſouth of
Europe.90 The older part of Weſtminſter Hall dates from the
reign of Rufus, and the walls of the preſent hall belong to that
period, though faced at a later period. An arcade of round
arches, now walled up, was diſcovered in theſe walls in 18 36,91
in making the alterations required for the rebuilding of the
Houſes of Parliament after their deſtruction by fire. This
formed a means of communication between the various parts of
the old palace and the hall at vany of its parts. How the
roof of this enormous ſpace, ſixty-five feet diameter, was then
conſtructed there was no evidence to ſhow. It had, perhaps, a
row of arches down the middle, like the great hall of the palace
of Blois, ſaid to be of the thirteenth century, on which either
the principal rafters reſted, or, as at Blois, huge kingpoſts,
which roſe and ſupported the ties between rafters, which in that
caſe may have been as long as thoſe of the preſent roof.

90 At the coronation of Edward II.
one long hall was erected of the entire
length of the upper wall of the palace
of Weſtminſter reaching along the
Thames. Fourteen other halls were
erected extending from this to the
great door of the palace, leaving only
free room for ingreſs and egreſs. In
theſe halls partitions were made for
pantries, butteries, dreſſers, &c., with
lattices before the partitions. They
were panelled, and room left below the
large hall ſufficient for knights and men
at arms to ride in to reach their places.
From Rolls belonging to the King's
Remembrancer's Office for Repairs at
Weſtminſter. Bayley and Britton,
Anc. Palace of Weſtminſter, I 19.
91 See an intereſting paper by Mr.
Sidney Smirke in the Archaeologia,
vol. xxvi. 415.
I ntroduct'z'on. lxxix
Still larger and more admirable wood conſtructions are the
Italian halls known as the Halls of Reaſon; that of Padua is
2 50 feet to 260 feet long by 8 5 broad, and the ſides and ends
are not at right angles to each other. The hall of Vicenza i's
over 7o feet in width. Both theſe conſtructions are ſupported
by maffive curved rafters, reſting like arches upon the walls,
and conſtructed like the hull of a ſhip, without ties, excepting
iron tie rods at intervals where the rafters reſt upon the walls.
In the early Anglo-Norman conſtructions of Weſtminſter
there is no evidence of the exiſtence of external buttreſſes to re-
ſiſt the lateral thruſt of roofs of ſuch prodigious elevation, as,
e.g., the roof at Blois or the preſent roof of Weſtminſter Hall
itſelf, for which buttreſſes were conſtructed during the reign of
Richard II., before the cloſe of the fourteenth century, when
the preſent roof was put on.
A fine old oak roof of the earlier period, thirteenth or early
fourteenth century, has been taken down at Malvern, of which
it covered the great hall. A Woodcut of it is given by Mr.
Parker.92
The new roofs of Weſtminſter mark the beginning of a
change in the ſtyle of architecture that accompanied and cauſed
great changes in furniture and houſehold woodwork. The ties
of that roof are ſupported by curved braces that deſcend like
arches on the ſtone corbels made in the wall to receive them.
Theſe braces take two flights, being tied back where they
meet, by hammer beams, into a lower part of the rafter. The
lower brace upholds a lower upright or collar poſt which ſup-
ports the junction of theſe beams with the rafter, at its
weakeſt part. A rich ſubdiviſion of upright mullions with
cuſped arch heads fills up the ſpandrils between theſe braces
and the beams they ſupport, and adds ſtiffneſs as well as
decoration to the ſtructure.
92 Gloſſary App. Roofs, and Viollet le Duc. Dict. de l'Architecture, Art
Charpente. '
lXXX I mroductz'm.
Theſe conſtructions can hardly be conſidered more ſcientiſic
than thoſe of older date, but they are more pompous and com-
:plicated, and have a greater apparent affinity with the archi-
tecture of the day. This architectural character, from the date
of the change to the third period of pointed architecture, began
to ſhow itſelf in furniture and wood ſtructure of every kind.
Up to this change a certain originality and inventiveneſs was
preſerved in the decoration both of architective woodwork and
furniture, notwithſtanding the ſtricteſt obſervance of the rules and
unities of architectural law in buildings, eccleſiaſtical and civil.
Small ſculpture, ſuch as that on ivories and utenſils made of
metal, that which decorated woodwork as well as ſtone, and the
general forms of furniture, were deſigned without immediate
imitation of architectonic detail.
Figure ſculpture of great dignity remains in ivories of the
twelfth, thirteenth, and fourteenth centuries, illuſtrative of the
general unique and original character given to objects of daily
uſe which were not, probably, nearly ſo numerous as in a later
age, and were each carefully elaborated for the perſon for
whom they were made. We need go no further than ſome of
the objects in the Muſeum, ſuch as the ſtatuettes and caſkets of
ivory, Engliſh and French work of the late thirteenth century.
An intereſting caſket of German work, No. 1618. ' 5 5, in the
Muſeum collection, has lock and clamps of beaten braſſwork,
with coloured paſtes inlaid, and medallions of heraldry painted
on it. A French caſket of wood covered with plain ivory,
but beautifully painted with figures under canopies, on the
white ivory, No. 369. '7I, belongs to the thirteenth century.
A comb of French make, No. 5607. '59, carved with little
figures in the centre, belongs to the ſame period. K
We can point to few large pieces of furniture, except the
coronation chair, illuſtrating the faſhions of this early period.93

93 Large pieces of wooden moveable in this country. There are large femi-
furniture of theſe centuries are rare circular cope cheſts in the cathedrals of
I ntrodurflion. lxxxi
In all or almoſt all caſes ſculptures in wood were intended
for decoration by means of gilding, executed with many orna-
mental details, ſuch as tooling, and for the addition of ſtones,
cryſtals, paſtes, and enamels, wherever they could be introduced
with advantage.
11. Fifteenth Century.
In diſcuffing the great wood ſtructures, ſuch as ſcreens,
houſe fronts, roofs, and other large pieces of mechaniſm, which
developed in boldneſs and variety in the fifteenth century, we
muſt not forget that the abundance of oak timber in the North
of Europe both ſuggeſted much of this timber art and admitted
of bold features of conſtruction from the ſize of the logs and
the tenacity of the material. A large portion of England, and
perhaps an equal proportion of Ireland, was covered with
denſe foreſts of oak. The eaſtern frontier of France, great
portions of Burgundy, and many other diſtricts in France,
Germany, Flanders, and other northern countries, were ſtill
foreſts, and timber was to be had at low prices and in any
quantity. Spaniſh cheſtnut had been introduced, probably by
the Romans, into England.
Though churches, caſtles, and manors were built of ſtone
or brick, or both, yet whole cities ſeem to have been mainly
conſtructed out of timber. The London of the fifteenth
century, like Rouen, Blois, and a hundred other cities, though
abounding in noble churches and in great fortified palaces,
ſuch as Barnard's Caſtle on the Thames, the Savoy, the great
houſes of the biſhops, Lambeth, Durham, Exeter and Ely
houſes and many more, yet preſented the aſpect of a timber
city. The houſes were framed together, as a few ſtill are in

Wells, York, and other cities. Theſe over the other, and the only decoration
are merely cheſts or boxes in which conſiſts in the Horiated ironwork at-
the copes are ſpread out full ſize, one tached to the hinges.
ſ
F.
lxxxii I ntrodact'ion.
Glouceſter, Shrewſbury, Coventry, Cheſter, Maidſtone, and
numerous Kentiſh villages, of vaſt poſts ſixteen to twenty-
four inches ſquare in fection, arching outwards and meeting the
projecting floor timbers, and ſo with upper ſtories (as in the
Grey Friars Hoſpital gate, Coventry) till the ſtreets were
darkened by the projections. The ſurfaces of theſe poſts were
covered with delicate tracery, niches and images. In the
Cheſter ſtreets an open gallery or paſſage is left on the firſt
floor within the timbers of the houſe fronts. In the court of
St. Mary's Guild in Coventry, whole chambers and galleries
are ſupported on vaſt arches of timber like bridges. Projecting
oriels jutted out under theſe overhanging ſtories, and the ſpaces
between the framing poſts were filled in, ſometimes with bricks,
ſometimes with laths and mortar, or parts (as the century
wore on) more frequently with glaſs.
In London and Rouen, in Blois and in Coventry theſe angle
poſts were filled with niches and ſtatuettes or fifteenth century
window tracery ſunk into the ſurfaces. The dark wooden
houſes were externally a maſs of imagery. In the great roofs of
theſe centuries, ſuch as the one alluded to at Weſtminſter, the
hammer beams were generally carved into figures of angels
gracefully ſuſtaining the timber behind them with outſtretched
wings; and theſe figures were painted and gilt. A magnificent
example remains intact in the church of Knapton in Norfolk.
Artiſans who originally derived their teaching no doubt
from the cloiſter, where all the accompliſhments and the art
of their day were taught and practiſed, formed themſelves
during theſe later centuries into guilds or corporations, and the
carving of images was thus underſtood and could be practiſed
with eaſe, and according to traditions well underſtood by
thouſands of craftſmen. It would be going beyond the limits
of this treatiſe to attempt to give the hiſtory of ſuch aſſocia-
tions. They were powerful in France, Germany, eſpecially at
Nurnberg, and in England, and the legiſlatures protected
Introduct'im. lXXXiii
them. In 1258, under St. Louis of France, all woodworkers
were united under the maſter carpenters; coffer makers, hu-
chers, huiffiers, bed makers, table makers, trunk makers, and
bench makers were united by edicts in 1290, and again in 1371.
New ſtatutes for menuiſiers were confirmed by Louis XI. in
1467, modified in I 5 80, 1641, and ſeveral. ſubſequent periods.
Albert Dtirer in his diary notices the guilds of ſculptors,
joiners, and carpenters, and the figure they cut in a proceſtion
at Antwerp.94*
The number of excellent workmen and the ſize and archi-
tectural character of ſo much of the woodwork of the day
contributed to give to all panelled work, no matter of what
deſcription, an architectural' type; and furniture ſhared in this
change. Coffers and cheſts, as well as ſtandards or ſtall-ends
in churches, and bench ends in large rooms and halls, as the
bench ends of the hall of the guild of St. Mary in Coventry,
are deſigned after the pattern of window tracery. Little
buttreſſes and pinnacles were placed on the angles or the
diviſions between the panels. Of this kind of ſtructure and
decoration there are ſeveral pieces in the collection, e.g., the
Buffet, No. 8439. '63, and Cheſt, No. 2789. '55.95

94 Baris Exhibition, 1867. Rapports, Thermes, Hotel de Cluny, Paris. It
wl. ii.
Albert Diirer ſays, " This proceffion
had been conſtructed at great coſt, with
chariots and moving ſhips, on which
they repreſented ſcenes of all kinds: the
Order of Prophets; the salutation of
the Angels ; the Magi on camels, and
other rare animals curiouſly capari-
ſoned ; the Flight into Egypt; and
many other ſubjects I paſs over for bre-
vity." Life of Albert Diirer by Scott,
p. 120.
95 A ſumptuous piece of ſacriſty fur-
niture is preſerved, along with others
leſs important, in the Mſiuſee des
fz
occupies the wall of a lower room,
and was part of the collection, made
by the founder.
It is architectural in its decoration,
and conſiſts of a baſe formed of en-
cloſed lockers or cupboards of the
ordinary dreſſer or ſideboard height.
On this is a ſmaller ſet of cupboards,
the centre receſſed ſo as to allow of a
dreſſer for diſplay, or a table for ſervicev
when the objects contained in the cup-
boards were taken out or put away.
Above theſe two lower tiers of
lockers the piece is divided into two
ſide upright cloſets, and an open centre
lxxxiv I mroeluctlz'an.
A grand cloſet or cabinet of German make in the collection
belongs to the ſame period. It is of the rudeſt conſtruction,
but a few roughly cut lines of moulding and ſome effective
ironwork give it . richneſs and dignity that is wanting in many
pieces of conſtruction more ſcientific and more decoratively
treated. It is fully deſcribed under Cabinets, No. 497. '68.
The roofs were richer, more prodigal of light, of ſub-
diviſions of parts, of tracery or upright mullion framing in
England than they were in France. On the other hand, the
flowing flamboyant forms of tracery combination, of which
ſuch numerous examples remain in the North of France and
Flanders, when copied on ſurfaces of woodwork were more
graceful and elegant than the mere reticulations of our own
late pointed ſtyle. _
The quantity of tapeſtry employed in theſe centuries in
fitting up houſes and the tents uſed either during a c'ampaign
or in progreſſes from one eſtate to another was prodigious, and
kept increaſing. Lancaſter entertained the King of Portugal
in his tent between Moucal and Malgaco, fitted up with
hangings of arras, U as if he had been at Hertford, Leiceſter,
or any of his manors." 96

with ſhelves for the diſplay of relics or plates of Wrought iron decorated with
the keeping of eccleſiaſtical goldſmith's beaten and chaſed work, and bearing
work, ſuch as need not be kept locked the arms of Charles VIII. and Anne of
up. The baſe cloſets are brought out Brittany. The wood is oak.
ſlightly to correſpond with this arrange- Smaller Pieces decorated in this
merm The centre Part is canopied architectural manner may no doubt
over at the top with carved and exiſt in this country, which have come
pierced woodwork, like that of church down from the Wreck of the monaſtic
ſtalls. Carved niches and canopies alſo houſes in the l6th century, or have
ſurmount the centre Of the two ſide been imported from France to Belgium;
C]oſet3_ but ſuch large pieces of wood furniture
The Whole of the panelling is have been chiefly made for eccleſiaſtical
decorated with ſunk tracery cuſped purpoſes, though not actually placed in
and divided in the ſtyle of the ar- churches.
chitectural windows of the I4th cen- 96 Froiffart, Johne's tranſlation, iii.
tury. The locks are covered by large 40.
I ntroduelion. lxxxv
As early as 1313, when Iſabel of Bavaria made her entry
into Paris at the head of a proceſiion of the great feudatories
of the kingdom and their ladies in- ornamented litters, the
whole ſtreet of St. Denis, through which ſhe paſſed, " was
covered with a canopy of rich camlet and ſilk cloths, as if they
had the cloths for nothing, or were at Alexandria or Damaſcus.
I (the writer of this account) was preſent, and aſtoniſhed whence
ſuch quantities of rich ſtuffs and Ornaments could have come,
for all the houſes on each ſide of the ſtreet of St. Denis, as far
as the Chatelet, or indeed to the great bridge, were hung with
tapeſtries reprcffenting (various ſeenes and hi/lories, to the delight
of all beholders."97 The expenſe incurred in timber work on
theſe occaſions may be eſtimated from the long liſts of pageants,
and the ſcale on which each was prepared on this and like
occaſions.98
Of the early Italian furniture of the mediaeval period we
have one fine ſpecimen, a coffer, of Cypreſs, covered with flat
ſurface imagery filled in with coloured wax Compoſition. It
dates from the fourteenth century. It is fully deſcribed
amongſt cheſts and coffers, No. 80.- '64. The better known
Italian furniture of the quattrocento or "fourteen hundred
period," i.e., the fifteenth century, is gilt and painted. The
richneſs of this old work is owing to the careful preparation
of the ground or bed on which the gold is laid and the way in
which this preparation was modelled with the tool. The old

the bed of juſtice, in which lay a per-
ſon to repreſent St. Anne. On the
eſplanade before the caſtle (which
comprehended a tolerably large ſpace)
was a warren and much bruſhwood,
97 Froiſſart, Chronicles, ii. p. 400.
98 At the gate of the Chatelet was
erected a caſtle of wood, with towers
ſtrong enough to laſt forty years. At
each of the battlements was a knight
completely armed from head to foot;
and in the caſtle was a ſuperb bed,
as finely decorated with Curtains and
everything elſe as if for the chamber
of the king, and this bed was called
Within which were plenty of hares,
rabbits, and young birds that fled out
and in again for fear of the populace.
Ibid.
lxxxvi I ntrodaction.
gold is, beſides, both thicker and purer, more malleable, and
leſs liable to ſuffer from the action of the atmoſphere than the
gold we now uſe for this purpoſe. The paintings executed on
ſuch pieces of furniture as offered ſuitable ſurfaces to the artiſt,
boxes and coffers (and, for church uſes, reliquaries), are equal
to the fineſt works of that kind and of the ſame period.
Many artiſts worked in this way. Dello Delli was the
beſt known in regard to ſuch productions.99 We ſhall ſay what
is known of him in the ſketches of artiſts and workmen
further on in this Introduction. His work became ſo entirely
the faſhion that, according to Vaſari, no houſe was com-
plete without a ſpecimen of it.
another.100
Andrea di Coſimo was

99 This gilt furniture became all but
univerſal in rich houſes in the late four-
teenth and fifteenth centuries in Florence.
" It was the Cuſtom," ſays Vaſari, " at
. that time for all citizens to have large
coffers or cheſts in their chamber made
in the manner of a ſarcophagus. There
were none who did not cauſe theſe
cheſts to be painted, and in addition to
the ſtories which it was uſual to depict
on the front and cover of theſe coffers,
the ends, and frequently other parts,
were moſt commonly adorned with the
arms and inſignia of the reſpective
families." The ſtories which decorate
the front were for the moſt part fables
from Ovid or other poets, or narratives
from the Greek and Latin hiſtorians,
but occaſionally (as in ſeveral inſtances
in the collection) they were repreſenta-
tions of jouſts, tournaments, the chafe,
love tales, according as beſt pleaſed the
owners. " Theſe cheſts were not tlie
only moveable: adorned in the manner
deſcribed, ſince the baluſtrades and
cornices, litters, elbow-chairs, couches,
and other rich Ornaments of chambers,
which in thoſe days were of great
magnificence, were beautified in like
manner. And this Cuſtom prevailed
to ſuch an extent for many years that
the moſt diſtinguiſhed maſters employed
themſelves in painting and gilding ſuch
things. Nor were they aſhamed of
this occupation, as many in our days
would be. The truth of what is here
ſaid may be ſeen at this day among
other inſtances in certain coffers, elbow
ſeats, and cornices in the chambers of
the magnificent Lorenzo the Elder, on
which were depicted, not by men of
the common race of painters, but by
excellent maſters, all the jouſts, &c.
given by the Duke, with other fpectacles
diſplayed at that period." Vafari : Lives.
Mrs. Forſter's tranflation, i. 328.
100" It would not be poſſible to de-
ſcribe the vaſt number of decorations in
friezes, coffers, and caſkets, with the
numerous ceilings, wainſcots, and other
works of ſimilar kind executed by the
hand of Andrea di Coſimo, ſeeing that
the Whole city is full of them. I muſt
therefore decline the enumeration of
Imraduct'z'm.
lXXXvii
It need not be ſaid that ſuch men had a number of pupils
and of contemporaries ſimilarly employed. Every piece of
painted furniture attributed to Dello Delli cannot be warranted.
There are, however, ſpecimens which we believe to be from
his hand in the collection, and numbers of frontsand panels
and fragments of great merit which illuſtrate his ſtyle and that
of his contemporaries. Beſides this kind of decoration, the
Venetians had derived from Perſia and India, and introduced
into Europe, another beautiful ſyſtem of ſurface decoration;
marquetry, a fine inlay of ivory, metal, and woods, ſtained to
vary the colour. The work is in geometric patterns only. It
is found on the ivory boxes and other objects ſculptured in
that material, and attributed to Italian as well as to Byzantine
ſources.
It was in the fifteenth century that Florence came promi-
nently to the front in the manufacture of theſe and other rich
materials.
ported ivory, dyes, and colours, ebony and other exotic woods,
Venetian merchants, as we have already ſtated, im-
and the Perſian and Indian manufactures of marquetry, veneers,
as well as of ivory inlaid into ſolid cypreſs wood and walnut,
known as Certoſina work. Of this material, very Indian in
character, the decoration conſiſts in geometrie arrangements of
ſtars made of diamond-ſhaped pieces. Theſe are varied with
conventional flowers in pots, &e. The manufacture was com-
mon in Tuſcany and the Milaneſe.
derived from the great Certoſa, charterhouſe, or Carthuſian
monaſtery between Milan and Pavia. This kind of decoration,
The name Certoſina is

theſe, but I will not omit to mention of the citizens. Neither could bro-
the circular eſcutcheons which were
prepared by this artiſt, and that to ſuch
an extent that there could ſcarcely be
a wedding ſolemnized, but that Andrea
muſt have his workſhops filled with
ſuch works either for one or another
cades, adorned in various colours or
cloth of gold and ſilver be woven, but
that Andrea muſt prepare the deſigns,
and this he did with a grace, variety,
and beauty which infuſed life and ſpirit'
into all theſe things." Vaſari, iii. 357,
lXXXviii I ntraa'uct'z'm.
however, is'not the characteriſtic of the fittings of the ſplendid
church of that monaſtery. The work may have been known
or executed amongſt the fathers at ſome time or other, but we
have been able to find no exact information on this ſubject.
We are inclined to the belief that the manufacture of all
geometrical work of this kind has originally been imported
from Perſia, and that it was brought to Europe by the Vene-
tians, who traded with Conſtantinople and had ſtations in the
Morea and the ZEgean. There are ſome very intereſting old
chairs made for the caſtle of Urbino, and part _of the fur-
niture of Guidobaldo II., one of the moſt accompliſhed
princes of his age, whoſe court, like that of Rene, king of
Provence, was the reſort of knight-errants, pilgrims of love,
poets, and philoſophers. Theſe chairs are covered with geo-
metric marquetry of white and ſtained ivory, &c., the very
counterpart of the Bombay work ſtill imported to this country.
That manufacture, in the opinion of Dr. Birdwood, was of
Perſian origin, and found its way to Bombay from that country.
The Perſians continued long into the laſt century the inlaying
of ivory in walnut wood, and their geometric marquetry is ſtill
made. Rich inlay of ivory and walnut in floral ſcroll-work
is occaſionally met with, the leaves and flowers in the natural
form, and engraved. Figures in the Perſian manner, full in
the hips and ſmall in the extremities, with the unmiſtakeable
Perſian face, are diſperſed amongſt the flowers. Cabinets thus
ornamented uſed to be made in the ſhape of the bureaux
of a century ago, with ſloping central portion, for the uſe of
European conſuls or merchants.
Amongſt the chairs, cheſts, and tables of the collection,
there are abundant examples of the geometric work; the beſt
ſpecimens, ſuch as the chairs of Guidobaldo II., made either at
the end of the fifteenth or early in the following century. Older
examples can be ſeen in ſome of the Muſeum ivories, e.g.., the
I ntroduct'ion. i lxxxix
ſmall ſhrine or triptych, No. 7606. '6I, and the polygonal
caſket, No. 4304. '57, both of the fifteenth century. The
latter ſhows, in addition, a knob or finiſh of ivory turned in
a lathe, with eccentric movements, which had already been
adopted in Italy.
The form of chairs in uſe in Italy early in this century were
revivals of the old Roman folding chair. The pairs of croſs-
pieces are ſometimes on the ſides, ſometimes ſet back and
front, and in that caſe arm and back pieces are added. Gene-
rally we may ſay that the fine Italian furniture of the earlieſt
fifteenth century owed its beauty to inlaying, ſurface gilding,
tooling and painting. Gilt cheſts and marriage trays, inlaid
tables, and chairs, belong to the collection.
In Spain the Moors undoubtedly imparted much of their
artiſtic acquirements to the native population. We have no
Spaniſh objects in the collection, excepting ivories, of earlier
date than the ſixteenth century. Marquetry with mother-of-
pearl, and tortoiſeſhell Ornament, learned by the Moors pro-
bably from the Syrians, were the methods with which they
decorated their woodwork.
" It cannot be denied," writes Mr. Riafio, "that the Moors
often broke through their precepts concerning the repreſen-
tation of animal life, but ſuch repreſentations among them
were only exceptions to the general rule. Spain, it may be ſaid,
is one of the countries where there ſtill exiſts the largeſt number
of ſculptures and carvings of all kinds. Many names of
ſculptors of the middle ages are known, among them Maeſtis,
the author of the magnificent gateway of the Cathedral of
Santiago, of which there is a fine reproduction at the South
Kenſington Muſeum. In the Diccionario de Artiſtas Eſpafioles
of Cean Bernurdez the ſtudent will find notices of many other
important maſters." 1

1 Cat. of Art Objects of Spaniſh production, by F. Riafio, 1872, In-
trod., ix.
Xc I ntrodaction.
The uſage of tapeſtry or of rich ſtuffs was certainly
common in Spain. The materials were probably the rich
fabrics in wool, wool and ſilk, and ſilk in uſe amongſt the
Moors. Carpets have already been alluded to as introduced
into England from Spain in the thirteenth century.
As in Italy, ſo in England, France, Germany, and later in
Spain, the ſplendour hitherto devoted to the glory of eccle-
ſiaſtical furniture, utenſils, or architectural decoration was' gra-
dually adopted in the royal and the feudal caſtles and houſes.
The great religious houſes ſtill maintained the ſkill of artiſts and
workmen, and to a greater extent north than ſouth of the Alps.
Many monaſtic houſes in the north of Europe were ſeats
of feudal juriſdiction.2
rooms for the uſe of the king or his barons were furniſhed
State rooms, halls of juſtice, ſets of
and maintained. Theſe ſocieties alſo executed great works in
wood, ſtall-work, preſſes, coffers, &c., as large and continuous
ſocieties alone are able to carry through taſks that want much
time for completion. All this helped to encourage the manu-
facture of Woodwork of the ſineſt kind. Hence the mediaeval
ſemi-eccleſiaſtical character maintained ſway in all arts connected
with architecture longer in theſe northern countries than in
Italy, where both old traditions and monumental remains re-
called rather the glories of antique art, and where the revival
of claſſic learning had begun. The art of ſculpture in wood
was beſt underſtood perhaps in Nurnberg as the mediaeval
period died away.
As regards Engliſh art it is certain that, partly from the
influence of foreign queens, partly from foreign wars, and partly

2 The Archbiſhops of Cologne, longed to many abbots in this and
Treves, and Mayence were indepen-
dent ſovereigns and electors of the
empire. The abbeſs of Luedlinburg,
the biſhops of Miinſter and Durham
were palatines; feudal juriſdiction be-
other countries, and neceſſitated the
holding of courts, reception of homage,
right of diſpoſal of minors and orphans,
and maintaining much ſplendour and
hoſpitality.
I atrodafr'z'ora .
Xci.
fridm the inceſſant intercourſe with the reſt of Europe kept up
by religious houſes, many of the accompliſhments of foreign
countries were known in this country and practiſed here by
foreign or native artiſts.
In England the wars of the roſes, more bloody and de-
ſtructive of human life than any experienced in this country,
delayed anything like that growth of domeſtic luxury which
might have been expected from the wealth of the country.3
Henry VII. ſucceeded to a ſettled government, and from his
time downwards, the collection of books forming the "King's
Library" and of the pictures and moveables ſtill in poſſeffion
of the Crown takes its origin.
It is difficult, indeed, to imagine the England which
Leland ſaw in his travels. It muſt have been full of ſplendid
objects, and during the reign of Henry, the feudal manſions,
as well as the numerous royal palaces of Windſor, Richmond,
Havering, and others, were filled with magnificent furniture.
Mabuſe and Torrigiano were employed by the king, and this
example found many imitations; artiſts, both foreign and
Engliſh, were employed to make ſecular furniture, as rich and
beautiful as that of the churches and religious houſes that
covered the country.

3 In 1472 the furniture of the bed-
room prepared by Edward IV. for the
Lord of Granthuſe,LGovernor ofHolland,
at Windſor Caſtle, compriſed '5 three
chambers of pleaſaunce all hanged with
white ſilk and linen cloth, and all the
floors covered with carpets. There
was ordained a bed for himſelf of as
good down as could be gotten; the
ſheets of Rennes cloth, alſo fine feſtoons;
the counterpane of cloth of gold, furred
with ermine. The teſter and ceiler
alſo ſhining cloth of gold ; the Curtains
of white ſarcenet; as for the bed-head
and pillows, they were of the Ween's
own ordering. In the ſecond chamber
was likewiſe another ſtate bed all
white. Alſo in the chamber was made
a couch with feather beds, and hanged
above like a tent, knit like a net, and
there was a cupboard. In the third
was ordained a bayne or two (baths),
which were covered with tents of white
cloth." From the Governor's Journal,
Lives of Weens of England, iii. 337.
Xcii I mma'uctz'on.
Architecture, both in continental Europe and in theſe
iſlands, had paſſed the fine period of medimval deſign. The
" Gothic " or pointed forms and details had become uninventive -
and commonplace. The whole ſyſtem awaited a change. The
figure ſculpture, however, of the latter years of this century,
though life-ſized ſtatues had loſt much of the dignity and
ſimplicity of the thirteenth and fourteenth centuries, was
approaching the realization of natural form, which it attained
in ſuch excellence in the ſucceeding century. The ingenuity,
quaintneſs, and racineſs of the ſmaller figure carving both in
ſtall-work of churches and on the tops and fronts of boxes and,
caſkets, in Panel-work, &c., during the laſt half of the fif-
teenth century are ſcarcely ſurpaſſed by the more academic
and claffical figure deſign of the ſixteenth. The ſtall-work
of moſt of our cathedrals and churches, with the life-like
figure and animal ſculpture with which it abounds, belongs
to this century.
In making a general compariſon of the wood ſculpture of
England, France, and Germany with that of Italy during the
later mediaeval period, we may conſider the former as the more
quaint and vigorous, the latter as the more ſimple and as ſhow-
ing more of the repoſe and grace of old claſſic art.
As the ſouthern architecture was the moſt imaginative, ſo
the northern was the moſt ſcientific. Italy never wholly adopted
the complete pointed ſyſtem which produced at Amiens, at
Cologne, at Niirnberg, at Saliſbury, Lincoln, Weſtminſter,
Ely, Fountains, and a hundred other churches and abbeys, ſuch
daring feats of conſtruction. The mediaeval cities of northern
Europe, when ſeen at a diſtance, briſtled with ſpires, towers
and buttreſſed conſtructions in endleſs variety.
The ſculpture of ſtone and wood correſponded to this bold
adventurous ſpirit. Wood carvers on houſe fronts, ſtalls, and
other wood furniture delighted in doubling their figures up
into quaint and ingenious attitudes, and if the architecture was
Introduftion. xciii
latterly tame, though ſhowy and coſtly, this imagery con-
tinued to be full of individuality and inventiveneſs; and here
. we take leave of the mediaeval period.
12. The Renai anee in Italy.
There are few matters regarding art more worthy of con-
ſideration than the narrowneſs of the limits that bound human
invention. To ſpeak more exactly, we ſhould ſay the ſimplicity
of the laws and principles in obedience to which the imagina-
tions of men are exerciſed; but within thoſe limits the range of
imagination is infinite.
The return of the painters, ſculptors, and architects to the
old types of claſiical art after the reign of the Gothic ſeems at
firſt ſight as if in the arts there could be nothing new under the
ſun; as if the imagination, ſo fertile in creation during many
centuries ſince the eſtabliſhment of Chriſtianity, had been utterly
worked out and come to an end, and that there was nothing left
but to repeat and copy what had been done ages before.
There is, however, in reality more connexion between claffic
and mediaeval art than appears on the ſurface, and although all
the great maſters of the revival ſtudied eagerly ſuch remains of
antique art as were diſcovered or excavated in Italy during the
early years of the Italian Renaiſſance, they only came into
direct contact with or abſolute imitation of thoſe models occa-
ſionally, and the works of that age have a grace that is peculiarly
their own, and an inventiveneſs in painting and ſculpture, if not
in architecture, that ſeems, when we look at ſuch cities as Venice
and Florence, inexhauſtible. The Renaiſſance began in Italy
many years before the year 1500. Moſt changes, indeed, of
manners or arts which are deſignated by any century are per-
haps more correctly dated twenty years before o-r after its
beginning, and in the notices we are here putting together we
are compelled to make diviſions of time Occaſionally overlap-
each other.
XCiV I ntrodaction.
The advance, too, of the Renaiſſance was made with dif-
ferent rates of progreſs in different countries. The Greek
language and literature was ſtudied with much ardour after the
Council of Florence, and the ſiege and capture of Conſtanti-
nople reſulted in a'great emigration of Greeks to Italy. Pro-
feſſors and teachers ſpread a knowledge of the language, and
printing preſſes at Venice were fully employed in putting out
editions of the Greek claſſical authors. The works of the
great Greek artiſts were not, however, known in Italy, ex-
cepting in the caſe of one or two ancient Greek ſtatues diſ-
covered in the Roman States. The ſtatues found in Italy, as
is well known, were moſtly works of the Imperial period and
more or leſs reproductions made, during that epoch, of well-
known maſterpieces by the ſculptors of the days of Pericles.
The revival of learning in Italy was accompanied by other
circumſtances which had a powerful influence on the arts, and
particularly on the ſumptuary arts of the century. It has been
already remarked that while the nations of Europe were
more or leſs convulſed with 'war it was not eaſy or poſſible
for the inhabitants, even the rich, to do much in furniſhing
dwelling-houſes with any kind of comfort. Rich furniture
conſiſted in a few coſtly objects and in hangings ſuch as could
be carried about on ſumpter horſes or in waggons, and with
the addition of rough benches, tables, and bedſteads, could
make the bare walls of feudal caſtles gay and comfortable, and
offer ſufficient accommodation in the empty halls of granges and
manors ſeldom lived in, for the occaſions of a viſit or a temporary
occupation. Churches indeed were in thoſe ages reſpected by
both ſides in the furious conteſts that raged throughout Europe.
The violation of ſuch places was a crime held in abhorrence by
all combatants, and the treaſuries and ſacriſties, therefore, of
churches were full of examples of every kind of accompliſhment
poſſeſſed by the artiſts of the day. They contained objects
collected there during many generations, as was the caſe of '
Imroductz'm. Xcv
ſhrines like that of the Virgin del Pillar in Spain, of which
the offerings ſo long preſerved have been very lately ſold and
diſperſed, and repreſented the art of i many ſucceſtive ages.
But in private houſes it was ſcarcely poſſible to have any cor-
reſponding richneſs, though in the inſtance of kings and
potentates there was often much ſplendour.
As in England the fifteenth century ſaw the cloſe of a ſeries
of great wars and the' eſtabliſhment of one powerful government,
ſo during its concluſion and the beginning of the next century
a ſimilar diſorder gradually gave place to tranquillity in Italy.
The ſchiſm in the Papaey had come to an end; the popes had
returned to Rome and turned their attention to the reſtoration
of the Italian States to the rule of native princes. All this
promoted the acquiſition of perſonal wealth and gave the Italian
princes leiſure to turn their attention to the arts of peace. The
arts that were applied to architecture, furniture, arms, utenſils,
and decorative work of every kind were not, however, acquired
for the firſt time at this period of returning tranquillity. The
Italian States were very numerous, the cities were powerful, and
artiſts of the higheſt accompliſhments known anywhere in the
World retained and had long retained their home in Italy, and
we have called attention to this fact more than once in theſe
pages. If the daily life of Italians was full of hazard during
the conſtant ſtruggles of French, German, and Spaniſh kings
for the poſſeffion of their fertile and beautiful ſtates, there
were, in compariſon, more large and rich cities in Italy than
elſewhere, they were fortified with greater ſkill, and were upon
the whole leſs unſafe than the cities of Northern Europe, which
fell ſo frequently firſt to one king then to another. The
princes of Italy, again, were certainly more accompliſhed and
learned than their royal contemporaries north of the Alps, with
rare exceptions, and they encouraged with more diſcrimination,
and themſelves better underſtood, the arts of ſculpture, painting,
&e. What has been ſaid about Dello Delli and the patronage
xCvi I ntroduct'ion.
he received was no doubt true of many other artiſts leſs famous,
in other cities beſides Florence; in Venice, Ferrara, Milan,
Mantua, Verona, Naples and many more.
The practices of painting gilt furniture of all kinds, and of
modelling terra--cotta work on the wood, were not altogether
new accompliſhments or confined to the artiſts of one city.
When, therefore, the French were driven out of Italy, the
popes were in ſecurity in Rome and the accompliſhed Medici
family in Florence, the rulers of thoſe ſtates as well as thoſe
of Urbino, Ferrara, and other independent cities were free
from the perpetual attitude of defence againſt foreign invaſion;
they could indulge their enthuſiaſm for claſſic art, and the
impulſe given to the ſtudy of it found a ready reſponſe, as
great noblemen while building palaces and digging their
gardens came upon ſtatues, freſcoes, vaſes, bronzes, and other
precious remnants of antiquity. In the various Italian ſtates
there were artiſts well ſkilled and carefully trained, and there
was no difficulty in finding great names with whole ſchools of
enthuſiaſtic admirers behind them who, with theſe precious ob-
jects before them, formed their ſtyle on the old claſſic models.
We are to conſider theſe acquirements here only ſo far as they


came to be applied to ſecular woodwork, of which this Cornice
from Venice (No. 8441. '6 3) is an example, and the objects of
daily uſe, ſuch as coffers, cheſts, caſkets, mirrors, or Cabinets,
ſideboards of various kinds, ſeats, tables, carriages and furniture
of every deſcription.
Introduction. Xcvii
The beſt artiſts of the day did not heſitate to give their
minds to the making of woodwork and furniture in every
variety of material and employed every kind of accompliſh-
ment in beautifying them. Of this fine Renaiſſance period
there are ſo many examples in the collection, and ſome of them
of ſuch excellence, that we ſhall ſcarcely have occaſion to travel
beyond the limits of the Muſeum to illuſtrate the quattrocento
and cinquecento furniture and woodwork. _
Many materials were employed by the Renaiſſance artiſts.
_Wood firſt and principally in making furniture, but decorated
with gilding and paintings; inlaid with agate, carnelian, lapis
lazuli and marbles of various tints; with ivory, tortoiſeſhell,
mother-of-pearl; and with other woods. They alſo made many
ſmaller objects, ſuch as mirror caſes in iron, damaſcened or
inlaid with gold and ſilver, and made them of the precious
metals. For many years, however, mirrors continued to be of
poliſhed metal, the enrichment being devoted to the outer caſe.
Glaſs mirrors were not invented till a later period.
As the general material of furniture in the ſixteenth cen-
tury continued to be wood, its chief decoration was ſculpture.
The number of remarkable pieces of carved wood furniture
belonging to this period in the Muſeum is conſiderable. The
moſt ſtriking are the cheſts, caſſoni, large coffers for con-
taining clothes or ornamental hangings and ſtuffs that were
kept in them when not in uſe. The halls and corridors of
great Italian palaces were principally furniſhed by theſe objects.
The walls were painted with freſcoes, panelled, or hung with
tapeſtries; the ceilings panelled, carved, gilt and painted, or
the beams of the floors, as in the Piſani and other palaces of
Venice, were carved and painted, as well as the under ſides of
the fioorboards over them. Brackets and chandeliers were
hung or projected from the walls; the floors were inlaid
with marble or Compoſition; no feature was left without
ornamentation.
F.
Xcviii I ntroa'action.
Rooms, however large, of which the walls, floors, and ceil-
ings are decorated, do not require many ſubſtantial objects in
addition; and theſe cheſts, with a table
and chairs placed againſt the wall, nearly
complete the requirements of great Italian

halls and corridors.
The general form of the carved cheſts
is that of a ſarcophagus. They are ſup-
ported on claw feet, and have maſks,
brackets, or caryatid figures worked into
the conſtruction as in the accompanying
woodcut, which is from No. 4415. '57,
leaving panels, borders, or other ſpaces
for hiſtoric ſculpture. No. 7212. '60
and the companion piece are decorated
with figure ſculpture, perfectly deſigned,

and cut with eaſe and the certainty of a
hand thoroughly trained. The ſubjects in the panels are from
the hiſtory of king David, and figures of the prophets are
placed upon the angles. Others, ſuch as No. 4416. '57, con-
tain figures of the ſeaſons and compoſitions from the poems
of Ovid. The reader will ſtudy others out of the collection
for himſelf. They are carved in walnut wood, which is free
in grain and very tenacious; and the work, like moſt of the
old furniture carving, is helped out with gilding. Sometimes
the ground, 'at others the relieved carvings are touched or
completely covered with gilding. Moſt of theſe fine cheſts are
in pairs, and probably formed parts of ſtill larger ſets, fours
or fixes, according as they were intended for the wall ſpaces of
larger or ſmaller rooms or portions of wall between two doors.
It is evident that a room was provided for completely by the
hand of the ſame artiſt or workman. .
We may refer to cheſts of another kind of an earlier
period of Renaiſſance art, ſuch as the No. 7613. '6I, aſcribed
Introduct'im . XCiX
to Jacopo della Quercia, and fully deſcribed in its place in
the collection. In that inſtance the, relieved work is made
in the older manner, modelled in plaſter, &e. on the ſtruc-
ture, and afterwards gilt completely, while the panels are
filled with baſ-reliefs 'in terra-cotta finely glazed, or as in
No. 278, '69, where the whole hiſtorical relief is in the ſame
material gilt.
Theſe carved cheſts ſo commonly in uſe and given to brides
as part of their dowry, or as preſents to married couples, or
ſimply provided as the moſt convenient objects both for recep-
tacles and occaſionally for ſeats, were often made at leſs coſt in
cypreſs wood. They are generally decorated with ſurface
deſigns etehed with a pen on the abſorbent grain of that wood,
the ground being ſlightly cut out and worked over with punches
ſhaped like nail heads, ſtars, &e. Cypreſs cheſts were really
uſed for keeping dreſſes or tapeſtries ; 4' the aromatic properties
of that timber being conſidered as ſpeciſic againſt moth. This
kind of cheſt, when intended to hold a bridal trouſſeau, is
uſually made with ſmall drawers and receptacles inſide for fans,
lace, combs, or other feminine Ornaments. No. 4886. '58 is
a'ſmall example of ſuch a cheſt, but they are not uncommon
in this countryon a much_larger ſcale. All theſe have been
brought from Italy.
The tables of this period are ſometimes ſolid, as No.
162. '69, which is covered with ſpirited deſigns of mythological
ſubjects. Dinner tables were " boards" faſtened on treſtles,
according to old uſage, as No. 2 36. '69, already alluded to, and
could be removed when the meal was over; or ſeveral could
be laid together, as in our modern dining-room tables, to
meet the requirements of the noble hoſpitality exerciſed in thoſe
days.

4 Alluſions to cypreſs cheſts in and privy purſe accounts of Edward IV.
England are numerous in the wardrobe and his ſucceſſors.
gz
c I mroa'uctz'on.
The Italian chairs of the quattrocento period have been
already diſcuſſed. ' We have, how-
ever, another very rich and effec-
tive form of chair uſual in the ſix-
teenth century, and, which were in
general uſe in Venice. Theſe are
chairs of which the ſeat is faſtened
into two planks, one before and


er:




one behind, as in this woodcut
of No. 5682. '59. The planks
are richly carved, and a third
> plank is let in to form a back.




Theſe portions, particularly the
back, are ſufficiently thick to ad-
mit of carving in maffive relief,
as in No. 5682. '59. The flanks
of the back piece are uſually groteſque monſters, and the
arms of the proprietor are carved on a ſcutcheon in the centre.
They ſeem to have been generally richly gilt. They alſo
formed the decoration of a great corridor or hall, and were
uſed without cuſhions.
The frames of pictures were bold and rich. Thoſe of
the previous century had been moſtly imitative of ſmall Gothic
ſhrines, being generally for religious ſubjects and for uſe in
churches or oratories. In the cinquecento period they were
ſquare panels, carved and richly gilt. There are, however,
remarkable examples in the collection of frames made for
mirrors, either for the ſitting-rooms or ſaloons of the lady of
the houſe, or for her bedroom. Three of theſe are type pieces
of ſuch productions. No. 7695. '61 is a ſquare frame carved
in walnut, ſtanding on a foot, and meant to be carried about.
From the daiſies carved in relief on the foot it may perhaps be
aſcribed to Marguerite of Valois, and have been uſed in the
court of Provence. Nothing in the collection ſurpaſſes the

Italian, 16th Century.
(47-79- 's7-) (2396- '55-)
I mroduct'z'orz. ci
*'6I, ſhaped like a ſhield,
. tail in the account of it.
elegance and perfection of the ornamental work on the mould-
ings. The mirror itſelf is of poliſhed metal. Another is in a
circular frame, No. 7694.
and meant to be hung up.
The ſymboliſm of the
carving is deſcribed in de-
It was probably made for a _ I.
ducheſs of Ferrara. There are claffical details of archi-
tectonic kind on the edges of the carving, which is \
highly finiſhed. The mir-
ror itſelf is of metal, and
the back has figures on it
in relief and is ſolidly gilt.
The third of theſe is larger.
In deſign it is like a monu-
mental mural tablet, with a
carved rich finiſh on the
four ſides, and the mirror
furniſhed with a ſliding
cover in the form of a me-
dallion, containing a female
head of ſingular nobleneſs
and beauty. It is deſcribed
under No. 7226. '60. In
this caſe the material is
walnut relieved by broad -, ſurfaces of inlaid wood.
While we are on the .
ſubject of mirrors, we may
mention the Soltykoff mirror, No. 7648. '61 in the collection.

cii Imma'uctim.
This is an example of metal work throughout, the caſe, ſtand
and ſliding cover being of iron damaſcened with gold and ſilver
in every variety of that coſtly proceſs. *
Some of the richeſt pieces of carved walnut furniture
belonging to this period are the bellows, of which ſeveral pairs
are to be ſeen in the collection. They are of walnut, carved
and touched with gilding. They are in the familiar form of
that article, which is as old as the claffic times.5 The
woodcut on page ci is deſcribed under No. 2 3 6-2. ' 5 5.
Of all theſe objects, incredible numbers muſt have been loſt,
as indeed of all kinds of wooden furniture, from the periſhable
nature of the material, but much more from neglect; for moſt
of the examples we have named are in admirable Preſervation
and remained in Italian, eſpecially in Venetian houſes, which
preſerved their old character, little altered, down to the time of
the Italian wars of the French Revolution.
Beſides furniture carved in this way out of ſolid wood,
generally walnut, there were other materials uſed and other
The Tarſia or
The earlier methods were
methods of decorating houſehold furniture.
inlaid work has been alluded to.
geometrical arrangements of ſmall dies; but magnificent figure
deſigns had been executed in the early period of the Renaiſ-
ſance and before. it in inlaid wood. Of ſuch work we have
one or two examples. They are executed in two or three

5 Such a pair is repreſented on an
old lamp (Bartoli, Ant. Luc., 21).
The wooden Valves, ſkin, wind-bag, in-
flating hole and nozzle, were the corn-
ponent parts. Bulls' hide, goats' hide,
or thoſe of ſmaller animals were uſed,
according to the ſize and requirements
of the utenſil, whether for the ſmall fires
in braziers or for blackſmiths' forges.
In the lantern referred to a ſquatting
figure in a ſheet or blanket is puffing
at the hole left for the wick. In this
the leather bag is not repreſented ;' but
that is only for the convenience of
the artiſt. According to Joinville,
bellows-blowers in the mediaeval kit-
chens were functionaries whoſe buſineſs
it was to watch the fires and look after
(as We may preſume) the turnſpit-dogs
--who galloped inſide a wheel, like
ſquirrels in revolving cages, to turn the
ſpits-and ſee that the foup was neither
burned or ſmoked.
I ntrodublion.
ciii
woods, and much of it is in pine or Cypreſs. The large grain
is uſed to expreſs lines of drapery and other movements by
putting whole folds or portions of a dreſs or figure with the
grain in one direction or another, as may be required. The
picture is thus compoſed of pieces inclined together; a few
bold lines inciſed and blackened give ſuch outlines of the form
as are not attainable by the other method, and ſlight burning
with an iron is ſometimes added to give tone or ſhadowſi
No. 5785. '59 is a figure deſigned in this way.
The fineſt
developments of this work can be ſtudied in the intarſia work of
the ſtalls of the Duomo of Piſa, and in other Italian churches.6
Another method of ornamentation dependent on material
that came into uſe in this century was the Pietra Dura or
moſaic panelling of hard pebbles.
The work is laborious

6 "'Tarſie' or 'Tarſiatura' was
a kind of moſaic in woods. This
conſiſted in repreſenting houſes and
perſpective views of buildings, by in-
laying pieces of wood of various
colours and ſhades into panels of wal-
nut wood. Vaſari (Introduction,
xxxi.) ſays that at firſt this kind of
Work was practiſed in black and white
only; but Fra Giovanni Veroneſe,
who practiſed it extenſively, much im-
proved the art by ſtaining the wood
with various colours by means of
waters and tints boiled with pene-
trating oil, in order to produce both
light and ſhadow, with wood of various
colours, making the lights with the
whiteſt pieces of the ſpindle-tree. In
order to produce the ſhades, it was
the practiſe of ſome artiſts to ſinge the
wood by firing, while others uſed oil
of ſulphur and a ſolution of corroſive
ſublimate and arſenic. St. Audemar
(No. 165) mentions that ſaffron was
uſed to ſtain boxwood yellow, but he
does not ſay to What uſe the wood was
put When ſtained.
" The ſubjects moſt proper for tarſia
Work are perſpective repreſentations of
p buildings full of Windows and angular
lines, to which force and relief are
given by means of lights and ſhades.
Vaſari ſpeaks rather ſlightingly of this
art, and ſays that it was practiſed chiefly
by thoſe perſons who poſſeſſed more
patience than ſkill in deſign; that
although he had ſeen ſome good re-
preſentations in figures, fruits, and
animals, yet the work ſoon becomes
dark, and was always in danger of
periſhing from the Worms and by fire.
" Tarfia work was frequently em-
ployed in decorating the choirs of
churches as well as the backs of feats
and the wain'ſcotings. It was alſo uſed
in the panels of doors. The art was
cultivated to the greateſt extent in the
Venetian territories, w here three Olive-
tani monks were particularly diſtin-
guiſhed for their ſkill.
ciV
I ntrodact'ion. _
and coſtly.
Not only are the materials, agate, carnelian,
amethyſt and marbles of all colours, expenſive, but each part
muſt be ground laborioufly to an exact ſhape, and the whole
moſaic fitted together, a kind of refinement of the old marble
work called Alexandrinum. Beſides being formed into marble
panels for table tops and cabinet fronts, Pietra Dura was let
into wood, and helped out, with gay colours, the more ſombre
walnut or ebony baſe of the furniture.
Vaſari, ſpeaking of particular pieces of furniture of his day,
mentions a " ſplendid library table " made at the expenſe and
by the order of Don Franceſco de' Medici in Florence.
This
table was " conſtructed of ebony," that is, veneered with ebony,
" divided into compartments by columns of heliotrope, Oriental
jaſper, and lapis lazuli, which have the baſes and capitals of
chaſed ſilver.
The work is furthermore enriched with jewels,
beautiful Ornaments of ſilver, and exquiſite little figures, inter-

" The moſt celebrated of theſe Was
Fra Giovanni da Verona, who was
called to Rome by Pope Julius II. to
decorate the doors and ſeats of the
Vatican with tarſia work, the deſigns
of which were made by Raffaelle. Fra
Damiano da Bergamo, a Dominican
monk, attained equal celebrity in, this
art. So great was his ſkill that
Charles V. refuſed to believe that
the tarſia work executed by him in
the arca of San Dominic " (the chaſſe
containing the relics of S. Domi-
nic in the church of San Petronio)
" really conſiſted of pieces of wood in-
laid, but he thought it muſt have been
the work of the pencil." (Marcheſe,
Vite de Pittori, &c., Dominicani, vol. v.
p. 257.) 't Nor would he be convinced
of the fact till part of the ſtone was re-
moved and a piece of the wood taken
out. In remembrance of this circum-
ſtance the work was left in that ſtate,
and has never been repaired." (Mrs.
Merrifield, AncientPractice of Painting,
Introd., p. lvii, &c.)
No leſs than twenty-eight artiſts
were employed on the Woodwork of
the cathedral of Orvieto in intarſiatura.
A ſeries of faints and a ſeries of
objects from ſtill life, early fifteenth
century, are executed in this material
in the cathedral of Piſa. Giuliano da
Majano, according to Vaſari, orna-
mented the ſeats of ſome of the cele-
brants and:_aſiiſtants before tthe high
altar. Guido del Servillino, Domenico
da Mariotto, joiners of Piſa, were his
affiſtants; it was finiſhed by a Piſan
artiſt, Battiſta del Cervelliera.-War-
ing: Arts connected with_Architecture
in Central Italy, pl. xviii., &c.
Fra Domenico executed work of the
character, deſcribed in the text, at the
choir ſtalls of the upper church at
AffiſL-Ioz'd.
I mroductlioa. CV
ſperſed with miniatures and terminal figures of ſilver and gold,
in full relief, united in pairs. There are, beſides, other com-
partments formed of jaſper, agates, heliotropes, *ſardonyxes,
carnelians, and other precious ſtones." This piece was the
work of Bernardo Buontalenti.7 Another piece of ſuch work
is deſcribed as a table " wholly formed of Oriental alabaſter,
intermingled with great pieces of carnelian, jaſper, heliotrope,
lapis, and agate, with other ſtones and jewels wort/2 twenty
Z/zezſſand ere-zems," a large ſum for a table. Another artiſt,
Bernardino di Porfirio of Leccio, executed an ccoctangular
table of ebony and ivory inlaid with jaſpers."
This precious manufacture continued to be made in the
grand ducal factories down to recent times, and is continued
in the royal eſtabliſhments of the king of Italy. Examples of
theſe table tops may be ſeen among the moſaic work of the
Muſeum; e.g., under the name of Panels, No. 816. '69, which
is a table top with ſmall panel for the connecting bars of the
legs below, made at the grand ducal factories before the recent
alterations. The coſt of ſuch a manufacture is too great for
general adoption. Cabinets and other pieces of furniture are
made of theſe materials in the imperial factories of St. Peterſ-
burg, and ſpecimens of their work are in the Muſeum, but
they are, we believe, entirely confined to objects made forſithe
imperial palaces or given away as ſtate preſents.
A feature which was ſtrongly developed in the ſixteenth
century furniture is the architectural character of its outlines.
It has already been obſerved that in the fifteenth century,
cheſts, ſcreens, ſtall fronts, doors and panelling followed or
fell into the prevailing arrangements of architectural deſign in
ſtonework, ſuch as window tracery, or wall tracery. But in
the cinquecento furniture an architectural character, not proper
to woodwork for any conſtructive reaſons, was imparted to

7 Vaſari: Lives, v. 483. Mrs. Forſter's tranſlation.
cvi . I mroa'uct'ian.
Cabinets, cheſts, &e. They were artificially provided with
parts that imitated the lines, brackets, and all the details of
claffic entablatures which have conſtructive reaſons in archi-
tecture, but which, reduced to the proportions of furniture,
have not the ſame propriety. Theſe ſubdiviſions brought into
uſe the art of "Joinery." The parts obvioufly neceſſary
and proper for the purpoſe of framing up wood, whether a
box or cheſt, a door, a piece of panelling, or a chair, offer'
certain opportunities for mouldings or carvings. Some proper
to the thicker portions forming the frames, ſome to the thin
flat boards that fill up the ſpaces. To add a variety of mould-
ings to form coffers, ſuch as ſubdivide the roofs of temples
or their periſtyles, &c., is, of courſe, to depart from the car-
penter's province and work, and rather to take furniture out of
its obvious forms for the expreſs purpoſe of impreſiing on it
the Renaiſſance character.
It is to be noted that architects and artiſts did this with
the ſpecial object of deſigning " in character," and that the
diſcoveries of Herculaneum and Pompeii, which have provided
antiquaries of theſe days with a tolerably complete conception
of what old Roman daily life was, had not taken place in the
ſixteenth century. It will be obſerved by any careful ſtudent
of ſuch collections as that at South Kenſington that certain
ſpecial models were in view in theſe deſigns. Amongſt the moſt
ſtriking objects in Rome are the triumphal arches. When the
ſchi-ſm of Avignon came to an end and the world once more
reſorted to Rome, theſe buildings were naturally objects of
Curioſity and admiration. Other objects were the ſarcophagi.
On both arches and tombs ſculptured baſ-reliefs abounded._
Figures reclined over'the arches, and were arranged in ſquare
compoſitions in the panels, for which the upper ſtories of theſe
arches made proviſion. -The Renaiſſance Cabinets fell into
modifications of this ideal. A century later they grew into
houſe fronts, and ſhowed doors, arches and baluſtrades inſide,
I ntrodublion. cvii
with imitative paved fioors, looking-glaſſes ſet at angles of 4 50,
ſo as to make reflections of theſe various parts, and in this
humorous faſhion turn the inſide of a walnut or ebony cabinet
into the mode] of an Italian villa, ſuch as it became the faſhion
to erect in moſt countries in Europe; Britain, France, Ger-
many, Ruſiia and Spain.
Roman diſcoveries added a freſh element to the artiſtic
reſources of the Renaiſſance. In the baths of Titus, it is ſaid,
Raphael firſt obtained the idea of the beautiful painted Ara-
beſques that he both copied and amplified in his decorations
of the loggie or open corridors of the Vatican. This kind of
decoration, full of quaint ſuggeſtions for both moulded and
painted ornamental work, was to be found elſewhere, and was
not firſt introduced by Raphael; but the uſe he made of it
and the fame of his own attainments ſpread its popularity all
over Europe.
In place of the running foliated borders and mouldings
having a continuous deſign, or of compoſitions of foliage,
animals, &c., forming in each arch moulding or cornice line a
homogenous line or circle of decoration, the Renaiſſance
arabeſques introduced an entirely new method. In arabeſque
Ornament all ſorts of natural objects are grafted on a central
ſtalk or, as in the beſt work, on ſomething like the ſtem of a
candelabrum. The reſources of this method are limited only
by the fancy and ſkill of the artiſt, who grafts here a maſk,
there a leaf on his ſtem, and ſo on. The temptation is the
licenſe and diſcordance that come in when no unity is needed
in a piece of Ornament, and no continuous effort of mind
required to think out and execute one deſinite idea in deſigning
it The central ſtemleads to an exact balance or reverſal of one
half of each element in the Ornament, ſo that one half only of
a panel or border has to be deſigned.
In the hands of great artiſts this kind of ornamentation has
been uſed with conſummate grace. Birds, animals, and little
cviii I ntroa'act'ion.
figures well drawn and full of life and fire, are found amongſt
the arabeſques of Raphael's immediate pupils and followers,
painted on walls and Woodwork, moulded in plaſter and carved
in Woodwork, ſometimes as in No. I 565. '5 5 (a ſmall caſket),
in the moſt minute proportions.



KNIFE CASE. No. 2156. '55.
I ntrodnctz'on. cix
13. The Renazſſance in England, Flanders, France,
Germany and Spain.
In giving the foregoing ſketch of the furniture, deſigns
and manufactures of Central Italy, we deſcribe the hiſtory of
contemporaneous furniture throughout Europe. Leo X., a
prince of the Medici family, gave every encouragement to the
reviving arts in Rome, and left that capital the great nurſery of
art down to our day. 'To Italy the great princes of Europe
ſent the moſt promiſing artiſts of their dominions, or encouraged
ſuch reſort. Moſt of theſe men were architects and ſculptors.
Though Francis I. was the moſt brilliant, perhaps the moſt
enthuſiaſtic northern patron of Renaiſſanee art, we muſt begin
with the change in our own country. To Henry VII., who
died in 1509, ſucceeded an enterpriſing prince, Henry VIII.
He had inherited enormous wealth, was handſome, high ſpirited
and accompliſhed. He inaugurated a ſplendid and ſumptuous
reign. The Government was without rivals, and he made his
court the reſort of the moſt brilliant ſociety to be found in
England.
Claffical learning and ſplendid living were both encouraged
by Wolſey. He is, probably, to be credited with the impulſe
given to the court and the country in the direction of the arts
and accompliſhments of Italy. If Jean de Mabuſe had been
encouraged by Henry VII., his ſucceſſor offered tempting terms
to Primaticcio to exchange the ſervice of his brother King,
Francis, for his own. Girolamo da Trevigi accompanied
Henry VIII. in his French wars, and was in receipt of a pen-
ſion. Other artiſts, contemporaries of Raphael and his ſcholars,
found their way to England; to theſe we muſt add the great
maſter of the German or Swiſs ſchool, Holbein. That the
artiſts, both of Holbein's and of the Italian ſchools, deſigned
furniture in this country we have proofs in the drawing for
cX I ntma'uctz'en.
a panelled chimney piece now in the Britiſh Muſeum, and the
woodwork of King's College Chapel in Cambridge, of portions
I of which caſts can be ſeen in the Muſeum. Another piece of
furniture of this date, ſhowing the mixed character of Italian
and Holbeineſque deſign, is the " Tudor" cabinet, of which
details will be found in its place under Cabinets. There would
ſeem to be in that piece both German work and Engliſh,
according as we are to claffify work executed in England by
German artiſts or by their Engliſh pupils. The German work
is ſeen in the caryatid figures and external baſ-reliefs, perhaps
mixed work on the baſ-reliefs of the drawer fronts, of which we
give an example on page 42, and they may be compared with
the miniature carvings, of which ſeveral ſpecimens, of German
nationality, are deſcribed in the collection.
Though the court of Henry and the palaces of his wives
were furniſhed with ſplendour, and works of art, eſpecially'
thoſe of the gold and ſilverſmith, and jewellery, found their
way from foreign parts to theſe great houſes, the general
manners of the country changed leſs in theſe reſpects than was
the caſe in France and the more wealthy ſtates and courts of
Germany. In the portrait pictures of Henry and his family
we ſee furniture of a Renaiſſance character, but in the great
monuments of the woodwork of the day the old character
prevailed throughout the reign. The halls of Hampton Court
Palace and Chriſtchurch, Oxford, are, on the whole, " Gothic,"
z'.e., medimval ſtructures. The roofs, magnificent ſpecimens of
wood conſtruction, were ſtill ſubdivided, and ſupported by king
poſts, queen poſts, hammer beams, arches connecting theſe
portions and tracery panels in the ſpandrils, as in the two-
previous centuries. All parts were carved and coloured. The
architecture of country houſes began to change from the old
- form of a caſtle or a fortreſs to that of the beautiful and
characteriſtic ſtyle to which we give the name of Tudor. Moats
I ntroduction . cxi
were retained, but ſtill the principal features of this archi-
tecture were the depreſſed arches and perpendicular window
mullions that had been long familiar in England, and were
ſuggeſted by the wooden houſes ſo general in the thirteenth,
fourteenth, and fifteenth centuries.8
And the woodwork, panelling of halls and chambers, &c.,
retained the upright lines and mouldings forming the various
" linen " patterns. Leafwork and heads, buſts of the reigning
princes, or of heroes ſuch as the Czeſars, filled up the more
ornamental ſections of this woodwork, giving a certain claſiical
element which was not fully developed till later.9 Moſt of the
Renaiſſance ornamentation of this reign has a Flemiſh rather
than an Italian character;10 but it did not expand into an
Engliſh ſtyle an the reign of Elizabeth, and fell back' in the
direction of mediaevaliſm under Charles I.
Flanders was in advance of this country in Renaiſſance art.
This remark extends to ornamental art of all kinds, ſuch as
Still
the Flemiſh work of this Renaiſſance, or (ſpeaking of Eng-
church woodwork, glaſs-painting, and domeſtic furniture.
land) this early Tudor period retains a mixture of details of
the pointed ſtyle that makes us ſometimes doubtful how to

8 For examples of theſe wood-
conſtructed houſes and wood mullion
windows, ſee the plates repreſenting
the exterior of Bramhall Hall, Che-
ſhire, and Moreton Hall in the ſame
county, of which the entire walls are
timber reticulations with windows at
intervals faſtened up with the ſame
materials. Naſh: Engliſh Manſions.
9 The great fifteenth century roofs
in Engliſh houſes have been already
alluded to. But though flatter, thoſe
of the 16th are ſcarcely leſs magnifi-
cent. Thoſe of the halls at Hampton
Court and at Chriſtchurch, Oxford,
are characteriſtic examples.
10 For examples of old Engliſh
woodwork of a mixed period, the
ſcreen to the hall at Compton Wyn-
yates, Warwickſhire ; of Milton Abbey,
Dorſetſhire; of Hatfield, Hertfordſhire;
of Audley End and of Knole, in Kent;
Crewe Hall, and the panelling of Speke
Hall, Cheſhire; and the carved ſtair-
caſes at Hatfield, Aldermaſton and, of a
later period, Blickling in Norfolk, are
good examples and are carefully drawn
by Naſh.
cXii I ntrodact'ion.
characterife the ſtyle of individual pieces. We may point to
ſideboards and cheſts in illuſtration. Belgium abounds in
examples of this tranſition period and ſtyle.
In France, the moſt advanced and moſt luxurious and
cultivated of the tranſalpine courts, the Renaiſſance art had
advanced far beyond that of England. Not only had Francis I.
and the Medici princeſſes invited famous artiſts out of Italy,
but they aimed at imitating Florentine luxuries and refinements
as completely as they could. Admirable ſchools of ornamental
art, ſuch as that of the Limoges enamellers, and carvers in
ivory were and had been long eſtabliſhed in France. Claſiic
ſculpture was produced of great merit in all materials. Prima-
ticcio and Cellini founded new ſchools of architects, painters,
and ſculptors in France. They employed pupils, and the moſt
promiſing found their way to Rome and Florence, aſſociated
themſelves with the great maſters then practiſing, and brought
back all the inſtruction they could obtain.
Jean Goujon ſtands at the head of theſe French maſters.
His ſculptures on the Louvre are ſtill extant. Beſides being
a ſculptor and architect, there is little doubt of his having
deſigned and even ſculptured wood furniture. Probably the
carved Woodwork of the king's bedroom and adjoining rooms
in the old Louvre are by his hand. Bachelier, of Toulouſe,
did the ſame, and pieces are attributed to him now in the Mu-
ſeum Collection, e.g., a ſideboard, No. 845 3..6 3. Philibert de
L'Orme was another artiſt in a ſimilar field. Both Goujon and
Bachelier ſhowed the influence of the great Italian maſters in
their work. Goujon deſigned and executed his ſculpture with
the grace of thoſe maſters. He ſhows none of the quaint or
groteſque feeling which we recogniſe in the work attributed
to Bachelier. We are not aware of any exiſting pieces of furni-
ture actually attributed to Goujon, unleſs it be the Woodwork
juſt mentioned.
Inrrodnctzz'cn. cxiii
The table here repreſented is among the moſt elegant of
the examples of French ſixteenth century furniture in the
collection. It is deſcribed under No. 7216. '60.

The ſchool of French wood carvers ſpread over the whole
country. Great palaces, partly in the ſtyle of the Louvre at
Paris, more generally typified by the chateaux de Chambord,
d'Amboiſe, and other great houſes on the Loire, combining
many quaint and pictureſque though ſtrange elements, took the
places of the forts and caſtles of an earlier century. In theſe
buildings the woodwork went, pare paſſes, into the prevailing
ſtyle. Panelling became the general method of fitting up
rooms. The fireplace in the northern climates typifies the
Zares, the domeſtic altar of hoſpitality and friendſhip, and
round it was placed the moſt coſtly or elaborate work ſhown
in the fitting of the walls, as was the caſe in Engliſh halls and
chambers of the ſame period.
All this claſs of woodwork in the renaiſſance houſes was
deſigned by the architect, and was full of quaint, ſometimes
extravagant imagery. For example, the architectural and de-
corative plates of Jacques Androuet du Cerceau will give
ſome idea of the dependance of all theſe details on the archi-
tects of the day. This author publiſhed deſigns for marquetry
h
F.
cxiv
Immeluctz'm.
or wood moſaics,11 as well as for all ſorts of architectural wood-
work. A glance at the heavy Cabinets of the later ſixteenth
century, of French origin, will ſhow how completely great
pieces of furniture fell into the ſame character of forms.
Shelves are ſupported on groteſque figures, while in the mould-
ings, inſtead of ſimple running lines worked with the plane, as
in fifteenth century woodwork, we ſee the egg and tongue,
acanthus leaves, dentils and other members of claſiical archi-
tecture, conſtantly recurring.
The Ornaments of French woodworkers ſhow a fondneſs for

i fiiilllllllll-nl ill
\
_/
l uumfl
il
*-
;i*:f-_,'Y:;**=ns( -



conventional bands or ſtraps
interſperſed with figures and
other Ornaments. The panel,
of which we here give a wood-
cut, belongs to a cabinet de-
ſcribed under No. 2790. ' 56.
It is French, and dated
1577. It contains armorial
bearings and a monogram,
ſaid to be of the Aldine
family. In 1577, however,
Aldus Manutius the elder
was dead, and his ſon did
not live in France.
Germany and Spain took
up the Renaiſſance art in a
ſtill more Italian ſpirit than
England or France. Parts
of Italy as well as Spain were
under the ſame ruler; they
both, as far as regards art,

lllu. it] Jiili'l'fl-w 'l-
A-RELLD. DEJ-o
11 F riſes propres pour les orfevres, ſculpteurs, maryzzeteurr, etc.
I ntrſioduction. CXV
felt the influence of powerful imperial patronage. We are.
only concerned with their art here as it refers to woodwork.
German wood carvers were more quaint, minute, and redun-
dant as to decoration in all wood carving. Something of the
vigour, manlineſs, inexhauſtible ſenſe of humour of the Germans
characteriſes their woodwork, as it does other art, of which de-
coration forms the main feature. The well-known " Triumph
of Maximilian" amongſt the profuſe wealth of productions of
Albert Diirer, though a woodcut only, may be taken as a type
of the German treatment of ornamental art. The great cities
of the empire abound in carved woodwork, houſe fronts,
and gables. Timber was abundant. The imagery of the
period, in wood as in ſtone, is intentionally quaint, contorted,
humorous. It would be eſſentially ugly but for the inex-
hauſtible fecundity of thought, allegory and ſatire that per-
vades it. It ſhould be added alſo that deſigners and architects
had an immenſe ſenſe of dignity, which we recogniſe imme-
diately when we ſee their architectural compoſitions as a whole.
Depths and hollows, points of light, prominences and relative
retirement of parts in their arrangements of carved Ornament,
were matters thoroughly underſtood; that general agreeable-
neſs which we call " effect," a certain impreſiion of their work,
as a whole, which they ſucceed in imparting to the mind of the
obſervers.
As regards Spaniſh art, we cannot do better than adopt the
ſtatements of Seiior J. F. Riaiio, who ſays that " the brilliant
epoch of ſculpture (in wood) belongs to the ſixteenth century,
and was due to the great impulſe it received from the works of
Berruguete and Felipe de Borgoiia. He was the chief promoter
of the Italian ſtyle, and the choir of the Cathedral of Toledo,
where he worked ſo much, is the fineſt ſpecimen of the kind
in Spain. Toledo, Seville, and Valladolid were at that time
great productive and artiſtic centres.
h z
cxvi Introduction.
" A large proportion of Spaniſh ſculpture in wood (as choir
ſtalls, &c.) when carved, was left in its natural colour, but the
greater number of works, as, e.g., the religious images and
ſculptured groups forming the retables, were painted and gilt."
And again, " Of the pure Arab ſtyle there "exiſt in Spain the
ceilings and doors of the Alhambra, models of ſkill and beauty.
The Mooriſh ſyſtem of combining geometrical tracery with
inlaid work, reliefs and pendentives. in the manner they em-
ployed in their ſtucco work, extended itſelf in all the localities
inhabited by the Moors, who accommodated their cuſtoms and
ornamentation with the Gothic ſtyle.
'5 At the ſame time and in the ſame places that the Mooriſh
or Mudejar artiſts carved in wood, the carvers alſo worked who
came from the north of Europe and Italy, and the Spaniards
who followed theſe models. As a ſpecimen of a wood
carving of the Italian Renaiſſance period, applied to an object
of furniture, the magnificent wardrobe by Gregorio Pardo,
A.D. I 549, outſide the chapter houſe at Toledo, may be
mentioned as one of the moſt beautiful things of its kind.
" Theſe various ſtyles of ornamentation were applied to the
cabinets, ' Bufetes' of ſuch varied form and materials which
were ſo much the faſhion in the ſixteenth and ſeventeenth cen-
turies. The moſt characteriſtic of Spain are ſuch as are called
' Varguefiosf Theſe cabinets are decorated outſide with fine
ironwork, and inſide with columns of bone painted and gilt."
(See No. 1073. '7I.)
't The other cabinets or eſcritoires belonging to that period,
which are ſo frequently met with 'in Spain, were to . a large
extent imported from Germany and Italy, while other: were
made in Spain in imitation of thſſe " (the italics are ours), " and
as the copies were very ſimilar it is difficult to claffify them.
U It may be aſſerted, however, that cabinets of inlaid wood,
like thoſe ſo largely imported from Germany, of which ſpeci-
I nrrodnctz'on. cXVii
mens exiſt in the Muſeum ( ſee Spaniſh cabinets) were made
in great perfection in Spain at the end of the ſixteenth century,
for in a memorial written by a maker of tapeſtry, Pedro
Gretierez, who worked for O\ueen Iſabella, he ſays, * The
eſcritoires and cabinets brought from Germany are worth 500,
6oo, and 7oo reales each, and thoſe of the ſame kind made in
Spain by Spaniards are to be had for 2 50 and 300 reales'
'c This is confirmed in a dialogue on furniture by Luna,
printed in Paris in 1669, in which, praiſing an inlaid cabinet,
he ſays, ' You will ſoon ſee a finer cabinet than this. Where
was it made P The cabinet and chairs come from Salamanca.'
Soon afterwards the introduction of German furniture into
Spain was prohibited, but this does not include what was made
in the Spaniſh provinces of Flanders, nor is it probable that
the prohibition laſted long.
" Beſides theſe inlaid cabinets others muſt have been made
in the ſixteenth century inlaid with ſilver. An edict was iſſued
in 1594 prohibiting, with the utmoſt rigour, the making and
ſelling of this kind of merchandiſe, in order not to increaſe the
ſcarcity of ſilver. The edict ſays that * no cabinets, deſks,
Coffers, braſiers, ſhoes, tables, or other articles decorated with
ſtamped, raiſed, carved, or plain ſilver, ſhould be manufac-
tured.' " And he goes on to ſtate that the number of cabinets
manufactured in Spain, which " figure in the inventories of
kings and grandees of Spain ſeems almoſt incredible." 12
14. Tudor' and Stuart Sty/es.
The changes of reigns are more convenient dates than the
beginning or end of a century for marking changes of national
taſtes in ſuch-matters as furniture. The names of kings or

12 Juan Riafio: The clafiiſied catalogue of art objects of Spaniſh Production
(in the South Kenſington Muſeum), xi., &e.
cXViii ' I erred/action.
queens are more juſtly given to denote ſtyles, whether of archi-
tecture, dreſs, or perſonal Ornaments, and utenſils of the houſe-
hold. Society in moſt countries adopts thoſe habits or taſtes
that are firſt taken up by the ſovereign. In England, the reign
of Elizabeth was preeminently a period during which the taſtes,
even the fancies, of the queen were adopted enthuſiaſtically by
her people. Elizabethan is the name of the ſtyle of architecture
gradually developed during her reign.
The woodwork was characteriſtic of the architecture.
Italian taſte, though not perhaps ſo pure as it had been under
Henry VIII., had become far more general; claffical details,
however, were mixed even more in England than in other
countries (Flanders excepted) with relics of older ſtyles, the
love of which was ſtill ſtrong in this country.
The fireplaces and the panelling of our old houſes, Crewe
hall, Speke in Lancaſhire, Haddon hall in Derbyſhire, Kenil-
worth caſtle, Raglan caſtle, and many other old buildings, is
thoroughly characteriſtic of this mixed claſſical revival. It is
quaint and groteſque, the figure ſculpture being good enough
to look well in the form of caryatid monſters, half men, half
terminal poſts or acanthus foliations, but not ſufficiently correct
or graceful to ſtand altogether alone.
Specimens, however, of very good work can be pointed
out, and we give here ſome of the details of a panelled room




ral), \ lffl'f , M- inlllflllLMWÞ
lllllll o * V'
LMM
l
- _ 3 Illllll
ill
brought from Exeter, which is fully deſcribed in its place in the
collection, No. 487Q. '56.
I ntroduction. cXiX
Architects and wood carvers, appropriating every detail
found in old claſiic buildings, heaped the ſive orders one over
the other without detecting any violation of unity in ſuch a pro-
ceeding. A ſmall piece of furniture, made for a napkin preſs,
belonging to the collection of Col. Meyrick, and deſcribed in
the Appendix, is thoroughly characteriſtic of the architecture
of the day. During the latter part of the reign of Elizabeth
and that of her ſucceſſor, this. ſtyle became national. The
great landowners rebuilt their houſes over the whole breadth
and length of the kingdom. No ſtyle of architecture or
internal fittings has been conſidered more appropriate for
Engliſh country houſes, and none has proved for ſuch pur-
poſes ſo enduringly popular. Go where we will, we find. noble
manſions in this ſtyle in the various counties of England.
They are referred to with admiration. They ſeem to combine
the grandeur and romance of medimval England with much
of the convenience of modern faſhions. They exhibit alſo the
quaint freſhneſs with which the architects and woodworkers
of thoſe days received the impreſſion of the claffical renaiſſance
from Italy. It is needleſs to point further to examples, many
of which will occur to everybody. Mr. Naſh's Manſions of
England will give the ſtudent examples of the Elizabethan
period, inexhauſtible in variety and in pictureſqueneſs of effect,
though, perhaps, to no ſingle one could not exceptions be
freely made as to the proprieties of art. Thoſe proprieties are
violated in theſe ſtructures, at every turn, yet we retain a
ſenſe of their dignity and appropriateneſs, as a whole, which
defies criticiſm, and which age will impart to but few of our
modern houſes. Even the rudeneſs of execution adds to their
effect, often much leſſened by the more mechanical neatneſs
of modern work when reproduced in this ſtyle.
We may ſtate that the character of the woodwork through-
out this period conſiſts in actual architectural faeades, or portions
of facades, ſhowy arrangements wherever they are poffible, of
CXX ' I ntrodaction.
the V five' orders " of architecture, or of pedimental fronts.
Doorways and chimney fronts are the principal opportunities
in interiors for the exerciſe of this compoſing ſkill. Panelling
remained in uſe in the great halls and moſt of the chambers of
the houſe, but the linen pattern, ſo graceful and effective, went
out of faſhion. The angles of the rooms, the cornices, and
ſpaces above the doors were fitted with groups of architectural
cornice mouldings, conſiſting of dentil, egg and tongue, and
running moulds, and ſometimes room walls were divided into
panels by regular columns, as at Speke hall. _
Wooden ceilings, which had been in uſe in the fifteenth
century, ſometimes panelled, oftener boarded and divided into
ſquares by mouldings planted on, now gave place to rich
panelling decorated with endleſs varieties of ſcroll and leaf
Ornament, modelled in plaſter. Beſides arabeſque work, after
the Italian, which ran up pilaſters and ſtiles, panels and flat
moulding bands were often carved with "ſtrapwork," a
combination of ribands or ſtraps in various folds and con-
tortions. Sometimes theſe are intermixed with flowers, tendrils,
bloſſoms, &c.
Heraldry, with rich carved mantlings and quaint forms of
ſcutcheons (the edges notched and rolled about as if made of
the notched edges of a ſcroll of parchment) was a frequent
Ornament. Groteſque terminal figures, human headed, ſup-
ported the front of the dreſſer-the chief furniture of the dining
room-and of the cabinet. Table ſupports and newels of ſtair
rails grew into heavy acorn-ſhaped baluſters. In the caſe of
ſtair baluſters, theſe were often ornamented with well-cut ſculp-
ture of groteſque and heraldic figures. Excellent examples of
this heraldic ſcroll-work may be ſeen at Loſely near Guildford,
at Hatfield hall, and Crewe hall. Of groteſque figure work
at Hatfield, Crewe hall, in Cheſhire, and Knole, in Kent. At
Blickling hall and Aldermaſton we ſee examples of figures over
the newels of ſtair rails artiſtically ſculptured in the round.
Intrednctz'en. cXXi
Inlaid work began to be uſed in room panelling as well as
furniture; ebony and other dark woods were inlaid into oak.13
All ſorts of furniture, ſuch as bed heads and teſters, cheſt
fronts, cabinets &e. were inlaid, but coarſely, during the early
Elizabethan period. This art was developed during the reign
of James, when, in point of fact, the larger number of the
Tudor houſes were erected.
When the Tudor period was ſucceeded by that of the Stuarts
the ſame general characteriſtics in furniture remained, but all
the forms of carving became heavier and the execution coarſer.
The table legs, baluſter newels, and cabinet ſupports, had
The objects
enormous acorn-ſhaped maſſes in the middle.
themſelves, ſuch as the great hall tables, inſtead of being'
moveable on treſtles, became of unwieldy ſize and weight.
The general character of Flemiſh furniture was much ot
the ſame kind and form. It is not eaſy to diſtinguiſh the
nationality of numbers of Flemiſh and Engliſh oak conſtructions
of this period. The Flemings, however, retained a better
ſchool of figure carvers, and their church ſtall-work and ſome of
their beſt furniture is of a higher ſtamp and better deſigned,
and where figure ſculpture was employed this ſuperiority is
always apparent.
Their guilds of craftſmen, already alluded to, produced
admirable artiſts and carvers. The houſe fronts, ſuch as we
ſtill ſee at Bruſſels and elſewhere, ſhow the quaint inventiveneſs
The great halls of
municipal corporations are type examples of the grandeur of
of the day in wood ſtructure generally.

13 Mahogany was imported by Sir
Walter Raleigh from South America
the centre of each panel there is an
arabeſque figure in ſtyle reſembling the
and the Weſt Indies towards the end
of the ſixteenth century. A beautiful
method of decorating ſmall rectangular
panelling can be ſeen in the old manor
houſe of Hollingbourne, in Kent. In
central patterns ſtamped on old folio
book-bindings, boldly compoſed and
gilt, leaving the reſt of the wood of its
natural colour.
cXXii I mreductz'm.
their civic architecture and interior woodwork. A good
example of 'Flemiſh panelling can be ſtudied in the doorway
deſcribed under No. 42 3 9. ' 5 6. Their furniture is repreſented
by an excellent example, amongſt others, of this mixed period
in the Muſeum cabinets, No. I 56. '64. Though large and
heavy, and divided into maſſive parts, the treatment of orna-
ment is well underſtood on ſuch pieces. The ſcroll-work is
bold but light, and the general ſurface of important mouldings A
or dividing members is not cut up by the ornamentation carved
on them. The panels are very generally carved with graceful
figure ſubjects, commonly biblical. As the years advanced
into the ſeventeenth century Flemiſh work became bigger and
leſs refined. Diamond-ſhaped panels were ſuperimpoſed on
the ſquare, turned work was ſplit and laid on, drop Ornaments
were added below tables and from the centres of the arches of
arched panels, &c. : all theſe unneceſſary Ornaments were mere
additions and encumbrances to the general ſtructure.
> Our own later Jacobean or Stuart ſtyle borrowed this from
the Flemiſh. The Flemings and the Dutch had long imported
woodwork into England, and it is to this commerce that we
may trace the greater likeneſs between the late Flemiſh renaiſ-
ſance carving and correſponding Engliſh woodwork, than be-
tween the Engliſh and the French. Dutch deſigns in furniture,
though allied to the Flemiſh, were ſwelled out into enormous
proportions. The huge wardrobe cabinets made by the Dutch
of walnut wood with ebony inlaid work and waved ebony
mouldings are ſtill to be met with. The panels of the fronts are
broken up into numerous angles and points. An example of
theſe vaſt wardrobes is now exhibited by Mr. Durrant in the
loan court of the Muſeum.
A In France the fine architectural wood conſtruction of the
ſtyle of Philibert de l'Orme and ſo many great maſters main-
tained itſelf, and a number of fine cabinets and ſideboards in the
collection atteſt the excellence of this wood conſtruction.
I ntroduct'ion. cxxiii
This cabinet, No. 2573. '56, is of late French ſixteenth
century work, and combines the characteriſtics of the heavy
' v 1 '
ya- -7-'
'ju-
Te, V vmflzlv,_ V' V; Iſv V V ' V U U V V V
e ..eaaeaaeneaaeaeianswers-affluent
O O omc o 0 O O 0 O O O O O 0 OIO 0
0 0 0ſL-"H in' Omotflofflomo o r
99
o
r 30 _.
'l e' ,-.* _' _ſſ l V nzl y l , m ,
' o ' o o \
_ .' ., '.'\ 1 a' _ 3 . \






r


FAME? -',.


- llllllll

m l I l . 4 . A [a r
' mwnmlun m -' nmnlmll u-
ſi/ZW
\\
/
'it hll'lh \\=





\ t LL
t. '1 a? i O \\9\ By' 39 N' . 0 o 07 0 o \ a 0 0. '<\\o \o\\o o] At? o o O ſ' 1
.l- v v'v $ '**- *' *-'-'\ſſ- -'--< '<- -- ,'
o o OR AAALAOS J
a [A := l k



G-MATCAUX-K
furniture made in the North of Europe with a propriety
of treatment in the ornamentation of mouldings and cornices



cxxiv I ntrodact'ion.
peculiar to French architects, who continued to deſign ſuch
ſtructures for the houſes they built and fitted up.
The deſcendants of Catherine de' Medicis and their gene-
. ration were trained by Italian artiſts and altogether in Italian
taſtes, and no great change occurred in France in wood-
work or furniture till the ſixteenth century was over. Nor
were there any great changes in French manners till the reign
of Louis XIV., a monarch who ſpared nothing to make his
palaces ſplendid, and under whom the arts of every kind were
liberally encouraged. From the date of that reign the lead in
ſuch matters belongs to France rather than to Italy, and the
initiative in changes in furniture and all ſumptuary faſhions was
French thenceforth.
In German and in Italian furniture the principal changes
were in the direction of veneered and marquetry work. The
ſame vigorous quaintneſs continued to diſtinguiſh German
decorativedetail as has been already noticed.
The Italians carved ſoft woods during the later ſixteenth
and the whole of the ſeventeenth centuries with extraordinary
grace and vigour. The frames of pictures were cut out in
_ great ſweeping acanthus leaves, ſhowing an eaſe and certainty
in the carver that look as if he were cutting ſome ſubſtance
more yielding than the ſofteſt wood. There are examples of
frames in the Muſeum. Chairs cut in the ſame ſtyle are in the
Hertford collection, and this luxurious carving was not un-
frequently applied to the decorationof State carriages. Venice
maintained a preeminence in this carved and gilt furniture
manufacture, perhaps in a greater degree than Florence, though
in the valley of the Arno the willow, lime, ſycamore, and other
ſoft white woods were to be had in abundance, and invited
. ſuch freedom in carving.
- We may now treat of an important epoch in the hiſtory of
modern furniture. Venice was the ſeat of the manufacture of
gleſſr. In the ſixteenth century workmen had received State
I ntrodnct'z'on. CXXV
protection for the manufacture of mirrors, which till that time
had been mere hand mirrors, and made of mixed metals
highly poliſhed. Gilt wood frames were extenſively manu-
factured for theſe Venetian looking-glaſſes, which found their
way all over Europe.
Beſides gilt frames for mirrors and pictures, gilt chairs,
carved conſoles, and other highly ornate furniture were intro-
duced as the century went on, and moſt of this took its origin
- from Venice. Elaborately carved boxwood was alſo uſed in
chair making, with




foliage like that on No. 4256. ' 56. Other . . . ,. 'Is--
ſpeclmeons are con- o j ' M Pfljgffis ictg
tained 1n the Abbots-
* t) '5
ford collection. The QWſſ/M fineſt to which we can U. aſ- ____ſi A' N _) p
refer are a ſet that ' - \-=:/'_i ' '-_ ',' I A 4, ,
have never been out ſi' Wſilhſi \ ſi>i<> VZ; i _ -' [U 'r All ll t'H
of Venice, and are -:'= U U U U U l/ e
kept in the Accade- is, 1
mia delle Belle Arti i' = of that city. An admirable ſchool of ,__*: ct i
carvers in oak con- it, , i'- ,M tinued in Flanders. "iiiſſz-ll'fi if; JY/ The Woodcut repre- / p \ ,
ſents a ſmall frame, l ., if, ſ/ - Al
No. 1605. '55 in the ſiſi' \ Why Wffiix' '-'-ſſ in;" '*ſi*i-ſi'\_
collection. . A, Milk,- ' - &Liar-1 is?
i Another remark-
. i-
> i/ect s
able claſs of gilt *' e
woodwork, for which
Florence and other cities had found trained carvers, was the
framework of carriages. In England, France, Germany, and
CXXvi I ntroa'uct'z'on.
Italy carriages during the ſeventeenth century were ſtately, and
certainly wonderful pieces of furniture. Examples of theſe
ſhowy carriages exiſt ſtill. There is a collection belonging to
the royal family of Portugal, now preſerved at Liſbon, one or
two in the Muſeum of the Hotel de Cluny at Paris, dating
from the 'time of Martin and painted by him, and there are
a few carriages of old date at Vienna and in ſome private
houſes no doubt.
Of the ſeventeenth century we have an Engliſh example '
in the ſtate coach of the Speaker, deſcribed in the Appendix.
A very ſplendid carriage was made for Lord Caſtlemaine,
the ambaſſador of James II. to the Holy See. It is engraved
in the publiſhed account of the ſtate entry of the embaſſy
into Rome. It was a piece of Italian carving conſiſting of
borders and framework of enormous acanthus leaves boldly
deſigned, and the ends gracefully curling over. Such work
continued to be made on looking-glaſs frames of the Venetian
or Florentine ſchool of the ſeventeenth century.
Germany differed leſs from Italy even than France 'in wood
carving, interior room fittings, and the frequent pedimental
compoſitions containing groteſques, or heraldic achievements on
a ſcale of ſumptuous diſplay. The German princes were many
of them ſkilful and intelligent patrons of art, and made collec-
tions in their reſidences. A well-known piece belonging to the
early ſeventeenth century is preſerved in the Royal muſeum at
Berlin. This is known as the Pomeranian Art Cabinet. It is
4 ft. IO in. high, 3 ft. 4 in. wide by 2 ft. IO in. deep, made of
ebony with drawers of ſandal wood lined with red morocco
leather, and is mounted with ſilver and pietra dura work, and
fitted inſide with utenſils of various kinds. It is ſupported by
four griffins with heads and manes of ſilver richly gilt, but the
real weight is borne by a metal ſcroll. The baſe is inlaid with
ſmall panels of lapis lazuli, jaſper, cornelian, and agate, with
plates of chaſed ſilver between. There are friezes, upper and
Introdueſit'ion. cxxvii
lower, compoſed of fruit and of the attributes of muſic, on
the ſides. Female figures and boys playing muſical inſtruments
divide the ends and ſides into panels, in which are medallions,
ſome in ſilver, ſome painted in Limoges enamel. Theſe repre-
ſent the liberal arts and muſic. The whole is a maſterpiece of
the various arts applicable to furniture in every kind of material.
The names of goldſmiths, gem cutters, Limoges enamellers,
lockſmithsb chaſers, engravers, ſculptors, cabinet-makers, &e.
employed on the cheſt are preſerved. Thoſe which ſpecially
concern our preſent ſubject are enumerated in the biographical
notices. The whole was deſigned by Philip Heinhofer of
Augſburg and executed under the charge of Philip Baum-
gartner, a cabinet-maker for Philip II., duke of Pomerania,
between the years I6II-I6I7. The chair, No. 2399. '55, is
German of about this date (ſee woodcut on next page). An
elaborate ſteel chair, made at Augſburg, is deſcribed in the
Appendix.
In France, Germany, Italy, Spain, and Portugal, during
the ſeventeenth century, marquetry was extenſively uſed. It
became the leading feature of furniture decoration. Inlaying
had long been in uſe; but the new marquetry was a pictu-
reſque Compoſition, a more complete attempt at pictorial repre-
ſentation. It cornes before us in old furniture under various
forms, and many examples of it may be ſtudied among the
Italian and Spaniſh cabinets of the collection. We find little
of it in this country till late in the century. We may conſider
it as mainly either a foreign or an imported art till the reign of
William and Mary, when Dutch marquetry furniture became
the faſhion in the form of bandy-legged chairs, uprightſiclock
fronts, ſecretaires or bureaux, or writing cabinets which were
cloſed in the upper and middle parts with doors, and other
pieces of furniture that offered ſurfaces available for ſuch deco-
ration. The older deſigns on_work of this kind repreſent tulips
and other flowers, foliage, birds, See, all in gay colours, gene-
cxxviii - I ntrodact'ion. -
rally the ſelf colours of the woods uſed. Sometimes the eyes
and other ſalient points are in ivory or mother-of-pearl. i
In France, in marquetry deſigns of the earlier ſeventeenth
century, pictureſque landſcapes, broken architecture, and figures
are repreſented. Colours are occaſionally ſtained on the wood.
Ivory and ebony were favourite materials. In Germany and in

\,*
..,',- r' , \ __ -
- , qzlſz I) A
i i' ' .
* x , J. _ . >
. '__- Hq He p _:u_ . X ' .
N "x 19 .-,.> \ \.
\, A 'Rj o l
\ i
\l\ ſþl"
V) \ lſ'i'
lll
'-
ll .
w,
ll

No. 2399. '55.
Italy marquetry became the prevailing faſhion in the middle of
the ſeventeenth century. Ivory and ebony are the common
materials uſed by the Italian makers of marquetry during that
century.
I nzrodactlz'en. cxxix
It is to be noted that as the vigour of the. great ſixteenth
century movement died out, the mania for making furniture in
the form of architectural models died out alſo ; nor do we find
it becoming a faſhion again till quite modern times, under the
Gothic and other revivals at the end of the laſt and the begin-
ning of the preſent century. The architectural idea was in
itſelf full of grandeur, and it was productive of very beautiful
examples in the ſarcophagus-ſhaped cheſts or caſſoni, and in
cabinet work, though the ſacades of temples and the vaults and
columns of triumphal arches in Rome do not bear to be too
completely reduced to ſuch ſmall proportions.
With the introduction of marquetry into more general uſe
we recogniſe not only a new or renewed method of decora-
tion, but a changed ideal of conſtruction. Boxes, cheſts, tables,
cabinets, &e. were conceived as ſuch. They were no longer
ſubdivided by architectural mouldings and columns, all ſo much
extra work added to the ſides and fronts of furniture. Theſe
various objects were put together more in accordance with the
proprieties demanded by the uſes to which they were to be put.
Though often dramatic in effect, they were more natural and
convenient for uſe. The profuſion of talent too, in ſculpture,
was leſs abundant at this period, and the gradual dying out
of good figure cutting, ſo eſſential to the earlier work of the
century, helped the introduction of a kind of decoration that
required excellent workmanſhip, but could be executed on even
ſurfaces of wood.
The earlier marquetry of both Italy and Germany contains
continually pieces of ivory, on which the intended deſign is
helped out by engraving. Indeed, in Italy the marquetry of
the following century continued to be made in the ſame
way, and the ſpirit and grace of many of the deſigns ſo
graphically executed in this material make up for the inexact-
neſs of the work as compared with the beſt work of French
makers.
F. i
CXXX I ntroa'nct'z'on.
About the middle of the ſeventeenth century a kind of
work altogether new in the manufactory of modern furniture
made its appearance under the reign of Louis XIV. of France.
That king roſe to a poſition in Europe that no monarch of
modern times had occupied before, and the great miniſters of
his reign had the wiſdom to take ſpecial meaſures for the
eſtabliſhment in France of the various arts and manufactures in
which either the Italians or Flemings excelled the French as
well as other nations.
The learned men, politicians, and generals of that reign
affected and attained great perſonal accompliſhments, and lived
ſplendidly. It was a period, therefore, of refinement in
manners and in living all over the kingdom. Great buildings
roſe up on all ſides. The nobility rebuilt their country
houſes on a large ſcale, maintained magnificent lzdtels or town
houſes in Paris and the great provincial capitals. The name
that firſt calls attention in this direction is that of Monſeigneur
de Noyers de Dangu, Surintendant des Mazſons Roynles et
Baſtz'ments de France, from 1633 to 1643, " On peut dire
en general que de ſon temps' il avoit porte tous les beaux-
arts au plus haut degre de perfection qu'on euſt jamais veu
en France, l'Architecture civile, la militaire, la peinture, la
ſculpture," &QM This great activity, and the leaderſhip which
France retained for a hundred and fifty years, are partly due
to the taſte and perſonal ſplendour of the king, more ſtill
to the perſonal activity and foreſight of one of his miniſters.
Colbert had been private and confidential ſecretary to
cardinal Mazarin, the miniſter who governed France during the
minority of the king. On the death of Mazarin, Colbert
ſucceeded to a ſhare of his power. Without the title of
miniſter, ſuch as the cardinal had enjoyed, Colbert obtained a

14' Roland Freart de Chambray : Parallele d'Architecture, etc. Ep. Dedica-
toire, p. 2.
I ntroduection. cxxxi
great political poſition. He became the king's t chancellor of
the exchequen' He was miniſter of finance.
Amongſt the vaſt financial and commercial reforms of
Colbert he eſtabliſhed learned ſocieties and ſchools of art of
every kind, ſuch as the Academie des Inſcriptions, &e. What
more immediately concerns this preſent inquiry is the eſtabliſh-
ment in 1664 of an " Academie Royale de Peinture d'Architec-
ture et de Sculpture." It was into this that the deſigners of
architecture, woodwork, Ornament or furniture, were admitted.
He alſo eſtabliſhed in 1667 the famous factory of the " Gobe-
lins " for making pictorialtapeſtry. The place took its name
from the brothers Gobelen, Flemings, who had a dyeing
eſtabliſhment in the Rue Mouffetard. This factory, as every
one knows, is ſtill in activity and kept up at the expenſe of the
civil liſt. Lebrun, the painter, was made the firſt head of this
eſtabliſhment. Numerous deſigns of tapeſtries by him in ſets
or ſeries have been engraved. Beſides tapeſtries, however,
Lebrun gave deſigns for decorations of all ſorts, including
the ſculpture of chimney-pieces, furniture mounts, &e. Much
of the contemporaneous art for room decorations, fire-place
fronts, &e. ſhould be credited to him.
An important name in the hiſtory of art of this furniture
kind is that of Jean Lepautre. He has left numerous deſigns
of Ornament behind him for panelling, mirror frames, carriages,
&c. Lepautre was a pupil of Adam Philippon. This artiſt
has alſo left deſigns of Ornament. His chief calling was that
of a joiner and cabinet maker.
It was Colbert who puſhed forward the renewal or comple-
tion of the royal palaces. He ſummoned the chevalier Ber-
nini, the moſt popular architectural artiſt of the day, from Italy.
From him he obtained deſigns for the completion of the
Louvre which, however, was entruſted to Perrault, to whom
we owe the colonnade. At the ſame time the Chateau of St.
i 2
cXXxii I ntrodact'ion.
Germain received addition and enlargement, and the king took
up the conſtruction of a new and magnificent reſidence at the
royal Chateau of V erſailles. This had been a country houſe or
hunting ſeat of Louis XIII. It was enlarged and carried, with
the exception of the theatre and chapel, to the extent it now
occupies. For the furniture of the palace of lVerſailles, which
took many years to complete, we find a new material in uſe,
BOULE MARQUETRY. This manufacture owes its name to the
maker. Andre Charles Boule was born in 1642, and made the
peculiar kind of veneered work compoſed of tortoiſeſhell and
thin braſs, to which are ſometimes added ivory and enamelled
metal; braſs and ſhell, however, are the general materials of
this kind of marquetry. Boule was made head of the royal
furniture department and was lodged in the Louvre. A very
intereſting early ſpecimen of this work, now at Windſor Caſtle,
is deſcribed in the Appendix; as are alſo other early pieces be-
longing to Sir Richard Wallace. The date aſiigned to the firſt
makes it doubtful whether Boule may not have ſeen the ſame
ſort of work practiſed in other workſhops. This kind of mar-
quetry has, however, been affigned by general conſent to Boule.
In the earlier work of Boule the inlay was produced at
great coſt, owing to the waſte of valuable material in cutting;
and the ſhell is left of its natural colour. In later work the
manufacture was more economical. Two or three thickneſſes
of the different material were glued or ſtuck together and ſawn
through at one operation. An equal number of figures and of
matrices or hollow pieces exactly correſponding were thus pro-
duced, and by countercharging two or more deſigns were ob-
tained by the ſame ſawing. Theſe are technically known as
' Boule and Counter,' the braſs forming the groundwork and
the pattern alternately. In the later or ' new Boule' the
ſhell is laid on a gilt ground or on Vermilion. The braſs is
elaborately chaſed with a graver.
. Intrednctz'on. cxxxiii
Beſides theſe plates of braſs for marquetry Ornaments, Boule,
who was a ſculptor of no mean pretenſions, founded and chaſed
up feet, edgings, bracket ſupports, &e. to his work in relief,
or in the round, alſo in braſs. The original uſe of theſe parts
was to protect the edges and angles, and bind the thin inlaid
work together where it was interrupted by angles in the ſtructure.
Afterwards braſs mounts, more or leſs relieved, were added to
enrich the flat deſigns of the ſurfaces. Claffical altars, engraved
or chaſed as mere ſurface decoration, would receive the addition
of claw feet actually relieved. Figures ſtanding on ſuch altars,
pedeſtals, &c., were made in relief more or leſs bold. In this
way Boule's later work is not only a brilliant and rich piece
of ſurface decoration, but its metallic parts are repouſſeſi: or
emboſſed with theſe thickneſſes of metal Ornament. In Boule
work all parts of the marquetry are held down by glue to the
bed, uſually of oak. The metal is occaſionally faſtened down
by ſmall braſs pins or nails, which are hammered flat and chaſed
over ſo as to be imperceptible. There 'is no ſpecimen of this
coſtly and artiſtic furniture to point to in the South Kenſing-
ton Muſeum, but fine examples belonging to various collections
are fully 'deſcribed in the Appendix.
In England, during the reign of Charles II. and of James,
French furniture was imported; the old Tudor oak furniture
lingered in country houſes. Boule hardly found its way till
the following century to England. Splendid ſilver furniture,
conſiſting of plates emboſſed and repouſſe, heightened with the
graver, and of admirable deſign, was occaſionally made for the
Court and for great families. A fine mirror frame, belonging
to the Been, and a table, both of the ſame material, can be
ſeen (the one on loan, the other reproduced in the form of an
electrotype caſt) in the Muſeum. We call attention to them
in the catalogue. Theſe are probably to be traced to French
faſhions of the court of Louis, though they are admirable
filverſmith's work of Engliſh manufacture.
cxxxiv I ntraductzſiarz.
The wood carving deſigned by the ſchool of Sir Chriſtopher
Wren, as in the bracket here ſhown, No. 71. '64, from Eton
i College Chapel, was long
continued in connexion
ſſ i with architecture.
A revival of wood
carving took place dur-
ing the latter half of the
ſeventeenth century in
England, and was car-
ried to the higheſt pitch
of technical execution
and finiſh, as well as of
truth of natural forms
in the carving of Grin-
. ling Gibbons. This
artiſt was Engliſh, but partially of Dutch deſcent. He carved
foliage, birds, flowers, buſts and figures, pieces of drapery,
&c., with aſtoniſhing dexterity. In furniture we find his work
principally on mirror frames, wall panels, chimney pieces, &c.

Specimens may be ſeen over the communion table of St.
James's church, Weſtminſter, and in the choir of St. Paul's
Cathedral. The fineſt examples known are, we believe, the
carved work at Petworth houſe, in Suſſex, and at Chatſworth.
His material is generally lime and other white woods. The
flowers and foliage of his groups or garlands ſweep round in
bold and harmonious curves, making an agreeable whole,
though for architectural decorative carving no work was ever
ſo free from conventional arrangements. His animals or his
flowers appear to be ſo many ſeparate creations from nature,
laid or tied together ſeparately, though in reality formed out of
a block, and remaining ſtill portions of a group cut in the ſolid
wood. We cannot point to any piece in the collection that
ſatisfies us as being his actual production.
Introducflion. cxxxv
Walpole mentions Watſon as having been a pupil and
aſiiſtant at Chatſworth. Drevot of Bruſſels, and Laurens of
Mechlin, were other pupils: the former did not ſurvive him.
Gibbons died in 1721. His ſchool had many followers, for
we find the acanthus carvings on mouldings, round doorways
and chimney pieces, down to the middle of the eighteenth
century, executed in England with a maſterly hand. Specimens
of ſuch work have been recently acquired in the Muſeum, the
fruits of the demolition of old London, now in progreſs ( ee
woodcut in title page). Nothing can ſurpaſs the perfect maſtery
of execution in this claſs of carving. All the work is cut clean
and ſharp out of ſoft wood (deal), which admits of no tentative
cuts, and requires no rubbing down with ſand paper, and in which
errors are not to be repaired. Lengths of theſe mouldings were
worked off by hand, evidently without heſitation and without
miſhap. Country houſes abound with this admirable though
unpretending carved work, and give ample evidence of the
exiſtence of a ſchool of fine workmen, carvers at the command
of the architects of the day.
We may here revert to an important addition to room fur-
niture, to which we have referred before, and which became
European during this century. Mirrors had been made from
the earlieſt times in poliſhed metal, alloys of various kinds.
It was in Venice that mirrors of glaſs were firſt made. In I 3 18
it was repreſented to the grand council of the republic that two
Venetians and a German had made experiments not quite ſuc-
ceſsful in this direction. In I 507 Andrea and Dominico, two
glaſs Workers of Murano, declared before the Council of Ten
that they had found a method of making "good and perfect
mirrors of cryſtal glaſs." A monopoly 15 of the right of manu-


15 A. Sauzay, Collection Sauva- and Bacon as well, in the thirteenth.
geot, r/ol. i. xxxiii. The uſe of glaſs century. Pliny in his account of the
for mirrors was known to Peckham manufacture of glaſs ſeems to hint at'
CXXXVi I ntrodaction.

facture was granted to the two inventors for twenty years.
In 1564, the mirror makers became a diſtinct guild of glaſs
Workers. The plates were not large: from four to five feet
are the largeſt dimenſions met with in theſe mirrors, till late
in the eighteenth century. They were commonly bevilled
on the edges. The frames in ſoft wood, as in this wood-
cut of No. 46. '52, are
ſpecimens of free carving
during the ſeventeenth
century. Both in Venice,
where the chief manufac-
" j _ture was carried on, and
in Florence, ſoft woods,
willow, lime, &c. were
carved and gilt for frames
of pictures and for mir-
rors. The mirror-plates
were, at firſt, ſquare or
oblong. Towards the end
of the century we find
them ſhaped at the top.
In the eighteenth century
they were generally ſhaped
at the top and bottom.
, Figures were ſunk in the
ſtyle of intaglio or gem cutting on the back of the glaſs and
left with a dead ſurface, the ſilver ſurface of the mercury
ſhowing through as the mirror is ſeen from the front.
the invention of glaſs mirrors in Sidon. ſtatement that mirrors had actually
Elſewh'ere he ſpeaks of ſlabs of ob- been made of glaſs in his time. They
ſidian (ſee p. xxxi), and of dark glaſs are therefore aſſumed to be of modern *
made like obſidian, uſed for this pur- invention. See Beckmann, Hiſtory of
poſe. The paſſage, however, is too Inventions, ii. 76; and Pliny, Nat.
Obſcure to authoriſe us to accept it as a Hiſt. B. xxxiii. 45, xxxvi. 66.
ſntrodnct'ion. cxxxvii
In the reign of Louis XIV., mirrors became a general
element of room decoration. In 16 34, attempts were made to
produce ſuch mirrors in France, but though blown window
glaſs was an induſtry well underſtood, flint plates for looking-
glaſſes could not be produced till ſome years later. In 166 5
Colbert eſtabliſhed a factory for them under Nicolas Dunnoyer
and others in the Faubourg St. Antoine. In 1666 men were
hired from Murano, the ſeat of the Venice manufacture, and
were ſettled at T ourlaville, near Cherbourg. Louis XIV.
ſtrictly forbade the ſale of any mirrors but thoſe of French
manufacture in France. In 1688, Abraham Shevart, or
Theward, introduced in Paris the caſting of large plates, re-
ſtricted at firſt to the meaſurement of ſixty inches by forty,
afterwards enlarged to eighty-four inches by fifty in width,
no plates made from blown glaſs having been made larger
than fifty inches in the longeſt meaſurement. The glaſs was
poured on a metal table with metal edges and rolled out by a
heavy iron roller. Works were eſtabliſhed for this manufac-
ture at St. Gobain on part of the feudal property of the houſe
of Couey. Theſe have maintained their celebrity for the pureſt
and whiteſt plates to the preſent day.
We know that window glaſs had been manufactured in
England as early as the year 1439, but there was a preference
ſtill for glaſs from beyond the ſeas. The making of glaſs was
begun in London as early as 1 55 5. That of flint glaſs was in-
troduced ſoon after. The Lambeth works, where our famous
Vauxhall plates were made, were ſet up by the help of the
Duke of Buckingham in 1670. He alſo was forced to bring
workmen over from Venice for the purpoſe. The manufacture
* was foſtered by bounties given by Government for all glaſs of
this kind made there for exportation; this reduced the coſt of .
manufacture by ſome 5o to 25 per cent.
Other factories were erected to take advantage of this
aſtiſtance. At a later time the impoſts on glaſs in the form
cXXXviii I introduction.
of exciſe duties gave the manufacture a check more than
equivalent to the earlier encouragement; a check which the
ſurveillance of Government officials aggravated not a little.
It was not till the year 1845 that an act of parliament put an
end to both bounties and exciſe duties.
As had been the caſe with the Venetian looking-glaſſes,
ſo thoſe made in the ſeventeenth and eighteenth centuries by
colonies of Venetian workmen in England and France, had the
plates finiſhed by an edge gently bevilled of an inch in width,
following the form of the frame, whether ſquare or ſhaped
in curves. This gives preciouſneſs and priſmatic light to the
whole glaſs. It is of great difficulty in execution, the plate
being held by the workman over his head and the edge
cut by grinding. It requires careful manipulation, and in the
caſe of modern manufacture entails frequent breakages. The
feats of ſkill of this kind in the form of interrupted curves
and ſhort lines and angles are rarely accompliſhed by modern
workmen, and the angle of the bevil itſelf is generally too
acute, whereby the priſmatic light produced by this portion
of the mirror is in violent and ſhowy contraſt to the
remainder.
In England, looking-glaſſes came into general uſe. "Sir
Samuel Morland built a fine room at Vauxhall in 1667, the
inſide all of looking-glaſs, and fountains, very pleaſant to
behold. It ſtands in the middle of the garden covered with
Corniſh ſlate, on the point whereof he placed a Punchinello."
At about the ſame period the houſe of Nell Gwynne (on the
ſite now occupied by the Army and Navy Club in Pall Mall),
" the firſt good one as we enter St. James' Square from Pall
Mall, had the back room on the ground floor entirely lined
with looking-glaſs within memory," ſays Pennant, " as was ſaid
to have been the ceiling." " La rue St. Andre-des-Arts,"
ſays Savarin, ſpeaking of Paris in the ſeventeenth century,
'5 cut le premier Cafe orneſi de glezees et de tables de marbre a
Introduction. cxxxix
peu pres comme on les voit de nos jours." 16 Louis XIV., and
his court, in which Charles II. had paſſed a portion of his exile,
ſet the faſhions in all reſpects to the court of London. A
Wide line ſeparated court life from the ordinary cuſtoms and
habits of country gentlemen and their families. In the latter,
therefore, old faſhions lingered longer.
During the ſeventeenth century T ape/try, the material in uſe
for hanging and decorating the walls of ſplendid rooms in France,
was made alſo in this
country. Factories were
ſet up at Mortlake,
where ſeveral copies
were made of the Ra-
phael tapeſtries, the
cartoons of which were

in this country; and
in Soho Fields (the
ſite of Soho Square).
Sometimes tapeſtry was


hung on bare walls;
Occaſionally it was
ſtrained over the olderſL? panelled work of the *
days of the Tudor o
and Stuart ſovereigns,
the fruitful period of
country houſe archi-
tecture in England.
With this woodcut of a bedroom holy water Veſſel,
No. 202 9. ' 5 3, we finiſh the account of this period.

16 Aubrey, Antiq. of Surrey, i. 12. Pennant, London, p. 69. Savarin,
Phyſiologie du Gout. Meditation, xxvii.
cXl i ntrodact'ion.
I 5. Furniture of the Eighteenth Century on the Continent.
As the eighteenth century draws on, we come to furniture
of which examples are more readily to be met with, and we are
reminded of houſes and rooms more or leſs unaltered which
have come under general Obſervation.
The faſhions were led in France. The Boule work grew
into larger and more impoſing ſtructures as the manufacture
paſſed into the hands of a larger number of workmen. The
commodes or large preſſes were made with edgings and mounts,
in the form of " egg and tongue," and other claffic or Renaiſ-
ſance mouldings. The tops were formed into one, or three
pedeſtals, to hold clocks and candelabra. Other changes were
introduced to carry out the taſte for gilding, which prevailed in
the ſtately ſalons of Louis XV.'s reign, and proceeded, in ſome
meaſure, from the facility for obtaining larger ſurfaces of look-
ing-glaſs. The broken ſhell-ſhaped Woodwork, popularly called
Louis (Liinze work, began to be adopted for the frames of large
glaſſes and the mouldings of room panels. This kind of deco-
' ration is ſaid to owe its origin to Bernini and Borromini." The
panels grew tall, were arched or ſhaped at the top, and occu-
pied the wall ſpace from the dado to the moulded and painted
ceilings, in narrow panels. The broken and fantaſtic forms of
curve, the emblems of the affected manners of the day, called
Roeoeo, from the words roeaille eoguille, rock and ſhell curves,
were well calculated to ſhow off the luſtre of gilding. The
gold was admirably laid on, thick and very pure. Both the
bronze gilding and that of the Woodwork of that period main-
tain their luſtre to the preſent time. The ſevere claſſical
grandeur of the old_ roll mouldings of ſireplace jambs, wall
and door panels, of the former reign gave way everywhere to
this lighter work. It became the faſhion in France, England,

17 Deſtailleur, Recueil d'Eſtampes, &c. Paris, 1663.
I ntrodnctz'on. cxli
and Germany. White paint and gilding ſuperſeded the more
ſober hues of the oak and of the dark limeſtones and marbles
_ with which rooms, ſireplaces, &e. had been fitted during the
more claffic reign of Louis XIV.; and forms of woodwork
that ſhould vary and enrich ſuch gay colouring became a
neceffity.
Carriages came into general uſe both in France, Germany,
Italy, and Spain, as well as in our own country. They were
ſplendidly carved along the edges of the door panels, and the
leather coverings faſtened on with rows of gilt round-headed
nails an inch in diameter. Theſe were ſometimes'beaded with
glaſs. Lord Darnley's carriage will afford a good example.
It belongs to the days of Hogarth, and the ricketty poſture
in which the body ſwings between the high framework over
each pair of wheels, 'will remind the reader of thoſe ſeen in
Hogarth's paintings. It is fully deſcribed in the Appendix.
Much early eighteenth century furniture was bombe, or
rolled about in curious curves or undulations of ſurface, partly
to diſplay the ſkill of the cabinet-makers, and partly to ſhow off
the marquetry, which formed its only decoration. A German ſſ
ſecretaire, or bureau, No. 4908. ' 58 in the collection, will ſerve
as an example of the cabinet-maker's difficulties on ſuch work,
though it is but an indifferent ſpecimen of marquetry.
Another ſtep that we notice in the furniture manufacture
of this period is the introduction of mechanical applications and
contrivances. The tops of tables lift off, and the action cauſes
other portions to riſe, to open, and ſo on. It is to be remem-
bered that bedrooms were often uſed as boudoirs or ſtudies, and
that furniture that could ſhut private papers 'up without requiring
that they ſhould be put away into drawers, was convenient in
ſuch rooms. As the century advanced, it became cuſtomary
to form a ſort of alcove at the end of bedrooms in France.
The centre portion contained the bed, hidden by Curtains, the
ſpaces between it and the two walls were ſhut in with doors,
cXlii I n freer/action .
and formed dreſſing cloſets, which could be uſed while the reſt
of the room was ſhut off. The bedroom then became a recep-
tion room, and was thrown open with other receiving rooms of
the houſe. Bureaux or mechanically ſhutting tables, writing
deſks &e. became under this arrangement a neceſſity for ſmall
rooms. Theſe clever productions became ſtill more general in
the age of Louis XVI., who was himſelf a mechanician of no
mean pretenſion.
A ſchool of painters aroſe in the reign of Louis XV., who
devoted themſelves to the painting and decoration of room
woodwork and ceilings ; Charles Delafoſſe, Antoine Coypel,Jean
Reſtout, and many pupils. We muſt aſſociate the names of
theſe artiſts with thoſe of the Le Pautre family. Jean died
before the end of the ſeventeenth century, but Pierre took part
in the later works of the Louvre and of Verſailles under Jules
Hardouin Manſard, " ſurintendant des baſtiments." Juſte Aurele
Meiſſonnier did ſtill more to make this ſhowy work popular.
He deſigned all ſorts of room furniture and woodwork. It is
amongſt the publiſhed works of theſe artiſts that we muſt ſeek
the eighteenth century deſigns of the French ſaſhion in furniture.
Painted panels were inſerted into the wood ceilings, over the
tops of looking-glaſſes, and deſſns-portes or the ſhort panels
between the tops of doors and the line-of cornice. Theſe are
generally in chiaro ſcuro, or light and ſhade only, and repreſent
families of cupids. Nymphs, cupids, ſhepherdeſſes, all the ſup-
poſed inhabitants of a fanciful Arcadia, formed the general
ſubjects of room decorations.
France ſtill continued _to maintain an abſolute ſupremacy in
faſhion. Our early Georges, the great Frederick of Pruſſia,
the Ruſiian court, all more or leſs aimed at talking, dreſſing,
and furniſhing their houſes in accordance with French taſte,
The misfortunes in ſtore for the cloſe of the eighteenth century
were totally unforeſeen, and the reſources of the privileged claſs,
the landed nobility, which had been crippled by the wars of
I ntroduelion. Þ cxliii
Louis XIV., were ſtill further waſted by the extravagance of
the ſucceeding reign.
A proceſs belonging to the reign of Louis XV. ſhould be
noticed, called after the inventor, VERNIS MARTIN. Martin
was a carriage painter, born about the year 1706. By car-
riage painter we muſt underſtand a painter of heraldic orna-
ments, flower borders, &e. His varniſh is a fine tranſparent
lac poliſh, probably derived from Japan through miſiionaries,
who had reſided there before the occurrence of the great
maſſacres which cloſed Japan to all but the Dutch traders.
The work we commonly aſſociate with his name is generally
found on furniture ſuch as tables, book caſes, on carriages, as
well as on needle'caſes, ſnuff boxes, fans, etuis, &c., on a gold
ground. The gold is waved or ſtriated by ſome of thoſe
ingenious proceſſes ſtill in uſe amongſt the Japaneſe, by which
the paſte or preparation on which their gold is laid is worked
over while ſtill ſoft. There is a piece in the Muſeum deſcribed
in the Appendix.
It is difficult to conſider Martin's invention as having any
eſſential diſtinction from' the Japaneſe proceſs. Embaſlies to
China were not unknown during the reigns of Louis XIV. and
Louis XV., and the muſical boxes and other clockwork con-
trivances of French makers of the laſt century, found in plun-
dering the Summer'Palace, ſhow that interchanges of gifts and
precious commodities took place between China and the Court
of Louis XV.
The fan exhibition held in the Muſeum during the year
1870 brought into notice fans painted on ivory of Martin's
manufacture. On theſe the gilding was leſs prominent than the
delicate flower and arabeſque Ornament. Martin was conſidered
to have executed this ornamental work only on the fans, etuis,
and other objects that bear his name. Other artiſts were
employed to paint miniature figure ſubjects in the manner of
Watteau, Lancret, and other artiſts of his day. Different
cxliv '_ I ntrodact'ion.
hands are recogniſable in theſe portions of Vernis Martin
decoration.
An intereſting collection of Martin work, chieſiy vaſes, all
of wood, and mounted in ſilver gilt by modern ſilverſmiths, is
now under exhibition in the Muſeum. Many of theſe are later
than the inventor's time, and retain, perhaps, nothing more than
the proceſs. Some are on brown, and others on Vermilion
grounds. They are of various ſizes. Figures and decorations
are painted on the ſides; To a few there is a ground of gold
duſt or 't Japanning." ' The collection has been lent gby Lord
Mansfield. One or two carriages beautifully painted in Vernis
Martin are kept in the Hotel de Cluny in Paris. When
viewed in connexion with fans and ſuch work as ſnuff-boxes,
needle-caſes, &c., we ſee at once that Martin, while he painted
carriages and ornamental work requiring this fine quaſi enamel
treatment, left imitators and pupils who painted and enamelled
furniture of various forms, occaſionally cabinets, in his manner.
It is popularly held that Martin declared that his ſecret ſhould
die with him, and that he kept his word.
In the Hertford Collection there are two pieces of furniture,
coloured green and varniſhed, one a table, and the other a
cabinet or bookcaſe, of Vernis Martin work. There is on theſe
no Ornament excepting the varniſh and the gold mounts that are
added at the edges. The moſt beautiful objects that bear his name
are the ſmall wares, ſnuff boxes, &c., ſpecimens of which are in
the collection of Sir Richard Wallace and in many private hands.
Later in the century we meet with other French names,
Rieſener, David, and Gouthiere, who gained great reputation,
the two firſt as makers of marquetry, and the latter as a founder
and chaſer of metal furniture mounts, ſuch as edgings, lock
ſcutcheons, &c.; of their art many examples are deſcribed in
the Appendix.
The hiſtory of French furniture is in general, as we have
obſerved, the hiſtory of that of other nations. ' The art of
Introdnct'z'on. cxlv
wood carving was ſtill maintained in Italy and applied, as in the
inſtance of this diſtaff, No. 1047. '55, to utenſils of all kinds. In England we had, about the middle of the
century, a ſchool of carvers, gilders, and ornamenters
following the extravagant ſtyle of the French. The
moſt prominent name in this field is that of Thomas Chippendale. He worked from the middle till towards
the end of the century. He was deſcended from a
family of carvers, and inherited the ſkill which had been
general in his craft ſince the days of Gibbons. We
find much rococo carving on bed teſters, round fire-
places, over doors, &e. in our Engliſh houſes built
during the reign of Anne and the firſt two Georges.
Thomas Chippendale publiſhed a book, to be noticed
further on. He was deſirous of maintaining what were
then faſhionable deſigns, and of following the French
examples, with certain differences, in his carving.
Other furniture, ſuch as carved tables, wardrobe cabinets,
chair backs, dinner trays, &c., go by Chippendale's
name. They are in mahogany, and follow architectural
moulding lines ſuch as are known in the works of Sir
William Chambers and the brothers Adam. This claſs of
Chippendale furniture belongs to a later period in the century,
and we ſhall have to recur to theſe names in connexion with
others further on.

Our ſpace does not permit us to call attention to our many
country and London houſes in which earlier French rococo
woodwork can be ſeen round the panelling of long ſnz'tes of
apartments provided by the architectural diſpoſitions of eigh-
teenth century houſes in England, all the rooms being accom-
modated to creceptions' or routs, and opening one into the
other. The paintings of Hogarth have preſerved lively repre-
ſentations of the interiors of houſes as well as of the manners
and faſhions of his day.
F. k
cxlvi I ntroeluct'z'on.
Among the room decorations of the century we may notice
the ſhelves for holding Chineſe porcelain and imitations of
Chineſe deſigns in Delft pottery, a taſte imported by Wil-
liam III. and the members of his court who had lived in
Holland. The chimney pieces at Hampton Court and elſe-
where are provided with woodwork to hold theſe Ornaments.
Hogarth paints them in his interiors, and the rage for pur-
chaſing ſuch objects at ſales became a popular ſubject of
ridicule. ,
To the early eighteenth century belongs a claſs of furniture
of which the decorations conſiſted of panels of old Chineſe and
Japaneſe lac work. Examples are in the Hertford Collection.
They were fitted, as the marquetry of the day was, with rich
gilt metal mounts. In England it was the faſhion to imitate
the Japan work, and ſuch old furniture is occaſionally met with :
black with raiſed figure decorations of Chineſe characters done
in gold duſt. -
The Dutch ſent orders both for porcelain and furniture to
China and Japan, and drawings or engravings to be copied in
Japan lac work. Chineſe ſcreens are to be met with on which
are Amſterdam landſcapes with Dutch figures and coſtumes
introduced. Such a ſcreen was ſold not long ſince at a public
auction in London. The lower part is carved with ſtrapwork,
and a broad creſting on the top is ſimilarly cut with heraldic de-
vices. But all the work has been done in Japan, and the orna-
ments are in the thickeſt relief, and the gold rich and luſtrous.
An Italian marquetry maker of great ſkill worked at Turin
during the early eighteenth century. His name was Piffeti, and
more will be ſaid about him further on.
16. The Times of Louis XVI.
Louis XVI. aſcended the throne in 1774. A great change
is obſervable in the French furniture, panel carving and ſuch
I ntroduct'ion. cxlvii
decorations from that period. Several cauſes at the time -
combined to give art of this kind a new as well as a healthier
and better direction. Amongſt theſe we may mention the diſ-
coveries made at Herculaneum and Pompeii. Herculaneum
was diſcovered in 17 I 3, and about 1740 reſearches into the
. remains of the city were reſumed with more definite purpoſe.18
About the ſame period Pompeii was diſcovered, and excavations
were there alſo actively carried on during the 'ſecond half of
the century. It is needleſs to ſay that the peculiar cauſe of the
deſtruction of both thoſe towns had preſerved in them perfect
memorials, in many forms, of the ſocial life of antiquity.
Decorations, utenſils and furniture of all kinds that were made
of metal, and had reſiſted the action of damp and time, were
recovered in fair condition.
One reſult of theſe diſcoveries, both in France and England,
was a return to a healthier and better feeling for claſiical art.
They affected architecture and the decorative arts in all forms.
In France they tended, along with other cauſes and a new reign,
to place the art of the time of Louis Seize on a level far
higher than it had occupied for more than a century.
Room decorations and furniture ſoon reached the higheſt
point of elegance which French Renaiſſance art of a ſumptuous
kind has touched ſince the ſixteenth century. The panelling
of rooms, uſually in oak and painted white, was deſigned
in ſevere lines with ſtraight mouldings and pilaſters. The
pilaſters were decorated with well deſigned carved work, ſmall,
cloſe and ſplendidly gilt. The quills that fill the fluted columns
ſtill ſeen round ſo many interiors, were cut into beads or other
ſubdiviſions with much care. Fine arabeſque work in the ſtyle
of the Loggie of Raphael, partly carved in relief, partly drawn
and painted, or gilt, with gold of a yellow or of a green hue,
the green being largely alloyed with ſilver, and with ſilver

18 " Antidhita di Ercolano," &e.
k 2
cxlviii I ntrodact'ion.
leaf as well. An example of the beſt work of this kind may
be referred to in the room brought from Paris and deſcribed
in the Catalogne (Room panelling, No. 17 36. '69, of the col-
lection) The houſes'built for members of the brilliant court
of queen Marie Antoinette at Verſailles and Paris were ſilled
with admirable work in this ſtyle, or in the ſeverer but ſtill
delicate carved panelling in wood plainly painted.
The royal factories of the Gobelins and of Sevres turned
out their moſt beautiful productions to decorate the rooms, the
furniture, and the table ſervice of the young queen and her
courtiers. The former of theſe factories produced the tapeſtries
for wall hangings, of which two good examples may be re-
,ferred to among the collections of the Muſeum. Gobelins
tapeſtry was uſed for chair backs and ſeats, and for ſofas. Rich
ſilks from the looms of Lyons, and from thoſe of Lucca,
Genoa, and Venice were alſo employed for this kind of fur-
niture both in France and Flanders, Germany, Italy, and Spain,
as well as in our own country. But in all theſe matters France
led the faſhions. '
During this brilliant period of the new reign, from 1774. to
17 90, we meet with 'the names of ſeveral artiſts employed for
painting the panelling of rooms, the lunettes over chimney
fronts, and the panels of ceilings. Fragonard, Natoire, Bouche,
the' director of the Academy, are among the foremoſt of theſe.
Their hiſtory belongs rather 'to that of French painters than of
our preſent ſubject. They are, however, too much mixed up
with the hiſtory of eighteenth century furniture not to ſind
mention in a ſketch like the preſent.
Other artiſts, ſuch as Delafoſſe, Lalonde, Cauvet and Sa-
l'embier deſigned arabeſques, decorative Woodwork, and fur-
niture. The deſigns of many of them are ſtill extant. Cauvet
was intended for a lawyer,ſibut preferred the Vocation of an artiſt
in this ſpecial branch of the profeffion. He was taken up by
Monſieur, the king's brother, to whom he dedicated a book of
I nzrodnct'z'on. cxlix
his deſigns. Four tables with ſilver-gilt mounts of his deſign
were made for the queen's houſe of the Trianon, and after-
wards removed to the favourite reſidence of the emperor Na-
poleon at St. Cloud. Robert and Barthelemy were ſculptors
and bronze Workers who made mounts for furniture, and en-
gravers. Meiſſonier, Oppenord, Queverdo worked in the
ſame way. Hubert Robert, a painter, helped Micque in all
the decorations of the Trianon.
\ Two or three cabinet makers have tranſmitted a great
name, though little ſeems to be known of their hiſtory. Of
theſe Rieſener and David Roentgen were eſiaeſinzſter, or Workers
in fine cabinet making. The deſignation is taken from the
ebony and other exotic woods, which had come into uſe in
Europe from the end of the ſeventeenth century ſubſequently
to 169 5, when the Dutch ſettled in Ceylon. Though ebony
had been imported by the Venetians from the ſixteenth
century it had been in uſe in Italy only for very coſtly pro-
ductions. Towards the end of the ſeventeenth century the
Dutch merchants had begun to import the fineſt qualities of
this wood into Holland. The French obtained ebony from
Madagaſcar, but in very ſmall quantities. After the ſettlements
at Ceylon we find it introduced into Europe on a larger ſcale.
There are green and yellow varieties, but the black wood is
the moſt valuable, and Ceylon is the country in which the
greateſt quantities are produced. Much old carved ebony fur-
niture, mainly chairs made in Ceylon, are to be found in old
Engliſh houſes. Such furniture moſtly dates from the early
years of the Dutch occupation. French woodworkers in exotic
woods were called ebe'nzſtec. i
Rieſener uſed tulip (Zz'rz'odendron tnlz'pzfera), roſewood, holly
(ilex agnzfolinm), maple (acer campeſtre), laburnum (eyzfflns
Alpinns), purple wood (copazfera pnbzflora), &e. Wreaths
and bunches of flowers, exquiſitely worked'and boldly deſigned,
form centres of his marquetry panels, which are often plain
cl i I ntroeluction.
ſurſaces of one wood. ' On the ſides, in borders and com-
partments, we find diaper patterns in three or four quiet
colours. Theſe conventional ſides or corners of diaper work
help to give point to the graceful compoſitions that form
Cheſts of drawers and
cabinets are ſometimes met with in ſnake wood and other
the principal feature in his marquetry.
varieties of brown wood,19 of which the grain is waved or
curled without marquetry. The name of Rieſener is to be
found ſtamped ſometimeson the panel itſelf, ſometimes on the
oak lining of the pieces of furniture made by him. There are
good examples of Rieſener work in the royal collection at
Windſor, in the Hertford "collection, and in thoſe of baron
Rothſchild, the Marquis of Conyngham, and others.
A number of exceptional examples of Rieſener's cabinets
are deſcribed in the Appendix. The beſt pieces are from the
Hertford collection, now belonging to Sir Richard Wallace.
The largeſt and moſt impoſing of theſe is the rounded bureau
or ſecretaire, made for Staniſlaus, King of Poland. It is
beautifully inlaid on the top, ends, and back with deſigns em-
blematic of the ſciences, &c., and with buſt heads. The letters
S. R. are inlaid on a broad band of decoration that runs round
the lower portion of the bureau. A ſimilar piece of furniture
with gilt bronze candle branches by Gouthiere, on the ſides, is
now in the Louvre. Both are ſigned. The particulars of theſe
ſignatures are given under the names of the artiſts in another
fection.
Me David Roentgen was born at Niewid, near Luneville, in which
latter city he worked as a cotemporary of Rieſener, but younger

19 Snake wood, or letter wood,
heart Wood of the Piratinera Guianen-
ſis (Aublet), belongs to the order of
bread fruit tree. It is found ſparingly
in the foreſts of Britiſh Guiana, grows
to a height of ſixty or ſeventy feet,
with a diameter of from two to three
feet. The outer layers are white, but
the heart wood, rarely exceeding ſeven
inches in diameter, is dark brown with
very dark, almoſt black ſpots, regularly
diſperſed and almoſt reſembling old
black letten-Chamber's Cyclopaedia.
Introduction. cli
by ſome years in age. He alſo made marquetry in lighter
woods and of rather a gayer tone than thoſe of Rieſener, and
pieces by him are deſcribed in the Appendix. Both of them
often worked in plain mahogany, and in ſuch caſes truſted for
the effectiveneſs of their pieces to the excellence of the mounts
of chaſed and gilt metal by their contemporary, Gouthiere. In
his light marquetry David uſed various white woods. Pear
(pyrus eommunis), lime (tilia), and light-coloured woods were
Occaſionally tinted with various ſhades by burning. This
proceſs, originally effected by hot irons, is better and more
delicately managed by hot ſand. Only browns and dark
ochrous yellows are obtained by this means, and the more _
delicately toned marquetry is without hues of green or blue.
Thoſe tints, however, can be obtained by ſteeping the wood
' in various chemical ſolutions.
As a maker of gilt bronze furniture mounts, Gouthiere
had a wide reputation. He belongs to the period of king
Louis XVI. With him Rieſener and David worked in con-
cert; all their beſt pieces are finiſhed with the mounts of
Gouthiere. Among examples in this country is the cabinet,
ſaid to have been a wedding preſent to one of the Bourbon
princes, in the royal collection at Windſor. No ſignature has
been diſcovered on this piece, but the exquiſite modelling of
the flower borders, the metal mouldings and mounts, and the
crown ſupported by figures of cupids that ſurmounts the whole,
leave us in no heſitation as to its authorſhip, and the ſame
may be ſaid of many other pieces deſcribed in the Appendix.
His ſignature appears on a clock in the Hertford collection.
Gouthiere modelled and chaſed up ſimilar workfor carriages
and mounts for marble chimney pieces, ſuch as that in the
boudoir, No. 1736. '69. The gilding on theſe mounts is ſo
good and has been laid on ſo maſiively that the old metal work
has in general ſuffered no ſubſtantial injury down to our own
times, and can be reſtored to its original luſtre by ſoap and
clii I ntrodnct'ion.
water. Indeed, the fine old work dating from the two previous
reigns by Andre Boule and other artiſts, after the deſigns of
Berain, has ſuffered little. The Boule clocks, with arched glaſs
panels in front, with ſpreading ſupports and figure compoſitions
on the top, have in moſt caſes come down to us clothed in their
original water gilding, eaſily to be cleaned though looking black
when they have been long left to neglect.
_During the reign of Louis XVI. beautiful furniture was
made by Gouthiere with gilt mounts and ſquare plaques or
plates of Sevres porcelain, painted expreflly to form panels for
ſuch pieces; there are cabinets of this kind in the Queen's and
Sir R. Wallace's collections. Gouthiere and Rieſener continued
to work for the court and in the Trianon down to the very
end of the peaceful days of the French Queen's reign. They
probably lived to the end of the laſt century. Pieces by any
of theſe makers command very high prices. The Hertford
collection is perhaps richer than any other in exiſtence in
examples of French art of this kind.
Contemporaneous with Rieſener in France was the Italian
maker of marquetry, Maggiolino. In Florence, Venice, Milan,
and Genoa, cabinets and commodes of marquetry were pro-
duced. German cabinet-makers produced the ſame work all
through the earlier part of the century. Bombe or curved
furniture was alſo produced by the Germans with great, we
may almoſt ſay with extravagant, ſkill. To maintain mould-
ings on the angles of theſe-curved and waving ſurfaces is a
feat in workmanſhip of difficult attainment, and German
cabinet-makers ſeem' to have taken delight in exhibiting ſuch
ſkill. It has been impoſſible, as yet, to collect any catena of
German maker's names during the eighteenth century. The
quaint work of the minute carvings in box and other hard
woods ſo ſkilfully carried out during the times of the immediate
pupils of Diirer and the ſchool of hard-working, well trained
artiſts who ſucceeded him, was then no longer produced. The
I ntrodnctz'on. clii i
deſolating wars' that ſwept all this portion of Europe during
the days of Louis XIV. and Frederick the Great ſeem to have
exhauſted the country, and worn out the ancient induſtry of
the cities. Guilds died away, the men who compoſed them
being required for the exigencies of war, and the wealth of the
inhabitants was ſo reduced that the leiſure to enjoy and even
the means to buy fine productions of art exiſted no longer.
17. Engliſh Furnz'ture during t/ae ſizme Period.
Few writers have done greater ſervice to the ſtudy of .-
Engliſh art than Horace Walpole; and few collectors have had
the opportunities he enjoyed a century ago.
Strawberry Hill was filled with a collection of medifflval,
renaiſſance, and later works of art of every deſcription. Few
private collections have ever ſhown ſo wide a ſympathy on the
part of the collector with beauty in every kind of form, or a
juſter knowledge and judgment. It is to be borne in mind
that in Walpole's day any kind of feeling for the arts of the
Middle Ages was a matter of contempt or deriſion; yet
numbers of our old caſtles and manſions now in ruins were
then complete or little altered. A taſte grew up for pictures
of the ruins of mediaeval buildings and for making ſham ruins,
in conſequence of which ſome old feudal buildings were un-
roofed, and others pulled about and damaged. Armour ſtill
hung over the tombs of the old knights in many of our vil-
lage churches, and tattered banners waved on the mildewed
walls. Horace Walpole ſtands alone in his appreciation of the
paſt glories of Engliſh art, whether of the architect, glaſs
painter, image maker, or armourer. A lively paſſage, alluding
to the contract for the roof and the glazing of King's College
chapel, Cambridge, commemorates his value for theſe art tradi-
tions. "As much," he ſays, " as we imagine ourſelves arrived
at higher perfection in the arts, it would not be eaſy for a
cliv Introdnctz'on.
maſter of a college to go into St. Margaret's pariſh, South-
wark, to beſpeezk ſuch a roof as that of King's College, and a
dozen or two of windows ſo admirably drawn, and order them
to be ſent home by ſuch a day, as if they were beſpeaking a
chequered pavement." 20
A certain ſort of revival of Gothic deſign took place in
England about this period. Walpole himſelf erected cuſped
arcades and panelled work at his own houſe at Strawberry Hill.
He had a genuine love for mediaeval art, but no detailed know-
ledge. Later in the century feeble attempts at Gothic wood-
work were made here and there; but there was little national
taſte in furniture apart from a cloſe imitation of French faſhions.
A greater change was produced by Sir William Chamber-s,
the architect of modern Somerſet Houſe. He publiſhed a book
on civil architecture and room decorations, and introduced
fanciful gardening. In this latter reſpect there had been no
change ſince the time of Le Notre,. who had laid out the
gardens of Verſailles, and was employed by Charles II. in
St. James's Park. _
Another name connected with furniture has been already
mentioned, that of Thomas Chippendale. He publiſhed his
book of deſigns in 1764, with the object of promoting good
French deſign in this field of art. This contains the ſides of
rooms, looking-glaſs frames, chimney fronts, &e. He_and
his contemporaries deſigned tables, cabinets and moveable fur-
niture of every deſcription, including carriages, on which,
indeed, furniture deſigners of all periods were employed.
Chippendale and his ſons or aſſlſtantsſi produced frames and
cornices for gilding ſo different from his well-made wardrobes,
&e. that there muſt have been more than one of the family
engaged in deſigning and ſuperintending theſe diſſimilar kinds
' of objects. He is a repreſentative maker. The ſon has been

20 Walpole, Anecdotes of Painting, i. 178.
Introduction. clv
ſometimes credited with the mahogany woodwork of which
delicacy and exactneſs are the characteriſtics, and which ſeems
to have ſo little in common with fantaſtic Chineſe work of the
glaſs frames then in faſhion, or the elegant but diffuſe carving
to be ſeen in No. 2387. '55. of the collection. When Sir'
William Chambers came to England to ſettle as an architect
and architectural decorator, he was accompanied by John
Wilton, Giovanni Battiſta Cipriani, and Capitſoldi, a ſculptor
and modeller of metal work. At the ſame time, or ſhortly
after, Angelica Kauffmann, a Swiſs artiſt, came to England.
'Wilton was employed in deſigning carriage and other furni-
ture decorations. Satin wood, Ferolia Guianenſis, came into
faſhion in England during the laſt half of the century. Cipriani
and Angelica Kauffmann both painted medallions, cameo orna-
ments and borders on table tops and fronts, harpſichord caſes,
&c. made of ſatin wood or coloured in the manner of the
Vernis Martin work, of which the reader will find examples in
Nos. 635. '7o, 349. '71, and 322. '71 of the Muſeum col-
lection. The former decorated Carlton houſe.
Mathias Lock, with whom was aſſociated a cabinet maker
named Copeland, publiſhed deſigns of furniture of every kind.
A ſemi-claffic Pompeian or Roman arabeſque feeling runs
through the ornamentation of theſe pieces of furniture. They
are light in make, often elegant, and more or leſs follow the
taſte prevailing in France and Italy. All theſe artiſts and
workmen reflect the general ſtyle in decoration introduced by
Sir William Chambers, alſo learnt from the ſame ſources.
Another name connected both with architecture, furniture,
deſign, and decorative arts of all kinds, was that of Adam.
Robert Adam was of Scotch extraction, and travelled in Italy.
He gave deſigns for Carlton houſe ; built many private houſes,
that of the Society of Arts, in John Street, Adelphi, of the
whole of which block of buildings Robert and his brother
James were projectors and architects. Portland Place was de-
clvi . I ntrodact'ion.
ſigned by James Adam. Furniture, carriages, ſedan 'chairs,
and plate 21 were amongſt the objects for which Robert,
perhaps both the brothers, gave deſigns. Claffical capitals,
mouldings and niches, circles and lunettes, with ſhell fiutings'
and light garlands, were favourite features in' their facade or-
naments. Derby houſe, in Groſvenor Square, now deſtroyed,
of which the deſigns are publiſhed with full details of the
interior decoration, contained examples of the fire-places,
ceilings, cornices, arabeſque wall decorations in ſtucco, by
Robert Adam. The ſideboards, buſt terms (or pedeſtals),
urn-ſhaped knife boxes; the chairs, commodes, &c. were all
deſigned to accord with the architectural decorations. Poliſhed
ſteel fire-grates belong to this period, and we believe to the
authorſhip of the brothers Adam.22
A cabinet maker named A. Heppelwhite, with his aſſiſtants,
(Heppelwhite 8: Co.), publiſhed in 1789 a complete ſet of
deſigns for all ſorts of reception room and bed room furniture.
We ſee in theſe the mahogany chairs with pierced ſtrapwork
backs, library and pedeſtal tables, mechanical deſks and bu-
reaux, which continued in faſhion during the early years of
this century. Fanciful ſaſhed glaſs doors cloſed in the book-
caſes; interrupted pediments and pedeſtals provided ſpace for
buſts round the tops of theſe caſes. Fluted legs, and occa-
ſionally lion-headed ſupports, uphold the tables and chairs.
Knife caſes to ſet on the ſideboard, and urn ſtools for the
breakfaſt table, are among theſe deſigns. Tea cheſts and tea
caddies indicate that tea was then coming into general uſe.
Thomas Sheraton, another cabinet maker, publiſhed towards
the end of the century a complete V Dictionary" of his trade.
His deſigns, like thoſe juſt mentioned, embrace beds, ſofas, &c.
Mechanical dreſſing and waſhing tables, very ingeniouſly con-

21 A piece in the Muſeum Col- 22 For plates, ſhe Works of the late
lection, No. 55. '65, is deſigned by- R. andJ. Adam. Fol. 1822.
Robert Adam. _
Introdnct'z'an. clvii
trived, were among his productions. We meet with theſe ſtill.
They are of Spaniſh mahogany, and admirable workmanſhip.
The ſtructure of all theſe pieces was light and ſtrong. Time
has had little effect on work in wood ſo well ſeaſoned and on
pieces put together in ſo workmanlike a manner.
Excellent bronze clock and furniture mounts were made in
England during this period. The Chineſe garden taſte of Sir
William Chambers, which affected all the decorative art of
furniture deſigns, probably gave an additional impulſe to the
manufacture of "Japan" work, lacquer ornamentation already
alluded to. -
Marquetry of a national character, chiefly following the
architectural ornamentation of Robert Adam, was made by
many cabinet makers. The woods are leſs ſhowy and the
deſigns leſs floral and free than the good French work of the
period. Still it is elegant and always thoroughly firſt-rate as to
workmanſhip. The knife caſes (Nos. 352-3. '7o) will illuſtrate
both the deſigns and the workmanſhip.
The French Revolution put a complete ſtop to the old
arts of domeſtic life in France. As in the ſixteenth century,
ſo in the eighteenthv the new ideas ruſhed extravagantly in the
direction of republican antiquity and Roman taſte and ſenti-
ment. It was under the empire, after the Italian wars and the
Egyptian expedition, that the means and taſte for expendi-
ture upon civil furniture and decorations revived, with an
aſſumption of claſſlcaliſm. The art of the time, however,
inſpired by the hard paintings of David, is but a dry and
affected attempt at a freſh Renaiſſance. In furniture mounts,
chairs, &e. of affected claffical deſigns, it is known as the art of
the " empire." It affected this country as ſoon as the return of
peace opened the continent to Engliſh travellers. Architectural
decoration under the regeney was at a low ebb. Furniture and
room decorations were deſigned after claffical ideals. We ſee
chairs and tables following the deſigns on antique vaſes and baſ-
clviii I wren/action.
reliefs. It is probable that collectors, ſuch as Sir William
Hamilton and the members of the Dilettanti ſociety, ſenſibly
affected the public taſte. _
James Wyatt, the architect, had, during the laſt quarter of
the, preceding century, rebuilt or cleared out many of our me-
dimval churches and houſes, and took to deſigning a ſort of
Gothic for room decoration and furniture. Sir Jeffrey Wyatt
or Sir Jeffrey Wyattville (as he became) was the deſigner of
great changes at Windſor caſtle, under George IV. The
author of the Waverley novels muſt be credited with a con-
ſiderable ſhare in the " Gothic" revival, which affected fur-
niture as well as architecture. Pugin deſigned ſome of the
flimſy Gothic furniture of Windſor caſtle. At a later period
i of his life he did much, both as a deſigner and a writer upon
_ kind.
art, to turn attention to the principles on which mediaeval
deſigns of all kinds were baſed. The collections of the Muſee
des Thermes, at the-Hotel De Cluny in Paris, formed and left
to the nation by the late M. A. Du Sommerard, as well as
the publiſhed works of eminent living writers and critics, both
indicated the progreſs of French taſte in this direction and
helped to promote it amongſt our neighbours.
We are now, perhaps, returning to Renaiſſance art in furni-
ture, but. it muſt be acknowledged that collections ſuch as thoſe
now exhibited by Sir Richard Wallace; the Expoſition ſi'Re-
troſpective in Paris in 186 5 (in which many of thoſe objects
were included); the loan exhibitions of 1862 in London, and
that of Gore Houſe at an earlier period; not to ſpeak of the
great permanent collection of which theſe pages treat, will and
muſt contribute to form the public taſte in regard to art of this
In the review we have made of what may be called the
houſehold art of ſo many ages, our 'attention has been called
to excellence in many forms, and it would be difficult to aſſign
an abſolute ſuperiority to the artiſts of any one generation,
I ntrodueſilion. clix
conſidering what countleſs beautiful objects have been made for
the perſonal uſe and enjoyment of men. The ſculptured
thrones of ivory and gold, the feats and couches of bronze
overlaid with gold and damaſcened with the precious metals,
the inlaid chariots, precious cheſts, and jewelled caſkets of an-
tiquity; the imagery, the ſhrines, feats, and carved work of
the middle ages; the wood ſculpture, tarſia, pietra dura, da-
maſcening and the endleſs variety of objects produced during
the days of Leonardo, Michel Angelo, and Raphael, down to
the carving of Gibbons, and the ſplendid productions of Boule,
Rieſener and the reſt, are all excellent.
We do not venture in theſe remarks to call one claſs of
productions finer than another where the differences are ſo great
and perfection of various kinds has been attained in each. But
theſe productions when at their beſt have reſulted from the
utmoſt devotion of mind and time on the part of trained artiſts;
and' the higheſt art can never be cheap, neither can any ma-
chinery or any facility of mechanical production become ſub-
ſtitutes for art. Beauty which is created by the hand of man,
that which we call art, ſiis not the clever application of me-
chanical forces or of ſcientific inventions, but is brought to
light, whether it be a cabinet front or the Venus of Milo,
often with pain, always by the entire devotion of the labour,
the intellect, the experience, the imagination and the affection
of the artiſt. i

cl X I n trodaelion.
CHAPTERIL
7: is intereſting to trace the changes that the more
common and neceſſary pieces of furniture have under-


gone during ſucceſlive hiſtoric ages. The ſocial life
come ſo much nearer to us in point of years, differs from that
of our own in its whole aſpect. Nothing can be more unlike
London as we now know it than the ſame capital, ſay as lately
as in 1485, in which year King Henry VII. was driven into
London in a eloſh earriage, very different from the comfortable
ſpring carriages of our own day, to be crowned at Weſtminſter.
Such a conveyance was then unuſual except for the women or
the family during long journeys, and it was uſed on this occaſion
becauſe of the uncertainty of the cautious Lancaſtrian prince
as to the reception he might meet with. London was a laby-
rinth of narrow ſtreets, the upper ſtories of the houſes built of
oak timber, with carved brackets and vanes of beaten iron,
every particle of which has diſappeared. The Tower, the Bride-
well, and other ancient manſions were then royal or feudal
reſidences, richly furniſhed; ſerved or defended by troops of
, idlers ſerving as armed followers when occaſion required. The
. River Thames was the great highway between the city and the
court at Weſtminſter, uſed by great 'ſtate officers in their country
houſes at Lambeth or Chelſea, and the Royal Navy was laid
up in the creek ſince known as the Fleet ditch.
Yet though ſome perſonal habits may have changed places
in daily life with others, the wants of men remain the ſame in
the nineteenth as in the third century and as in the nineteenth
B.C., climate and ſoil conſidered. Hence ſuch objects as beds,
chairs, tables, cheſts, dreſſers, wardrobes or cabinets, carriages
of ancient times, even of the Middle Ages, which i
Introduct'z'on. ClXi
or litters, have been uſed through all theſe ſocial changes, and
though vaſtly altered in appearance have, nevertheleſs, main-
tained a certain identity. With a ſummary of the changes of
form and methods of decoration of a few of the principal objects
of perſonal uſe we conclude our hiſtorical ſketch of furniture.
Beeffleads and Coucbes.
Beds ſerved often in antiquity and in the middle ages, and
have ſerved at all times, almoſt as much for ſitting or reclining
by day as for ſleeping on at night.
To what has been ſaid on the ſubject of antique beds in
Chapter I. little need be added. The Egyptian bed and the
pillow or crutch, of wood or more valuable materials, have been
deſcribed. Examples of the crutch are numerous in the
Britiſh Muſeum' and in the Louvre.
" The Egyptians had couches," ſays Sir G. Wilkinſon,
" but they do not appear to have reclined upon them more
frequently than modern Europeans, in whoſe houſes they are
equally common. Like the early Greeks and Romans, the
Egyptians were accuſtomed to ſit at meals; for, as Philo juſtly
obſerves, when Joſeph entertained his brethren, he ordered them
to ſit according to their ages, the cuſtom of reclining at meals
not having yet been introduced.
" The couches appear, alſo, to have been intended as bed-
ſteads; and it is not impoſtible that they were intended to
ſleep on at night, and in the daytime, arich covering being
ſubſtituted for the bedding, they were readily transformed into
an ornamental piece of furniture.
" The ottomans were ſimple ſquare ſofas without backs,
raiſed from the ground nearly to the ſame level as the chair.
The upper part was of leather, or of cotton ſtuff, richly
coloured, like the cuſhions of the fauteuils, and the box was of
wood painted with various devices and ornamented with the
F. l
Clxii Introduct'z'on.
figures of icaptives, who were ſuppoſed to be degraded by
holding ſo humiliating a poſition. And the ſame idea gave
them a place on the ſoles of ſandals, on the footſtools of a
royal throne. On the walls of the palace at Medeenet Haboo,
in Thebes, their heads ſupport ſome of the ornamental details
of the building.
" They alſo reclined and ſlept on Carpets, which have
been mentioned by Homer and Diodorus as a very early
invention." 23
The early Ae'xog of the Greeks was covered with ſkins, over
the ſkins with woollen blankets, þrſ-yea and zxai'vazz ſometimes
a linen cloth or ſheet was added. The fineſt coverlids were
from Miletus, Carthage, and Corinth. Theſe varied in the
ſoftneſs of their woollen texture and the delicate diſpoſition of
the colours. Later Greek beds had To'i/ot, girths of leather
or ſtring; xvo'cqMMxov, a mattreſs; n'poo'xecpo'ataov, a pillow;
in Latin it is called enlezſim. Horace alludes to the Cubital, or
elbow Cuſhion of a dandy of his time.
-The Roman bed had the ſide by which it was entered open,
ſponda ,* the other was protected by a ſhelf, plnteus. The mat-
treſſes were ſtuffed with herbs, in later times with wool or
feathers. The covers were called ſtrngulze and perzſtromata.
rjPrecious counterpanes embroidered with gold were occaſionally
uſed, called Attalica, becauſe firſt uſed at the court of Attalius.
Canopies or frames for Curtains, in one form or another,
have always been neceſſary adjuncts to beds." Teſters were
placed on cradles, with gauze Curtains to keep off flies. A line
from Martial, " Quid torus a Nilo, quid Sindone tinctus
olente," 25 has been thought by ſome to apply to the uſe of

23 The a'TpwW-eh 'trokv-rehe'a'rarat, 24 judith, X. Eſther, i.
mentioned by Diodorus as ſpread for . 25 Martial, ii 16, but the Paſſage is
the ſacred animals of Egypt, are ſup-
poſed to have been carpets. Lib. i. 34.
Sir G. Wilkinſon, Anc. Egypt.
varioufly read.
Introduction. clxiii
Curtains ſoaked in eſſences, that the ſmell of them might keep
off the flies.
Lecti ſperulati, for ſpheerulati, i.e., on wheels, were in uſe
for the ſick in claffical and medimval timesJ Grabatum, a low
and portable bed, with mats for bedding. This is the expreſſion
uſed in the Greek of St. John's Goſpel, tranſlated "take up
thy bed and walk." The word is of Macedonian origin.
Scympodium referred to a bed which was a ſort of chair and
leg-reſt combined.
Triclinium.
Beſides beds and ſtools uſed in antiquity, as in our-own
times, we find amongſt the ancients the habit, unknown ſince,
of reclining on the left elbow at meals. And alluſion has been
made to the word trielinium, a ſeat for nine perſons, the correct -
number at a Roman feaſt. It became the cuſtom even to repre-
ſent the gods--the Dii majores, or greater gods-as ſo reclining.
Their images were placed on feats draped and provided with
cuſhions, pulvinaria. The proceeding or ceremony was called-
a lecti ſternium, preparation of the bed, and food and wine
were put before them. Three ſuch feats in white marble are
preſerved in the Glyptotek, at Munich. The goddeſſes were
repreſented ſitting in chairs in earlier times, as men alone were
ſuppoſed to recline at the feaſt. _
The Greeks of later times uſed couches or ſofas, or raiſed

platforms, much as the Roman's did,
with two perſons only on each, and the
places of honour ranged from right to


e 5 4-
left of the firſt. The Romans called 2 2
the conventional arrangement the tri- 9 1


elinium. The accompanying woodcut repreſents the plan of a
trielinium, the gueſt reclining on the left elbow, the faces of
each were directed from No. I to No. 3, 4 to 6, and ſo on.
Theſe numbers and poſitions indicated a ſort of ſuperiority,
l 2.
'clXiv Introduction.
or a higheſt, middle, and loweſt to every table. A paſſage from
Horace,26 often quoted, enumerates the gueſts in this order.
Fundanius, who was at the top, giving an account of a dinner
to his friends, ſays :-
" I ſat at the top, Viſcus Thurinus next to me; Varius, if
my memory ſerves me, below him; Vibidius along with Ser-
vilius Balatro, whom Maecenas brought as humble companions.
Nomentanus was above, and Porcius below the hoſt himſelf."
The numbers indicate the rank of each ſigueſt, ſummus,
medius, infimus; the table was in the middle, either on a level
with the couches (without conſidering the cuſhions) or below
them.
The ſides Nos. I, 4, 7, were ſometimes protected by a rail-
ing and cuſhion for the back of the outſide gueſt, whoſe poſition
Roman conviviality might have endangered.27
The beds of the early middle ages 'in England had teſters,
with curtains to keep off flies; often of valuable material.
Theſe ſlid on rings on an iron rod. Sometimes the rod, with a
frame to ſuſtain it, was on one or on three ſides of the bed,
and the teſter wanting. Sometimes the beds were ſlung on
uprights, as cots are at ſea. No great expenſe was incurred in
the framework till the fifteenth and. ſixteenth centuries. The
ſplendour of ſtate beds, or thoſe of great people, conſiſted in
the curtains. Theſe were of worſted or ſilk, embroidered in
the form of tapeſtries, in ſome inſtances with gold. The cur-
tains were occaſionally taken down, and hung up in churches
on feſtivals. Indeed in the middle ages the curtains formed
the moſt noticeable feature of the bed. The bedrooms were
uſually low, and the timbers of the upper floors carved or
painted. It was eaſy, therefore, to attach cords and hooks in
the ceiling joiſts. Hence, in moſt manuſcript miniatures. or

26 Sat. ii. 8, 20, 23. ject, ſee Dr. Smith's Dict. of Anti-
27 For a complete account of the ſub- quities, &e.
I nrrodnctz'on. clxv
mediaeval pictures repreſenting ſcenes in which a bed is depicted
--ſuch as the birth of the Virgin or of the Saviour, the death
of the Virgin, or other like ſcenes-we find the teſter of the
bed ſtrained by cords to the ſides of the room or to the
ceiling, as in the accompanying Woodcut. It-was ſtrained over
a wooden framework, and hung



_ s
rather than ſupported. The cur-
tams ran round th1s frame, as in '\'=-=\'*-=2\*%%
_: i' 'no 1' ' Big:
our modern four-poſters ; but
we ſee them hoiſted out of the
way during the daytime, not
round a poſt, only raiſed out
of reach. _\ 3 \


r \
w \
> . 5: r ' - , r TZv-Fx St
The fineſt examples of bed , in yijj.
ſteads that can be called mediaeval
are French, and only met with in fragments, or more or leſs
complete. We may refer the reader to the " Mobilier F ran-
cais" of Viollet le Duc, for an idea of the ſumptuous carved oak
bedſtead of the great palaces and hotels of France. It was a
frame panelled down to the ground, often containing cheſts,
drawers, preſſes, or other ſafe places under the fleeper. The
back reſembled more or leſs the reredos of an altar, or the
great panelled preſſes that filled the ſides of ſacriſties. Four
poſts ſupported the canopy or teſter, which was a frame of
panelling. It was a traditionary propriety in England to carve
on each of theſe a figure of one of the four Evangeliſts, in the
words of a mediaeval ballad, " Four Goſpellorus on the four
pillorus,"28 the four Goſpellers or Evangeliſts, one on each
poſt. To this day, in retired parts of England, the country
people uſe the expreſſion :
" Matthew, Mark, Luke, and John,
Bleſs the bed that I ſleep on," &e.

33 "Sir Degrevaunt," in one of the Thornton romances.
clXvi I ntroa'nctien.
Few old Engliſh beds have ſurvived, except in fragments.
In the Muſeum will be found portions of poſts only, belonging
to the medifflval period, and they are not earlier than the fifteenth
century. (Under the word Woodwork, No. 8 I 29. '6 3, &c.)
A bed of the fifteenth century is commemorated as having
figured more than once in hiſtory. On the evening of the aoth
of iAuguſt 1485, King Richard III. mounted on a white horſe
(Surrey), rode into Leiceſter, armed with the ſame ſuit of bright
plate that he had worn at Tewkeſbury. He ſlept at the prin-
cipal inn of Leiceſter, ſince known as the Blue Boar, becauſe
the caſtle was out of repair and uninhabitable. He ſlept on a
bed, the under part of which formed his military cheſt, and the
diſcovery of the treaſure a century afterwards occaſioned a
barbarous murder.
Hutton, in his " Battle of Boſworth Field," thus deſcribes
the old houſe and its appurtenances: " In the Northgate Street
yet ſtands a large, handſome, half-timber houſe, with one ſtory
projecting over the other, formerly an inn, the Blue Boar;
hence an adjoining ſtreet derived its name, now corrupted into
Blubber Lane. In one of the apartments Richard reſted that
night. The room ſeems to have been 'once elegant, though
now in diſuſe. He brought his own bedſtead, of wood, large,
and in ſome places gilt. It continued there two hundred years
after he left the place, and its remains are now in the poſſeſſlon
of Alderman Drake." (What has become of them P) " It had a
wooden bottom, and under that a falſe one of the ſame materials,
like a floor and its under ceiling. Between theſe two bottoms
was concealed a quantity of gold coin, worth about 3001. of
our preſent money, but then worth many times that ſum."29

39 The fact of the tranſport of the found in it, however, was of any later
bed by Richard is open to doubt. Ad- mint than that of Richard III. Knight's
ditions were made to it in the time of Shakeſpeare, Nichols' County of Lei-
Queen Elizabeth; none of the coin ceſter, vol. i. -
Introduct'ion .
clXvii
It is ſaid by Pennant that a ſtump bedſtead preſerved in
Berkeley Caſtle, in the room in which Edward II. was murdered,
is the ſame on which the murder was committed.
Fine ex-
amples of the Tudor bedſteads are preſerved in the old bed-
chambers of the caſtle?0
30 A curious manuſcript of court
ceremonials gives us the following
exact directions for making the bed on
which His Majeſty King Henry VII.
was wont to ſleep, when at home with
court etiquette about him :-
" Item, in makinge of the King's
bedde z-Furſte a yoman or a grome
of the wardrope muſte bringe in the
ſtuffes, and ye curteyns muſte be
drawene, and a gentilmane uſchere
muſte hold the curteyns togeder, and
the ſid(e) curteyns and the foot cur-
tens; then muſt ij ſquyeres for the
body ſtond at the bedde's hed, on ey
(ei1her) ſid one and ij yomen of the
crowne at the bedde's fete unto the
threſſed on and all the ſtuf be laide
ſawe (ſafe) at the bedd's fete on a
carpet be for the yomen of the ſtuff
(till the contents of the palliaſſe are
entirely remade) ; then a yoman of the
crowne or of the chambre to lep upon
the bedd and roll hym upe and doeou
and afflay the litter; the paliaſſe Was
looſſely filled, and the ſtraw or leaves
remade daily ; then yomen to ly down
the canvas agayne; then ly on the
fether bed and bet it welle and make it
euque (even) and ſmothe; then ſhalle
the yoman of the ſtuffe take the ffuſtian,
and take the aſſay (ſee that it is in good
order), and caſt it upon the bedd; then
ſhall ſquyeres for the body ley hond
thereon, and yomen, and ley it ſtreight
upon the bedd without eny eorinhi/s;
and the ſhet in the ſame wiſe; then
take bothe the ſhetes and the ffuſtian by
the bordure and put them in vnder the
fether bede at bothe ſides and at the
feet alſo; then ly on the oyr (other)
ſhete, and the ſquyeres for the body to
take the ſhete and gaclure (gather) it
rounde in yr handes on ethere ſid the
bedd and go up to the bedd's hed, and
ſtrike down the bedd till they con:
doun twis or thris, and ſhake the (hete
at the bedd's feet and lay it faire or.
bred (broad) on the bedd ; then ley on
the toyr (t'other) ſtuff and ffuſtian above;
yen take paire or ij of martrons (marten
furs) and ley above; but firſt take a
paire of ermyns and ley above (them) ;
and then lay on the martrons; then
roll down the bed the ſpace of an
elne; then let the yomen take the
pillowes and bete them well wh yl'
hounds (hands) and caſt them up to
the ſquyeres for the body, and let them
ley them on the bedd as it pleſſithe
the King's grace; then take an hed
ſchet of reynes, and ley yt on, and put
the one ſide of the ſchet under the
pillows and let the othere ſid be fulle;
then take an hed ſchet of ermyne, and
ley it on aboueno; then tak the oyr
ſid of the hed ſchet (head ſheet) of
reynes (linen from Rennes in Brittany)
and ley it on lofte (over) on that;
then the ſquyeres for the body to lay
up the bed agayne on lofte on the
pillowes then take a ſhete of reynex
clxviii
I ntroduct'ion.
In the town of Ware in Hertfordſhire is, and has long been,
T?
ll'þljl
T
. * jwyll'zllffi
r' 4
i *'ſili.,l;
cz-TCT
ill
lll
an inn under the ſign of the
" Saracen's Head." " In this,"
ſays Clutterbuck V there is a
bed of enormous proportions,
twelve feet ſquare. The head
is panelled in the Elizabethan
ſtyle of arched panels, and a
date is painted on it--1460."
(This, however, is not au-
thentio)
oak. The top is covered by
" It is of carved
a panelled teſter, ſupported on baluſter columns at the feet.
The baſes of theſe reſt on a cluſter of four arches or ſupports
to each Column." The woodcut is from Shaw's Furniture.
Of this bed, though alluded to by Shakeſpeare, Clutterbuck
could find no authentic hiſtory.31 In " Twelfth Night,"
Sir Andrew Aguecheek aſks Sir Toby Belch, " Will either
Sir Toby: " Go, write it in
a martial hand; be curt (cruſty) and brief; it is no matter
of you bear me a challenge?"
how witty, ſo it be eloquent and full of invention; taunt him
with the licenſe of ink; if thou thou'ſt him thrice it ſhall
not be amiſs, and as many lies as will lie on thy ſheet of
paper, although the ſheet were hig enough for the hea' of Ware
in England."--Act iii. 2. " It is reputed twelve feet ſquare,
and capable of holding twenty or twenty-ſour perſons; to

and cover the bed ouer and ouyre
every ſide; then the uſchere to knyt
the curtyns togedure and a ſquyere for
the body to caſt holy water upon the
bede ; then the ſquyeres for the body
and uſcheres and all othere yt were at
the making of the bedde, go w'out the
trauerſe (partition) and yt (there is) to
be mete (ſerved out) for them, bred,
ale and wyne, and then they to drink
all to gedure goodly-ceremonies and
Services at Court in the Time 'of
Henry VII. From a MS. by Peter
Le Neve, Norroy King of Arms, &e.
31 Hiſtory of Hertfordſhire, vol. iii.
I ntrodnctz'on. clXiX
accommodate that number they muſt lie at top and bottom
and the feet in the middle." 32
To the Tudor and Jacobean period of heavy oak furniture
ſucceeded the cuſtom of ſupplying the
place of oak-panelled teſters and head-
boards with rich hangings either of
tapeſtry, cut Genoa, or Venice velvets



and other coſtly materials, with oſtrich j U j'mſſ, w,
feathers or other Ornaments on the 1 . j""
angles. The royal beds at Hampton t til \
Court admirably illuſtrate this ſtately xj jjljlji Q-
faſhion, as in the accompanying Woodcut. 2 \
More modern changes it is unneceſſary jl Vl' l
to trace. I, l.
Couches for reclining in ſitting - a
rooms were, in the middle ages, rather

32 Nare's Gloſſary.
Connected with beds and bed fur-
niture was the cuſtom of preparing the
beds and rooms of our queens in the
_ middle ages, before the birth of royal
children. Minute accounts have been
preſerved of the regulations obſerved
on ſeveral of theſe occaſions.
The following was the ceremonial
obſerved with reference to Elizabeth of
York, Queen of Henry- VII., in 1489.
" On Allhallows Eve the Queen took
to her chamber in Weſtminſter." After
Maſs and Communion, for which " the
Earl of Saliſbury held the towels, the cor-
ners of which were golden, the queen
was led on as before; when ſhe arrived
at her own great chamber, ſhe tarried
in the ante-room before it, and ſtood
under her cloth of eſtate, then was
ordered a void (deſſert) of refreſhments.
Her chamber was hanged and ceiled

with blue clot/a of arras, enriched with
gold fieur-de-lys. No figure ſubjects
were allowed on the tapeſtry, ' being
inconvenient for ladies in ſuch a caſe ;'
and for fear of any ſudden fright from
' figures which gloomily glare.' The
pallet in the chamber had a canopy of
velvet of many colours ſtriped with
gold and garniſhed with red roſes; an
altar furniſhed with relics, and a cup-
board, the top covered with gold plate.
When the queen had recommended
herſelf to the good prayers of the
lords, her chamberlain drew the tra-
verſe Curtains which parted the cham-
ber, and thence forward no manner
of officer came within the queen's
chamber, but only ladies and gentle-
women after the old cuſtom." From
the Cotton MS., quoted in Queens of
England, iv. 43..
ClXX I wren/action.
benches with cuſhions on them. In the ſeventeenth and
eighteenth centuries we find the ſame Ornaments that were
uſed in chair backs extended to large frames ſo as to form
them into couches, and the'ſame plaited cane panels. In
the laſt century, ſofas were ſometimes made, in the form of
ſeveral chair backs, with arms at each end, the backs being
pierced work or framing made of bars in fancy ſhapes. This
work was in mahogany or ſatin wood, or was painted after
the faſhion of Vernis Martin work. In all caſes ſuch pieces
were made to accord with ſuites of chairs, tables, &e.
Cradles have been made in many ſhapes. The moſt ap-
proved in antiquity was that of a boat, o-ao'cqoog, or a ſhield; in
either caſe they could be rocked. The infant Bacchus is ſome-
times repreſented in a corn fan.
In the fourteenth century the men of Ghent deſtroyed the
houſe of the Earl of Flanders, according to Froiſſart, and all
his furniture, including the cradle in which he was nurſed,
which was of ſilver.33 In our own day ſilver cradles are pre-
ſented to mayors of towns when a birth occurs in the family
during their tenure of office. The moſt ſumptuous work
of this deſcription of modern date is the cradle preſented
to the empreſs Eugenie by the municipality of Paris. It
repreſents an antique galley with the armorial bearings of Paris,
ſplendidly decorated with enamel and metal mounts, chiſelled
and gilt.
The cradle of Henry V. is ſtill preſerved in the caſtle of
l\/Ionmouth.34' It is in the form of a cheſt, much as the cradle
in the Muſeum, No. 1769. '69. It ſwings on poſts,'one at each
end, ſtanding on croſſ-bars to keep them ſteady. Falcons or
hawks, rudely carved, Ornament the tops of the poſts. There

33 Turner, Domeſtic Architecture, 34' It is figured in Shaw's " Ancient ,
ii. 1 oo. _ Furniture."
I ntroduct'ion. clxxi
is no higher portion as in the example in the Muſeum to
ſupport a teſter. .
A cradle of Turkiſh make, barrel-ſhaped, with pierced head
and footboard, entirely covered with marquetry of mother-of-
pearl, is now in the Loan Court of the Muſeum,
Chairs.
In the ancient Egyptian paintings at Thebes, and elſe-
where, chairs are minutely repreſented like the throne or arm
chair of the Greeks, each containing one perſon. Occaſionally
they uſed ſtools and low feats raiſed a little above the ground.
Some ſat croſſ-legged on the ground, though this is more rare,
or kneeling on one knee. The men and women generally ſat
apart, but in the ſame room. While converſing they ſat, and
did not recline.
" Various forms of chairs occur in Egyptian ſculptures,
repreſenting ſcenes of domeſtic life, and ſacred ſubjects. Some
were, on the principle of our camp ſtools, furniſhed with a
Cuſhion or covered with the ſkin of a leopard or other animal,
which could be eaſily removed when the chair was folded
up. . . . The ſeat was frequently of leather, painted with
flowers or fancy devices. . . . . Sometimes the ſeat was
formed of interlaced work of ſtring, carefully and neatly ar-
ranged, which like our Indian cane chairs, appears to have bee'n
particularly adapted to a hot climate; but over this even they
Occaſionally placed a leather Cuſhion painted in the manner
already mentioned. Moſt of the chairs and ſtools were about
the ordinary height of thoſe now uſed in Europe, the ſeat being
nearly in a line with the bend of the knee; but ſome were very
low, and others offered that variety of poſition which we ſeek in
the kangaroo chairs of our own drawing rooms
and, what is remarkable, the ſkill of theſe cabinet makers, even
. clXXii Introduction.
in the early era of Joſeph, had already done away with the
neceſſity of uniting the legs with bars. Stools, however, and
more rarely chairs, were occaſionally made with theſe ſtrength-
ening members, as is ſtill the caſe in our own country; but
the form of the drawing room fauteuil and of the couch is not
degraded by ſo unſeemly and ſo unſhilful a ſupport. The back
of the chair was equally light and ſtrong. It was occaſionally
concave, like ſome of the Roman chairs. . . . The ſtools
uſed in the ſaloon were of the ſame ſtyle and elegance as the
chairs, and frequently only differed from them in the abſence
of a back; thoſe of more delicate workmanſhip were made of
ebony, and inlaid, as I have already ſtated, with ivory and rare
woods; and many, as already obſerved, folded up, o'n the prin-
ciple of our camp ſtools. Some of an ordinary kind had ſolid
ſides, and were generally very low, and others with three legs,
'not unlike thoſe uſed- by the peaſants of England, belonged
to perſons of inferior rank." 35
The claſiical curule chairs were made of ivory; ſometimes
of ſolid and entire elephants' teeth, which ſeems to have been
the typical idea of the ivory chair; ſometimes the ivory was
veneered on a wooden baſe. The foot or point of the tuſk
was carved into a head or beak.
This chair of office was placed in the chariot when the
owner was driven out. It was uſed by kings, prieſts, conſuls,
praetors, and ediles. It was called oZz/o'txNuTpov by the Greeks.
It is from this curved chair of ſtate that the mediaeval chairs
were derived, of which the form remained popular in Italy
through the fifteenth and ſixteenth centuries. The mediaeval
name for this kind of chair was faldiſtorium, rendered ' fald-
ſtool,' a ſtool or ſeat to ſupport the arms when kneeling,

35 Wilkinſon, Anc. Egyptians.
I ntrodnct'z'on. clxxiii
or to act as a chair when ſitting, from the Saxon fallen,
to fold.
The earlieſt type of the architectural thrones or chairs of
the middle ages is the ancient chair of St. Peter, kept in the
Church of St; Peter at Rome, of which a woodcut is given
in p. xlviii. It is now completely concealed by the ſeat or
covering of bronze erected in 1667 by Bernini, out of the
bronze taken from the Pantheon, the greater part of which was
made into the Baldacchino or canopy over the high altar. It
ſtands under what would be in our northern churches the eaſt
window. Round this outer chair are grouped four of the
doctors of the church, St. Ambroſe and St. Auguſtine in front;
St. Athanaſius and St. John Chryſoſtom behind. A very
exact drawing of the ancient chair, belonging to Mr. Halkett,
was exhibited in the South Kenſington Muſeum four years ago.
The chair is conſtructed of wood overlaid with carved ivory
work and gold. The back is bound together with iron. It is
ſquare with ſolid front and arms. The width in front is thirty-
nine inches; the height in front thirty inches, ſhowing that a
ſcabellum or footſtool muſt have belonged to it. The depth,
from back to front, is twenty-two inches; height of the back
fifty-two inches and three-quarters. The back is compoſed of
little columns and arches of Wood, with a pedimental top. In
the front are eighteen groups or compoſitions from the Gofpels,
carved in ivory, with exquiſite fineneſs, and worked with
inlay of the pureſt gold. On the outer ſides are ſeveral
little figures carved in ivory. It formed, according to tra-
dition, part of the furniture of the houſe of the Senator
Pudens, an early convert to the Chriſtian faith. It is he
who gave to the church his houſe in Rome, much of which
remains are covered by the church of St. Pudenziana. Pudens
gave this chair to St. Peter, and it became the throne of
the See. It was kept in the old Baſilica o'f St. Peter's, about
clxxiv I ntroa'nct'z'on.
the ſpot where the Porta Santa now ſtands, by the ſide of the
entrance doors. From thence it was moved to the oratory of
Adrian I., where the ſeat of the grand penitentiary is now
placed. It was then taken to the church of St. Anne, the
old Sacriſty. Then to the preſent ſacriſty; to the chapel of
SS. Servantius and Lambert, called the chapel cdelle reliquie'
Urban VIII. removed it to the Baptiſtery. Laſtly, Alex-
ander VII. (Chigi) placed it where it ſtands, January 16,
1666.36
Some Confuſion has been made between this celebrated piece
of antiquity and another chair of St. Peter, which has led to
doubts both of its antiquity and its Chriſtian uſe and deſtination.
This other chair of St. Peter, called that of Antioch, is pre-
ſerved in the old cathedral church of St. Pietro in Caſtello.
Fragments only now exiſt, namely, the ſides and arms. A
pillar or ſtile of marble, a portion of an old Mahometan monu-
ment brought from Sicily, has been worked in to form the ſeat,
Theſe
verſes of the Koran led to various notable controverſies on
with parts of an inſcription, verſes from the Koran.
the authenticity of the famous chair of St. Peter preſerved in
the Vatican at Rome.
chair of St. Peter was a preſent from the emperor Michel,
ſon of Theophilus (824-864) to the Venetian republic in re-
cognition of ſervices rendered by the ſtate and the doge,
According to tradition, this Venetian
*Tradonico, or Gradonico, who died 864, or his predeceſſor,
John Patrociaco, or as he is called Partecipagio, againſt the

ct Mahommedan incurſions.
- _-__.._. . __,
36 Cardinal Wiſeman and the Cava-
liere de Roſſi have both written to
defend the ancient tradition of the
chair againſt the opinions of ſome mo-
dern antiquaries. We ſhall offer no
opinion on this ſubject, or whether
parts of the chair are more ancient
than the reſt. The reader will ſee the
matter fully diſcuſſed and the chair il-
luſtrated by drawings of Fontana and
others in " Two memoirs on St. Peter's
Chair," &c. Vetuſta Mon. Soc. Antiq.,
1870.
I ntroduction. clxxv
Another famous chair is alſo preſerved in Venice, viz., that
of St. Mark, the patron faint of Venice. This chair is now kept
in the treaſury of St. Mark's. It was originally kept behind the
altar of the Sacrament at St. Mark's, and was transferred from
that place under Andrea Gritti, Doge, in 1534. The chair was
preſerved at Alexandria as that of St. Mark, the Evangeliſt, the
apoſtle of Alexandria. From thence it was ſent to Conſtanti-
nople, at the inſtance of St. Helena, mother of Conſtantine, the
firſt Chriſtian Emperor. The Venetians, under Henry Dandolo,
took Conſtantinople in 1204. Amongſt the fruits of victory
was the chair of St. Mark and other relics. It was then
brought to Grado, another iſland on the ſhore of the Adriatic,
which was ſet up as the ſeat of the Venetian patriarchate.
From thence it was transferred to Venice when the ſee of the
Patriarch was removed to the capital, and was placed, as ſtated
above, behind the altar of the Sacrament in St. Mark's. This
removal took place between 1520 and 1534.
Anciently, this chair, like that of St. Peter in Rome, was
covered with plates of ivory, carved panels probably fitted
into frame pieces of wood as a covering to the ſtone. As
it is now ſeen, however, the work is of oriental marble. It
is a rudely ſhaped arm chair, with high back ſloping upwards
in the form of a pediment, truncated and ſurmounted by a
ſtone, cut into an imperfect circle or oval, and having an arm or
volute like the reverſed angle-volute of a column projecting
from the lower part of each ſide. On this-ſtone are ſculptured
Croſſes before and behind. Each ſide theſe Croſſes are figures :
St. Matthew and St. Mark on the front, St. Luke and St. Paul
at the back. They are known by the books they hold in their
hands. On the main ſlab of the back is ſculptured a vine;
beneath the vine the Immaculate Lamb.37
37 La Cattedra Aleſſandrina, &c=, by Pre. G. Secchi. Venczia, 1853.
clXXvi I ntrodueſiiion.
The chair of St. Maximian, Archbiſhop of Ravenna, dates
from the ſixth century. It is deſcribed in Mr. Maſkell's
" Ivories." It is overlaid with ivory, and caſts of fragments can
be ſeen among the fictile ivories of the Muſeum.38
A magnificent fourteenth century architectural chair of
ſilver is preſerved at Barcelona. The ſupports repreſent window
tracery. One large arch forms the front ſupport, being cuſped,
and theſe cuſps again ſubdivided. The back and ſide form each
a pair of windows, of two lights or diviſions, each with a circle
above, the whole cuſped and having the foil leaves on the
cuſps. The back is open tracery work, repreſenting three
narrow windows, with two lights or openings each. They
finiſh in three lofty gables, crocketed outſide and divided into
tracery within. When Martin, king of Arragon, ſucceeded to
the throne in I 39 5, he was abſent in Sicily, occupied in ſup-
preſſing the rebellion againſt his ſon and daughter-in-law,
ſovereigns of that ifland. After having reduced the Sicilians
to obedience, he returned to the poſſeſiion of his own do-
minions, and landed at Barcelona in I 397. He made a
triumphal proceſſion into that city, and on that occaſion he is
ſaid to have uſed this ſilver chair.39
Chairs in England during the mediaeval period were ſome-
times made of turned wood. The chair known as that of
Glaſtonbury is a ſquare board on two pairs of croſſ-treſtles,
with a ſquare board for a back, held to the ſeat by ſloping arm
pieces, ſhaped out to receive the arms of a ſitter. On the
edges of the ſeat and back tenons protrude, long enough to
paſs through mortices in the leg and arm pieces, which are
pegged to keep them firm. Like the ſixteenth century curule

33 Nos. 85 to 89 in Profeſſor Weſt- 39 Shaw, Dreſſes and Decorations of
wood's catalogue. The chair is figured the Middle Ages, tol. i. ct
by Du Sommerard. '
I ntrodnct'ion. clxxvii
chairs theſe can eaſily be taken to pieces for travelling. During
the reigns of Elizabeth and James, high-backed chairs, richly
cut and pierced, with wooden, afterwards with cane, feats
were uſed and remained in uſe ſimplified and lightened (ſee
No. 4882. ' 58 in the collection) during more than a century.
The Italian faſhion of chairs with plain frames, but padded
and richly covered, of which handſome examples are at Knowle
Park, was introduced early in the ſeventeenth century, when
Genoa, Lucca, and Venice cut velvets were imported.
Chairs of cuir bouilli thick leather, ſtamped and faſtened
with large braſs nails, were made in Spain and Portugal in the
ſixteenth and ſeventeenth centuries. Some are in the Muſeum
collection.
The uſe of marquetry was not confined to tables and cabi-
nets. Rich chairs were made in this material (rarely in Boule)
during the eighteenth century in France, Italy, and Holland,
from whence they were introduced during the reign of William
and Mary into this country, and light and very elegant yellow
ſatinwood marquetry chairs were made towards the end of
the eighteenth century. In ſome inſtances they were painted to
accord with ſuch furniture as the dreſſing table, No. 6 3 5. '70.
The uſe of mahogany for chairs, ſolidly made, and often
delicately carved and admirably conſtructed, was general during
the laſt century in England, mahogany having diſplaced oak
for furniture of all kinds. Chippendale, Lock, Sheraton, and
others, have been alluded to in connexion with work of this
deſcription, and none of their productions ſurpaſs their chairs
in workmanſhip.
The French carved chairs of the time of Louis XVL,
covered with ſilk all but the legs and framework, painted white
or gilt, were made to accord with the ſofas and carved wood-
work of the rooms. One or two are placed for the preſent
in the elegant little boudoir or ſitting room in the Muſeum.
This example was followed, with certain national differences,
F. m
clXXviii I introduction.
in England. The reader may ſee examples in Nos. 405. '72
and 407. '72, recently added to the collections.
him"
'Ilii W
p" ri ' _,

Italian Chair. Early 17th century. No. 1537. '55.
Tables.
The antique Egyptian tables were round, ſquare, or oblong;
the former were generally uſed during their repaſts, and conſiſted
of a circular flat ſummit, ſupported, like the monopodz'um of the
Romans, on a ſingle ſhaft or leg in the centre, or by the figure
of a man intended to repreſent a captive. Large tables had,
uſually, three or four legs, butſome were made'with ſolid ſides
(as ſome from the tombs of Thebes), and though generally of
wood many were of metal or ſtone; and they varied in ſize
according to the purpoſes for which they were intended. Many
were three-legged, the legs in a concave ſhape. -
I ntroduct'ion. clxxix
An antique marble table of Graeco-Roman work is pre-
ſerved at Naples (Muſeo Borbonico) ſupported by a centaur in
full relief at one end, and a ſea monſter, Scylla it is ſuppoſed,
involving a ſhipwrecked mariner in the folds of her tail, with
indications of waves, &e. round her body. Theſe figures ſhow
on each ſide of the central ſlab as the Ninevite bulls do in the
wall ſupports now in the Britiſh Muſeumfm Other Roman
tables of larger dimenſions had three, four, or five ſupports of
ſphinxes, lions, and the like.
In the Middle Ages, as has been ſaid in diſcuſiing that period,
tables were generally folding boards laid on treſſels and move-
able. The general diſpoſition of the dining table was taken
from thoſe of abbeys and convents, and may be ſeen continued
in ſome of our own colleges to this day. The principal table
was on a raiſed platform or floor at the upper end of the hall,
and thence called the " High " table. The-gueſts ſat on one
ſide only, as in the traditional repreſentations of the Laſt Supper,
and the place of honour was the centre, the oppoſite ſide being
left for the ſervice. The principal perſon ſat under a canopy or
cloth of eſtate, either made for the occaſion, or under a panelled
canopy curving outward and permanent, as may be ſeen in
repreſentations of meals in numerous illuſtrated MSS. of the
middle ages.
The round tower at Windſor was ſpecially built by
Edward III., before the year 1348, to hold a round table,
when he inſtituted 'or confirmed with much ceremonial, and
with tournaments and feſtivities, the Order of the Garter,41 or
Knightsof the Round Table. The chapter houſe of the order
was deſigned to be two hundred feet in diameter.42 The roof
probably reſted on a central column in the manner of the Cathe-

_.._- ...__
40 A plate of this table is publiſhed tive Cat. of the Muſeo Borbonico.
in the " Chefs D'Giluvres de l'Art 41 Auſtin and Sir H. Nicolas, i. 8.
Antique " (i. 22), and in the deſcrip- 42 Stow: Sir H. Nicolas, ib.
m 2
clxxx A I ntroduEZion.
dral chapter houſes of Saliſbury and other Engliſh churches,
whether vaulted or of timber, and the hall was itſelf called the
Round Table. At feaſts or chapters a round table was adopted
to ſhow the equality of the members of the fraternity, and they
ſat on the outer ſide only of the table, which ran round a circle
with openings, leaving the inner ſide for ſervice. A largeſi oaken
table is ſaid to have been found ſome years ſince in the Round
Tower, but we can find no notice of it at the preſent time.
Occaſionally medifflval tables in England were of ſtone or
marble. Of the former material a table is preſerved belonging
to 'the ſtrangers' hall at Wincheſter. Of ſome Engliſh tables
the tops are made with two thickneſſes, the lower pulling out
on either ſide to reſt on ſupports drawn from the bed. A table
of this deſcription is preſerved at Hill Hall, Eſſex.43
A remarkable table of marble belonging to the middle ages
was preſerved in Paris till the ſeventeenth century.44
Some tables of the ſeventeenth century, made in ſilver, are
deſcribed under Nos. '68. 99, '68. 122, but ſuch coſtly objects
muſt be conſidered as exceptional productions, and do not mark
an adopted faſhion.
The greateſt change in tables, as in other furniture, was
made by Boule and other marquetry artiſts of the ſeventeenth
and eighteenth centuries in France.
In England during the laſt century mahogany tables with
delicate pierced galleries round the edge, and ſimilar work to
Ornament the bed or frame, were made by Chippendale and his
contemporaries. Manyof them are light and graceful pieces

43 Shaw's Ancient Furniture.
44' " The great table of marble which
is in this hall (of the Royal Palace in
Entry of Iſabella of Bavaria into
Paris.
" This table " ſays Sauval, Antiq. de
Paris), and is never removed, was
covered with an oaken plank four
inches thick, and the royal dinner
placed thereon." Froiſſart, B. iv.,
Paris " was uſed at other times for a
theatre, where the attorneys' clerks
acted their mummeries. It was de-
ſtroyed by fire in 1618."
I nzrodnct'ion.
clxxxi
of conſtruction.
Others were maffively made with trapezopnora
or goat-footed legs that bulge well beyond the lines of the table
top, which in theſe caſes is often a ſlab of marble.
Mahogany had then ſupplanted the uſe
Surface painting was alſo employed on
manſhip is admirable.
of oak for large tables.
The work-
tables as on other furniture made in marquetry, as the dreſſing
table, No. 6 3 5. '70, deſcribed in the collection.
A beautiful table made in Cochin China, No. 652. '6 9,
deſerves mention for the elegance both of its form and of the
inlaid work in mother-of-pearl on the top.
C/ocſſs, Cabinets, and Sideboards.
The wardrobe, both in the Roman houſe and the medieval
caſtle, was a ſmall room, ſuitably fitted up and provided with
receptacles.
It was under the charge of a ſpecial ſervant, and
it was in it that during the middle ages tailoring, repairs and
making up was carried onfii5
Cheſts, Coffers, and caſkets were alſo in uſe, and are fully
deſcribed in numerous inſtances in the collection.
Their
beauty conſiſted in the painting, ſculpture, or inlaying of the
ſurface.
Shape and conſtruction have, in general, little intereſt.

45 Fixed ſhelves and encloſed receſſes
or cupboards were made after the re-
naiſſance to keep works of art, curioſi-
ties, antiquities, &e. " His Excellency
(Duke Coſimo) has cauſed a room
of conſiderable extent to be prepared
on the ſecond floor of his palace, as
a continuation of; and addition to, the
gnardaroba ,- around this room he has
had cabinets arranged ſeven braccia high,
and richly carved in walnut wood, in-
tending to place within them the moſt
valuable and beautiful Works of art in
his poſſeſlion; and on the doors of the
ſame he is carving fifty-ſeven pictures,
about two braccia high, and of propor-
tionate width, to be painted in oil on
the wood in the manner of miniatures.
The ſubjects delineated are the Ptole-
maic Tables meaſured by Don Ignazio
with the moſt exact perfection and
corrected according to the lateſt autho-
rities; ſea charts of the utmoſt ac-'
curacy are added, the ſcale and degrees
being adjuſted with all poſſible care,
and having the ancient as well as the
modern names," &e.
Florentine Academy.
Vafari : "The
clXXXii Introelnct'ian.
All or moſt of the cheſts or coffers, however, imply as we
have had occaſion to obſerve, moveability.
But the Renaiſſance cheſts were either mounted on ſtands or
gave place to ſuch mixed ſtructures. In other words, move-
ability was no longer a requiſite, and cabinets of various forms
that could be kept permanently in the hall or chamber, became
the faſhion. They were large, important objects, were never
moved, or carried abroad, deſcended from father to ſon, and
were the monumental objects, as the panelled ſuperſtructure of
the fireplace was, of halls and reception rooms.
Theſe pieces have various forms. When uſed in dining halls
or rooms occaſionally ſo uſed, they were cupboards, dreſſers, or
places with a ſmall receptacle to hold food, and a flat top with
perhaps a ſtep or ſhelf above it to carry plate, candleſticks, &e.
They are ſufficiently deſcribed under Sideboards in the collec-
tion. When uſed for receiving rooms or to hold dreſſes they
were cabinets or wardrobes; when uſed' for the Conveniences
of writing they are bureaux, ſecretaires, or eſcritoires.
We have early notices of the uſe of cypreſs cheſts, perhaps
cabinets, as ſome of them are fitted with drawers, in this country.
John of Gaunt, in his will, 1397, ſpeciſies ' a little 'box of
cypreſs wood.'
In Memoiſſrs of the Antiquities of Great Britain,46 relating
to the Reformation, in the Bodleian Library (Oxford), we find
an account of church plate, money, gold and ſilver images, &c.,
delivered to Henry VIII: ccPaid William Grene, the King's
cWjFer maker, for making of a coffer covered with fuſtyan of
Naples, and being full of drawers and boxes lined with red and
grene ſarcynet to put in ſtones of divers ſorts, vi.Zz'. xviij. 5.
a'.," by which we may gather ſomething of its 'coſtly con-
ſtruction, " and to Cornelys the locke ſmythe for making all the
iron worke, that is to ſay, the locke, gymours, handels, ryngs to
N-__-_-..-_
46. Antiq. Repertory, nal. i.
I ntroduction. clxxxiii
every drawer box, the price xxxvi. s. iv. d." This was probably
raiſed on a ſtand of ſome kind, in the faſhion of the Spaniſh
cabinets, ſo as to bring the uſe of drawers for objects ſo ſmall
within eaſy diſtance from the eye. The lining with ſarcenet
ſhowing that they were kept to be looked at and ſhown from time
toitime. Earlier notices are found of " Sypres" coffers, but
not coſting anything like the price here paid. Theſe were mere
cheſts made of that wood for the purpoſe of preſerving dreſſes
from the moth, as they were afterwards made of cedar with the
ſ ame object.
It has been ſaid in the opening chapter that the cheſt
mounted on legs formed the cabinet. In the caſe of ſome
of the older Spaniſh cabinets in the collection, eſpecially
Nos. 294. '70 and 42 50. ' 58, they have ſtands or legs of much
later date, ſhowing how the cheſt has actually grown into the
more modern and uſeful cabinet.
The marquetry invented or brought to perfection by Boule,
was diſplayed in greater magnificence on cabinets of various
ſhapes than on any other pieces of furniture. The ſame may
be ſaid of the marquetry cabinets in wood executed during the
eighteenth century in France by Rieſener and David, with the
help of the metal mounts of Gouthiere and his contemporaries.
In theſe fine pieces the interior is generally ſimple and the
conceits of the previous century are omitted.
In the earlier part of the laſt century the bronze mounts,
ſuch as can be ſeen, e.g., on Lord Darnley's carriage (ſee Ap-
pendix), were well made in England, by foreign, and certainly
alſo by native artiſts; but in England there was no modelling
and chaſing equal to that of Gouthiere at the ſame period.
The brothers Adam, who did ſo much in deſigning furniture
and metal work as well as architecture and interior decoration,
originated good work for door handles and lock plates; but
they do not ſeem to have deſigned ſolid metal mounts for
cabinet-work, and French cabinets during the reigns of
clxxxiv I ntr'oduction.
Martincourt and his pupil Gouthiere were unequalled in this
reſpect.
_ Japan cabinets, made to order during the laſt century in
China, or obtained through the Dutch from Japan, were fre-
quently imported into England. The hinges and mounts were
of ſilver or gilt metal, richly chaſed. '
The bureau, eſcritoire, or office deſk, called in Germany
Kaunitz after a princely inventor, was a knee-hole table, and no
example can be pointed out more magnificent than the bureau
made by Rieſener for Staniſlaus, King of Poland, in the Hert-
ford Collection. It is deſcribed in the Appendix. Another ex-
ample will be found, No. I 38. '6 5, and with an upper portion for
books and a lower cupboard, of German make, No. 4908. '58.
Theſe tall bureaux were of general, almoſt univerſal, uſe in
England during the laſt century.
Sidehoards.
There are ſeveral ſideboards deſcribed under the names of
dreſſoir or dreſſoir de ſalle a manger in the collection. They are
ſmall cupboards and would be called cabinets but for the drawers
half-way down, and the rows of the ſhelves on the top. They
are of the ſixteenth century date. According to Willemin, the
old etiquette of France, certainly that of Burgundy, preſcribed
five ſteps or ſhelves to theſe dreſſers for uſe during meals for
queens; four for ducheſſes or princeſſes ; three for their children
and for counteſſes and grandes dames; two for other noble
ladiesti'7
In the middle ages, cupboards or dreſſers were mere covered
boards or ſhelves againſt a. wall on which plate was ſet out,
and were made of three or four or more ſtages according to
the ſplendour of the occaſion. The picture of the Marriage

47 Willemin, vol. ii. p. 278.
I ntroduct'ion. clxxxv
in Cana, and many ſimilar compoſitions by Paul Veroneſe,
ſhow theſe ſhelves, cupboards, or ſideboards covered with
ranges of plates of gold and ſilver as, indeed, is not uncom-
monly done at great ſtate banquets at the preſent time. The
cupboard dreſſer of more modeſt pretenſions was conſidered as
_ a piece of dining-room furniture, though often ſhown in old
MS. miniatures in rooms uſed alſo as bedrooms, and was uſed
to hold lights when not wanted for uſe at meals. It was ordi-
narily covered with a piece of embroidery. Sometimes, but
rarely, the dreſſer was of ſtone (marble).48
Before concluding theſe remarks on dining-roomctfurniture,
ſomething may be ſaid on painted roundels or wooden platters.
There are in the Muſeum ſeveral ſets of theſe curious relics
of the early ſixteenth century houſeholds, and a few remarks
on theſe and other known ſets may not be out of place.
Though they have long ceaſed to be uſed for their original
purpoſe, there remain in country houſes and collections of dif-
ferent kinds ſeveral ſets ſtill complete.
in number.
They are uſually twelve
Sets have been made ſquare, but of theſe only
* ſingle examples, we believe, can be produced. They all ſeem
to be of the date of the late Tudor princes.
The three ſets in

4'3 Robert Frevyll bequeaths, 1521,
to his " ſon John a ſtone cobard in the
hall." Teſtamenta Vetuſta, ii. 575.
In an inventory of Henry VIII. is
named-"Item, one large cuppbord
carpet of grene cloth of gold with
workes lyned with bockeram, conteyn-
ing in length three yards, iii. q'ters,
and three bredthes." Harl. MS. 1419.
ſ. 20.
In the herald's account of the feaſt
at Weſtminſter, after the tournament
held in Old Palace Yard on the occaſion ,
of the marriage of Arthur, Prince of
Wales, to Cathe rine of A ragon, " There
was alſo a ſtage of dyvers greas and
hannes (degrees and enhancings of
height) for the cuppbord that the plate
ſhulde ſtande inn, the which plate for
the mooſt part was clene (pure) goold,
and the reſidue all gilte and non ſilver,
and was in length from the cloſet doore
to the chimney." Antiq. Repertory, ii.
And when in a later reign Henry
VIII. entertained Francis (Anne Bo-
leyn, then a maid of honour to the
Queen, being alſo there) at Calais, a
cupboard of ſeven ſtages was provided
and furniſhed with gold and ſilver gilt
plate. A. Strickland : Queens of Eng-
land, A. Boleyn.
clXXXvi Introdnct'z'an.
this collection are probably all of the age of Queen Elizabeth,
> though there is a conſiderable diverſity in the writing and ſome
in the ſpelling. Their ſize does not differ materially, all the
ſets varying from 5% to 5-3- inches. There are, however, ſmaller
ſets to be ſeen, which range from 272- to 5 inches in diameter.
The top ſurface is in all inſtances plain and the under ſurface
painted with a border of flowers, generally alternating with
knots more or leſs artiſtically drawn in Vermilion. The deſigns
on all ſets are much alike, and the deſcription given of the three
ſets in the Muſeum will ſerve for the ſets that are to be found
elſewhere.
It has been thought that they were intended for a game.
Something of the kind of the old ' characters' of Chriſtmas
when ' King,' ' Queenf &e. were drawn by lot and the
holders obtained correſponding comfits or ſugar plums. They
were, however, uſed in the ſixteenth century as deſſert plates,
the plain ſide being at the top. Leland®9 ſpeaks of the " con-
fettes" at the end of a dinner, " ſugar plate fertes, with other
ſubtilties with Ippocraſs " (a ſweet wine). Theſe confettes or
comfits were ſerved up upon the roundels or plates, and the
gueſts amuſed themſelves by the conceits or ' poſies,' that is,
mottoes in verſe, which are the moſt important element in the
decoration of the under ſide. It is ſometimes ſaid, indeed, that
earthenware plates though not unknown were ſtill very un-
common in England before the reign of Elizabeth. The dinner
was ſerved on plate in royal or very great houſes, pewter and
wooden trenchers in more humble and unpretending houſeholds.
Specimens of the latter may ſtill be ſeen in our old collegiate
eſtabliſhments. T Porſelyn" is firſt mentioned in England as
late as 1587-88. A porringer and a cup were preſented by
Burleigh and Cecil to Elizabeth on one of her progreſſes. " Fine
diſhes of earth painted, ſuch as are brought from Venice." 50


49 Coll. vi. 24. i 50 Nicolas's Progreſſes, ii. 528.
' I ntroduct'ion. clxxxvii
Theſe wooden roundels were in fact nothing but a deſſert
ſet, on which knives would not need to be uſed, and which
therefore could be delicately painted. They are kept in boxes
turned out of a block and carefully decorated with painting and
gilding.
Sir Samuel Meyrick's ſet with H. K. for Henry VIII. and
Queen Katherine of Arragon, his firſt wife, is as old as any of
which we poſſeſs a notice. Theſe are decorated with the roſe
and pomegranate, the devices of the King and Queen. Various
ſets are mentioned in the Gentleman's Magazine. One with
the twelve zodiacal ſigns (Gentleman's Magazine for 1793,
1187), and again in the fame periodical (May 1794) a ſet in
which the flowers differ in the different roundels. In theſe are
found the honeyſuckle, ſweet pear, roſe, marygold, carnation,
ſtrawberry, cherry, panſy, lily and ſweet briar, withtwo others,
either conventional repreſentations or not diſtinguiſhable by the
writer who deſcribes them. We hear of another ſet of t Poſyes
for trenchers,' but too Coarſe for quotation.
The ſets we deſcribe in the collection are later than the
time of Henry, and may probably be all three ſet down to
that of Elizabeth. -They are drawn in a conventional manner
with great care but not by fine hands. The art of illumi-
nating the capitals of printed books, for which vacant ſpaces
were ſtill Occaſionally left in the letter-preſs, was dying out,
and theſe trencher drawings were by illuminators of that ſchool.
The Compoſition of apothegmatic diſtiches for poſies of this
kind was a ſort of neceſſary accompliſhment of the verſifier of
the day, as the Compoſition of complimentary odes on birth and
wedding days and other ſpecial occaſions uſed to be a requiſite
among the liſt of a gentleman's accompliſhments. To this day
in France a wedding is not conſidered to be complete as to family
ceremonial unleſs ſome member of the family has compoſed
and recited complimentary ſtanzas ſpecially ſuited to the occa-
ſion. As regards theſe dinner table ſayings, we are told in the
clxxxviii Introduction.
Art of Engliſh Poeſie by Puttenham (I589), in treating " of
ſhort epigrams called poſies," that " there be alſo other like
epigrammes that were ſent uſually or put upon their banket-
ting diſhes of ſu'gar plate, or of March paines and ſuch other
dainty meates as by the curteſie and Cuſtom every geſt might
carry from a common feaſt home with him to his own houſe,
and were made for the nonce." They were called *nenia' or
' apophoreta,' and never contained above one verſe or two at
the moſt, but the ſhorter the better. " We call them poſies,
and do paint them nowadayes upon the back ſides of our fruite
trenchers of wood, or uſe them as deviſes in rings and arms and
about ſuch courtly purpoſes." 51
Carriages.
The ſhape and decoration of carriages have changed con-
tinually, but theſe changes have not always been in the direction
of convenience and handineſs for rapid motion.
In ancient Egypt, Sir Gardner Wilkinſon tells us that
each car contained two perſons. On ſome occaſions it carried
three, the driver and two chiefs. In the field each had his own *
car and driver, and had the " inſignia of his office belted behind
him," and his hands were then free for fighting. When on a
viſit' or driving for pleaſure the charioteer was diſpenſed with,
and Egyptian gentlemen drove themſelves, their attendants
running beſide them, as is the modern uſe in Egypt. In battle
many attendants were in readineſs and, when a_ leader diſ-
mounted to lead troops over rocky ground, or to attack walls,
theſe took charge of the horſes and kept them in a ſecure
place. '
There is no evidence of racing in chariots in Egypt. The
only hippodromes were at Alexandria and at the Roman town
of Antinoe, founded by Hadrian in Upper Egypt.

51 See an article by Mr. Albert Way in the Archaeological Journal, vol. iii.
I ntrodnct'ion. clxxxix
The material of the Egyptian chariot was wood, as we ſee
ſculptures repreſenting the carriage builders ſhaping the wood,
with adzes and ſpoke ſhaves, ſawing, bending over the felloes,
ſawing out the axles and poles, &e. The body was exceedingly
light, conſiſting of a wooden framework ſtrengthened and orna-
mented with metal and leather binding, like many of thoſe
mentioned by Homer. The floor was either of one piece or
of twiſted rope to give a good footing, or thongs reſting on the
axle and lower end of the pole, where it was morticed into the
axle. The centre was not placed directly over the axle, as in
the Greek and Roman chariots, but the back ſeldom projected
beyond the middle of the wheel, that is the axle, and the weight
was therefore thrown more on the pole, to which the upper
rimiof the front was ſtayed down by thongs or ſtraps. The
weight was divided evenly between the wheels and 'the horſe;
but the whole was eaſily carried by one man, and we may con-
clude that, even with the addition of two perſons it was not
ſuch as to fatigue the horſes, and this mode of placing it had
the advantage of rendering the motion eaſier to the driver.
When the horſes were taken out the pole was ſupported on a
prop repreſenting ſometimes a wooden figure of a man, a
captive or ſlave.
The greater portion of the ſides and the whole of the back
were open. The hinder part of the lateral framework com-
menced nearly in a line with the centre of the wheel, and riſing
perpendicularly, or ſlightly inclined backwards, from the baſe
of the car extended with a curve, at the height of about two
feet and a half to the front, ſerving as well for a ſafeguard to
the driver as for a ſupport for his quiver and bow-caſeJ To
ſtrengthen it three thongs of leather and an upright of wood
connected it with the baſe of the front part immediately above
the pole, where the ſtraps before mentioned were faſtened. It
is, however, reaſonable to ſuppoſe ſome occaſional variety of _
theſe forms.
cXc Intraa'nctian.
In the ornamental trappings, hangings, and binding of the
framework of the chariot and arm caſes, leather was principally
uſed, dyed of various hues, afterwards adorned with metal
edges and ſtuds. The wheels, ſtrengthened at the joints of the
felloe with bronze or braſs bands, were bound with a tire of
metal. The Egyptians themſelves have not failed to point out
whatwere the peculiar provinces of the carpenter and currier.
The body and framework, axle, pole, yoke and wheels were of
wood, the reſt of ſkin, In war chariots the wheels had ſix
ſpokes; in many chariots or private cars employed in the
towns only four. The wheel was fixed with a linch pin ſecured
by a thong, as in the Greek chariots. No inſtance has been
found by Sir Gardner of a carriage with four wheels.
The pole was ſupported on a curved yoke fixed by a
ſtrong pin, and bound with thongs. The yoke, reſting upon a
ſmall well padded ſaddle was firmly fitted into a groove of
metal; and the ſaddle, placed upon the horſes' withers and
furniſhed with girths and a breaſt band, was ſurmounted by an
ornamental knob, and in front of it a ſmall hook ſecured the
bearing rein. The other reins paſſed through a thong or ring
at the ſide of the ſaddle, and thence over the projecting extremity
of the yoke; and the ſame thong ſecured the girths, and even
ſometimes appears to have been attached to them. The trace
was ſingle on the pole ſide, to the lower part of which it was
faſtened. No proviſion was made for a ſecond, the yoke and
pole were ſufficient, as in the Greek car. Blinkers were not
uſed, but the bit was ſevere, as indeed was uſual with the
ancients.52
An actual example of the whole framework of an Egyptian
chariot is preſerved in the Muſeum of Florence, ſhowing the
body, pole, yoke, axle, wheels, &c.; complete as far as the
woodwork goes; the leather has periſhed.

__,_..... . . a ,.____-
53 Sir G. Wilkinſon, Ancient Egyptians. Chariots, &C-
I ntrodueflion. ' cxci
The Aſſyrian chariots were heavier than thoſe of Egypt.
The wheels had thicker felloes and the fronts ſeem to have
riſen higher. Theſe were, as in the Egyptian chariots, frames of
wood elaborately painted. The pole and front rim were con-
nected by a forked piece of wood, and by a rod with a covering
of linen or ſilk, ſtretching down to the pole. A third horſe
was often harneſſed to the ſide. The ſculptures give no. indi-
cation of traces, but we muſt conclude that traces were the
means of attaching the third horſe. The wheels of earlier
chariots had ſix ſpokes, the felloe was in four pieces. The
end of the pole was carved. The warriors hung their arrows
and bows by the ſide, as the Egyptians did.
The later Aſſyrians had the framework over the chariot
pole open entirely, altered the ſhape of the yoke, put no
carving on the head of the pole, kept the front of the body
ſquare, with a projection in front, perhaps an arrow caſe. The
panels were carved with roſettes, &e. Theſe later chariots,
inſtead of the elegant borders or rims of the earlier examples,
were completely covered with Ornament, inlaid with gold,
ſilver, or hard woods, and painted. The harneſs was extremely
rich and elegant. Plumes or fanciful creſts roſe gracefully in
an arch above the horſes' ears, and deſcended in front to their
noſtrils. To theſe Ornaments were ſometimes appended long
ribands or ſtreamers, which floated on the wind. Large taſſels
of wool or ſilk, dyed many colours, fell on the forehead, and
were attached to many parts of the harneſs. The bridle gene-
rally conſiſted of a head ſtall, a ſtrap divided into three parts
connected with the bit, and ſtraps over the forehead, under
the cheeks and behind the ears (as in the Egyptian horſe
furniture). The bit of the earlier Aſſyrians was in the form
of a double Wedge or dovetail, more like a curb than a ſnaffle.
The rein was attached to the centre, and the bit worked as
on a lever. Later the form of bit was altered and the rein
faſtened nearer the "end, to add to its power. To the yoke
cxcii I ntroduction.
was ſuſpended a very elegant ornament, formed by the head
of an animal and a circle, in which was ſometimes introduced
ſia winged bull, ſtar, or other ſacred device. Embroidered
clothes or trappings were frequently thrown over the backs of
chariot horſes, and almoſt covered the body from the ears to
the tail. They were kept in their places by ſtraps paſſing
round the breaſt, the rump and the belly.53
In later times a high plume of three feathers ſurmounted
the head. Fiocchi or cluſters of taſſels, ſuch as are ſeen on the
ſtate carriages in Rome at preſent, ſtood between the horſe's
ears, and cluſters of taſſels clothed the head and neck without
the more elegant medallions of earlier days. The manes were
hogged, left looſe, plaited. The tails in earlier ſculptures are
fquared at the end and tied round half way down; in later, plaited
andtied up in a bunch, a faſhion borrowed from the Perſians.
The Perſian harneſs, as repreſented in the baſ-reliefs at
Perſepolis, ſeems to have been ornamented with a net work
of red or other coloured hangings in ſilk or worſted.54* With
leſs elegance the ſame way of caparifoning horſes was in uſe in
the Low Countries during the middle ages, with ſtreams, one
might almoſt call them fountains, of ribbons. The picture
gallery of the Royal Muſeum of Bruſſels has a curious collec-
tion of paintings repreſenting ſuch feſtive capariſons. The
riders are almoſt loſt in the cataract of bows of ribbon with
*which each lock of the horſes' manes is twiſted and tied, as
well as the reſt of the harneſs. Something like it may be ſeen
in the ribbon decorations, red or garter blue, which the horſes
of the royal carriages diſplay on court ceremonies in London,
ſuch as the opening of Parliament by the Queen, Theſe knots
flow down from the manes and fiutter from various points of
the harneſs.
L'
53 Nineveh and its Remains, ii. p. 54 Sir R. Kerr Porterſſ, Travels, &c.,
355* pl. 41 ſay.
Introdaction. exciii '
The carriages uſed by the Greeks and Romans were of
ſeveral kinds. The moſt important as to uſe and dignity
was called cnrrns, in Greek, dipjua; a carriage on two wheels,
'and drawn by two horſes. The body was light, occaſionally
made of wickerwork, held together by the outer rim'; ſome-
times a platform and rim only, juſt giving the driver room to
ſtand over the axle. The &va-us or rim was the important
member of the body. It was circular in front, and ſloped
down behind to the ſides of the bottom. This was high enough
in front to reach up to above the knees of the driver. On the
rim the reins could be hung. The axle was made of oak, aſh,
elm, ilex; tough woods. It was firmly fixed under the body.
The pole, þujuo'g, in Latin iemo, was ſet in the axle at its baſe,
and curved upwards, ſo as to riſe nearly to the top of the
ſhoulder of the horſes. To this was faſtened by a pin, or by
cords, the yoke which reſted on the ſhoulders of the horſes.
The wheels, xt'mmc (circles), or 'TpO/XOl, robe, were ſet on the
axles as in our modern carriages, and linch-pins, orqoo'vou, or
ZnBoMi, kept them on. The wheel was made as our own
are, with ſpokes radiating from the nave, whim-r), modiolno.
The ſpokes, xmjjuou, radii, and were held by the felloe, if'rug,
abſir. The felloe was ſometimes made of one long piece of
poplar, wild fig, or other elaſtic wood, which was brought
into its ſhape by boiling or other application of heat. It
was alſo made, and probably was generally made of ſeveral
pieces ſhaped and pegged together. In either caſe it was
held complete by the tire, e'nla-w-rpoo, cant/ner, a hoop of
metal forged in one piece, and probably put on while hot,
ſo as to bind the ſeparate pieces and the ſpokes together
the more firmly by the contraction of the metal on getting
cold.
Every ſort of ſplendour was devoted by the Greeks and
Romans to the decoration of the chariot. The head of the
pole was ornamented with a ram's or other animal's head, and
F. 11
- cxciv I ntroa'uctz'an.
was of gilt metal, occaſionally of gold. Other horſes beſides the
two were ſometimes attached to the chariot. Theſe were called
wapujopoz, and had a trace faſtened to the axle between the body
and the wheels, with another under the body. The traces were
attached to a breaſt-plate. Theſe horſes were driven by a pair
of reins each, which paſſed through a ring in the belly-band or
ſurcingle.
The Roman name for a chariot and pair was az'ga; with
three horſes it was triga; with four, quaa'rz'ga. Chariots with
more than two horſes were a mark of ſtate. The name ſtZ/a
eurnlz's has been connected with the chariot, and was probably
uſed by the owners to ſit on in the chariot on viſits or pro-
greſſes of ſtate. Several horſes were uſed for the games of
the circus, the two outſide horſes in the races being harneſſed
by traces only to the axle, and much of the excitement of
the race depended on the accidents to horſes ſo looſely held
together, in numerous chariots all ruſhing for the inner place
in rounding the meta. Frequent upſets occurred in every race,
and few baſ-reliefs out of the many that repreſent actual
races, or the races of genii, are without repreſentations of this
misfortune.
The triumphal cars of the emperors were ſplendidly de-
corated. Beſides the golden-headed poles already alluded to,
the rim, the nave of the wheel, ſpokes, pole itſelf and ſides
of the chariot were of gold, of gilt bronze, inlaid with ivory,
painted, repouſſe and chaſed, or otherwiſe adorned with all
the beſt art at command. The triumphal car is repreſented
without a pole, with men at the horſes' head, as on the arch of
Titus at Rome. Wreaths of laurel or bay were hung on
the chariot as well as placed on the head of the hero of the
day. Splendid chariots were alſo the reward or prize in the
races, and were kept as a family inheritance. _In the gaudy
pageants of Imperial times, cars drawn by elephants were occa-
ſionally introduced, each having a native driver with a pike
I ntroduction. cxcv
on his neck. On a medal of Auguſtus may be ſeen a car
drawn by four elephants.55
The Carpentum is the oldeſt form of covered carriage on
two wheels. It was balanced as our two-horſe agricultural
carts are at the preſent day, and reſted with a pole and yoke
on the ſhoulders or necks of two oxen, Occaſionally horſes;
oftener it was drawn by mules. The cover was an awning,
cradle-ſhaped. A medal to the elder Agrippina, mother of
Caligula, ſhows ſuch an awning, ſupported on carved human
figures. Sometimes the carpentum was drawn by four horſes.
Theſe covered carts were in uſe amongſt the 'northern nations,
our own eſpecially.
Pilentum was a covered and cloſe carriage on two or four
wheels, painted and furniſhed with cuſhions. It conveyed the
Roman matrons to ſacred feſtivals 'and to the circus. It 'was
opened in the middle, ſo that the perſons inſide could be ſeen,
and ſometimes without a canopy. It was arranged as our
carriages on four wheels of the ſeventeenth and eighteenth cen-
turies, in which the entrance doors were in the middle, and
a lower ſeat contrived between the two, ſuch as that occupied
by the mace bearer in the carriage of the Mayors of London.
On the column of Theodoſius at Conſtantinople, two or three
of theſe pilenta may be diſtinguiſhed.




Biga. See No. '64. 132. From the Column of Theodoſius.
The Carruea was four-wheeled, covered like the carpentum;
richly adorned with ivory, ſilver, Occaſionally with gold. It
was ſquare, fitted with a pole, and drawn by mules or oxen.

55 Goltzius (Julius Caeſar et Cwſar Auguſtus), No. xxvii.
nz
cXcvi I ntroduction. i
The 'body appears to have been hung on a bed or frame by
leather thongs or ſtraps, and it is nearer to the ſhape of our
modern carriages, to which it has given its name.
The Ci/ium was a light gig, drawn by one horſe on two
wheels, with ſhafts, cloſed at the back and open in front, and
could go at the rate of ſix Roman miles in the hour. Such
vehicles were kept as poſt carriages. A ſculpture at Igel, near
Treves, preſerves the likeneſs of one of theſe poſt-chaiſes.
Relays could be had along the great Imperial roads. Theſe
are ſtill repreſented in the long-ſhafted cart of Rome and Tuſ-
cany, the bottom being of ſacking and a body ſuſpended or
planted on the ſhafts from wood or iron ſupports, ſuch as is
ſhown in the Carratella, No. 7117. '60. The ſpring of the
vehicle is derived from the length and elaſticity of the ſhafts.
The Effldum was like the eiſium, a car opened in front and
cloſed behind, but had a pole, and was adopted from, or as
ſhown at Rome was a ſpecimen of, the war chariots captured
from the Britons or Gauls. The warrior did not jump in and
out from behind, but ran along the pole and attacked, got on
and off his horſes' backs, and could retreat again to his car.
The &puo'cuafloc in Greece ſeems to have anſwered to the
Pilentum, and was generally uſed as the conveyance for women
and children.
The Petorritum was a covered four-wheeled waggon or car-
riage, and it is conjectured, with probability, that it was derived
from Gaul or Britain, as the name petor, four, is ſaid to be a
Gallic word. The Turkiſh arahah, drawn by oxen, and de-
rived from the old uſages of Conſtantinople, has been probably
a modern continuation of the Petorritum. It has an awning,
and can be cloſed by curtains, and is ſometimes decorated with
carved work and gilding.56 i


56 For a more complete account of Die Wagen und Fahrwerke der Grie-
antique chariots, &c.,ſee C. Ginzrot: chen und Romer. Miinchen, &c., 1817.
I ntrodnction. cxcvii
Of the period fucceeding the deſtruction of Rome and the
extinction of claffic cuſtoms, furniture, and equipages, we know
but little. Oſiian deſcribes the cars of the Germans and Gauls
as having a beam and pole of poliſhed yew and of gems ſet
in the car and in the harneſs, ſhowing that much wealth was
devoted to the decoration of theſe chariots.
We ſtated that in the earlier middle ages war ears had been
uſed as repreſenting a ſort of viſible ark or ſanctuary.
The Carroccio of Milan was firſt uſed by Eribert, Arch-
biſhop of Milan, 1035. It was a car on four wheels, of
maſiive conſtruction, and drawn by four pairs of oxen. In the
centre a maſt was erected, and thereon a golden ball on which
was an image of the Crucified, and the banner of Milan. A few
of the choiceſt warriors of the army were placed on the car,
and warlike muſic followed. From the platform of the car the
offices of religion were adminiſtered to the army. The honour
of the republic was bound up in the ſafety of this precious
engine, which was ſaid to have been ſuggeſted by the ark or
ſacred cheſt of the Jewiſh covenant.
In the battle of Northallerton, in which, under Thurſtan,
archbiſhop of York, the Engliſh defeated the Scottiſh armies,
a car on four wheels ſupported a maſt, on which was a box of
ſilver containing the Hoſt and a large crucifix, and lower down
three banners. This was called the ' Battle of the Standard,'
fought in 1 138.
In the middle ages we find carts, like thoſe in uſe for agri-
cultural purpoſes in France, a long frame with ſpreading rails
balanced on one pair of wheels of large dimenſions, drawn by
a ſtring of horſes. In the Bayeux tapeſtry, where the Norman
preparations for the war in England are deſcribed, carts are
uſed with four wheels."
A cart of arms, according to Foſbrooke, was a tilted waggon
on four wheels, carrying, after the invention of artillery, two
ſmall chambered pieces. The tilt covered the horſes.
cſiXcviii I nzraa'uct'ian.
In a MS. (No. 6,808) of the imperial library inParis, there
is a painting of a knight in full armour driving a ſhafted cart,
of which the ſeat is elaborately carved. The horſe is' going at
a round trot, and a flail is in place of a whip. The cart is
framed of two long pieces, the ends of which form the ſhafts;
it has no ſides.
This woodcut of a family carriage is from the Luttrell i
Pſalter, an illuminated MS. of the early fourteenth centuryf"7
) \'i r
L/ſiffi - '- *
xvfl ea- DL'QVJÞ Of? -
. > \_; g'ffirffi
X'ſi 1 ſi 'Zlb'
di-ſi
/"\ "\\ \\ 1 ' \ \ Q ('
. a 3) 0 t 3
A D O fig



As early as 1294 the ladies of the citizens of Paris were
driven about in ſuch vehicles. When Charles of Anjou
entered Naples (end of the thirteenth century) his queen rode
in a earetta, the outſide and inſide of which was covered with
ſky-blue velvet ſeme of golden fleur-de-lys.
The oldeſt kind of wheel carriages known in England were
called w/zirleeotes, and one of theſe belonged to the mother

57 Vetuſta Monumenta, vol. With damaſk white, and azure
In the Squyr of Low Degree, a blue,
poem ſuppoſed to be earlier than the Well diapered with lilies new,
time of Chaucer, the father of the Your pomelles (knobs) ſhall be
Princeſs of Hungary promiſes- ended with gold,
To-morrow ye ſhall on hunting Your chains enamelled many a
fare, ' fold.
And ride my daughter in a cbare,
It ſhall be covered with velvet red, B- Adams: Engl- Meaſure car"
And Cloths of fine gold all about "ages, 1337-
your head.
I ntrodublion. cxcix
of Richard II.58 In the privy purſe expenſes of Edward IV.,
publiſhed by Sir N. H. Nicolas, there are items, " For the repa-
racion of the Kinge's carre,-John Jaks for a forehors bridelle,
price iiij. s. for v. other bridels, price the pece, s. iiij. d.,
xi. s. Viij. d. ; for v. pair trays (traces) garnyſht, price in grete,
xxv. s., et cetera, and for auxeltrees for the ſame carre, 3.,"
ſhowing that it was four-wheeled. Other items ſhow that it was
driven by the coachman riding poſtillion on one of the wheelers,
" for ſti-roppes, viij. d." P. 123.
Coaches were probably firſt introduced from Hungary.59
They ſeem to have been ſquare, not differing greatly in outline
from the ſtate coaches of which numerous engraved plates can
be ſeen. They were conſidered as too effeminate a conveyance
for men in the days of Elizabeth. Henry IV. of France had
but one. He uſually rode on horſeback. His one coach may
be ſtudied in the plate by Van Luyken that repreſents his
murder by Ravaillac, 1610. It is four-wheeled, ſquare, with a
flat awning on four corner pillars or ſupports, and Curtains.
The centre deſcends into a kind of boot with leather ſides. In
this ſat generally an attendant. In the carriage of lord Darnley
in the Muſeum this conſtruction can be ſeen applied to a chariot.
ſiIn the picture by Van der Meulen repreſenting Louis XIV. and
his troops, the carriage is ſimilar, but the upper part is encloſed-
with leather ornamented with gilt boſſes. Out of the window
is hung a blue carpet with fleur-de-lys on it. There is a
board behind hung by ſtraps cloſe to the ground for a
groom.60
Beſides carriages for ordinary uſe coaches were made expreſſly
for ſtate ceremonies. In 1475 the Emperor Frederic III. went

58 Whirlicotes were uſed at the 59 So at leaſt Beckmann ſeems to
coronation of Katherine of Arragon, think. Hiſtory of Inventions: Coach.
though the Queen herſelf was conveyed 60 Exhibited at the Royal Academy
in a litter of white cloth drawn by in 1872-
white horſes.
cc I ntroduction.
to Frankfort in ſuch a coach. Germany ſeems to have been at
the head of the faſhion as regards theſe luxuries. In I 562 the
elector of Cologne had twelve carriages; the margrave John
Sigiſmund, a little later, thirty-fix coaches with ſix horſes each.
In 1588 the uſe of carriages had become ſo general that an
edict was iſſued by Julius duke of Brunſwick, forbidding the
uſe of coaches to his vaſſals, alleging that ' the uſeful dif-
cipline and ſkill in riding ' had been almoſt loſt. In the ſeven-
teenth century count Kevenhiiller in his annals, ſpeaking of
the marriage of the emperor Ferdinand II. with a princeſs of
Bavaria, ſays, " The b'ride rode with her ſiſters in a ſplendid
carriage ſtudded with- gold; her maids of honour in carriages
hung with black ſatin, and the reſt of the ladies in neat leather
carriages." (Beckmann.)
In 16 31 glaſs panels were made in carriages. Mary, infanta
of Spain, travelled to Carinthia in a glaſs carriage, in which
no more than two perſons could ſit. The carriage of the firſt
wife of the emperor Leopold (16 58), a Spaniſh princeſs, coſt,
together with the harneſs, 38 ,Ooo florins. The emperor's own
carriage was more ſimple, it was covered with red cloth, the
nails were black as well as the harneſs, and it was without
gilding but had panels of glaſs, and on this account theſe kind
of carriages had the name of imperial glaſs coaches.
In 1681 Erneſt Auguſtus, duke of Hanover, had fifty gilt
coaches with ſix horſes each.
Taylor, the water poet, ſays in a poſtſcript to the life of old
Parr, in a note, " He was 81 years old (born in 1483) before
there was any coach in England, for the firſt ever ſeen here was
brought out of the Netherlands by one William Boonen, a Dutch-
man, who gave a coach to queen Elizabeth," &c. (Adams.)
Henry FitzAlan, earl of Arundel, is popularly ſaid to have
introduced the coach into England. He brought one from
Germany in I 580. Stowe, in the " Summarie of the Engliſh
Chronicle," ſays that a coach, the firſt ever made in England,
]ntrodnct'ion. cci
was made for the duke of Rutland by Walter Rippon in 1555.
That the fame Walter made the firſt hollow turning coach with
pillars and arches for Her Majeſty (Mary Tudor). In 1584.
he made what ſounds very like our preſent ſtate coach, " a
chariot throne with four pillars behind, to bear a crown Im-
perial on the toppe, and before two lower pillars, whereon ſtood
a lion and dragon, the ſupporters of the arms of England."
Queen Elizabeth had her carriage open at the ſides, ſo that
her loving ſubjects might the better ſee her in her progreſſes.
Lord Grey de Wilton (died 1593) firſt introduced them into
Ireland. Charles I. had a ſtate coach of Crimſon velvet, adorned
with gold inſide and out. In 1619 the celebrated duke of
Buckingham firſt drove ſix horſes. The earl of Northum-
berland, in ridicule, put eight to his.61
The accompanying woodcut repreſents the carriage of the
Engliſh ambaſſador at Rome in 1688.62-




For very ſplendid eighteenth century ſpecimens we may
call attention to an engraving by B. Picart,63 of the " Premier
Caroſſe " of Louis XV., about 17 30 or 40. The four ſtate
carriages of the queen, the ſpeaker, the lord mayor of
London, and the chancellor of Ireland are deſcribed in the
appendix. The carriages and triumphal cars employed in

61 Beckmann, Hiſtory Of inven- 62 Engraved In 3 Account
of Lord Caſtlemaine's embaſſy, &e.
. 63 In the South Kenſington col-
nages' lection of engravings.
tions.-Adams, Engliſh pleaſure car-
ccii I ntraa'nct'z'an.
proceffions in Italy, Germany, Flanders, France, and England
during the ſixteenth and ſeventeenth centuries ſhowed an end-
leſs fertility of fancy, as may be ſeen in numerous deſcriptive
i books and plates.
We muſt not cloſe our account of wood conſtruction of this
kind without. a paſſing notice of the Indian idol cars, of which
fine photographs are exhibited in the Muſeum. a
Theſe ſtructures are on a ſcale larger than anything we
know of in antiquity either in Europe, Egypt, or Aſia. They
have been connected with terrible exhibitions of human ſelf-
deſtruction. It is within our own times that the proceffions of
the car of Juggernauth have been put an end to by the Britiſh
government in conſequence of the ſelf-deſtruction of devotees,
who caſt themſelves under the wheels.
In the collection of photography placed in the oriental
court of the Kenſington Muſeum by Mr. Ferguſſon to illuſtrate
the hiſtory of oriental architecture, we find ſeveral of theſe
enormous cars, one of them executed in ſtone. This forms
part of the ruined temple of Beejanugger. It is raiſed on a
plinth elaborately carved on each of its ſides. The car itſelf
reſts on four wheels (with ſupports behind). Theſe wheels are
ſolid diſks carved with concentric circles of decoration, and
giving us the impreſſion of repreſentations of claſiic ſhields.
The axles, &c., are carved as central boſſes. Above this bed
the ſtructure riſes for ſome fifty feet, in the form of colonnades
of delicate pillars with carved cornices and horizontal mouldings
above them in many tiers. The whole is ſurmounted by a
ſmall dome of graceful outline, which unites with the colon-
nades below by numerous richly-cut horizontal bands of
moulding. The ſtonework repreſents what has been originally
a timber conſtruction, but, excepting that the core or centre of
of the ſtructure muſt be ſuppoſed to be ſolid, wood carving
could ſcarcely exceed in delicacy the fine ſhafts and cut and
pierced Ornaments of the mouldings.
I ntroduction. cciii
Other cars are to be ſeen at Beejanugger, of more recent
make and uſe. One of theſe is the car of the god Bunſhun
Karee. It is of timber,pand is conſtructed on a rectangular
bed reſting on ſolid beams, which form the fore and hind axles.
Above this a platform is bracketed out by groteſque figures,
ſomething like the ſquatting or kneeling groteſque figures
forming ſimilar ſupports, that we meet with in fourteenth and
fifteenth century woodwork in Europe, and there is ſpace on
it for a ſmall temple or ſhrine ſupported on columns, covered
. with a dome and with a battlemented parapet. There are
verandahs ſupported by carved braces round the whole, and
a ſort of carved baluſtrade protects a gallery or ambulatory
round the outſide of the ſhrine. The wheels are ſolid
diſks of timber, and the car has been drawn by elephants,
dragging from iron rings faſtened into the axle-beam. The
entire height is from twenty-five to thirty feet from the
ground.
Another car at the ſame place, ſacred to the god Seringa-
patam, is a finer ſtructure, though without the domed temple
above. The bed is of ſolid timber, and the ſuperſtructure
bracketed out as the laſt; but inſtead of firſt contracting and
then expanding in width as the tiers of brackets riſe, this car is '
in the form of tiers of niches ſilled by well executed figures-
of divinities or mythological perſonages. It is of the ſame
breadth all the way up. The carving is in continuous bands
of niche and figure work. The wheels are ſome ten feet
diameter and of ſolid timber. It is poffible that the ſolid and
unornamented wheels replace earlier and more carefully made
examples, as theſe portions would naturally require frequent
renewal under the cruſhing weight ſuperimpoſed, and in con-
ſequence of jolting over the bodies of victims cruſhed by their
motion. It is about twenty feet high.
Lighter examples of ſuch wooden cars are preſerved at
Purudkul. One is in the form'of a polygonal encloſure
cciv I ntroduction.
formed by light columns of turned wood united by architraves
above, and framed to a platform. The platform is carried
down by mouldings that gradually contract till they reach a
richly-carved horizontal bed. This is ſmaller and lighter, and
ſtands on radiated wheels.
The car preſerved at Myſore is a more elegant piece of con-
ſtruction. It is a ſquare waggon. The ſides form arcades of
ſeven arches each, with light creſting above formed by two
horizontal bars united by cloſely-placed pieces of turned wood
or baluſte-rs, and ſimilar work Ornaments the bed or plinth on
which the whole is framed. The wheels are common ſpoked
wheels, and probably are modern reſtorations. The ſize and
height of this laſt car do not exceed thoſe of our four-wheeled
country waggons, though the weight of the ſides is greater.
The whole piece would make a beautiful model for a car of
ceremony for modern uſe. If theſe ſumptuous examples of
oriental ſplendour are no longer in uſe, and are ſuffered to fall
to ruin, we cannot but regret that one or two of them cannot be
preſerved for our European muſeums. Structures of this kind
made to be moved in ſhows and proceffions are more pictureſque
and magnificent than the cars uſed for ſuch occaſions in our
own days, and if we can diſſociate them from the terrible
ſignificance of their former purpoſe, we ſhall certainly ſee few
objects that will ſo effectually fill up for us the picture of a
ſtate of manners, barbaric perhaps, but rich and ſplendid, long
forgotten in modern Europe, and faſt dying out in the far
Eaſt.
Litters.
Beſides wheeled carriages, litters of various forms have been
common in the claffic, medifflval, and modern times. The
Baſterna was a cloſed bed with ſhutters, windows of talc. It
was ſo ſhaped that the perſon was carried in a reclining poſture.
I ntrodnction. ccv
It was carried on poles by four or ſix men.64 Numbers were
kept for hire at regular ſtations in Rome. '
The Indian palanquin is much the ſame in form. Models
can be ſeen in the muſeum of our India Office. Japaneſe
wooden litters can be ſeen in the carriage department of the
International Exhibition of this year, 1873.
The medifflval litter was of the ſame form, but was fre-
quently, if not generally, carried by horſes or mules harneſſed
between the poles, as in ſhafts, in front and behind. They
were in frequent uſe in the middle ages, covered for travelling,
and open and highly decorated for proceſtions, coronations, and
other ſtate ceremonies. Iſabel of Bavaria entered Paris on her
marriage with Charles VI. in 138 5, attended by the ducheſſe
de Berri, the ducheſſe de Lorraine, comteſſe de Nevers, dame
de Coucy, and a crowd of other ladies, each in a ſeparate
litter, moſt richly ornamented, borne by horſes.65
Elizabeth of York ſet out from the Tower, in 1487, for
her coronation in a rich open litter, with a canopy borne over
her by four knights of the bath, created on the occaſion.66
The photograph from one of the drawer fronts of a
cabinet in the time of Henry VII. or Henry VIII. in the
Muſeum, fully deſcribed under No. 27. '69, contains a repre-
ſentation of the travelling litter of the fixteenth century. A
well known portrait of Queen Elizabeth repreſents her carried
in an open litter by the great officers of her court.67 The
ſedan chairs ſo much uſed in every country of Europe during
the ſeventeenth, eighteenth, and the early part of the preſent
centuries are freſh in the memory of all readers, and they
are ſufficiently illuſtrated by two examples, fully deſcribed in
the collection. They differ little from the horſe litter except


64 Sexta cervice feratur. Juv. s.i.6 5. 67 National Portrait Exhibition,
65 Froifl'art. 1866, Cat., No. 256.
66 Queens of England, iv. 39.
ccvi Introa'nctz'an.
in being ſmaller, and made for a ſitting poſture, with the bear-
ing poles a little above the centre of gravity. The bearers
ſtepped or ran, keeping time, and the elaſticity of the poles
made the motion eaſy to the traveller. Our London houſes are
made for the uſe of the ſedan chair, which can be carried into
the entrance halls, while in Paris and moſt foreign capitals
houſes are built ſo as to admit wheeled carriages under cover.
Sedan chairs were introduced into England by Sir Saunders
Duncombe, who obtained a patent for this enterpriſe in 16 3 5. *
Travelling in England, as well as tranſport by means of
carriers, was beſet by difficulties till recent times.68 The abbot
of St. Albans, previous to the Reformation, had armed guards
to patrol the road from the monaſtery to London. Hackney
men in the thirteenth century undertook the traffic of the road
to Canterbury and Dover. Paſſengers in a four-horſe car or
waggon reſted four days, to two conſumed on the road, at a coſt
of one ſhilling and ſixpence per day. On ſome roads a journey r
of ſeven days was divided into three travelling and four reſting
days. Edward I. ſending a thouſand pounds of ſilver to his ſon
from Cheſter to London, under charge of Warine, the treaſurer,
provided an eſcort of two knights and ſixteen armed men on
foot. The money was packed in paniers on five hackneys.
The journey going took eight and the return ſix days. The
knights were allowed one ſhilling each per day, the varlets were
well paid at fourpence, the cooks at twopence. Thirty ſhillings
was paid for the hackneys each per day.69

_K
68 Macaulay has given graphic de- and accompanied. Hiſtory of England,
ſcriptions of the difficulties of the road rla. iii.
. for carriages in the ſeventeenth century, 69 Turner: Domeſtic Architecture,
even of perſons of rank well protected 2101. i.
I ntroduetion. ccvii
CHAPTER III.
Mechanical Proceſſes.
E ordinary methods of joining wood together by
mortices, dovetailing, ſcarfs, ſplices, mitres, plough
and tongue and rebate joints, nails, ſcrews, glue,


&c., have been in practice from the moſt remote
Theſe operations of carpentry, and the ordinary
proceſſes of turnery, can be ſtudied in any cyclopaedia,70 and
need not be explained, but a few details of the more complicated
operations of covering wood ſurfaces with thin coatings of
other woods, and with 'metal and gold, may be of intereſt.
Gilding.
Wood has been decorated with gilding from the time of
the ancients to our own. Much of the modern furniture, both
during the middle ages and ſince the renaiſſance, has de-
pended mainly on gilding for its effect. The proceſſes have '
' varied, but more in the careful methods of preparing the
ground and the purity and thickneſs of the gold than in any
eſſential difference of method or appliances.
Theggilding of the Florentine and Venetian furniture in
the collection is the richeſt we can point to. The oldeſt and
moſt effective of this gilt work, ſuch as may be ſeen on the
'coffers, ſtands, &e. in the Muſeum, is laid on a bed prepared
with white chalk and ſize or animal glue made from parchment.
The richneſs of the gilding depends on the care with which
this ground or bed has been prepared. The gold when laid

'70 e.g., Chambers' Art. Carpentry. " L'Art du Menuiſier," Paris, 1769.
-For fuller details the reader may con- Holtzapfel, Turning and mechanical
ſult, amongſt many books, Roubo, manipulation.
ccviii Introduction.
over this bed, if thick enough to admit of a certain ſtretching
of, or malleability in the metal, can be either burniſhed by
rubbing with a poliſhed agate tool, or indented to a ſlight
depth with various patterns, ſuch as were _made in the
Florentine work.
We may here give in a few words the moſt approved
modern method of gilding wood for 'burniſh' or diſtemper
gilding.
The wood ſurfaces to be gilt are firſt primed with hot ſize
and whiting very carefully ground. Theſe are mixed with a _
decoction of garlic and Wormwood, to which are added Vinegar
and common ſalt. Theſe materials are ſaid to preſerve the
wood from the worm. The ſalt, however, muſt not be uſed
with gilding on any other' material ſuch as plaſter, having a
tendency to attract damp, and ſo produce a white effioreſcence
on the ſurface. When dry, holes or deficiencies are made good
with the ſame material in a tough ſtate. Four or five coats are
then applied one after the other, each coat being carefully dried
firſt. As many as ten or even twelve coats are applied in the
moſt careful work. The ſurface is poliſhed with pumice ſtone
and cold water, and the work is carefully cleanſed and dried by
rubbing with a cloth and ſhave graſs. The ſize is next applied;
this conſiſts of Armenian bole, to one pound of which are
added two ounces of hematite (bloodſtone) and the ſame
quantity of galena, each ground in water ſeparately. Theſe
materials are mixed and ground with a ſmall quantity of
olive oil. This ſubſtance is tempered with parchment ſize
or glue. It is applied hot with a very fine bruſh. The
ground is coloured in ſome caſes yellow with a preparation
of yellow ochre, in the Florentine and Venetian work with
Vermilion, to give colour to the thin gold. The ſurface
when dry is damped with cold water to give it the required
* tack' or ſtickineſs and the gold .laid on with the gilder's
ctips ' or flat long-haired bruſh in the uſual way. In modern
I ntrodnction. ccix
gilding the Vermilion tint is ſometimes added by way of a
delicate waſh after the gilding is completed.
Oil gilding, a ſimpler proceſs, conſiſts in preparing the wood
with white lead and linſeed oil, or two or three coats of clear
colling or glue preparation. Over this is laid the ſize, a
mixture of boiled linſeed oil and ochre, and the leaf applied
when the ſurface is nearly but not quite hard. This proceſs
does not allow of burniſhing or rubbing with poliſhed ſtones,
but it is a ſhorter and leſs coſtly operation.
According to Vafari,71 the richer and harder compoſitions
uſed as a preparation for gilded reliefs on cypreſs wood of
Italian manufacture, were made of pounded brickduſt, chalk,
and ſtucco or gypſum, liquified with animal glue. -With this
Compoſition much manipulated, the relief Ornaments were made
by impreffion of a matrix or mould of wood. The more
important figure portions were modelled up with tools in the
ſame way as in clay modelling.
Similar decorations were executed in the north of Europe.
Beſides the coronation chair there is an altar-front preſerved at
Weſtminſter (ſouth aiſle), decorated with careful modelling in
relief, gilt. To this have been added plates of coloured glaſs
gilt on the back, with cryſtals, imitation ſtones, &e. The
Compoſition in which the reliefs are executed is fine parch-
ment glue and gypſum in repeated layers. Then films' of
parchment were alſo laid over and again coated with compoſi-
tion. The ſtones or glaſs were laid in a bed of this ma-
terial, ſufficiently ſoft to riſe and lap over the edges, ſo as
to hold the inſerted work firmly. 'The ſoft material in the
portions left for modelling was impreſſed while of a tough
conſiſteney, with matrices or ſtamps made of Llead, wood, agate
or other pebble, ſlate, or iron.72

71 Vafari, tranſlated by Mrs. Foſter, 72 V. le Duc., Mob. Franc. i. 382.
z'ol. i. 3 go.
F. O
ccx I ntraa'nctz'an.
It will generally be found that painted wood panels of the
fourteenth and fifteenth centuries, wooden images, &c., have
been covered carefully with parchment, ſometimes with canvas,
previous to gilding and painting. This covering has been well
prepared with gypſum and chalk, ſo as to form a ſolid bed for
the gold pigments. -
According to Vaſari, Margaritone of Arezzo uſed " to
cover the whole ſurface (of his wood) with canvas, which he
ſecured by means of a ſtrong glue made of the boiled ſhreds
of parchment; over this canvas he next applied a layer of
i gypſum, as may be ſeen in his pictures, as well as thoſe of
others ; on the gypſum, which was mixed with the glue above
deſcribed, he then formed diadems and other Ornaments in re-
lief. He was alſo the inventor of grounding in bol-armoniac,
whereon he laid leaf-gold, which he diſcovered the means of
fixing and burniſhing." 73
Inlaying and Veneerz'ng.
Inlaid wood is held in by the tightneſs and completeneſs
with which the inlaid parts are morticed into the main body or
bed of the wood. They are alſo held in by pins or pegs when
the pieces are large and the hold given by the ſides of the
mortices is inſufficient, when thick flices, or maſſes of ivory, or
metal, or even thin metal. are uſed, as in Boule work, in which
caſes the metal has the help of ſmall pins at intervals. But the
chief agent in connecting ſurfaces of wood together when coated
with veneers, or of flices of ivory, bone, horn, or ſhell with
wood is glue. i
Glue is made from the ſcraps that are pared off the hides of
animals before they are ſubjected to the tan pit for converfion

73 Vaſari, tranſl., i. 91. For a very that of metals, &c. now in uſe, the
minute and complete account of all the reader may conſult the new American
different methods of gilding, including Cyclopzdia, Art. Gilding.
Introdublion. ccxi
into leather. The inferior kinds of glue are often contami-
nated with a conſiderable portion of the lime uſed ſor removing
the hair from the ſkins, but the better ſorts are tranſparent.
Glue acts in a double manner ; firſt by ſimple adheſion, and
ſecondly by excluding the air, ſo as to bring into action the preſ-
ſure of the atmoſphere. The latter, however, alone is an inſuffi-
cient explanation, as the ſtrength of a well-made glue joint, even
of veneered ſurfaces glued to ſofter woods is frequently greater
than the known preſſure of the atmoſphere; indeed, it often ex-
ceeds the ſtrength of the ſolid wood, as the fracture does not
at all times occur through the joint, and when it does it almoſt
invariably tears out ſome of the fibres of the wood; mahogany
and deal are conſidered to hold the glue better than any other
_ woods. For excellent examples of the effect and durability of
glue under changes of atmoſphere, the reader ſhould refer to the
columns, &c. (among others) 67. '68, and 69. *64, p. 316.
_ No dependance is placed on the quantity or thickneſs of
the glue, as that joint holds the beſt in which the neighbouring
pieces of wood are brought the moſt cloſely into contact; in
laying on veneers the under ſurface of the veneer and the
upper ſurface of the body of wood, both left ſlightly rough,
ſhould firſt be well wetted with glue, applied very hot, and
then preſſed together in various ways to exclude as much of it
as poſſible. The parts are ſcrewed down on heated metal beds,
or between wood frames that ſit all the curves of their ſurfaces
during ſeveral hours, till the glue is quite hard.
Veneering was in general uſe in ancient Rome, and we have
had occaſion to allude frequently to the tables and other furni-
ture made by that proceſs and deſcribed by Pliny.
The following is the method in which veneering is now
practiſed as deſcribed by Holtzapfel.74

74 T urning and Manipulation, p. 61.
o 2.
ccxii I ntroduction.
The ſurfaces of the table or panel, and both ſides of the
veneer, are ſcratched over with a tool called a toothing-plane,
which has a perpendicular iron full of ſmall grooves, ſo that 'it
always retains a notched or ſerrated edge; this makes the
roughneſs on the reſpective pieces, called the tooth or key for
the hold of the glue. A caul of the ſize of the table is made
ready, and ſeveral pairs of clamps, each conſiſting of two ſtrong
wooden bars, placed edgeways and plan-ed a little convex or
rounding on their inner edges, and connected at their extremities
with iron ſcrewbolts and nuts, are adjuſted to the proper opening ;
the table is warmed on its face, and the veneer and caul are
both made very hot.
The table is bruſhed over quickly with thin glue or ſize,
the veneer is glued and laid on the table, then the hot caul, and
laſtly the clamping bars, which are ſcrewed down, at diſtances
of three or four inches aſunder, until they lie exactly flat.
The ſlender veneer is thereby made to touch the table at every
point, and almoſt the whole of the glue is ſqueezed' out, as the
heat of the caul is readily communicated through the thin
veneer to the glue, and retains it in a ſtate of fluidity for the
ſhort ſpace of time required for ſcrewing down, when ſeveral
active men are engaged in the proceſs. The table is kept
under reſtraint until entirely cold, generally for the whole night
at leaſt, and the drying is not conſidered complete under two
or three days. When the objects to be glued are curved,
the cauls, or moulds, muſt be made of the counterpart curve,
ſo as to fit them. _
Another method is by preſſure with the hands.
The veneering hammer is made generally of a piece of wood
from three to four inches ſquare, with a round handle pro-
jecting from the centre; the one edge of the hammer head is
ſawn down for the inſertion of a piece of ſheet iron or ſteel,
that projects about one quarter of an inch, the edge of which
is made very ſtraight, ſmooth, and round; and the oppoſite
I ntrodnction. ccxiii
ſide of the ſquare wooden head of the veneering hammer is
rounded to avoid its hurting the hand.
The table and both ſides of the veneer having been toothed,
_ the ſurface of the table is warmed, and the outer face of the
veneer and the ſurface of the table are wetted with thin glue, or
with a ſtiff ſize. The inner face of the veneer is next glued;
it is held for a few minutes before a blazing fire of ſhavings to
render the glue very fluid, it is turned quickly down upon
the table, and if large, is rubbed down by the outſtretched
hands of ſeveral men; the principal part of the remainder of
the glue is then forced out by the veneering hammer, the edge
of which is placed in the centre of the table, the workman
leans with his whole weight upon the hammer by means of
one hand, and with the other he wriggles the tool by its handle,
and draws it towards the edge of the table, continuing to bear
heavily upon it all the time.
Marquetry.
We have had occaſion more than once in theſe pages to
inſiſt on the beauty and originality of the furniture made by
Boule in the ſeventeenth, and by Rieſener and David in the
eighteenth century.
The former was an intarſia or ſurface inlay of various
materials, principally tortoiſeſhell, with braſs and white metal,
the latter occaſionally enamelled with various pigments. This
work was afterwards made by laying metal under the ſhell to
increaſe its redneſs. The two manufactures are called old and
new Boule.v
The ſhell uſed is that of the marine tortoiſe, called teſtndo
imbricata, or hawk's bill turtle; the ſcales or layers of ſhell
overlapping each other, in which reſpect it differs from other
ſhell of its genus.
The length of a ſhell full grown is about a yard, by half a
yard in width. The plates are thirteen in number, ſive down
ccxiv I ntraa'nct'z'an.
the middle of the back and four on each ſide. The largeſt
plates meaſure about thirteen inches by eight. Some parts are
of very dark brown tints, with light golden marks and ſpots.
Other parts are lighter, but the darkeſt is conſidered the beſt.
The ſhell is dipped into boiling water for three or four
minutes to make it work better. It is alſo damped and warmed
by ordinary laundreſſes' irons. Heat, however, has a tendency
to make it brittle, and boiling to ſpoil the tranſparency.
Tortoiſeſhell can be bent and joined. The edges are filed
to their feather thickneſſes for three-quarters of an inch each.
The edges muſt be abſolutely free from greaſe, and ſhould not
be touched after the filing. The edges are dipped in boiling
water, held together by the fingers for a time. They are then
nipped by a pair of tongs, heated ſo as to diſcolour white paper
ſlightly, clean linen damped with cold water being firſt placed
over the junction ; this keeps the gelatine moiſt till the adheſion
is complete.
In cutting the patterns of Boule work, two flices of material
are glued together with paper between (to facilitate ſubſequent
ſeparation), and paper is glued outſide, on which the pattern or
deſign is drawn. A fine watch-ſpring ſaw is introduced into
a minute hole in a part of the pattern conveniently choſen, and
the patterns are ſawed out. The flices are afterwards ſeparated,
and the pattern cut out in one ſlice is fitted into the matrix of
the other, ſo that one ſa'wing produces two editions of the
deſign, the ground and the figures being reverſed in each.
This arrangement is called Boule and counter. In the earlier
productions of Boule this reciprocity was not attended to.
Ebony, alſo pearl ſhells, ivory, and white metal, making
further elements of decoration, were added in ſmall quantities.
When the various parts have been arranged in their places,
paper is glued over them to keep the whole in place, and
filings of the material ſcraped in to fill up any interſtices
between the parts. The whole when dry is toothed over, and
Introduction. ccxv
-aid down as in ordinary veneer, with glue and preſſure upon
the ſurface prepared for it.
Marquetry of wood is made in the ſame way. Dye woods
are uſed as far as they .are available, and greens, blues, and
ſome other tints are of holly ſtained. " Mr. Cremer, of Paris,
uſed the ſtaining proceſs of M. Boucherie, ſaid to impart a
permanent colour to a great depth. Shading is given by means
of hot ſand." 75 .
One method of cutting marquetry is by paſting a drawing
of the entire deſign on the ground or counter, and cut out
entirely. The various leaves, &e. are then cut from different
veneers and fitted in. Another method is to paſte the drawing
on the ground, and on it to paſte the various leaves or orna-
ments cut from other ſuitable veneers, then to cut through the
counter or ground, the ſaw grazing the edge of the leaves.
The parts ſo cut out are then puſhed out, the leaves ſeparated
from the paper, and laid down in the vacant places.
A third method is thus deſcribed in Holtzapfel's Mechanical
Manipulation, The ſeparate leaves to conſtitute the inlays are
cut out from the different coloured veneers, and glued in their
appropriate poſitions on a ſheet of paper. A ſheet of white
paper is paſted on the veneer, which isto ſerve as the ground.
A ſheet of blackened paper is laid over it, and over this the
leaves, "the backs. of which are ſtruck at every part with
ſeveral blows of a light mallet ſo as " (by means of the inter-
vening black paper) "to print their own impreſſion on the
white paper " (which is paſted on the ground). " The printed
apertures are then cut in the counter one at a time, ſo that
the outer edge of the ſaw kerf falls exactly on the margin of
every aperture." -
The markings of the leaves or other figures are made by cuts
of the ſaw or by a graver, and filled with wood duſt and fine glue.

75 Tomlinſon, Cyclopxdia, Marquetry.
ccxvi
I ntroduct'ion.
The uſe of the grain by diſpoſing pieces of the ſame wood
with the grain running in different directions may be ſeen in
many examples in the collection.
The woods moſt in uſe in modern conſtruction are the fol-
lowing, ſome of the botanical names of which are put forward
with heſitation :-
F OR BUILDING CONSTRUCTION.
Deals, a numerous family of _
coniferous timber trees.
Thoſe moſt in uſe are (Pinus
Sylveſtris), Scotch fir, yel-
low deal ; (dhies excelſa),
Norway and American
fpruce fir, Dantzic, _Adri-
atic white deals; larch
(Larix Europcea), Scotch,
Poliſh, Italian, New Zea-
land; pitchpine (Pinus
duſtralis)
Oak (Quercur pea'unculata),
in many varieties, Eng-
liſh, Apennine, Canadian,
Pruſiian, African, Pollard.
Teak (Tectona grandis).
FoR FRAMEs, CARRIAGES, &c.
Aſh (Fraxinus exeel a), Eng-
liſh and Hungarian.
Birch (Betula), black and
white. '
Beech (Fagus Sylvatiea)
Elm (Ul/nus campeſtris),
Engliſh, and Wych elm
(M0ntana).
Mahogany' (Swietenia maho-
gani), Spaniſh and Hon-
duras.
Oak.
Pines.
FOR TURNERY.
Soft.
Alder (dlnus glutinoſte) .
Beech.
Bitch.
Willow (Salix), in many
varieties.
Holly (Ilex aquifolium) ; white.
Horſe cheſtnut (zE/culus hip-
pocefflanumh White.
Sycamore (dcerpſhudoplata-
nus) ; white.
Appletree (Pyrus malus) ;
brown.
Pear (Pyrus communis) ;
brown.
Plum (Prunus) ; brown.
Laburnum (Cytiſtzs lahurnum);
brown.
Hard woods.
Amboyna (Pteroſhermum in-
dicum)
Beef wood (Stenocarpus ſal-
lenur).
Ebony (Dioſhyrus ehenus) ;
black, green, and brown),
Box (Buxusſemper rUirens and
Balearica)
Brazil wood
aechinata).
Braziletto (Caeſalpinia Braſi-
lien/is)
(Caeſalpinia
I ntrodnction.
ccxvii
Cam wood (Baphia nitida).
Cocoa (Cocos aeuleata).
Greenheart (Nectandria Ro-
dz'aez'). .
Iron wood (Sideroxylon).
King wood (Trz'ptolemeea P)
(Spartium
Lignum vitae (Guiacum affl-
cinale).
Locuſt (Hymen-am) .
FURNITURE.
Common.
' Beech.
Bitch.
Cedars (Larix eedrns, t/zuia,
&c.); Cuba, Lebanon,
N.S. Wales, Pencil.
Cherry (Prunus), in many
varieties.
Deals, &e.
Bſſ.
Amboyna.
Ebony.
Cherry.
Cheſtnut (Ceyianea weſca)
Coromandel (Caffla Coroman-
deliana).
Mahogany.
Maple (deer camþe/Zre), and
bird's eye ( /Zriatunz).
Oak of all kinds. .
Roſewood (Dalbergia latifolia,
dnzyris bal/ſiamiſera, Jaca-
randa Bra/iliana).
Satin wood (Clzloroxylon
S'wz'etenia). '
Sandal wood (Santa[um).
Sweet cedar.
Tulip wood (Plzjſoealymina
floribunda
Walnut (Juglans nigra).
Zebra.
Beſides theſe :-
Muſtaiba.
Olive (Olea) and root.
Palmyra (Boraffits ſtabelliſbr-
mis).
Partridge wood (Heſſeria
coccz'nea).
Peruvian (dndyra inermis).
Pheaſant Wood.
Purple wood (Copazſifera publ-
ſtora).
Princes wood.
Roſetta.
Snake wood (Piratinera Guia-
nenſis).
Yacca wood (Podoearpus
yaeca ) .
DYE WooDs USED FOR MAR-
QpETRY.
Red.
Brazil.
Braziletto.
Cam wood.
Logwood (Hmnatoxylon Cam-
pechianum).
Nicaragua (Caffia coeſalþiniaſi
Red fanders (Pterocarpus
ſantalinus).
Sapan (Caffia ſappan).
Green.
Ebony.
Yellow woods.
Fuſtic (lldaclura tinctoria).
Zante (R/zus Cotinus).
cCXviii Inrradnct'z'an. -
Large logs of wood have for certain purpoſes an extra
value on account of their ſize; e.g., a piece of mahogany of
' 2 3 feet long >< 2 feet 6.inches ſquare, of fine grain for cutting
into veneers, coſt a large London firm laſt year a thouſand
pounds. As examples of ſize, two logs may be cited, cut
from the gum tree (Enealyptns globnlqſnr) from Auſtralia,
84 feet long >< 24 inches, each 6 inches thick throughout; and
a log cut from the heart of another tree of the ſame kind,
meaſuring I6o feet >< 6 to 4 inches ſquare, exhibited in London
in 1862 ; theſe are now in the' Horticultural gardens.
Names of Drſſgnerr of Woodwark and Makerr of
Fnrnz'ture. *
Only the moſt meagre notices are to be found of the artiſts
to whom we owe the deſigns of modern furniture. The fol-
lowing is but an attempt to put together in ſucceſſion the
names connected with ſuch work as is ſeen in the South Ken-
ſington collection of furniture and woodwork, and is but a
fragmentary ſkeleton of ſuch a hiſtory as it would be deſirable
to make. It is put forward only with the hope that more
knowledge may be gathered as to the names and hiſtory of
woodworkers and carvers in that material. In France the ſub-
ject has been illuſtrated with more care than in other countries
of Europe. But of the furniture makers who attained ſuch
eminence during the laſt century very little is known.
The truth is that for a hundred and fifty years after the
Renaiſſance furniture partook ſo generally, and 'the woodwork
of rooms ſo entirely, of the character and followed ſo con-
tinually the details of architecture thatthe hiſtory of furniture
deſigners is that of the architects of the day, who found in the
members of guilds of carvers, carpenters, image makers, &c.,
admirable hands to carry out the ornamental details of their
woodwork, ſuch as chimney pieces, &c., and who made ſide-
I ntroduction. ccxix
boards, cabinets, hall chairs and tables to ſuit the woodwork.
Thoſe excellent artiſt workmen have left no record behind
them of their ſhare in theſe productions.
It will be neceſſary more than once to name architects who
deſigned woodwork and fixed the ſtyle of their day, both in
England and France. When no dates are given, it has not been
poſiible to obtain them. i
The Baron Davillier has collected, and is ſtill collecting,
materials on ſeveral ſubjects connected with the matters and
the kind of art diſcuſſed in theſe plages, which cannot but prove
of great value to future writers on the ſubject.
It ſhould be obſerved that artiſts are named, whatever their
native origin, under the countries in which they have founded
a ſchool.
ENGLAND.
We were early indebted to Italian artiſts in this country. They
not only executed the finer and coſtly ſhrines and monuments, ſuch as
that of St. Edward, at Weſtminſter, and that of St. Thomas a Becket,
at Canterbury, but our kings employed them as deſigners of the houſe-
hold decorations and furniture. During the middle ages down to the
end of the fifteenth century, the religious houſes furniſhed a ſchool of
accompliſhed carvers and image makers.
Gervaſius, a monk at Canterbury, is known for one of theſe.
Many had been educated in Rome or other parts of Italy or in France.
They travelled conſtantly, as much perhaps as we do now, ſlowly, and
on foot or horſeback, lodging at one monaſtery after another.76
j'oHN OF ST. OMER, a Frenchman, and
WILLIAM THE FLORENTINE, were court painters and houſe
decorators to Henry III. Under their direction, drains, baths, water-
conduits, and room panelling were conſtructed in the royal palaces.77
TORRIGIANO, 1472-1522, was employed, according to Vaſari, to
execute in England many works in marble, bronze, and wood. The

76 Not one religious perſon (at carving, painting, grafting.-Strypc's
Workſop) but he could and did uſe Mem., quoted by Walpole. Anecdotes
either embrotherying (embroidery), of painting;
writing books with very fair hand, 77 Turner,Domeſtic Architecture,
ccxx I ntroduct'ion.
bronze monument of Henry VII. and his queen, Elizabeth of York, is
the beſt known of his works. His influence, or that of pupils and con-
temporaries, is evident in the Woodwork of the reigns of Henry VIII.,
Mary, and Elizabeth, ſuch as the ſtall-work ſtill extant in King's college
chapel, Cambridge, carved with the royal arms impaled with thoſe of
the Bullens.
The following names are given by Walpole as thoſe of ſome Engliſh
pupils of Torrigiano z- i
LA WRENC'E YMBER, kerver (carver).
HUMPIIREY IVALKER, founder.
NIC'HOLAS EWER, copperſmith and gilder.
YOIIN BELL and. ROBERT MA YNARD were painters.
HUMPHREY COOKE was maſter carpenter in the new buildings of
the Savoy.
ANTONY TOTO or T. DEL NUA'ZIATO, working 1531-51.
GIROLAMO DA TREVIGI, 1503-44, was court painter and deco-
rator to Henry VIII. He furniſhed and decorated the pavilions,
temporary rooms, kitchens, liſts, &c. of the V Field of Cloth of Gold."
He was killed While ſerving as royal engineer to his majeſty at the
ſiege of Boulogne.
The deſign of the cabinet, No. 27. *69, is attributed to HOLBEIN.
BENEDETTO DA ROVEZZANO, a Florentine, was employed on
Wolſey's own deſign for a tomb for himſelf, and taught carving of all
kinds ; died 1550. Moſt of theſe foreign artiſts acted as architects on
occaſion, and gave deſigns for interior decorations and furniture. During
the Elizabethan and Jacobean period the Woodwork deſigns were due
almoſt excluſively to architects ſuch as _7OZIN OF PADUA, _7OIIN
THORPE, and others.
GRINLING GIBBONS, 16 50 P-I7zr, was the great maſter of wood
carving of the ſeventeenth and early eighteenth centuries. His birth
and country are doubtful. It is probable that he was Engliſh by pa-
rentage, born and chriſtened *Grinling' in Holland. Evelyn found
him in I67o in a ſmall thatched houſe in the outſkirts of Deptford. It
was through the influence of Evelyn that Gibbons was patroniſed by
Charles II., who gave him an appointment in the board of works. He
lived afterwards in Belle Sauvage court on Ludgate Hill. A pot of
flowers which he carved and ſet outſide the window in this noiſy alley
was ſiniſhed ſo delicately that the leaves ſhook with the wind and with
the rumbling of coaches as they paſſed. At the ſame time the maſs of
material neceſſary to give ſtrength and retain the decorative character of
his carving is always thoroughly underſtood. Fruit, animals, figures,
I ntrodnction. ccxxi
buſts, textiles (ſuch as lace cravats and nets), fiſh, &c., are carved in
the compoſitions of Gibbons.
He ſculptured in marble and ſtone as well as wood. At Windſor
he carved the baſe for the equeſtrian ſtatue of the king. In St. James's
church, Piccadilly, the marble font, round the baſe of which are figures
of Adam and Eve, is by him, as alſo the border of feſtoon-work in
limewood over the Communion table. His work is to be ſeen in
St. Paul's Cathedral, London, at Chatſworth, at Burleigh Houſe, and
in many other collections. His fineſt productions are conſidered to be
the feſtoons and cornices carved, and ſtill extant, at Petworth Houſe in
Suſſex. We cannot point to any ſatisfactory evidence of his hand in
the South Kenſington collection. - _
Among the pupils of Grinling Gibbons we may name :-
WATSON, who carved the boys at Chatſworth ;
DREVOT, of Bruſſels, died 1715 ;
LA WREANS, of Mechlin.
Theſe muſt be conſidered as the founders of the admirable ſchool of
architectural carvers, to whom we owe the ornamental mouldings
ſo common in the old London of the eighteenth century; and in
country houſes, built or fitted up afreſh, ſuch as the rooms of Blickling
Hall, Petworth, and many more. Such carvers were to be found in
the days of Chambers and the brothers Adam, and continued the
tradition down to the preſent century.
ffOflN WILTON, born in London in 1722. He was the ſon of a
plaſter and papier mache manufacturer of room decorations, ceilings,
&e. He ſtudied ſculpture, under Delvaux, at Nivelles in Brabant.
In 1744. he went to Paris, and in 1747 to Rome with Roubillac. In
1757 he returned to England with Sir William Chambers. He deco-
rated the ſtate carriage now in uſe.
SIR WILLIAM CHAMBERS, 1725-1796, publiſhed a book of de-
ſigns of inter alia Chineſe furniture, dreſſes, machines, &e. His
biography belongs to the hiſtory of architecture.
J'OHN BAPTIST CIPRIANI came at the ſame time. He was em-
ployed by Chambers, Adam, Chippendale, and other furniture de-
ſigners, for whom he painted cameo panels for table tops, drawers;
cabinet fronts, &e. .
ANGELIOA KA UFFMAN did much ſimilar work on ſatin wood
furniture of that day. Theſe names belong properly to the biography
of painters.
CAPITSOLDI and VOYERS, ſculptors, modellers, and chaſers, are
known, during the cLouis Seize, period, in England as makers of
metal mounts for marquetry, furniture, &e.
ccXXii I ntrodnct'z'on.
PIGALLE, a French ſculptor, and
NIOOLAS COLLET, a French carver, brought to England at the
ſame time. They worked alſo on the great ſtate carriage, q. 71.
COIT is the name of a chaſer of mounts of this period.
Waldron, the actor, was originally a carver, and employed on
coaches, chair fronts, &e.
Smz'rte, the academician, ſerved his time to Bromley, carriage
herald painter, of Queen Street, Lincoln's Inn Fields.
Monamy, a marine painter of this date, is known to have painted
the carriage of the unfortunate Admiral Byng.
Charles Cotton, R._d., painted coaches and ſhop ſigns, as well as
Bat-er, the flower painter.
FRANCIS HYMAN. Early eighteenth century. A Dutch or
Flemiſh artiſt, came over and ſettled in this country. He was em-
ployed in the decoration of the Rotunda in Vauxhall gardens.
ROBERT DA VY, born about 17 50, a wood carver of Penzance.
His family poſſeſſed land at Varfell, in the pariſh of Ludgvan. He was
a man of ſome eminence in his craft, in Cornwall, and was enabled to
educate at good ſchools his two ſons, of whom Sir Humphrey, the
philoſopher, was one. The family were in ſtraightened circumſtances
after his death, 1794..
THOMAS CEIPPENDALE, a London carver and furniture maker,
publiſhed a book of deſigns of furniture of every kind in 1769. The
dates of his birth and death are not known. He is known by his gilt
frames, which are in the ſtyle of French work of that period, cut with
great freedom and delicacy. He alſo deſigned Chineſe ſcene's in his gilt
work, after the taſte introduced by Sir William Chambers. Another
kind of furniture was made by Chippendale in mahogany, which wood
came into general uſe (though Dr. Johnſon was jealous of the ſupremacy
of Engliſh oak, which it ſuperſeded) late in the eighteenth century. In
this material he is a neat deſigner, with fine architectural mouldings
and, on his table ſupports, acanthus leaves. The workmanſhip of theſe
pieces is admirable, and his furniture is ſold at large prices at the preſent
day. A collection of Chippendale's unpubliſhed deſigns is extant in the
'hands of a private collector. Thomas Chippendale was ſon and father
of furniture makers. The old frames of this maker encloſe plates of
Vauxhall glaſs, carefully bevelled round the edges, this work following
the curves and twiſts of the frame. Long or large glaſſes are generally
ſound in two or more plates ; the joints are ſometimes, but not always,
concealed by a gilt rib or moulding.
MATTHIAS LOC'K, a London carver and gilder, publiſhed a book of
deſigns of furniture, 1743 i Some curious memoranda delivered with a
I ntrodueiion. ccXxiii
collection of his original drawings and thoſe of Chippendale to the great
exhibition of 1862, give the names of his workmen and intereſting par-
ticulars reſpecting wages, &c. in 1743. Five ſhillings per day were then
given to wood carvers. Lock belonged to, and left behind, a race of
wood carvers and wood Workers.
THOMAS JOIINSON was a furniture maker of the ſame period.
H. COPELAND.
GIUSEPPE CERA CCI, a Roman, came to England in 1773. He
modelled for Robert Adam. He went to Paris during the revolution,
and was guillotined in 1801. He is ſaid to have deſigned a car for
himſelf, and to have been drawn to execution coſtumed as a Roman
emperor.
FOEN LINNELL. The writer has ſeen a collection of furniture de-
ſigns belonging to the times and ſtyle of Chippendale, ſelected from his
portfolio at his deceaſe, by C. H. Tatham, architect. The collection
includes chairs, beds, pier-glaſſes, the King's box at Covent Garden
Theatre (burnt down), ſtate coaches, &e. A looking glaſs deſign is
dated 1761. '
C. H. TATEAM deſigned interior decorations and, inter alia, the
ſtate coach for the Duke of York, dated 1793. This coach was
executed by Samuel Butler, Coachmaker.
PERGOLESE, an Italian, deſigned much of the arabeſque work with
figures, &c., in the ſtyle of Raphel's work in the Vatican, which we
meet in the room decorations of houſes by Adam. The beſt of the
* Seaſons,' and ſuch medallion work as ſtill remain on many of the
buildings of Robert Adam, are attributable to this artiſt. It is to this
ſource that we muſt look with reference to the rich panelling and
ſtucco work ſo common in the houſes built in Dublin during the
twenty-five years preceding the union. _
ROBERT dDAM, 1728-92, and his brother James,78 whoſe hiſtory
belongs to that of architecture, and on which we do not therefore enter,
muſt be pointed out as the moſt important of the deſigners of fur-
niture as well as interior decorations ſuitable to the houſes they built.
In the publiſhed plates of Derby Houſe, Groſvenor Square, lately de-
ſtroyed, we find a keyto the ſyſtem of the furniture of the decoration

78 In 1769 the brothers Adam and built the terrace or row of houſes
obtained under feal a leaſe for 100 known as 'Adelphi, (Brothers.) Re-
years of "Durham Yard," belonging port, Drummond and others 22. Sant.
to the eſtate of the Duke of St. Albans. Court of B., July 7, 1871.
They reclaimed land from the Thames
ccxxiv I ntroduetion.
that maintained a parallel to the renovated Louis Seize taſte reigning
during the laſt quarter of the century in France. The brothers Adam
deſigned fireplaces, ſteel grate fronts, ſideboards, and a ſedan chair
executed for Queen Charlotte in I773.79
Al. HEPPELWHITE publiſhed in 1789 deſigns of ſofas in ſatinwood,
painted with various decorations, tables, pedeſtals, tambour and knee-
hole bureaux, &c., trays, ſatinwood drawer-cheſt, beſides urn-ſtools, tea
caddies, &c. for the beverage then becoming popular.
TEOMAS SIIERATON publiſhed in 1793 a cabinet maker's drawing
book, containing deſigns for tables, chairs, ſofas, &c. This work
merited a German tranſlation in 1807.
FRANCE.
j'EAN PERREAL. Employed and paid by the city of Lyons in 1483
for a cloſe carriage carpeted and ſtuffed for Louis XI. He executed
ſimilar works for Anne of Brittany and others.
YEAN DE ROEAN, ſ7EHAN DE ROMAN, maitre menuiſiers of
Rouen, in 1548, employed by the municipality of Lyons, under whom
are enumerated C Les maiſtres painctres, menuiſiers, mouleurs, charpen-
tiers, faiſeurs de galleres, et aultres ouvriers appres nommez," &c. Le
Lundi des huitieſme jour du mois de Juing, 1548.80
BA UIIELZER OF To ULOUSE. Born early in the ſixteenth century,
went to Rome, worked with, at any rate was known to, Michel Angelo
and his contemporaries ; made carved wood furniture in walnut, with
groteſque imagery, in the manner of the Scala d'oro of Sanſovino at
Venice. Was working in I 5 53. Date of death uncertain.
ANDROUET DU CEROEAU. Born 1515; died 1585. Publiſhed
deſigns for architecture and for interior panelling and decoration.
_ct7EAN GOUJON, the great ſculptor of France, was born probably
at Aleneon, before 1515. His hiſtory belongs to that of ſculpture.
Furniture in the old chateaux round Alencon, in the form of buffets, &c.
has been attributed to him. A piece of this deſcription in ebony was
ſold by the Chevalier Boulley de Bleybourg to the crown for the ſum
of 4,000 francs.81 The carved doors of the church of St. Maclou at

79 R. Adam publiſhed a book con- 80 Chennevieres Pointel, Archives
taining plates of the buildings and room
decorations, furniture, &c., deſigned by
him. Fol. London, 177 3 ; Reprinted, 81 (Euvre de G., par Reveil.
1823.
de I'Art Franeais, i. 423.
I ntrodnct'ion. CCXXV
Rouen are attributed to him. He is popularly ſaid to have been ſhot in
the ' St. Bartholomew.'
PHILIBERT DE L'ORME. Died I 570. He is one of the
earlieſt deſigners of the chimney fronts with terminal figures, ſcrolls,
ſcutcheons, &c., ſuch as we meet with in French and in our own
Elizabethan interiors.
ADAM PHILIPPON, a cabinet maker who brought up Le Pautre,
took numbers of promiſing artiſts to Rome.
j'EAN LE PA UTRE. Born 1617 ; died 1682. Studied under
Philippon. Amongſt his many publications is * Livre de Miroirs,
Tables et Gueridons,' &e.
VREDEMAN DE VRIEssE. Born 1630. A Flemiſh artiſt. Pub-
liſhed deſigns of heavy carved furniture, panels, &c., in our Eliza-
bethan ſtyle.
CRISPIN DE PASSE. Of a Zeeland family eſtabliſhed at Cologne
in the beginning of the ſeventeenth century. He publiſhed furniture
deſigns in the ſame ſtyle, but ſomething leſs heavy in make than thoſe of
De Vrieſſe. He deſigned figure panels, garlands, &e.
CRISPIN DE PASSE THE 1" 0 UNGER. Worked about 1670.
SEBASTIAN SERLIUS. A deſigner of fine Renaiſtance panelling.
DE BROSS. 1613. Deſigned Louis treize chimney panelling.
PIERRE BOULLE. Born 1619 ? He was premier ebeniſte to
Louis XIII. He was lodged at the Louvre along with other * celebres
artiſans.' The date of his death cannot be given. It is probable that
- he worked on the peculiar kind of marquetry to which the more
celebrated Andre Charles Boulle gave his name.
BERNARDINO RADL Born 1625.
GZ'RARD IMAROT, a cabinet maker.
JKEAN ZVAROT, 1625, 1679. He was taught by his father, Gerard
Marot and is ſuppoſed to have travelled and ſtudied at Rome. He
finiſhed the Louvre, the church of the Feuillantines, hotel de Noailles,
and other buildings in Paris, of which he was architect and decorator.
His chief works were interior decorations, ceilings, doors, vaſes, &e.
He wrote on architecture, cRecueil de plans de palais. Recueil de
portes,' &e. Marot was known alſo as an engraver. He had a brother,
or half-bother, Jean Baptiſte, ſome of whoſe plates are ſigned M. 1682,
which leads to ſome Confuſion. Jean died in 1679.
JEAN MACE, according to Mariette, menuiſier en ebene, lodged
in the Louvre 1644. '
DANIEL MAROT, 1650. Son of Jean Marot. Both were pro-
teſtants. Daniel was baniſhed to Holland in 1686. For this reaſon he
F. P
ccXXvi I ntrodnctz'on.
took no place in the ſucceſſion of Jean Lepautre, under whom he had *
worked. He became architect and maſter of works to William III.,
then prince of Orange. He publiſhed engravings of the fete in the
ſalon du bois de la Haye in December 1686, given by the Princeſs of
Orange. He deſigned panelling, ſtaircaſes, and every deſcription of fur-
niture. It is to this artiſt that our Engliſh decorators and cabinet makers
owe the introduction of F ranco-Dutch deſigns in marquetry, chairs, tables,
ſofas, mirror frames, ſconces, horſe trappings, the King's coach, 1698,
and furniture generally that followed the Revolution of 1688. A por-
trait of Marot, by Parmentier, was engraved by Gole of Amſterdam.
ALEXIS LOIR. Born 1630; died 1713. Alexis, with his brother
Nicolas, ſons of a goldſmith in Paris, took to working as engravers
of Ornament. He was elected to the academy in 1678. He pub-
liſhed a Nouveaux deſſms de gueridons-d'ornements pour l'embelliſſe-
ment des caroſſes, panneaux," &c.
JEAN BERAIN, 1636, 1711. This artiſt had more to do with
the decoration of rooms and furniture than moſt of his contemporaries.
a Pour tout ce etoit ſuſceptible d'ornement, qu'il inventait et qu'il deſ-
ſignait avec beaucoup de facilite." He made the ſcenes and deſigned
the dreſſes of the opera, of the carrouſels or tilting and quintain fetes,
of which Louis XIV. was fond, and the figure heads of his majeſty's
ſhips of war.
a Il etoit auſii fort employe a donner des deſiins de meubles et
d'ornements propres a etre executes en tapiſſerie ou a peindre dans
v 82.
les lambris et dans des plafonds ce que l'on'nomme des groteſques.
His portrait was painted by Virien and engraved by Duflos and
S. Sylveſtre, in 1709. He publiſhed many books of deſigns.
ANDRFZ CHARLES BOULLE.83 Born in Paris in 1642 z died 1732.
He was brought up to the buſineſs of an ebeniſte or-cabinet maker, and
was made director of works to king Louis XIV. His diploma ſpeaks
of him as an architect, ſculptor and engraver. He held the poſt of
premier tapiſiier to the king, and had perhaps the office given twenty
years later, after the eſtabliſhment of the Gobelins, to Le Brun. He -
produced a prodigious number of fine pieces of marquetry in ſhell and
braſs called Boulle work. Boulle was an amateur and collector. His
cabinets fetched good prices, but he ſpent his money in collecting
drawings and engravings, borrowed at high intereſt, and died poor.

82 Mariette Abecedaire. _ to favour the ſpelling here adopted.
83 Rather than Boule, as in the earlier Mariette : A. C. Boulle, par C. Aſel-
pages. The balance of authority ſeems lineau.
I ntroduct'ion. ccxxvii
His great employment was the furniture of the Palace of Verſailles. He
had many pupils, of theſe-
CRESSENT was f premier ebeniſte ' of the Regent Duke of Orleans.
PHILIPPE CAFFIERI, * Fondeur et ciſeleur du Roy,' was alſo a
pupil of Boulle. No dates can be given of the birth or death of either.
JEAN LE MOYNE, 1645-1718. One of a family of artiſts. He had
a great repute as an artiſt decorator, was employed on the gallery of
Apollo, and ſuperintended the decorations of the Tuileries. He was
a member of the academy in 1686, and bore the title of < decorateur
de l'academie.' The regent of Orleans was his protector. His firſt
book of deſigns was edited by Jean Berain in 1676. His woodwork is
in the manner of Androuet du Cerceau. His general ſtyle of Compoſition
is larger and ſimpler than that of Berain. He had a ſon, Jean Louis,
a ſculptor, who entered the academy 1703 and died 1755.
ROBERTDE COTTE', 16 56-173 5. He was rather an architect and
occaſional deſigner of interior furniture.
JULES ROBERT DE COTTE ſucceeded his father, Robert, as 4 in-
tendant general des batiments, &c., directeur de l'academie royale
d'architecture, et vice-preſident de celle de Peinture et de ſculpture'
He publiſhed deſigns. Amongſt theſe are beds, marquetry cabinets with
clock fitted above, forty-one ceiling deſigns, mirror frames, bureaux,' &e.
P'IISTE dURELE MEISSONNIER. Born 1693 z died 1750. He
was a ſtudent under Borromini at Turin. His reputation was ſuch that
on his return he obtained at once the diploma of c orfEvre et deffinateur
du cabinet du roi' in Paris. He did much to debaſe the taſte of the
French interiors and furniture, importing many of the extravagances of
the Italian decoration of his day. He made imitative perſpectives in his
decorations. He is charged with the firſt introduction of the broken
ſhell-ſhaped curves that became the faſhion for carved wood mould-
ings, panel frames, &c., called Louis Quatorze or Louis Quinze
work. The extravagant taſte for ſhowy gilding made ſuch a ſtyle
poflibleffl
Meiſſonnier was followed by-
OPPENORD ,-
HABERMANN, who deſigned in the rococo or Pompadour ſtyle.

84' Sont pries les orfevres, lorſque
ſur le couvercle d'un pot a ouille ou ſur
quelqu' autre piece d'orſevrerie, ils exe-
cutent artichaud ou un pied de celeri de
grandeur naturelle, de vouloir bien ne
pas mettre a cote un liiare grand comme
PZ
le doigt, une allouette grande comme le
naturel, et un faiſan du quart ou du
cinquieme de ſa grandeur, des enfants
de la meme grandeur, etc.--In the
Mercure, Dec. 17 54, in ridicule of their
extravagances.
ccxxviii I ntroduction.
PIC'AU _
CA UNLJR }are names of deſigners of extravagant looking-glaſs
' > . . .
frames &e. : livin 1n the earl arc of the centur _
NILSON, > g Y P y
ROBERT MARTIN, 1706. The following particulars reſpecting
Martin were obligingly ſupplied by the Baron Davillier z-
a Robert Martin, the ſon of a tailor, was born in Paris in 1706. In
1733 he obtained the brevet of Verniffleur or peintre <verniffl>ur du roy.
He obtained ſome orders from 'Louis XV., Mme de Pompadour, the
royal family, and the nobility. He made at Verſailles ſome' C panneaux
d'appartement ' for Madame' Adela'ide, &c. His principal productions
are--armoires, boites, boutons d'habits, caroſſes, clavecins, commodes,
eventails, lambris, magots, plateaux, panneaux d'appartement, ſecreſi-
taires, tables," &c. (from Contemporaneous documents), "I will give
the deſcription of theſe objects and the prices of ſome of them in the
laſt century." (In a memorandum not yet publiſhed.) a Voltaire ſpeaks
of lvſartin in two of his works. He is named as a * Roman ' of the laſt
century." In the time of Martin his vernis was conſidered as a *ſecret.'
He had ſome imitators. a Martin died rich in 1765. Two of his ſons
continued the <vernis work after his death."
GILES PA UL CAUVE'T, 1731-1788, born at Aix, in Provence,
and brought up to the law, but became an artiſt, and was taken up by
Monſieur the brother of the king. He deſigned' arabeſques for panel
carving, and furniture in wood marquetry and in plain mahogany, ſnake-
wood, &c., ſitted for the metal mounts of Gouthiere and other artiſts
in the ſame line. Three or four of his tables were amongſt the
furniture of the palace of St. Cloud.
RIESENER, born about 17 30 (?), was a cabinet maker, whoſe mar-
quetry work had great celebrity, and whoſe tables, cabinets and cheſts
of drawers, encoignuresflzd, are ſtill of great value in the market;
but it has been impoſſible hitherto to procure any preciſe information
regarding his birth or training. He had a ſon, Henri Francois, born in
1767, known as a painter in France. He lived to the cloſe of the
century at leaſt. He was the cabinet maker employed by Marie
Antoinette, and continued to work for the royal family till they finally
quitted Verſailles; perhaps lived 'over into the preſent century. The
kind of work generally aſſociated with his name is the marquetry or
inlaid Woodwork in which parts are plain reticulation, and other parts
or panels ſilled with graceful flowers, buſts &c., of very delicate tints.
His ſignature, dated I76g,is on a ſecretaire now in the Louvre, and
on a contemporary ſecretaire belonging to Sir R. Wallace, bearing the
initials S. R. (Staniſlaus, ex-king of Poland, who died, however, in
,. I ntrodnction. ccxxix
1766). Like David, his contemporary, he worked much in plain ma-
hogany and letterwood, uſing the chiſelled metal mounts of Gouthiere.
DA VID ROENTGEN, better known as * David,' was born at Neu-
wied, near Coblentz, firſt half of the eighteenth century. He worked
for the court of Louis XVI., and was contemporary with Gouthiere,
Rieſener, and the decorative artiſts of the latter half of the eighteenth
century. The dates of his birth and of his death are uncertain. He
probably lived to the end of the century. A fine cabinet by David in
the Hertford Collection (deſcribed in the appendix), has on it the cock,
an emblem adopted or revived during the revolution. He worked in
marquetry of light and delicate hue. He alſo made furniture veneered i
with plain letterwood, mahogany, &c., of which the gilt metal mounts
were by Gouthiere.
He is often heard of in ſales of furniture. A bureau with cylindrical
centre, ſecret drawers and mounts by Gouthiere, formerly the pro-
perty of Louis XVI., was fold in Paris in 1860.85 It is ſigned. The
ſupports are Dorie columns, and the mounts ſuited to this ſeverer ſtyle.
MARTINCO URT. Early eighteenth century. A founder and
chaſer of bronzes, &e. He is known as the maſter of Gouthiere.
Go UTHIITZRE. Born 1740. His ſhop was on the Quai Pelletier,
in Paris, but we can give noþparticulars of his birth or death. He
made the fine mouldings that bordered the panels of cabinets, the larger
angle mounts, feet, edgings &e. of this mixed furniture. Chimney-
pieces are ſtill found with bold bronze mounts ſigned by him.86 Mounts
for the chimney-piece of the 4 boudoir , in the Muſeum are attributed to
Gouthiere. His ſignature is on a clock caſe in the Hertford Collection,
" Gouthiere, Ciſeleur et Doreur du Roi a Paris Quai Pelletier, a la
Boucle d'or, 1771." He worked for the court of Marie Antoinette, in
union with the woodworkers Rieſener and David, up to the time of
the fall of the monarchy, and died in great poverty in 1806.
Much of Gouthiere's fineſt work was made for cabinets, of which
the panels are plates of Sevres porcelain painted for the purpoſe.87
yf. B. LE ROUX, latter half of eighteenth century, working in
1777, deſigned chimney panels and room decorations.
LALONDE, reign of Louis XVI. There are publiſhed deſigns of

85lGaz. des B. Arts. Randon de Boiſſet in Paris in 1777.
86 Bibliophile Jacob, un Mobilier, "Une paire de bras a deux branches
&C_ portees par une figure d'enfant en forme
87 The work of Gouthie're is firſt de T erme." Gazzette des B. A., xi.
quoted at high prices in the ſale of 352.
ccXxX I ntrodnctz'on. ..
this artiſt for conſole tables and other furniture ſitted for receſſes and
ſpecial parts of rooms. He was known, too, as a conſtructor of fur-
niture opening and ſhutting with mechanical contrivances, for which
Louis XVI. had a predilection.
PIERRE PEILIPPE THOMIRE," 17 5 1-1843. A ciſeleur, who
ſucceeded Gouthiere, and was known under the Empire. He failed to
carry down the elegant feeling for natural form prevalent in the work of
Gouthiere. He is named in the Almanach de Paris in 1785.
TORO, an Italian ciſeleur or chaſer (and modeller) of metal
mounts and Ornaments, worked in Paris during the latter part of the
eighteenth century.
RANSON and HUET. Ciſeleurs. They both worked in metal at
the time of Gouthiere, during the reign of Louis XVI.
P. GARNIER, and a monogram of the letters M E., are ſtamped
on a pair of marquetry encoignures of the latter eighteenth century,
belonging to the Marquis of Weſtminſter.
SALEMBIER, died 1812 P invented and publiſhed deſigns for room
decorations, panel carvings, mirror frames, &c. His foliage is thin and
wiry in drawing though graceful and large in its general ſweep and
Curvature. Plates by this artiſt of elegant deſigns for decoration are
found dated 1809.
FLANDERS.
The woodworkers and carvers of the Flemiſh towns were numerous
both in the middle ages, and during and ſince the renaiſſance. We
meet with few names, however.
For moſt of the following we are indebted to the careful and accurate
work of Mr. W. H. Weale. Belgium, &c.
Of the artiſts here enumerated the majority have left behind ex-
amples of their deſign or workmanſhip in churches only; but all that
can be found is given, in the hope that ſo meagre a liſt may be filled up
by the reſearches of thoſe intereſted in the beautiful wood carvings and
wood conſtructions of the guilds and artiſts of Flanders.
PETER FON OOST, fourteenth century, carved the roof of the
Hotel de Ville in Bruges. "
j'OHN FLOREIN, fifteenth century; ſtalls of St. Mary's in the
Schaurgaſſe, Cologne.
Pſſ. zſRDS, 1449, executed the carvings of the roof in the Hotel
de Ville at Malines.
B. VAN RAEPEORST carved in 1470 the reredos of the church
of St. Waltrude in Herenthals.
I ntroduct'ion. ccxxxi
H. GLOSENUAMP, firſt half of the ſixteenth century. One of
the carvers of the chimney-piece in the council chamber of the Palais
de Juſtice, Bruges.
GUYOT DE BEA UGRANT, born at Mechlin, firſt half of the ſix-
teenth century. One of the deſigners of the chimney-piece in the
council chamber of the Palais de Juſtice, Bruges. He executed
portions of it with his own hands.
J'OSSE BEYAERT, laſt quarter of the fifteenth century, carved
the roof of the Salle de Mariage, Hotel de Ville at Louvain, with
ſcenes from the life of Chriſt.
LANOELOT BLONDEEL. Born at Bruges. 1495-1560. Sixteenth
century. One of the deſigners of the chimney-piece in the council
chamber of the Palais de Juſtice, Bruges.
PETER VAN DER SOZZELDEN, ſixteenth century. He is known
as the artiſt who executed the beautiful woodwork of the panels, &e.
in the Hotel de Ville at Audenaerde. This work was completed in
1535- .
URBAN TAILLEBERT, ſixteenth Century. He carved the ſtall-
work at Ypres. _
ROGER DE SMET, firſt half of the ſixteenth century. One of
the carvers of the chimney-piece in the council chamber of the Palais
de Juſtice, Bruges.
dNDREW RASCH, firſt half of the ſixteenth century. One of the
carvers of the chimney-piece in the council chamber of the Palais de
Juſtice, Bruges.
CHISTVS b-O DORSIENT AL is ſigned on the door brought from
the Hotel de Ville, Antwerp, deſcribed No. 4239. '56. Dated 1580.
dLBERT BR UZIL, ſixteenth and ſeventeenth centuries, was the
carver of the choir feats and ſtallwork of the church of St. Giorgio
Maggiore in Venice, celebrated examples of ſuch Work. Compofitions
in relief on the panels at the back of thoſe ſtalls repreſent ſcenes from
the life of St. Dominic.
LUC'AS FA YDIIERBE, an architect and ſculptor, born at Mechlin.
1617-1694. A piece in the collection, No. 1173. '64, p. 237, is
attributed to this artiſt.
QUELLIN, dRTUS, the elder, born 1609-1668.
dRTUS, the younger, 1625-1700.
,, ' ERASMUS, the elder, 1607 -.
PETER VERBRUGGEN, the elder, ſeventeenth century; and
HENRY FRANOIS VERBRUGGEN, 1660-1724. They carved con-
3)
ccxxxii Introduction.
feffionals and figures in many churches; the latter carved the pulpit of
the Jeſuits' college, Antwerp. -
PETER DENIS PLUMIER, 1688-1721, carver of pulpits.
FRANCOIS, HENRI, and YEROME DU QUESNO Y, firſt half of the
ſeventeenth century. Carved probably in wood as well as in ivory and
marble.
_70HN DE SANGEER, 167 5. Made church work and wainſcoting.
_7. PICQ, ſecond half of the ſeventeenth century. Carved the
pulpit, St. Nicolas, Ghent.
LOUIS WILLEMSENS, 1635-1702. Church work.
LA URENCE VANDER MEULEN, 1645-1719. The carver of a
chimney-piece of wood preſerved in the muſeum of antiquities in
Bruſſels. In the collection of M. Pierets are carvings of the delicacy
of thoſe of our own Gibbons; his a leaves and flowers tremble with
the leaſt breath of wind." 88
M. MOENART, laſt half of the ſeventeenth century. Carved the
ſtalls in the church of St. James, Bruges.
VAN DELEN, eighteenth century. Carved the Woodwork in the
church of SS. Michel and Gudule, Bruſſels.
THEODORE VERHAEGHEN, early eighteenth century. Carved
pulpits in ſeveral churches of Mechlin.
_70EN BAPTIST VAN HOOL, middle of eighteenth century. Carved
the pulpit, St. Andrew's Church, Antwerp.
L. DE NYS and P. DE NYS, in 1768, carved confeflionals.
VANDER HAEGIIEN, working about_1780. Carved an altar in
the church of Ndtre Dame, Termonde, and additions to pulpit of
St. Gudule, Bruſſels.
NIOEOLAS ADRIAN FOSEPH LECREUX, 17 57-1 8 36. Carved
pulpits.
VAN HELMONT, eighteenth century. Carved pulpits in the church
of St. John Baptiſt, Cologne, and elſewhere.
FRANCIS VAN GHL'EL. Carved the pulpit, St. Andrew's church,
Antwerp.
GERMANY.
LUC'AS MOSER is known as the carver of an altar piece at Trifen-
bronn, executed about the year 1431.
J'ÞRG SYRLIN, the elder, executed the carved ſtallwork of the
cathedral of Ulm between the years 1462.-1474.

88 W. H. Weale, Belgium, &c., p. 217-
I ntroduction. ccxxxiii
J'ORG SYRLIN, the younger, executed a carved founding board in
the cathedral of Ulm, in the general carvings of which he worked
under his father. He alſo carved ſtalls in the monaſtery of Blambeuren,
between the years 1480-1510.
VEIT STOSS, 1438-1533, the ſculptor of Cracow, whoſe works are
well known, was a pupil of Michel Wolgemuth, known to us as a
painter and the maſter of Albert Diirer. He executed an altar piece in
the Frauenkirke at Cracow, the Roſenkrautz in the church of S. Lo-
renz at Niirnberg, a caſt of which is in the Muſeum; and altar pieces
in the upper pariſh church of Bamberg, &e.
MIC'HEL PAOHER, 1481, of Brauneck in the Tyrol. Work of
his exiſts in the church at Gries.
JAC'OB ROSCH, a Swiſs carver of the fifteenth century; known as
having executed woodwork for the cathedral of Chur, about 1491.
HANS BRUGGEMANN, a carver, born in the fifteenth 'century ;
executed an elaborate altar at Schleſwig between the years 1515-1521.
There was, ſays Liibke, " a countleſs abundance of ſuch works in all
parts of Germany " during the fifteenth century.89
WOLFGANG WEINICOPF and SEBALD BECK were joiners known
in Niirnberg in Albert Diirer's time.
Ofthe ſkill of the members of the guilds in Antwerp, Albert D'tirer
bore teſtimony in deſcribing the proceffion he ſaw there in celebration
of the coronation of Charles V. The trades repreſented included
the ſculptors, joiners, and carpenters.
PETER FLOTNER. A Wood carver of Niirnberg, ſixteenth cen-
tury. He deſigned chairs and other furniture. Some of the deſigns
of this kind, as well as of caricatures in the humorous faſhion of the
German artiſts of his day, for execution in ſtone, are ſtill kept in the
Royal Collection at Berlin.90 They were never carried out.
PHILIP HEINEOFER of Augſburg, ſixteenth and ſeventeenth
centuries, is known to us as the deſigner of the 9Pomeranian Art
cabinet,' preſerved in the Royal Muſeum at Berlin. It was made for
Philip II., duke of Pomerania, and under the ſpecial ducal direction,
1611-1617; ULRIC'H BA UMGARTNER was the cabinet-maker. Upon
this hiſtorical piece were employed a number of aſſiſtant workmen,
of Whom the names are preſerved. We may reckon thoſe whoſe
ſpecial avocations ſhould be included in theſe biographical notices,
though we know their names only. JOIFS MſILLER, lockſmith;

89 L'tibke, Hiſt. Art, ii. 298. 99 Figured in Becker and H effner.
ccxxxiv I ntrodnctz'on.
f7A 0013 KUENLIN, lockſmith; GASPAR MENDELER, carver; GEORG
ZORN, circle maker ; MARX GEUSER, organ builder; PA UL US
GETTIC'E or GOTTLIEB, engraver z ZZONAS HEGKINGER, inſtrument
caſe maker (leather emboſſer, &c.) ; DANIEL MULLER, turner ;
MATTEIAS GABLER, Windlaſs maker; ULRIUH KLSKNER, cabinet
maker, &e.
HANS SOHWANEARD. Early ſeventeenth century, ſaid to have
invented the wavy mouldings found on Dutch and German cabinet-
work of that century.
Among the deſigners of German wood carving, we muſt reckon the
ſpecial deſigners of decorative carving, wooden medallions, carved roſary
beads, &c., of which the Collection contains good ſpecimens. There
were many pupils of Albert Diirer'deſigners of ſuch pieces. The moſt
noted of them are called the Petits Maitres, and their hiſtory belongs to
that of engraving.
ITALY.
MARGARITONE, of Arezzo, 1236-1313. Said to have invented
or practiſed the ſame kind of work as that ſo commonly attributed to
Dello Delli. He left little work that has ſurvived to our time ; none in
the form of furniture.
DELLO DELLI, 1370 P living in 1455. According to Vaſari,
Dello (Leonardelli) di Niccolo Delli, by which name he was regiſtered
in the guild of the apothecaries in 1417, was the firſt to devote himſelf
to the decoration of the painted cypreſs cheſts of Florentine work (of
which the collection has excellent examples) as a ſpecial branch of the
profeſſion. He painted the entire furniture of a room for Giovanni de'
Medici. .
FILIPPO BR UNELLESCHI, 1377-1446, carved in lime wood a
ſtatue of St. Mary Magdalen for the Convent of St. Spirito in Florence.
His cruciſix, carved as a competitive trial againſt one by Donato, is ſtill
in the chapel of the Gondi in the church of Sta. Maria Novella in
Florence.
DONATELLO, 1380-1466. Donato, or Donatello as he was com-
monly called, is ſaid to have worked in his youth on furniture of mixed
wood and Compoſition, and to have learnt this kind of work under Dello
Delli. His perſonal hiſtory belongs to that of ſculpture.
PAOLO UOOLELLO, 1396, 7-1479. Painted panels, roundels, &c.
to decorate ſeats, couches, cheſts, &c.
GIULIANO DA MAJANO, born in Florence in 1432-1490, and the
ſon of a ſculptor in ſtone. He learnt the art of tarſia under GIUSTO and
I ntroduct'ion. ccxxxv
MINORE in the works of the ſacriſty of the Nunziata, where he executed
the feats as well as thoſe of the choir beſide the chapel at Fieſole and in
San Mario. Theſe are removed. " Having acquired a name by theſe
works, he was ſummoned to Piſa, where he executed in the Cathedral the
ſeat that ſtands beſide the high altar. The back of this ſeat he deco-
rated with tarſia work, executing figures of the three Prophets, which
are ſtill to be ſeen there in tinted and ſhadowed woods." 91 Mention is
made of
GUIDO DEL SER VELLINO and DOMENICO DI MARIOTTO,
joiners of Piſa, who executed much of this inlay and the carving.
Giuliano did much more work of this kind and brought up his brother
Benedetto to execute tarſia work.
BENEDETTO DA MAIJ'ANO, brother of Giuliano. He executed two
beautiful coffers for Matthias Corvinus, King of Hungary. He is ſaid
to have taken them to the king, but finding when they were unpacked
that the moiſture of the ſea air had looſened the glue that held down the
various pieces, to have been ſo mortified at the figure he cut by this
expoſure that he gave up working in this material.
CHIMENTI CA UVIC'IA, fifteenth century, a Florentine attached to
the Crown of Hungary, erected palaces, laid out gardens, built fortreſſes,
and executed, with the aid of Baccio Cellini, works of wood carving and
ornamental work of every deſcription.
dNDREA DI COSIMO, fifteenth century. This 'artiſt, like Dello
Delli, occupied himſelf in painting cheſts and furniture of all ſorts,
friezes, coffers, caſkets, ceilings, wainſcots, and other Work. He was
employed to paint round eſcutcheons, uſed for diſplay at marriages and
feaſts; theſe became a prevailing faſhion. He alſo gave deſigns for
tapeſtries, brocades, and other textiles.
PIER dNTONIO DA MODENA, a wood carver of the fifteenth
century, executed the tarſia work in the choir of San Franceſco in
Treviſo in 1486.92 _
BAOOIO D' dGNOLO, born 1460, died 1563, beſides being an
architect was the author of much inlaid woodwork or intarſiatura as in
the ſtalls of the church of Sta. Maria Novella in Florence, where were
beautiful figures of SS. John the Baptiſt and Laurence. He alſo carved
the woodwork of the high altar of the church of the Annunziata, after-
wards removed. He carved with his own hand a large frame 'for a
picture in the great hall of the palace at Florence.

91 Vaſari, ii. 93 Cicogn. St. d. Scult.
ccxxxvi I ntrodue't'ion.
GIULIANO D' AGNOLO, ſon of the laſt, was a carver of frames and
Woodwork. For Filippo Strozzi Giuliano executed a couch in walnut
wood. To theſe ſhould be added ſtallworkof walnut wood and the
tabernacle with two angels that ſtood beſide it, for the epiſcopal church
of Arezzo. Theſe no longer exiſt.
DOMENIC'O D' dGNOLO, another ſon of Baccio, was even ſuperior
to his brother as a carver in wood.
MARCO DOMENICO TASSO. Known as a wood carver in Florence
in 1480.
GIULIANO TASSO. Giuliano, brother of the former, was alſo
a carver in wood. He worked in Florence as late as 1512.
GIOVANNI BATTISTA Tusso and DOMENIC'O TAsso. Of the
ſame family, wood carvers. Executed carvings from drawings of
Michelangelo Buonarroti.
ALEXANDRO LEOPARDI, 1450-1525. * A ſculptor known by the
ſtatue of Bartolommeo Coleone, at Venice, which he caſt from the
deſigns of Verrochio. Like Donatello and other great Italian ſculptors,
Leopardi carved in wood. His hiſtory belongs to that of ſculpture.
FRA DAMIANO OF BERGAMO, 1490-1550? A celebrated maſter
of intarſiatura, learned his art from a Sclavonian brother in Venice,
worked the ſtalls of the cathedral of his native city. He alſo made the
ſtories or pictures in inlay in the choir of the Church of St. Dominic at
Bologna, 1524.-30. He was affiliated to the Dominican convent of
that city. Damiano was the firſt to uſe ſtains in his intarſiatura. He
coloured portions of his wood with "ſublimate of arſenic and oil of
ſulphur." 93 He executed in this material perſpective architectural deſigns
furniſhed by Vignola. He was employed by the Benedictines of
Perugia, for whom he executed ſtallwork and other fittings.
ML'SSER STEFANO DA BERGAMO aſſiſted in this work. He
was a brother of the aforeſaid friar.
ZAM'PIERO _DA PADOVA was a pupil of Stefano. Theſe worked
with Damiano.
Amongſt his pupils we hear of FRA BERNARDO, FRA ANTONIO
AsINELIs, ANTONI'O DA LUNIGIANA, a lay brother of St. Romano
di Luca, or Lucca.
The brothers CAPO DI FERRO, of Lovere, Bergamo, and
PIETRO DI MAFFEIS, Gzo VANNI BELLI, and A/NDREA zſLEs-
SANDRO BELLI, were pupils of Fra Damiano and his brother.94

93 See Lives of the moſt eminent nic. C. P. Meehan, 18 52, ii.221, &c.
Painters, &c., of the order oſ St. Domi- 94 Cicogn. St. d. Scult., v. 527.
I ntrodncction. ccxxxvii
CHRISTOFORO and LORENZO CANOZII executed the tarſia work
and ſtalls in the ſacriſty of St. Marco, in Venice.
GIO VANNI MARCO CANOZII, a ſon of Lorenzo, carved the choir
ſtalls of the chapel of the Zoccolanti in the church of San Franceſco
della Vigna, in the ſame city.95
Other artiſts in woodwork of this kind were FRA GIO VANNI,
Olivetan monk in the Venetian territory, mentioned in p. ciii, ſummoned
to Rome to execute tarſia in the Vatican, and an inventor of coloured
Wood inlaying, &e. 5 RAFFAELLO DA BRESOIA z and BATTISTA DEL
CER VELLIERA, of Piſa.
GIUSEPPE DI PARETA, a lay brother of the convent of St.
Dominico Maggiore, in Naples, executed in walnut wood the choir
ſtalls of the convent church.
_*7AC'0P0 DA PUNTORMO, 1494-1556. He executed numerous
decorative works of furniture in all ſorts of forms. When Leo the X.
had aſcended the Pontifical throne the Florentines celebrated the event
with all the ſplendour they could command. In the Carnival enſuing
the auſpicious event a proceffion of triumphal ears was organiſed.
There were three chariots richly carved in wood and painted with the
beſt art procurable. A confraternity deſiring to ſurpaſs this proceſſion,
deviſed one of ſix chariots, all invented by Jacopo. He is further ſtated
to have executed for Pier Franceſco Borgherini, in completion with
other maſters, Andrea del Sarto and Franceſco Ubertino, two large
coffers or cabinets, with ſtories from the life of Joſeph. Two of theſe
ſtories are in the Uffizi at Florence, in the large hall of the Tuſcan
School, and are engraved in the c Galleria di Firenze illuſtrata.'
Gro VANNI DA MONTEP ULCIANO, and DOMINIOO DI FILIPPO,
a Florentine, carved in 1 57 3, the woodwork of the Duomo of Siena.96
RICCIARDO TA URINI. Sixteenth century. A pupil of Albert
Diirer. He executed the ſtallwork of Milan Cathedral, conſiſting
of the compoſitions repreſenting the life of St. Ambroſe and other arch-
biſhops of Milan, after the deſigns of Brambilla.97
GIO VANNI BARILI, of Florence. Laſt quarter of fifteenth century
to the middle of the ſixteenth century. He worked under Raphael
Sanzio. The doors and much of the panelling of the Stanze in the
Vatican are carved in arabeſque relief by this artiſt.98 The ſhutters
are attributed to him; other parts are the work of pupils. They are
bold and graceful, with the lengthy vigour of Middle Age deſign ſtill

95 Cicogn. St. d. Scult. 93 Photographs of ſome of theſe
96 [bid carvings have been placed in the Na-
97 Hid tional Art Library.
ccXxXviii I nrrodnct'z'on.
apparent. Louis the XIII. is ſaid to have 'deſired Pouſiin to ſtudy
this wood carving with a view to ſimilar work for the _Louvre. His
work has been engraved by Ottaviani.99
ANTONIO and SALLUSTIO BARILI. Early ſixteenth century.
Both theſe artiſts worked for the Cathedral of Siena, for which they
made wood carvings, as well as ſculpture in ſtone and metal.
PROPERZIA DE' ROSSI. A lady artiſt of Bologna: V being en-
dowed with much fancy and admirable facility in the realization of her
ideas, ſhe ſet herſelf to carve peach ſtones, a labour wherein ſhe diſplayed
ſuch extraordinary ſkill and patience, that the reſults thereof were
marvellous' to behold; and that, not for the ſubtilty of the work only,
but for the graceful elegance of the minute figures thus repreſented, and
for the able manner in which they were grouped. It is without doubt,"
continues Vaſari, V a remarkable thing to ſee the whole hiſtory of the
Cruciſixion exhibited on ſo ſmall a ſurface as that of a peach ſtone,
compriſing, too, as do thoſe executed by Properzia, a vaſt number of
figures, beſides thoſe of the executioners and the Apoſtles; and what is
more than all, exhibiting the moſt delicate treatment of each figure
with a truly admirable arrangement of all." She was employed after-
wards and worked in the church of San Petronio a ſculpture repre-
ſenting parts of the hiſtory of the Patriarch Joſeph, to which her own
bore but too ſtriking an analogy. She died about 1530.
V Of theſe complicated and remarkable works, no example now
remains; the carved peach ſtones, ſtill preſerved in the Caſa Grafli,
being all of the ſimpleſt workmanſhip. There is a cherry-ſtone in the
cabinet of gems belonging to the Florentine gallery, on which a * gloria
of faints ' is carved with aſtoniſhing exactitude, and wherein have been
counted no fewer than ſixty heads of extreme minuteneſr." Ottaviano
Janello, of Eſcola, obtained a celebrity for this work in the ſeventeenth
century.100 A peach ſtone carved with a number of minute figures
is kept in the royal palace at Turin.
BERNARDINO TIMANTI BUONTA LENTI, ſixteenth century,
learned the rudiments of deſign under G. Vaſari. He was regularly
retained in the ſervice of Franceſco de' Medici, partly in executing
miniatures, partly in painting panels for furniture, of which alſo he
furniſhed complete deſigns. Some of his productions are deſcribed
above, p. civ.
BERNARDINO DI PORFIRIO, of Leccio, a place in the neigh-
bourhood of Florence, was a contemporary of this artiſt.

99 Lanzi, i. 372. 100 Vaſari. Mrs. Forſter's tranſlation.
I ntroduct'ion. _ ccxxxix
FRANOESOO ZABELLO, born 1506, a wood carver of Bergamo.
Deſigns of tapeſtry are alſo attributed to this artiſt; we do not know
on what reliable evidence. He made the ſtalls of the Cathedral of
Bergamo. They are ſigned and dated 1546.
GIOVANNI dMBROGIO, early ſeventeenth century, a celebrated
turner of Milan. We cannot point to any known productions of this
artiſt.
PIETRO BOTTO. A wood carver of Turin during the firſt half of
the ſixteenth century, where he was employed in the Palazzo Grande.
BARTOLOMMEO BOTTO, ſon of the former, a wood carver, working
during the - ſame century.
GIO VANNO BATTISTA Borro.
SECONDO dNTONIO BOTTO, couſin of Bartolommeo, and employed
by him.
LUIRIOO CASTELLI, of Lugano, employed with the Botto family.
In addition to theſe, the names of the following contemporaries are
preſerved :- _
PIER L UC'A Bare TOLINA, FRANOESCO BORELLO, GIUSEPPE
CESARE NEWR ONE, PIETRO ZLIARI, FRANCESCO RAMELLO,
EMMANUELE DUGAR, and FRANC'ESCO his ſon, OTTA VIO MA-
G'ISTER, G ULIELMO T OLFO.
dNDREA BRUSTOLONE, of Zoldo, in the territory of Belluno,
1670-1732, carver of glaſs and picture frames, chairs, &e. in the
wild ſlouriſhing ſtyle that anſwers to the ſtill more unruly French
Louis XV. Work. To this artiſt and his contemporaries are to be
attributed the rich acanthus carving prepared for gilding, ſo effective
in old Italian work of the day. Moſt of his Work is ſaid to have
periſhed. He alſo cut crucifixes for the church of St. Peter in his
native place, Belluno.1
d. PIETRO PIFETTI, a Piedmonteſe, was born in 17oo, made
5 Regia ebaniſta' by patent dated July 13, 1731, died in 1777, and
theſe facts are recorded on his tomb in the Cathedral of Turin. He
worked in marquetry in the ſtyle of Boulle, uſing mother-of-pearl, ivory
(on which he engraved ſpirited figure deſigns), tortoiſeſhell, ebony, roſe-
wood, &e. His beſt works are in the queen's apartments of the
royal palace in Turin. Amongſt them are :-Two groups in ivory,
St. Michel and the rape of Proſerpine, two tables inlaid with mother-of-
pearl, ivory, ebony &c., with the chariots of the ſun and of Aurora
engraved ; a priedieu, inlaid and engraved writing table, with ſcenes on

1 Cicogn. St. d. Scult.
ccxl . I ntroduction.
it of the ſiege of Turin in 1706; two inlaid ſeats purchaſed in 1732
for 11,2901ire3 an inlaid pavement in the ſala del caffe; intarſiatura
work on the tabernacle of the chapel.2 -
CARLO UGLIENGO, a Piedmonteſe, executed in the year 1733.,
inlaid wood ſlooring of minute pieces for the royal palace in Turin. .
FRANOESOO LADETTO, of Turin, worked as a eeſſllatore, modeller
and chaſer of bronze mounts for furniture. Eighteenth century. i
[G'NAZIO CARLONE, of Turin:
GIUSEPPE BOLGHZ, of Turin:
Both theſe artiſtsexecuted carved Woodwork in the royal palace at
Turin (queen's apartments)
GIO VANNI PAOLO VENASCA, a Piedmonteſe, modeller and chaſer
of furniture mounts and braſſwork. This artiſt and F. Ladetto were *
employed in finiſhing the marquetry of Pifetti.
GIO VANNI MARIA BONZANIGO is the name of a wood ſculptor,
who formed a ſchool of carvers in Turin during the laſt century. He
was employed in the palace in 1777.
GIOVANNI GALLETTI was the ſucceſſor of Pifetti. End of the
eighteenth century.3
MAGGIOLINO, a Milaneſe cabinet-maker, eighteenth century.
Marquetry cheſts of drawers and cabinets in light wood, of north
Italian origin, are to be ſeen ſtill in numerous examples in this country.
Such work is generally attributed to this maker.
SPAIN.
BERRUGUETE, ſecond ſon of Pedro Berruguete, 1480-1561,
born at Paredes de Nava, near Valladolid, in 1480, and muſt have
been a contemporary of, if not older than, Raphael. He went to Italy,
and is known to have ſtudied under Michel Angelo. He was a fellow
pupil of Andrea del Sarto, Baccio Bandinelli, and other known artiſts
He returned to practice his art in Spain in 1520. There he was taken
up by Charles V., who knighted him, and attached him, with a
penſion, to his perſonal houſehold. He became the founder of the
modern ſchool of painted ſculpture in Spain. He carved in walnut
wood (nogal) for his figures, and uſed yew (teja) and pine for the other
parts.
GERONIMO HERNANDEZ, 1586-1646, architect and ſculptor.
Carved church work.

2 Theſe particulars are furniſhed by 3 Clemente Rovere, Real Palazzo
the kindneſs of Count Charles D'Aglie. di Torino.
i Introdnction. ccxli
GREGORIO PARDO, ſixteenth century. Carved a wardrobe for
the chapter of the Cathedral at Toledo, now outſide the chapter houſe.
Theſe artiſts founded a ſchool of carvers and painters of carved
images, which produced excellent artiſts throughout the ſixteenth, ſeven-
teenth, and a large portion of the eighteenth centuries.
FELIPE DE BORGONA, ſixteenth century.
j'UAN DE JUNI, ſixteenth and ſeventeenth century, pupil of
Michel Angelo. Carved life-ſized hiſtory of the life of Chriſt at
Segovia. Died 1614.
The cabinets made in Spain in the ſixteenth and ſeventeenth cen-
turies were very numerous, but we have no notices of celebrated
makers.
zfLONZO CANO was born at Grenada in 1600; his father, Miguel
Cano, was a carver of retablos, and under him Alonzo ſtudied the
rudiments of that art. He ſtudied painting under Franceſco Pachero at
Seville.
A monogram containing the letters HGF is on a carved has-relief,
No. 41. ,69, in the Collection. It is dated 1661.
ALEXANDRO CARNIC'ERO, 1693-1756, was born at Iſcar, near
Segovia. He ſtudied ſculpture under Joſef de Lara, at Zamora. He
worked for the convents at Valladolid and Coria, and ſettled at Sala-
manca, where he founded a confraternity of painters and ſculptors.
He was called to Madrid by Don Joſef de Carvajal. He died at Madrid
in 1756.4'

ADDITIONAL NAMES.
FLANDERS.
fYAOQUES DE BAERZE, fourteenth century. Carved the portable
"retables " filled with figures, painted and gilt, ſtill preſerved in the
muſeum of Dijon. They were ordered by Philippe le Hardi for the
Carthuſian church of Champmol-les-Dijon in 1391.
ITALY.
J'ACOPO DI CANO VA, ſixteenth century, is named as the reputed
carver of a cabinet, No. 308. '67, in the collection. The writer can
find no particulars of his hiſtory. '

4' Sir William Stirling Maxwell : Annals 'of the Artiſts of Spain.
ccxliii
NAMES OF ARTISTS IN ALPHABETICAL ORDER.

j .
l Country in which
I


Names of Artiſts. they worked. Date.
A
Adam, (and R.) England 1728-1792.
Agnolo, B. da Italy 1460-1563.
Agnolo, D. da ,, 16th century.
Agnolo, da ,, . ,, ,,
Ambrogio, G. ,, . . 1 I7th ,,
Ards, W. Flanders . ' I 5th ,,
Aſinelis, A. Italy . I6th ,,
B ,
Baſichelier, -- . France. . I6th ,,
Baerze, de . . Flanders . I4th ,,
Baker, - . . i England 18th ,,
Barili, A . _ Italy . I6th ,,
Barili, G. p . ,, ,, ,,
Barili, S. . ,, . . ,, ,,
Baumgartner, U. Germany . a 17th ,,
Beaugreant, G. de Flanders . 16th ,,
Beck, S. . Germany ,, ,,
Belli, A. A. Italy ,, ,,
Belli, G. ,, . j ,, ,,
Berain, J. . . France. . j 1636-1711.
Bergamo, D. da . I Italy . 1490-1550.
Bergamo, S. da L ,, . * I6th century.
Bernardo, - . . L ,, ,, ,,
Berruguete, -- . 7 Spain 1480-1561.
Bertolina, B. Italy 3, 16th century.
Beydert, J. j Flanders I 5th ,,
Blondeel, L. ,, 1495-1560.
Bolgie, G. . i Italy 18th century.
. Bonzanigo, G. M. ,, ,, ,,
Borello, F. . ,, I6th ,,
Borgona, F. de Spain ,, . ,,
Botto, B. . Italy ,, ,,
Botto, G. B. . ,, ,, ,,
Botto, P. ,, ,, ,,
Botto, S. A. . ,, ,, ,,
Boulle, A. C. . France. 1642-1732.
(12
ccxliv
of Artiſts
Names

Names of Artiſts.
Country in which

they worked. Date'
Boulle, P. . France . I7th Century.
Breſcia, R. da Italy 16th ,,
Broſs, - de . France . 17th ,,
Bruggemann, H. Germany 15th ,,
Bruhl, A. . Flanders 16th and I7th
centurles.
Brunelleſchi, F. Italy 1377-1446.
Bruſtolone, A. ,, 1670-1732.
Buontalenti, B. T. ,, I6th century.
C
Caffieri, Ph. France. 17th and 18th
centuries.
Cano, A. . Spain 17th century.
Canova, de Italy 16th ,,
Canozii, C. . ,, ,, ,,
Canozii, G. M. ,, ,, ,,
Canozii, L. . . ,, . ,, ,,
Capitſoldi, - . England 18th ,,
Capo di Ferro, Brother Italy I6th ,,
Carlone, . ,, 18th ,,
Carnicero, A. . Spain 1693-1756.
Caſtelli, Italy I6th century.
Cauner, - . France 18th ,,
Cauvet, G. P. ,, . 1731-1788.
Ceracci, G. . England 18th century.
Cervelliera, B. del Italy . ,, ' ,,
Chambers, Sir W. England 1726-1796.
Chippendale, T. ,, 18th century.
Cipriani, G. B. ,, ,, ,,
Coit) _ a) a) a)
Collet, A . ,, ,, _ ,,
Copeland, - . ,, ,, ,,
Cotte, de . France ,, ,, .
Cotte, R. de . ,, 1656-1735.
Cotton, C. England 18th century.
Creſſent, - France ,, ,,
D
Davy, R. England 1 750-1794.
Dello Delli Italy I4th and I 5th


centuries.
in Alpbadetical Order. ccxlv


England
Names of Artiſts. Poxglezyvgrflzflch Dare,
Dolen, -- van Flanders 18th century.
Donatello, - . . Italy . 1380-1466.
Dorſient, A. C. ; C. Oc. Flanders 16th century.
Ducerceau, A. . France. 15 1 5-1585.
Dugar, E. . . Italy . 16th century.
Du Queſnoy, F. H. and Flanders 17th ,,
F
Faydherbe, L. Flanders 1627-1 694.
Filippo, D. di Italy . 16th century.
Florein, Flanders 15th ,,
Fl'citner, P. Germany 16th ,,
G
Gabler, M. Germany 17th ,,
Galletti, G. Italy 18th ,,
Garnier, P. . - France . ,, ,,
Genſer, M. Germany 17th ,,
Gervaſius England
Gettich, P. Germany 17th ,,
Geuſer, M. . ,, ,, ,,
Gheel, F. van Flanders 18th ,,
Gibbons, G. . England 17th ,,
Giovanni, Fra. Italy . 16th ,,
Gloſencamp, H. Flanders ,, ,,
Goujon, France. ,, ,,
H
Habermann, - . France . 18th ,,
Haeghen, -- van der . Flanders 18th ,,
Heckinger, . Germany 17th ,,
Heinhofer, Ph. ,, 16th and 17th
i centuries.
Helmont, - van Flanders 18th century.
Heppelwhite, A. England ,, ,,
Hernandez, G. Spain . 1586-1646.
Hool,,J. B. van Flanders 18th century.
Huet, -- . France . ,, ,,
Hyman, F. n a)
CCXlvi Names
of Artzſts

Country in which


,
(rerman

Names of Artiſts. they worked. Date.
J
John of St. Omer England 13th century.
Johnſon, T. , 18th ,
Juni, J. D. Spairi . 16th an 17th
centuries.
K
Kauffmann, A. England 18th century.
Kiſkner, U. Germany 17th ,,
Kuenhn) a) n n
L
Ladetto, F. Italy 18th ,,
Lalonde, - France . ,, ,-,
Lawreans, --' . England 17th ,,
Lecreux, N. A. Flanders 1757-1836.
Le Moyne, France . 1645-1718.
Leopardi, A. . Italy 1450-1525.
Le Pautre, . France. 1617-1682.
Le Roux, B. ,, ._ 18th century.
kmrlicellſvI England ,, ,,
oc . . ,
Loir,,A. . Franlce . Ig30-I7Y3.
L'Orme, Ph. d ,, 16th century.
Lunlgla, A. da Italy ,, ,,
M
' Mace, . France . 18th ,,
Maffeis, P. di Italy 15th ,,
Maggiolino, -- ,, 18th ,,
Magiſter, O. . ,, 16th ,,
Majano, B. da ,, 15th century.
Majano, G. da ,, 1432-1490.
Margaritone, -- ,, . . 1236-1313.
Marot D. F -> 6 . P
, rance . 1 50-1700.
Marot, G. ,, 17th century.
MZZZZ ,, I6zg-16g9.
' 9) _I '
llYI/Iartinbourt, - ,, igfh ceſitujry.
eiſſonnier, A. ,, . 1693-1750
Mendeler, G, , '17th century.
in dlphabetieal Order.
ccxlvii

Country in which

Names of Artiſts. i they worked. Date.
Meulen, R. van der Flanders 1645-1717.
Minore, G. . Italy 15th century.
Modena, P. da . ,, - 3) ' >>
Moenart, M. . . Flanders 17th ,,
Montepulciano, G. da. Italy 16th ,,
Moſer, L. . Germany 15th ,,
Miiller, D. ,, I7th ,,
Mi'iller, ,, ,, ,,
N
Newrone, G. C. Italy 16th ,,
Nilſon, - France . 18th ,,
Nys, L de Flanders ,, ,,
NYSJ P de 9) 3) a)
O
Ooſt, P. van . Flanders 14th ,,
Oppenord, - France 18th ,,
P
Pacher, M. . Germany 15th ,,
Padova, Z. da Italy 16th ,,
Panturmo, di - ,, 1492.-1556.
Pardo, G. . Spain . 16th century.
Pareta, G. di . . Italy ,, ',,
Paſſe, C. de . . France. I7th ,,
Paſſe, C. de, the younge ,, . ,, ,,
Pergoleſe, - . ſi . England 18th ,,
Perreal, J. . France . 15th ,,
Philippon, A. . ,, 16th ,,
Picau, -- ,, . 18th ,,
Picq, J Flanders 17th ,,
Pigalle, -- England 18th ,,
Plffettl, A. P. Italy . I7oo-1777.
Plumier, P. D. Flanders 1688-1721.
Porfirio, B. di . Italy 16th century.
_ Q
Quellin, A. . . Flanders 1609-1668.
Quellin, A., the younger ,, 1625-1700.
Quellin, E. . .

3)
17th century.
ccxlviii
of Artiſts
Names

Country in which



Names of Artiſts. they worked. Date.
R
Raephorſt, B. van Flanders 15th century.
Ramello, F. Italy 16th ,,
Ranſon, - France . 18th ,,
Raſch, A. Flanders 15th ,,
Rieſener, -- France . 18th ,,
Roentgen, D. . ,, ,, ,,
Rohan, de . ,, 16th ,,
Rohan, de . ,, . ,, ,,
Roſch, J. Germany 15th ,,
Roſſi, P. de Italy 15th and 16th
centuries.
Rovezzano, B. da England 16th century.
S
Salembier, - . France . 18th and 19th
centuries.
Sangher, de . Flanders 17th century.
Schelden, P. van der . ,, 16th ,,
Schwanhard, H. Germany 17th ,,
Serlius, S. . France. 16th _,,
Servellino, G. del Italy . 15th ,,
Sheraton, Th. England 18th ,,
Smet, R. de Flanders 16th ,,
Stoſs, V. Germany 1438-1533.
Syrlin, . . ,, 15th century.
Syrlin, J., the younger ,, 15th and 16th
centurles.
T
Taillebert, U. Flanders 16th century.
Taſſo, D. . Italy 15th and 16th
centuries.
Taſſo, G. . ,, ,, n
Taſſo, G. B. . ,, ,, U
Taſſo, M. D. ,, . 15th Century.
Tatham, C. H. England 18th ,,
Taurini, R. . Italy . 16th ,,
Thomire, P. Ph. France . 1751-1843.
Tolfo, G." ltaly 16th century.
Toro, - . France . 18th ,,
Torrigiano, - England 1472-1522.
in Alp/iadetical Order. ccxlix



Names of Artiſts. Coglhltzyvjgflzlzfich Date.
Toto, -- . England 1331-1351.
Trevigi, G. da ,, 1304-1344.
U
Uccello, P. . Italy 1396-1479.
Ugliengo, C. . ,, 18th century.
V
Venaſca, G. P. . Italy . 18th ,,
Verbruggen, P. . Flanders 17th ,,
Verbruggen, P., the younger ,, 1660-1724.
Verhaegen, Th. . ,, 18th century.
oyers, - . England ,, ,,
Vrieſſe, V. de France. 17th ,,
W
VJalker, H. England 16th ,,
Weinkopf, W. . Germany ,, ,,
Willemſens, L. . Flanders 1635-1702.
William the Florentine England 13th century.
Wilton, . ,, 18th ,,
Z
Zabello, F. Italy 16th ,,
Zorn, G. Germany 17th ,,



ccli
ERRATA.
Page xv, line 24, for " Endaeus " read Endoeus.
,, xvii, line 18,f0r "amalgams " read alloys.
,, xix, line 21,fi2r "ſimla" readſ'nilax.
,, xxxv, line 3, fin- " points '3 read point.
* read Bermudez.
,, lxxxix, line 31,for " Bernurdez '
,, cxlviii, line 23,_fl2r " Bouche " read Boucher.
,, cxlix, line 30, for " Liriodendron tulz'piflzra " read P/zy/bealamina floribunda.
,, 1 1, line 7,ſbr " Sampſon " read Samſon.
,, 1 1, line 8,for " iii" read xz'v.
,, 190, line 33, after "foot" read to a.
362 line 2, or " an earlier " read a later.
3, 9
In deſcriptions of work by Boule, Rieiſener, Gouthieres, the names ſhould be ſpelt Boulle,
Rieſener, GouthiEre, as in Introd. ch. iii.
ſſWQ-l- . 5 n. _z\ -. - ty , .- is' .- mid




iſſſi'ifflF%Rr-xav
_, ' plling 24 La; in '
1 m,- _ 1 \ .- '4- * LA , r
,-' ' ' _.__.' A ,' " .
' . wſſ '" In "ſ _-'-ſi ' U, ' , \
-.r- w - t r
A , -*. >_ - - Aſſa u_ '
. l h-F , , t . .
a ' ct -' "a" V', A' ' .'
1 I .>>. '
* ' 1 .> 4 1
'ÞM '
=
J v-Þ'Þ'i
a
5.'
5..
't \ ..v-'**







i.
. a. z * ſit >- t


HOUSEHOLD FURNITURE AND
WOODWORK.
. VE-
of furniture and Woodwork deſcribed in the following
pages are arranged in alphabetical order. Columns,
flooring, panels, and other details of interior architectural



he head Woodwork for Rooms. Indian, Chineſe, and Japaneſe
wares are alſo collected under general heads.
Church furniture and woodwork are not included.
The productions of each country are arranged under the name of
each nationality in alphabetical order-dzffltrian, Dutch, Engliſh, Flemiſh,
French, German, Italian, &to-according to date, ſo far as that is aſcer-
tainable.

8505.'63.
, AROMETER. The frame of wood, carved with
foliage and ſcroll work, and gilt in two tints. A
thermometer inſerted in the ſtem. French. Middle
of 18th century. H. 3 ft. 5-3- in., W. 11 in.
Bought, 25l.


The frame of this is well cut, and ſhows the contraſt in gilding
between white and red gold. The white gold is merely gold of a greener
tint, owing to the metal having been alloyed with ſilver before beating
27129. A
2 Houſe/mld Fnrnz'ture.

out into leaf. This may be taken as a good 'ſpecimen of the eaſy
wood carving with which the panelling, looking-glaſs and other frames
abounded in French houſes at the end of the reign of Louis XV. and
thoſe ſucceeding, eſpecially when the wilder forms of work, intended
for gilding, crept in during the ſecond part of the laſt century.
The barometer, an inſtrument for meaſuring the weight of the
atmoſphere, owed its invention to Galileo and his pupil Torricelli,
ſomewhere about the year 1642. a
_3674.'56.
ASKET. Oval. A work-baſket, roſe or tulip-wood,
inlaid with marquetry of a lighter wood, and with ſilver
fillets. Modern French (Briere and Jouby, Paris), H. Zzlg in.,
L. IOZE in., W. in. Bought (Paris Exhibition, 1855), 81.
BEAD. See Medallz'ons and Mnz'atnre Wood Gar-vings.
'70. 15.
EDSTEAD or Couch (Accubitum), Antique. Metal
caſting. The original, in wood and bronze, with
damaſcened copper and silver Ornament, was found at Pompeii,
in 1868, in a houſe in the Via Stabiana, and is preſerved in
the Muſeo Borbonico. Engraved in V Nicolini, Le Caſe edi
Monumenti di Pompei," tav. 35. H. at head, 3 ft. 1-5 in., W.
4 ft., L. 7 ft. 63 in. Bought, 2001.
The earlieſt example in the Muſeum is a model of the bed, or
' ſofa-bed, in uſe in the later times oſ the Roman Empire. This bed
anſwers in general form to the ſofa we are uſed to in modern furniture.
It has a plain frame, round ſupports or legs, and is much like a chair
made of extraordinary depth, as if the back had been puſhed backwards
till there was room, and more than room, to lie full length upon it
inſtead of ſitting merely on the ſeat. The head turns lightly over, ſo as
to make it eaſy to lean on. The moulded Ornaments are like thoſe of
Pompeian chairs formed on the model of turned wood, and it is probable
that the ſand-moulds for caſting this kind of furniture have been preſſed '
Beaſſeads, Englſſ. _ 3

round a wooden mode] turned in the lathe. One could not otherwiſe
explain the bold narrow rings and ſharp neckings which form the cha-
racteriſtics of the work. In wood we ſhould ſee theſe projections more
moderate, unleſs the wood were of extraordinary hardneſs, and even
then we muſt conſider that ſuch models made were ſpecially calculated
for execution in metal. This example has been caſt from an original
found at Pompeii, and preſerved in the Muſeo Borbonico at Naples. It
is of bronze. It has been furniſhed with euſhions in the modern faſhion.
Such beds as theſe were of Greek workmanſhip or' pattern, and
repreſent the later luxuries of the Empire. They were often made of
wood in earlier times. They were ſometimes in maple or box, ſolid ;
or they were of cedar, Occaſionally veneered with ivory or tortoiſe-
ſhell. Some had ivory or ſilver feet. In point of form, the earlier
beds reſembled the Egyptian bed-a mere flat, like the top of a box
or cheſt. Head-boards were a later addition. Foot-boards were added
Occaſionally.1
316.'67.
EDSTEAD. Carved oakwood, with columns, teſter, and
head-board of debaſed claſſic character, ornamented in
marquetry. Engliſh. Dated I 593. H. 7 ft. 4 in., L. 7 ft.
II in., W. 5 ft. 8 in. Bought, 50l.
A ſpecimen of the heavy architectural furniture of the Elizabethan
period, in the ſame ſtyle as the great bed of Ware. The back and top,
or teſter, are panelled, and two poſts in the ſtyle of the Engliſh renaiſ-
ſance, between columns and baluſters, ſupport the teſter at the foot.
Theſe ſtand on ſquare baſes, and thoſe portions repreſent the height of
the bed itſelf. They ſtand ſeparate from the bed, ſo as to allow Curtains
to be drawn altogether round the bed within theſe two ſupports. The
back is panelled. Two deep arched panels form the centre of the
ſyſtem. Theſe have billeted mouldings round the arches, the billets
converging round the arch. Within theſe are two ſets of concave
mouldings, each receſſed within the other, delicately carved over. The
panels themſelves are filled with rough marquetry arabeſques, and the
ſame kind of ornamentation is applied on an upper ſtyle or band. The
architectural brackets which carry up the line of ſmall columns dividing
the arched panels, partake of the renaiſſance feeling for terminal

1 For a more complete account of CLASSIC BEDS, ſee Beds and Coaches in In-
troduction.
A a
4. Houſe/mld Furniture.

figures, though neither maſks nor heads carry out the idea thoroughly;
and ſuch will be often noted in the wood-work, and the details of over-
loaded faeades ſo frequent in Elizabethan architecture and architectural
wood-work. Above the heavy panel-work, and under the teſter, are
the letters R.C. I 593. Theſe are initials of the Corbet family.
_ 4034 '56-
EDSTEAD. Carved oak, inlaid with marquetry of
coloured woods. Flemiſh. Dated 1626. H. 6 ft. 9 in.,
L. 6 ft. 4. in., W. 3. ft. 3 in. Bought, IIl.
A ſolid panelled conſtruction, with teſter of panelled-work. Sup-
ported at the end on turned poſts. The baſes and caps, and the bed
framing, ornamented with ſtrap-work cut in flat relief. The bed-head
is in the panels. A central panel is carved with the Sacrifice of Iſaac,
in rude relief. The rails that ſupport the teſter and connect the heads
of the poſts together are cut into ſcallops or cuſpings, and little turned
points, in the ſhape of acorns, are let into the points of the cuſps, and
give this edging a reſemblance to fringe. Small panels, a few inches
ſquare, are let in at the head, to give ſome richneſs to the heavy frame-
work. We recognize in this work the deſigns of Criſpin de Paſſe.
8459-'63-
EDSTEAD. Carved and gilt wood, with blue ſilk
damaſk furniture. French. About 1780. H. 5 ft.
5 in., L. 6 ft. 10 in., W. 4 ft. 10-£- in. Bought, 160l.
The ſides are made up into high panels, ſtuffed, and covered with
damaſk. The legs or poſts which hold the frame together act alſo as
ſtiles to theſe ſtuffed panels. They are cut into the ſhape of quivers
decorated with arabeſque work, and having arrow-ends duly feathered.
The top framing rail, that connects theſe, is alſo carved with wreaths
of roſes, garlands of wheat-ears, little quivers, &c., all the work richly
gilt. It may be taken as expreffive of the galanterie of the owner of
the houſe, and as intended for a lady's bed-room. The blue damaſk is
trimmed with handſome ſilk lace edging. The curtains hang from a
circular panel faſtened to the ceiling of the room, or alcove, in which
beds were placed almoſt invariably 'in French bed-rooms from the
Louis XIV. period downwards. The alcove or receſs leaves room for a
waſhing-cloſet and an entrance for ſervants, between the two ends of
Beaſteads, Portugueſe. ' 5

the bed-place and the walls of the room, and the ſleeping-place can thus
be ſhut out by curtains from the reſt of the room. The circular panel
'from which the curtain is hung contains a looking-glaſs in a carved and
gilt frame. It is ſtated tov have come from a houſe in Montpelier, the
reſidence of the Marquis of Montcalm,1 though probably belonging to
the reign of Louis XVI., after the death of the hero of that name.
784.'65.
EDSTEAD. Roſewood, the framework of turned ſpiral
columns, the tranſverſe rails of carved open ſcroll work,
with cut braſs Ornaments. Portugueſe. 17th century. H. 8
ft. 5 in., L. 6 ft. 10 in., W. 5 ft. 3 in. Bought, 15l.
There are three examples of beds from Portugal, of which No.
784-'6 5 is the moſt coſtly and effective. It is a four-poſt bedſtead, the
corner poſts being ſpecially high, as ſuited to a hot climate, and enabling
gauze curtains to be cloſed completely round the ſleeper, to keep off
moſquitoes and other infects of the gnat kind, while ſtill retaining ample
cubic capacity for air inſide. The entire framework is cut out of ſolid
roſewood. It is framed of legs or poſts, turned in the lathe, with necks
and collars, and with double twiſts cut on portions or lumps left, and
worked by hand, bold and wide enough to ſhow that the wood has not
been ſpared. There is no Ornament, except at the head ; there the rails
are made into a regular ſcreen, ſmall lengths being added between the
full-length rails. Theſe are divided and held in place by tranſverſe rails
or bars of carved work. Little ſpiral terminals form a creſting to finiſh
off above the top band. The bed-frame is ſcrewed in with braſs nuts
neatly filed into notched heads, and the rails have here and there braſs
plates, ſtamped into arabeſque patterns.
16 I. '66.
EDSTEAD. Roſewood, ornamented with gilt braſs;
the teſter of baluſtrades with pedimental open work.
Portugueſe. 17th century. H. of teſter, 6 ft. 3 in., L. 6 ft.,
W. 4 ft. 2 in. Bought, 201.
This and the next number are a pair of ſimilar make. They follow
the general conſtruction of the laſt deſcribed. Theſe two are ſmaller in

1 Louis Joſeph de Saint-Veran, Marquis de Montcalm, was born at the Chateau de
Caudiac, near Niſmes, in 1712. He died before Quebec in 17 59.
6 Hozffie/zold Fnrnz'tnre.

ſize and the rails are leſs in diameter. They are entirley worked in the
lathe. The head is made into a ſet or ſcreen of rails with braſs tips and
collars; there are braſs nails with convex heads to ſet off thewood.
Braſs nuts are uſed to ſcrew the frame together. The beds in Genoa
have taken after this pattern. All theſe arrangements-ſo different from
the ſtuffed bed furniture of French beds, and the ſolid wood ſtructures
in uſe in this country down to the end of the Stuart period-point to
ſuggeſtions of a hotter climate, and provide for plentiful circulation
of air.
160.'66.
EDSTEAD. Roſewood, ornamented with gilt braſs;
the teſter of baluſtrades with pedimental open work.
Portugueſe. 17th century. H. of zteſter, 6 ft. 4. in., L. 6 ft.
4. in., W. 4 ft. Bought, 151. 165. ad.
1087.'69.
EDSTEAD, various portions. Wood, inlaid with ivory
and ornamented with cut paper under glaſs. Arab.
17th century. H. 6 ft., W. 5 ft. 8 in. (Paris Exhibition,
1867.) Bought (Meymar Collection),
This is conſtructed out of ſolid roſewood. It is regularly framed,
like an European bedſtead. The head riſes into a gable. The foot-
board is low; the frame ſolid, and pierced with holes for ſacking. It
is framed into ſquare corner poſts, that raiſe the frame a few inches from
the ground. Theſe are inlaid with ctplates of ivory, engraved with flowers,
within a ſort of arched panel. The bottoms or feet are alſo ſquare
blocks, with a ſhallow ſquare piece ſplayed on the four ſides down to the
ground; between this and the angles of the frame this leg is turned with
a thick collar. All theſe frame-pieces are inlaid with rude quatrefoils
of ivory arranged diamondwiſe. The head and foot-board are diſpoſed
in panels. The panels are placed vertically, each divided into two by
a rail, and each ſuch pair ſeparated from the next ſet, which is framed
up diſtinctly, by a ſeries of turned ivory bars half Zan inch long, ſtained.
Theſe little rails unite the vertical ſtrips of panelling. The panels
themſelves are filled with little paper roſettes, nailed on a paper baſe.
But theſe, as they ſtand, ſeem to be modern reſtorations, and to have
replaced work ſomewhat ſimilar, but more carefully decorated-perhaps
Bellows, Italian. 7

pieces of ſtamped paper, coloured and gilt, from Italy. Theſe little
flowers are covered with glaſſes rudely ſtuck in by green varniſhed
paper, which gums them to the ſtiles of the panels. All theſe rails
and ſtiles are inlaid with ivory quatrefoils. The ſupports of the teſter
are round rods an inch and a half in diameter, with ſquare pieces at
each end. Each ſquare part ſhows two mortice-holes, and we muſt
ſuppoſe that two horizontal laths have paſſed through them, perhaps for
two distinct ſets of hangings-of gauze to keep off inſects, and of
thicker material to keep out light. So alſo there would appear to have
been a double row of laths below, to ſupport ſtretched materials to
form a ſide to the bed, of fifteen or eighteen inches high. Theſe
rods or poles are all inlaid, being reticulated with fine ivory lines,
and having quatrefoils, one in each reticulation. It formed part of a
large and valuable collection of Arab woodwork in various forms, and
is, probably, Cairene work of the I7th century.
7699. '61. -
ELLOWS. Wood, carved with dolphins, terminal
figures, maſks, &c.; a chiſelled bronze nozzle. Italian. .
About 1500-20. 2 ft. in. by IO% in. Bought (Soulages
Collection), 40l.
Of this pair the front is ſcutcheon-ſhaped, with ſcrolls lapping over
from the border. It has in the centre a ſmall figure in high relief, with
gadrooned line behind, and a garland over the head. Two groteſque
terminal figures form ſupporters. A maſk in high relief is carved on the
handle. It has borders of ſcrolls, ſhells, See, of an architectural character.
The nozzle iſſues from a griffin's head. A space above it has been
occupied by leather,-with ſtamped or nail Ornaments. The nozzle is of
chiſelled bronze, and compoſed of ſatyr terminal figures, maſks, linen
ifeſtoons, &e. The woodwork is parcel gilt. The prominent ſurfaces
of the figures are heightened_with hatchings of gold, a device reſorted to
frequently when broad parts are not covered with leaf in 16th century
Italian carving. Italian : part of the Soulages collection.
4279-'57-
ELLOWS. Cheſtnut wood, carved with maſks, ſirens,
cartouche-work, &e. Italian. About 15 50. L. 2 ft.
3 in., W. gg in. Bought, I5l.
8 rHouſeho/d Furniture.

Groteſque maſks are cut front and back in high relief. The front
forms a fort of heart-ſhaped cartouche, encloſed by two groteſque dragon-
tailed ſirens. The nozzle is of braſs, plain turned, in rings, without
ſculpture; it iſſues from a lion's head.
7698.'61.
ELLOWS. Wood, carved with ſatyrs, a cupid, and a
groteſque maſk; a chiſelled bronze nozzle. Italian
(Venetian). About 1550. 2 ft. 6 in. by IOZ in. Bought
(Soulages Collection), 4ol.
The front forms a circular cartouche, with ſcroll ends curled over.
It has a rich garland border of fruit and leaves. The centre has a
carving of two dolphins. Their tails end in ſcrolls, which roll over and
terminate in demi-figures of ſavage- men wielding clubs and ſhields. The
arms on the ſhield of the right hand figure are :-bendy of ſix, with a
lion rampant over all. The left hand bears a double-headed imperial
eagle diſplayed, bearing an ineſcutcheon, charged with a feſſe. A maſk
is carved above, and a ſcallop ſhell below, to fill the ſpace left by the
divergence with which the figures accommodate themſelves to the ſpace.
A ſquatting female figure is carved on the handle. The back has a
cartouche on it, and maſks, ſhells, &c., ſupporting it. The windpipe is
formed by a groteſque quadruped, winged, and having its fore-paws
aligned under the throat. The old undreſſed buff leather is ſtill left on
the edges, and is faſtened on with roſette-ſhaped nails of bronze. It is
Italian work of the latter half of the 16th century. It formed part of
the Soulages collection.
8473.'63.
ELLOWS. Carved walnut wood, in high relief; in the
centre is repreſented Vulcan forging the arms of Cupid ;
around are figures of claffical deities; with bronze nozzle,
emboſſed and chaſed. Italian. 16th century. L. 2 ft. II-L-
in., W. 14 in. Bought (Soulages Collection), 40l. ſi
A group of the court of Olympus on clouds, in high relief, ſurrounds
the more delicate work of the central repreſentation. Jupiter, Mars,
Venus, Apollo on the right ; Saturn, with Mercury and Diana, on the
left, complete the circular group. A ſatyr maſk is carved on the back.
Bel/owe, Italian. i9
O

The wind is inhaled through its mouth. Round this is a border of
foliage and ſtrapwork. The flaps of the bellows terminate in a groteſque
head. The nozzle iſſues from this. The nozzle is compoſed of three
terminal figures ſupporting three brackets. A lion's head at the bottom
forms the wind hole. It is fitted with red cotton velvet and braſs nails.
Theſe are modern ſubſtitutes for leather aiſſnd bronze nails. It formed
part of the Soulages collection, and muſt be conſidered' as Italian work
of the latter part of the 16th century.
2392-'55-
ELLOWS. Carved wood, picked out with gold; the
nozzle of chiſelled bronze. Italian. About 1560.
L. 2 ft. 4 in., W. 11 in. Bought (Bernal Collection), 281.
The centre of the front flap contains a ſcutcheon, on which is a
figure of Mars, ſupported by two terminal female figures with Minerva
heads. Theſe are on the edge, and form a ſort of frame to the more
important figure. The nozzle is ſculptured with maſks, lions' heads,
&e. The wind hole is a griffin's head. The back is cut into a ſatyr
maſk, and the mouth forms an inhaling hole. The carving is parcel
gilt. It is worth notice that delicate gilt lines are laid on the plain
ſurfaces, ſuggeſtive of the graining of wood.
2396-'55-
ELLOWS. Carved walnut. The Adoration of the
Shepherds. Italian. 17th century. L. 2 ft. 4 in.,
W. log in. Bought (Bernal Collection), 211. los.
The front forms a panel in very high, almoſt in full relief. The
Holy Family occupy the right, and the ſhepherds with their offerings
the left, of the Compoſition. The handle is carved into the ſhape of a
ſcallop ſhell on its inner ſide. The nozzle is plainly turned,'without
ſculpture. It iſſues out of a groteſque carved head. The modelling of
the features, hands, extremities, draperies, and acceſſories, including the
animals, is of a high order. On this very modeſt piece of houſehold
furniture we ſee ſculpture in wood equal to anything produced by the
beſt artiſts of the day upon the more important objects ofeccleſiaſtical or
of houſehold uſe. It is of Italian make, early in the 17th century.
It formed part of the Bernal collection, and was purchaſed from the ſale
for the Muſeum.
10 Fnrm'tnre and Wood-work. ,

221.'66.
OWL and Cover. Root of box or olive wood. Carved
externally with leaves, flowers, and a ring of Arabic
letters; internally, with John the Baptiſt's head, and below with
a pha-mix and a French inſcription. The cover is alſo carved
externally with a ring of boughs and leaves, another of Arabic
letters, within which are flowers and a central knob; internally,
with a group of Samſon and the Lion, with Latin inſcription.
French. 15th century. H. 5-% in., diam. 8 in. Bought,
331. 125.
This remarkable piece of wood carving is of the beſt period of
ſuch work in France. The bowl is a half ſphere, rather flattened. It
ſtands on a foot or baſe, hollow, and containing ſculpture. The
cover has a richly carved rim rolling round. It is then depreſsed
ſlightly, and riſes in a carved handle. The material, judging from its
great denſity, is olive wood, cut from the root. The raiſed rim is cut
into a twiſted wreath of roſe or ſweet briar, of which each leaf laps
inwards in a regular order. The lid has then a depreſſion all round,
filled with a legend in Arabic letters, divided into three, as if repreſenting
three texts or phraſes. In reality theſe letters have no meaning, and
have been placed there by ſome one ignorant of the language, only
copying letters at hazard, ſome of which are reverſed. The ſpaces
either ſide of this inſcription are carved with ſmall buds, like the buds of
thorn or roſe branches. The handle is a knob, repreſenting the end of
a branch torn from the ſtem, and tied in a knot. The top or ſtump
of the branch is carved into a woman-headed groteſque ſerpent, holding
a ſcroll. This is an alluſion to the fall of our firſt parents. The torn
end of the branch runs into a ſtrip of bark curling down to the reſt of
the work. Flowers in high relief occupy the ſpace between the handle
and the Arabic characters. The bowl is not leſs rich than the cover
in this' fine carving; a wreath of roſes is twined round it in high relief.
Another belt of Arabic characters runs round below it, with no more
Arabic in it than the letters. Below theſe is a band of flowers, each
diſtinctly carved from nature, and each ſeparate-the roſe, thiſtle, vine,
pink, pomegranate, lily, violet. All the petals and leaves are worked
ou't with accurate fidelity. They remind us of the illuminations in
books of the early 16th century, where theſe flowers are painted on
Bones and Caſhets. I I

'ſhell gold grounds, and each ſeparately. As regards the characters, it
muſt be remembered that none are ſo ornamental as the Arabic ; and the
carver had, probably, accompanied one of the'expeditions to the Eaſt,
where theſe characters form a leading element in architectural orna-
mentauon. _
The inſide is carved. The knop of the cover forms a hollow filled
with a ſculpture of Sampſon ſubduing the lion, with the words, Irruit
autem Spiritus Domini in Samſon, from Judges iii. 6-" And the ſpirit of
the Lord came mightily upon him, and he rent him as he would have
rent a kid." Here the ſubject repreſents Fortitude, one of the four
virtues, viz. temperance, prudence, juſtice, and fortitude, called cardinal
becauſe good actions depend on theſe qualities. The bottom of the
bowl is cut into the form of a gold or ſilver diſh, reticulated with twiſted
metalwork, and bearing the head of St. John the Baptiſt. Underneath,
in the hollow of the rimmed foot or baſe of the bowl, is a phoenix, with
a ſcroll bearing the motto VNE FOY FAULT COMPTER ALOSTE--One
day we ſhall have to reckon with our hoſt--in alluſion to the certainty of
death, and of a reſurrection. If the work of this is compared with the
ſtone carvings of the north tranſept door of Rouen Cathedral, the reſem-
blance between the minute carving on this bowl and in the ſmall
ſpandrils of the broken quatrefoiled panels at Rouen will be acknow-
ledged. The ſame work is ſeen in the ſmall buſts carved on the door
itſelf.1 Little figures and animals of an inch or ſo in length are cut in
the ſmall ſpandrils with aſtoniſhing ſkill. The head of St. John the
Baptiſt is one of the traditionary relics of the Cathedral at Amiens.
His martyrdom figures on the north-weſt door at Rouen. We may
attribute this bowl, probably uſed for ſacriſty purpoſes, to a Normandy
artiſt late in the 15th century.
601.'69.
OX.2 Deal, ornamented with marquetry in wood: bought
as an example of cheapneſs of manufacture. Modern
Auſtrian. H. 22 in., L. og- in., W. in. (Paris Exhibition,
1867.) Bought, 16s.

1. A caſt of this' wood carving hangs amongſt the architectural details in the
cloiſter of the North Court of the Muſeum, by the Ferneries.
2 Under the term Box are included Caſkets and Small Coffers.
I 2 Furniture and Woodwork.

602.;69.
BOX. Deal, ornamented with marquetry in wood : bought
as an example of cheapneſs of manufacture. Modern
Auſtrian. H. 43 in., L. 8? in., W. 6% in. (Paris Exhibition,
1867.) Bought, Il. 45.
5921- '59- .
OX. Marquetry of ivory and coloured woods, with braſs
ball-and-claw feet, lock, and handles. Dutch. About
1600. H. nel,- in., L. 22 in., W. 15? in. Bought, 7l. Ios.
2 1 73. '55.
OX. Carved oak, divided into compartments in which
are various figures carved in relief, picked out in colours.
Engliſh or French. About 1350. H. 6 in., L. IIzl; in., W.
9£ in. Bought (Bernal Collection), 15l. 15s.
Divided into four panels by bold ſunk mouldings on the top. A
demi-figure of a king occupies one, and a child, whom the king is
ſtriking, the next to it. A knight and a lady ſeverally occupy the other
two panels. The central ſtile or diviſion forms itſelf into a tree to ſhade
theſe perſonages. This completes the top carving. The front is alſo
in four panels. A knight and a lady occupy one; aſavage man, all over
hair, another. The two centre panels are filled by two lions endorſed,
that is, back to back. The lock plate borrows a corner from each of
theſe. Two panels on each ſide of this centre front panel are occu-
pied by figures of men hunting. The back is occupied by three
panels. In the middle, the hunting party are ſeated in an orchard
at a game of cheſs. A male and a female attendant occupy two
narrow panels on either ſide of this party. Triangular bars of wrought
iron act as clamps, and the ends and faſtening points are beaten flat into
flowers, to form roſettes for the nails that faſten them down. The lock
has had double haſps ſhutting with fnaps, and each has had a ſeparate
keyhole. A loop and padlock have been placed in the centre between
them. The iron work is carefully provided for in the Woodwork,
and it ſtops ſhort of the back carvings. The mouldings have been
Bones and Caſhetr. 1 3

coloured green and Vermilion; the figures have been gilt. The ſtags
have been painted "proper," that is, in their natural colours. The
heads are in the beſt deſign of the I4th century. The ſubject is the
favourite Compoſition of the time-adventure, love, and the chafe. The
king repreſenting the abuſe of power or cruelty, a type embodied in
ogres, giants, and other objects worthy of knightly ſteel when wars are
over. In Italian, German, French, or Engliſh chivalrous epiſodes, the
ſame adventures, perſonages and fentiments, were univerſal. Thus we
have the heroes of the Round Table ſometimes in Italian, often in
French romantic tales or repreſentations.
The tenuity of the figures appears to give a French authorſhip to
the carving; and the ironwork ſo much reſembles German work as
we fee it in 2172-'5 5, 1169-'64, that it is difficult to be preciſe.
Engliſh work, on the other hand, both in carving and ironwork, is to be
found as good at this period, and walnut is the common wood in France,
while this oak was the material uſed in England. The carefulneſs of
the faſtenings is enough to ſhow the value of the caſket, and of the
contents for which it has been deſigned.
55- '53-
Carved oak; geometrical Ornament. Engliſh or
German. 17th century. H. 7£ in., L. 13 in., W. 2 in.
Bought, 2l.
The back is higher than the front, the lid ſloping ſidown. It has
been made as a caſe fitted for knives and forks. The Ornament conſiſts
of thin inciſed work, principally in circles. It has no merit as a deſign,
but is a curious ſpecimen of the ſmaller woodwork of its day.
54- '53-
OX, WORK. Japanned papier mitehe. Black ground,
with pearl inlay. Imitation Oriental. Engliſh, modern.
(Jennens &-Bettridge.) H. 32 in., L. 11741; in., W. Si- in.
Bought, 3l.
14. Fnrnitnre and Wood-work.

2181.'55.
OX. Carved wood; on the lid a wreath of roſes, ſur-
rounding a crowned F., with the initials F.V. and V.F.
Flemiſh. 15th century. H. 3-L- in., L. 7-Z- in., W. 5 in.
Bought (Bernal Collection), 61. 55.
2072.'55.
OX. Carved wood, with animals holding inſcribed ſcroll,
under Gothic canopies, &e. Flemiſh or German. About
1400. H. 43; in., L. Zzl; in., W. 62; in. Bbught (Bernal
Collection), 311. 105.
3607.'555
OX. Carved wood; the ſurface ornamented with a cuſped
lozenge diaper; on the lid is a ſtag couchant. Flemiſh
or German. Latter half of 15th century. H. 32; in., L.
II-i- in., W. 7 in. Bought, 61. 5
The diapers are cut out with a triangularftool, and cleanly chopped,
with great method. On the ſides, over the diapered work, are the
letters id * il) ' bdm * eb *, and on the top ek *, to which letters, in old
German, we have been unable to get any intelligible explanation. The
letters are type ſpecimens of running 15th century writing, and are
formed by ribbons folded over to make the backward or forward ſtrokes
required in the formation of the ſeveral letters.
3608.'55.
OX. Carved maple wood; on the lid, relieved on a
lozenge diaper, is a groteſque nondeſcript animal.
Flemiſh or German. Latter half of 15th century. H. 22 in.,
L. 6213. in., W. 4z£ in. i Bought, 4Z.
There runs round the ſides of this box an old German legend, or
inſcription, in letters ſimilar to thoſe of the laſt number, mit willen dz'n.
--I am a willing ſervant.
Boxes and Caſhets. I 5

_ 2390-'55-
OX. Olive wood, with ornamental mountings in repouſſe
and chaſed braſs work, ſupported on a carved wooden
ſtand. Flemiſh. About 1680. H. with ſtand 3 ft. 2 in.,
H. of box 2 ft. 2 in., W. 1 ft. 6 in. by 1 ft. I in. Bought
(Bernal Collection), 32l. Ios.
The ſtand is ſupported by four light bulging legs, with goat heads
and feet Theſe are connected by an ornamented croſs rail cut into
ſhaped curves. The mounts are five inches in diameter, and occupy a
large proportion of the ſurface of the box. They form its ſpecial deco-
ration, ſtanding up above the ſurface, and giving richneſs to work other-
wiſe perfectly plain. The braſs work is beaten up with common
rounded punches, and ſuch as could be done by many of our modern
workmen of no pretenfions to education in deſign. The deſign is
helped out by ſtamps on the front.
2528.'56.
OX. Carved oak, with panels of Gothic tracery. French.
14th century. H. 5 in., L. I 12 in., W. 9 in. Bought, 2l.
This box is decorated with geometrical window tracery and notchings
on the angles. The iron clamps and mounts are of excellent workman-
ſhip. A hammered plate of this kind forms a clamp to the top, and,
paſſing completely round, finiſhes with a flower of beaten work on each
ſide the lock plate. The plate of the lock itſelf is decorated with foliated
corners. Parts of the box have been replaced.
1621.*55.
OX. Wood, quadrangular; painted all over with ſeated
lions, on red and gold ground, mounted with gilt metal
clamps, terminating in fleurs-de-lis. Inſide the cover is powdered
with a Gothic letter G,, crowned, many times repeated, and in
the centre are two claſped hands. French 15th century.
H. 5z£ in., L. 57£7 in., W. 5 in. (From Bernal Collection)
Given by M. T. Smith, Esq., M.P.
I 6 Furniture and Woodwork.

4244-'57-
OX. Root of maple wood, mounted with braſs clamps,
hinges, and lock, on raiſed plinth carved with Gothic
tracery. French About 1500. H. Zj; in., L. 9 in., W.
52 in. Bought, 6l.
The top forms a panel, there being a small moulded rim nailed on.
It ſtands on a plinth with a bold, hollow moulding, ſhaped underneath
into flat cuſped arches. The ſurface is covered with architectonic
tracery and foliated fillings, in low relief, in the intervals. The moſt
noticeable Ornaments are the ſmall braſs hinges and angle mounts. They
run acroſs the ſides, and connect ends, ſides, and top with each other and
with the bottom. This work is made of rods of braſs, barely a quarter of
an inch thick, beaten out into tinyſteurs-de-lis at the ends, or wherever
a nail is wanted. The lid is lined with fine old hanging paper of the
early ſixteenth century, with gilt decorations on it in block printing, and
of the ſame period. We ſeldom find any example of the common objects
of domeſtic uſe ſo unchanged, or giving a better inſight into the deco-
rative work of its kind and of its period.
1 1 30. '64.
OX or ſmall Coffer. With arched cover; cane wicker
work, with lock, hinges, angle plates, &c., in openwork
braſs. French 16th or 17th century. H. 93,- in., L.
1222- in., W. 83 in. Bought, 15l.
The baſket work of which this little trunk is made, is of ſplit cane
on round ſticks the ſize of a drawing-pencil. The work is in diamond
patterns, black and white. The principal Ornament conſiſts in the braſs
work, which is ſhaped on the edges. These are faſtened on with ſlat-
headed nails, which hold by the breadth of their heads.
228.'70.
OX, WORK. Wood, covered with embroidery of gold
and coloured thread, repreſenting in compartments the
occupations of the field and the characteriſtics of the ſeaſons.
French. 16th century. L. 14? in., W. 12;},_- in., H. 63; in.
Bought 441.
Bones and Caſhets. 1 7

Coffret or box. Covered with embroidered cloth of gold, repreſenting
in figure ſubjects, the winter and ſummer months, on the ſides; and on
the ends and top, the ſpring and autumn ſeaſons.
The deſigns of the ſeveral ſubjects that make up the decoration
of this work-box are executed with a maſtery unuſual in the very
fineſt embroidery. It takes the higheſt rank among the works ſo
executed in the Muſeum. , May is repreſented by a pair of lovers bearing
boughs, June by a ſhepherd and a ſhepherdeſs ſhearing their ſheep, July
by haymakers ; the winter months by two vine-dreſſers, by a man eating
at a table and another warming his feet before a hearth. There is
nothing ſpecially new in theſe emblematic compoſitions, but they are
admirably treated. The zodiacal ſigns, in ſmall circles at the top of
each compartment, help out the meaning, while they add to the decora-
tive character of the deſigns. In all there are twelve compartments,
and columns and flouriſhes of conventional architectonic character are
introduced, to divide and ſet off the deſigns. The gold cloth of the
foundation is formed of twiſted ſilk bound with flat gold, and forming
what looks like a wire of ſolid metal. The embroidery is in coloured
ſilks in long embroidery ſtitch, each covering two Wires or threads of
the ground. The figures are worked up in relief from below the gold
in the first inſtance, and embroidered over. The embroidery ſtitches
are looſe enough for the gold to ſhow through ſlightly, and enhance the
richneſs of the colours. The gold forms the lights of the deſign in all
the colour. The word Jallet (for Julietta), rather than Giu/et or Giuletta,
ſhow that the work is French, or done by Italians to French order, for
ſome member of the Medici or other Italian families who were ſo potent
in introducing Italian art into France during and after the reign of
Francis I.
2428.'56.
OX. Tortoiſeſhell, mounted with plaques of gilt braſs
and ſilver, in relief. French or Flemiſh. 17th cen-
tury. H. 6 in., L. 11 in., W. 8 in. Bought, 2l. los.
The tortoiſeſhell with which the box is covered has been ſhaped
under preſſure and by heat. The feature beſt worth Obſervation in this
piece is the metal mounting. The angles, top, &c., are decorated with
beaten work of braſs. The deſign is of flowers boldly beaten up, and
having birds in the centre. This central portion is covered with ſilver
in thin plates. Theſe are jacketed on and faſtened with rivets; the
work is then beaten and chaſed into the lines of the deſign underneath,
F. B
1 8 Fnrnz'tnre and Wood-work.

being, of courſe, thin enough for this to be done without beating down
the repouſſe (or beaten up) work underneath. Work ſo ſolidly put
together will bear cleaning and rubbing in a manner that mere gilding
or ſilvering would not, without rubbing through on the ſalient points.
It is well worthy of ſtudy by modern metal Workers. The date may
be placed at the close of the 17th century. The general richneſs of
the work bears ſome analogy to the plate deſigns of the reign of our
Charles II. The original key has been preſerved.
5922-'59-
OX. Tortoiſeſhell and braſs, foliated and floriated ſcroll
Ornament; red V Boule" work. French. About
1700. H. 9-12- in., L. 1 ft. 712- in., W. 1 ft. 1 in. Bought, 351.
This is decorated with ſhell V Boule " work in large foliated deſigns.
It is of the date of Louis XV. The baſe, angle, and top mounts
are of ſolid braſs. The top has an ingenious crank to ſupport it when
open, and to fold back. Great ingenuity will be found in the mechaniſm
of cabinets, dreſſing-tables, writing-tables (ſecretaires), bureaux, &c.
of the reigns of Louis XV., and ſtill more Louis XVI., when this
kind of inventiveneſs was carried to perfection in France; But all
contrivances for neatneſs, conceaflment, or mere caſual convenience,
as in the. preſent caſe, deſerve the attention of modern makers and
amateurs. _
Boule work owes its name to a cabinet-maker, engraver and chaſer,
of the 17th century, named Andre Charles Boule. He was born in
1642, and lived to the age of ninety, dying in 1732. The work which
' he is ſaid to have invented is the inlay of tortoiſeſhell with braſs or latten,
tin, or white amalgams of metal. We give a fuller account of this
manufacture under the head of the Furniture Exhibition at Gore Houſe,
which will follow at the end of the account of the collection at South
Kenſington.
There is nothing ſpecial about this particular box, but for the preſent
it is the only piece of that kind of manufacture in the collection. The
name of Boule himſelf will be found in the biographical ſketches.
8506. '63.
OX. Red lacquer. Decorated with gilt arabeſques, car-
touches, &c.; in the centre a fortune-teller; gilt metal
Bones and Caſhets. 1 9

lock and hinges. French. 18th century. H. 4 in., L. 1 in.,
W. 9 in. Bought, 5l.
A ſpecimen of work ſuggeſted by, though by no means imitated from,
actual ſpecimens of Chineſe lacquer work. This ware, as well as
oriental China, begun to be imported largely into the north of Europe,
Holland eſpecially, during the reign of Louis XV. The top of this
box is arched like the old-faſhioned trunk. It is decorated with gilding,
and figured with an elaborate ſcutcheon in etched gilding. This latter
is profuſely decorated with maſks, ſupporters and groteſque Ornament. It
contains a Compoſition of a lady ſitting and a fortune-teller reading the
future for her. All the ſides, ends, edges and ſurfaces, are decorated
with gilded Ornaments of the ſame kind. The method of working
has been to lay the gold on the Vermilion lacquer ground, and proceed
afterwards to etch on it with a needle. The gold, ſcraped or hatched
out, ſhows the red lines by way of ſhading. _The whole ſurface has
then been delicately rubbed down and poliſhed, without diſturbing the '
gilding any further.
8507.'63.
OX. Red lacquer. Decorated with gilt arabeſques; gilt
metal lock and hinges. French. 18th century. H.
137- in., L. 592- in.,,W. 2. in. Bought, 2l.
This is a leſs important ſpecimen of the ſame decoration as that
laſt deſcribed.
528.'69.
OX. Wood, covered with Crimſon velvet, with handle,
lock plate, and Ornaments in gilt copper. French.
18th century. H. 11 in., W. I9zl,,- in. Bought 14l.
The red velvet with which this box is covered is trimmed with gold
gimp and nails headed with roſettes and fleurs-de-lis. The lock plate
has a has-relief of Minerva, with lance reverſed, in gilt metal. It has
probably held a diploma or other document, rolled.
20 Furniture and Woodwork.

1542-'55-
OX. Wood, carved and gilt. French. 18th century.
H. 6 in., L. 63 in., W. 4. in. Bought, 4l. 16s.
The ſides are formed into panels with guilloche mouldings; and
wreaths, looped in the centre, croſs the angles. The top is ſarcophagus
ſhaped, with ſlat panel. It is provided with a foliated handle above.
The whole of the carving is cut clearly and neatly out of the ſolid wood.
It is a good ſpecimen of the carving in ſoft wood, ſpecially cut for
gilding, of the Louis XVI. period. It belongs to the ſecond half of the
18th century. Much excellent work of this kind is to be found on
picture frames, panelling, &c.
9087.'63.
OX. Ebony, mounted in gilt metal and ſet with two
plaques of painted enamel. Modern French. H. in.,
L. Io-Zz in., W. 7? in. Bought, 20l.
A ſpecimen of the modern uſe, by the French makers, of their Sevres
enamel 'in Woodwork.
582.'54.
OX or Coffer (Reliquary ?). Wood, carved, painted, and
gilt. German Byzantine. 12th century. H. in.,
L. I 3 in., W. 8 in. Bought, 20l.
The top is Pyramidal, with Hattened apex. It divides into five
panels, which, like the front, are occupied by griffins and beaſts of the
chaſe, in relief. The end panels contain runic knots. The flats of the
dividing bands, which are unmoulded on their ſides, are decorated with
inciſed Greek frets, zig-zag bands, Croſſes, beads, &c. It is a rare
example of Rheniſh Byzantine work in this material. The Greek in-
fiuence, with its traces of claflic ornament, and the vigorous northern
life with which it is united, gives us the main characteriſtics of this
northern art of which in 'carved ſhrines, reliquaries, &c., we have
excellent examples in the Muſeum.
The back is decorated with interlaced chequers, a quatrefoil in relief
filling each ſquare ſpace. . There are remains of colour and gilding on
the animals and the decoration. It ſtands on four flattened ball feet.
The bottom is alſo lined out into four panels, and both the dividing
bands and the panels decorated with light line Ornament inciſed.
Boxes and Caſhets. 21

1167.'60.
OX. Beech wood, carved with interlacing frets and bands
in low relief, decorated with conventional foliage, and
three armorial ſhields at each end; the hinges and clamps of
braſs wire. German. Second half of 13th century. H. 4 in.,
L. 122 in., W. 5 in. Bought, Il. Ios.
The arms have no indication of tinctures. The firſt ſhield on the
left is charged with three bendlets; the ſecond with the letter T ; the
third with a feſs, chequy of ten. The ſhields, on the right bear: the
firſt a chevron, the ſecond a feſs, the third is party per ſaltire.
(The metal mounts are worth notice. They are of braſs Wire, beaten
into little flowers T'Fzths of an inch only in ſize. The angle clamps
extend 2 of an inch on each ſide.
1168.'64.
OX. Wood, painted red, and diapered with roſes and
ſtars in gold; the hinges, clamps and lock plate, of
floriated wrought iron. German. Second half of 15th cen-
tury. H. 52- in., L. IIZZ- in., W. 8£ in. Bought, 5l. IOJ'.
This coffer-ſhaped box owes its character to the delicate iron work
of the clamps and lock. Theſe join the four ſides to each other, and
the bottom to the ſides. There are between the two hinges on the top
long ornamental clamps, added as Ornaments only. This metal work
is nowhere thicker than g-th of an inch, and ſometimes as fine as -2-1-0-th.
It is ſet on edge, and the extremities beaten ſlat into quatrefoils. The
lock plate is pierced with ſimilar ſhapes.
1166.'64.
OX. Beech or maple wood, carved in panels, with foliage
of vine, oak, and maple; the central panel containing
a falcon with outſpread wings, and an inſcribed label beneath.
The hinges and clamps are of floriated wrought iron. German.
15th century. H. 3-15 in., L. 82- in., W. 62 in. Bought, 5l.
The carving is in the old mediaeval manner, with an edge like a ribbon,
but of 15th century work and near the end of it. The legend on the
2 2 Fnrnz'tnre and 'Wood-work.

label runs: ICH-FINT IN DIR MINE HEISS GIR-In theemy heart's,
deſire I find. The box has, probably, been uſed for keeping hawks'
bells, hoods, &c., &c.,\ and we muſt receive this affectionate effuſion
as applicable to the ſport.
2172.'55.
OX. Carved wood, with figures of animals bearing ſcrolls.
German. About 1400-50. H. 43 in., L. 8 in., W.
63 in. Bought (Bernal Collection), 151. 105. '
On the lid are three ſunk panels, and on each ſide one. Theſe are
occupied by animals of an heraldic, or rather an emblematic character,
being probably alluſions to family names and arms. They are ſilled
out with ſcrolls. The three top panels are ſhaped into ſmall canopied
niches, and the ſides made out with vine leaves and other foliage. On
the ſcrolls are inſcriptions in old German. In the top panels are, e.g., an
ape with a fool's-cap on his head and the legend Ein ſetz'g tor und-A
precious fool. A ſwan, zſbe, and between them a ſtag and the words
72'1 hir/Zh, a ſtag. In the front panel we have a man-headed eagle and the
legend, Mr willen dien z'eh--I ſerve with good will. Another contains an
owl dancing, and the words an true tanS--a regular dance. Others Con-
tain a ſwan and an eagle, with their names below. The angles and
corners are tied with ſmall metal mounts-iron bars or rods beaten out
into ſtars at the ends. The diviſions or bars between the panels afford
flat ſpaces to hold theſe mounts. Otherwiſe there are no mouldings or
panel lines. Whether ſome political ſquib or ſatire has been perpetrated
under theſe humorous carvings is more than can be now determined, but
from the' animals, of which many are well known as the cognizances of
ſome of the famous houſes in Germany-the ſwan, for inſtance, of the
duchy of Cleves-it may be concluded that alluſions are intended to ſome
political combinations or alliances.
598.'64.
OX. or Coffer. Walnut wood, carved all over in Gothic
tracery. German. About 1460. H. 9-%in., L. 19 in.,
W. 12 in. Bought, 121. *
The tracery is cut in three bands on the front and back, and, inl
circles on the ends. The work is sunk ſome.._F>-6-ths of an inch. It
. I. ....:.E.>:_0 ..n...3.DNLJd-Þ ZD ZNQQDU


1 Baxei" 'and Caſhets. 23

repreſents elaborate flamboyant tracery. On the ends we have in German
black letter Jſhzsus Maria, and Adonai do. d. Il. t. from the antiphon
O Adonai et dux domus Iſrael Sta., ſung before the Magnificat on_ the
days immediately preceding the Feaſt of the Nativity. The box has
been made for hold-ing the linen required for the altar ſervice in ſome
domeſtic chapel. ' . > '
9 ,54* i '
OX or Reliquary. Wood, carved and gilt. Brought
from Conſtance, and said to have formerly contained
the relics of St. Boniface. German. About 1490. H. 2 ft.,
L. 2 ft. 11 in., W. Ift. 5-19; in. Bought, 371.
This chaſſe or reliquary is in the form of a tomb or ſhrine, with a
gable roof, and ſmall pinnacles at the corners. This is properly the old
claflic notion of a tomb, a houſe, the domus ultz'ma, or laſt home. It is
of wood, carved and gilt. The ſides and end are divided, by late
I 5th century arches, into three panels. The arches are round, and
the inner beads of the moulding croſs each other, and die into the
outer projection, inſtead of being mitred, as in Engliſh and French work.
On the ſpandrils are boldly-cut crockets, and below, ſmall? animals.
The little buttreſſes that divide the panels are worked with jambs,
with their baſes, &c., and the angles have pinnacles and ſtatuettes of
faints, which have been covered by'crocketed canopies.
The ſix ſide panels are filled with has-relief repreſentations of Our
Saviour's Paflion. Firſt cornes the triumphal entry into Jeruſalem,
with which the different acts of the Paflion take their beginning; the
ſecond panel contains the Laſt Supper 5 the third, the Agony in the
7 Garden of Gethſemane; the fourth, the Struggle of St. Peter, who
drew a ſword and ſmote Malchus, the High Prieſt's ſervant, and cut off
his ear. This ſubject fills one of the ends. The fifth, the Condemnation
by Pilate, the Roman Governor 5 the fixth, the Scourging of Chriſt at
the Pillar; the ſeventh, the Crowning with Thorns, and the mockery
and deriſion'of the byſtanders; the eighth repreſents the Way of the
Croſs, and the action of St. Veronica, who, according to the tradition,
wiped the face of the Redeemer with a napkin, and a likeneſs of the
face remained ſtained on the napkin.
Then follow thoſe on the two floping ſides of the roof. The firſt i
of theſe contains the Nailing of the Redeemer to His Croſs 3 the ſecond,
the Crucifixion, with St. Mary and St. John, the favourite diſciple, on
either ſide, the third contains the Entombment, the fourth, the Reſur-
24 Fnrnz'tnre and Woodwork,

rection, with the guards ſleeping round the tomb, or paralyzed with
terror at the ſight; the fifth, the appearance to the Twelve; the ſixth,
the Aſcenſion into Heaven. The gables form two triangular panels; one
of theſe contains a repreſentation of the Deſcent into Limbus, or the
Harrowing of Hell. The Redeemer is repreſented, in the traditional
manner, knocking at the door of Hades, which falls before Him, and
from the priſon-houſe He hands up one by one the company detained
therein, beginning with the first Adam. This ſubject forms one of the
compoſitions in the well-known V Life of Chriſt " of Fra Beato An-
gelico, in the Academy at Florence, and has been treated by many
early painters. The other gable contains a repreſentation of the Holy
Trinity in Glory-the Eternal Father and the Son ſeated, and the Holy
Spirit in the form of a dove between.
The character of the architectonic Ornament ſeems to belong to
Southern Germany or Switzerland, the excellence of the modelling and
deſign is equal to the fineſt work that could be found in Bavaria, or
amongſt the immediate predeceſſors of Holbein. Theſe figures are but
a few inches high, but they are deſigned with complete knowledge of
drawing; and neither in the attitudes nor proportions is there any of
the groteſqueneſs we obſerve in the works, however good in many
qualities of artiſtic excellence, of the 15th century German artiſts.
At the ſame time the early traditions as to treatment, and the South
German character of deſign, are recogniſable throughout. Small
ſtatuettes are on the angles, under their crocketed Canopies. Two oſ
theſe repreſent St. Catherine of Alexandria and St. John, but they are
much defaced. We give the ſtatement which accompanied the chaſſe,
that it contained at one time the relics of St. Boniface. Theſe, how- '
ever, are preſerved in the Church of St. Aleſiio at Rome. It has
probably been kept in ſome private oratory.
7902.'61.
OX or Caſket. Ebony, inlaid with ivory. In the in-
terior are ten drawers and a cloſet, alſo inlaid with ivory,
repreſenting hunting ſcenes. German. 16th century. H. 1 ft.
3 in., L. 1 ft. in., W. 12:£- in. Bought, 101. 185. 8d.
The door is wanting. There are drawers and pigeon-holes, which a
door has covered. It forms, with the ſides, a ſort of box without mould-
ings, panelling, or any external Ornament. The drawers and central
'pigeon-hole front are inlaid with plaques or ſheets of ivory, and the
Boxes and Gaſhets. 2 5

deſigns helped out with etching filled in with black printers' ink. The
hunting ſcenes differ, ſome being ſtag-hunts, with horſe and hound,
ſome encounters with boars, ſtags, bears, &e. All are deſigned with
ſpirit and knowledge of animal form.
1565-'55-
OX. Covered with Stucco, with various figure ſubjects in
relief. German. 16th century. H. 5z11; in., L. 73; in.
Bought, Il. 16s.
Wood, covered with white Compoſition, bound with a braſs moulding
below, and mounted on braſs feet. The ſides have pilaſters decorated
with tiny arabeſques. It will be ſeen, from the ſmallneſs of the entire
box, what is the ſcale of the arabeſque decorations, yet animals as well
as flowers, ſcroll-work, &c., have a place amongſt them. The four
ſides have four has-relief compoſitions on them. The front contains
the death of Regulus, the Roman general. This famous and almoſt
mythical character, ſtands for the type of" Antique Roman" patriotiſm.
He was Conſul of the Republic with Manlius Vulſo Longus in 2 56 B.C.
On another ſide we ſee the ſelf-devotion of M. Curtius, leaping, armed
and mounted, into the chaſm in the Roman Forum. Another corn-
poſition is the ſtory of Pyramus and Thiſbe; and the fourth the
Metamorphoſis of Actaeon into a ſtag pulled down'by his own pack
of hounds. The figures are ſcarcely two inches high, and all details
of dreſs, &c., are entered into with the " thoroughneſs " of good German
art of the 16th century. It is probably Nuremberg work of the time
of Charles V.
2158. ® 55.
OX. Walnut wood, inlaid with ivory marquetry. Ger-
man (?). Dated 1566. H. 4 in., L. 12 in., W.
7z1,- in. Bought (Bernal Collection), 15l.
Decorated on the top and ſides with well-arranged bands of ſtrap-
work and figures, diſpoſed about the corners and interſections, of cupids,
&c., all etched with the needle. The figure deſign is a poor imitation
of Italian drawing, and the work would ſeem more properly Spaniſh
or Flemiſh. The centre of the lid is occupied by a large armorial
ſhield, containing amongſt its quarterings Leon, Caſtile, Bavaria?
26 Furniture and oodwork.

Over all a ducal crown and the order of the Golden Fleece. The
way in which three ſimple and two compound ſhields are quartered
is worth notice.
2813.'56.
' OX. Olive wood, inlaid with bone and horn in ſcrolls,
birds and medallions in black engraved outlines; on
the top a figure of a woman reclining, a dog by her ſide, and
in front two lions. German. 16th century. H. 6 in., L. 9
in., W. 63 in. Bought, 4l. A
Bone and horn are uſed in this inlay. The deſigns on the bone are
helped out with etching. The arabeſque and- ſtrapwork is roughly
ſketched in. The lady with a dog on the lid ſtands for Diana.
Monſters, animals, and flowers, figure amongſt the arabeſques. It has
a ſnap lock, which conſiſts of one large bolt preſſed bya V ſpring. The
wards are ingenious. One piece of iron, three ſides of a ſquare in ſhape,
ſerves for the pin to take the pipe of the key, which turns on it and
for two teeth or wards left on the oppoſite ſide of the iron through
which it paſſes. The hinges have been fitted to the box before the
marquetry was laid on, and do not ſhow. There is a ſmall ſide recep-
tacle for jewels or gold in the inſide of the box. 1
4296-'57-
OX. Ebony; barrel-ſhaped, on ſquare plinth, with ſilver
plates in repouſſe or beaten work. German. About
1600. H. 43 in., L. 5 in., W. 4 in. Bought, Iol. los.
A box ſuch as we uſe to hold twine. It is of fine workmanſhip, and
ſtands on elegantly turned volutes, like rams' horns, of braſs, ending in
helmeted maſks. The top, ſides, and ends, are plated with ſilver
decorated with cupids and arabeſque Ornaments.
2574-'56-
OX. Ebony; barrel-ſhaped, on ſquare plinth, overlaid
with plates of perforated metal work. German.
About 1600. H. 42 in., L. 533- in., W. 323- in. Bought, Il. 16s.
A barrel ſimilar to No. 4296.-'57, but the metal work is of pierced
braſs reticulated work, mounted on copper that has been plated with
ſilver, or tin, now worn away.
Boxes and Caſhets. 27

2421.'56.
OX or Caflcet. A jewel caſket, poliſhed wood, mounted
with braſs eſcutcheon corner plates and floriated hinges.
German 17th century. ſiH. 925- in., L. I ft. 3 in., W.
9 in. Bought, 41. 105.
1642.'56.
, OX. Wood, rectangular, covered with filver foil em-
ſſ boſſed with cartouche work and gadroons. German.
17th century. H. 33 in., L. in., W. in. Bought, 61.
The centres of the four ſides project. The ſides as well as the top
are decorated with running mouldings, delicately worked over with
ſtamps and punches, and filvered. All the decorations are effected by
the uſe of bookbinders' tools.
906.'68.
OX. Wood, carved in foliage patterns and ſcroll work;
with lock plate, handle and mounts in iron, copied
from a caiket of the early part of the I 3th century, formerly
in the abbey of Eberſbach. Modern German. H'. 6 in., W.
16?- in., Diam., II in. Bought, 171. IOJ'.
We muſt, from this copy, gather a deſcription of a curious original.
The work is inciſed, leaving ſhort or pointed top lines to moſt of the
Work. It conſiſts of bands, or long panels of volute carving, ending in
coarſe flowers, and ſpringing from a monſter in the manner of the
Romanefque work on the columns of the porch of Chartres Cathedral,
and much ſuch work in Lombardy. The iron work is in the form of
ſo many bars, bent out ſquare like handles, and faſtened down by
rofettes at each end. Theſe extend along each panel of the top, and
ſimilarly along the ſides. The iron work is in round rods, with ſmall
knobs and collars in the middle. The roſette work, and a row of round
ball nail-heads in the middle of the lid (the mounts being in pairs), are
punched ſo as to have a granulated appearance. We conclude that
this repreſents the original work.
2 8 Fnrn-z'tnre and Wood-work.

351. '64.
OX or Coffer. Gilt wood; a Vchaſſe" or reliquary;
with painted panels, ſhowing ſcripture subjects and
half-length figures of ſaints. Italian, Florentine. About 1300.
H. 9z£ in., L. 13 in., W. 6-£- in. Bought, 201.
This is one of numerous reliquaries painted by the leading artiſts of
the 13th, I4th, and ,15th centuries, in Italy, and ſpecially Florence.
Numbers may ſtill be ſeen in the ſacriſty of S. Mark, the work of Fra
Giovanni Angelico-ſome of his fineſt productions. The wood is
cypreſs, choſen on account of its preſervative qualities, and the ſurface
prepared with geſſo, or plaſter and ſize, till a good bed is made for
gilding and painting. This gives luſtre to the gold, which can then be
burniſhed and tooled with bookbinders' implements. In this inſtance
the reliquary is in the form of a ſmall medimval tomb, roofed and formed
into panels on the ſides, and in the four roof gables. Theſe latter are
painted on one ſide with the Viſitation; St. Elizabeth is repreſented in
her bed, and the infant Baptiſt is handed over to the Bleſſed Virgin, who
ſtands at her ſide. This is a variation of the traditional treatment of the
age in which it was executed. We have, however, on the mouldings
of the panel, in red Gothic letters, the names of the perſonages. The
oppoſite ſide repreſents the baptiſm of Chriſt. On the end gables are
ſhields, ſupported by flying angels: or, three fiſhes gules; in chief,
St. Peter's keys, between a mitre and crozier head. This has been
made for the Prior of a convent. On the ſide and end panels are,
under niches which form part of the gilded woodwork, a row of demi-
ſigures of various ſaints. -The apoſtles and evangeliſts, SS. Gregory,
Antony Abbot, Chriſtopher, and others. Theſe have all had their
names written on the edge of the moulding below, in Vermilion, but
in moſt in ſtances they are but partially legible. The painting is of the
ſchool of Giotto. Some of the heads are worthy of the maſter himſelf,
and remind us of his works at Florence.
1 153. '64.
OX, with Cover. Boxwood, with necking and knop of
chaſed ſilver, intended to hold altar breads, required for
the maſs. The body of the box is carved with the events of
Boxes and Caſhets. 29

the Paſſion of Our Lord, in twelve compartments, the cover
with ſcroll' Ornament. Italian, Venetian Second half of
14th century. H. 43 in., diam. 4. in. Bought, 16l.
The ſides are divided into ſmall arches, and a carved angel fills the
ſpandrils above each. The figures forming the groups are ſomething
over half an inch. The lid is bound with gilt metal, which is cuſped
and chaſed. The top is carved with ſcroll Work, and has been furniſhed
with a metal handle, which is now incomplete. It has ſerved for ſome
domeſtic chapel.
154 to 154a. '69.
OX andiCover. Wood, painted on the cover with the
figure of St. Jerome, on the ſides with the early hiſtory
of our Lord. Italian. 15th century. H. 937- in., L. 22 in.,
W. I2zjz. in. Bought, 20l.
This box contains in the panels of its ends, ſides and lid, valuable
ſpecimens of the Florentine painting of the 14th century. It has held
corporals or other cloths required for the maſs. The top has a painting
of S. Jerome, the favourite exemplar of penance ſo conſtantly brought
forward in the earlier Italian art. On the ſides and ends are : 1. The
Annunciation. 2. The Adoration of the Shepherds. 3. The Ado-
ration of the Magi. 4. The Maſſacre of the Innocents. The ſtiffneſs
of attitude and deficiencies of academic knowledge in the figure drawing
are conſiſtent with great intenſity of character expreſſed in the faces, and
grace in the poſe of the figures.
3265. '56. _.
OX. Carved bone and wood marquetry; ſubject, the
hiſtory of Jaſon. Italian. 15th century. H. 10,}-_ in.,
L.15,-}; in.,, W. 8 in. Bought, 38l.
5757-'59-
OX, with Cover. Gilt ſtucco on wood, circular, with
foliated Ornament and medallions, containing ſtags and
ſhields of arms. Italian. Firſt half of 15th century. H. 52
in., diam. 13737 in. Bought, 16s. 8d
This is in ſmall a ſpecimen of the gilt geſſo ornamentation of which
the department has ſo many fine' ſpecimens in the form of Caſſones,
30 Furniture and Wood-work.

marriage and ſacriſty coffers. The decorations are ſcroll foliage, ending
in the flowers of the pink, coloured to nature. There are medallions
on the ſides containing a hart laid up in a field vert (green). The arms,
in medallions on the top, conſiſt of a hart rampant, and in the other
ſhield a croſs iſſuing from a mound or rock. Theſe are the Buon-
delmonte bearings. The branch foliations are ſimple and boldly deſigned,
and helped out with bookbinders' 'tooling. The box is lined With
green ſilk. '
17. '69.
OX, Toilet. Wood, covered with pink ſilk, em-
broidered in coloured filks and gold thread; in front is
an armorial ſhield in its proper tinctures. Italian. Early I7th
century. H. 16 in., W. 16 in. Bought, 41.
This ſtands on gilt-Wood knob feet. It is ſhaped into a coved top,
ending in a ridge by which it is opened. The Whole is covered With
red ſatin, and embroidered with ſcroll-leaves, birds, &c., in gold thread
and colours. In front is a ſhield of two coats impaled; the firſt, or
and ſable 5 a feſs, divided per pale, gules and argentz in chief, an
eagle, diſplayed and crowned, of the ſecond, For Creſt, a crowned
eagle, diſplayed. The ſecond coat bears; per feſs, or and azure; in
chief, an eagle diſplayed, crowned or; in baſe, a compaſs between
three flaming ſtars of the firſt. This has probably held one of the lofty
perruques of the early I7th century. There are receptacles for combs
in the ſides.
18. '69.
OX, Toilet. Wood, covered with green filk, em-
broidered in coloured filks and gold thread; in front is
an armorial ſhield in its proper tinctures. Italian. Early I7th
century. H. 17 in., W. 16L£- in. Bought, 41.
A perruque caſe ſimilar to the laſt, and embroidered With the arms
firſt blazoned in that inſtance.
2568.'56.
OX. Marquetry of coloured wood, bone, and ivory,
black and white chequered panels, 'border of interlaced
bands; ſemicircular cover. Italian, Venetian. ' 16th century.
H. 92 in., L. 17315 in., W. II in. Bought, 81.
Boxes and Caſhets. p 3 I

3586.'56.
OX, ſquare. Marquetry of bone and coloured woods, of
interlaced lozenge pattern. Italian. 16th century.
H. 8 in., L. 15212 in., W. IO in. Bought, 41. Ios.
The lozenges, into which the inlay is cut, are laid in this box to
imitate perſpective. Green bands croſs theſe diagonally. A panel on
the lid is figured with a repreſentation of a revolving cog-Wheel, alſo put
into perſpective. The mouldings forming the' lid panels and round the
baſe, are of bone.
532.'69.
OX. Box Wood, carved in openwork with ivory fillets.
Italian, Venetian. 16th century. 5 in. by GZ in.
Bought, 121.
This little cheſt or box has an arched or cylindrical top, and is of
olive wood, pierced right through with reticulations alternately long and
ſhort, but not over half an inch in the longeſt of theſe dimenſions.
This pattern work leaves the dividing edges of Wood ſharp as a knife.
Without exactly following the cuſpings of our I 5th century tracery, it
has much the ſame general effect. Paper gilt, in patterns, lines the
inſide, ſhowing through the holes. This, if modern, as it probably is,
replaces ſomething very ſimilar, as paper will be found in many of theſe
ſmall boxes of Italian work. The whole is divided by croffing bands
about a quarter of an inch in width, of ivory engraved with lines in
ſimple knots. The ſame kind of work may be ſound on Croſſes, combs,
and other ſmall objects in box or other hard white woods. The ſtyle
of Ornament derives its origin from Greek traditions, and has probably
been worked in the hills of Southern Italy.
217.'66.
OX. Wood, overlaid with bone panels, painted and gilt
with arabeſques, and ſeparated by lacquered pilaſters.
Italian, Venetian About 1500. H. 62 in., L. 5£ in.,
W. 55; in. Bought, 41. los.
This is- divided by little cornices of architectonic character into an
upper and lower ſtage. There are, croffing theſe, little columns con-
tinued by brackets'below. The lid is ſubdivided by ſtraps of ſimilar
work. The upper portion lifts off the lower, and forms a tall ſquare
3 2 Fnrnz'tnre and Wood-work.

box, and is lined with China paper, decorated with marbling in water-
gold or bronze. Small gilt bronze lion-head handles are added. The
work has a ſort of richneſs, but is confuſed from the ſmallneſs of the
pattern, and the variety of colour. Simpler uſage of the gilding, or leſs
elaborate arabeſques, are more effective, unleſs the Work is finiſhed like
an illumination. See also 7901.-'66.
2567.'56.
OX. Marquetry of ivory and coloured woods, in ſquares
and geometrical patterns, with ſemicircular top. Ve-
netian. About 1500. H. 4 in., L. 6 in., W- 4 in. Bought,
41. 165.
8513.'63.
OX. Marquetry of ivory and coloured woods inlaid in
interlacing bands encloſing geometrical deſigns, bor-
dered with ebony and ivory, the interior fitted with ſimilar
work. Venetian. About 1520. H. in., L. 19312- in., W.
12 in. Bought, 301.
This muſt be conſidered as an Indian deſign or imitation from Indian
work. It ſhows us the ſource from which the minute geometrical
inlay and other Indian deſigns found their way into Italy, after the
Spaniſh diſcoverers had ſhown the way to the New World and round
the Cape to India. The decoration conſiſts of bands of minute inlay,
in combinations of diamond-ſhaped pieces, triangles, ſquares, &e.
Internally there are, on one of the long ſides, ſmall drawers and com-
partments, covered by a ſlap lid, ſimilarly ornamented. The top is
panelled inſide with a band of delicate moſaic of this kind, depreſſed
between fine running mouldings. A ſmall looking-glaſs occupies the
centre. Round the glaſs are eight medallions, of moſaic work, while
between this and the bands that form the top into a panel, is red velvet.
5701.'59.
OX. Carved wood, with ſcroll work in low relief, partly
gilt. Italian, Venetian. About 1530. H. 82 in. ,
L. 1825- in., W. 12 in. Bought (Soulages Collection), 151.
Boxes and Caſhets. 3 3

5702.'59.
BOX. Carved wood, with ſcutcheons bearing maſks and
ſtrapwork, partly gilt. Italian, Venetian. About
1550. H. 10 in., L. 173 in., W. 13-2L in. Bought (Sou-
lages Coll.), 12l.
The ſcroll-work on the top ſurrounds a circular panel containing a
recumbent figure girt with a zone, and wearing buſkins-perhaps Diana.
On the angles have been four crouching, winged female groteſques.
Two of theſe are Wanting. The whole ſtands on claw feet. The
mouldings are bold, and of architectonic character, like ſo many cheſts
and boxes made to accord with the room panelling and woodwork of
the renaiſſance period. All the moulding cutwork is boldly executed
with gouge and chiſel, cut clearly, and without much expenditure of
time ; but the figures and maſks are by a different hand, and have been
modelled with the care and knowledge of an inſtructed artiſt. The
inſide contains ſmall compartments with fiap tops for the uſes of the
toilet, and the lid has had a looking-glaſs. The border is decorated
with bold leaf ſcroll Ornament in relief.
2625.*56.
OX. Carved walnut wood, ſupported on figures of
crouching lions. Italian. About 15 50. H. 1 ft. 4 in.,
L. 2 ft. 8 in., W. 1 ft.' 3 in. Bought, 10l.
With a projecting baſe cut into gadroons or fiutings and ribs alter-
nately. The lid ſhuts on a bold cornice moulding, and riſes above into
a central raiſed panel. A broad band of rolling foliage occupies the
centre of the front. Like other ſpecimens (Nos. 6000. '59 and
6003. *59), this has an architectural and monumental look, and being
ſmall, has been intended to fill an arch or receſs about the level of the
eye.
7393.'60.
OX. Walnut wood. Carved with ſtrap and guilloche
Ornament. Italian, Florentine. 16th century. H.10in.,
L. I ft. 52; in., W. 12 in. Bought, 4l.
This caſket ſtands on a broad gadroon ornamented plinth or pedeſtal,
F. C 4.-
34. Furniture and Woodwork.

and the top riſes into a panel upheld by ſloped mouldings. A certain
kind of monumental or architectonic dignity is given by theſe lines of
Compoſition to a caſket not otherwiſe ſtriking in appearance.
7932.'61.
OX. Wood, with gilt mouldings. Italian 16th
_ century. H. 4 in., L. 6 in., W. 43; in. Bought Il.
7392.'60.
OX. Carved and poliſhed Indian walnut wood. Italian,
Florentine I7th century. H. IO in., L. I ft. 5 in.,
W. I ft. I in. Bought, 41.
This is an inſtance of the uſe of wavy mouldings and lines of con-
tour, which, if this piece is to be acknowledged of Italian origin,
We find commonly in German Woodwork of this period. The wavy
form is not only given to the mouldings, with which the top, bottom,
and lid panel are edged, but the upright ſides are _ alſo delicately waved.
They are not bent by heat, but ſhaped, as may be ſeen by the grain
of the wood. So alſo the little reeded mouldings are laborioufly cut
out, and not by the mechanical action of a hopper, as in machinery
work. In this caſe the cutting-mould cuts out the lines with an
uneven but regulated action, ſo as to make all the waves exactly
equal in meaſure. The flight inequalities in handwork of this deſcrip-
tion not only ſecure to the eye the impreflion of the difficulty and
Conſequent value of the labour beſtowed on theſe delicate lines, but the
uneven _variations of curve, 'when not ſuch as to deſtroy the general
order and regularity neceſſary for moulded lines, are more agreeable and
more accordant with the action of natural growths.
7901.'61-
OX. Black and gold lacquer, with ſunk panels of
mother-of-pearl, painted with ſcroll work ; on the cover
a ſhield of arms. Italian. I7th century. H. 9 in., L. 17 in.,
W. 12 in. Bought, IoZ. 185. 9d.
A ſpecimen of lacquer, and pearl, bone, &c., as it was uſed in
Italy in the I7th century. The idea has probably been inſpired by
Boxes and Caſhets. 3 5


ſome of the Chineſe warethat began in the courſe of the I6th cen-
tury to find its Way into Italy. The panels on the ſides are diamond-
ſhaped. Theſe are divided from each other by half columns, with
architectural vaſes, caps, &c. The caſket is in two horizontal diviſions,
formed by tiny cornice mouldings, well made out. The columns of the
upper diviſion are continued by brackets in this lower portion. The
panels are formed by laying thickneſſes of lacquer-work over the plaque
or ilice of ſhell concealing the jointsr The whole is worked over
with arabeſque ſcroll work, gilt and lacquered. The bottom contains
a drawer. The lid, which riſes into a raiſed central panel with canted
ſides, When opened has a glaſs, with gilt frame inſide. Outſide the top
is a moulded bronze handle, gilt. The little architectonic mouldings,
cornices, &c., are all kept ſharp and clear, and between the inlaid ſhell,
the delicate arabeſque work, and the general Compoſition, it forms an
effective piece. It would be inſtructive to compare it with our modern
Birmingham lac work in which the ſhell is glued on the wood, and the
lac laid on, rubbed down, and laid on afreſh in ſucceflive coats till this
material has become even with that of the flices of ſhell. Then the
whole is rubbed to a ſurface, gilt and decorated, and poliſhed over by
careful hand labour. Of this Italian work another ſpecimen may be
ſtudied in No. 217. '66.
5 784- '59-
OX. Roſewood. In the form of a farcophagus, with
mounts in gilt bronze. Italian, Florentine. About
1600. H. 1: ft. 5 in., L. 1 ft. 2 in., W. IO in. Bought, 51.
A piece of very compoſite form. The baſe is a flat plinth on gilt
feet. On this riſes a long tunnel-ſhaped pedeſtal, hollow underneath.
On'this ſtands a ſarcophagus, the baſe being cylindrical on its under ſide.
This little ſarcophagus riſes on this baſe that ſupports a female figure of
c Vanity,' leaning on one arm, and holding a looking-glaſs. Theſe ſeveral
component parts open in the form of drawers in various ingenious ways,
by little gilt maſks. Beſides theſe openings the whole of the principal
portion opens on a hinge, and ſhows a central box, in the lid of which
has been ſet a miniature on ivory of the Titian Venus. It has ſerved as
ajewel caſket or receptacle for ſeals or keys. The miniature is per-
fectly freſh, and has, perhaps, been an addition.
CZ
36 Fnrnz'tnre and Woodwork.

575-'64-
OX. With arched top, marquetry of wood, bone and
ivory; engraved ivory plates in front; the lock plate
and handles of gilt iron. South Italian. 17th century. H.
1 ft. 9 in., L. 2 ft. 3z£z in. Bought, 141.
Theſe plates contain, on the right, the ſtory of Perſeus and Andro-
meda, on the left the metamorphoſis of Daphne.
2422.'56.
OX. Marquetry of ivory and tortoiſeſhell, inlaid in
floriated ſcrolls, bound with braſs at the angles, lined
with ſtained ivory in imitation of ſhell. Italian. 17th cen-
tury. H. 772 in., L. 17% in., W. 12 in. Bought, 41. 165.
The foliations are evenly diſtributed. Lines that form the work into
panels or diviſions ſerve to add;" breadth and deſign to what would be
mere fretting without ſome'ſuch addition. The top is formed into
an oval, by bands, as on the ſides, with ſhaped panels occupying the
angles.
7414.'60.
OX. Wood, octagonal form with raiſed cover; ſet with
panels of glaſs painted with arabeſque deſigns on gold
ground, the interior of the cover painted with flowers in gold
and colours. Italian. Early 18th century. H. 93 in., L.
17-Y- in., W. 13 in. Bought, 21. 85.
The interior is fitted as a workbox. This is a ſpecimen of painting
on glaſs, or rather of opaque painting transferred to glaſr. This kind of
decoration is attracting attention from its having fallen into deſuetude,
and the ſpecimens we poſſeſs aſſume an intereſt from the ſplendid reſults
that ſome of the finer paintings in this manner have attained. A very
rare and elaborate painting on glaſs is at the preſent under exhibition in
the Loan Collection at South Kenſington. This is a pax with relics,
or receptacles that have formerly held them. It is of the cinque-cento
period, ſet in fine Italian goldſmith's work. In that inſtance the paint-
ing, which repreſents the Nativity, is executed on the glaſs itſelf with
tranſparent colours, which appear to have undergone heat, and to be in
Boxes and Caſhets. 3 7

ſome Way enamelled on. An Annunciation occupies two tiny round
panels in the baſe, and theſe have both tranſlucent colours and gold
hatching. The figures are ſcarcely an inch high, and are finiſhed with
the utmoſt delicacy, and by an accompliſhed artiſt. The extraordinary
ſharpneſs and excellence of the arabeſque goldſmith's work, in which
theſe paintings are ſet, part of it of ſolid gold, combine to heighten the
value we ſhould put on this particular example.1 Another painting on
glaſs of the Venetian ſchool hangs in the Muſeum (No. 653. '70). In
that inſtance the painting is in opaque colours, laid on with varniſh,
and transferred to the back of the piece of glaſs, behind which it is
protected by varniſhes. This workbox, then, is a ſpecimen of this
latter deſcription of work, inartiſtic, but intereſting as a ſpecimen of the
work applied to the decoration of objects of daily uſe, and with certain
peculiarities.2
In the Garde Meuble, or State Repoſitory, for furniture in Paris, there
is (or was till 1868) a ſpecimen of this decoration applied to a cabinet
made to hold the jewels of Queen Marie Antoinette. The cabinet,
or preſs, ſtands on legs. The two ſide compartments are faced with
panels of glaſs, painted on the back with arabeſques and Cupids, the
figures executed by miniature painters of the day. The inſide opens by
mechanical action, ſo as to furniſh ſecret receptacles. In the ſack of
the Tuileries, in '93, this jewel preſs became (as was natural) an object
of very ſpecial Curioſity to the perſons employed in the pillage, who,
being unable to get at the ſecret of its opening, forced it in by vio-
lence from the back. It was for ſome time the property of one of the
unfortunate queen's ladies-in-waiting. Four years ago it had been
ordered for repair, but the method of decoration had paſſed out of uſe,
and, for the time, no workman could be found to repair it. What has
become of this piece of furniture we are unable to ſay. The transfer of
pictures to glaſs was practiſed in England in the time of Anne and the
early Georges. Such pictures were commonly of Apollo and the Muſes,
or other conventional, claſiic, or national compoſitions. They are of no
artiſtic merit, but curious, imparting a ſingular depth and richneſs to the
colours employed ; the outer glazed ſurface acting as a varniſh, as well
as a protection from atmoſphere and duſt.
There is a certain difference in the decoration of this workbox from
ordinary work of the kind. The glaſs being firſt gilt, then ſcratched off
for ſuch deſigns as are required-birds, &c. Theſe are tinted, and foil
placed behind them as well. According to the diſtance of the foil, or

1 The property of Count d'Aglie, of Turin.
We may direct the reader's attention to a fine old example in the remains of an
altar frontal in the ſouth aiſle of the choir of Weſtminſter Abbey.
3 8 Furniture and Wood-work.

certain crumples imparted to it, the colour is varied in depth and bril-
liancy. We ſee the ſame kind of gaudy reſource applied to ſome of the
advertiſements hung up in our railway-ſtations and refreſhment-rooms.
Of courſe, this is a ſtill further departure from the ſkill or fancy of the
artiſt than ordinary transfers to glaſs.
Potz'clzamanz'e is the transfer, by the cutting out, of deſigns drawn
or printed on paper. Theſe deſigns are made to adhere, paper and all,
to the inſide of cups and vaſes of glaſs. A thick coat of white or tinted
white oil paint is then laid over the whole inſide. This covers all the
parts of the vaſe not occupied by the deſigns, and forms what looks like
opaque white china, the glaſs only acting as glaze. _
Dzfchalcamam'e is practiſed by varniſhing the glaſs or porcelain, applying
printed deſigns, and waſhing off the paper. In this caſe the deſign is
actually transferred, the colour adhering to the varniſh, while the paper
comes away.
Fireſcreens of white wood, highly poliſhed, to which engravings
were transferred, the whole being then varniſhed, were much in uſe
thirty years ſince. This Work formed one of the amuſements of ladies,
though theſe modern ſhowy varieties of a ſimilar accompliſhment ſeem
to have taken the place of a ſimple and natural application of varniſh
work.
r>8. '52.
a
OX, or Jewel Caſket. Carved cedar. Italian, Venetian.
About 1750. H. 43 in., L. 12713 in., W. 9F13- in.
Bought, 11. los.
The carving is in low relief, without the ſharpneſs and ſpirit of the
earlier work in that century. It is to be noted that the cedar wood has
not been ſufficiently aromatic, or has not preſerved its aroma long enough,
to keep the Worm out of the wood.
785.'65.
OX. Teak Wood, carved with foliated Ornament in low
relief; in the centre of the lid is a ſpread eagle, clamps,
lock plates, &c., of iron. Portugueſe; probably manufactured
at Goa, India. Early 16th century. H. 55; in., L. 15 in.
W. 12 in. Bought, IZ. los.
Specimens of Indian carved work made for European orders have
been imported from time to time. This box is covered with foliated
ſcroll. work in large but delicate volutes, and the leaves, where they occur,
Bones and Caſhets. 39

are fringed with ſeven rounded notches. This will be generally recogniſed
in contemporary Work. The centre of the top is occupied by a medal-
lion holding the German eagle, or its equivalent, in admirable ſcrolls.
Indeed no actual deſign of an eagle exiſts, but the uſual wings, necks,
the nervous ſeparate feathers, &c., are all given by bold ornamental
blades. The hinges and ironwork are plain, but nailed to the top with
large iron roſette faſtenings an inch and a half in diameter. The
quantity of ſcroll work is artiſtically ſufficient and well diſpoſed.
12. '66.
OX. Oblong, with ſloped lid. Boxwood, with braſs
mounting. The panels carved with foliage and cir-
cular ornament. Spaniſh. rath century. H. 2711; in., L. 4313- in.,
W. 23 in. Bought, IZ.
This ſmall caſket is cut out of two ſolid blocks of boxwood. The
top and ſides are formed into decorative panels, and bordered by lines and
circles. The panels are filled with conventional foliage, rolled over.
All this work has at one time been ſitted with ſome wax or maſtic com-
poſition. Mounts of braſs bind the box, round on one ſide and flat on
the other. Theſe are old, but not the original faſtenings, and have been
laid over the Ornament. A ſmall haſp paſſes over one of three little
loops, and has been made faſt by a ſmall bar padlock. A handle of
twiſted braſs is provided to lift the Whole.
5907-'59-
OX, or Caſket. Carved wood, with open tracery work,
grounded or filled in with coloured foils; hinges and
lock of gilt metal.. Spaniſh I6th century. H. 212- in.,
L. 5-_},; in., W. 33- in. Bought, 61.
This and the following are two curious ſpecimens of the light orna-
mentation that has its origin in the religious houſes. Other kinds of
ingenious and delicate work in ſilver, thread, ſtraw plaits, &c., may be
ſeen in various ſmall objects, ſuch as ſacred pictures, relic caſes, &c.
The tracery that covers the ſides of the box with delicate Work carved
in relief, is really cut out with a penknife, or even fciſſors (ſo thin is
the ſlice of wood of which the patterns are cut), and glued on. Foil is
laid on firſt, ſo that the tracery ſhows as if left in relief, with the foil
laid in the hollows. The tracery is in reality glued over the foil. It is
probably the work of Spaniſh nuns.
40 Fnrnz'tnre and Woodwork.

1206.'64.
OX, or Caſket. Wood, covered with 'appliqud floriated
tracery over paper, originally heightened with colours
and gilding. Spaniſh Second half of 16th century. H.
3 in., L. 8 in., W. 5 in. Bought, 31. 45.
Like No. 5007. '59, this box or caſket is decorated with tracery
work laid over foils. It is thinner and more fretted than the other.
It is too ſpider-like in its complication, and looks poor and weak com-
pared with the other. But theſe methods of ornamentation for ſmall
objects are readily put into practice, and deſerve attention for the ſim-
plicity of the means in uſe to attain effects apparently the very reverſe of
ſimple or unimportant.
2784.*56.
OX. Marquetry of various coloured woods, cartouches,
flowers, and fruit. Spaniſh. 7th century. H.
1 1-12- in., L. 14 in., W. 1 IZ. Bought, 71. 45.
The front lets down as a fiap. The lock plate is of iron, delicately
chaſed, and ſcroll work is laid over it, rivetted on as a ſeparate thickneſs.
This metal work is tinned, and preſents a ſurface ſimilar to our modern
galvaniſed work, though it has been obtained by dipping into the molten
metal.
2785.'56.
OX. Marquetry of ſtained woods on ſatin wood panels,
inlaid with birds and plants. Spaniſh. 17th century.
H. 16 in., L. 17-12- in., W. 11-25 in. Bought, 81.
RACKETS. For convenience, brackets, columns, room
panels, and other members of inferior architecture of houſes
and rooms, are collected under V WooDwoRK," which ſee.
B UFFETS. See SIDEBOARD.
Caflz'nets. 4. I

655. '69. t
a ABINET. Ebony, carved and inlaid with coloured
tortoiſe-ſhell and metal. Modern Daniſh. H.
5 ft. 2 in., W. 4. ft. I? in. (Paris Exhibition,
1867.) Bought, 801.


656. '69.
ABlNET. Walnut Wood, with marquetry panels, ebony
fillets, and coloured tortoiſe-ſhell. Modern Daniſh.
H. 5 ſt. 7 in., W. 3 ſt. 8 in. (Paris Exhibition, 1867.)
Bought, 541.
This work, a repetition or duplicate of ſimilar furniture made for
the Royal Palace at Frederickſborg, has been manuſactured under the
direction of a ſociety oſ private gentlemen organiſed for the encourage-
ment of art workmen. It is inlaid with bold marquetry work ſimilar to
that which is to be ſeen in the old Spaniſh Work, and in No. 27. '69,
of various woods ſtained to produce ſtill greater variety. It was ex-
hibited with other furniture of the ſame kind in the laſt Paris Exhibition
in 1867.
7666.'61.
ABINET. Oak, inlaid with geometrical marquetry oſ
various tinted woods. The upper part ſtands back;
two twiſted ebony pillars ſupport a cornice. Dutch (?).
18th century. H. 5 ft. 5 in., L. 3 ft. llg in., W. I ft. Iog in.
Bought, 151. 155.
The upper part forms a ſort of receſs or covered ſhelſ, on which to
exhibit china or other objects, protected by the columns in front and by
the top which they ſupport, from the duſt.
42 Furniture and Wobcffiwork.

27. '69._
ABINET. Wood. Principally pear-tree, inlaid' with
marquetry of other coloured woods, ſupported by four
columns upon a baſe, on which may be ſeen the Tudor roſe
and portcullis. 'The cabinet is carved on the ends and ex-
terior of the folding doors with battle-pieces in high relief,
and on the internal drawer fronts with moral and allegoric
ſubjects. Engliſh. 16th century. H. 4 ft. 7 in., W. 3 ft.
in., D. 9. ft. Bought, 5001.
This remarkable piece of furniture is of the fineſt Tudor period, and is
perhaps of mixed German and Engliſh workmanſhip. The carvings bear
ſome reſemblance to Holbein's ſtyle, and the deſign has been attributed to
that artiſt. The cabinet is ſupported on a ſtand, or framework of pillars
and arches between 3 one at each end and a double arch on the ſides.
The double arches have no central pillars, the centre ſpandrils ending in
hanging brackets. Architectural piers within the columns turn over to
form the arches. This arrangement has much of the character of the
renaiſſance adaptations of the Roman triumphal arch. The flat ſpan-
drils, and the ſurface of a flat baſe on which the whole ſtands, are inlaid
with coloured woods in coarſe arabeſque deſigns, German in character,
of no ſpecial intereſt, except that we obſerve round the border of the
baſe-the portion correſponding to the width of the columnar baſes
-the Tudor badges of the roſe alternately with the portcullis. On
the arches is an entablature decorated with marquetry and broken by
Tudor brackets, above which riſes, on baſes and ſurbaſes, an upper
ſyſtem of ſmall fluted Corinthian columns, double at the extremities
of the front and back, with ſmall empty arched niches between. The
top is thus divided into one and two arches, on the broad and narrow
ſides reſpectively. Theſe arches are decorated with marquetry in
deſign ſimilar to thoſe of the work below. A bold cornice and en-
tablature above the columns is ſimilarly inlaid. This opens as a lid,
and ſhows five ſmall drawers. The front arched panels, with the
ſhafts of the columns attached to them, open alſo, and diſcloſe drawers
and pigeon-hole doors. with fronts elaborately carved in boxwood.
The ſubjects on the door panels outſide, and on the end panels, are
cavalry. combats, the warriors being Roman knights in claflic armour,
cutting and ſlaſhing, and deſigned with ſpirit and excellent knowledge
Engliſh Cabinets. i 43

of drawing and form. On the ſhields we diſtinguiſh the Auſtrian eagle,
and on the flags the croſs and ſtripes of Savoy and Saxony.
The two back panels are occupied by wood inlay on the flat. The
ſubjects are two female figures: one holding a mirror and a ſnake, and
repreſenting Prudence 3 the other pouring money or grapes into a vaſe,
and repreſenting Temperance.
The doors and cornice lid are lined with marquetry. The five
upper drawers of the cornice portion have walnut fronts, with carvings
in boxwood upon them. Two of theſe drawers are wider than the
others; the intervening three form ſquare compoſitions of carved work.
Beginning with the drawer at the right hand of this cornice row, we
have the following ſubjects carved. I. Virtue; a female figure ſitting
on a bank with books at hand. A phoenix in the background, as an
emblem of her immortality. On the border or moulding of the panel
is painted in white the legend T PHCENICI SIMILIS VIVIT POST FVNERA
VIRTUs"-Like the Phoenix, Virtue ſurvives the tomb. 2. A king
ſitting on his throne, which is covered with tiny arabeſques in relief,
elaborated with perfect correctneſs of deſign, and ſurrounded by his
council of ſages and ancients, with the words aCoNsILIVM NE SPERNE
SENIS MONITVSZ BEATOS "-Deſpiſe not the old man's counſel and his
bleſſed Warnings. 3. Time with his hourglaſs is drawing Truth, a nude
female figure, purſued with malignant ſcourges by Falſehood, alſo a
female figure, out of a well, with the words a INcLV(.P)sAM TENEBRIS
TEMPVS ME EDVCIT IN AVRAS "-Time draws me from my dark
durance into open air. 4.. Fame, a woman, full dreſſed in court coſ-
turne and braided hair, is blowing a trumpet with human head or mouth
to it, from which a blaſt is nz'ſibly iſſuing. On a rock in the back-
ground a ſage and a ſtateſman, or prince, are pointing to her. Below
are ſeen an army headed by cavaliers on horſeback, with pikemen
following. Theſe laſt are ſcarcely half an inch in height but call, as the
others, in perfect drawing, with the words " VOCE ocvLIs ALIS TOTI
svM COGNITA MVNDO "-By voice, by eyes, by wings, to all the world
I'm known. 5. Force, or Fortitude, a female figure, gracefully and
powerfully deſigned on this ſmall ſcale, ſeated on a lion, is riding towards
the ſun in his ſplendour. She is armed with the thunder of Jove, and
the .club of Hercules, with the words a CVNCTA DoMo VICTRIX ANIMI
VIRTVTE v1R1L13"-I tame all things Victorious by the power of a
maſculine ſpirit.
The doors of the main portion open with the columns cut off at
their baſes. The interior forms a fort of architectural fagade, the
drawers or pigeon-hole doors forming rows of panels. Theſe are divided
Perpendicularly by terminal figures and baſes into four ſets or diviſions.
44 ' Fnrnz'tnre and oodwork.

The buſts of theſe figures, in boxwood, are in complete relief, and are
ſpecimens of the beſt cinque-cento art. The upper ſeries of panels are
the fronts of four ſhallow drawers, and are carved in relief with delicacy.
The firſt panel repreſents a female figure, partly draped, with broken
chains in her hand. Priſoners are ſeen chained, captives yoked to cars
and being ſcourged by their maſters in the background, with the legend
V LIBER ES INDIGNAS FAC NE MEREARE CATENAS "-Th0u art free,
ſo act that thou never deſerve diſgraceful bonds. 2. A king on his
throne; terminal figures of ſatyrs, an inch high, form ſupports of a
' canopy above it. All theſe parts are finiſhed like the fineſt ivorv work.
The ſupports of his ſeat are ſphinxes, one of which is ſhown; and the
king's figure is draped in robes. Three courtiers ſtand in front of him,
While a kneeling ſage or ſcholar preſents a book to the king. The
legend is V NIL MIHI FIT GRATIS LARGE REX CVNCTA REPENDOſi-
Nothing done for me goes without its reward. I am a king and repay
all things with bounty. This may have been ſome alluſion to King
Henry VIII., and to the controverſies which took their date from
events in his reign. 3. A woman dreſſed in the gown and hood of the
Tudoſir Court, ſitting on a bed carefully deſigned, is ſewing or mending
a dreſs, with a work-baſket beſide her. A broken ſtatue or torſo (ſtatue
without heads or legs), lies before her, and there is a landſcape back-
ground. The legend is V FACOLIT HVMANOS DIVINA INDVSTRIA
sENsVs "---Divine Induſtry inflames the human perceptions. 4. Sen-
ſuality. Two lovers, with drapery and terminal figures of ſatyrs to
ſupport it, with the legend V DECIPIT HZEC MVLTOS PRETEXTV PACIS
AMICZE "-She deceives many under the guiſe of peace and friendſhip.
The row of panels below theſe four begins with a pigeon-hole door,
which forms a double arch-ſhaped panel. A woman is offering a dove
to the ſun or Apollo. In her right hand is a ſcorpion ; and a fox below
on the ground. This is V ADVLACIO "-Deceitful flattery. Below the
pigeon-hole door is a ſhallow drawer to complete the architectural ar-
rangement. On the front a cavalier is falling headlong into a pitfall, the
boards over it giving way in Confuſion, with the legend V MVLTVM
(EsT?) INFCELIX cv1 SORS ADVERSA MINATVR "-Very wretched he
whom Fate threatens with adverſity. Correſponding, on the other ſide
of the central pigeon-hole doors, the panel carvings repreſent Diſcord,
a draped queenly figure, deſigned with great grace and knowledge. She
holds bellows, with which ſhe fans the flame of diſcord which iſſues, ac-
cordingly, from the ſpout; a cat, on one ſide of her, with arched back, is
quarrelling, and two dogs are fighting on the other, and a ſnake is under
her feet, to ſhow that diſcord develops every kind of evil paflion. The
legend to this Compoſition is V vNDIQ/B FLAIVIANTES DISCORDIA svsc1-
a affirm .

Engliſh Cabinets. 4. 5

TAT IGNES "_Diſcord can fan flaming fires from every ſource. On
the ſmall drawer front below this (correſponding to the drawer on
the right ſide) is a huſbandman ſhaking apples from a tree, and his
wife and child holding their hands to catch them. The action of
the man kicking the tree and of the woman and child below, ſhow
the vigour of the deſigner and the acute and humorous Obſervation
of daily life ſo characteriſtic of the German I6th century ſchools,
while the perfection of the drawing is ſuggeſtive of Diirer, and the
miniature carvers who followed him, or Holbein. The legend, or
inſcription, is gone. The panels of the central doors, having the
largeſt of the ſubdiviſions of the interior, contain: A female figure,
Virtue or Fortitude, holding a ſcourge, and S. Michel the Archangel
ſcourging an armed ſigure-Lucifer or War. Trophies of claffic armour
and implements of war complete this Compoſition. It has no legend
to it. Above theſe doors there are alſo two drawers. On the fronts
of theſe are carved : I. A ſage jmeaſuring a globe with compaſſes.
Love is rolling a globe behind, and a hour-glaſs and ſcull indicate
that this figure is Time. There is an architectural Compoſition
forming a ſort of open colonnade or hall, and trees are ſeen behind.
The words are T TEMPUS EGO IMMENSVM PA'T'NS DIMETIOR ORBIS 'L-
I am Time, and meaſure out in patience the compaſs of the world.
The ſecond drawer panel has a female figure, repreſenting Chance or
F ate. She holds a mitre in one hand, and a rope in the other. A man
before her ſits chained to a couch, while, in the background, a great man
is being carried in a horſe-litter with attendants. The words are a SORS
POTIS EST SVBITO MVTARE IN VINCLA coRoNAM"-Chance all too
ſoon can change a crown for chains. The crown, being in this caſe a
mitre, ſeems, like the book offered to the king in another panel, to bear
reference to the religious changes and political proceedings of Henry VIII.
Altogether this piece, though not in general deſign ſo elegant or im-
poſing as the Italian tomb-ſhaped Coffers or cheſts-or even as ſome of
the Flemiſh and Dutch cabinets in oak or ebony, to which ſize and
much excellent ſculpture in the round and in relief give ſo great a dignity
-is the moſt remarkable in the Muſeum, when conſidered with refer-
ence to the ſculptures within it.
Its height is only four feet ſeven inches, and the width three feet one
inch. It has belonged, therefore, to ſome boudoir or ſtudy, a ſmall room
in which all the objects of furniture and decoration come immediately
under the eye. But the deſign and the execution of the ſculptures we
have deſcribed in detail, are, and could be, the work only of one of
the moſt inſtructed artiſts and maſters of his day. Theſe tiny figures,
ſome of them in groups, and half an inch only in height, are in perfect
46 Furm'zure and Wood-work.

drawing. The background groups of horſemen marching, and that of
the horſe-litter, the dignified and graceful Women, nude and draped, that
repreſent Virtue and Vice, are not to be ſurpaſſed by any Work of that
day, unleſs it be the minute carvings of Albert Diirer or his ſchool of
wood-Workers. They contain evidently much German, or Holbein's
Swiſs work. The Tudor devices below, on the baſe of the ſtand, and
the Tudor dreſſes of ſome of the figures, and the apparent applicability
of ſeveral of the compoſitions to the hiſtory of the reign of King
Henry VIII., would lead us to conſider this as a piece of Work executed
for the court of that king after the defigns of Holbein, or by a pupil;
perhaps afliſted by the foreign artiſts who were then conſiderably
employed in this country. Different hands, are to be recogniſed in
the work.
4238.,56.
ABINET, or Cupboard. Carved oak; decorations of the
Engliſh late Elizabethan or Jacobean ſtyle. About
1620. H. 3 ft. 6 in., L. 4 ft. I in., W. I ft. 8 in. Bought,
181.
The two doors are lifted on a plinth above the floor. They are
panelled with arched tops, which ſtand out in relief. Terminal figures
on the ſides and centre form three dividing upright members. The
flat portions of the woodwork are relieved by lines in inlaid Wood, dark
and light. The piece is ornamented, beſides, ctswith bold ſcutcheon-
work in relief and narrow panels projecting in the form of ridges like
the ſurfaces of a priſm. Drop knobs hang from the angles of the pro-
jecting top. The Whole is in the ſtyle of the woodwork yet remaining
in Holland Houſe, Blickling Hall, Norfolk, and in the halls of Wadham
and other of the colleges of the 17th century in our Univerſities. It is
of Engliſh manufacture.
4619.'58.
ABINET. Walnut wood, inlaid With ſcroll work mar-
quetry in holly. Engliſh. Period of Queen Anne.
H. 2 ft. 6 in., L. 3 ft., W. 18 in. Bought, IoZ.
Cabinets, tables, clock-caſes, eſpecially for the tall pendulum ſtanding
clocks of the day, will be found not uncommonly decorated With this
particular deſign of inlay-a kind of ſeaweed ſcroll pattern, White holly
Engliſh Caflimts. 47

on walnut, and vice verſd, as in this inſtance. In the beſt ſpecimens,
as in this, the decoration is maſſed in oval or other ſhaped forms,
giving a large piece of pattern on a ſufficiency of the plain wood that
forms the general baſe of the furniture decorated. It is a teſt of good
deſign When the general rule is followed of adapting large patterns to
large ſurfaces. The actual detail of the Ornament remains ſmall and
inſignificant, but breadth, ſize, and effect, is given to it by the way it
is maſſed into any deſired form or ſpace. The minute Indian Work,
and all Oriental compofitions of ſmall Ornament, will be ſeen to illuſ-
trate this principle.
636.'70.
ABINET. Satin Wood, with roſewood inlay, the front
rounded, containing three drawers and two cup-
boards, painted with groups of flowers and feſtoons; on the
top a landſcape within a lunette, and a border of peacock's
feathers. Engliſh. Late 18th century. Bought, 2001.
The convex centre forms a projecting ſet of drawers, and two con-
cave ſides open as cupboards. It is for dreſſing-room uſe. The
borders are in roſewood, and the painting is partly en camai'eu, cameo
faſhion, white on a grey ground, partly painted after nature. This
kind of Work, beautifully executed, came into faſhion in the third
quarter of the laſt century, in the days of the brothers Adam, Who built
the Adelphi Buildings, Strand, and one of Whom built Portland Place.
Cipriani and Angelica Kauffmann both painted ſuch furniture.
25. '52.
ABINET, or " ARMOIRE." Carved oak, With braſs
panels and mountings. In the ſtyle of the I 5th cen-
tury. Engliſh, modern. C. Crace, from the deſigns of
Pugin.)_ H. 8 ft., L. 10 ft. 6 in., W. 2 ft. 2 in. Bought
(Exhibition of 18 51), I 541.
As this is one of the moſt important and one of the earlieſt production
of our modern ſchool of medixval furniture, we may give a few lines to
a deſcription of it. It is the work of Mr. C. Crace, from the deſigns
of the late A. W. Pugin, the firſt and the moſt ſucceſsful of the revived
ſchool of mediaeval deſigners in this country, indeed in Europe. To
48 Furniture and Wood-work.

Wyatt and his ſchool-ſo weak, fanciful, and unreal in their appreciation
of our mediaeval monuments-we can ſcarcely give any place beſide
Pugin, whoſe work, notwithſtanding defects, weakneſſes, and want of
knowledge of ſculpture in its higher character, has proved of enduring
intereſt, and has largely affected the medizval ſchool ever ſince.
This cabinet, cupboard, or book-caſe, as it is ſometimes called, is a
ſimple well-conſtructed piece. Four uprights on the front, with upper
and lower horizontal members, form the framework. Two narrow ſide
diviſions are ſolid, and panelled with two panels each; the upper ſunk
with delicate geometric tracery, and the lower filled with foliage carving,
two intertwining ribands or ſcrolls for letters forming the ſalient feature
in the arrangements of the carving. The uprights have their ſides
carved with conventional ſcalework with narrow ribs, repreſenting the
original outer ſurface of the wood left down their fronts; and the
upper horizontal rail is a row of rolled leaves. At the top is a
creſting of pierced and carved leafwork of the lighteſt character con-
ſiſtent with good conſtruction and required ſtrength. The large central
doors are intended for glazing, and are protected by delicate braſs work
in wide diamond reticulations, cuſped. The whole ſtands on feet, the
angles ſilled with a low cuſped arch to each pair. Mr. R. Redgrave, in
his ſpecial report on a Deſign " of the Exhibition of 18 51, makes excep-
tion of this (with ſome other pieces) from his general reflections on the
want of propriety, conſtructive, artiſtic, and ſerviceable, which he notices
ſo widely in our Engliſh manufactures of furniture, and ſpecially furni-
ture of an ornamental kind. It has been removed to the Departmental
Muſeum at Edinburgh.
7248.'60.
ABINET and Stand. Ebony, with mounts in gilt metal.
In the centre of the cabinet is inſerted a porcelain copy
of Mulready's " Crofiing the Brook." The band at the top
is decorated with plaques of Wedgwood ware. Modern
Engliſh. Made for the Paris Exhibition of 18 5 5, from the
deſign of Profeſſor Semper. The porcelain plaque painted
by George Gray. H. 6 ft. in., L. 2 ft. Io in., W. 21 in.
Bought, 2001.
The deſign is properly a furniture deſign, not an adaptation from
architecture. The panel painted in enamel, which forms its main feature,
occupies the greater part of the door front. There is room round this
Engliſh Cabinets. * 49

for eight narrow ſunk panels, their four pairs of converging corners being
mitre-cornered. Theſe are ſilled with delicate paintings in griſaille
of leaf Ornament-vine, hop, roſe, wheat and other vegetable forms-
excellently true to nature; and with maſks, pipes and other attributes
of muſic or agriculture, diſpoſed amongſt the foliage, illuſtrative of the
arts of peace as became the occaſion of the manufacture. All the
panels have mouldings riſing above the ſurrounding flat and with a
broader or narrower inner line gilt, according to the ſize of the panel.
In the caſe of the large centre panel, the gilt portion is fluted at right
angles to its direction. The cupboard door ſtands on a baſe ſlightly
wider, with a broad carved moulding above it curved in and out. The
ſtrapwork on this is ſuitably quiet. The centre of this baſe forms a
panel projecting a quarter of an inch, and is ornamented with a wide
enamel painting in a ſhaped metal moulding, gilt. The painting repre-
ſents an Italian landſcape with a northern windmill in its centre, and a
ſea, and the ifland of Iſchia, or a ſimilar Compoſition, beyond. The
baſe ſtands on four gilt metal tortoiſes at the four angles. Above the
door there is a belt of carving, cornucopim diſpoſed garlandwiſe, and
rnaſks between. A cornice, moulded underneath, and weathering with
a curved ſlope above, ſurmounts this belt, and above it riſes a gallery
of pierced Chineſe fretwork, with roundels of Wedgwood ware in the
centre of each diviſion or panel of fretwork. The metal cornucopiae
on the angles of the cornice curve inwards from the corners, and give a
ſort of crown or creſting appearance to this light finiſh.
The Stand is a table with drawers, decorated with a narrow panel of
griſaille painting like thoſe deſcribed round the centre painting of the
door, one each ſide of the handle, a maſk with maſſive work' round it,
and ring; and the returns of the table have ſimilar panels. Theſe are
all mounted with caſt and chiſelled metal mouldings, with decorations
on the circular ends.
The table ſtands on light carved terminal "trapezophora," or
leopard-headed legs and claws. A central bar curves out and connects
theſe together, and under it are ſmall turned feet. The proportions-of
the door as the principal point of decoration, with panels ſubordinated
both in ſize and colour, being grey only; and the general lightneſs of
the carved work-are well calculated throughout. The mouldings
are generally ſmall. The broad horizontal members that ſupport the
creſting and connect the doors with the baſe, are kept, though carved,
broad and effective.
50 Furnitzzre and Waodrwork.

7247.'60.
ABINET. Marquetry of Varioufly coloured woods,
ornamented with figures, feſtoons of flowers, &e. in
full relief, in bronze gilt; in the front and ſides are oVal
plaques of porcelain; the whole ſurmounted by a mirror in
a frame of carved and gilt wood. The top of the cabinet is
compoſed of inlaid marbles. Modern Engliſh. Made for the
Paris Exhibition of I' 8 5 5, by Meſſrs. Jackſon and Graham, from
the deſign of M. Eugene Prignot. H. 13 ft. 6 in., L. 8 ft.,
W. zft. 8 in. Bought, I ,zool.
The upper part is a looking-glaſs, the lower a cabinet or preſs.
The upper part is encloſed in a profuſely ornamented frame of carved
wood, gilt. Its ſides are formed by two baluſter-ſhaped columns, with
two others on the flanks. Each pair is joined in the centre by a
ſcutcheon or ſconce holding branches for lights. They ſtand on ſquare
baſes, flat in front, but ſpreading out on their ſides; Wreaths of carved
foliage cover theſe baſes, and in the centre is a group of muſical inſtru-
ments; and there is a tablet covered with Wreaths in the centre of the
bottom of the frame, to balance the richneſs of theſe ſides. The top of
the frame is a ſolid contracting canopy front, curving inwards on its
ſides. Theſe ſides are ſupported by carved'female figures, and two
carved boys ſit on the top. Vandykes or notches, with turrets in the
top moulding, further carry out the idea of the tent or canopy front.
The top of the glaſs mounts to a ſemi-circle, with broken reverſed
curves deſcending each ſide. In the ſpandrils left by this configuration
in the canopied frame-work hang garlands of foliage. The lower part
is a cabinet proper. It is in three doors or diviſions, the centre the
wideſt. The general material is roſewood, with tulip-wood borders.
The top is of inlaid marble, ſunk below the wood frame mouldings.
Each ſide of the central door, and on the back flanks, are caryatides, or
female ſupporting figures holding the attributes of muſic. The corners
form round brackets, and theſe are ſupported by kneeling cupids holding
candelabra ſtems on their heads. All theſe are ſolid caſtings, chiſelled
and gilt, and the modelling and general deſign are correctly conceived and
well followed out. The front door panel is brought out an inch or ſo
with a pedimental top, and contains an oval plaque of porcelain with a
female figure, painted with the morbidezza of the modern French por-
Engliſh cabinets. 5 I

celain painters. It is mounted in maffive caſt and chiſelled ormolu
framework, with rich decorations of foliage branching from it. Similarly
the ſide doors and end panels have oval plaques, with cupids in the ſame
ſtyle, and metal mounts and decorations of a like kind. The cornice
above the doors, the plinth below, and the baſes which are cut into
ſhapes, and round turned low legs or feet, are all decorated with mounts
of chiſelled ormolu. The proportion of the ſurface of the whole ſo
covered, taking the figures into account, exceeds that of the wood, ſo
that the general effect of the whole is rather of a gilt than a wooden
piece of furniture. Its general ſplendour, and diſplay of ſuperabundant
Ornament, mark its origin as a ſhow-piece for one of our great Exhi-
bitions-ſia diſplay of ſkill in more branches than one of cabinet-making
and metallurgy. It muſt not, therefore, be judged as one would judge
of a piece made for domeſtic uſe. Taken to pieces, its various parts
are carefully deſigned and executed. Its character is the extreme
of ſhowy French taſte, bordering on the gaudy, but the workmanſhip
is conſiſtent throughout. The porcelain enamels were painted by
Mr. Grey, a ſtudent of the Department, and of the workſhop ot
Mr. Minton, of Stoke-on-Trent. The general cabinet-makers, work,
as in all the work produced by the manufacturers who made it, may paſs
as a model of modern workmanſhip.
548.'68.
ABINET. Satin wood. In the ſtyle of the deſigns of
the Adams, later 18th century. With marquetry of
coloured woods, gilt mouldings, and Wedgwood ware tablets.
Executed for the Paris Exhibition, 1867, by Meſſrs. Wright
and Mansfield. Modern Engliſh. H. II ft. 8 in., L. 7 ft.
9 in., W. 2 ft. 3 in. Bought, 8001.
This is a revival of the ſatin wood furniture of the laſt century, of
which excellent ſpecimens, in the form of drawers, tables, book-ſhelf
cabinets, are ſtill to be met with, and of which No. 636. '70, p. 48, is
a characteriſtic example. Theſe old-faſhioned pieces are often ſhaped
curioufly: the lower cupboards circular, the ſhelves arched. This
cabinet is made in the form of a ſemi-architect-ural front, with inter-
rupted pediment top, having a vaſe in the centre, a cornice, and four
ſupporting flat pilaſters. Theſe are fluted and partially filled in with
beads, &c., gilt. They end in panels, and ſtand on a plinth. Four
female ſphinxes ſitting, and with wings ſtretching back to the pilaſter
. D z
52 _ Furniture and Woodwork.

panels, connect them with ram-headed and footed trapezophora, or ſup-
ports, below. The carved ſphinxes and the ſupports are all gilt. The
front is thus divided into three. The centre is double the width of the
ſides and, in the upper portion, forms one ſquare-panelled door, with
a ſort of baſe or horizontal panel below. An oval medallion of Wedg-
wood ware, within delicately carved mouldings forms the core of the
ornament. It is fancifully ſurrounded by an inlaid wreath in coloured
woods, held up by a ribbon tie, and connected with a ſuſpended
arabeſque wreath or chain, which is near the outſide mouldings of the
panel. Medallions on black of Mars and Venus, muſical inſtruments,
&c. tied with, ribbons, linen ſcarves and other light work, hang in
feſtoons. From the bottom of this centre panel a carved and gilt lion's
head upholds, by a linen ſcarf, an architectural tablet in the horizontal
baſe panel. This tablet contains aWedgwood plaque, and is ſurrounded
by carved and gilt acanthus volutes that fill the panel and lap over its
mouldings. The whole centre panel is ſurrounded by a ſquare moulding
in the form oſ the architectural picture-frames of James Il.'s time,
having projecting corners beyond the ſide lines. The lower centre
panels or door fronts are oval within a ſquare, and contain tablets,
horizontal in form, with gilt raiſed frames, and inlaid hanging wreaths.
The carved parts are gilt, including the mouldings of the panels, the
ſphinxes, ſupports, pilaſter Hutings, caps, &c. There is nothing about
the carving. that could be called artiſtic. The ſphinxes are heavily
deſigned. Theſe parts, like the overlapping mouldings, ſtrings of beads,
&c., are appliques. They are without ſtructural unity with the body of
the piece. The marquetry is of coloured woods, ſage green being pre-
dominant. A border of tulip-wood (red), with delicate black lines each
ſide, marks out the larger panels and diviſions, and graceful lines of
green, twining into rectangular frets at the angles, give other marking
lines within this tulip-Wood border. Green of the ſame hue forms the
ground of the cameo plaques, of which the largeſt is not above I foot
in its greateſt diameter.
In critically examining this ſtyle, the number of applique parts, and
the way in which plaques, relieved by ſalient-moulded borders from
the background, are yet upheld by rings and wreaths of inlay, will
ſtrike the obſerver. The natural queſtion will ariſe, why an ornament
in actual relief repreſented as hanging is not upheld by, or hung to,
Ornaments in actual relief; and why the inlaid wreaths ſhould not have
the medallions they are made, in the ſyſtem of decoration, to ſupport
alſo in inlay. The period of which a deſign is here reproduced was
in many reſpects barren of good invention. The Adam brothers
vivified it with much admirable deſign in architecture, furniture, and
F/enzzſh Cabinets. 5 3

plate, of which latter a ſpecimen (No. 55. '65 amongſt the Engliſh
plate) may be ſeen in the Muſeum. The diſcoveries in Italy about
that time helped to ſpread in France and England a revived taſte for
arabeſque decoration; and this mixture of painting and relief, freſco
and ſtucco work, ſo common amongſt the old work, ſuggeſted the
combinations we here ſee.
The whole of the workmanſhip of the cabinet is excellent; not a
line or joint will be found out of its place in the ſurface work, and the
mitres, door-joints, &c. are models of the cabinet-makers' ſkill.
156. '64.
ABINET. Carved oak, in three ſtages, ſupported by
two tiers of Ionic columns: on the panels, female
figures between trees. Above is a frieze of carved work.
Flemiſh. 17th century. H. 7 ft. 7 in., L. 5 ft. Izfz in., VV.
2 ft.
This is a common form of Flemiſh preſſes or wardrobe cabinets of
its period, 17th century. They are often met with, and one deſcription
will ſerve for all. The general outlines are marked out by columns,
friezes, cornices, and other architectonic characteriſtics. This claſs of
furniture is, nevertheleſs, hardly to be claſſed with thoſe of which the
deſigns are abſolutely imitative of architecture, reſulting in a ſomewhat
pompous multiplication of ſmall parts, with endleſs mitres of tiny
mouldings, columns, baluſtrades, and the like. Theſe Flemiſh ward-
robes are ſenſible in form, and the various cupboards and drawers are
large enough to be thoroughly uſeful for the' kind of room in which
they are likely to be placed, viz. a large hall or gallery requiring few
pieces of furniture of any kind, but thoſe few effective from their ſize
and convenience.
This cabinet is in three ſtages, with a bold projecting cornice
top, and a horizontal baſe of two drawers, the fronts having bold
running foliated ſcroll-work, carved in relief. It is lifted from the
ground on black balls, ſometimes theſe ſtand on claw feet, but the
balls are the moſt effective. Three Ionic columns, in full relief_
ſtarting from brackets (ornamented with lion maſks) which divide the
baſe, and with their flutings filled with fine carving-form the perpen-
dicular lines of diviſion. Above the baſe, and divided by theſe columns,
are cupboard doors, with two panels each, one above the other. The
mouldings round theſe are ſlight. Above theſe doors and columns runs
54. Furniture and Woaa'wark.

a broad carved horizontal moulding. Smaller columns divide the upper
ſtage into two cupboards with one panel to each door and theſe, which
are brought forward on carved bands With flight mouldings on their
inner edges, are filled with carving of female figuresiwith trees. Theſe
are ſimply but well deſigned, and though the general arrangements of
the Work are of renaiſſance character, the carvings retain ſomething of
medizeval modeſty in outline. The doors open and carry the columns
with them, theſe being divided below the cap and above the baſe by a
ring of ebony, to hide the join. The top projects in a bold Cornice,
ornamented with ſcroll-work and figures in moderate relief.
This Cornice is no leſs than I4% inches in depth: viz. 6 inches of
projecting moulds above, 6 of carved flat (ſlightly convex), and 2-2; of
lower carved moulding. The carved work being in foreign oak, leſs
cloſe and ſmooth than our own Engliſh wood, is neceſſarily free and
bold, but always well conceived and deſigned. With the broad large
conſtructing members of ſuch fiirniture, its general form is diſcerned at
any diſtance. On cloſer inſpection theſe bold ſurfaces are found elabo-
rately carved, but never to ſuch depth as to quarrel with the general
character of the various members, which thus retain the bigneſs,
breadth of ſurface, and direction of moulded line, which are intended to
ſtrike the eye in the firſt inſtance.
772. '6 5.
ABINET or Preſs. Walnut wood; the panels inlaid
with marquetry, the upper diviſion ſupported by ter-
minal ſtatuettes in full relief, and the pediment ſurmounted by
a pelican in her piety. French. About I 5 50-60. Probably
by Bachelier of Toulouse. H. 7 ft. IO in., L. 3 ft. 8 in.,
ft. IO in, Bought (Soulages Coll), 2801. i
This cabinet is in two ſtages. The upper recedes nearly 8 inches
from the top of the lower. It has ſide off-ſets which give it a richer
outline than mere upright mouldings, and the diminution of width and
depth gives a lightneſs and elegance to what is, in fact, a large piece of
furniture, which is worth careful Obſervation. The lower part forms a
cupboard, with a pair of drawers over it. It is lifted from the ground
by broad horizontal mouldings, an upper with a cavetto, and a light but
protruding member below. This is the wideſt meaſure of the whole
piece, and ſerves to give a gradation to the other portions and their width,
as they riſe. It reſts on ſtout claw feet at each corner. The cupboard
French Cabz'nets. 5 5

doors are panelled. The outer mouldings of the panels project, and are
cut into ſmall egg-and-tongue on their inner ſide, and die down in ſtrings
on the outer, all four ſides alike. A ſhallow, broad, hollow and ſine
inner ſtring, completes this moulding. Inſide is an inch of black-coloured
wood, and within the panels are delicate flowers in marquetry. The
ſide framing-piece and the drawer fronts are ſimilarly inlaid, and a maſk
and brackets ſupport a top or table, moulded on the upper and under
edges. Two ſmall drawers and two narrow cupboard doors, like the
lower in decoration, form the front of the top portion. A wide ſide
margin of 3 inches ſurrounds the doors, and a projecting moulded
cornice ſpreads above. This is ſupported by groteſque human-headed
terminal figures, and bunches of flowers on the two front ſides and on
the flanks. Their bodies bulge outwards in the centre and recede
again ſo as to fall in, bracket-ſhaped, where the upper doors end, and a
horizontal parcel of ſtrings keeps the whole together. They deſcend in
a claw foot ſpreading on the table of the lower cupboard. The top
piece under the cornice is fronted with arabeſques in relief connecting
the bunches on the heads of the figures, and a tablet with marble inlay
forms the centre. Above the cornice two human-headed winged
dragons, with arabeſques, ſtrapwork, &c. form a pierced pedimental
Compoſition, with a pelican feeding her young from her own breaſt
above them. This is on the front, not on the back edge of the preſs.
This piece is attributed to Bachelier of Toulouſe.
For Compoſition 'of outline, and well proportioned and judiciouſly
arranged mouldings, this may be? taken as the type piece at preſent in
the Muſeum collections, of its own date and deſcription.
2573.'56.
ABINET. Walnut wood. French. About 1560.
H. 4 ft. 9 in., L. 3 ft. 3 in., W. I ft. 6 in. Bought,
141. 85.
It conſiſts of two parts, a cupboard and a table or ſtand, connected
by ſupports to a ſquare baſe. The cupboard, the moſt ſhowy portion,
is divided into its two door panels by terminal groteſque figures, and
theſe ſupport an architectonic cornice. The panels form two ſquares,
and are good ſpecimens of decoration of this kind. The chief moulding
round them is a bold convex band or framework, carved, but not ſo
deeply as to break up its breadth (an inch and a half) In the centres
are carved compoſitions, with groteſque winged figures and maſks.
One of theſe panels, on being preſſed, flips back into a groove in which
56 Furniture and Wood-work.

it is ſlid ſideways far enough to ſhow the key-hole. The two drawer
fronts form oblong panels, correſponding to the ſquare ones of the doors
above. The back of the open lower part is panelled ſimply. ' Thelegs
are ſquare piers or pillars, with carved caps and ſides.
This is an inſtance of ſimple and effective deſign of a furniture
kind rather 'than of an architectural kind, and as ſuch ſhould be noted.
It will be ſeen, by a glance at the South Kenſington collection, how few
deſigners are independent of abſolute imitation of architecture without
falling into ſome extravagance or other. In-this particular piece, the
carving is all that is required, though it is not that of an artiſt of any
pretenſion.
2790.'56.
ABINET. Carved walnut wood, with walnut fronts;
the panels carved with emblematic devices. French.
Dated 1577. H. 6 ft. 9 in., L. 4 ft. 5712 in., W. I ft. 11 in.
Bought, 201.
This piece is unlike thoſe generally met with and made in the
northern and central towns of France. It conſiſts of a double ſet of
cupboards and an open unbacked ſtand or lower part. The upper door
panels are nearly double the depth of the lower. They ſtand back-
wards ſome inches. The ſupports are two pierced pieces of ſtrapwork
in front and two ſquare baluſters behind. They are on a plain baſe.
The door panels are boards without mouldings, but are enriched with
ſtrapwork, birds, and arabeſques in relief. Each panel has a ſcutcheon in
its centre. On one is the device of the dolphin and anchor, with the
legend round it, 4" SEMPER FESTINA LENTE," and the date 1577. The
left hand ſcutcheon is charged with the flaming vaſes and drops of the >
armorial bearings of Rent? de Provence, and the motto or legend
T PROBASTI ET COGNOVISTI ME." 1 In the centre, between the doors,
and on the ſides, are terminal figures, human-headed, with two faces
T regardant," looking back at each other. Theſe end in ſcrolls in high
relief. On the central terminal ſigure is a ſhield charged with a moun-
tain, in baſe, a Creſcent and three ſtars above, and a cypher, containing
the letters A. D. S. The lower door panels are decorated with maſks
ſi I
1 Inſide the right-hand door we read, written in ink: " TV ES REFVGIVM MEVM
A TRIBVLATlOne quae circumdedit me; exaltatio mea erue me a circumdantibus me 5"
and below-" Car joy en mon eſpore ſeignieur tu m'exauſeras;" and below that-
V Donne moy a cognoiſtre la vie eternelle je chemineray, car jay eſtime mon affection."
We cannot conſider this writing as earlier than the 17th century.



i lit. Sal' Q-Inj'fl 4 2'2313'
_ , Am ,

K"".
'
O'Ih'
O
i
'Q'Q'

zfgz.
CABDI li'ſ.
ſ '21 mal, -\' I '[. (k'llf-Z'Zj'.
Frenc/z Cabz'nets. 5 7

and ſtrapwork, The work is much as it was left two centuries ago,
and has preſerved the look of age generally loſt under inceſſant rubbings,
and Coats of wax, if not of varniſh. The wood has an appearance
much lighter than that of walnut. The date is fortunately preſerved,
but the armorial inſlgnia upon the doors leave us in ſome doubt of its
origin, the monogram being taken to indicate it as made for Aldus, the
printer. Aldus Manutius, however, died in 1574 or 5, and his ſon,
who never lived in France, in I 597.
2787.'56.
ABINET. Carved walnut-m wood; ſculptured in relie
with arabeſques, maſks, and ſphinxes. I6th century.
French or Flemiſh. H. 3 ft. 3 in., L. 2 ft. 2 in., W. I ft.
2 in. Bought, 61.
This is a ſpecimen of the ſmall moveable cabinets or receptacles
that can be put on a table or ſideboard and are convenient for con-
taining collections of ſmall objects. It conſiſts of one door panel, with
ſide frame pieces, having pilaſter caps above, and all finiſhed by a baſe
moulding from ſide to ſide below.
The door is a panel framed with moulded rails mitred at the corners.
The mouldings are in two ſeries and ſtand out from the ſurface. The
external ſeries conſiſt of an ogee with delicate fillets having an ovalo
on the outſide of the group. It is divided by a flat band from a finer
ſet with ſimilar parts on a ſmaller ſcale z the total width of the mould-
ings is 2 inches. The carving of the panel is in ſlight relief on a
ſunk ground; two female headed ſphinxes, of which the tails are
knotted and the wings croſled and erected ſo as to ſupport flat pedeſtals,
on which ſtands an eagle with wings diſplayed and holding a delicate
feſtoon in its beak. On the fronts of theſe ſlabs or pedeſtals are
delicate arabeſques inlaid in white wood.
The ſides have arabeſques in relief carved on them. The pilaſter
caps are ſupported by well carved cherub heads with feſtoons or cornu-
copia projections deſcending as undercut brackets below. There riſes
above the top a ſort of pediment-ſhaped board, with groteſque arabeſque
relief work, to finiſh the top. Along the top or cornice piece of the
frame are arabeſque marquetry inlays of white wood, of the utmoſt
delicacy of execution.
F. D 5 4-
5 8 Furniture and Wood-work.

7220.'69.
ABINET. Carved wood. In two ſtages: the lower
panels contain armorial ſhields, the upper female alle-
gorical figures; the whole ſurmounted by a lofty creſt, with
ſemicircular niche in the centre, flanked by ſea horſes, and
crowned by a ſpread eagle. French. H. 8 ft., L. 3 ft. 8 in.,
W. I ft. IO in. Bought (Soulages Coll), 601.
This piece of furniture is at preſent in the Departmental Muſeum
at Edinburgh.
2426.'56.
ABINET. Carved walnut. French work, reſtored.
H. 7 ft. 6 in., L. 4 ft., W. I ft. 8 in. Bought,
81. Ios.
The general framework of this cabinet and the carved terminal
figures are modern. There are, however, two panels to the upper
cupboard and two to the lower of old workmanſhip, forming the four
doors, well worth careful examination. The two upper contain three
panels, or rather a centre and two narrow carved ſubjects above and
below. The central ſubjects are female figures nude, but holding flying
ſcarves, and having cornucopix of flowers in one hand and branches in
the other. They are the ſame, or nearly the identical deſign, each of
the other, reverſing the hands, &c. Theſe repreſent Spring. Above
are two recumbent female figures, nude, and below two ſpirited female
ſphinxes with ſpread wings, very well compoſed, and full of life. On
the lower panels are two; draped female figures, repreſenting Fortitude
and Temperance, Fortitude bearing the Column. The two upper panels
are in the beſt ſtyle of the period of Francis I., while the lower are
perhaps twenty years later. The deſign of the figures is correct. We
may compare with this the carvings in a cabinet of M. Fourdinois,
exhibited in Paris in 18 5 5 in the Univerſal International Exhibition,
the deſign being very ſimilar. It is numbered 2692. '56.
Frenc/z Cabinets. 59

1651.'56.
ABINET. Ebony; carved with mythological ſubjects,
and poliſhed. French or Dutch. About 16 50.
H. 6 ft. 4 in., L. 5 ft. 9 in., W. 2 ft. Bought, 1321.
This effective piece conſiſts of a broad upper part, containing
drawers encloſed by doors, on a ſtand of twiſted legs. It is worthy of
examination, both as a ſpecimen of deſign and workmanſhip. The
cornice over the doors, and the framework of the ſtand which, with the
doors, make up the entire front, are carved with floriated ornament, but
in very ſlight relief, giving great delicacy to the work. As it is in hard
wood the modelling is carefully made out, and can be perfectly ſeen and
appreciated, the ſurfaces being ſlightly poliſhed. The doors are divided
geometrically into central panels, with the intervening ſpaces ſubdivided,
fuggeſting the parterres of the old gardens of Holland and Belgium.
The central panels contain bas-reliefs of Aurora on one ſide, and Heſperus
on the other. The mouldings are waved by machinery, in fine fillet lines,
the whole moulding keeping the quiet character of the work by its ſlight
projection. The inſides of the doors have a central panel of geometric
ſhape, with foliage Ornament inciſed only in flight lines on the ſurround-
ing flat. The panels contain has-reliefs : on one ſide Diana, in conven-
tional claflic coſtume crowned,with her maidens round her, and a prieſt
and acolyte holding a torch before the kneeling figure which repreſents
Endymion. Below is written the name in French--L'Endz'mz'0n. The
Compoſition on the other panel repreſents an army with warriors in claſſic
armour. In front is a tree, and a youth kneeling and digging at the root.
Theſe refer to the tragical fate of Iphigenia, ſacrificed by her father
Agamemnon, who had ſhown too little reſpect to the ſtags of the
goddeſs, and had to ſacrifice his daughter to her to appeaſe her wrath.
In the upper panels of the outſide ſhe is ſeen bound by prieſteſſes of that
goddeſs. The army is that of the warrior king, and the prieſts are
ordering wood to be hewn for the ſacriſicial pile. Oreſtes and his
friend Pylades are ſhown in ſearch of Iphigenia, ſiſter to Oreſtes, who
was condemned to death for impiety, his friend refuſing to be ſeparated
from him even in his diſmal fate. The action of the ſtory on all theſe
carvings is crowded and disjointed alternately, to ſuit the fancy of the
deſigner. The inner arrangement conſiſts of an architectural atrium or
hall in the centre, with receſſes fronted by an ivory baluſtrade. The
receffes have two pieces of looking-glaſs ſet on the flant, meeting in
the centre diviſion in the form of a V. This arrangement refiects the
baluſtrade and imitation pavement in ivory and ebony, and gives the
60 i Far-niture and Wood-work.

appearance of extent and multiplication to theſe members, and the
ſlant of the glaſſes is ſo laid as to make them appear arranged con-
tinuouſly on each ſide in architectural order. The flat members of
this architectonic Compoſition are decorated with ivory inlay, and open
in various ways ſhowing, under baſes or behind cornices, nicely hidden,
ſecret drawers and receptacles. On the doors that encloſe this hall are
bas-reliefs of Apollo and the python, Diana and a dog. Round this
central ingenious contrivance of a pigeon-hole are ſet twelve drawers,
with the twelve months indicated by ſpirited carvings in relief. In
one a farmer or paterſamilias is warming his hands over his hearth;
in. another ſupping; in another there is a landſcape, with a pond and
ſkaters on the ice 5 in another woodcutters in the foreſt. Theſe indicate
the three winter months. The ſpring is indicated by repreſentations of
hedging and ditching, ſowing and ploughing; ſheep-ſhearing, hay-
making, and a cavalier playing the lute to a lady in the landſcape, ſtand
for ſummer. The vintage and harveſt, boar-hunting, pig-killing, or pre-
paring the winter ſtores of food, complete the ſeries. Theſe ſculptures are
in ſlight relief, very delicately modelled, and deſigned with ſpirit and a
genuine feeling for the every-day ſcenes of common life, and the humour
and the ſerious meaning to be obſerved amongſt them. They are
uſeful as ſuggeſtions for the modern artiſt who wiſhes to decorate houſe-
hold furniture or room Ornament with ſubjects which will continue at
all times to be of general intereſt, and are capable of being ſeen and
deſigned under endleſs varieties and inexhauſtible combinations. The
claffic ſubjects, ſuch as Apollo, Diana, and the other compoſitions of the
doors, ſeem all to allude to the chafe, the morning rides, the ſportſman's
maſtery of his craft. The word Z'Ena'zſimz'on would ſeem to indicate that
the cabinet was of French manufacture, while the material (ebony), the
repreſentation of ſkating as one of the indications of winter, and a general
bigneſs in the figures deſigned, point rather to Holland. French was
much uſed in the court of the Stadholder at the end of the 17th century,
and French workmen and deſigners, e.g. Daniel Marot, were often
employed. The Dutch deſigners, however, of that day, were ſecond
to none of their contemporaries, and we ſhall probably be ſafe in affigning
this piece of furniture to a mixed nationality. The unoſtentatious and
refined beauty of the art ſhown on the whole ſurface-the quiet character
of the general form, wide but not too projecting, light with its twiſted
legs, without looking weak-are in complete keeping. It would be
difficult to ſelect, in the Muſeum collection, a model of its claſs better
ſuited for imitation.
I' [I'll-I'll
2..12-41'043443 L Sl. __
l-l. I
ij a'
had " ' ' .
. Pr- V. =
\'J*' Mea- \g* I
A
. W _ n
A QÞI . . Pfl: ._.x....._.._.....<_.> _....z.=>=z..._.=
w . . .
._ - d.,
vbu .
. .J
._
......24...331.-22-313342.12.-03..7143314214414311.:_ZJLZL-Z...Z....
, , , T , _, , i . L
i ; t _ . . _, m I, _ m
, ,
i , i W
, ,


Hl
1.', -
'In
lllll
a. .,, '
&3.. a.
.'.'\m
, 'w
i i it
un; " ſſſſ
i'ill 'i i .


1..'1
l
i um
Hid
C Al) l N E'l'.
Dutc/z or liſimzlrlz, X 17] Cum/ly.
1651. '56.
French Cabinets. ct 6 I

2692.'56.
ABINET. Carved walnut wood, in the ſtyle of the
renaiſſance, containing a cupboard above, a pair of
drawers in the centre, and a cupboard below. Modern
French (Fourdinois, Paris), H. 9 ft. 9 in., L. 4 ft. 2 in.,
W. 2 ft. Bought (Paris Exhibition, 185 5), 3201.
Two female caryatides are carved on the ſides, in high relief. They
ſtand on a baſe, and ornamental baluſter columns continue up above
their heads. The top riſes into an interrupted arched pediment, and a
carved vaſe with flowers forms the centre. The bracket on which this
ſtands is compoſed of pierced arabeſque curves. Theſe lap over the
carved cornice above the upper compartment, and ſo take off from its
mere architectural character. The doors of the upper part are profuſely
carved with arabeſques. The centre has a decorated candelabrum and
two ſunk oval panels on the doors as the principal points of this part
of the Compoſition. Apollo with the attributes of Hercules and Vulcan
fills one, Venus and Cupid the other with acceſſories, one of which is a
vaſe covered with delicate figure-Ornament in the flatteſt relief. Cupids,
with attributes of muſic and drawing in ſmall niches, ſurrounded by rich
arabeſques in high relief, Ornament the lower doors. The ends are
panels of flat ſtrapwork. We may note how delicately the broad ſur-
faces and the main lines of moulding are carved, ſo as not to deſtroy
the general effect of lines and ſurfaces, into which the deſign is divided,
by cutting them up with deep ſinkings or high relief.
721.'69.
ABINET. Ebony; ornamented with medallion groups,
ſtatuettes, and foliage, in ſolid inlay of various
woods, chiefly box and pear. Modern French. The work
of Meſſrs. Fourdinois. Specially recommended by the Com-
miſſion for ſelection of purchaſes from the Paris Exhibition.
H. 8 ft. 2 in., W. 5 ft. I in. Bought (Paris Exhibition,
1867), 2,75ol.
This cabinet may be noticed as the lateſt ſpecimen of ſumptuous
French furniture in the Departmental Collection. It was made for the
Univerſal Exhibition in v'Paris in 1867-the laſt, perhaps, of ſuch
international gatherings that the preſent generation will ſee in ſo large
6 2 Farnz'tnre and Wood-work.

and unreſtrained a form. The form of the whole piece is a preſs, on ſi
arched ſupports. Eight columns, arched over in two groups with four
arches each, act as legs, and on this ſtands the cabinet or preſs, in three .
diviſions. The foundation of the material is ebony. The pillar ſupports
ſtand on a plinth decorated with inlaid wood in ſtrapwork, and pieces
of lapis and green and red marbles, &c., as centres. The back of
the lower part is laid out in ornamental panels. That in the centre,
within a ſquare moulded, contains a medallion left for the arms or mono-
gram of a purchaſer. Below this we read, as we ſhould be glad to do
in all caſes, the maker's name-HENRI FOURDINOIS, 1867.
The ſide panels have inlaid medallions repreſenting, in proſile heads,
Poetry and Painting. The eight columns have inlaid fluting lines, with
inlaid wreath-Work of a very delicate kind on the lower portion. The
group of four columns is covered with four arches, of which, again, the
various mouldings are all inlaid. The work is in the ſomewhat loaded
arabeſque ſtyle of the Francis I. or Henry II. period ſoftened with modern
luxuriance. The arches have an ornamental key-piece, and in the
ſpandrils are figures of boys holding linen Wreaths or ſcarves hanging from
the key of the arch. This Compoſition is of courſe repeated, and the
centre-a ſort of drawer front, though there is not any drawer behind
it--is decorated with a medallion head of Apollo with rays. Arabeſque
acanthus leaves occupy this panel on either ſide of the medallion.
The upper portion, or preſs, ſtands on this framework, and is ar-
ranged in a central and two ſide diviſions. The central is a ſquare panel,
of which the two top corners are taken out, and form ſtarting-points for
Wreaths of foliage which hang outſide (in the Louis XV. faſhion) of the
panel mouldings, and meet in a central ſatyr maſk. The two ſide divi-
ſions correſpond in width to the arched groups of ſupports below. They
are regular architectural Renaiſſance doorway panels, with terminal
columnar figures raiſed on baſes and ſurbaſes, with caps, and correſpond-
ing upper members above them, which fall into a broad general archi-
trave, with cornices, &c. over all. Each of theſe doorways is topped by
a circular pediment, and in the panel formed by it and the architrave
brackets below it, are two ſitting and draped figures-Painting on
one ſide, Architecture on the other. Theſe are deſigned with the utmoſt
care; the draperies are abundant and graceful 3 the acceſſories-books,
palettes, or architectural drawing implements, compaſſes, &c.-well
compoſed.
In the central panel of each of theſe compartments we have, on the
right ſide, Ceres, on the left Neptune-the earth and the ſea. The
columns are caryatides with female figures; and theſe repreſent the
quarters of the globe; Europe and Aſia on the right, America and
Frem/z Cabz'nets. 6 3



Africa on the left. They are carved in boxwood, and worked and
modelled with ſkill and completeneſs. Ceres, the emblem of the gifts
of the earth, is placed between Europe and Aſia on the right; while
Neptune, the type of the dominion of the ſea, is placed between
America and Africa on the left. Theſe figures are within medallions,
and the ſpace round filled in with inlaid arabeſques. The central panel
is alſo richly decorated with a deſign, in inlay of wood. The deſign
repreſents the Temple of Peace-a ſemicircle of open arches, with a
platform and ſteps in front. On this ſits on a throne Peace :--a female
figure, with olive-branch, cornucopia, 810., and trophies of arms lying
deſpiſed at her feet. Round her are grouped other nude female figures,
repreſenting Europe, Aſia holding Egypt a youth, Africa, and America
beſide of whom is a red Indian retreating. Theſe figures are like the
others in the panels and ſpandrils, inlaid in ſolid boxwood, finiſhed up
to nature with all the ſoftneſs of modern French deſign, and the wood
brought to the fineſt ſurface. Over theſe three panels runs an architrave
divided by various brackets, and decorated with arabeſque acanthus
work. The centre is topped by a pedimental niche or ſhrine, with
ſide columns, and volute bracket buttreſſes on the two ſides. In this
ſtands an image of Minerva. The figure partly ſtands forward on a
protruding bracket, below which is a helmet. All parts of the inlay
are ſiniſhed to the utmoſt nicety, and though inlaid in the block, they
are in relief ſtill.
This cabinet ſhould be noticed for other reaſons. It is an example
of a new method of inlaying wood or marquetry. The woods, as will
be ſeen by obſerving ſome pieces kept ſor examination in the caſe con-
taining the cabinet, are not veneered in the thin ſlices uſual in mar-
quetry work, but "inlaid " in the true ſenſe, being inſerted bodily, and
interlaced with the ebony which forms the ground in a ſolid conſtruction.
The figures, arabeſques, or other deſigns with which the panels and
other parts are enriched, are'ſunk in, as in pietra dura patterns. What
remains above is afterwards finiſhed off with care, but the actual
outline has to be found and carried back to a ſufficient depth to allow of
its ſerving as a tenon to the junction of the woods. On examination it
will be apparent that no extra wood remains outſide the outlines of the
various figures, nor are the tenons ſmaller than the outline, ſo as to
allow the figures to be worked on the ſurface, as if it were applied or
glued on (excepting a mortice piece), The decorations have been Cut
out in outline, and ſo inſerted, and only the more delicate ſurfaces left
for ſubſequent finiſhing.
The general outlines of the Compoſition-ſuch as columns, panelsJ
mouldings, and the like-are moſtly richly cut in relief or inlaid. In ſuch
64. Furniture and Woodwork.
caſes it is of importance that theſe bold dividing lines, bands, or members,
ſhould ſtrike the eye from all diſtances, as dividing or conſtructing
members. If decorations are laid on theſe, it is always at the riſk of ſo
cutting up the ſurfaces of the cavettoes, beads, or other moulded ſhapes,
as to deſtroy their broad character. It will be noticed that in the
inſtance of this cabinet all mouldings, &c., which are ornamented with
cutting or inlay, have this ſo fine and delicate, or ſo flat in treatment as
in no way to cut up theſe mouldings or diviſions, which are meant to
carry the eye from firſt to laſt in a certain given direction.
The woods employed are box, lime, holly, pear, walnut, mahogany
(unſtained). Theſe woods are all more or leſs varieties of tawny, cold,
ochrous yellows, or a leather colours." They are artiſtically compoſed
and interlaced. Poſitive black is provided in the ebony baſe, and ſmall
inlaid plaques of lapis lazuli, verde antique, and red ſiena marble, are
added, to give point to the whole. The interior has nothing needing
ſpecial deſcription.
This piece was prepared, at great coſt, for the Univerſal Exhibition
at Paris in 1867. It is not to be ſuppoſed that ſuch coſtly productions
can enter generally into Commerce. It was conſidered worthy of ſpecial
recompenſe by the juries on the occaſion of the awards being made.
Meſſrs. Hilaire and Paſti were the principal deſigners of the figure
portions, and Neviller was the artiſt of the arabeſques and other
ſubordinate decorations. It is ſaid to have taken ſix years to bring it
to completion. The workmanſhip is not equal to the excellence of
the deſign. It is intereſting as a revival of old or invention of a new
method of wood manufacture 3 but a careful examination of details
will ſhow that this very difficult achievement has not, in all the joints
and ſitments, the accuracy that may be found in the fme ſpecimens of
workmanſhip both in France and England, amongſt modern as well as
old examples.
43- '70-
ABINET, or Cupboard. Oak, with two doors; the
front carved with receſſed panels, repreſenting window
tracery; iron locks, with key and hinges. German. I 5th
century. H. 4 ft. 21£ in., L. 3 ft., W. 19 in. Bought, 201.
The conſtruction of this piece of furniture is original, though it has
been a good deal repaired. Like the large cupboard, No. 497. '68, it is
very ſimple in make, being, in fact, only made up of ſides, back, and
narrow planks in front, right, and left, with doors in the middle. The
German Cabinets. 6 5

doors are divided one above the other, giving acceſs to two ſhelves or
receſſes. The top, bottom, and central ſhelf, form the bond-pieces by
which the ends and ſides are connected. If we add that the bottom
ſhelf is ſome inches from the ground, the front and the end boards ſhaped
out to give character, we have the whole cabinet or cupboard before us.
In this inſtance the front is decorated as follows :--The doors being
hinged on one of the front Hanking boards, and faſtening on the other,
are cut into panels filled with neatly cut window tracery, ſunk in the
wood. Some of theſe panels are roſette ſhaped, inſide a ſquare; ſome
arch-headed, within the ſquare. The flank on each ſide has a panel
cut to correſpond with the door. Thus the upper and lower doors with
their panels, and thoſe on each ſide, enrich the ſimple front with two
broad horizontal bands of tracery,-ſimple but effective for the character
of work. The other decorations are to be looked for in the locks,
hinges, &c. Theſe are placed outſide. The hinges are deep, and have
long ſtraps, with beaten roſette ends, running right and left from top and
bottom of each hinge. The lock plates, key-hole ſcutcheons, and an
outſide iron bolt to each door, are ornamental iron, as are the nail heads.
They have never been gilt, as we'ſee in the outſide Spaniſh ironwork;
but they are effective as they are, belonging to an age in which there
was no concealment of the machinery of conſtruction; and theſe being
looked on as neceffities, it was decided generally to make them obvious
to the eye, and as ornamental as poſſible.
497.'68.
ABINET or Preſs. Oakwood, carved, with lock, hinges,
and clamps of Wrought iron, in foliated pattern. German. _
I5th century. H. 6 ft. 8 in., L. 7 ft. 3 in., W. I ft. Ill,- in.
Bought, 321. 55.
An intereſting ſpecimen of carpentry, without cabinet-work or
ſculpture. The top, baſe, and centre, are bars of oak chamfered, and
the centre roughly cut with a rolled foliage pattern. Fillets are added
to the top bar, to give it the character of a cornice, and the front of
the baſe is hollowed three inches up, ſo as to give legs or feet at the
angles. The doors are double, and are in two ſtages each, making
four, and a central ſhelf and perpendicular diviſion divide the inſide
into four. Planks up the centre and the ſides complete the ſtructural
arrangement, and hold the doors, which hinge on them. Narrow ſtrips
F- E
66 Farnz'tnre and Wood-work.

of theſe are cut: the upper into ſunk flamboyant tracery, and the lower
with foliage, which is helped out with colour. The doors are framed
with mitred angles, and the inner edges moulded; the panels filled with
flamboyant tracery. Bold hinges, with branching Ornaments, and hand-
ſome lock plates, and ring handles alſo of beaten iron, form the only
other decorations. The door cracks are protected by fillets nailed on
the edges with ornamental iron nails. The ironwork is repouſſe, with
lumps or knops, and the edges cut into foils or leaf-work. The
ſimplicity of ſuch pieces of furniture makes them of value to the
architect and builder, as ſuggeſtions for making cupboards or receſſes
do the work of ornamental furniture. The Ornaments, as iron hinges
and plates, could be applied to the work of a village carpenter, and
the carving is little more than ſinking the ground round ſimple patterns
with the common mallet and chiſel.
4550-'58-
ABINET. Carved lime wood, with folding doors, and
drawers inſide; the outer doors carved with claſiical
heads in medallions, in the inſide two ſhields of arms; doors
ornamented with floriated iron hinges. German. About
1500. H. 15 in., L. 3 ft.,W. 13 in. Bought, 8Z.
The length, as will be ſeen on reference to the meaſurement, makes
this look more like a cheſt or coffer than a cabinet. It is an example of
the tranſition from the uſe of the one piece of furniture to the other.
The whole front opens. This front is in four panels, and each
inner panel hinged to the outer, ſo that it opens with jointed doors.
Neat long-ſtrap external hinges of rib iron, with foliated extremities,
unite the doors to the ſides and the jointed halves. Each half door
is ſunk into a panel with a circular medallion, with two male warriors'
heads, and two female. The long necks, and criſp curling hair
point to a German origin, unleſs the deſign could claim the author-
ſhip of Holbein, in this country. They reſemble in character the
medallions of the Cfflſars placed in Wolſey's time on the brickwork
at Hampton Court, and the carved work of the ſtalls in King,s
College, Cambridge. It is probably the work of German artiſts in
Weſtphalia. Internally we find two pigeon-hole doors with iron locks
and hinges like the outer, and three tiny drawers each ſide. On the
doors are two coats of arms. I. Bearing three ſaltires. _2. Of two per
'I . ' 'r






'Sfzlisiiziiiiiwilligjzuzisitiiiiu'lz"i, win i A. 'j'ſF
' illli 'lil will
'U 'I
l




i'lililisel-z? ll
ii
ll ill i
I
l""'*"-1*!"'" 'It w '11 Wl
l'l'l '1
es; w M
?__
jll
l . lwl
z_ flat-'lvii il
* :_;-'H '






lll










J.


l l
I






j i'p FZ
I i llllir

ill."



llJl will
w
llill i l'l llll will' .l!; i al
-W_ _d-_-
_-
.__-
w


1 ſſl'j'ſſ
.. l
-
____-
._.
Add




OOIO.
497. '68.



I" ,} l l
lilHj r

CABINET. German, XI'T Century.

lil-


1 l
'.l ll * 'l*




















llll
vllillil
t


.l ful:-



t, i
liii
1 z" i t 1
ill




'ill-il'
+1.%. .Illl llllll,
V ſſſſ l l lll
lillll'l "I lllll
l llllil
lll




illllll
I
l
llll
A i r
.___ ..__
lull'- t i
illil lliſſ-fflcl'ſſaiu'i

German' Cabinets.v 67

pale. i. In chief three trees, in baſe a falcon, hooded and jeſſed, on a
ſtake. ii. A feſſe, embattled and counter-embattled. Theſe latter
arms were thoſe of the Weſtphalian family of Lueſtorff.
8539.'63.
ABINET or Cheſt, i Cheſtnut wood, in the form of
a cheſt, inlaid with geometric patterns in light wood,
the inſide fittings carved and gilt. German. A About 1530.
H. I ft. 9712- in., L. 3 ft. ro in., W. I ft. in. Bought, 451.
The front flap falls down, and the top opens, with long ſtrap hinges.
It has little drawers of all ſizes and ſhapes. The lower row has one
wide and two ſquare drawers, deep. The upper rows are ſhallow, and
the higheſt ſet back on three ſides, leaving a ſhelf or ſpace in front.
The fronts of the drawers are decorated with moulded arabeſques cut
out and applique on the ground, which is rough gilt. The wide drawers
are decorated with ſix circular medallions of the Caeſars, in the ſame
kind of work. This is a German example of the cheſt, not yet grown
to a cabinet by the addition of legs, but there may have been a detached
ſtand for itſi, now loſt.
2452. '56.
ABINET or Cupboard Front. Oak, overlaid with or-
namented iron hinges, latches, and other decorative
mountings. German. (Brought from Nuremberg) About
1550. H. 3 ft. 9 in., W. 4 ft. I in. Bought, IoZ.
It is to be regretted that this is a front only. As ſuch, however, it
ſhould be carefully noticed, as we gather from it the ſtructure of the
original receptacle of which it has formed a part. It will be ſeen that
each of the four doors, into which the front is divided, has triple-jointed
hinges and double faſtenings. The hinges have long ſtraps, decorated
with floral ends and off-ſets. The door is hinged firſt, and opens half
or whole, leaving a ſquare framework faſtened by a W-ſhaped ſpring
clip in the centre. This gives acceſs to aſhallow and ſmaller cupboard.
But the whole of this receptacle, with its frame, moves out on opening
the central clip, and gives acceſs to the deeper, more ſecret repoſitory
behind. The four doors, with their light, triple-jointed hinges, four
E 2
68 Farnz'tare and Wood-work.

faſtenings, pair of clip central faſtenings, angle-iron mounts to match
the hinges, and a croſs-ſhaped central mount, form a rich diſpoſition of
ironwork which gives its Ornament to the cupboard, the wood having
no joinery worth notice.
70.
ABINET. Carved oak, with cupboard and drawer in
the upper part, and open below; the panels deco-
rated with openwork foliage, the locks and hinges of ſteel.
Copied from the original, of Cologne work, of the 15th or
16th century. Modern German. H. 5 ft. 2 in., L. 3 ft. 5in.,
W. 21 in. Bought, 121.
40. '70.
ABINET. Carved oak, with cupboards and drawer;
the panels carved with a repreſentation of the An-
nunciation, kneeling figures ſupporting ſhields, &c., or with
openwork foliage; the locks and hinges of ſteel. Copied
from the original, of Cologne work, of the 15th or 16th
century. Modern German. H. 4 ft. Zi in., L. 3 ft. 7315- in.,
W. 202 in. Bought, 121.
We can only, from ſuch examples as theſe copies, form very general
notions of the German Cologne art, ſo great in furniture work, in
carved altar pieces, &e. It cannot be ſeen whether all this pierced and
cut work is fairly the work of the chiſel.
. 5417- '59-
ABINET. Walnut wood, inlaid with marquetry of
various woods. A frieze of cupids and ſcroll-work,
with dolphins at either end, round the top. Italian. 15th
century. H. 3 ft. 4 in., L. 3 ft. II in., W. 17? in. Bought,
3ol,
A plain box or cheſt, externally without legs or ſupports, and its
decoration is wholly confined to the inlay in white wood. This is a
I ta/z'an Cabz'nezs. 69

bold Compoſition of ſcroll arabeſque foliage and lines. Amongſt theſe
are cupids partly helped out as to deſign by bold black etching, which is
ſimply executed with the bruſh or reed pen and diſtemper black. This
being thin, is partially abſorbed into the wood, and protected by the wax
rubbed over afterwards to give it a poliſh. Except to boiling water,
or ſpirit, this kind of coating is impervious, and will preſerve the
ſurface it covers for long periods. It is more effective as to deco-
ration than the lac poliſhes of later years, becauſe it does not introduce
any thick and hard medium over the wood. But, of courſe, theſe
latter are ſtill more preſervative, though they give a falſe gloſs to good
woodwork.
308.'67.
ABINET, with falling front and drawers. Walnut wood,
carved in low relief, with arabeſque Ornament. Said to
be the work of Jacopo di Canova. Italian. About I 520-50.
H. 5 ft. 6 in., L. 3 ft. 9 in., W. I ft. 3 in. Bought, 2001.
The whole external form is a flat ſurface 3 the ſlap front, from which
ſupports draw out, andthe drawer fronts, being all occupied with careful
arabeſque carvings in relief. The upper portion or falling front is
divided by delicate lines of moulding into panelled diviſions--a centre
and border ſpaces; the dividing-rails and ſtiles are flat. The carving
is diſpoſed evenly over the ſurfaces, and ſhows a ſtrong reſemblance
to the pulpy leaf-work, and delicate life-like carvings of ſtalk and
ſtem, that marks the work of the Mantovini in Venice, and ſtill
more in the work of Jacopo Sanſovino in the portions of the ducal
palace, the Library of St. Marks and other buildings that ſhow his hand
at Venice. Few pieces of Italian furniture come down to us ſo com-
plete and well preſerved, for this has been long in uſe z and ſew deſigns
are ſo well ſuited to call out the energies and teſt the delicacy of hand of
the carver. There is no effect got by adopting the ſhowy outlines of
architectural ſtructure, and the plain wood is entirely indebted to the
carving for any effect it may have. At the ſame time this is a piece of
furniture, of which we ſind few ſpecimens, that loſes no ſpace, and
makes no ſacriſice of the moſt abſolute convenience for ſalient effect.
7222.'60.
ABINET. Wood, inlaid with marquetry of ivory and
coloured woods in geometrical deſigns. Italian. A.
7o Furniture and Woodwork.

reſtoration. H. 5 ft., L. 3 ft. -2 in., W. I ft. in. Bought
(Soulages Collection), 801.
This piece, conſiſting of a flap front with drawers within and two
doors below, is decorated with marquetry of the Certoſino work, ſmall
geometric moſaic of Oriental deſign. There are four ſets of drawers
within z pigeon-holes, with doors, occupy the ſpace of four of them. The
work is a reſtoration by Ladouſſe and Son, at the deaf and dumb
inſtitution of Toulouſe. A panel of the original piece is preſerved looſe
inſide, to ſhow how exact the reſtoration is.
2785.'56.
ABINET. Roſewood, inlaid with ebony and ivory.
' Italian. About 1630. H. 173 in., L. 3 ft. 2 in.,
W. in. Bought, 141. ſi '
This is a ſmall moveable cabinet, for gems or coins. The centre is
occupied by a niche, or doorway, with drawers-in ſets on either ſide.
The niche is ſurmounted by a little pediment with interrupted top,
in the ſtyle of the I7th century. In the centre of theſe broken ſlopes is
a plinth ſurmounted by a buſt of the original owner. He was a duke
and marſhal, perhaps the Grand Duke of Parma (this would be Ranuccio
Farneſe I.). We ſee his portrait on horſeback in ivory, in the niche.
Between the baſes of the tiny columns that ſupport the arch, is his
coat of arms, viz., that of the Farneſe, azure, ſemee of fleurs-de-lis.
There are ſixteen drawer-fronts, opening in eight drawers. Theſe fronts
have ebony panels inlaid with ivory in their centres, and the diviſions
between the drawers are further inlaid with ivory. Theſe laſt inlays,
like the portrait, are engraved.
7823.'61.
CABINET. Ebony, containing I 3 drawers, inlaid with
marquetry of coloured woods, and carved in low relief
with various claffical ſubjects. Italian. I7th century. H.
I ft. 10-12- in., L. 3 ft. Ii in., W. I ft. 2212 in. Bought, IoZ.
The drawers have formed part of a large cabinet. The caſe con-
taining them is of ſtained oak, not ebony, and is new. The drawer-
fronts are inlaid with woods, coloured, and the colour further helped by
Portugueſe Cabinets. 7 I

burning with a hot iron. Portions, ſuch as the figures, ſtand out in
ſlight relief from the landſcape background. The figures are correctly
deſigned. They repreſent Venus and Adonis, in ſeveral different com-
poſitions 3 Rhea Silvia, and-the twin-brothers Romulus and Remus 3
Neptune in his car 3 and other mythical ſubjects.
317, 317a. '66.
ABINET. Ebony and other woods, inlaid with ivory;
with falling front and inſide drawers. Indo-Portu-
gueſe. I6th or 17th century. On a ſtand of inlaid walnut wood.
I6th century. Cabinet, H. 14 in., L. 173? in., W. 11233 in.
Stand, H. 21 in. Bought, 141. 45. 2d. '
This is an excellent example of the Goa, or Indian-Portugueſe work.
It is ſmall, but of the neateſt and beſt workmanſhip. For the furniture
of ſmall rooms, or for holding collections of ſmall 'objects required to
be kept together, this is as uſeful a form and ſize as any receptacle
could have, being eaſily moveable.
777-'65-
ABINET. Teak wood, inlaid with marquetry of ebony
and ivory in pattern of interſecting circles; with ivory
centres and ivory dots; the lock, handles, and angle-plates of
gilt metal. Portugueſe, probably manufactured atGoa, India.
Firſt half of 17th century. H. 4 ft. IOLLZ' in., L. 4 ft. 4-Z- in.
W. 2 ft. in. Bought, 66Z.
'Another of the ſpecimens of Portugueſe inlaid work, of an Oriental
character. The upper part is divided off into three rows of four
drawers, or twelve in all; ſome are double, extending to two fronts.
The lower ſtand forms a ſort of table frame on four legs, having two
drawers in the top of it and two deep drawers in the lower frame or
baſe. The legs are cut out of the ſolid, from four-inch ſtuff. They
are carved into groteſque figures, and have caps and baſes like columns.
The top of this ſtand receives its upper part in a framed bed, into which
it is fitted. The lock, ſcutcheons, and drawer handles, are of fine
7 2 Farnz'tare and Woodwork.

metal work, braſs or latten, wrought; the ſcutcheons and plates are
pierced with delicate ſcroll patterns, each ſet on an inlaid piece of ebony.
There are ſeveral other cabinets more or leſs reſembling this ſpecimen,
the legs being ſometimes plain ſquare pieces inlaid with lines of black,
and leſs ſolid and ornate. The method of decoration and the ſtructure
of the whole piece is generally the ſame. The reader will notice in
this, as in the Certoſino work, how eſſentially Oriental both are in their
general abſence of deſigns from nature, except of a conventional kind,
and their love of geometric forms and combinations.
781, 781a. '65.
ABINET and Stand. Teak wood, inlaid with ebony
and ivory, in pattern of ſcroll foliage and birds, Por-
tugueſe, probably manufactured at Goa, India. H. 4 ft. 4 in.,
L. 2ſſft. I in., W. I ft. 6 in. Bought, IIZ.
Similar to the laſt (777. '65), but ſhowing the European influence
of ſcrolls and conventional birds. The ſcroll work on the top contains
a ſhield with arms.
782. 782a. '65.
ABINET and Stand. Teak and mahogany, inlaid with
roſewood and mahogany in floriated ſcroll pattern;
the mounts of cut braſs. Portugueſe. 17th century. H. 4 ft.
3 in., L. 3 ft. 5 in., W. _I ft. 9 in. Bought, 151.
The inlay is of good deſign. It is replaced, where any portions have
been repaired, with black Compoſition. The ſtand has two drawers.
The legs are ſquare bars with inlaid lines, and end in flat volute feet.
None of theſe cabinets have, or have ever had, flap fronts, as we ſhall ſee
the Spaniſh cabinets have, that are of ſimilar form.
783.'65.
ABINET. Teak, inlaid with ebony and ivory. in foliated
pattern. Portugueſe. 17th century. H, 1 ft. 6 in.,
L. 3 ft. Io in., W. Ift. 6 in, Bought, I5Z,
Spaniſh Cabz'net's. 7 3

1073. Io73a. '71.
ABINET. Walnut wood, in two parts, the upper with
falling front, ornamented with pierced iron plates, the
interior containing a central door of architectural deſign, con-
cealing nine inner drawers, and twelve other drawers, the fronts
of which are arcaded and decorated with raiſed Ornament of ivory,
panelled in Moreſque ſtyle, coloured and gilt after the manner
known as " Varguefio " (from the Village of Vargas, in the
province of Toledo) ; the lock, handles, and clamps of wrought
and pierced iron. The lower part, with a cupboard and two
drawers, is carved with ſimilar forms. Spaniſh (Vargas). I6th
century. Upper part, H. 2 ft. 2 in., L. 3 ft. 7 in., W. 17? in.
Lower part, H. 2 ft. A; in., L. 3 ft. 75- in., W. I7z£- in.
Bought, 201.
The upper portion of this curious cabinet is a plain box the front of
which falls and reſts on pieces drawn out of the lower part. It is
mounted with nine pierced arabeſque iron plates, in which a lion can be
traced, and with raiſed borders which are faſtened down with red cloth by
ornamental nails. The central plate is hexagonal and contains the lock
ſcutcheon into which fits a heavy haſp with two loops. The haſp is
decorated with mafiive baluſters, and four plates form ſcutcheons for
four bolts to the ſides. The haſps and bolts are ſimilar to thoſe on No.
244.'64. Five ſquare plates ſurround the central lock piece. The whole
front is more or leſs covered in this way. Hooks and eyes at the top
angles complete the faſtenings, and wrought ſwing handles, mounted on
pierced plates like thoſe of the front, are faſtened to the ſides of both the
upper and the lower part.
Inſide there is a central door with projecting columns on brackets and
a pedimental top. Another inner door has a ſimilar front, but ſmaller.
The twelve larger drawers have two ſmall arches on the end of each
front on twiſted ivory columns that are in complete relief from the front
itſelf.
The ornamental panels between theſe are in the form of a lozenge
with projecting cuſps or half-circles between the points, and the lozenge
is ſubdivided into nine ſmall' parts alternately prominent and ſunk.
Little painted flowers and leaves on ivory plates decorate theſe ſubdivi-
ſions. The ſpace behind the tiny colonnades is ornamented with bold
zig-zag indentations and ſolidly gilt.
74. Farnz'tnre and Woodwork.

The flowers are in gay colours on the ivory ground, and the whole
effect is bright and lively, like the Tudor colour ornamentation in our
own country.
The drawer handles are ſcallop ſhells in iron. The metal has been
gilt, but the gold remains only in ſmall portions.
294, 294a- '70-
ABINET, with Stand. Walnut wood, with falling front,
inlaid with various woods and plain or coloured
bone; the top ornamented with geometric and foliated pat-
terns, the ſides with vaſes of flowers under arcades, the front
with figures of animals going into the Ark, buildings, and a
coat of arms. Inſide are I 3 drawers and two cupboards, with
ſimilar decoration. The ſtand has ſix turned legs, connected by
arcade work carved with diaper pattern. Spaniſh. 16th cen-
tury. W. 3 ft. 5 in., H. 2 ft. I in. Stand, W. 2 ft. 2;12-in., H.
2 ft.]liin. Bought, 121. -
We have few other cabinets, which in deſign or make offer ſo
intereſting an illuſtration of the tranſition from old mediaeval deſigns and
methods of work to the renaiſſance of art in the 16th century. Of
Spaniſh work of the older periods in furniture, we have but few
examples of any kind. This cabinet is as ſimple as can be in general
conſtruction, being merely a box with falling front, ſet on a ſtand (and
the ſtand which ſupports it is of a later date), When opened there
are drawers and pigeon-holes, or rather ſmall cupboards-thirteen
drawers and two cupboards. The fronts are made into panels by
ſmall mouldings planted on. The panels are inlaid with bold' wood
and bone inſertions, in rude arabeſque forms. The two cupboard
doors are more decorated. A buſt is figured in the centre of each,
and the arabeſque work twines and radiates all round. The outer
ſurfaces of the cabinet are differently decorated on each of the ſides.
The top is laid out with two circular patterns, double bordered by thin
ivory lines, diamond and ſhaped pieces between. The centre is a rude
roſette, alſo bordered, and thin ſcroll lines, with conventional leaves and
bloſſoms fill up the ſpace, the heads or bloſſoms, pointing to the centre,
and two branching volutes to the outer border. Between theſe two
circles is a bold flowered ſcroll in four pieces, conjoined and oppoſed ſo
as to form a rich ſtrapwork knot. The two ſides form the only ap-
proach which the outſide ſhows us to the Cinquecento ornament. They
Spanzſh Cabinets. 7 5
form parts of arcades, the ſides being figures of quatrecento or early
cinquecento baluſtrade-ſhaped columns, with ſpiral lines, &e. Under
this arched form is a pot of wire-ſtalked flowers, prettily diſpoſed, to fill
the arch. a
The front is divided by a lock plate, of later work than the original.
The plate now on is of braſs, with the crown and ſupports on it, probably
early 17th century work. It partially obſcures the impreſa, or heraldic
achievement below. This conſiſts of the ſingle-headed eagle, added
when the King became Emperor, to the royal arms. The ſhield is in
front of this figure, and bears what is meant for a croſs Heury, in the
firſt quarter, and the Zodiacal ſign a ſcorpio " in the fourth. Theſe two
are impaled with V Caſtile 3' and V Leon " in the ſecond and third, or
ſiniſter diviſion per pale, of the ſhield. In the right ſide of the front we
find a pot of conventional flowering ſtalks, and a Caſtle, with cranes
perched on the roof, in the extreme corner. This architectural compoſi-
tion has towers, belfries, and baluſtrades, but ſtands for nothing real but
" Caſtile." The left ſide of the front has only a conventional pot of
flowers, larger, but of different deſign. Below, along the bottom, are
beaſts trotting and caracolling into the Ark, the upper deck of which
ſhows ſtalls prepared for the Spaniſh courſers and barbs. A rabbit
heads the proceſſion; a lion, two horſes, &c., follow. Birds, reptiles,
and animals of all ſorts, are perching or reſting on the volutes or
branches ofſithe flowering plants above. The whole is inlaid with
bone, roſewood, and various light-coloured woods, pear, lime, &c., now
more or leſs diſcoloured. The ornamental borders of this Hap door
and of the ſides (which are plain boards not framed) conſiſt of ſhort
diagonal ſtripes or alternations, in white bone and roſewood, or other
brown wood. The frame or ſtand is made of a piece of wood cut into
three arches, and the front carved in the ordinary 17th century re-
naiſſance manner. Theſe arches ſtand on turned baluſters. The frame
returns with two croſs-pieces, one at each end, alſo on the ſame ſhaped
baluſters. The whole ſtands on a baſe ſhaped to correſpond. There
are iron eyes and hooks, ſhowing that the frame has been hooked to a
wall or to ſome more baluſtrading. In the frame are provided two ſtays,
to draw out and ſupport the flap. The piece looks rude, but it is
boldly cut and deſigned. It has been much worn. All the inlay is
let into the ſolid wood. The fine ſcroll or wire-ſtalked flower-work is
of a character to remind us of the Certoſino work, while theſe Moreſque
deſigns offer ſome ſort of variety to the mere geometric arrangements of
tiny diamonds of which this kind of decoration is generally made up.
It is to be regretted that more numerous ſpecimens of this early Spaniſh
woodwork cannot be obtained. The I6th century artiſts ſtudied to
76 Farnz'tare and Wood-work.

reproduce, as far as it was poflible, the leſſons learnt in Italy, though they
did ſo with many diſcernible national peculiarities.
243.'64.
ABINET with falling front, inlaid with an architectural
landſcape in marquetry of coloured woods ; the interior
ſimilarly inlaid, in arabeſque pattern. Spaniſh or Italian.
About 1550. H. I ft. IO in., L. 3 ft. 1 in., W. I ft. 312- in.
Bought, 251. 55. 3d.
The ſkill with which this cabinet and others like it are decorated, lies
not in the drawing or etching of the deſigns, few lines being uſed, but
in the clever ſelection of woods and laying them in with the grain
running one way or the other, ſo as to give as great a variety as poffible
to this ſimple reſource. A better ſpecimen will be ſeen in No. 244. '64,
further on.
343.'66.
ABINET. With falling front and drawers within. Roſe-
wood, inlaid with orangewood in cartouche and ſcroll
work. On the inner ſurface of the falling front is an interlaced
geometric pattern. Spaniſh. (Andaluſian?) Second half of
16th century. H. I ft. 49,- in., L. I ft. 9 in., W. I ft. 172- in.
Bought, 61. 65. 3d.
7824.'61.
ABINET. Marquetry, of various coloured woods.
Without panelling or framed conſtruction of any kind.
On the doors are figures of two ladies in Spaniſh coſtume,
each playing on a muſical inſtrument. It contains numerous
drawers, with repreſentations of buildings, alſo in marquetry.
Spaniſh. About 1580. H. 2 ft. 4in.,L. 3 ft. 5in., W.I ft. 5 in.
Bought.
This cabinet has no external conſtruction, and is, in fact, a mere box,
of which the lid opens in the front with two doors, inſtead of lifting
up as a whole. The doors_ ſhut within the ſides, and fluſh with the
Spnnzſh cabinets. 77 .

edges of them. The flat top is inlaid with deſigns of birds. The
groundwork is large-grained aſh. The flat doors are inlaid in panel
form, that is, the woods, veneered on the ſurface, are mitred together, ſo
as to ſhow the grain on the top and bottom at right angles with the
ſides. Roſewood, Cork, Botany wood, and other tropical woods, are
employed in the inlay. The inſides of the doors, the drawers and
pigeon-holes which they encloſe, all have their fronts and ſurfaces inlaid
with deſigns of conventional architecture, hunting ſcenes, love-making,
&c., rude, but ſpirited in deſign. The outer doors ſhut with ſnap bolts,
and are worked by a central wheel lock, connected with all the bolts.
The lock is of iron, gilt. The top lifts by unfaſtening an inner lock, and
ſhows a ſet of receſſes correſponding to an upper row of drawers. This
part is in pine, decorated with inlay and veneers. The hinges have long
ſtraps, and are decorated with damaſcene patterns eaten in with acid.
340, 34oa. '66.
ABINET, on Stand. Root of walnut wood, inlaid and
mounted in metal; with falling front and drawers.
The interior is ornamented with ebony and ivory in allegoric
figures. Spaniſh. Dated 1621. H. 4 ft. 10713- in., L. 3 ft. II in.,
W. I ft. 6% in. Bought, 701.
The ſtand-a table ſtand, with two drawers-is a modern reſtoration.
The front is furniſhed with two ſets of iron knobs, gilt, in the ſhape of
ſcallop ſhells. Theſe are for the top to reſt on when down. Another
ſet over the central lock plate has been replaced by a modern ſubſtitute.
The external inlay is in plain rectangular patterns; the inſide has figures
repreſenting virtues and vices, fairly deſigned. The lock plate is of pierced
metal, of a bookbinder's deſign. The drawer locks have ſimilar mounts,
reproductions, the originals having been loſt or broken. They are laid
over red cloth, which has, probably, replaced red velvet. The angles
of this cabinet are bound with plain metal work.
244.'64.
ABINET. Walnut wood, with falling front; the lock
plate, angle claſps, &c., of openwork gilt iron. The
interior drawers are decorated with marquetry and ivory.
78 i Furniture and Wood-work.

Spaniſh. Iſt half of I7th century. H. 2 ft. 63 in., L. 3 ft.
IO in., W. I ft. 6 in. Bought,26l..6s. 4d.
The exterior of this cabinet is made ornamental mainly by means of
the metal' bolts and lock plate of gilt iron, which enrich its appearance.
Theſe conſiſt of a central lock plate with maffive falling haſp, reaching
down from the top of the box 'o'r'cabinetz four ſide bolts, two each ſide,
and three groups of three metal knobs, ſhaped into ribbed and croſs-lined
cones, along the bottom. The lock plate is of thin metal, piercedin
bookbinding arabeſque pattern, and meaſures twelve inches by nine.
The haſp is formed with two maflive columns, of ornamental baluſtrade
deſign, ſtanding out on its face. Similar plates and ſimilar projecting
columns or pillars form the bolt handles and furniture. Theſe columns
are emblems of the Columns of Hercules, the key or gate of the Medi-
terranean; and the lions which are figured amongſt the iron work, the
cognizance of Leon, ſufficiently indicate the Spaniſh nationality of the
work. _
The interior is divided into drawers and pigeon-holes, with archi-
tectural fronts. Little colonnades in perſpective, after the Italian faſhion
of the late 16th century, are inlaid in ivory, to give it the character of
a complete architectural Compoſition in miniature. Gilding is uſed on the
mouldings, and ivory on the flat portions. It is an intereſting example
of the prevalence of the architecturalidea that accompanied the renaiſ-
ſance revival of architecture ſo univerſally throughout Europe, and
ſhowed itſelf, not only in the re-arrangement of churches and ſtreets, but
in the elaborate domed church tabernacles furniſhed with columns,
pediments, and all the members of a complete architectural ſtructure.
At the ſame time the outer caſe of this cabinet is as plain as can be.
The boards that form its ſides ſhow their unmoulded edges decorated
With'pierced metal laid on, round the flap deſcribed above. No form of
furniture can be more ſimple or more eaſily conſtructed by mode-
rately ſkilled carpenters. Such metal' work could be made to deco-
rate any plain neat Woodwork, and it is on the exterior that the main
decoration of ſuch furniture is ſhewn When not in actual uſe.
42 50. ' 58.
ABINET, on modern Stand, the back formed by the
flap door. Marquetry of coloured woods. Spaniſh-
H. 5 ft. 73 in., L. 4 ft. 7 in., W. I ft. 9 in. Bought, 501.




l



il:
wlul'llu
-] (i ill; '
if' a 'lit
l
Hl
(i
l l


[,l
'I
[i]
ii
1) I;
l
il
,l_

if' ill-il' * l 'll
ll
lily
ll' M


ll
'l
4 il







lſt Hffl
'I
jlffl' if
l'l-
ll
i 4.
ll!'*1!'ll""
l' llllli


H


l
l
w q
il
i i) Ill-'Ilii
il
___.__7,_
In
I'W
" uflmthli
l
l
I'll'
ffjjlll'ſſ I_ (I \
il; l] l -4
ll

lil il)

i
l.



(il
* l
ill


llſ
ill'
il"
'il 'i
ui- i


lſ"
i
illllllll'lllill
I l 'ill

'lll all j m ' \ r
ill l l ll l' '* *
l
ljl'


jl
M
th


__l . . i































. l 'i will) 'zl H Tl'l 'ill l" U . il' Ill I' ' la'll'llſ'ſlli
I llllll ll l ij; ill" l! 'I l- ull a I > '-= ill) l Y i 'i ! p 4. l 3 l 3. 'Hill lxl'lllljzZ-iZ-Z.


*__\_-1
AVAH



'ill 'un-n'a'IDMPI ill'
o- I 'M- I' -
ban-un; '
\\\\\\\
llll
'll
la


ſl-
l ill'
Ill
will
I;
ill
ill
=44_ 'G4n

:*"'I
ill
lllllllſſlllllllllllllllwi.
_.-_ j

Struck/1, XÞ'ZZ. Could-'J'-
J'J m -
XBlD-(E'lſſ
Will-'il
llllilillllll
ill
___-
ifi- - s-
j i! ffll
Will.


ll l'zll


___...__,__
.___.-,_ ..






l l1 i I l i .
llllllgluj I +


Spaniſh Cabz'nets. 79
The lid or front has been taken off and fronted with two pairs of
legs, ſquare, diminiſhing as they go down, and inlaid. Theſe are con-
nected below with each 'other and the back by a moulded ſtretcher
carved in ſegments ſo as to touch each pair of legs and the back behind
them, and then unite with the correſponding ſet. The back is inlaid,
and of better work than the more modern additions. The interior of
the cabinet which, as now treated, forms its moſt conſpicuous feature,
is of an architectural character. Arched drawers, with Corinthian
columns, baſes, ſurbaſes, attics, cornices and other regular members,
form a deſign, of which, perhaps, the triumphal arches of ancient Rome
give the general idea. Theſe architectural fronts and diviſions open as
drawers-broad, deep, long, or narrow-in the moſt unexpected faſhion.
The decorations are of marquetry of coloured woods, in quaint archi-
tectural landſcape deſigns. Cavaliers and ladies, hunting or wooing,
or both combined, appear in the dreſſes of the late 16th century, when
the tight hoſe and flaſhed breeches, ending half way down the thigh,
gave place to ſtiff knickerbockers reaching to the knee, ſometimes
rigid with embroidery and tags, ſometimes with common buckram,
according to the quality of the wearer. They are deſigned with great
ſpirit. To this period the older portions of this cabinet may be attributed.
The reſtorations or adaptations are ſome Ioo years later.
p 293> 293a- '70-
ABINET, with Stand. Roſewood; the front having
a receſſed centre of architectural deſign, with hinged
door and interior fittings, the columns mounted with gilt
metal; around it are II drawers which, with the reſt of the
front, are mounted with tortoiſeſhell and ornamented with glaſs
plaques painted with landſcapes and figures. The ſtand, which
has twiſted legs and ball feet, is partly gilt, and painted; round
the cornice are painted repreſentations of cupids ſuſtaining
feſtoons of flowers. Spaniſh. 17th century. W. 5 ft. 7 in.,
H. 3 ft. Skin. Stand, W. 5 ft. Ili in., H. 3 ft. IzL-in. Bought,
501.
The work on this cabinet is too rude to offer much that is inſtruc-
tive, with the exception of the painting on the panels. Theſe conſiſt of
rough landſcapes, with figures of claſiical intention, though it is not eaſy
80 Furniture and Woodwork.

to offer any rational interpretation of their meaning. They, however,
exemplify the method of painting on glaſs now attracting ſo much
attention. Of this there are ſeveral methods, according to the thick-
neſs of the paſte uſed. Theſe appear to be painted and transferred, not
worked on the glaſs with tranſparent vehicles.
4904-'58-
ANDELABRUM (one of a pair). In carved wood,
gilt, the baſe formed of three ſcroll-ſhaped ſupports.
French. Period of Louis XIV. H. 5 ft. 2 in., W. of baſe,
21 in. Bought, 151.
4905-'58-
ANDELABRUM (one of a pair). In carved wood,
gilt, the baſe formed of three ſcroll-ſhaped ſupports.
French. Period of Louis XIV. .H. 5 ft. 2 in., W. of baſe,
21 in. Bought, 151.
Metal or marble has been uſually the material of Candelabra in
antiquity, and in the fifteenth and ſubſequent centuries, and candle-
ſticks are generally not to be reckoned amongſt Woodwork, but in the
I7th century we find frequent uſe made of wood for this purpoſe. In
the mediaeval and renaiſſance churches ſilver, gold, or iron candleſticks
were in uſe, but in churches of the Franciſcan order and thoſe derived
from it they continue to be made of wood.
5703-'59-
ANDELABRUM or Gueridon (the upper part only).
Carved wood. Compoſition of cupids, ſtrap work
ornament, fruit, &c., partly gilt, the cupids painted in fleſh
tints. Italian, Venetian. About 1560. H. I ft. 4 in., diam.
15 in. Bought (Soulages Coll.), 8Z.
This has been the top of a lampſtand, and the ſmall table or flab
which crowns it is round, ſupported by three figures of amorini or
cupids crouching ſo as to make the legs meet in a common centre.
Cande/aara. 8 I

6009.'59.
ANDELABRUM or Gueridon. Wood, carved and
gilt; ſpiral columns with ivy branch twined round.
Italian, Florentine. 17th century. H. 4 ft. 2-_%; in., diam. of
baſe, 16% in. Bought, 21. 195. 6d.
It would be difficult to find a ſimpler or more ſuitable deſign for
ſuch a piece of furniture; it is upright, ſolid, not eaſily to be upſet,
and an excellent ſpecimen of old Florentine or Venetian gilders' work.
The wood has been roughly carved and then prepared with geffo or
plaſter for the gold ſize.
The gold, in conſequence of the fulneſs of the bed, is rich and
maſiiver The edges and Ornaments broad, without being heavy, or
imitating the thinneſs of ,metal work. At the ſame time theſe ſilrfaces
are delicately worked and tooled. It muſt be concluded that the gold
has been renewed. This, however, is often ſo pure in metal and the
leaf ſo far leſs ſilmy and thin than our modern gilders' leaves that it
would outlaſt by centuries any work we now make.
4909.'58.
ANDELABRUM (one of a pair). In carved wood,
gilt, ornamented with maſks, cupids, and three
ſtatuettes, painted in natural colours. Italian. 17th century.
H. 6 ft. 9% in., diam. 21 in. Bought, 601.
A candelabrum like No. 5703. '59. It is brought down with
branches of Ornament to the ground. All of this is well and freely
cut in ſoft wood and prepared for gilding with the old Italian geſſo
preparation.
4910.'58.
ANDELABRUM (one of a pair). In carved. Wood,
gilt, ornamented with maſks, cupids, and three
ſtatuettes, painted in natural colours. Italian. 17th century.
H. 6 ft. 9% in., diam. 21 in. Bought, 601.
F. F
8 2 Farnz'tare and Woodwork.

6009a.'59.
ANDELABRUM or Gueridon. Wood, carved and
gilt; ſpiral columns, with ivyſſ branch twined round.
Italian, Florentine. 17th century. H. 4 ft. 2% in., diam. of
baſe, 16-12- in. Bought, 2Z. 195. 6d.
The little figures, maſks, &c., are painted up to life. _This is a
piece of furniture of which the ſixteenth century architectural painted
decorations or arabeſques ſeem to have ſuggeſted the Compoſition.
The well-known pilaſter decorations of the Loggie or upper galleries
running round the Court of St. Damaſus in the Vatican are for the
moſt part compoſitions of this kind.
961. ' 5 5.
ANDLESTICK. Carved cedar. Italian. 18th cen-
tury. H. 6 in., diam. of baſe, 4 in. Bought, 165. 2d.
It is of the form commonly produced in ſilver in this country during
the laſt century. The baſe is ſquare with the angles off, rings and knobs
on the ſtem. Decorated arabeſque work oh the knob and in a broad
ring round the baſe, It may, perhaps, have been made as a model for
ſilver work, as it could ſcarcely be uſed without a metal nozzle for
lighted candles.
962. ' 5 5.
AN DLESTICK. Carved cedar. Italian. 17th or 18th
century. H. 6 in., diam. of baſe, 4 in. Bought,
165. 2d.
'64. I- 32.
ARRIAGE, antique. Biga or two-horſe Chariot. The
original, of marble, is now in the Muſeum. of the
Vatican. The body of the chariot, the body and one foot
of a horſe are Grmco-Roman; the other parts, reſtorations.
Carringes. 8 3

H. 5 ft. 8 in., L. 10 ft. II in., W. 4 ft. 7 in. L. Malpieri
Rome. 721.
The front is delicately ſculptured with ſcroll foliage, and the inſide
with two boughs of olive wood bound to an ampulla or vaſe, with the
bands and cords uſed in the ſacrifice. The ſculpture repreſents the
attributes of Peace.
The celebrated object, of which this is a caſt, occupies a circular
room in the Muſeum of the Vatican, known as the " Sala della Biga,"
conſtructed for it by Pius the Sixth, who removed it thither from the
Church of San Marco, where it formerly ſtood. The body only of the
chariot is old. It repreſents a monumental rather than an actual
carriage, and has ſtood on the crown of a pediment or ſome other
pedeſtal. Such as it is it repreſents the lateſt and moſt coſtly form of the
carved chariot of Greek antiquity made by Greek artiſts, and reproduced
for the Roman Empire. '
ARRIAGE. Wood, &e. A State Carriage belonging to
Lord Darnley.
For a deſcription of this intereſting carriage, ſee Appendix.
235. 235yyy. '66.
ARRIAGE. Wood, &c. A ſtate carriage made for the
Lord Chancellor of Ire-land. The panels decorated
with allegoric paintings by VV. Hamilton, R.A. The box
ſupported by ſtatuettes of carved and gilt wood. The roof
ſurmounted by a coronet. Alſo, HARNESS for ſix horſes;
faced with crimſon morſſocco leather, and ornamented with gilt
metal. In 77 pieces. Engliſh. Date 1781. H. of carriage,
II ft. 6 in., L. 19 ft. IO in., QW. 7 ft. 3 in. Bought, 5251.
(Two ſets of harneſs transferred to Muſeum, Edinburgh)
The Iriſh ſtate carriage was made for Lord FitzGibbon, the chan-
cellor, made a baron in 1789, FitzGibbon of Lower Connello, Viſcount
of Limerick, I793; Earl of Clare, I795; Britiſh peer, 1799. The
title became extinct in 1866. It is ſhaped as our modern coaches are,
but the ſides are perfectly flat. The top is the broadeſt portion. The
body ſhows the flat carved wreath work in the ſtyle popularized by the
F 2 '
84 Furniture and Woodwork.

Brothers Adam, the architects and deſigners of ornament. Well
cut caryatides with flower-baſkets on their heads ſupport 'the roof
between the windows and at the angles. The ſide panels are of
Vauxhall plate glaſs, the edges being bevelled; and the lower panels
are gilt and delicately powdered with harps and trefoils, theſe being laid '
between thin lines which divide the ſpace into ſtripes.
The doors are painted with compoſitions repreſenting Juſtice and
Mercy, and the harmony of the three kingdoms 3 and the back and front
lower panels repreſent Plenty-a harveſt-home or car of Ceres with a
proceſſion of flower bearers 3 and Commerce, in the perſon of William
Penn, arranging treaties with Cherokee. chiefs and other feathered
potentates.
The bed is compoſed of the fore and hind wheels, axles, and frame-
work connected not by one central perch, but by two bars of iron
clothed with carved oak leaf Woodwork, which paſs under the body one
on each ſide, and riſe up to meet the ſprings. Theſe are faſtened on at
right angles, and conſiſt of plates of ſteel one over the other, the body
hanging by broad ſtraps to the ends. Four finely deſigned female figures,
carved in oak and gilt, act as the ſupporters at the four ends of theſe ſide
perches. Wiſdom, perſoniſied by Minerva, with a lance and holding
a ſerpent, ſits on one ſide in front, and Juſtice, bearing the ſcales and
the ſword, on the other. Law carrying the lictor's faſces, and Plenty
with a cornucopia, form the two back ſupporters.
The front framework ſupports a red hammer cloth, and turns on
a boſs finely carved into a claſſic maſk. The naves of the wheels are
covered with lion-headed braſs mounts that conceal the axle, and the
ſpokes of the wheels areſi delicately'ribbed and carved with ſlight leaf-
work. There is no footboard behind.
The diſtance between the axles is great, ten feet. The arms of the
owner, and the Iriſh harp in braſs work, very richly gilt, decorate the
buckles, blinkers, loops, rings, and all portions of the harneſs that offer
opportunities for ſuch Ornaments, and the harneſs itſelf is of red morocco
leather. The pole and ſplinter bar are carved in low relief. The
panels are painted by Hamilton, the Academician.
7117.'60.
ARR-IAGE. Wood, &e. Carved with feſtoons,
groteſque figures, &c., painted and gilt. Italian, Nea-
politan or Sicilian. Beginning of 18th century. H. 5 ft. 3 in.,
L. 14 ft. 9 in., W.74 ft. 7 in. Bought, 351.
Carriages. 8 5

An example of a highly ornamented caleffa or caratella, the light
gig-ſhaped vehicle of which we have the prototype in the ciſium, the
light poſt gig of claffical Roman times. The bed conſiſts of two
elaſtic ſhafts, ornamented with carving, connected by work partly
carved and partly formed of iron, repreſenting over the axles two cen-
taurs painted originally up to life, as is the way with the fine Neapolitan
earthenware and the Capo di Monte porcelain. Theſe two figures
bridge over the axles and ſtrengthen the ſhafts by taking the bearing
further from the axle in each direction. The croſs bar that paſſes at
this point above the axle is arched, and a piece of carved wood-
work in the form of a pot of flowers forms a, top to it. The little
body, calculated like our old mail cart, for one perſon only, is ſupported
on four feet, which curve down in the form of carved dragons with
metal wings and claws, to the ſhafts. The footboard is ſhaped like a
ſcroll ſcutcheon, rolling over here and there, and it turns up in front to
afford a good reſiſtance to the feet. It is kept in place by delicate iron
ſcroll ſupports. A ſplinter bar, carved and gilt, is placed in front of this.
The ſprings of this elegant carriage are ſupplied by the elaſtic bend of
the long ſhafts, and in this reſpect it is the very counterpart of the old
ciſium, and of the light country carts or a traps" of Tuſcany. The
Norwegian cariole, which contains one litter only and juſt room for a
trunk behind, is built in the ſame faſhion. The body is thrown forward
from the axle 3 unlike our own gigs, which are balanced on it ſo as to
ſave preſſure on the horſe's back as far as poſſible, it is, in theſe caleffes,
half on the wheels and half on the horſe. The horſe wears a collar, but
the ſhafts paſs high up ſo as almoſt to reſt upon his ſhoulder, as the
yoke does. Commoner ſpecimens of this kind of vehicle may be ſeen
in Naples crowded by a collection of old and young men, women, and
children, balanced in the ſtrangeſt faſhion upon every portion of which
advantage can be taken. The wheels are of large Circumference, and
the drag on flat ground, if the weights are fairly adjuſted, is much leſs
than it is on cars of which the wheels are ſmall enough to be entirely
under the body of the carriage.
3008.'56.
ASE. Poliſhed wood, with mountings, &c., in ormolu;
containing two fluted Venetian glaſs bottles, mounted
in ſilver. Italian. 18th century. H. 17115 in., W. IOYIZ by
7z£ in. Bought, Iol.
8 6 Farnz'tare and Woadwork.

70. 9.
HAIR. Metal caſting. Magiſterial chair or biſellium.
Four ornamental pillars are bound together by horizon-
tal bars; one of the upper bars is decorated with a damaſcened
ſilver and gold pattern or ſretwork, &c. The upper compart-
ment of the chair is filled in with an Ornament, Voluted in the
centre ſpringing from two medallions and terminating in horſes'
heads. The original, in bronze, was found at Pompeii, and is
preſerved in the Muſeo Borbonico. Engraved in V Real Muſeo
Borbonico," T. II. tav. 31. H. 3 ft. 6 in., W. I ft. 34; in.,
L. 3 ft. 4-3- in. Bought of M. Caſtellani. Price, 1801.
This is a biſellium. The ſella curulis, of which the Italian folding
chair is a ſort of perpetuation, holds but one perſon. The bi-ſellium is
for two. Graevius has an explanatory treatiſe on the differences between
theſe ſeats.1 On this the conſuls could ſit together. There was alſo
a tri-ſeHium, wide enough to hold three, with four ſets of croſſed legs or
ſupports. On a medal of Julius Caeſar,2 we ſee a ſeat of this kind with
four ſets of legs. The biſella or biſellium, of which this elegant ſeat
is a copy, is in the Muſeo Borbonico, at Naples, and was diſcovered at
Pompeii. It is of bronze, with remains of intarſiatura, or inlay of ſilver.
A kind of niello work. The meaſurements of this ſeat will ſhow that it
is hardly large enough for the double ſeat. Its height, alſo, implied the
uſe of a a ſcabellum," or footſtool. Here we may note that theſe ſeats
in the luxurious days of the empire were made of different heights.
Some were carried to the theatre or other places of reſort, for the
owner's accommodation, and were high enough to give him a good view
over the heads of thoſe whoſe rank or wealth did not entitle them to
ſuch a mark of diſtinction.
In the example now in the muſeum the ſeat is a flat plate of bronze.
It is ſupported by four legs, round, with neckings and thin projecting
rings and ending in feet. The ſeat frame and the rings round the necks
are inlaid with ſilver. The tops riſe two or three inches over the ſeat, ſo i
as to keep in place the cuſhions which covered the ſeat ;-cuſhions thick
enough to ſave the owner from contact with the hard metal. Theſe
legs have been caſt from models, turned in the lathe, and the originals

1 De Honore Biſellii. Theſaurus Antiquatum Graec. et Rom. viii.
2 Goltzius, C. J. Caeſar.
Antique Chairs. 87

have perhaps been alſo finiſhed on the lathe and have had a wooden core.
Croſs bars higher than the middle connect the legs. Curious groteſque
figures with horſes' heads at the top curling, where they meet, into volutes
with framed heads for centres, deſcend from the outer ends of the ſeat
to connect it with the line of the croſs bars. The back ſupports bend
down in the ſame form and have the heads of geeſe, the bird kept as
ſacred in the Capitol at Rome, in memory of their vigilance in alarming
the garriſon by their cackling.
'70. Io.
HAIR in metal caſting. Magiſterial chair or biſellium.
Four ornamental pillars are bound' together by horizon-
tal bars, damaſcened in ſilver. The upper compartment is
filled with an Ornament voluted in the centre and terminating
with the heads of mules, ſpringing from two medallions above
the centre of the middle bar. The original, in bronze, was
found at Pompeii, and is preſerved in the Muſeo Borbonico;
Engraved in " Real Muſeo Borbonico," T. II. tav. 31.
H. I ft. II in., W. I ft. 5 in., L. 3 ft. 4. in. Bought of
M. Caſtellani. Price, 1601.
The general form is the ſame as that of the laſt deſcribed but lower,
and ſuch as could be uſed without a high footſtool.
Mules' heads ſupply the place of thoſe of horſes. Theſe chairs
could be uſed by decurions and duumvirs, officers of the municipality.
'68. 16.
HAIR of DAGOBERT, who died A.D. 638. Re-
production in electro-bronze. The original, in the
Louvre, Paris, is of bronze partially gilt, caſt, and chiſelled, the
back and upper portion of the arms added by Suger, abbot
of St. Denis, I2th century. H. 3 ft. 412- in., W. 2 ft. 6 in.
Meſſrs. Lionnet, Bros., Paris.
As this repreſents the oldeſt piece of modern furniture of its kind
belonging actually to the South Kenſington Muſeum, of which we ſhall
have to give an account, we muſt ſay what is known of its hiſtory. It '
is founded on the deſign of the old claſiical chair, and we ſee in it the
Continuance of the claſſic traditions of art long after the collapſe of the
8 8 Furniture and aodrwork.

weſtern empire. In Gaul, indeed, the ſeal of the old Roman mind had
made a deep impreſſion; we have but to look at the ſculpture, the
bronze work, not to ſpeak of the evidence, ſtill more convincing, of the
claflic architecture ſtill extant in the South of France.
This chair is formed of bronze and has been gilt. The tradition con-
nected with its gilding is curious, and ſhall preſently be given. The ſeat
has been made to fold together. It is formed with two tiger-headed legs
in front facing ſideways, the necks being "repreſented after nature with
locks of hair or fur, and ending in conventional legs, but with claw feet.
Diagonal pieces from the upper portions to the lower end of the
oppoſite leg ſit into each other with a large round-headed rivet in the
middle like ſciſſors. Two legs, of ſimilar outline to thoſe in front,
are connected by a like pair of diagonal bars at the back. Theſe bars
are made to ſlip up and down in a ſlot, contrived in a flange that is
forged on the back or inſide of each leg. Above the heads riſe the
two arms, formed by bars or bands bending outwards before they riſe
perpendicularly. They are faſtened to the ſeat by interlaced loops, with
a bar through. Knops like ſword pommels ſiniſh theſe bars or pins in
front. The back is ſhaped like a low gable or pediment ſupported by
two ſegments of circles that meet with a cuſp in the middle. The
ſpace between is ſilled with circles and tracery partly deſtroyed. This
back framework is alſo hinged by loops and a heavy pin to the two
arms, thus keeping the chair open and ſixed.
The arms are pierced work in two rows or bands, of which the
upper forms a foliated branch or ſcroll, rolled over in the form of the
12th century architectural mouldings in France. The lower band is a
pierced moulding of roſettes of Byzantine character. From the bottom
of the arm pieces two flanges bend inwards, each pierced with four round
holes, from which velvet, leather, or other ſtuff has been hung to form
a ſeat. The upper portion of the arms has been the work of later times,
and was added by Suger, abbot of the monaſtery of St. Denis, the
prime miniſter to Louis the Seventh during the firſt half of the 12th
century.
The artificer was St. Eloy, or Eligius, as his name is given in Latin.
He was born at Catelat, two leagues north of Limoges, about 588.
His parents placed him under the care of a goldſmith, named Abbo,
maſter of the mint of Limoges. Eligius, having buſineſs that called
him into France proper, that is over the Loire, made the acquaintance
of Bobo, treaſurer of Clotaire the ſecond, in Paris. He lived many
years as an artiſt 'in the royal ſervice, making reliquaries,.croſſes, and
other utenſils for eccleſiaſtical uſe. He was made biſhop of Noyon,
and died in 659.
C/zaz'r of Dagobert. 89

His life has been written by St. Ouen, biſhop of Rouen, who gives
us the hiſtory of this famous chair or throne.
He tells us that Eligius became known to Clotaire, king of the F ranks,
in the following way. That prince deſired to have made for himſelf
a ſeat of fine gold ſet with precious ſtones 3 but he had no one in the
palace able to make ſuch" a work in the way the King had conceived it.
The King's treaſurer knew the ſkill of Eligius, and he began to try
him to ſee whether he could bring to perfection ſuch a thing as the
King wanted to have; and when that officer had ſatisfied himſelf
that Eligius was well able to do the thing, he went to the King
Clotaire" and told him he had found a craftſman able and willing to
undertake the work and that without delay. The craftſman ſet him-
ſelf incontinently to the work and quickly brought it to a good end.
But he made two feats with the gold that had been given him for one.
He had finiſhed the work committed to him to do without diminiſhing
it by one ſingle ounce, or making uſe of the file as other goldſmiths do,
which would have eaten too deep into certain parts of it, or expoſed it
to the heat of fire which would have devoured it. The work was
finiſhed. Eligius then made haſte and took the ſeat to the King's
palace 3 but he took care to keep by himſelf the ſeat which he had made
over and above what had been commanded him. The King wondered
much at the work and praiſed the beauty of it, and ordered that a
reward worthy of the work ſhould be given to the workman. Then
Eligius uncovered the other ſeat and ſaid, that in order that the King
might loſe nothing of the gold that remained he had uſed it for this
ſecond ſeat.
The gold given was pure metal, and, of courſe, in that ſtate it could
not be made into ſuch a ſtructure as a chair from its ſoftneſs. It would
need an admixture of copper or other alloy. This might be in the
proportion of two or three or more parts in twenty. Lenormant1
is inclined to put it at as much as a ninth of the total quantity. In
this caſe, of courſe, one-ninth of the gold or a twelfth or leſs remained
pure in the workman's hands, and with this it is ſuppoſed that he gilt,
and gilt thickly, a chair made of bronze. If the gold chair had been
made ſolid the alloy would not have 'been in ſufficient proportion to
make the metal, when teſted by the touchſtone, belie its genuineneſs.
It is ſuppoſed that the firſt or real gold chair has been melted down
and that the ſecond or gilt bronze ſeat only has come down to our
days. Suger, the abbot of St. Denis, ſpeaks of it as, *c The noble ſeat
U of glorious King Dagobert, whereon, as old annals bear witneſs, the

1 Melanges d'Archeologie, i. 163. Faut. de Dagobert.
90 Farnz'tare and Woodwork.

a Kings of France were uſed to ſit after they had been crowned kings
V to receive the homage of the great lords of the country, it hath
a been by lapſe of time damaged and the joints broken aſunder;
a but we have reſtored the ſame both by reaſon of the lofty uſes to
a which it hath been put, and becauſe of the excellence of the work-
T manſhip thereof."1
The chair has now become national property and is in the Louvre,
and the copy or caſt of it in the South Kenſington Muſeum was made
by expreſs permiflion of the Emperor Napoleon the Third.
45- '69-
HAIR. Mahogany, carved by Sheraton; the arms,
back, and legs covered with Crimſon damaſk. Engliſh.
18th century. H. 2 ft. IO-Z- in., W. 1 ft. II in. Bought, 81. 85.
46. '69.
HAIR. Mahogany, carved by Sheraton; the arms,
back, and legs covered with Crimſon damaſk. Engliſh.
18th century. H. 2 ft. Io-Z- in., W. I ft. 11 in. Bought,
8/. 85.
53- '53-
HAIR. Japanned papier-mache; black ground, with
pearl inlay. Engliſh, modern. (Jennens and Bet-
tridge) H. 2 ft. 7 in., W. 15 in. Bought, 21. los.
This work is an imitation, as far as proceſs is concerned, of the
Chineſe lac work. It is very laborious. The beſt ground is maple or
other not very hard wood. The pieces of inlay are glued on, and lac
diſſolved in ſpirit is then rubbed on, and rubbed afterwards down to an
even ſurface. Other coats of lac are laid on and rubbed down with
pumice ſtone till the whole ſurface is raiſed by theſe ſucceſiive flat layers
of varniſh, even with the ſurface of the pearl. The whole is then poliſhed
down. It is one of the ſpecial induſtrial products of Birmingharn.

1 De rebus adminiſtratione ſua geſtis. Bouquet Hiſt. de France, xii. 101 A.
Engliſh C/znz'm. 9 1

8123.'63.
HAIR. Carved walnut wood, a folding chair. Flemiſh.
About 1660. H. 2 ft. 1 in., W. 14% inches.
Bought, 41.
This is formed in the faſhion of modern folding camp-chairs, the
four legs being formed of four pieces croſſed from front to back like the
letter X, and held in place by a piece of velvet or ſtuff that forms the
ſeat. The back is merely the prolonged fore-legs which rake back-
wards. Theſe are joined by a piece carved with arabeſque foliage in
relief. Other bars join theſe portions, and they are united to each other
by rows of little arches made of turned baluſters in ebonized wood. The
arch being cut out of the croſs bar, and bored into cuſped headings by
means of the augur or centre bit. The bars connecting the front or
ſhort legs are alſo carved in low relief. A uſeful pattern for modern uſe
as a travelling chair.
7211.'60.
HAIR. Carved walnut wood. An arm-chair with
ſquare back; the ſtiles and framing inlaid with mar-
quetry. South of France. About 1580. H. 3 ft. 10 in.,
W. 21% in. Bought (Soulages Coll), 251.
In the ſtyle of the work attributed to Bachelier of Toulouſe. It is
ſquare in ſtructure, the back being upright divided into two ſquare
panels, and theſe ſilled with carved pieces to make them into arches.
The top riſes into a pedimental Ornament with a maſk about the centre.
The pediment is formed by flowing foliage ſcrolls rolling over. The
front ſupport of the ſeat forms a double arch, the centre being a bracket
pendant. The legs are framed together at the ground with croſs bars.
The little ſpandrils formed by the front and back arches are filled by
pyramid pieces of ebony or ſtained wood, and round the back frame-
work are lines of inlaid work and ſquare pieces of marble, beſides leaves
and lines of pearl ſhell and white wood. It is the only piece of furniture
'in the form of a chair, correſponding to the characteriſtic carved cabinets
of South French conſtruction, and is quite diſtinct and unlike the
Italian, German, and Flemiſh feats and chairs.
92 Furniture and Wood-work.

8464.563.
' HAIR. Carved walnut wood, with arms and lofty back,
raiſed on two ſteps; a chair of ſtate, the ſurface covered
with elaborate arabeſque ornament, maſks, terminal figures,
fruit and foliage in relief. French. 16th century. H. 8 ft.
9 in., W. 3 ft. I in. by 2 ft. 3 in. Bought, 421.
A ſeigniorial chair, ſuch as was uſed by the a Lord " or ſeigneur
when he adminiſtered juſtice within his juriſdiction. It may have been
uſed for the preſidential chair of one of the provincial Parliaments.
It has a lofty back, ſupported by terminal figures in the ſtyle pre-
valent under Henry the Second of France. A ſimilar figure, ending in
arabeſques of natural foliage well deſigned, occupies the panel at the
back. It has a cornice in which is a coat-of-arms charged with a crown
over two ragged ſtaves croſſed in ſaltire. It has a pedimental curved
top finiſh. The feat curves inwards below, and the curved front panel is
carved and reſts on claw feet. The ſeat opens, and has a receptacle for
the hangings and cuſhions with which it has been furniſhed on occaſions
of uſe. It ſtands on a ſtep and that on a lower pedeſtal. It has no
doubt been uſed for a ſeigniorial throne. A chair very much in the
ſame ſtyle, but more' elaborately ornamented, was uſed as a canons'
ſtall in St. Giorgio Maggiore, in Venice, and is in the collection of
Mr. Vaughan.
3680.'56.
HAIR. Mahogany frame, ſeat and back covered with
ſtamped leather. French, modern. H. 2 ft. II in.,
W. 1815 in. Bought (Paris Exhibition, 18 5 5), 21. 125.
3681.'56.
HAIR. Walnut wood frame, covered with ſtamped
leather. French, modern. H. 2 ft. 11 in., W. 181.; in.
Bought (Paris Exhibition, 18 5 5), 21. 125.
Frenc/z C/zaz'rs. 9 3

3682.'56.
HAIR. Walnut wood frame, covered with ſtamped
leather. French, modern. H. 2 ft. II in., W. 18;£- in.
Bought (Paris Exhibition, 1855), 21.. 125.
The woodwork is without decoration. The Ornament is confined
to the leather emboſſed and painted in imitation of the old a Spaniſh "
or Italian ſtamped and painted leather. The deſigns are complicated,
thinner, and finer than the old deſigns, leſs effective, but at the ſame
time more ſober and harmonious when mounted on uncoloured brown
woods. The general tone of the colour is of a ruſſet character.
3683.'56.
HAIR. Walnut wood frame, carved; covered with
ſtamped leather. French, modern. H. 3 ft. 9 in.,
W. 1822- in. Bought (Paris Exhibition, 18 5 5), 21. lar.
With a carved top or finiſh to the back. The woodwork is neat,
and the tone of the leather ruſſet and brown, ſo as to harmonize with
the colour of poliſhed walnut wood.
2399-'55-
HAIR. An arm-chair in carved oak, the arms formed
of dolphins reſting on maſks. German or Flemiſh.
Late I6th century. H. 4 ft. I in., W. 2 ft. 6 in. Bought
(Bernal Coll.), I5Z. 105.
The general character, both of form and carving, differs from the
chairs of the ſame period in the collection in many particulars._ The
whole piece rolls into curves and circles, and has nothing of the ſquare
flat character'ſo general among the Italian ſpecimens of the 16th century
chairs. The ſeat is wide for its depth. The legs, arms, and back
begin to ſhow the bulging character ſo diſtinguiſhable in the Dutch and
Flemiſh chairs of the 17th century. The front legs twiſt inwards with
a gradual curve, and form a ſort of trumpet-ſhaped dolphin or fiſh. The
foot or baſe being a dolphin's head, while the tops coming to ſupport
the arm fronts are men's heads or maſks. The arms curve outwards
94 Farnz'tare and Wood-work.

from the back to reach the width of the front of the ſeat. They alſo
are cut into maſks behind, and end in dolphins' heads in front. The
back is rounded and goes up into an oval. The hind legs turn in-
wards, contract with a waiſt at the ſeat and bulge again into the oval
back, curling round with two volutes, and have a ſmall oval between,
which again projects above in a carved point or top. A carved
bar and a row of little arches, formed by baluſtrades of turned black
wood, fill up the wider portion of the back. Below the ſeat in front
is a ſupport of brackets, two joining into the legs with a central
pendant. The work on the dolphins' heads, maſks, bars, &c., is fine
and well conceived as regards the general form. It interferes in no way
with the ſtructure and effect of the curved legs and members. Theſe
curves are gradual, and in ſeveral directions like thoſe of a large ox horn,
with turns as well as curves, and increaſes in ſize. It will be ſeen how
difficult ſuch carvings are and how entirely the workmen of the day
were maſters of theſe different feats of cutting and cabinetmaking.
2453.'56.
HAIR. Oak; a hall chair, with marquetry, inlaid and
turned legs. German. (Brought from Cologne.)
About 1580-1600. H. 3 ft. 2 in., W. 16 in. Bought, 21.
The ſeat is made into a ſquare ſunk panel; into it are morticed
four turned legs, being mere repetitions of beads or balls. They are
ſet out where they meet the ground. The back is a panel ſhaped out
of a ſingle piece. It is cuſped or cut out into acorn points on the top
and on the upper angles, and into a broader form of the ſame kind on
the two ſides. Theſe portions are carved in relief, and a narrow central
panel of greater thickneſs is inlaid with a foliated ſcroll, in white wood,
and with inlaid black lines, forming an oblong ſquare. The ſeat is
ungainly in the proportion of its width to the narrowneſs of the upright
back, but it is characteriſtic.
4883.'58.
HAIR. Walnut Wood, with cane-work ſeat, the back
legs, and croſs frame carved with ſtrap and ſcroll work.
German. 17th century. H. 3 ft. 9 in. Bought, IOZ. los.
For good workmanſhip and fine carving there are few ſpecimens to
be compared with this piece of German work. The legs bulge out
ſomething in the Dutch faſhion, and this may ſerve to fix the date of the
German C/zaz'rs. 9 5

work as contemporary with the end of the reign of our Charles Il., or that
of James II. The upper portion, too, of the legs is broad and maflive.
The inſides of the legs and the feet are delicately carved; ſo are the
under ſides of the four pieces that frame the ſeat. The four legs are
united by two back and front rails cloſe to the ground, and theſe two by
a carved central rail. The back bulges out and returns, ſo as to be
more comfortable for leaning againſt. The two ſides of it and the
back legs are each cut out of ſingle pieces of wood. The top is pierced
and carved very delicately. It forms a pedimental finiſh. The whole
back divides into two upright panels by a thin central piece joining
from the ſeat to the top. This makes it lighter in character. The
carving begins to ſhow the ſhell-like curves and ſcrolls that became
ſo faſhionable for the Louis XIV. or Louis XV. ſcroll work cut for
gilding in the early 18th century.
4882.'58.
HAIR. Walnut wood. Carved with ſcrolls and foliage.
Two panels of cane work in the back. German. 17th
century. H. 3 ft. 6 in. Bought, 61.
The top of the back, which is the moſt ornamental feature, projects
on each ſide, ſo as to occupy-more ſpace than the reſt of the chair.
The centre meets in an informal ſcroll pediment interrupted like the
pediments ſo common in French architecture and large cabinet work
in the I6th and 17th centuries, and which became popular in the
renaiſſance art of England during the reigns of Anne and of the Georges
that ſucceeded. The back, below this ſhowy top, forms two ſober
narrow panels of cane work. The legs and frame pieces generally are
moulded, but they ſhow no carving. The four legs are united as thoſe
of the laſt number. The chair is a ſpecimen of the good work exe
cuted in Germany during the Louis XIV. and Louis XV. period.
6498.'67.
HAIR. Carved ebony. An arm-chair, with decoration
of ſcroll foliage. Indian, modern Cingaleſe. H.
3 ft. 5 in., W. 2 ft. 1 in. Given by the Commiflioners of the
Exhibition of 1851.
One of numerous examples that might be ſhown of modern Indian
and ſpecially of Ceylon work. The wood is ebony and very heavy,
96 Furniture and Woodwork.

and the work, carvings of leaves, &c., carefully done. Much and very
good carved furniture made early in the century for Engliſh reſidents
in Ceylon is to be met with in this country. The carved chairs are
generally made with a back divided by croſs bars and turned work into
rows of little arches, while good foliage work in ſhallow relief is made
upon the bars and arms. It is intereſting when viewed in connexion
with the carved and inlaid furniture that has been made in various parts
of India for European uſe. The Indians, Portugueſe, and Dutch
modified the native make in the ſpirit of their own national furniture
deſigns, and our own countrymen ſeem to have continued this traditional
adaptation, ſometimes with good effect.
6499-'57-
HAIR. Carved ebony. An arm-chair, with decoration of
ſcroll foliage. Indian, modern Cingaleſe. H. 3 ft. 5 in.,
W. 9. ft. 1 in. Given by the Commiſiioners of the Exhibition
of I 8 5 1 .
Similar to the laſt.
159.'66.
HAIR. Wood. A folding arm-chair. Inlaid in geo-
metric pattern of dark wood, ivory, and white metal, in
the ſtyle of Weſtern India. Italian (Venetian). Date before
1500. H. 2 ft. 10 in., W. 2 ft. 7 in. Bought, 11. Is. Id.
Of the work known as "Certoſino," or Carthuſian work, we
have few ſpecimens ſo uſeful for purpoſes of ſtudy as this chair. It
is, in the ſirſt place, quite untouched, and has more Oriental character
than any of the uſual ſpecimens of the work on coffers, tables, &c.
The general feature of the deſign on this chair is the ſtar, formed by
uniting long lozenge-ſhaped diesſi. We cannot compare this chair with
the well-known Bombay work which continues to our own days
without ſeeing that this particular chair has been made there or by
workmen of that diſtrict. Such a piece might have been made to an
order by one of the Venetian naval commanders, and brought home
actually from lndia. The chair, like all made in this form, conſiſts
of pieces curved and recurved, the upper curving inwards to form a
Italian C/zaz'rs. 9 7

ſemicircular ſeat, and the others reverſed to form the legs. They are
jointed where they croſs, and hinged on a pin. The head of this is
concealed by a circle of inlay. The ſeat is hung on two croſs pieces
that join the upper curved portions, and the arm pieces complete the
'ſraming. A back is ſormed by ſtraining a narrow breadth of velvet or
other ſtuff from arm end to arm end.
7207.'60.
HAIR. Walnut wood. A folding arm-chair, inlaid with
ivory and light-coloured wood. In the centre of the
back is the eſcutcheon of Guidobaldo Il., Duke of Urbino.
Italian. About 1550. H. 3 ft. 4. in., W. 2 ft. 7 in. Bought
(Soulages Coll), 401.
Theſe chairs fold over on a round hinge formed by a wooden joint,
the two back and two front pieces S-ſhaped, though not quite ſo
much curved, or The tops and bottoms are joined, and the tops
form the arms. Seat ſuſpended on ſtraps, and a back of ſtrained velvet
or ſtuff. The decoration in ordinary Certoſino work of ivory. Lozenge
dies forming circles, encloſed by fine lines of holly or other white wood.
The groundwork in all this manufacture ſeems to be walnut. No
other wood has the tenacity and evenneſs of grain that is requiſite for
the conſtant cutting for the inſertion of the dies and lines. The arms
of Guidobaldo are the ancient Meta or goal of the Hippodrome-three
cones ſurmounted by balls. Theſe are mounted on an architectural
baſe. The Circus Maximus and other ſimilar racing encloſures were
of long oblong ſhape, with a raiſed platform occupied by a ſeries
or monumental objects of which the meta formed the laſt, running
down the central lines. Round this the chariots were driven.
Guidobaldo the Second was a knight of the order of the Golden
Fleece. His court, we are told, was the reſort of learned men, whom
he received with the greateſt magnificence and hoſpitality. He is
celebrated by Arioſto. He was born in 1514., and ſucceeded his father
in 1538. Henry the Eighth at one time conſidered the deſirability of
a marriage between this prince and his own daughter Princeſs Mary.
The duke, however, had then been married four years.1

1 For details ſee Denniſtoun, Mem. Dukes of Urbino, iii. 1 15.
F. G
98 Farnz'tare and Wood-work.

7208.'60.
HAIR. Walnut wood. A folding arm-chair, inlaid
with ivory and light-coloured wood. In the centre of
the back is the eſcutcheon of Guidobaldo II., Duke of Urbino.
Italian. About I 550. H. 3 ft. 4 in., W. 2 ft. 7 in. Bought
(Soulages Coll.), 401. i
This and the two following form part of the ſame ſet as that laſt
deſcribed.
7209.'60.
HAIR. Walnut wood. A folding arm-chair, inlaid with
ivory and light-coloured wood. In the centre of the
back is the eſcutcheon of Guidobaldo II., Duke of Urbino.
Italian. About 1550. H. 3 ft 4 in., W. 2 ft. 7 in. Bought
(Soulages Coll), 401.
7210.'60.
HAIR. Walnut Wood. A folding arm-chair, inlaid with
ivory and light-coloured wood. In the centre of the
back is the eſcutcheon of Guidobaldo II., Duke of Urbino.
Italian. About 1550. H. 3 ft. 4 in., W. 2 ft. 7 in. Bought
(Soulages Coll), 401.
7817.'61.
HAIR. Carved walnut. An arm-chair, the croſs bars
parcel gilt. Italian. 16th century. H. 4 ft. 6 in.
W. 2 ft. 1 in. Bought.
Formed without curved parts. The back and hind legs formed by
ſtraight pieces, each of one length, and the front, from the arms down-
wards, in the ſame way. The croſs bars are cut into ſcrolls and ſhapes
on their edges only, and the edges of this carving and of the pierced
parts, &c. are gilt, ſo as to give richneſs and movement to work eaſily
to be made by the ordinary joiner, as it is cut out with the fret ſaw. A
IraannztJſiaann _ $99

7190. '60.
HAIR. Carved oak. A folding arm-chair; a ſhield of
arms in the centre of the top bar at the back. Italian.
About 1550. H. 3 ft. 4 in., W. 2 ft. 4 in. Bought (Soulages
Coll.), 151.
_ 7194.'60.
HAIR. Carved oak. A folding arm-chair; a ſhield of
arms in the centre of the top bar at the back. Italian.
About 1550. H. 3 ft. 5 in., W. 2 ft. 4 in. Bought (Soulages
Coll), 151.
Plain back. It has a ring cut out of the block, and left looſe on
the front of each arm. The back has a ſunk panel containing the arms
of the firſt owner :-a lion rampant, in chief a crofilet.
7195.'60.
HAIR. Carved oak. A folding arm-chair; a ſhield of
armsin the centre of the top bar at the back. Italian.
About 1550. H. 3 ft. 4 in., W. 2 ft. 3L£< in. Bought (Soulages
Coll.), 151.
7191.'60.
HAIR. Carved oak. A folding arm-chair; the top.
bar at the back carved with foliage and figures of
animals; a ſhield of arms in the centre. Italian. About 1 5 50.
H. 3 ft. 5 in., W. 2 ft. 3713 in. Bought (Soulages Coll.), 151.
7187.'60.
HAIR. Carved oak. A folding arm-chair; the top
bar at the back carved with foliage and figures of
animals; with the ſame ſhield as the laſt. Italian. About
G 2. * ' .
100 Furniture and Woodwork.

1550. H. 3 ft. 6-12- in., W. 2 ft. in. Bought (Soulages
Coll.), 151.
This is a folding chair made differently from the maſſive inlaid
Venetian or North Italian chairs which derive their form from the
claffical Roman ſeat. Theſe chairs alſo fold and _form externally two
half circles, one concave and the other convex. The front pieces are
cuſped underneath ſo as to give them the character of a medimval arch.
The top pieces form arms, and are ſolid maſſes of three inches ſquare,
with rings cut out of the ſolid, and left looſe behind the boſſes with
which they finiſh in front. On the underſide are framed a number of
inch bars following the bend of the front, and having ſhort lengths
Claſping into each other, like the fingers of two claſped hands, to form
a level ſeat, the bars on one ſide being made oppoſite to the inter-
mediate vacant ſpaces on the other. The front pieces and the tops and
ſides of the arms are carved in relief. The ſeats are hinged together
by a pin pafling through the centre of the entire row, and the fronts
and backs hinge in a ſimilar way lower down. The back is a ſhaped
piece of oak or cheſtnut which is roughly hinged on a pin forming the
back end of one of the arms. A hole in it allows it to fall into a ſlot
in the end of the other arm which it holds faſt in its place. The whole
chair, When this is down in its place, is held rigid and complete. The
back is cut into with a wide centre panel, in which is ſunk a ſhield
bearing a griffin rampant holding a column, a crown in chief. Theſe
arms are carved on ſeveral other chairs of this make.
*7193.'6o.
HAIR. Carved oak. A folding arm-chair; the top
bar at the back carved with foliage and figures of
animals; with the ſame ſhield as the two laſt. Italian. About
1550. H. 3 ft. 6 in., W. 2 ft. 3-1, in. Bought (Soulages
Coll.), 151.
7189.*60.
HAIR. Carved oak. A folding arm-chair, with a
ſhield of arms in the centre; the top bar at the back
carved with foliage and figures of birds. Italian. About 1 5 50.
H. 3 ft. 6 in.,_ 2 ft. 43 in. Bought (Soulages Coll.), 151.
Italian Chairs. 1 0 I

The top bar hinges on the end of one arm, and drops into a ſlot
on the end of the other like 7187. '60, ſo as to enable the chair to be
folded or kept taut and ſtiff at pleaſure. A ſunk panel at the back
contains the arms of a branch of the Zanotti family in Venice.
7192. '60.
HAIR. Carved walnut. A folding arm-chair; the top
at the back carved with foliage and figures of birds.
Italian. About 1550. H. 3 ft. 7 in., W. 2 ft. 5 in. Bought
(Soulages Coll.), 2 5l.
A pair with the laſt number.
_ 7180. '60.
HAIR. Carved Cheſtnut wood, partly gilt. The ſupport
in front flanked by two dolphins, the back of ſcroll and
ſtrap work encloſing a ſhield of arms. Venetian. I6th cen-
tury. I-I. 3 ft. 2-5- in., W. 12 in. Bought (Soulages Coll.),
I 5l. '
7 I 8 5. '6 0.
HAIR.. Carved oak. A folding arm-chair; a ſhield of
arms in the centre of the top bar at the back. Italian.
About 1 5 50. H. 3 ft. 5 in., W. 2 ft. 3-% in. Bought (Soulages
Coll.), 151. ſi
The arms are not diſtinguiſhable.
7186. '60.
HAIR. Carved oak. A folding arm-chair; a ſhield of
arms in the centre of the top bar at the back. Italian.
About 1550. H. 3 ft. 4% in., W. 2 ft. 2 in. Bought (Soulages
Coll.), 151. -
I 0 2 Farnz'tnre and Wood-work.

7188.'60.
HAIR. Carved oak. A folding arm-chair; a ſhield of
arms in the centre of the top bar at the back. Italian
About I 5 50. H. 3 ft. 52: in. , W. 2 ft. 4in. Bought (Soulages
Coll.), 151.
7197.'60.
HAIR. Carved oak. A folding arm-chair; a ſhield of
arms in the centre of the top bar at the back. Italian.
About I 5 50. H. 3 ft. 3-12- in., W. 2 ft. 3% in. Bought (Soulages
Coll.), 151.
7184.'60.
HAIR. Carved oak. A folding arm-chair ; the top bar
at the back carved with figures of dolphins ſupporting
a ſhield of arms: Italian. About 1550. H. 2 ft. 8 in.,
W. 2 ft. Bought (Soulages Coll.), 151.
This and 7196. '60 fold like No. 7191. '60 and others. The
front is like a letter X with the lines curving reverſe ways. The arms
formed by a broad ſquare maſs or bar into which a number of bars,
ſhaped like the front, are morticed and in the intervals between theſe
(inch for inch) the ſhort pieces that form the ſeat are claſped like
fingers and hinged on a central pin. The arms are a rock, and
iſſuing therefrom a demi-figure of a hart rampant between three ſtars.
A baſe of 8 bars bendy-ſiniſter.
7196.'60.
' HAIR. Carved oak. A folding arm-chair; the top bar
at the back carved with figures of dolphins ſupporting
a ſhield of arms. Italian. About 1550. H. 2 ft. 8 in.,
W. 2 ft. Bought (Soulages Coll.), I 51.
Italian C/zaz'rs. 1 o 3

7204.'60.
HAIR. Carved cheſtnut wood. The ſupport in front
and the back are of pierced foliage; in the centre of
each is a diſtorted maſk. Italian (Venetian). About 1560.
H. 3 ft. 5 in., W. 1 ft. Ii in. Bought (Soulages ColL), 201.
7199.'60.
HAIR. Carved walnut wood. The ſupport in front
carved with a ſhield of arms, flanked by terminal female
figures, with a feſtoon ; the back fan-ſhaped, with foliage deco-
ration, and alſo flanked by terminal figures. Italian (Venetian).
About 1560. H. 3 ft. 53 in., W. 1 ft. 9 in. Bought (Soulages
Coll.), 201.
7183.'60.
HAIR. Carved walnut wood, partly gilt. The front
ſupport of ſtrap work with a maſk in the centre; the
back of foliated Ornament flanked by two terminal figures.
Venetian. 16th century. H. 3 ft. 5 in., W. 19 in. Bought
(Soulages Coll.), 151.
7870.'60.
HAIR. Carved walnut wood, with octagonal ſeat; the
back formed by two lions bearing branches, ſurmounted
by a coronet. Italian. 15th century. H. 4 ft., 132- in., W.
1 ft. 7 in. Bought, 31. 45.
The carving is coarſer and more heavy than the uſual Work in theſe
ſolid-backed chairs. The back is pierced and carved into two lions
rampant endorſed, or back to back. They hold branches, and are
covered by a ducal crown. This was the cognizance of the Sforza
family of Milan.
I 04 Furniture and Woodwork.

7179.'60.
HAIR. Carved cheſtnut wood, partly gilt. The front
ſupport a Compoſition of ſtrap work with a maſk in the
centre; the back of foliated ornament flanked by terminal figures.
Venetian. 16th century. H. 3 ft. 63,- in., W. 19-12- in. Bought
(Soulages Coll.), 151.
7202.'60.
CHAIR. Carved walnut wood. The ſupport in front
carved with a maſk flanked by terminal female figures;
the back fan-ſhaped, with foliage decoration, and alſo flanked
by terminal female figures. Italian. (Genoeſe .P) About I 560.
H. 3 ft. 6 in., W. 2 ft. 7712- in. Bought (Soulages Coll.), 201.
The wood of the back is framed in panels, of a long triangular ſhape,
with a piece carved and pierced, morticed in to form a pedimental top.
The work on this piece is effective but rude and of inferior deſign and
workmanſhip to that of the finer gilt carved Italian chairs, of which ſuch
ſtately ſpecimens are contained in the Muſeum Collection. It is of
North Italian, perhaps Genoeſe, manufacture.
5687.'59.
HAIR. Carved walnut wood, partly gilt. The ſupport in
front and the back are heart-ſhaped, with ſtrap work and
running ſcrolls; in the centre of each a foliated maſk ; the upper
part of the back has a Compoſition of interlaced cartouche
ornament encloſing a ſtar. Italian (Venetian). About 1560.
H. 3 ft. 4 in., W. 13713- in. Bought (Soulages Coll.), 151.
The cognizance of the ſtar belonged to the family of Steno in
Venice. The arms are :-per feſs, or, and azure, a ſtar of ſix points
counterchanged of the field. The houſe remained furniſhed in the old
way down to modern times, as was the caſe with more than one
_of the family palaces in Venice. The Vendramin Calergi, for inſtance,
a large houſe belonging to the Vendramino family, remained, with the
Italian C/zairs. I O 5

cheſts ranged along the walls of the great halls which form the centre
of each ſtory, down to the year 1843, when it became the property of
the Ducheſſe de Berri.
5688.'59.
HAIR. Carved Cheſtnut wood, partly gilt. The ſupport
in front and the back are heart-ſhaped, with ſtrap work
and running ſcrolls ; in the centre of each a foliated maſk; the
upper part of the back has a Compoſition of interlaced cartouche
ornament encloſing a ſtar. Italian (Venetian). About 1560.
H. 3 ft. 4 in., W. I 3% in. Bought (Soulages Coll.), 15l.
This and the following ſeven have formed a ſet with the laſt
deſcribed.
5689-'59-
HAIR. Carved Cheſtnut wood, partly gilt. The ſupport
in front and the back are heart-ſhaped, with ſtrap work
and running ſcrolls; in the centre of each a foliated maſk;
the upper part of the back has a Compoſition of interlaced
cartouche ornament encloſing a ſtar. Italian (Venetian). About
1560. H. 3 ft. 4 in., W. I3},- in. Bought (Soulages Coll.),
151.
5960.'59.
HAIR. Carved wood, partly gilt. The ſupport in
front and the back are heart-ſhaped, with ſtrap work
and running ſcrolls; in the centre of each a foliated maſk;
the upper part of the back has a Compoſition of interlaced
cartouche ornament encloſing a ſtar. Italian (Venetian).
About 1560. H. 3 ft. 4 in., W. I 33- in. Bought (Soulages
Coll.), 15l.
1 06 Farnz'tnre and Wood-work.

5691-'59-
HAIR. Carved cheſtnut wood, partly gilt. The ſupport
in front and the back are heart-ſhaped, with ſtrap work
and running ſcrolls; in the centre of each a foliated maſk;
the upper part of the back has a Compoſition of interlaced
cartouche ornament encloſinga ſtar. Italian (Venetian). About
1560. H. 3 ft. 4 in., VV. I in. Bought (Soulages Coll.),
I 51.
5692.'59.
HAIR. Carved cheſtnut wood, partly gilt. The ſupport
in front and the back are heart-ſhaped, with ſtrap work
and running ſcrolls; in the centre of each a foliated maſk;
the upper part of the back has a Compoſition of interlaced
cartouche ornament encloſing a ſtar. Italian (Venetian). About
1560. H. 3 ft. 4 in., W. 13713- in. Bought (Soulages Coll.),
1 51.
5693-'59-
HAIR. Carved cheſtnut wood, partly gilt. The ſupport
in front and the back are heart-ſhaped, with ſtrap work
and running ſcrolls; in the centre of each a foliated maſk;
the upper part of the back has a Compoſition of interlaced
cartouche ornament encloſing a ſtar. Italian (Venetian). About
1560. H. 3 ft. 4 in., W. 13313 in. Bought (Soulages Coll.),
151.
5694-'59-
HAIR. Carved walnut wood, partly gilt. The ſupport
in front and the back are heart-ſhaped, with ſtrap work
and running ſcrolls; in the centre of each a foliated maſk;
the upper part of the back has a Compoſition of interlaced
Italian C/zairs. 1 0 7

cartouche Ornament encloſing a ſtar. Italian (Venetian). About
1560. H. 3 ft. 4 in., W. 13% in. Bought (Soulages Coll.),
1 51.
5695-'59-
HAIR. Carved cheſtnut wood, partly gilt. The ſupport
in front and the back are heart-ſhaped, with ſtrap work
and running ſcrolls; in the centre of each a foliated maſk;
the upper part of the back has a Compoſition of interlaced
cartouche Ornament encloſing aſtar. Italian (Venetian). About
1560. H. 3 ft. 4 in., W. 3-L- in. Bought (Soulages Coll.),
151.
7201.'60.
HAIR. Carved cheſtnut wood. The ſupport in front is
carved with a ſhield of arms flanked by terminal female
figures, with a feſtoon; the back fan-ſhaped, with foliage de-
coration, and alſo flanked by terminal figures. Italian. About
1560. H. 3 ft. 6 in., W. 1 ft. 9 in. Bought (Soulages
Coll.), 201.
The ſhield is that of the family of Bagnani of Florence. The
rudeneſs, however, of many of theſe armorial ſhields renders exact attri-
bution difficult. Italian heraldry is ſo far puzzling that any ſtudy of
Italian armoury will ſhow the number of families that adopted the ſame
arms, and the minute changes which made the differences. The eagle
is generally to be underſtood as the cognizance of the Empire. It
deſcended, or profeſſed to deſcend, from the Holy Roman Empire
which repreſented the old Imperial power derived from Rome. Several
ſovereign Italian families claimed the Imperial arms in one form or
another. Thoſe of Eſte and Gonzaga were amongſt the moſt powerfill.
7203.'60.
HAIR. Carved cheſtnut wood. The ſupport in front
carved with a ſhield of arms flanked by terminal female
figures, with a feſtoon; the back fan-ſhaped, with foliage de-
1 0 8 i Furniture and Wood-work.

coration, and alſo fianked by terminal figures. Italian. About
1560. H. 3 ft. 6z£z in., W. I ft. 72- in. Bought (Soulages
Coll.), 201.
The arms are the ſame as thoſe of 7201. '60.
5679-'59-
HAIR. Carved walnut wood, partly gilt. The ſupport
in front carved, with ſtrap work, terminal figures, maſks,
&c., with a ſhield of arms in the centre; the back fan-ſhaped,
with perforated acanthus ſcroll work, flanked by terminal
figures, and ſurmounted by two ſphinxes forming a pediment.
Italian (Venetian). About 1560. H. 4 ft., W. 20 in. Bought
(Soulages Coll.), I 51.
a Hall " or corridor chairs ſuch as this, are rich and ſhowy though not
over luxurious for uſe. The back is formed by three fan-ſhaped ſtiles
and a top rail into two long triangular panels, while a piece is morticed
into the top rail, and forms a carved and pierced top. Theſe framing
pieces are carved as well as the panels themſelves, making both an
inequality in the ſurface and a difference in the kind of carving uſed,
that on the frames being ſhort, and in the way of notches, &c., while
the work on the panels is in delicate ſcrolls and volutes. The arms on
i the front ſhield are :-argent and gules, per feſs, over all a croſs ancre
Of the tinctures of the field counter-changed.
5680.'59.
HAIR. Carved walnut wood, partly gilt. The ſupport
in front carved, with ſtrap work, terminal figures, maſks,
&c., with a ſhield of arms in the centre; the back fan-ſhaped,
with perforated acanthus ſcroll work, flanked by terminal figures,
and ſurmounted by two ſphinxes forming a pediment. Italian
(Venetian). About 1 560. H. 4 ft., W. 20 in. Bought
(Soulages Coll.), 1 51.
This and the following ſix belong to the ſame ſet as the laſt.
Italian C/zairs. I 0 9

5681.'59.
HAIR. Carved walnut wood, partly gilt. The ſupport
in front carved, with ſtrap work, terminal figures, maſks,
&c., with a ſhield of arms in the centre; the back fan-ſhaped,
with perforated acanthus ſcroll work, flanked by terminal figures,
and ſurmounted by two ſphinxes forming a pediment. Italian
(Venetian). About 1560. H. 4 ft., W. 20 in. Bought
(Soulages Coll.), 15l.
5682.'59.
HAIR. Carved walnut wood, partly gilt. The ſupport
in front carved, with ſtrap work, terminal figures, maſks,
&c., with a ſhield of arms in the centre; the back fan-ſhaped,
with perforated acanthus ſcroll work, flanked by terminal
figures, and ſurmounted by two ſphinxes forming a pediment.
Italian (Venetian). About 1560. H. 4 ft., W. 20 in. Bought
(Soulages Coll.), 15l.
5683-'59-
HAIR. Carved walnut wood, partly gilt. The ſupport
in front carved, with ſtrap work, terminal figures,
maſks, &c., with a ſhield of arms in the centre; the back fan-
ſhaped, with perforated acanthus ſcroll work, flanked by ter-
minal figures, and ſurmounted by two ſphinxes forming a
pediment. Italian (Venetian). About 1560. H. 4 ft., W.
20 in. Bought (Soulages Coll.), 15l.
5684.'59.
HAIR. Carved walnut wood, partly gilt. The ſupport
in front carved, with ſtrap work, terminal figures, maſks,
&c., with a ſhield of arms in the centre; the back fan-ſhaped,
with perforated acanthus ſcroll work, ſlanked by terminal
1 1 0 Farnz'zare and Woodwark.

figures, and ſurmounted by two ſphinxes forming a pediment.
Italian (Venetian). About 1560. H. 4 ft., W. 20 in. Bought
(Soulages Coll.), 151.
5685-'59-
HAIR. Carved cheſtnut wood, partly gilt. The, ſupport
in front carved, with ſtrap work, terminal figures, maſks,
&c., with a ſhield of arms in the centre; the back fan-ſhaped,
with perforated acanthus ſcroll work, flanked by terminal
figures, and ſurmounted by two ſphinxes forming a pediment.
Italian (Venetian). About 1560. H. 4 ft., W. 20 in. Bought
(Soulages Coll.), 151.
5686. ' 59.
HAIR. Carved walnut wood, partly gilt. The ſupport
in front carved, with ſtrap work, terminal figures, malks,
&c., with a ſhield of arms in the centre ; the back fan-ſhaped,
with perforated acanthus ſcroll work, flanked by terminal
figures, and ſurmounted by two ſphinxes forming a pediment.
Italian (Venetian). About 1560. H. 4 ft., W. 20 in. Bought
(Soulages Coll.), I 51.
7198.'60.
HAIR. Carved walnut wood. The ſupport in front
carved with a maſk, flanked by terminal female figures;
in the centre of the back is a cartouche containing a nude
figure, flanked by winged terminal figures. Italian (Venetian).
About 1560. H. 3 ft. 6 in., W. 1 ft. 7 in. Bought (Soulages
Coll.), 201.
7200.'60.
HAIR. Carved walnut wood. The ſupport in front
carved with a groteſque maſk flanked by winged harpies;
the back of foliage flanked by terminal' female figures, with a
Italian C/zairs. 1 I 1

pediment in the form of two mermaids ſupporting a cartouche.
Italian (Venetian). About 1560. H. 3 ft. GZ- in., W. 1 ft.
8 in. Bought (Soulages ColL), 201.
7205.'60.
HAIR. Carved walnut wood. The ſupport in front
containing a maſk ſurrounded by ſcroll foliage, and
flanked by two terminal winged figures; the back containing
a cartouche with a ſhield of arms, and alſo flanked by two
terminal figures. Italian. About 1560. H. 3 ft. 6 in., W.
1 ft. in. Bought (Soulages Coll.), 201.
The arms are compoſed of two Coats impaled. The dexter ſhield :
partly per feſs, in chief a chalice; thoſe in the ſiniſter coat are the
column of the great Colonna family of Rome, which formed alliances
in all the ſtates of Italy.
7181.'60.
HAIR. Carved walnut wood, partly gilt. The front
ſupport of interlaced ſtrap work, with a maſk in the
centre, flanked by two terminal figures, the back of ſimilar
work, with a ſhield of arms in the centre, and ſurmounted by
two cupids. Venetian. 16th century. H. 3 ft. 4% in., W. 15 in.
Bought (Soulages Coll.), 101.
The arms borne on this chair are three lions paſſant, each holding
a branch.
7182.'60.
HAIR. Carved walnut wood, partly gilt. The front
ſupport of interlaced ſtrap work, with a maſk in the
centre, flanked by two terminal figures, the back of ſimilar
work, with a ſhield of arms in the centre, and ſurmounted by
two cupids. Venetian. 16th century. H. 3 ft. 4% in. , W. 15 in.
Bought (Soulages Coll.), 101.
Arms, a bend. The ſtructure of theſe ſolid chairs meant to range
along a wall, is worth notice, and this and the following number may
1 1 2 Furniture and Woodwork.

ſerve as ſpecimens of conſtruction3 the back is cut .into two tenons
at the baſe, long enough to paſs through the ſeat and ſind reſiſtance
againſt the back ſupport, a ſlat piece repreſenting the two legs. The
back ſupport again and the front are morticed into the ſeat, and theſe
three pieces kept tight by ſinall bars, deep enough to be ſhaped into
ogee arches. Thus the chair is compoſed of the three pieces forming
the front and back legs, and the back. Theſe all meet in the ſeat,
which is merely a fourth, cut or ſunk into a ſhallow round or ſquare
panel. They are in this inſtance ſtrengthened and kept thoroughly
firm and ſolid by the croſs pieces that join the ſupports and again '
connect them more completely with the ſeat.
7182a.'60.
HAIR. Carved walnut wood, partly gilt. The front
ſupport of interlaced ſtrap work, with a maſk in the
centre, flanked by two terminal figures, the back of ſimilar
work with a ſhield of arms in the centre, and ſurmounted by
two cupids. Venetian. ſi 16th century. H. 3 ft. in.,
W. 15 in. Bought (Soulages Coll.), 101.
7206.'60.
HAIR. Carved walnut wood. The ſupport in front
and the back are of fruit and foliage flanked by maſks ;
a cartouche in the centre of the back. Italian. About 1560.
H. 3 ft. 1 in., W. 1 ft. If: in. Bought (Soulages Coll.), 201.
The ſeat is ſquare, and the legs or ſupports are made of two ſlat
pieces as in No. 7182. '60. The back is ſquare and cloſely cut,
lower than is uſual with theſe chairs, and gives the appearance of a
more compact Compoſition.
7869.'61.
HAIR. Carved wood. The ſeat of red damaſk. Italian.
16th century. H. 4 ft., W. 1 ft. 5741- in. Bought.
As the particular form of this chair and that of No. 7817. '60 is
unuſual amongſt thoſe of the collection now in the Muſeum, we muſt
Italian C/zairr. 1 I 3

give a deſcription of this, the moſt effective of the two. The frame
conſiſts of two back and two front pieces, much as we frame our modern
chairs. They are not ſloped in and out to give ſpread to the back legs, '
but are ſimply ſtraight pieces of walnut wood. The back pieces ter-
minate in acanthus leaves, and are held together by two effective croſs
pieces, carved and forming ſmall panels of marquetry, beſides having
arabeſques and rude figures inlaid in holly or lime. There are no arm
pieces. The ſeat covers a box that opens, and the front is framed into
the legs and forms a panel with carving and a ſmaller inlaid central panel,
ſuch as occupies the centres of the back pieces. It has had a Cuſhion,
and, though very ſimple in Compoſition, forms an effective piece of
furniture.
4256.'56.
I-IAIR. Carved walnut wood; an arm-chair. Italian
(Venetian). 17th century. H. 4 ft., W. 2 ft. 10 in.
Bought, IOl. -
A ſpecimen of a kind of chair made with extraordinary richneſs of
carving in ſome examples. The legs and arms are made in bold ſcroll
pieces, turning over reverſe ways in front and where it meets the back.
The arms are broad ſlat pieces. The ribs and ſpines which run down
natural growths, ſuch as the ſtalk of the palm leaf, are here made to
give edges where the fineneſs of the work would make it impracti-
cably thin, or central thickneſſes, which ſtrengthen the work without
making it coarſe, and give a delicate diverſity to a ſurface generally
broad. This character runs through all the excellent work which
Italian cabinet makers cut ſo readily, both in box and walnut, and with
greater freedom and readineſs on their carved frames for mirrors and
pictures, made in willow, poplar, and other ſoft wood for gilding. The
legs of this chair are as wild and unruly as the arms. They are joined
by a croſs rail below, alſo curved and re-curved. Such pieces of fur-
niture are ſhowy, and occupy a needleſs amount of ſpace. Their
outlines want moderateneſs and propriety; but as ſpecimens of work
they are often ſurpriſing. We may refer the reader to an illuſtration in
the ſomewhat ſimilar carving of a table, belonging to Mr. Webb.1 Some
examples of this extravagantly coſtly carved work, cut in box and with
rare grace and delicacy through all its exuberance, are to be ſeen in the
Accademia delle belle Arti, in Venice. Others are, or were, in the
collection of Mr. Rawdon Brown, in Venice, and three or four are
1 Exhibited in the South Kenſington Muſeum.
r. H
1 14 Farnz'tare and Wood-work.

amongſt the furniture of Sir Walter Scott in_the large library at
Abbotsford.
I537- 55-
HAIR. Carved wood, the back and ſeat covered with.
applique embroidery. Venetian. About 1600. H.
3 ft. 1-3- in., W. 19 in. Bought, 31. 105.
The legs are cut into ſingle twiſts. Theſe meet in a central collar,
and the twiſts are reverſed on the two ſides of it. The bars are ſimilar
work. The back plain, being covered with an embroidered Cuſhion.
A good ſpecimen for modern imitation. The chairs uſually made in
oak (theſe are of walnut) and ſupplied by upholſterers for modern an-
tique dining room fiirniture, are made in this form. Much of ſuch
work is manufactured in Belgium and ſent over to this country.
1538.'55.
HAIR. Carved wood, the back and ſeat covered with
applique embroidery. Venetian. About 1600. H.
3 ft. 1%;in., W. 19 in. Bought, 31. 105.
Similar to the laſt.
7818. '61.
HAIR. Carved oak. An arm-chair, covered with
crimſon damaſk. Italian. 18th century H.
4 ft. 8 in., W. 2 ft. 8 in. Bought, 21.
7819. '61.
HAIR. Carved wood. An arm-chair, covered with
crimſon damaſk. Italian. 18th century H.
4 ft. 8 in., W. 2 ft. 8 in. Bought, IZ. 125.
279. '69.
HAIR. Walnut wood, inlaid on the back, frame, and
ſeat with ivory in ſerpentine marquetry. Italian. H.
3 ft. 5; in., W. at foot, 1 ft. 33 in. Bought, 41. 161.




pit-NNW"
lllll _ w n


Il ' l]
l

l' llllllll
.--L'

1


.-






_a-
_-


.> Mr r>_ -_ -__.
_-

l


I
_I_ll l





CHAIR.
Portug'ucsc, A' VII. Century.


' Italian Chairs. I I 5

A chair on front and back ſolid ſupports, ornamented with Certo-
ſino work._ The back' isbrought into an oval form by curves or
ſegments of circles ſhaped like the bulges of cuſping.- The ornamental
work is of ivory, inlaid in the uſual diamonds with a long and a ſhort
point. They are formed into circles of various ſizes filled in with
ſmall triangles, &c., and lined round with white wood. The front ſup-
port is cut out into a cuſped arcih in front. There is a certain want of
exactneſs in the inlay, and a new look about the walnut wood that
forms the baſe of the ſtructure from which we may take this as a
modern imitation of old work.
- _ 786."65.
HAIR. Walnut wood. An arm-chair, the ſeat and
back formed' of leather emboſſed and inciſed in
arabeſque pattern, among which is a ſhield-of arms beneath a
coronet; the framing decorated with large gilt-headed nails.
Portugueſe. Latter part of 17th century. H. 4 ft. 5in.,
W. 2 ft. Bought, 4l.
This and the five following numbers are leather chairs, peculiarly
characteriſtic of old-Portugueſe work. _The chairs conſiſt of ſimple
frames with turned legs and h-igh'backs. The tops of the backs have
an arched centre, leaving the two angles ſquare. On theſe are mounted
finials or knobs of braſs, conſiſting of broad ſlat collars round a centre.
They have been caſt and then finiſhed in the lathe. The woodwork
on the top ſlopes backwards, ſo as to ſhow a broad ſlanting edge.
On this the leather is faſtened with broad round-headed nails, an
inch in diameter. What gives to the chair a character which is ſo
peculiarly national is the quality of the leather employed in its con-
ſtruction. It is admirably prepared.and ſolid as a board. Though the
date of the chairs is_ as old certainly as 1680, the leather .ſhows no
ſign of bagging or ſtretching in any way. The' back and the ſeat
have no ſupport in the way of webbing .or croſs bars. The leather acts
as back and. I It is. ſufficiently elaſtic to be comfortable, though
hard and to<ſtTff to gointo holes. The-whole of theſe ſurfaces are
covered wit arabeſqu very freely drawn, and ' in 'the beſt cinquecento
Italian deſign. We niigce the imperial double-head crowned eagle on
ſomeof the chairs. 'Tli'e others bear an achievement of two coats
impaled. Iſt. .Three lion's heads couped. 2nd. Three vine leaves.
The work has been ſtamped with 'ſharp dies on the leather While
ſoftened by boiling, and the lines are as clear and diſtinct as chaſed lines
H 2 '
i I 1 6 Farnz'tare and Woodwor/Z.

on bronze, latten, or other metals of moderate hardneſs. The ſkins
are of admirable quality, and could not be produced in this country.
Other Portugueſe furniture will be found in the Muſeum collection
amongſt the cabinets and tables. They are moſtly of Indian wood,
teak, roſewood, or ebony, with ivory and black inlay, in ſmall oriental
deſigns, and pierced braſs or gilt metal mountings. Theſe belong to
diſtinct ſchools of manufacture, and we have yet to look for renaiſſance
furniture of bolder deſign and more in alliance with the rich arabeſque
work here diſplayed to give us a complete idea of the deſigns of a
country ſo proſperous and wealthy as Portugal at the date of theſe
leather manufactures.
787.'65.
HAIR. Walnut wood. An arm-chair, the ſeat and
back formed of leather emboſſed and inciſed in
arabeſque pattern, among which is a ſhield of arms beneath a
coronet; the framing decorated with large gilt-headed nails.
Portugueſe. Latter part of 17th century. H. 4 ft. 5 in.,
W. 2 ft. Bought, 41.
788.'65.
HAIR. Walnut wood. The ſeat and back formed of
leather emboſſed and inciſed in arabeſque pattern; in
the centre a ſhield of arms with helmet and Creſt; the
framing decorated with large gilt-headed nails. Portugueſe.
Latter part of 17th century. H. 4 ft. 7 in., W. 1 ft. 11 in.
Bought, 31.
789.'65.
HAIR. Walnut wood. The ſeat and' back formed of
leather emboſſed and inciſed in arabeſque pattern; in
the centre a ſhield of arms with helmet and Creſt; the
framing decorated with large gilt-headed nails. Portugueſe.
Latter part of 17th century. H. 4 ft. 7 in., W. 1 ft. 11 in.
Bought, 31.
- Italian C/zairs. 1 1 7

790.'65.
HAIR. Walnut wood. The ſeat and back formed of
leather emboſſed and inciſed in arabeſque pattern of
flowers; the framing decorated with large gilt-headed nails.
Portugueſe. Latter part of 17th century. H. 3 ft. 8 in., W.
I ft. 9 in. Bought, 21.
791.*65.
HAIR. Walnut wood. The ſeat and back formed of
leather emboſſed and inciſed in arabeſque pattern of
flowers; the framing decorated with large gilt-headed nails.
Portugueſe. Latter part of 17th century. H. 3 ft. 8 in., W.
1 ft. 9 in. Bought, 21.
242.'64.
HAIR. (Model.) In walnut wood; the ſeat and back
covered with ſilk damaſk ; probably uſed in the group
of clothed ſtatuary. Spaniſh. 17th century. H. Iolz in.,
W. in. Bought, 65. 3a'. - .
Made for a preſepio or nativity group, ſuch as are commonly ſet out
at Chriſtmas in Catholic countries. It is made with arms in the faſhion
of our 17th century chairs in this country.
4618.'58.
LOCK, upright, in Caſe. The caſe richly inlaid with
marquetry ſcroll work. The dial, ſigned " Henry
Poiſſon, London." Engliſh. Period of Queen Anne. H. 8 ft.
3-Jz in., W. 19 in. Bought, 121.
This clock-caſe is ornamented with marquetry inlays of a bold kind,
foliage forming the leading features in the decoration. The foliage is
not confined in ſpaces, but ſpread over the door-panel, ſides, &c. of the
I I 8 . Furniture and Wood-work.

clock-caſe. The work being larger, and having more deſinite deſign,
does not require being confined in corner and centre pieces, as in the ſine
moſs pattern uſual at that period. It has, however, white lines running
through the work, which give it ſomething of this ſhaped character, and
act as a contraſt and corrective of the luxuriance of the foliated deſign.
2629.'55.
OF F ER or Linen Cheſt. ZTeak wood, divided into
panels in front, with waved mouldings in ebony and
roſewood. Dutch. About 1640. H. 1 ft. 73 in., L. 5 ft. 6 in.,
W. 2 ft. 85- in. Bought, 61.
The forms of the panels are diamond-ſhaped, the angular ſpaces
intervening alſo formed into panels.
The waved mouldings are executed by machinery and were early
introduced, perhaps from Germany, by the Dutch. The main orna-
ment of this cheſt is its lock. A bold openwork or piercediplate in
Horiated ſcrolls and a heavy haſp of hammered iron are effective addi-
tions to what would be plain work enough. We may refer to much
mediaeval furniture to ſhow how effective theſe ornamentations of the
iron work can be made. The old church doors will occur to the
reader at once. We may alſo call the reader's attention to the Spaniſh
cabinets in the Muſeum with flap fronts, which depend excluſively in
many inſtances on their locks, bolts, and hinges for artiſtic effect.
7270.'60.
OF F ER or Linen Cheſt. Carved oak, inlaid with
geometrical marquetry, and with the initials T. S.
Engliſh. About 1500. (From the Palace, Biſhopthorpe,
York.) H. 2"ft., L. 5 ft., W. 2 ft. 1213- in. Bought, 101. 105.
It is divided into three panels. The mouldings are rudely cut.
The panels are occupied with a rectangular inlay of holly or other light
wood forming a fret. It is curious as an early ſpecimen by native
joiners of work that became general, and was deſigned and executed
with the utmoſt ſkill during the reigns of the Tudor kings. Henry the
Seventh introduced Italian wood-Workers as well as other artiſts into
England, as had been done for ſculpture and Moſaic work by' earlier
Flenizſta Coffiſers. 1 1 9

kings. It is eaſy to ſee that the woodwork of King's College Chapel,
Cambridge, finiſhed during the fucceeding reign, ſhows the work of
Italian renaiſſance deſigners.
1750.'69.
OF FER. Carved oak. The panels carved with inter-
ſecting circles, lozenges, and flowers. Flemiſh. 15th
century. H. 2 ft. Zzlb- in., L. 5 ſt. 7ct in., W. 2 ft. Bought,
13l. 105.
7098.'60.
OFFER. Carved oak. On the front panel is a com-
1 poſition in high relief repreſenting Eſther and King
Ahaſuerus (?); the borders decorated with feſtoons, &e.
Round the margin of the panel is a Flemiſh inſcription,
Flemiſh. '16th century. H. 1 ft. 11 in., L. 3 ft. in., W.
I ft. 9£ in. Bought, 6l.
The front is ſhaped into a panel and has ſide pieces ornamented
with ſcutcheons and Wreaths in high relief. The panel contains a long
piece of carving repreſenting Eſther and Ahaſuerus, more probably than
Solomon and the Queen of Sheba. The latter Compoſition is uſual on
marriage cheſts. Solomon typifying the ſplendour of the Church in the
perſon of its Head, and the Queen of Sheba the body of the Church, the
Bride of the Lamb, &c. The two perſonages are generally ſtanding.
Here the Queen is kneeling, as in the uſual repreſentations of Eſther.
This Compoſition had alſo its typical meaning of the alliance of the
ſecular power with the ſpiritual. Haman's gallows are wanting here, but
the ſcene repreſents a building with columns and gables, chimneys, &c.
above them. The following legend runs round the ſculpture : DESICK
GADES VOLCKVMME THO BRINGEN HADDE VOR
GENAMEN IST OMLESTEN-SVLV. The reader will re-
cogniſe the old conventional way of repreſenting buildings by an
entrance-arch and roofs above wholly out of real proportion. This
may be ſeen in the ſculptures of the arch of Titus at Rome, and in
many quaint variations in the Moſaic pictures in the old Roman Baſilicas
and thoſe of Ravenna, S. Marco at Venice, &c. The ſeries of diviſions
1 20 Farnz'tare and Wood-work.

with gables above, the amount of incident down to the ſmoke coming
from the chimneys, as well as the ſpirit with which the many figures
are deſigned, make the cheſt a piece unuſually decorative for its period.
2789.'56.
OF F ER or Cheſt. Carved oak, geometric Gothic deſign,
with wrought-iron lock. French. About 1480. H.
2 ft. 7 in., L. 3 ft. 7 in., W. 2 ft. Bought, 141.
The front of this coffer is divided by ſmall buttreſſes, one inch in each
dimenſion, into three panels, and on the ends into two. The panel
moulds are cut out of the frame pieces and the corners are rounded,
the turn being cut out of the upright on one ſide and out of the hori-
zontal piece on the other ; the baſe lines are weathered or ſloped ſimply.
The mouldings turn in half-way up and form ogee arches branching
into crockets on the outer ſides. The ground work of the panels is
reticulated with cuſped geometric window tracery ; this work is under
the arch crockets or rather the portions not ſo covered. Each diviſion
has a ſmall four-leaved flower in the centre. The centre panel is
ſhortened by a ſquare block taken for the lock plate. A carved round
moulding (about one inch and a half) runs round the top frame piece,
forming a ſort of cornice to the whole cheſt. It turns down where the
lock piece comes and runs round it. The lock plate is rimmed with
3-rib lines of border, and the haſp is a winged dragon. The nails are
ſquare-headed and have four-leaved plates under the head. The top or
lid is moulded on the edges, and opens a third of the way from the back ;
but this is, probably, a modern adaptation. There are no traces of old
hinges on that portion. The little buttreſſes are ſcaled in the faſhion
of the I 5th century late woodwork, when tile coverings or any ſort of
decorative reticulations that enriched the ſurface of woodwork were
adopted as Ornaments. They finiſh in little crocheted pinnacles.
To underſtand well the beſt kind of French woodwork of the period
preceding the actual introduction of the renaiſſance, but when its ſpirit
began to be felt and expreſſed in the old traditional decorations, the
ſtudent ſhould be referred to the ſtall work at Amiens Cathedral.
Frenc/i Caffers. 1 2 1

4907-'58-
OFFER or Cheſt. Oak; carved and divided in front
into ſix compartments by attached carved columns.
French. About 1490. H. 2 ft. 77415 in., L. 4 ft. 6 in., W.
2 ft. Bought, 2 51.
This ſhould be obſerved for the admirable work of its linen panelling
and the mouldings round each panel. The linen pattern, of which there
are ſo many varieties, is taken from a length of cloth or diaper folded
and refolded without doubling, as a napkin might be folded for table uſe.
It is firſt turned over at each end, and then each end folded backwards
and forwards, without letting the plaits meet. Theſe form ſo many
irregular ogee moulds, and the top and bottom ſhow the ſequence of the
folds. In this cheſt the panels are tall and narrow, and the ſtiles and
rails formed into very fine arch lines on the angles, the bead lines being
there cut clearly out and made to croſs over the lower of the top rail to
the outſide of the upright and vice miſſi. An excellent example for
fine work of this kind. The dividing uprights are ſmall buttreſſes
applied or faſtened on; not worked in. The ſides of them are either
ſcales or tiles, ſome ſtraight ; ſome with the courſes going diagonally to
make a variety. They end in little gables, and finally in a ſpecies of
pinnacle. We had good cheſts and doors made in this way in England.
Specimens may be ſeen in old houſes of wood conſtruction in Kent
and the ſouthern counties ſtill. The top mouldings are always cut
paſt the turning in the angle; on the top are rails, not mitred, as in
modern mouldings for panels.
227.'66.
OF FER. Walnut wood. Carved with terminal female
figures at the angles ſupporting a cornice of foliage;
the front panel bearing an interlaced cipher, each of the ſide
ones a ſhield of arms. French. 17th century H.
3 ft. 3 in., L. 3 ft. 3 in., W. 2 ft. 2_in. Bought, 791.
The interlaced cypher is compoſed of the letters D.S.L.E.L. in
Italian court writing. The arms bear a heart with a lily iſſuing there-
from, in chief three mallets. For creſt a female head with a lily iſſuing
I 2 2 Far-"niture and Wood-work.

therefrom. The whole, which is a ſquare, ſtands on a plinth with
beaded moulding on the angles. The interlaced cyphers began to be
uſed in the 16th century, and were common in the ironwork, ſire-backs,
gates, &e. of the 18th century. But the general look of the piece,
beaded mouldings, ſurface of the wood, and character of the heraldic
carving, ſeem to point to a modern origin. It was'made for the furniture
of the Chateau de Mailli, in Burgundy, and the arms are the mallets,
a armes parlantes," of that family. It is figured in Serer 1 as part of the
Carpentier Collection. He attributes it to a period as early as the
15th century. It may, however, be queſtioned whether this is not a
modern reproduction.
252.'64.
OF F ER. Walnut wood, with marquetry of coloured
woods; the lock plate, angle claſps, etc., openwork of
tinned iron. German? About 1500-30. H. IZ-Y; in., L.
3 ft. 2 in., W. 23 in. Bought, 201.
About this there is no carving, with the exception of two bars or
flaps that keep the top, which is one plank, from warping, and alſo pro-
tect the ends of the lid. Theſe are mere bars but cut at the front ends
into little crouching lions. This is thoroughly good carving, and the'bars
are nailed through from the lid 3 the nails made into ornamental points by
connecting them with ſmall inlays of white Wood. The main ornament -
of the cheſt is its ironwork. The lock-plate, for inſtance, iſſues at each
corner into a circular plate of beaten foliage work very light and ſlightly
beaten up as well as pierced. At the ends are bold ſquare ſwing
handles a foot wide, the handle portion being ſtraight. Theſe are ſet
in circular plates of pierced and beaten work ſive inches in diameter.
The four corners of the front have ſimilar plates, not as bond iron but
ſimply for decoration. All the iron has been tinned, perhaps a modern
addition. The open iron, like that on the Spaniſh cabinet, No. 340. '66.
is ſet on velvet, which is new. Much work of a ſimilar kind was made
in England in the 16th and early I7th century, at Norwich amongſt
other places. Excellent ſpecimens both of the work and the faſhion of
laying over velvet or cloth may be ſeen in the old manſions of that
part of England. ſi

1 Arts ſomptuaires. Album and Text, vol. ii. p. 205.
Italian Cqfflers. * I 2 3

80. '64.
OF F ER. Cypreſs wood ; the front and ſides carved with
flat ornament of hunting and other ſubjects. Below
are niched allegoric figures, the ground filled in with green
maſtic. Italian. About 1350. H. 2 ft. 4£ in., L. 5 ft. 4313 in.,
W. I ft. 7 in. Bought, 92l.
_ Of the early Italian art, in inciſed and inlaid woodwork, we
ſhall ſee no ſpecimen ſo important or ſo decorative as this. It is of
cypreſs wood, that material like ſweet cedar being conſidered a ſpecific
from its ſmell againſt moth and other infects. The form of the cheſt
is ſimple, but more graceful and with more deſign than is uſual in
ſuch pieces. It has no architectural character. The front is mounted
on two ſhaped legs or haunches, being merely boards cut out each
into the form of half an ogee arch head. On the angle they meet the
ends. Theſe are two ſingle pieces ſhaped at the bottom into ogee arch
heads. The front of the cheſt is ſeparated from the cuſped ſupports by
an open ſpace of three inches, extending nearly the entire width. This
opening is occupied by baluſters of turned wood an inch in diameter,
and ſeparated by about three-quarters of an inch from each other. If
we examine theſe we find them only halves, that is, flat behind, but
ending in pegs above and below, by which they fit into the bottom of
the front board, and a bar of wood, on which they are ſupported. The
little baluſters are merely turned in rings and ſlight depreffions and are of
even diameter from top to baſe. The lid conſiſts of a board. The
whole of the front and the centres of the ſides are elaborately decorated
with inlay of green and Vermilion. As we ſee it now, moſt of this, a
Compoſition of wax and and maſtic of ſome kind has diſappeared, per-
haps with the cleanings that preceded its ſale to the Department. We
ſee, therefore, now rather the inciſed lines than the inlay that they were
made for. But as it is the delicacy of the deſign, and the careful way in
which it has been executed on a ſoft wood with grain liable to chip, is
perhaps ſtill better to be appreciated.
There is in the centre of the front an elaborate heraldic achievement
with foliated ornament round it. On either ſide of this compartment are
two panels or diviſions, and below are a ſeries of niches with arches
and columns between, each containinga figure of one of the virtues.
The firſt or right hand panel contains a group of figures repreſenting a
betrothal. The knight ſtands on one ſide of a fountain, the Fountain of
Youth, and the lady on the other. They eat the fruit of the tree of love
. 1 24 Fnrnitare and Wood-work.

that grows beſide it. Behind the lady ſtands a maiden, and behind the
cavalier a ſquire, holding his ſword. Again, the lovers are ſeen ſeated, and
muſicians playing before them. Trumpeters are proclaiming their mar-
riage from a tower. In the ſecond or left hand panel we perceive ladies
looking on at the chafe, and alarmed by wild beaſts. Of theſe they are '
warned by Love, and they ſeek the protection of a knight, who is crowned,
and is in the act of letting fly an arrow. The niches below contain vir-
tues, chiefly of the knightly order, courteſy, equity,'chivalry, purity, truth,
&c. Theſe are repreſented by winged figures with their various attributes.
Round the whole of this decorated front runs a border of rolled foliage.
This alſo runs along the bar that ſupports the turned rails or baluſters.
The two arch ſpandril pieces below contain the combat of St. George
between-them. But much of this has worn or been cut away. The
Ornaments of the ends conſiſt of ſhields with arms, and bold foliated
ſcrolls iſſuing above, below and on each ſide in a following order.
Such work on cheſts is only met with occaſionally.
7613. '61.
OFFER, panel or front. Gilt wood, inlaid with three
octagonal panels in glazed terra cotta, containing events
from the Fall of Man, in relief. Italian. By Jacopo della
Quercia. 14th century. H. 1 ft. 11 in., L. 5 ft. 6 in. Bought'
(Gigli-Campana' Coll.), 60/.
The centre panel contains the expulſion from Paradiſe, and that
on the right the Eternal Father, a draped and nimbed figure pronouncing
judgment on Adam and Eve, who are girt with fig leaves; that on the
left contains Adam delving and Eve ſpinning. Adam, clothed with the
girdle of fig leaves, leans on a hoe; Eve, a graceful fitting figure,
fingers the wool from the diſtaff with her left hand, and winds the
thread on a reel with her right; a landſcape background. They are
modelled with much grace and belong to the beſt period. They
are attributed to Jacopo della Quercia, a Sieneſe ſculptor, born at
Quercia, a village near that capital, in 1374.. He firſt gained his
reputation by a model he made for a funeral ceremony celebrated
on the death of Giovanni d'Aggo Ubaldini, one of the generals of the
Sieneſe army, then engaged againſt the Florentines. Two ſhields are
on the panels right and left of the bas-reliefs, but the arms are defaced.
Elegant arabeſques fill up the other ſpaces, and all of it has been gilt.
Italian coffers. 1 2 5

5791.'60.
OF F ER, panel or front. Painted with figure ſubjects in
three compartments, ſurrounded by a border of ſcroll
Ornament in raiſed and gilt ſtucco work. Italian (Florentine).
About 1370. 4 ft. 5 in. by 1 ft. 6 in. Bought, 801.
The painting of this coffer repreſents more direct dramatic action
than we commonly ſee in theſe pictures. The hiſtory of a diſputed
treaty of marriage and the ſucceſsful iſſue to the faithful lovers is
here recorded. In the right hand corner is a group of perſons, diſ-
puting with great vivacity. A fair haired young man in a long ſurcoat
or caſſock, now black, but perhaps dark blue or green originally, is in
high diſcuſſion with a rival and an aged umpire, the father of the bride
or opponent is liſtening to what is ſaid. The action of the hand is
moſt dramatic, as well as the expreffion on the faces of the perſons
engaged in diſcuffion. A doorway ſeems to lead to the central portion,
which is only ſo far divided from the ſides, for the doorways are but
breaks in a continuous background. Here the ſame young man is
riding to the houſe or bower of the bride, with ſquire and attendants at
his horſe's head. The young lady is holding to a pillar to indicate her
conſtancy, and from her iſſues on a ſcroll the legend, NON CDUOVA
COR MEO. So that family arguments are not to be underſtood to
have moved her conſtancy, At the door of an incloſure alady, full
dreſſed, receives him, and he is ſeen partly through the open door,
kneeling before her, and again in the extreme left ſeated by her on a
bench or'ſeat of eſtate. The ſame head and features and the ſame
dreſs preſerve the identity of the lover through theſe various actions,
combined on the whole into one Compoſition. The painting is more
ſimply dramatic and aims at telling a natural tale more completely than
is uſual in furniture painting, or in the uſual hiſtorical repreſentations of
the day, and there is a certain charm in a piece of old domeſtic life
which tells perhaps ſomething of an actual ſtory; anyhow a chapter
of a ſtory as old as humanity. The ſurrounding work, which is in
relief, frames it in as a complete cabinet picture.
. 7815.'62.
OFFER. Carved and gilt all over, with armorial ſhields,
and a portion of the Nicene Creed in Latin. Italian.
14th century. H. 2 ft., L. 5 ft. 3 in., W. 1 ft. Io-L- in.
Bought, 181. '
1 26 Furniture and Wood-work.

The front is divided into three panels each cuſped with ſix foils.
Each panel repeats the fame ſhield, viz., argent, a mountain in baſe, and
a ſtar-in-chief azure. Round theſe are raiſed Lombard letter's forming a
border. They are the firſt portion of the Nicene Creed. The words are
Latin, but ſome follow the Italian ſpelling, and may paſs as evidence how
gradually the various corruptions of Latin iſſued in the dialects of Italy,
amongſt which the Tuſcan was moſt uſed in the ſervice of literature and
repreſents Italian. Thus theſe letters run, CREDO IN Uffil D_E
PATRE, etc., while the ſacred name GIESO CH_S_'F O ſhows the
popular pronunciation of the Italian. The legend runs from right to
left, beginning on the top of each panel. Owing to the ſoftneſs of the
ground on which the gilding has been laid the letters are not very eaſily
readable. The deſign has been helped out by dotted lines impreſſed in
the ſoft geſſo baſe. Cherubs' heads are put on the intervals between
the front panels. The gilding has been retouched, perhaps wholly
redone. The cheſt has been uſed for a ſacriſty or private domeſtic
chapel for holding eccleſiaſtical veſtments. Its date may be put at the
end of the 14th century.
7852.'62.
OF F ER. Carved and gilt wood (called the " Dini
Caſſone "), in the front is ſet a painting on panel by
Dello Delli (about 1440), repreſenting the meeting of Solomon
and the Queen of Sheba; and at either end a painting of cupids
playing on muſical inſtruments. Italian. H. 3 ft. 2315 in., L.
7 ft., W. 2 ft. 7 in. Bought, 801.
The front conſiſts of one large panel with double pilaſters at each
end, and figures in the niches between holding ſhields, all gilt. This
forms a ſort of framework for the pictorial repreſentation on the panel.
The painting repreſents Solomon and the Queen of Sheba, typical of
the union of Chriſt and the church, of the temporal and the ſpiritual
powers, and of various different religious ideas in the middle ages.
Here it is the type of marriage; the union of power and earthly
ſplendour with humility, devotion, and beauty. The Queen of Sheba
is here repreſented under a canopy of cloth of gold, ſupported by winged
cherubs, and carried in a triumphal car drawn by horſes all clothed
with deep houſings of the ſame material. She is followed by her
maids and by her miniſters, adviſers, and ſages. The figure of Solo-
Italian Coffers. 1 2 7

mon advances on the oppoſite ſide. They are before an apſe or receſs
of a temple. Figures of angels are above this in a ſort of ſtatueſque
arrangement. All the dreſſes are elaborate repreſentations of extreme
faſhions of the 15th century in Tuſcany, with ſome imaginary details
where the figure of Solomon and the ſages are introduced.
The top of the cheſt is gilt and tooled over with various patterns.
The interior of the lid is painted with two bunches of Howering plants
freely drawn from nature. Theſe are in good preſervation. The
figures of angels playing muſical inſtruments on the ends, and the front
panel are uninjured. It has been a wedding cheſt.
5792.'60.
OFFER, panel or front. Wood, painted with figure
ſubjects and figures; at either end is a figure in relief
in gilt ſtucco work. Italian (Florentine). About 1440.
5 ft. 11 in. by I ft. 10 in. Bought, 9l. 25.
7898.'63.
OF FER, panel. Wood, carved and gilt, with figures
in low relief. Italian. 15th century. H. 1 ft. 4312- in.,
L. 5 ft. 4zl; in. Bought, 12l. Ios.
A marriage coffer with groups repreſenting a marriage in the long
dreſs and head-gear of the day.
4639.'58.
OF FER or Cheſt. Wood carved and gilt. A " caſſone "
or marriage coffer; the front and ends painted with
allegorical ſubjects. Italian. 15th century. H. 3 ft. 1_ in.,
L. 7 ft. 1 in., W. 2 ft. 7 in. Bought, 80l. '
The principal painting is on the front, which is formed by architectural
mouldings into a panel or framed picture. It is a marriage coffer for
a bride's dowry. The ſubject of the painting conſiſts of three proceſ-
ſions repreſenting, ſeverally, the triumph oſ Chaſtity, the triumph of
Love, and the triumph of Death. The central group is 'the triumph
of Chaſtity. Chaſtity, in the perſon of a beautiful bride herſelf, ſtands
1 2 8 Farnz'tare and Wood-work.

erect on the triumphal car. She is crowned with a wreath of white
flowers and the car is draped with cloth of gold. It is drawn by
unicorns, an animal emblematic in the middle ages of virginity. It
was ſuppoſed that only a Virgin was able to catch the unicorn. If ſhe
ſat in the foreſt, the unicorn would run to her and lay its head in her lap;
hence that figure had a religious ſignificance that was variouſly applied.
Here they are the ſervants of virginity and draw the car ofchaſtity, which
is waited on by groups of virgins all ſplendidly arrayed. Love blindfolded
is bound to the back of the car. Over him chaſtity is triumphant.
Behind this group follows the triumph or proceſſion of Love. He
ſtands and drives a car drawn by white horſes, and round him are groups
of young gallants. All theſe are dreſſed in the utmoſt extravagance of
the faſhion of the day, as may be ſeen by the extraordinary developments
of turban and head gear, conſtantly changing and worn by the exquiſites,
the ff brigata ſpenderecchia" of the day. The car of Love is in purſuit
of the car of Chaſtity. When this latter is overtaken, Love, as we
have ſeen, is vanquiſhed and bound captive to the bride's equipage.
In the left-hand corner of the picture meeting theſe joyous pro-ſi-
ſeffions is the triumph of Death. A car or hearſe covered with a black
pall and drawn by buffaloes is driven by Death, a ſkeleton figure in a
looſe robe with long hair blown backwards. In his right hand he holds
his ſcythe, of which the broad blade, ſtreaming red with blood, glares
againſt a ſtormy ſea and ſky behind. The whole Compoſition has a land-
ſcape background, the ground being light or ſand coloured, with groups of
trees, flowers, &c. Figures, horſemen, and little dogs are ſeen in various
parts, and the ſky and ſea occupy the upper part and form a ſolemn
graduated blue green or green blue background to the figures where
they ſtand out againſt it. The colours of the ſea are greened over by
time and perhaps by the yellowneſs of the varniſh. The painting is a
work of great ſeriouſneſs and of much artiſtic merit. The elaborate
decoration of the dreſſes reminds us of the paintings of Gentile da
Fabriano, though there is more grace and leſs of his vigour in the heads
and faces.
The two ends are alſo painted and repreſent the ſorrows and miſ-
fortunes of unſucceſsful love, under the familiar epiſode of the loves
of Pyramus and Thiſbe. Theſe perſonages wear the dreſs of the
day with ſome attempt at the claffical kilt or ſkirt, but the hero has his
hair crimped and ſtanding out all round his head in the manner of the
cauliflower perukes of later days.
The inſide is lined with velvet and furniſhed with receptacles for
jewelry and toilet articles. There are bands of ſpiral twiſts as border
decorations. The inſide of the lid is painted with a female figure re-
Italian Cqfflers. 1 2 9

cumbent and abſolutely nude. This is well deſigned. Round is a
border of mouſetraps.
Portions of the ground round is painted in imitation of damaſk and
the ſame decoration is employed on the top outſide.
The hinges are a ſeries of iron loops at frequent intervals, linked
together; a primitive contrivance in frequent uſe ſtill in oriental
countries.
8974-'63-
OFFER. Wood. The front panel carved in low relief,
with a proceſtion of knights and dames meeting, and
playing muſical inſtruments, coloured and gilt; below are
armorial ſhields borne by angels. Italian. 15th century.
H. 2 ft. 5 in., L. 5 ft. Iozlz- in., W. 1 ft. 11 in. Bought, 401.
This cheſt is mounted on a plinth, to which it is joined by plain
mouldings. It is on the cuſped panels of this part that the two impreſe
or heraldic ſhields are painted. That on the right bears, per ſeſs
azure and or, three fleurs-de-lis, counterchanged. The coat in the left
hand panel can no longer be deciphered. The ends of the coffer are
painted with ſimple damaſk work. The wood is but ſlightly ſunk or
carved, and the ornamental figures, &c. made up with geſſo or cement
preparation for gilding and painting. The bed ſo formed is worked on
much as the ornamental tooling is worked on leather by the bookbinder.
5939-'59-
OFFER, panel. Wood. The inner ſide of the lid of
a coffer, painted with two cupids bearing a wreath
encloſing two ſhields of arms. Italian. I 5th century.
I ft. 7 in. by 5 ft. 6 in. Bought, 31. 45. 2a'.
As a ſpecimen of the eaſy painting ſufficient for its purpoſe which
ſo conſtantly accompanied and often formed the only ornament of four-
teenth century furniture in the centre of Italy, this ſhould be well
obſerved. The ſhields of two families are given. The dexter or right
hand ſhield (left of ſpectator) bears: or, two clubs in ſaltire, ſable.
The other: azure, a ſtag rampant, argent.
F. I
1 3 0 Furniture and Wood-work.

5 8. '6 7.
OFFER. Wood covered with arabeſque ornament in low
relief in ſtucco 3. gilt. A ſhield of arms painted in
the centre. Venetian. 15th century. H. 2 ft. 5 in., L. 5 ft.,
W. 18 in. Bought, 401.
The ſtyle of the decorations is that of the Mantovini, in their work
at Sta. Maria del Orto, in Venice, and elſewhere. It is a ſpecimen of the
ſineſt of this ſpecies of arabeſque deſign. In the centre of the front is
ſeen a ſhield ſuſpended by ribbons in a wreath. The arms conſiſt
of two coats impaled, but the dexter coat has been ſo much rubbed
that the bearings are not diſtinguiſhable. It is. in four quarterings.
The ſiniſter coat bears: or, a croſs gules, between four eagles,
diſplayed, fable. Over all an ineſcutcheon of pretence bearing :-quar-
terly, or and gules.
21. '69.
OF F ER, panel. The front of a marriage coffer of cypreſs
wood prepared, and gilt. It contains a marriage pro-
ceffion moulded in low relief and painted. Tuſcan. 15th
century. H. 1 ft. 53, in., L. 5 ft. 9 in. Bought, 201.
One of the late 15th century ſeries. The figures are raiſed in low
relief by modelling in geſſo or prepared ground, and all has been gilt 3
the colours worked over. There is a marriage going on in the right
hand corner, and the bridegroom's ſquires and attendants bearing
preſents behind him. It is noticeable that the foremoſt of the train
has on his ſhort cloak, (velvet, and trimmed with a deep border of cloth
of gold 3) a lady ſitting and lifting her hand, embroidered in gold.
7897.'63.
OF F ER, panel. Wood. Painted with a warrior defend-
ing a bridge. Italian. 15th century. H. 1 ft. 6 in.,
L. 4 ft. 5zfl; in. Bought, 121. 105.
The painting is an excellent ſpecimen of early Tuſcan painting of
the ſchool of Gentile da Fabriano. The ſcene repreſented is the
famous epiſode in the early hiſtory of Rome of the defence of the Pons
Italian Coffers. ſi I 3 1

Sublicius over the Tiber, when Tarquin the Proud, expelled from Rome,
fought the alliance of Lars Porſenna, King of Etruria, and took poſſeſlion
of the Janiculan hill and the whole of that bank of the Tiber. The
Tiber was then croffed by a wooden bridge, a timber ſtructure akin to
that over the Danube, ſculptured on Trajan's column. There Horatius
Cocles, a Roman knight, poſted himſelf while the pioneers with their
axes hewed down the timbers of the bridge behind him. This hero is
repreſented on the panel or front of the gilt coffer here preſerved. The *
perſonages are dreſſed in the moſt ſplendid arms and capariſons of the
painter's time. The bridge, far from anything reſembling a timber
ſtructure, is of arched maſonry, and the work of the pioneers or work-
men not ſo appreciable. All the ſtory, however, is told in the painter's
way and with great dramatic intereſt. Thus we ſee the knight puſhing
his horſe down the declivity of the bridge and making his ſword ſwing
round his head as he goes. To him come both horſe and foot. The
knights are on white horſes with their creſts in their helmets, amongſt
which we recogniſe the wing, the cognizance of one of the families.
The red and white are ſeen amongſt the men of the Etrurian camp
hurrying to arms. The horſes have broad band capariſons down to the
legs, all decorated with goldſmith's work. The bridles are broad banded
alſo decorated with goldſmith's work, and the horſes heads mounted with
oſtrich feathers and other cognizances. The knights have ſurcoats over
their armour and bear their family arms. The villains or yeomen are
ſome of them armed with the long bow, and are rather in the dreſs and
character of Saracens or Turks, uſing the bow with reverſed curves
of the claffic or eaſtern faſhions: Others have Genoeſe croſs bows, or
carry the pike. The action of the Compoſition is repeated, the knight
defender is ſeen twice over, the laſt time charging the ſtream, and purſued
by the arrow-ſlights of his enemies. The king and his queen ſit under
the canopy of a tent and a page announces the action to them. The
work is profuſely gilt and worked over with tooling.
5804.'59.
OFFER, panel of a. Wood. Painted with ſubject of
a Florentine marriage in the courtyard of a caſtle.
Italian (Florentine). Aſcribed to Dello Delli. Firſt half of
15th century. 4 ft. 3 in. by 1 ft. 4 in. Bought, 9l. 25.
On the right of this Compoſition may be recogniſed as a background
ſketchy repreſentations of the Florence that uſed to border the banks of
I 2
I 3 2 Farnz'tare and Wood-work.

the Arno. Over-hanging ſtories are ſeen ſupported on bold corbel tables
like machicolations, which enlarge the width of thelhouſes as they aſcend.
In front ſit the party of the bride's family ſurrounded by the preſents
(of a very ſubſtantial deſcription) offered by the bridegroom. The
centre and left hand ſide of the painting ſhow the bridegroom's ſquires
and knights and the marriage feſtivities. The young men drink of
the fountain while attendant knights do homage to the bride and bride-
groom ſeated in ſtate, and to the ladies. Muſicians are blowing a braſs
band with all their might above them. The heads are delicately
deſigned and executed in the gay bright colours of Fra Angelico.
The dreſſes are completed with minute fidelity as to trimmings, ſkirts,
ſhaped veil hoods, and head dreſſes, including all varieties of the turban-
ſhaped cap of the time. The men wear trunk hoſe, doublets, and
the ſhort cloak that came into faſhion near a century later in France
and England with ſome notable differences as to collar and ileeves.
278.'69.
OFFER, Marriage. Cedar wood; the top painted with
ſcale pattern, the ſides with armorial ſhields, the front
gilt and carved with ſphinxes, leaf mouldings, and a combat of
warriors mounted and on foot. Italian (Lucca). Date 1511.
H. 3 ft. 6z}_- in.,W. 7 ft. 2-32L in., diam. 2 ft. 9 in. Bought,
431-
This is one of the largeſt and moſt impoſing' of the coffers in the
Muſeum, as will be ſeen by its height. The top is curved and reſts on
rich architectonic mouldings; a' cornice ſucceeds this, and the ſide
forms three panels, a centre and two ſmaller, ſeparated by candelabra.
All this is in relief of ſtucco, on the wood baſe. The angles have
harpy figures, and theſe deſcend with acanthus leaves to a bulging baſe
and end in claw feet. There is a double ſet of baſe mouldings, the
upper and ſmaller having a ſpiral twiſt round it, foliated ſcroll work
between.
The top is without relief work. It is painted with a coat of arms in _
the centre, and ſcale-ſhaped tiles over the remainder. The arms are two
coats impaled. Firſt :--gules, a croſs in ſaltire, argent; and ſecond :--
purpure, a lion rampant, gules. Purple may ſtand for fable, ſable being
ſometimes reckoned a fur and not a tincture. Gules or - red might be
placed upon it without violating a principle ſtrongly held to in northern
heraldry, that metal cannot be charged on metal or colour upon colour.
Italian Coffi'ers. 1 3 3

The central panel contains a has-relief in gold work on ſtucco of a
combat between knights or Cavaliers and footmen. They are in claſſic
armour, deſigned and executed with dignity and ſpirit. The two ſide
compoſitions are, on one ſide Hercules ſubduing Cacus; on the other
ſide is the ſelf-devotion of M. Curtius.
7224.'60.
OF F ER or Toilet Caſe. Walnut wood, inlaid with
marquetry of ivory and coloured woods in geometrical
patterns; three circles on the lid. Italian. About 1500. H.
1 ft. 10 in., L. 4 ft. 1313- in., W. 1 ft. Z-Y- in. Bought (Soulages
Coll), 401. *
The front is divided into three flat panels. The general decoration
is a repetition of ſtars, circles, etc., formed out of minute ſquares,
triangles, or diamond ſhapes, having one long point. It is a piece of
Certoſino work, and the Indian character of this portion of the work
will be recogniſed at once. In this inſtance there are, combined with the
ſtar-like compoſitions, rolling lines and curves repreſenting ſcrolls and
pots of flowers, adding the Perſian and Turkiſh element, of decoration to
the ſeverer work. The inſide is ſurrounded with receptacles for orna-
ments, coſmetics, etc., on three ſides, ſome being tiny drawers, and
ſome covered compartments; theſe are of various ſizes. Few of the
Muſeum ſpecimens of Certoſino inlay ſurpaſs this for completeneſs, or
as a ſpecimen of effect obtained from the hand of traditionary Workers
without the advantages of artiſtic training or knowledge of deſign in
the higher ſenſe.
7223.'60.
OFFER. Wood, inlaid with marquetry of ivory and
coloured woods in geometrical patterns ; a 'Chefs-board
in the centre of the lid. Italian. 'About 1500. H.
1 ft. 10 in., L. 3 ft. 9% in., W. 1 ft. 8-12- in. Bought (Soulages
Coll), 401.
This is of the Certoſino character. The cheſs-board in the middle
ſhows that this cheſt has been ſet in the middle of the room and uſed as
a ſeat or as a table. The panel occupied by the Chefs-board inlay is
1 34 Furniture and Wood-work.

effective, as alternate ſquares always are when mixed with other work,
forming a definite and marked contraſt to the delicate ſtars, circles, or
wiry foliations of the reſt of the work.
5999-'59-
OF F ER. Walnut wood, ſarcophagus-ſhaped; carved in
high relief, with maſks, ſcroll works, feſtoons, etc. ; the
ground ſpaces gilt. Italian (Florentine). Firſt half of 16th
century. H. 2 ft. 1 in., L. 5 ft. 6 in., W. 1 ft. 11 in. Bought,
201.
It has a maflive wreath in a boſs-ſhape, faced with an heraldic eſcut-
cheon in the centre; on this is a coat of arms. The angles and centre
form more prominent points in the Compoſition of the front than are
uſual in theſe cheſts.
6001.'59.
OFFER. Wood, ſarcophagus-ſhaped; carved in low
relief with' arabeſques, conſiſting of palmette Ornaments,
ſcale work, etc. Italian. Firſt half of 16th century. H.
2 ft. 1 in., L. 5 ft. ZY in., W. 2 ft. Bought, 101.
The work is evenly ſpread over the front ſo as to break as little as
poſſible the ſurface of the ſarcophagus-ſhaped exterior. The Whole
ſtands on feet. It is broad in general effect, and the ornament is modeſt
and unpretending. The character of the work may be attributed to the
earlier part of the 16th century.
6002.'59.
OF F ER. Wood, ſarcophagus-ſhaped; carved in low
relief with arabeſques, conſiſting of palmette Ornaments,
ſcale work, etc. Italian. Firſt half of - 16th century. H.
2 ft. 1 in., L. 5 ft. 82,- in., W. 2 ft. Bought, 101.
A duplicate or 'pair to the coffer firſt deſcribed, No. 6001. ' 59.
Italian Coffers. I 3 5

5924-'59-
OF F ER. Marqetry of coloured woods; on the top are
two ſhields of arms within a laurel wreath; a marriage
coffer. Brought from a villa of the Roſpiglioſi family, near
Piſtoia. Italian. Firſt half of 16th century. H. 2 ft. 10 in.,
L. 7 ft., W. 2 ft. 9 in. Bought, 20l.
In this inſtance the baſe and lid are furniſhed with moulded edges,
unlike the ſmaller inlaid Coffers of Certoſino work. A central panel
riſes above the outer edges of the lid. The front and ends are divided
into panels, and theſe have borders of ribbon, and centres filled with
geometrical inlay and inlaid fretwork. The centre panel inlaid in ſquares
with finer work.
A rolling border in ſcrolls of fine inlaid work ſurrounds the whole of
theſe panels.
The ſhields on the top are of two coats impaled, the dexter coat
bearing two lozenges; the ſiniſter two ſtars bendwiſe. Inciſed edges
have been made to complete the heraldry. This has worn away 3 the
old woodwork, however, has not been diſturbed. The original lock
remains, but is not remarkable. The internal drawers or receptacles
have diſappeared. It, is noticeable that ſome of the inlaid work repre-
ſents perſpective ſtep work, as the border round the baſe. The ſmall
ſix-pointed ſtars that form a border to the top are ſet each point with
the grain running in a ſeparate direction, and this gives the brilliancy
almoſt of gilding or metallic decoration to what is mere play on the
natural grain.
7706.'61. _
OF F ER. Carved walnut wood, picked out with gilding.
On the front are. two female recumbent figures, emble-
matical of Spring and Summer, and Cupids ſupporting a'ſhield
of arms. Italian. I6th century. H. 2 ft. 4 in., L. 5 ft. 8 in.,
W. 1 ft. 10 in. Bought, 23l. Is.
This and the three pieces immediately following may be ſtudied as
ſpecimens of the fineſt work put upon "furniture, or indeed executed in
any form in Florence or Rome during the days of Raphael and his
immediate pupils, of whom theſe deſigns 'are every way worthy both
1 3 6 Farnz'tare and Wood-work.

for grace and claſſic refinement of modelling and for care in execution.
It muſt be remembered that the material, walnut wood, has been cut
with ſharp tools, and that little has been left for ſiles or ſand paper, that
the cleanneſs and deciſion of the work muſt be looked at in order fairly
to eſtimate the inimitable ſkill of the carvers. The figures of Spring and
Summer are recumbent and occupy the ſpace lengthwiſe. Smaller
ſtanding figures on a reduced ſcale (to ſtand in the ſame panel) hold
cornucopiae, one of flowers and the other of wheatears. As in the two
following numbers the carving and decoration are cut out of a large
block or flab of walnut wood, not out of a piece framed in a panel in
the uſual way. We may decide from this that the ſculpture has been
worked by an artiſt apart and made up into a cheſt ſubſequently.
7707.'61.
OF F ER. Carved walnut wood, picked out with gilding.
On the front are two recumbent male figures, emble-
matical of Autumn and Winter, and Cupids ſupporting a ſhield
of arms. Italian. 16th century. H. 2 ft. 4 in., L. 5 ft. 8 in.,
W. 1 ft. 10 in. Bought, 231. Is.
The two main figures are Autumn, repreſented by a recumbent
male nude figure prefling grapes brought by a boy and a ſatyr. Theſe
latter are kept ſubordinate as to ſize ſo as to ſit into the panel. The
Winter is warming himſelf over a ſire and has draped attendants to
ſigniſy cold. The carving is out of a ſolid maſs of wood which forms
the front; it is not a piece framed in with rails and ſtyles as is uſually
done. This ſplendour of ſolid material adds to the dignity and maflive-
neſs of the work. The prominent points and edges are touched with
gilding.
7708.'61.
OF F ER. Walnut wood, panelled and carved in high
relief, and picked out with gilding. Subjects, the
Roman army preparing for the Sabine expedition, and the Rape
of the Sabines. In the centre two cupids ſupport a cartouche.
Italian. 16th century. H. 2 ft. 7 in., L. 6 ft. 8 in., W. 2 ft.
Bought, 2 31. 15.
On the two front angles are two carvings of captive barbarians
ſimilar to thoſe of the arch of Conſtantine in Rome (derived from the
Italian Coffers. 1 3 7

repreſentations on the Trajan column), with looſe linen trouſers tied in at
the ancles. Bold rocks are cut at their backs. The baſe moulding has
gadroon mouldings curving boldly under with a ſhaped piece in various
curves and claw feet below. Theſe gadroon lines form a bold vertical
contraſt to the horizontaliſm of the general moulded lines. The top is
raiſed into a narrow panel with its cavetto mouldings notched into
flowers, and leaves, and this panel is ſupported or connected by
coupled curling bracket pieces with the front mouldings oſ the lid.
The general ſtudy of effective arrangement of line diſtinguiſhes this
cheſt and No. 7709. '61 from ſo many that are in other features all
more or leſs alike. The parcel gilding of prominent points, edges, and
lines,lwithout interfering with the attention due to the carving, is enough
to add richneſs and completion to the whole piece.
7709.'61.
OF F ER. Walnut wood, carved in high relief, and
picked out with gilding. On the front are two ſubjects
from Roman hiſtory, the Obſervation of Auguries from the
flight of birds by Romulus and Remus, and the building of
Rome. In the centre two Cupids ſupport a cartouche. Italian.
16th century. H. 2 ft. 7 in., L. 6 ft. 8 in., W. 2 ft. Bought,
231. 15.
With the difference of ſubjects of ſculpture, this cheſt forms a
duplicate of No. 7708. 361.
_ 424-'69-
OFFER. Walnut wood inlaid with other woods and
ſtained bone; the armorial ſhield of the Medici in
relief on front and back. Italian. 16th century. H. 17-3; in.,
W. 3 ft., diam. 15% in. Bought, 121.
This ſmall coffer is panelled on the front and ends, and contains
ſcutcheons bearing armorial ſhields. The wood of the coffer is walnut
and the ſhields are painted on inlaid ſlices or plaques of bone. The
central panels, front and back, bear the arms of the Medici family,
the ſeven balls or pills. Theſe are carved'in bold relief. The top
has a ſhield, as has alſo the two end panels, bearing :--azure, a ſtar
1 38 Furniture and Wood-work.

of eight points, or. Theſe arms are inlaid in bone. There are other
ſhields right and left of the Medici arms. That on the right bears the
papal keys, the other is charged with an eagle diſplayed on a dragon
vert. There are two ſhields on the back, both bearing z-azure and
or per pale. The key plate is of braſs and the ſwing handles of ſolid
hammered iron, ſhowing that this has been a piece of movable furniture.
6000.'59. _
OFFER. Carved wood, with ſive panels in front, ſilled
in with cartouche and riband ſcroll work and maſks.
Italian. About 1550. H. 2 ft. 2 in., L. 5 ft. 1 I., W. 2 ft.
Bought, 101.
The character of the architectural ſarcophagus or tomb is given to
this coffer by the bold baſe which curves under in a ſort of boat ſhape
and ſtands on feet. It is divided into ſive panels on the front. The
lid is well moulded where it joins the ſides, and has a raiſed panel on its
central line with bold moulded lines. The panels are ſilled with maſks,
etc. coming out into bold relief. The contraſt of theſe carved maſſes
with the lines of moulding broadeſt and moſt ſpreading at the baſe, and
gradually ſhorter as the Compoſition riſes, helps the Compoſition.
6003. ' 59.
OFFER. Carved wood, with five panels in front, filled
in with maſks and foliage. Italian. About 1550. H.
2 ft. 2 in., L. 6 ft., W. 2 ft. 1 in. Bought, 101.
A correſponding coffer to the one juſt deſcribed.
4356-'57-
OF F ER. Poliſhed walnut wood, inl aid with marquetry 3
terminal figures at the corners, ſtanding on a gadrooned
baſe and claw feet; in the centre a ſhield of arms in relief.
Italian. 16th century. . H. 2 ft., 2 in., L. 6 ft. 2 in., W.
1 ft. 11 in. Bought, 101. 105.
Italian Cffiers. I 3 9

The arms conſiſt of two coats placed quarterly :-the firſt and
fourth, an arm draped holding a bunch of flowers ; h e ſecond and
third, paley, of five or and azure. The firſt coat has the arm and
hand reverſed in the fourth quarter, contrary to heraldic propriety, but
for the ſake of effect. Two panels are formed on the front on each ſide
of the ſhield, of inlaid cypreſs wood engraved with rough but effective
lines. Theſe repreſent an infant. hymen carried by cupids in a litter
and followed by a trumpeter of ſimilar age. The Compoſition is reverſed
to ſerve for the correſponding panel. The lines encloſing the panels
are inlaid. The ſecond coat of arms repreſents thoſe of the Gherardeſchi
of Bologna.
4357-'57-
OF F ER. Poliſhed walnut wood, inlaid with marquetry ;
terminal figures at the corners; in the centre a ſhield
of arms in relief. Italian. 16th century. H. 2 ft. 2 in., L.
6 ft. 2 in., W. 1 ft. 11 in. Bought, 7l. ror.
Similar in every way to No. 4356. ' 57. The heraldry-is different.
The ſhield in this coffer is charged with a weighing ſcale in chief. The
two together repreſent the arms of the two families united by marriage.
5898.'59a
OF F ER. Carved Cheſtnut wood; the front panel orna-
namented with floriated ſcroll carving ; a ſhield of arms
in the centre ſupported by Cupids. Signed " Franciſcus
M. Piera." Italian. 16th century. H. 2 ft., L. 6 ft. 6 in., W.
1 ft. 93 in. Bought, 9l. 175.
This coffer has the very rare ſpeciality of the owner's name as well
as the arms of his family. The letters Franciſcvs and the reſt of the
name are contained in two narrow cartouches on the two extremities
of the front. The arms are on a central ſhield ſupported by boys. A
bend charged with three leopards' heads caboched and three quatrefoils 3
above this, three fleurs-de-lis, and over all a label of four points. In
chief two hands conjoined. On either ſide the ſhield there is a panel
1 40 Fnrnz'tnre and Wood-work.

of bold floriated ſcroll work. The acceſſory ornament is cut with
unuſual deciſion. The figures are modelled with ſkill and finiſh.
7829.'61.
OFFER panel. Wood, carved and gilt; the front of
a coffer, with allegorical figures and armorial bearings.
Italian. 16th century. H. 1 ft. Io-Y- in., L. 5 ft. 7 in. Bought,
41.
This work is of early 16th century deſign, ſhowing the fuller out-
lines and the more academical treatment of times later than thoſe in
which the beſt artiſts expended themſelves on painting furniture, reli-
quaries, and the like. The wood is here carved in relief and helped
out by maflive plaſter preparation for gilding. The pane is divided
into three by two candelabra diviſions. In theſe are allegorical
repreſentations of vices, or the conteſt of human nature with vice.
A monſter, half man, half lion, is combating another, who is of the
ſatyr type. The rude ſtrength of a noble nature ſtruggling againſt
the more degrading vices of which the man goat is the type. On the
oppoſite ſide is a centaur carrying plenty, a female figure with a
cornucopia, violence,'with luxury in its train. In the central portion
are the four cardinal virtues: Prudence holding a ſerpent in her right
hand, and a mirror in the leſt; Juſtice with the ſword and ſcales;
Fortitude in arms; and Temperance typified by the grapes and cup.
Two ſhields of arms are borne on dividing candelabra, but the arms
have been purpoſely effaced. No. 7830. '61 is ſimilarly decorated.
7830.'61.
OFFER. Panel. Wood, carved and gilt; the front
( : of a coffer, with allegorical figures and armorial bear-
ings. Italian. 16th century. H. 1 ft. log; in., L. 5 ft. 7 in.
Bought, 41.
4414-'57-
OFFER. Walnut wood, carved in high relief, and
parcel gilt; in the centre 'of the front is an armorial
ſhield, ſupported by Cupids, and on either ſide of this is a
Italian Coffiers. 1 4 1

cartouche with a Cupid in a chariot drawn dogs and bulls.
Italian. I6th century. H. 2 ft. 6 in., L. 6 ft., W. I ft. 10 in.
Bought, 1101.
i Sarcophagus ſhaped. The ſhield is charged with a feſs of three
lines, oſ which the middle is wavy. In chief are five deſcending rays
and in baſe a ſleur-de-lis. Winged harpy figures turning into foliage
ſcrolls with maſks, are carved on the angles. The bottom is cut into
ſcrolls and reſts on claw feet. The plinth is a flat platform with
guilloche ornament cut round the edge. The ground of the carved
portions is gilt. It is Florentine, and belongs to the middle of the
16th century.
4415-'57-
OFFER. Walnut wood, carved in high relief, and
parcel gilt; in the centre of the front is a ſhield of
arms ſupported by Cupids, and on either ſide of this is a
cartouche with cupids in a chariot drawn by horſes and lions.
Italian. 16th century. H. 2 ft. 6 in.,L. 6 ft., W. 1 ft. 10 in.
Bought, 1101.
The ſubjects of the carving are different from thoſe of the preceding
number, but the two coffers are a pair, and may from the nature of the
ſubjects be concluded to have been part of a bride's dower, or the
marriage furniture of the family.
4886.'58.
OF F ER'or Cheſt. Cypreſs wood, decorated with claffical
deſigns and ſcroll patterns, drawn with a reed. Vene-
tian. About 1530. H. 17 in., L. 3 ft. 5 in., W. 223.
Bought, 81. 155. '
This is but a ſmall example of the kind of work. Much more
important cheſts of this deſcription are to be met with, both as to ſize
and goodneſs of drawing. It will ſerve, however, to illuſtrate a ſpecial
deſcription of work made in Tuſcany in the 16th century. The ſurface
of the wood is formed into panels with very light mouldings, applique
where required. Sometimes the deſign is wholly drawn. In this
I 4 2 Furniture and Woodwork.

inſtance we have on the front panels, deſigned with the (reed) pen and
ink, Mercury 011 one ſide, Jupiter on the other 3 a cavalier ſerenading
his miſtreſs on one end, and a ſimilar compoſition on the other. Inſide
the lid are Mars and Luna in cars. The inſide is furniſhed, beſides,
with receptacles for ſans, gloves, or other ſmall articles of dreſs. On
the front of theſe are figures of cavaliers and Ornaments of branches
and-leaves. The ſpace within the panel lines not' occupied by drawing
and anſwering to ground work, are punched with patterns of different
kinds, hammered lightly into the ſurface in regular diapers. The
deſigns on many of theſe marriage cheſts boldly drawn in this manner
are too free for exact deſcription.
5927-'59-
OFFER,panel. Carved wood; the front of a coffer;
in the centre is a ſhield of arms, ſurrounded by a wreath i
of oak-leaves and acorns 3 on each ſide is a griffin and foliated
ſcroll. Italian. 16th century. H. 1 ft. I-Zz in., W. 5 ft. 41.; in.
Bought, 51. * '
7825.'61.
COFFER. Wood. Carved with architectural mouldings
ſupported on lion's paws. A tablet in front ſurmounted
by cherubim, and ſupported by angels in high relief. Italian.
16th century. H. to centre of lid, 2 ft., L. 3 ft. 5in., W.
1 ft. 5 in. Bought.
The decoration is wholly of an architectonic character. The
carving is bold but too coarſe for ſo ſmall a piece of furniture unleſs
intended only as a piece of room decoration to be ſeen at a diſtance
and in connection with ſuitable doors and panelling. We may notice i
alſo the way the angle panels turn the corner, having the moulded
ſtiles on the front and ends, and leaving the angle itſelf unprotected,
a faulty conſtruction ſhowing how entirely the effect of the contraction
of breadth in the middle and the increaſe made by'the upper and lower
moulding lines has been aimed at in place of a more natural and obvious
cabinet making conſtruction for framed wood work. ct
Italian Coffers. 1 4 3

_ 7212. '60.
OF FER. Carved walnut wood. On the front are re-
preſented ſcenes from the hiſtory of David, carved in
full relief; at each angle is a ſtatuette of a prophet, and on the
ends repreſentations of Spring and Summer. Italian. About
1550. H. 3 ft. 3 in., L. 6 ft. 3 in., _W. 2 ft. 1 in. Bought
(Soulages Coll.), 2 50l.
This forms one of a pair, of which a full deſcription will be ſeen in
the fucceeding number. The carvings repreſent: Iſt, David kneeling
before Saul, the king of Iſrael, and offering to encounter Goliath, the
champion of the Philiſtines. and, the decapitation of Goliath with his
own ſword by David.
The figures at the angles make up together the four greater
prophets, Iſaiah, Jeremiah, Ezekiel, and Daniel.
The Spring and the Summer are recumbent female figures, attended
by boys, one bearing a fickle the other a cornucopia.
7213. '60.
OFFER. Carved walnut wood. On the front are re-
preſented ſcenes from the hiſtory of David, carved in
full relief; on the two front angles are ſtatuettes of prophets,
and on the ends repreſentations of Autumn and Winter. Italian
1550. H. 3 ft. 3 in., L. 6 ft.,W. 2 ft. 1 in. Bought
(Soulages Coll.), 2 50l.
The front is formed of ſolid wood. The carvings are cut out of
the maſs, into which a panel is thus ſunk without containing rails or
mouldings. The left compoſition repreſents David, the ſhepherd,
bearing the head of Goliath, the champion of the Philiſtines, in
triumph, and that on the right, the anointing of David by Samuel,
the prophet, for the future king of Judah. There is between theſe
ſculptures a central ſcutcheon without charges; it is ſupported by
female figures, gracefiilly deſigned. One holds a column repreſenting
Fortitude. The other careſſes an eagle and repreſents Power. The
whole ſtands on a bold concave baſe, gadrooned below. There are
harpy figures at the angles. It is raiſed on a low plinth, with the ſides
worked over with guilloche ornament.
144 Farnſiz'tnre and Wood-work.

4416-'57-
OFFER. Walnut wood, carved in high relief, and
parcel gilt; the front divided by terminal female figures
into four compartments, in which are groups in low relief re-
preſenting Apollo and Daphne, Apollo and Cupid, Phaeton
and the chariot of the ſun, and other mythological ſubjects; in
the centre is a ſhield of arms ſupported by two cupids; on the
cover is a raiſed panel with a lion's head in the centre. Italian.
About 1560. H. 2 ft. 3 in., L. 5 ft. 7 in., W. 1 ft. 10 in.
Bought, 1101.
The central ſhield is ſupported by two cupids ſtanding out almoſt
in the round or completely detached. The bearing on the ſhield is, two
dolphins endorſed and placed ſaltirewiſe. The carving of the figures in
the panels repreſents the mythology of Apollo. Female terminal figures
at the angles and half way between the angles and cent're divide the front
into four ſunk panels, in which theſe legends are ſculptured. Firſt cornes
Apollo wooing Daphne and trying to take her by the arm at his temple.
In the next he purſues her, Cupid, flying in front to ſhow the way. In
the next Daphne to ſave herſelf invokes Tellus, Mother Earth and is
changed into a bay tree, with the leaves whereof Apollo makes garlands
for himſelf. In the fourth panel are ſeen the chariot and horſes of
the ſun, which was overſet by Phaeton ſon of Apollo. The ſubject
is begun in the companion coffer. It is noticeable that theſe carv-
ings are cut out of one maſs or ſlab of wood not leſs than three
inches thick, which forms the ſide of the cheſt. The terminal figures
divide the bulging ſide where the ſculpture is, their heads divide
a ſort of carved border above into narrow panels. There is a row
of round beads applied between theſe and the main panels. The
carving is of honeyſuckle and volutes in the manner of pilaſter' caps.
The lid comes cloſe on this and is fluted on its edge vertically. The
lid has a raiſed panel with carved acanthus moulding ſupporting it,
and a lion's maſk on the centre, and the flat round the panel is cut
into ſcales. The bottom framework of the coffer is cut into curves and
ſcrolls, and at the angles has claw feet. On the end panels are trophies
of arms. '
Italian coffers. 1 4 5

4417-'57-
OF F ER. Walnut wood, carved in high relief, and
parcel gilt; the front divided by terminal female figures
into four compartments, in which are groups in low relief
repreſenting Apollo flaying the Python, and other mythological
ſubjects; in the centre is a ſhield of arms ſupported by two
cupids; on the cover is a raiſed panel with a lion's head in
the centre. Italian. About 1560. H. 2 ft. 3 in., L. 5 ft. 7 in.,
W. 1 ft. 10 in. Bought, 1101.
Similar to the laſt. In the panels we have, firſt, Apollo ſlaying
Python, a dragon who guarded the oracle of Delphi ; after which he
became himſelf the guardian of the ſhrine. In the next we are intro-
duced to the ſtory of Phaeton, of whom the doleful end is recorded in
the carvings of No. 4416.'57. Phaeton was the ſon of Apollo and
Clymene, an oceanid or ſea nymph. Phaeton's royal deſcent was not
acknowledged and he prayed his father to own him. We have him,
accordingly, preſented by his mother to Helios or Zthe Sun, the name
and office of Apollo in his temple. In the third panel he is praying
Apollo to grant him the uſe of his chariot for a ſingle day. Then we
ſee the chariot overſet, the horſes falling headlong and Phaeton caſt into
the river Eridanus (the Po) and drowned. The upſet as we have ſeen is
detailed in the laſt panel and the Po, the Eridanus, with its vaſt drainage
and many affluent ſtreams, conſidered in ancient days as the king of the
rivers of Italy (and of the world) is here repreſented by a recumbent
river god with two aſſiſtants to ſwell the volume of his Waters.
7744-'62-
OF FER. Wood, inlaid with a rectangular pattern in
marquetry of coloured woods. Italian. 16th century.
H. 2 ft. 10 in., L. 6 ft. 8 in., W. 2 ft. 5 in. Bought, 201.
Compare this with the ſimilar work of No. 5924. '59. The form
of the decoration, however, is different. It iſſs not divided into panels
but is diſpoſed' in borders and in ſpaces of chequer and ſquare
ornament.
F. K
146 Furniture and Wood-mark.

7324.'60.
OF F ER Panel. Carved walnut wood. An oval com-
partment in the centre, with a figure of a woman on
the walls of a fortreſs; the front of a coffer. Italian. I7th
century. H. 1 ft. 5in., W. 5 ft. 2 in. Bought, 11. 55.
The ſiege of Troy was a favourite ſubject for illuſtration when
the a claffic" revival began to take effect in Italy. Theſe figures
repreſent Caſſandra, the daughter of Priam, king of Troy, and Hecuba,
his queen. She was endowed with the gift of prophecy, having been
expoſed or offered in her childhood to the god Apollo. Owing
however, to a quarrel with Apollo, in later life ſhe was doomed,
though a propheteſs, never to be believed3 in conſequence all her
forewarnings as to the fate of Troy, of which ſhe was not ſparing
and ſuch as ſhe is giving in this ſculpture, ſeemed to Priam and Hector
his ſon as idle dreams.
7822.'61.
COFFER. Of Certoſino work, The front inlaid with
geometrical patterns in Wood and ivory ; on the lid is a
draught board. Italian. I7th century. H. 1 ft. 11 in., L.
3 ft. 9 in., W. 1 ft. 63 in. Bought, 101.
Inſide the 'lid is the monogram a I H S," with roll foliations and
flower-pot inlay in the ſame material. This piece may be compared
With No. 7224. '60.
78I2.*62.
OF F ER. Inlaid wood; the panels and lid carved with
cupids and ſatyrs. Italian. I7th century. H. 2 ft. 2 in. ,
L. 5 ft. 9 in., W. 1 ft. 10 in. Bought, 251.
It ſtands on a bold torus-moulded box and' claw feet. The top has a
raiſed central panel. The ſpace round it, the ſides and ends and the top
panel, are all inlaid on the flat. The deſign is a compoſition of children,
genii of ſatyrs with butterfly wings, ſatyrs, etc., all playing in move-
ment. A band repreſenting a wall moulding raiſed and ſunk in alter-
nate ſquares like battlements, divides the figures, ſome being in the
Portagaqe Coffers. 147

upper ſpaces, ſome in the lower or crawling along them. Terminal
winged figures with foliated ſcroll lines and Ornaments, further diverſify
and give architectonic character to this deſign. The torus of the baſe, a
moulding at the top and bottom of the front and ends, and round the
top panel are decorated with delicate curling foliated ornament. The
broad border of the top panel is inlaid with architectural acanthus bud
ornament. In this way the whole of the flat ſpaces' are occupied, and
the broader mouldings decorated without detracting from their breadth,
as thick or coarſe ornament would do.
155.'66.
OF F ER. (hiadrangular with' bevelled lid. Wood over-
laid with black maſtic, in which are embedded bits of
mother-of-pearl in floriated Oriental pattern. Probably im-
ported by the Portugueſe from India. 16th or 17th century.
H. 14741; in., L. I 9 in., W. log; in. Bought, 8l. 85. 5d.
Work of this kind has been made for governors and other officials
ſettled in India, and by them carried home at the expiratiqn of their
terms of office. Examples are found of cabinets, cheſts and indeed
furniture of all kinds made for Portugueſe and Spaniſh, as well as for
Dutch colonial dignitaries in the various provinces over which they
held rule, and for ambaſſadors at the Oriental courts or ſtates to which
they were accredited. The amate'ur and collector would be ſorely
puzzled by the Oriental work done on European deſigns unleſs this
were borne in mind. In Britiſh India we find the native workmen
employed on this principle for Engliſh cuſtomers ſince the days of Clive.
1769.'69.
RADLE. Oakwood, panelled, with carved head-board.
Engliſh. With the letters C . B . M . B., and dated 1641.
H. 2 ft. 2 in., L. 3 ft. 1 in., W. I ft. los-12 in. Bought, 6l.
It bears beſides the date of the year that of the day on which the
infant it was made for firſt ſaw the light, a October 14th. D . A . 1 I'
There are knobs, two on each ſide, to faſten down teſters or curtains.
The ends of the panel rails at the head are cut into the rude acorn
ſhape uſual in 17th century railings and other woodwork ſupports.
it 2
148 Farnz'tare and Wood-work.

CREDENCE. See SIDEBOARD.
CUPBOARD. See SIDEBOARD.
8438.'63.
ESK or Book Reſt. Carved wood, with arabeſque
ornament. Italian. About 1560. H. 1 ft., W.
8 in. Bought (Soulages Coll.), 41.


Made of two pieces, carved out of one ſolid board, jointed acroſs
each other like claſped fingers. The ſurface is decorated with ara-
beſques of flowers, birds, &c.
365.'64.
ESK. Ebony; a' writing deſk, inlaid with ivory ara-
beſques, containing figures and animals. Italian. About
1600. H. 42 in., L. 18-£- in., W. I6% in. Bought, 121.
This is a writing deſk merely ſloped, for placing on a table ſo as to
bring the paper conveniently before the eyes, exactly as we now uſe
them. The floping top is inlaid with ivory, the centre forming a large
panel with narrow bordering panels round it. Theſe ſide borders are
filled with delicate ſcroll arabeſques. A central ſcutcheon of ſimilar
work balances them, and ſtrap work of thin lines ſurround this centre.
' Huntſmen, dogs, and animals are diſpoſed about. The ivory, where
there is ſufficient breadth of ſurface, as in the caſe of the figures, is
engraved ſo as to make the drawing of men, animals, &c. complete.
8375.'62.
ESK- or Book Reſt. Marquetry of coloured woods,
-> a group of Italian peaſants. Modern Italian (Nice).
H. IOZ in., L. 4-fi- in. Bought, 41.
Italian Drawers. 1 49

The number of exotic woods growing on the ſouthern flopes of the
maritime Alps, have given riſe to this form of induſtry at Nice. The
work ſhould not be compared with the French, German, or Italian
marquetry of the laſt century. Small figure ſubjects in woods partly
coloured artificially are the uſual form of decoration in theſe Nice
wares. Larger pieces of furniture thus ornamented are made in the
place Occaſionally; but the old characteriſtic productions of Nice are
on this ſmaller ſcale.
1047-'55-
ISTAFF. Carved boxwood. Italian. Early 18th
century. L. 26? in. Bought, 121. 25. 511.
The ſtaff is turned in the lathe with rims and neckings, ſome of
which are carved. A little above the portion held in the hand are
two nude figures of a man and woman. Under the winder are groups
of children dancing, one ſet on the heads of thoſe below. Rings have
been cut out in the lathe, and left looſe on the narrow neckings.
7746.'62.
RAWERS, Cheſt of. Walnut wood, carved in high
relief; pilaſters at the angles with images of warriors,
workmen, and children; containing five drawers, two ſhorter
than the reſt at the top, between which is a group of mounted
ſoldiers in relief; the handles in form of groteſque boys ſeated
on dolphins. Italian. 16th century. H. 3 ft. 75- in.,
L. 5 ft. 43; in., W. 2 ft. 5 in. Bought, 241.
Each drawer-front forms a panel, with bold knotty mouldings cut into
boſſes and gadroons. The carvings, at the angles are ſupports formed
by four ſtages of little figures on brackets. The uppermoſt is a boy
playing muſic, who has a bracket above his head ſo as to form, in the
whole, a ſort of columnar projection on front and Hanksſi The figures,
which are the element that gives character to the whole, are deſigned
and cut with ſpirit, in the lively manner of the early 17th century, and
are of North Italian origin. '
1 50 Farnz'tare and Wood-work.

1020. Iozoa. '69.
" OOT Reſts, a pair. Wood, cloſely inlaid with metal
' ' " and mother-o'-pearl. Modern Turkiſh. H. 9 in.,
L. of foot, 9% in. (Paris Exhibition, 1867.)-




Bought, 31. 85.
1021. 1021a. '69.
OOT Reſts, a pair. Wood, coated with mother-o'-pearl,
and engraved with floral pattern. Modern Turkiſh.
H. 23?- in., L. 9-g- ft. (Paris Exhibition, 1867.) Bought, 21.
6006.'59.
OOT Stool. Carved walnut wood, with a cartouche and
riband ſcroll work at each end. Italian. About 1500.
H. 10 in., L. 2 ft., W. 1 ft. 4 in. Bought, 11. 195.
6005.'59.
OOT Stool. Walnut wood, carved and picked out in
gold, a ſhield of arms at each end. Italian (Florentine).
About 1500. H. Iolg- in., L. 2 ft. 3 in., W. 1 ft. 4 in.
Bought, 41. 55.
97 3. '69.
ORK. Wood; the handle carved with St. Sergius
kneeling to the Virgin. Modern Ruflian. L. 8-ſig- in.,
W. 2-23- in. Given by the Ruſiian Commiffioner. (Paris
Exhibition, 1 867.)
Engliſh Fra7ne5. 1 5 I

The ſculpture is executed with preciſion. It is of the character of
the fine miniature carvings for religious__uſe traditionary in the eſtabliſh-
ments of monks at Mount Athos, and other Greek and Ruffian
monaſteries. ' '
657.'69.
FRAME for a Mirror. Ebony carved and inlaid with
metal and tortoiſe ſhell. Modern Daniſh. H. 4 ft.,
W. 3 ft. 5 in. (Paris Exhibition, 1867.) Bought, 22l. 165.
The work is broad and without ornament of the kind uſually
beſtowed on frames, but intereſting as an example of the careful
manipulation of Daniſh modern workmanſhip.
7864.'62.
RAME. Carved and gilt wood; containing a portrait
of Sir Francis Drake, with an inſcription. Engliſh.
17th century. H. 7 in., W. 5-12- in. Bought, Il. 125.
4063.'56.
RAME for a Picture. Wood, carved and gilt. Engliſh.
18th century. H. 2 ft. 8 in., W. 2 ft. Bought,
Il. 105.
1605.'55.
RAME of a Picture or Mirror in carved oak, flanked
by ſtatuettes of Adam and Eve; architectonic ornament
in perſpective. Flemiſh. 16th century. H. 1 ft. 7 in., W. 1 ft.
Bought, .20l.
This frame may have ſerved for one of the mirrors of burniſhed
metal which preceded the introduction of glaſs and quickſilver. It
has a circular pediment ſurmounted by reclining nude figures. The
baſes of the ſide ſtatuettes are ſupported by demi-figures draped,
1 5 2 Farnz'tare and 'Wood-work.

iſſuing bracketwiſe from the ſcutcheon work of the centre. Between
theſe figures and on the centre of the top, are maſks. The ſide figures
are ſtraight and graceful in deſign, full of life, ſhowing accurate know-
ledge of deſign. The whole reminds us of the beſt impreſe or frontiſ-
piece deſigns, of which ſo many volumes have been publiſhed. The
wood, which is oak, is cleanly cut, rough as the grain of that wood is for
fine carving, being alternately veiny and fibrous, and the tool liable to
ſlip after the effort required in cutting the harder parts. The work is not
rubbed down but worked all through with the tool. Were it not for
the material, oak, which is ſo conſtantly uſed for good Flemiſh work,
we might affign carving ſo maſterly to Italy. The Flemiſh deſigners
and workmen of the higher degree were ſent to Italy to ſtudy, and in
many caſes their work is equal to that of Italian wood ſculptors. It is
not difficult to trace in this frame a ſtudent of the beſt-known works of
Michel Angelo.
1544-'72-
RAME for a Mirror. Wood, carved and gilt, ſur-
mounted by a pediment. Flemiſh or German 17th
century. H. 2 ft. 2 in., W. 1 ft. 7 in. Bought, 41. 85.
3651.'56.
RAME for a Picture. Wood, carved and gilt, open ſtrap
work and foliage. French. About 1680. H. 11 in.,
W. 7Z in. Bought, 21.
679.'64.
RAME. Wood, gilt; elliptic, with garland of flowers
and fruits in very high relief. French. End of 17th
century. 19-12- in. by 17-41- in. Bought, 201.
An oval frame for a portrait. The principal feature is a continuous
garland or moulding of flowers all of one ſize, undercut and carved
Frenclz Franies. I 5 3

with extreme fineneſs; indeed, the work about theſe flowers is of
extraordinary preciſion and delicacy. Compared with the frame cutting
in relief of the Florentines we ſhould call this claſs of carving over-
fine and tending to a wiry character. A ſmall border within and
another outſide complete the ſyſtem of the mouldings. -
100.'64.
RAME. Carved wood, unpainted; foliage ornament,
ſurmounted by a pediment with a blank ſhield and a
coronet. French. About 1700. H., with pediment, 157£7 in.,
W. 9Z in. Bought, 31. 35. 2a'.
Richly cut, ſuitable for gilding. The pediment at the top gives it
the character of a piece of room furniture rather than if it were a mere
framework of wood, having each ſide a repetition of the other three.
5387-'57-
RAME. Wood, carved and gilt, decorated with flowers
and fruit. French. 18th century. Square, W. 9-2- in.
Bought, 11. 105. -
31 8. '66.
RAME for a Picture or Mirror. Wood, carved and
gilt. French. 18th century. 15£ in. by 11 in. Given
by C. Robinſon, Eſq.
A, ſpecimen of the extreme freedom of French carving, ſuch as
was executed in the reign of Louis the Fifteenth. No fault can
be found with the execution. The wood is cut with deciſion and
cleanneſs.
1 54 i Furniture and Woodwork.

4835- 57-
RAME. Tortoiſe ſhell or horn and ſtained wood.
German I7th century. 28 in. by 23 in. Bought,
IOJ'.
Frames made by the uſe of veneered ſhell mouldings, ſometimes
with and ſometimes without intervening reed lines of ebony or wood
coloured in imitation, are common amongſt the ingenious wood Workers
of the South German and North German ſchools. We uſually find
the ſhell work mounted on a baſe painted with Vermilion, as is often
the method of uſing tortoiſe ſhell in boule inlay. The mouldings to
be covered with ſhell in this manner are wide and flat curves, ſo as not
to neceffitate the bending of the ſhell into delicate hollows. The ſhell
heated with boiling is applied with glue, and kept in place by heavy
preſſure till the two ſurfaces are firmly united.
4836-'57-
RAME. Tortoiſe ſhell or horn and ſtained wood.
German I7th century. 2872. in. by 24 in.
Bought, 105.
A 4837 '57-
RAME. 'Tortoiſe ſhell or horn and ſtained wood.
German (.P) I7th century. 2111- in. by 19 in. Bought,
105.
4838.'57.
RAME. Tortoiſe ſhell or horn and ſtained wood.
German (.P) I7th century. 10 in. by 9in. Bought, 55.
4839-'57-
RAME. Tortoiſe ſhell or horn and ſtained wood.
German (.P) I7th century. 8 in. by 6 in. Bought, 55.
Italian Franzes. I 5 5

5893-'59-
RAME. Wood, carved, gilt, and painted, probably the
framework or frontiſpiece of an ambrey or ſmall cup-
board. Italian. 15th century. H. 4. ft. 10 in.,W. 3 ft. 4 in.
Bought, 19l.
Whether this has been intended for 'eccleſiaſtical uſe or not is
doubtful. If ſo, it has been forct the front of a ſmall cupboard to hold
the oils uſed in the adminiſtration of the ſacraments. What is curious
is that the frame repreſents a piece of conſtructed perſpective, the little
panels of the arch, etc. cloſing into a given point of ſight. It is
intereſting as an inſtance of the daring violation by the cinquecento
architects of ſome of the principles that had governed architecture and
decoration before that. The method of decoration exemplified on this
ſmall ſcale has been applied by the architects of Northern Italy to
architectural facades brought near the eye, for particulars of which we
may refer to the Preface.
148.'69.
RAME for Mirror or Picture. Wood, carved and gilt,
of architectural deſign. Italian. 15th century.
H. 162 ft., W. 162.- in. Bought, 3l.
A complete architectural doorway compoſition. Two wooden
columns on an architectural baſe ſupport the architrave. On this are
arabeſques and a ſhield, the arms on which are no longer to be de-
ciphered. A projecting cornice ſiniſhes the top. An inner cut
moulding forms the actual frame, which is a complete ſquare, to which
the architectural exterior forms a ſort of introduction.
6867.'60.
RAME for a Picture. Carved and gilt wood. Italian.
15th century. 1172- in. by 6% in. Given by Signor
Gagliardi.
I 56 Farnz'tare and Woadwork.

7150. '60.
RAME of a Mirror. Wood, carved and partly gilt;
Compoſition of ſcroll work, griffins, &c., ſurmounted
by a vaſe of fruit, ſupported on two horſes' heads. Italian.
16th century. H. 1 ft. 11 in., W. 1 ft. 5.;- in. Bought,
11. 101.
A rich piece of Venetian or Florentine work, forming a ſort of
monumental tablet with projecting wings. The carving on the top is
ſmaller and finer than that on the ſides. The wood is walnut, with
portions gilt.
I 183. '64.
RAME of a Mirror or Picture, formed by two columns
ſupporting an entablature and pediment; in lacquer
work of colour, gilt arabeſques, and mother of pearl. Ve-
netian or Genoeſe About 1580. Containing a painting
of later date. H. 1371- ft., W. 9741; in. Bought, 71.
An obvious imitation of Indian work, that may be compared with
the boxes or coffrets in the ſame material and ornamented in the ſame
manner. It is probably from Venice or Genoa. Both thoſe maritime
ſtates imported and imitated Oriental, Chineſe, and other exotic manu-
factures, with which their extenſive commerce brought them in
contact.
5 7 94- '59-
RAME for a Picture. Carved wood. With raiſed ara-
beſques. Italian. 16th century. H. 2 ft. 432; in.,
W. 1 ft. 10 in. Bought, 11. 21. 9d. .
On the ſides are narrow panels or pilaſters, on which are cut
arabeſque' Ornaments in relief. The top ends in a bold corona or
cornice above the framework, and a ſimilar projecting cornice or ſtring
compoſed of ſeveral members ſiniſhes the baſe of the ſtructure.
Italian Fraines. I 5 7

771.'65.
U
RAME to a Painting in oil. Portrait of a young lady
in Swiſs coſtume. Italian or German frame of 16th
century. H. 2 ft. 8 in., W. 2 ft. 1 in. Bought, with painting
(Soulages ColL), 501.
A frame, half imitative of church monumental and half in a ſtyle
ſuitable to wood carving tablets of the day, of an architectural kind.
The top is a cornice with a broken pediment and maſk in the centre,
flanked by pieces like the antifixes of antique roofs. On the baſe
and at each ſide are ſcrolls cut into with the ſurfaces, ſcales, leaves,
etc., and with ſwags hanging from different points. The whole is
maſlive, and the ſolid intertwined ſcrolls give the effect of richneſs
which more delicate cutting would not equal. As a monumental com-
poſition, the ſides and top and baſe not being repetitions of each other
but ſeparately conſidered, this ſort of conſtruction of a picture frame
deſerves Obſervation. It is poffibly Italian, but more probably German.
It formed part of the Soulages Collection.
4215- '57- *
RAME for a Picture or Mirror. Wood, carved and
gilt. Italian. 16th century. 3 ft. 1 IzZ- in. by 4 ft. 5 in-
Bought, 101.
The ornamental work on the top and ſides of this frame ſtarts from
a centre on each of the four ſides of the frame, and forms elongated
S-ſhaped curves towards the corners. Theſe members are broad, and
are croſſed by finer cut work, the lines running more or leſs in an oppo-
ſite direction to fill the ſpaces ſo left. The wood is ſharply pierced out,
giving deciſion and diſtinction to the finer lines. It reminds us of the
knot work in the Iriſh ſculpture and goldſmith's work ; but this reſem-
blance is in general effect only. For carved and gilt Wood work it is,
perhaps, over wiry. The glaſs is Venetian plate, bevelled at the edges.
I 5 8 Furniture and Woodwork.

2811.'66.
RAME for a Picture. Carved wood, pierced openwork.
Italian. 16th century. 10-12- in. by 9 in. Bought,
21. 165.
7816.'62.
RAME. Wood, carved and gilt in therenaiſſance ſtyle;
the frieze of arabeſque foliage. Italian. 16th century.
H. 5 ft., W. 4 ft. 3 in. Bought, 451.
7820.'61.
i RAME; carved wood. Architectural deſign, painted
with arabeſques and parcel gilt. Italian. 16th cen-
tury. H.-6 ft., W. 4 ft. 7 in. Bought.
There is but one complete frame of this deſcription in the muſeum 3
and the peculiarity of the work deſerves careful examination. It is an
architectural frame ſtanding on a baſe and ſurmounted by a cornice and
bold projecting corona. It is in the form of the door of a ſhrine, or of a
monumental receſs, intended for a definite place on a wall over one of
the openings, ſuch as were made for tabernacles in the altar backs of
the early_14th century, or quartocento deſigns. The pilaſters, cornice,
baſe, etc., are decorated with ſimple guilloche ornament, egg-and-tongue
moulding under the cornice, etc. On the plinth are arabeſque
deſigns. Theſe Ornaments are not carved but painted in white, and
ſet off with gilding. The details repreſenting relief are painted with a
ſlight indication of ſhadows. The ground is blue. Time has mellowed
this into the tone of the ultramarine aſh, and the white into a pearly grey
or ſtone colour. There are two ſhields in two corner panels below the
ſide pilaſters on the plinth. They are charged with a bend ſiniſter, on
which are three roſes with a ſun in ſplendour above. Both ſhields are
alike. -
Italian Fratnes. I 59

'85o3.'63.
RAME for a Picture. Carved and gilt wood, 'with
buſts, children, and foliage. Italian. 16th century.
H. 4ft. 273; in., W. 3 ft. 273- in. Bought, 81.
4044-'56-
RAME for Picture or Mirror. Wood, carved and gilt.
Italian. About 1560. H. 2 ft. 8 in., W. 2 ft. Bought,
5l. I 55'.
3329-,56-
RA'ME for a Picture or Mirror. Carved and gilt wood,
enriched with maſks, cupids, &e. Italian. 17th cen-
tury. H: 5 ft. 1 1 in., W. 5 ft. 1% in. Bought (with painting,
No. 5470. '56), 19l. 105. -
The maſks occupy the corners. The figures are well carved after
nature. From' the angles ſtart long, undulating garlands, which run
through the finer arabeſque work. Theſe are longer and heavier than the
arabeſque. Bold rolling ſcrolls croſs it alſo, coming from the centres.
8440.'63.
RAME for a Picture. Carved and gilt wood, with
various mouldings, the moſt prominent being decorated
with a perforated vine ſcroll, with grapes. Italian. 17th cen-
tury. H. 5 ft. 5 in., W. 4 ft. 3 in. Bought (Soulages Coll.),
201.
An example of undercut carved work, ſuch as was made in great
quantities both in Florence and Venice.
1 60 Farnz'zare and Wood-work.

768.'65.
RAME, belonging to a Painting in oil. Portrait of a
man in a fur cloak and cap, holding a roſary. Signed
" Heinrich Schwahn." 16th century. Frame : Italian or
German, 17th century. Picture : 16th century. H. 4 ft. 1 in.,
W. 3 ft. 6 in. Bought, with painting (Soulages Coll.), 801.
This frame conſiſts of an outer frame or ſet of moulds. Of theſe
the notable and central feature is a roll of grapes, fruit and leaves
rolled over and under cut. Between this and the picture is a broad
depreſſed openwork border, ſilled with arabeſque work, ſtarting from
centres on each ſide. On the top and ſides demi-figures iſſue midway in
the length. On one ſide is a little cupid on the ſhoulders of a rudely
cut Venus and ſhooting, perhaps at the former tenant of the frame.
Little figures of nymphs correſpond on the oppoſite ſide. The work
is rather effective and rich than well cut. Of uncertain nationality.
7838.'61.
RAME. Wood, carved and gilt. The circular opening
ſurrounded by two cupids, with a cherub at the top,
the foot ſupported by two dolphins. Italian. 17th century.
H. 1 ft. 10l2Lin., W. me in. Bought, 21. 85.
3342-'56-
RAME for a Picture. Wood, carved and gilt, ſcroll
foliage and feſtoons of fruit. Italian. 17th or 18th
century. 17 in. by 14-Y- in. Bought, 11. 105.
1048.'53._
RAME. Carved and gilt wood, for a miniature. Vene-
tian. About 1700. H. 82 in., W. 7213- in. Bought,
41. 101.
Italian Fraines. 1 6 I

46. ' 52.
RAME of a Mirror. Wood, carved and gilt. Italian
(Venetian). About 1700. H. 15-£,-£- in., W. 117341- in.
Bought, 41.
A delicate piece of free carving from Venice. There is an inner
frame of plain work cut into the form of a fantaſtic ſhield, and in and
out of the broken curves of which it is compoſed are branches of
foliage deſigned from nature. The Venetian mirrors of this ſmall ſize
are generally engraved with a figure in the middle of the glaſs, and ſome
kind of ornamental border.
2029.'55.
RAME. Carved and gilt wood, with "benitier," or
holy water ſtoup attached. Italian. 18th century.
H. 16 in., W. 12 in. Bought, 121. Is. 651.
Intended to hold a devotional picture for the bedroom or oratory of
a private houſe.
7730.'62.
RAME for a miniature. Carved pear wood. Modern
Italian (Florentine). 12 in by 8-Y- in. Bought, 121.
7881.'61.
RAME. Wood. Parcel-gilt, and carved in high relief,
with birds and monſters, ſurmounted by an eagle killing
a ſerpent. Modern Italian. 17-5- in. by 12-Y- in. Bought.
8051.'62.
RAME. Carved wood. Arabeſque open pattern on
matted gold ground; containing a photograph. Modern
Italian (Sieneſe). 18?- in. by 1 5121- in. Bought (International
Exhibition, 1862), 71.
F. L
I 6 2 Furniture and Wood-work.

The modern Florentine and Sieneſe carving of arabeſques, animals,
and ſmall figures comes next to the beſt French work of the day in
point of excellence. It is leſs exact and ſcholar-like in point of deſign,
but ſreer and more eaſy in execution.
8052.'62.
. RAME. Carved and gilt wood. Modern Italian
(Sieneſe). H. 3 ft. Io-z- in., W. 3 ft. 2 in. Bought
(International Exhibition, 186 2), 81.
2393-'55-
AMES of Backgammon and Cheſs; a board. Of
various coloured woods with burnt ſcrolls, the
chequers of animals, birds, and flowers. The


I _ _ interior ornamented with groups of camels and
figures, bordered with carvings in relief, coloured, of men
playing at various games, containing 29 draughtmen, carved
on both ſides with animals. Engliſh. About 1660. 3I-:2L in.
by 19 in. Bought (Bernal Coll.), 101. 105.
The cheſs or draught-board is inlaid with animals in light wood on
the dark ſquares, and flowers in dark wood on the light or white ſquares.
Some of the ornament is inlaid, and has portions of the inlaid materials
left of ſufficient thickneſs to be carved in low relief. For a modern
example on a large ſcale of this claſs of inlaid decoration, ſee the French
Cabinet, No. 721. '69.
In the middle of the backgammon board is a compoſition oſ
figures repreſenting a merchant departing on his travels. Two are
making lamentation over his departure. On the oppoſite table in the
middle is a correſponding repreſentation of the ſame perſon, returning
and unloading his camels of the wares they are bringing home. In the
angles round the compoſition are emblematic repreſentations of the
elements, earth, air, fire, and water3 or of the dangers of travel and
the riſks of Commerce.
Engliſh Ganzes. 1 6 3


The principal intereſt of the decoration conſiſts in the minute repre-
ſentation of various games in uſe in this country at the date of its
execution. Eight games are repreſented.
Theſe various games given in detail form the decorations on the
edges of the inner or backgammon board, which are raiſed and form
for each ſide of the board a long panel about an inch and a half
in width. Theſe repreſentations are made in inlaid woods. The
woods are not only inlaid in flat marquetry, but the material is left
thick enough in projection to allow of actual reliefs to be cut in it
on the ſurface. The eight games were common in England in the
17th century, to the middle of which or ſomewhat later this piece
of curious woodwork may be referred. To begin with the long
upright panel on the extreme right of the board (ſpectator's left), we
have the game of ſhove] board, which is played with flat weights of
metal. At one end of the board a line is drawn about three or four
inches from the edge and parallel with it. Another line is drawn four
feet further. Over this the weight muſt be ſhoved or the ſtroke does
not count. Each player has four weights, and ſtands oppoſite the
marks above mentioned. They ſhove their weights alternately. The
judgment of the play is to give ſufficient impetus to the weight to carry
it beyond the mark neareſt to the edge of the board. If it falls from
the table into a trough contrived for its reception, the throw or ſtroke
is not counted; if it hang over without falling it counts for three; if
it lie between the line and the edge, for two 3 if on the line or over
the firſt line, for one. The number of the game for two is II, but
it is extended when there are four players. The boards were of various
lengths, and if perfectly ſmooth and level, of value in proportion. The
width was 3 feet to 3 feet 6 inches. Strutt, from whom this account
is taken, had ſeen one 39 feet 2 inches long, and 3 feet broad.1
A partial revival has been made in the modern game of ſquails.
There are in this repreſentation players at each end, two and two,
and one ſtanding at the back of the board as umpire. They have the
full bottom wigs, or perhaps the hair of the cavalier dandies ſtill worn
long; probably, however, this marks the Dutch faſhions introduced
after the Reſtoration of King Charles the Second. They wear the
full breeches with bunches of ribbon at the knees and waiſt, where
they are tied, of the Louis XIV. period. The coats are puffed in
the ſleeves, long to the knees, with rows of buttons, and the waiſt-
coat alſo long, and cloſe buttoned nearly as low as the coat. One

1 Strutt. Sports and Paſtimes, iv. 2. xiv.
L 2
1 64 Farnz'tare and Wood-work.

of the players has the ſhorter waiſtcoat reaching to the waiſt. Their
ſhoes have large roſettes. The ſhirts have full ſleeves. This is
pretty nearly the dreſs of the Engliſh Court from the days of Charles
to the reign of Anne. The background of the group, which is
ſtamped with a pattern, has been chequered with ink to make
reckoning tables for the game. '
Following the top panel we have the game of bat and ball: the
ball being heavy and the player armed with a wooden bat, ſquare,
chequered over with lines to give it a hold on the ball, and faſtened to
the arm like a ſhield; with this the ball was kept in the air. Under
the name of Pallone this game is ſtill in uſe in Sicily and parts of Italy.
The players, being at an open air game, are here without coats, and
their wide flap beaver hats with roſettes of ribbon in them are lying on
the ground. The coats and breeches are black or Vermilion.
The third panel on this leaf repreſents three nine-pins of ſlender
form.
In this caſe the players are in the open air, and are playing on a
framed platform with a panelled backing to ſtop the balls at the end. A
gentleman, dreſſed as the others in wide breeches, ſcarlet ſtockings,
black ſhoes with roſettes, hat on, is bowling. A venerable relative
is looking on, and' a page-boy in ſcarlet livery watching to give the
return ball to the player as ſoon as he ſhall have delivered his ſtroke or
ball. At the further end we ſee the opponent without his hat, holding up
one finger to mark the points in the game. Another boy is leaning over
the panel back or ſence, in order to roll back the ball along a ſide
channel provided for that purpoſe. A ſimilar ſloping channel is provided
for paffing back the heavy balls uſed in modern American bowling alleys.
Trees are in the background, ſo that though the alley is a wooden plat-
form it is 'not covered in like the covered alleys uſed for modern bowling
games.
The top panel of the next leaf contains a game of trap bat, or
rounders. Both of theſe games were played very ſimilarly. Either a
trap is uſed, the ball being placed on one end of a balanced tongue of
wood, which is ſtruck with a ſtick or bat; or, inſtead of a trap and ball,
a ſtick four inches long by one or one and a half thick, pointed at both
ends. A blow on one point ſends this revolving into the air. The
player ſtrikes it as far as he can. The players in this inſtance are boys.
One is mopping his head, others hold their hats to catch the ball, and
a father, tutor or ſchoolmaſter, in his hat and coat is looking on. The
ſcene is in the open air.
Next to this we have nine-pins. An open air game without any
platform, but played on a bowling green. One of the pins is A
Engliſh Ganzes. I 6 5

down, and a boy is ſetting it up again. A poſt and rail protects
the bowling green from the intruſions of cows, and on this players
hang their clothes, while lookers-on lean againſt it. One ſpectator
leans with his right hand, doubled under the ſhoulder, on a long
cane ſuch as Vandyck puts into the hands of Charles the Firſt, and
others of his portrait subjects. A dog is barking, and enjoying the
general fun.
On the bottom panel we have the game of rackets; three young
players with the ſtring bats, ſtill uſed in tennis, in their hands. They
are, however, not in a court but out of doors.
The fourth panel on this ſecond leaf has a game played on a board
ſomething like thoſe of pin bagatelle now uſed by children, the end of
the board having an upright back divided into ſmall arched holes, each
numbered, and the numbers counting for the ſcore.
The table is here brought into a garden, and ſtands at the door of
a kind of greenhouſe, the roof being apparently of glaſs, and ſhowing
a trellis' for vines within.
There are two players and a third gentleman is ſeated cloſe beſide
a young lady on the lawn. She wears a high black beaver bonnet or
hat with flat brim, ſuch as was uſual with the middle claſſes from the
time of Elizabeth, and has as yet ſurvived in parts of Wales. She has
her hands in a black beaver or quilted [ſilk muff and wears a ſtiff gown
which ſhows a flowered quilted petticoat beneath. A ſervant is pouring
out beer for theſe lovers.
A portion of this background has been ſquared off with pen and
ink for a marking ſcale. _
The fourth ſide or bottom panel of the firſt leaf illuſtrates the
game of quintain, of which there were ſeveral kinds, this one being
that of riding at the ring.
There are four Cavaliers in hats and oſtrich feathers, and black
Spaniſh leather boots turned down to the middle of the calf. They
hold the lances made for tilting at the quintain, maffive at the handles
and ending in a Counterpoiſe ſo as to enable the rider to manage a
ſhaft heavy' enough to bring down the dummy horſeman ridden at.
In this caſe it is the ring merely. There is a ſort of ornamental arch,
from the centre of which a ring, hung by a ſhort length of line, is drawn
in red paint. The horſes are long-railed Roman-noſed beaſts of the
Flemiſh breed, and are marked as capariſoned with breaſt-plates of
leather, breeching pieces, cruppers, etc.
On the outſide, one half the board is arranged for the game of
merils, nine men's morris, five-penny morris, a game which is of ſome
antiquity in England. It is played on a board, or on lines on the
1 66 Furniture and Wood-work.

open ground, or cut in the turf. It conſiſts, as here, of three lines
in ſquare, one inſide the other with points in the middle and at the
junction of each of the lines. The centres are joined to each other,
and the angles. On the points the men are laid. In France theſe
were pawns, and were called men-elles. It is played by children by
making lines and holes in the turf, and uſing ſtones for pieces. Each
of the two players has nine men, and tries to lay his men in complete
rows of three, and to prevent his adverſary doing it by interpoſing a
man of his own. If he completes a line 'he can take any' one of his
adverſaries' men, provided it is not in a complete line of three.
Shakeſpeare, ſpeaking of a ſtormy ſeaſon, ſays,
T The folds ſtand empty in the drowned fields,
And crows are fatted with the murrain flock,
The nine men's morris is ſilled up with mud." 1
Fox and gooſe is played with 17 men or geeſe againſt one fox.
Theſe have a board ſometimes ſquare, ſometimes circular 3 ſometimes
made with holes into which pegs are ſtuck, to avoid the diſplacement
of pieces by children or unquiet players ſhaking their boards. The
geeſe have to block the fox up, taking care never to leave a gooſe alone
with a vacant hole behind. In that caſe the fox can jump over and
' take the gooſe, and continue, if the ſtate of the pieces allows it, to jump
over as many as ſuch openings give him the power to take. The geeſe
if carefully played muſt win 3 but cannot move backward, and if once
they allow the fox a way through the circle by taking one or two, it is
almoſt ſure thatithe fox wins. Modern players, to make it more even,
allow two foxes. *
On the faces of the pieces are the following animals carved in
relief : the elephant, camel, tiger, leopard, hyena, ſtag, wolf, horſe, aſs,
bear, Thibet goat, common goat, dog, hare, monkey, ſquirrel, ram, ewe,
cow, porcupine, and ſeveral of them are repeated. The ſame animal is
carved on the two ſides of each piece.
7832.761.
AMES of Backgammon and Cheſs. A board. Mar-
quetry of roſewood and holly, in ſcrolls and flowers.
Engliſh. I7th century. L. 28 in., W. 21 in. Bought, 41.

1 " Midſummer Night's Dream," ii. 2. Quoted by Strutt, s. iv. xiii.
German Ganzes. I 6 7

The work on this is a ſpecimen of the Engliſh marquetry that was
common at the beginning of the laſt century, when Dutch deſigns,
introduced at the period of the Revolution, became popular in England,
and were imitated and reproduced with many modifi'cations. Many of
ſuch deſigns as we here ſee form a ſort of coral pattern, generally contained
within bold marking out lines, ſo as to make broad maſſes of the deſign,
inct'the manner of Indian ſhawls and painted woodwork, from which
quarter much of Dutch deſign was derived. In the centre is a double
monogram, T * A * R. The board, beſides providing for backgammon
and cheſs, has alſo a board for T nine men's morris" and T fox and
gooſe."
4429-'57-
AMES of Backgammon and Cheſs. A board. Maple
woods, inlaid with patterns of fruit, leaves, fleurs-
de-lis and other flowers; with ſteel hinges and claſp. French.
16th century. 2 ft. 7 in. by 15% in. Bought, 2l. 155.
This board has cheſs ſquares on the outer ſide, and is laid out on
the other ſide for a merelles or nine men,s morris. It has been made to
faſten up and be carried travelling, with the pieces, dice, &c., within it.
6937. '60.
AME of Draughts. A draughtſman. Carved wood.
On one ſide is painted a portrait with inſcription,
on the other are two ſhields of arms. German. Dated
1492. Diam. I-Y- in. Bought, 25.
An excellent ſpecimen of 16th century miniature painting, and it is
greatly to be regretted that the whole ſet of men is not complete. The
woodwork is turned in the lathe, and the ground ſunk within a rim.
This is gilt, and on it is painted a lady's portrait. The face is well
formed, the neck long and graceful, and the ſhoulders well modelled
and proportioned. Her hair is light-brown, and the head covered with
a South German cap fitting cloſe round the head, tied in immediately
above and carried in a round ſtiff bag behind for the coils of her back
hair. Round the portrait is the legend, KVNIGVNDE . H . V . B .
Kunigunde Ducheſs of Bavaria, afterwards Empreſs. With the date
1492. The outline is cleanly drawn with a light decided umber, and
coloured, probably in water-colours varniſhed over. The dreſs is cut
1 6 8 Farnitare and Wood-work.

low in the faſhion of the gowns of our own Catherine of Arragon, with
rich 'gold embroidery in bands acroſs the boſom, a chemiſette of fine
lawn gathered round the bottom of the neck and with an embroidered
collar. The ſleeves are put over and hanging as broad flaps. Em-
broidered borders paſs over the ſhoulders as ſtraps. At the reverſe of
the piece are two coats of arms, the dexter :-chequey diamondwiſe,
argent and azure for Bavaria. The other coat z-gules, a feſs argent.
6935.'60.
AME of Draughts or Backgammon. A draughtſman.
Carved wood in low relief. On one ſide are two men
playing bagpipes, on the other peaſants dancing. German.
16th century. Diam. 12 in. Bought, 25.
Theſe pieces to which this ſpecimen belongs have probably ſerved
only as backgammon men. They are, anyhow, remarkable ſpecimens
of carefiil and moſt artiſtic carving on a ſmall ſcale. The ſubject is, on
one ſide, two peaſants, one playing the bagpipes and his companion the
flageolet. They are portly, tun-bellied men, and wear the doublet and
jerkin tied in at the waiſt, and country boots rolled over, the ordinary
peaſant dreſs of Southern Germany in the 16th century. On their
heads are rough caps. The relief is flat, but every requiſite modelling
has been contrived in it. Behind in a background we have trees,
and a village with tall Bavarian roofs and dormer windows. One can
diſtinguiſh a ſtork on one of the roofs. The reverſe has a man
and a woman, peaſants dancing the ſlow balanced meaſure, ſuch as
is repreſented by Dutch painters of ſuch performances. Their hands
are joined above the head, while the other two are held out in
equipoiſe. Here again we ſee the ſame exactneſs of coſtume: the
village wife or maid in the long apron and bib, with ſleeves tucked
up, German cap, and ſtockings wrinkled over the ſhoes. Behind theſe
are the ſpires, towers, and roofs of a village. It is to be noticed that
the relief of this figure is not more than the Blgnd of an inch.
6936.'60.
AME of Draughts. A draughtſman. Carved wood
in low relief. On one ſide is a buſt portrait crowned,
and on the other are three ſhields of arms. German. 16th
century. Diam. I% in. Bought, 25.
Italian Games. 1 6 9

The head is' crowned, and the hair cut ſquare in the faſhion of
- France and Germany in the I6th century. The' buſt gives us enough
of the dreſs to recogniſe the broad collar turned over and the immenſ e
ſhoulders and ſleeve, ſo much developed in order to give the appear-
ance of breadth and ſize to the figure during that century, when
the French and Engliſh kings boaſted of their perſonal preſence.
On the back of the piece are three ſhields, the ground being gilt, and
the ſhields conjoined by a tie or knot lightly drawn in brown, perhaps
faded black; above the ſhields is a crown drawn ſimilarly, and the
date 1504. The ſhields are as follows: Iſt. Gules, a feſs argent;
2nd. Bendy of ſix, argent and azure within an orle gules. 3rd. Gules,
a caſtle, or (the arms of Caſtile).
220.'70_
AMES of Chefs and Backgammon. A board. Walnut
wood, inlaid with tarſia work of ſtellate and interlaced
form in light wood and ivory. Italian. 16th century.
3 L. 18? in. ; W., when open, 2 ft. 335- in. Bought, 101.
Of Certoſino inlaid work.
7849.'61.
AMES of Cheſs and Backgammon. A board. Mar-
quetry of ivory in various colours and cheſtnut wood.
i Italian. 16th century. 1 ft. 9 in. by 1 ft. 7 in. Bought, 11.
280.'69.
' wi' NKSTAND. Ebony wood, carved and ornamented
ſiictſi' with maſks and frieze of hardwood in high relief.
The central figure is a triton reſting on a bivalve
__, ſhell. Executed by Luigi Frullini of Florence.
ern Italian. L. 2 ft., H. 10-12- in. Bought, 401.


1 70 Furniture and Woodwork.

352-'70-
NIFE Caſe, one of a pair. Marquetry of various
L ſſ * i i coloured woods, in fluted, leaf and ſcroll patterns,
with velvet lining; vaſe ſhaped. Engliſh. Late
18th century. H. 182- in., diam. 9 in. Bought,


11. the pair.
The workmanſhip of this and the two following objects is a good
example of the ſkill of the marquetry makers of the time of the brothers
Adam, and may be the work of Lock or Heppelwhite, cabinet-m akers
of the laſt forty years of the 18th century.
352a.'70.
NIFE Caſe, one of a pair. Marquetry of various
coloured woods, in fluted, leaf and ſcroll patterns,
with velvet lining; vaſe ſhaped. Engliſh. Late 18th cen-
tury. H. IZ-Z- in., diam. 9 _in. Bought, 111. the pair.
353-'70-
NIFE Caſe." Marquetry of various coloured woods, in
fluted, leaf and feſtoon patterns, with velvet lining;
vaſe ſhaped. Engliſh. Late 18th century. H. 15-Y- in.,
diam. 8 in. Bought, 41.
2156. ' 5' 5.
NIFE Caſe. Carved wood painted; three ſatyrs bound
to a triangular pedeſtal form the caſe, which reſts on
three harpies ;- the cover is ſurmounted by a ſphinx holding
a ſhield; the caſe contains ſix ſteel knives chaſed and gilt,
each blade and handle formed in one piece. Italian. Dated
Venetian Lantern. I 7 I

1564. Caſe, H. 13-2 in., W. 5 in. 3 knives, L. 8-Z; in. Bought
(Bernal Coll.), 101. 105.
The baſe is decorated with imitation jewels, painted in glazes over
gilding. The centre is ſupported by three black ſatyrs having horſes'
fore hoofs, and two of them dreffed with Indian feather ſkirts. Their
arms and legs are bound by linen bands. The triangular pedeſtal, at
the angles of which they ſtand, is painted the colour of Siena marble.
The ſphinx on the top is ſitting on its hams, holding a ſcutcheon, the
arms on which it is difficult to attempt to blazon; the head turns
ſlightly and is crowned with bay leaves. A ſmall ſcutcheon in the
centre of the baſe contains the date 1564.
362.'70.
NITTING Needle, box for. " Prjonaſtokkr." Wood;
carved with flower pattern, and the initials K. M., .
with lid turning on a pivot. Icelandic. I9th century.
L. 14 in., W. I? in. Bought, 11. ct
7225.'60.
ANTERN. A hanging lantern of carved wood.
The framework decorated with figures of cupids,
ſatyrs, and ſtrapwork. The figures 'painted after
_ __ ___ . nature, and the framework gilt. Venetian. 16th
century. H. 7 ft., diam. 2 ft. 10 in. Bought (Soulages
Coll.), 2501.
The compoſition of this remarkable object conſiſts of a ſquare
central part, once glazed, Xa dome-ſhaped top, and a ſquare frame
ending in a carved boſs below.
The central panels are puſhed outwards on four narrow ſlopin
ſide panels 3 the upright ſides, which are the longeſt, divided by ſmall
circles. All theſe panels have been glazed with bevelled plates. On
the angles are four female terminal figures ſupporting the top frame
mouldings and ending in bold ſcroll-ſhaped brackets, decorated with
hanging garlands and ſcalework, boldly carved.


1 7 2 Farnz'tare and: Wood-work.

Above theſe' figures are four ſitting boys, and i there are four long
panels of glaſs between them. The top frames of theſe-'panels are
carved and the cut work on them is of architectonic character. The
dome-ſhaped top is 'formed byifour carved brackets,'riſing from the
angles behind the heads of the ſitting boys. They 'ſupport a ſmaller
ſquare frame, and on that riſes a central boſs in the ſhape of a round
urn, with linen ſcarfs on the ſides. Groteſque figures cover the ſpace
between the carved brackets.
Below the central part a ſmaller ſquare frame is connected with the
angles by figures of ſatyrs,-placed'as brackets, their heads immediately
under lthe terminal figures that ſupport the principal feature of the
ſtructure. -
The bottom ſiniſhes with a carved boſs, pierced for the lamp
to paſs through and reach its proper poſition inſide the lantern.
Chains, with a Counterpoiſe, have' connected the urn on the top
with the ceiling, from which it has been hung. -
The female terminal figures, the boys above and the ſatyrs below
them, have been painted of the natural colours; the carved work ſhows
the remains of gilding. _
The lantern has been reproduced by Mr. Franchi in metal by
electrotype, and coloured to imitate the original. '
7258.'60.
p EDALLION. Carved*-pear wood. Circular buſt
'portrait of the Emperor Nero. Dutch. Dated
1502. Diam. 10-41- in. Bought, 21. 105.


7259-'60- .
M EDALLION. Carved pear wood. Circular buſt por-
trait of the Emperor Caligula. Dutch. Dated 1510.
Diam. 1031; in. Bought, 21. 105. _ _
This medallion correſponds in ſtyle and material with No. 72 58. '60.
The Emperor Caligula is repreſented in a renaiffance claffic helmet.
The word a Calig." is on the back. The piece is ſigned ff Van Helder
Bach." The ground or baſe is coloured black.
I __flſſ__'_ ..__ - _._. ....__.. ..-. - '

l
llll
. ,,
I 3 All' "lll
_
:'Wll :'pi'vzſffll-M'
j ill lii'i"
llll'l'T"
'- l '
ill





'i
r-s
5'5
ÞL v _
if
L r -_-_'-
ex? 4:
ÞZ: * vi:
EZZT fi -:
;:__ 2. _-_:
._._ L- .__.
T? ſſA_:-4
5-, 1,
_=_ a
'I
A
- 'A
"A
__:
4.:
- 4
A 'I
_. i
t vra
:1
T :-
T?
'Þ AZ-ZA _:







. ct ' i 1 . 'ii-TT:
1 ulllp lhl 1 it: t;
>=Tſſ it . . i. il ffl'llll-'l ii', I' Hv- 1l'l , 'ma (i 'ly I 53,
..tl*--i>-Tn-:.:.*.Szlm. Lo'zlll +> Inll-lllllzl-lln.lllllllllll-nl llllll-lh'llllll.- lllllll lllllllllnll: Il I llllffllll 1; .- z an:
* J t' _ *o
1 Nm 3. MFDALLION. 5. MEDALLION. : 2 5 z :
FNFZ'UE Born-non', Flemish, A'l '1. Century. 125-125a. '64. Cnn'cd Bawuood, Cor-man, All-'1. (with-ty." '2 r:ff. '533.
- P-F-AD- 6. DRAVGHTSMAN.
Box-mond, Fr'wrclx or Flemish, alvmt 1500. 6921. '60. Carved I 1-"00c1', German. Al '1. (wem-U', (w 3; no.
. Ml-'NLKLLION PT-AQUE. 7. MLDALM' A' T'ORTRAIT.
l C'c-'n'rfd' -'.:*:-'-..>..r.-r', Fit-malt or German, XV. Cut-fury. usr. '64. Carved [Fat-tenons', Gw-mfluz ,\','-'/_ Cfflzm-Jz 933 '53
8. MEDALLION. '
Bent-wood', Grrmmz, A'VI. Cmtmy. 7542. 'fin

Flemiſh Aſedallians'. ' . 173 i

23. '67.
EDALLION. Satin wood, elliptic. A female head
carved in high relief, with ears of corn in the hair,
a ſymbolic repreſentation of autumn, in black wood frame.
Modern Engliſh. By G. F. Bridge. Prize object in the
Society of Arts' Competition, 1866. Diam., including frame,
7 in. by 8 in. Bought, 51. 105.
182.'67.
EDALLION, oval. Carved boxwood. Buſt of an
aged man unknown. Flemiſh. Second half of 16th
century. 2z17 in. by 12 in. Bought (Troſs Coll.), 11. 165.
This is a full-face portrait of a burgomaſter, mayor, or town
counſellor of one of thoſe great municipal centres, the cities of Flanders,
which, in the age of Charles V., formed ſo material an element of the
ſtrength of the Empire. The doublet is buttoned, the cloak lined with
fur. The head is framed in by the quills of a ſtiff Spaniſh ruff, and the
beard is ſquare. The face is that of a ſerious but anxious politician,
rather than that of a grave judge or abſtract thinker. The full face,
in ſuch low relief as is given by a medallion, is ſcarcely ſatisfactory.
125. 125a. '64.
EDALLIONS (two). Circular; carved boxwood, re-
preſenting Our Saviour with the implements of the
Paffion, and the Virgin ſurrounded by female faints; the two
encloſed in a ſilver-gilt box. Flemiſh. 16th century. Diam.
I-Zf in. Bought, 41.
Theſe are two halves of a box, with the carvings filling the baſe of
each half. One portion contains the typical demi-figure of the Redeemer
taken down from the croſs, with which Donatello among ſculptors, and
numerous painters, have made us familiar. The other piece contains
an alto-relievo conſiſting of ſeveral figures. The central and moſt
1 74 Farnz'tare and Woodwork.

important repreſents St. Anne, with the Bleſſed Virgin below, and the
Holy Child. In the foreground are the Marys, with infants, viz.,
Mary, the wife of Cleophas, and Mary, the mother of James.
225.'66.
EDALLION. Carved boxwood. The Virgin and
Child, St. Anne, St. James the Greater, an angel,
and a male and female figure kneeling at two faldſtools; in
a circular ſilver caſe with ſhutters, ſtanding on an open work
baſe, and ſurmounted by a figure of our Saviour in Majeſty,
forming a miniature ſhrine. German. 16th century. H. 32,- in. ,
W. 3 in. Bought, 141.
The woodwork conſiſts of a medallion; the mounts have been
added ſubſequently.
The compoſition of the carving conſiſts of the two ſitting figures;
the Bleſſed Virgin, holding in her lap the infant Saviour, who is
ſtanding; and St. Anne who is on her left. In front are two figures-that
of the Donatorius, or giver of the work, and his wife. They are in
flowing dreſſes, and kneel before two low faldſtools, covered with
cloths, each of which has a ſhield in front without armorial bearings;
they are of the ſhape uſual in Southern Germany at the end of the 15th
century, nearly ſquare, and the lower point rounded off a wide curve.
The dreſſes have looſe ſleeves folded back at the wriſts.
Behind theſe two ſtand-on the right hand St. James the Greater,
with a pilgrim's hat hanging at his neck, and the archangel, St. Michael,
on the left.
The metal work is fitted cloſe to the carving, and the ſemi-circular
doors, as well as the back, are engraved with light arabeſque work.
The ſtand is oblong, pierced with open quatrefoils and architectural
mouldings ſpread out to form a wide foot. A ſcutcheon, with ſcroll
volutes on its edges and a cherub maſk in front, ſupports the ſtanding
figure that finiſhes the top. Probably Niirnberg or Augſburg work of
the end of the 15th century, or early in the 16th.
7542.'61.
EDALLION. Boxwood, carved in relief, with a buſt
portrait of a bearded man in a flat cap, and inſcribed,
a Ulric Ehinger." German. Dated I 533. School of Albert
Gerinan Meelallions. I 7 5

Diirer, probably executed at Nuremberg. Diam. IY in.
Bought, 31. 135. 6a'.
The head repreſents a man of middle age, with ſolid features, bold
and thoughtful forehead, ſuch as we appropriate to the ideal counſellor,
chancellor or miniſter of ſtate. The neck is ſhort, the beard criſpþ
and ſhort, curled over all parts, and ſuggeſtive of the ſolid vigour of
48 or 50 years. Round the rim are the titles a Comes et conſiliarius
Aulicus Caeſareae Majeſtatis," Count, member of the Aulic (Privy)
Council of His Imperial and Royal Apoſtolic Majeſty.
4669.'59.
EDALLION Portrait. Carved boxwood, of a man
in German coſtume of the 16th century, inſcribed
" Wolfganngus Poemer 1524," with initials of Albert Diirer,
of Nuremberg. Diam. 3-2- in. Bought, 201.
The head is exquiſitely modelled. The material, boxwood, leaves
us, perhaps, as complete a portrait as if it had been painted. T he
headv is thrown up as of an intelligent man liſtening to a queſtion. The
eyes are well hollowed round, clear and full opened. The beard
ſhort and griſly. The hands are claſped with a certain expreſlion of
compoſure. The head is covered with a cloſe ſkull cap, while the
German flap hat, with the rim in four flaps or diviſions, is looped up.
The head is noble in its general proportions and outline. The dreſs is
a looſe cloak of Saxony cloth, with dreſſed lambſkin lining, ſhown in
the broad, lapel or turned collar. The A. D. of Albert Diirer is
added on the rim of the medallion. No notice, amongſt the records
of Albert Diirer's works, is given us of this particular medallion,
though he certainly left ſome ſuch behind him. The greater portion
of the medallions and carved portraits attributed to the artiſt muſt be
taken to be pieces executed by ſcholars from drawings or ſketches of
the maſter.
240.'53.
EDALLION, carved in boxwood, in high relief.
Circular; St. Martin ſharing his cloak with the
beggar. German. About 1500-20. Diam. I-g-in. Bought,
'11 105.
I 7 6 Furniture and Woodwork.

Cleanly carved. It repreſents St. Martin on horſeback, dividing his
ct cloak with his ſword and the beggar in front.
238.'53.
EDALLION Portrait of a man, carved in boxwood.
German. About 15 50. Diam. 2 in. Bought, 11.
This is a medallion head in box, mounted on cheſtnut. It has been
ſo made originally. The face looks to the left. The flapped cap is
looped up, in the faſhion of the time; the 'hair held or covered by a
net, of which the band might be taken for the ſtring or faſtening of the
cap. The ſhirt is of fine lawn. An ample cloak lined with fur hangs
from the ſhoulders.
181.'67.
EDALLION. Carved boxwood. Buſt of a young
lady unknown. German. About 1525-30. Diam.
2 in. Bought (Troſs Coll.), 11. 165.
The forehead is high and ſquare, the hair drawn off and hanging
down in front of the neck. There is a broad velvet hat but no veil.
The flap of the hat is looped up with a jewel. The gown is made to
fit cloſe round the boſom and ſhoulders, and cloſes round the neck with
a high collar. The figure is that of a young girl of twenty.
180.'67.
EDALLION. Carved boxwood. Buſt of a young
man unknown. German. About 15 50. Diam.
2£z in. Bought (Troſs Coll.), 11. 165.
The features are coarſe but ſerious, and are well modelled; the
thickneſs of lips and heavy noſe and brows are all modelled with care
andfeeling. The hair is cut low over the eyes, and ſomewhat relieves
the homely expreffion of the features. The dreſs is quilted and ſitted
round the neck. Like all theſe puffed and gathered overcoats, it is
ſlaſhed, to ſhow the ſatin lining within.
German edallions. 1 7 7

1 1 5 1. 764.
EDALLION. Carved boxwood, ſet in a hemiſpherical
frame (probably the half of a hinged bead), repre-
ſenting St. George and the Dragon. German. Second half
of 15th century. Diam. 1 in. Bought, 11. 45.
This little figure of a mounted knight at full galop ſlaying the
dragon is cut in all but complete relief. The figure, dreſs and accoutre-
ments of the ſaint are completely detailed. The height of St. George,
horse and all, is not above three-quarters of an inch. On the left
ſhoulder we ſee the ſmall eſcutcheon containing the arms of the rider
worn in action for recognition by his followers or friends. The helmet
is of the pointed form, a ſteel cap with openings for ſight, and a wreath
or ſcarf wrapped round it, as in the time of Henry IV. Theſe parts are
ſo minute that they can only be ſeen by the help of a glaſs. Behind is
the princeſs kneeling to watch the iſſue of the combat.
89. '66.
EDALLION. Boxwood, circular, in gilt metal frame;
three-quarter head of an elderly man. German
17th or early 18th century. Diam. 113- in. Bought, 41. 55.
A portrait medallion three-quarter face of an Univerſity doctor or
profeſſor in the gown of his faculty, with his 17th century caſſock
underneath. The head is ſquare, the noſe large, indicating ſagacity,
the brows contracted, not by ſourneſs of temper, but the ſtruggle of
thought. This is evidently life-like, but there are no means of iden-
tifying it with any known perſonage.
353- 64-
EDALLION. Carved boxwood. Elliptic; portrait
of a gentleman in rich armour. Italian. About
1680. 4 in. by 3 in. Bought, 41.
The head is full, and the features thoſe of a man of 30. The
wig is the full bottomed peruke, introduced in the days of Louis XIV.,
when the old cavalier coiffure of long natural hair had died out. The
armour is damaſked in the coſtly faſhion of late Italian work of the
F. M ſſ
1 78 Farnz'tare and Woadrwork. i

day, as we ſee by the ſtripes or bands ſo delicately carved in this
miniature. The long buttoned doublet belongs to the dreſs of cavaliers,
late in the 17th century. There is no evidence to indicate the name
of the perſon repreſented.
807.'69.
EDALLION Portrait. Limewood, carved in low
relief, with portrait buſt of the PRINCESS MARIA PIA.
The work of L. Frullini. Modern Italian. L. 8 in., W. 7-L- in.
(Paris Exhibition, 1867.) Bought, 121.
The head full face, and the deſign expreffed in relief, not much
greater than that of a modern coin.
239-'53-
EDALLION Portrait of a man, carved in boxwood.
Ruſſo-Greek. 16th or 17th century. Diam. 2 in.
Bought, 11.
5919-'50-
EDALLION. Carved wood. - star-ſhaped, minutely
ſculptured in open work, with many figures of faints
and angels. Ruſſo-Greek. 16th or 17th century. Diam.
371g in. Bought.
The details are cut with extreme minuteneſs and the head is ex-
preffive. Carvings of this deſcription are executed in the monaſtic
eſtabliſhments of Ruflia.
972.'69.
EDALLION. Wood, carved in low relief with a ſaint
kneeling in prayer ; with frame and glaſs. Modern
Ruſiian. Diam. 2-5- in. Given by the Ruffian Commiflioner.
(Paris Exhibition, I 867.)
An example of modern Ruſſianſſconventual carving. The ſaint is
- repreſented in a cope and ſtole kneeling before a ſmall deſk or altar, on
Miniatare Scalptares. 1 79

which is a croſs. A cloud with rays iſſuing from it hangs above the
deſk. The head and the devotional expreflion of the face are ſkilfully
deſigned and executed. The reſt of the work is not equal to this
portion. ſſ
6921.'60.
INIATURE ſculpture. A bead, carved in boxwood,
for devotional uſe, opening by a hinge; with figures
of St. Jerome and St. Catherine on the interior face of each
hemiſphere. French. About 1500. Diam. I-Z- in. Bought,
191. 105.
The general form has been obtained in the lathe. It is carved on
the outſide in the minuteſt way with flamboyant French flowing
window tracery ; ſuch prevailed in the north of France and Flanders
at the ſame time as the perpendicular reticulation which ſucceeded
the fine tracery of the 14th century in our own country. The two
half ſpheres are hinged and faſtened by three fine gold loops, held
together by a pin of gold. When opened the inſides are carved, one
with St. Jerome (numbered with St. Auguſtine, St. Ambroſe, and
St. Gregory, as one of the four doctors of the church, known by his
cardinal's hat, and the traditional lion).
On the oppoſite half is St. Catherine of Alexandria, a noble Virgin
of great learning, who was martyred by Maximinus on the rack. She
is repreſented with a hawk, as evidence of her noble birth, and ſhe
holds the ſword and wheel, ſymbols of her martyrdom. The ground is
ſculptured with fleur-de-lys.
The names of the two faints are carved in the rims that ſurround
the ſeveral compoſitions; on one, SANCTA KATHARINA ORA
PRO NOBIS. On the other, SANCTE HIERONIME ORA
PRO NOBIS, in Roman capitals.
918.'69. _
INIATURE ſculpture. One leaf of a diptych or
folding devotional tablet. Boxwood, carved with
the Aſcenſion, the Pentecoſt, and other religious ſubjects.
French. 14th century. L. 6z1- in., W. 372- in. (Paris Exhi-
bition, 1867.) Bought, 201.
MZ
I 80 Furniture and Wood-work.

The carvings are diſtributed through ſive panels. On the right
hand, on the top, is the Aſcenſion. The Bleſſed Virgin is in the centre
of a group formed by herſelf and the apoſtles, and the feet of the Saviour
are ſeen below a cloud as He aſcends.
In the ſecond top panel St. Benedict, Abbot, is ſtanding before
a 14th century altar, the ends divided into two cuſped arch panels.
He holds the paſtoral ſtaff in his left hand, and gives benediction
with his right. An angel in the right-hand corner iſſues from a
cloud which runs _into the top moulding of the panel, and holds a
ſcroll that runs along the front and turns the corner of the moulding.
On it is the legend ccBenedicte nunc Benedic - te;" in which the
grammar is twiſted to ſuit the play on the name Benedict. A ſeat,
panelled like the altar, is behind the faint.
On the third panel isthe deſcent of the Holy Spirit. The Bleſſed
Virgin ſits in the centre of a group of apoſtles looking up, while the
typical dove is deſcending.
On the fourth is a monk in a frock or caſſock only, ſtanding before
an altar, ſimilar to that in the ſecond panel, on which he holds an open
book. Another monk is kneeling in the corner behind him. An angel
holds a ſcroll, as in the ſecond panel, on which is read, '4 Tu Maure care
a es ſub altare." St. Maur is a Benedictine faint.
The ſifth panel extends below both the two laſt. On the right-
hand ſide is the ſigure of the Saviour ſeated and crowned with a fleur-
de-lyſe crown of the 13th century character. He holds an orb in His
left-hand and crowns the Bleſſed Virgin, who is ſeated at His ſide
on the right. They are clothed in drapery that falls in broad folds.
St. John the Baptiſt, in a hair garment, ſtands on their left and points
with his right hand to a medallion on which is the Agnus Dei; a hole
in the Woodwork ſhows where ſome other detail has been removed.
This was, probably, a hand in benediction to repreſent the Eternal
Father.
On the edges of the containing moulding, where they are not
occupied by the legends detailed above, are foliage, vine and other leaves
carefully detailed, dogs hunting hares and running rabbits to earth. It is
probably French work of the middle of the I4th century.
524 to 5246. '68.
INIATURE ſculpture. Four tablets. Wood. Each
carved in low relief with a male figure grappling with
a ſerpent. Italian? I7th century. Each 37- by Z in. Bought, 41.
Miniatare Scalptarer. I 8 1

Theſe may have formed tiny panels in aid of larger compoſitions, or
they may be modern productions, as their minuteneſs makes any judg-
ment difficult. They are cut with great ſkill and care, and repreſent
four ſingle figures, ſomewhat reſembling the central figure of the well-
known Laocoon group.
222.'66.
i i INIATURE Sculpture. A croſs of wood, carved in
pierced compartments on each ſide, repreſenting the
myſteries of the life of the Saviour, with Ruſſo-Greek legends.
Round the handle is a plaited band, and at the bottom an
angular pommel. Ruffo-Greek. 10 in. by 57£- in. Bought,
101. 105.
The carving is contained in ſix compartments: on one ſide are-
1, the Annunciation; 2, Nativity, with ſhepherds piping on the
ground behind the cave of Bethlehem, and making offerings within it 3
3, Preſentation ; 4, Raiſing of Lazarus ; 5, on the right arm of the croſs,
the Baptiſm, on the left the Transfiguration. On the other ſide : the
Aſcenſion; 2, Crucifixion; 3, Harrowing of Hell; 4, Entry into
Jeruſalem ; 5, right arm, the Entombment; left, Pentecoſt.
The three points of the croſs are cut into flowers containing
evangeliſts on one ſide, prophets on the other, and ſmaller flowers in the
angles contain heads of angels. All the figures very carefully modelled
and fairly proportioned.
'68. 98.
IRROR Frame, copper ſilvered and oxydiſed; repouſſe
work, decorated with feſtoons of flowers interſperſed
with Cupids; at the top within a cartouche is a ſhield con-
taining the cypher of King Charles II. The original, of ſilver,
is the property of Her Majeſty the Qleen, and forms part of
the Royal collection of plate at Windſor Caſtle. Engliſh," date
about 1670. H. 6 ft. 9;- in., W. 4 ft. 1 in. Electrotype
caſt by Meſſrs. Franchi and Son.
The metal of the frame, of which this is an exact reproduction, is
of ſufficient thickneſs, perhaps one-twentieth of an inch, to form a rigid
frame though mounted on wood. The fection of the frame is that of a
F- M 3 +-
1 8 2 Farnz'tare and Wood-work.

cymareverſa moulding, with two edge mouldings ; the glaſs ſtands out
from the wall on this projection. The repouſſe work is in the form of
bold acanthus leaves, large tulip-ſhaped flowers, and boys ; delicate in-
dented ſpots are added to give effect to the chaſed lines. The large
forms are kept well in the centre of the frame fection. The plain
ſurfaces preſerved round theſe groups and figures give effect which is
wanting in ſilverſmith's work of twenty or thirty years later, owing to
. the crowding of all portions of the frame.
'68. 135.
IRROR Frame; fruits and foliage, among which are
boys and crowned maſks ; on the top an earl's coronet
and a monogram ſupported by boys. The original, of ſilver
beaten and chaſed, is the property of the Counteſs De La Warr,
Knole Park. 17th century. H. 5 ft. 5 in., W. 3 ft. 5 in.
Electrotype caſt by Meſſrs. Franchi and Son.
The work is ſimilar to that of the laſt deſcribed, but leſs artiſtic ;
the fection is flatter and the decoration more crowded.
The large flowers prevail amongſt the decorations but are flat and
merged in the ſurrounding maſs of indented work. A bold indented
line round the leafwork gives the edges a ſparkling diſtinctneſs. The
frame has an outer and an inner moulding on the edges; the outer
covered with acanthus leaves tied in pairs and forming a rolling
ſcroll; the inner has on it leaves running over at right angles to its
direction.
'68. 136.
IRROR, octagonal, with branches on each ſide; flowers
and foliage; on the top a floral ornament between
cornucopias. The original, of ſilver, is the property of the
Counteſs De La Warr, Knole Park. 17th century. H. 2 ft.
10 in., W. 2 ft. 8 in. Electrotype caſt by Meſſrs. Franchi
and Son.
The tulip and roſe form the principal element in the repouſſe work.
The ſilver branches hold one candle each, the nozzles are plain and
have a 'wide greaſe pan underneath.
Engliſh Mirrors. I 8 3

'69. 64.
IRROR Frame; ebony with ſilver mounts, conſiſting of
ſcrolls in relief, and a monogram ſurmounted by a
coronet. The original, ſilver beaten and chaſed, is the pro-
perty of the Counteſs De La Warr, Knole Park. Late 17th
or early 18th century. H. 4 ft. 8 in., W. 3 ft. 1 in. Electro-
type caſt by Meſſrs. Franchi and Son. Bought, 381.
The work is coarſer and flatter than that on the two laſt, and the
large flowers are leſs diſtinctive features. The ſcrolls on the top roll
over each ſide of the central monogram like the acanthus ſcrolls of late
Roman architectural pedimental Ornaments. The ſilver applied plates
cover the angles and form centres to the four ſides. An outer and inner
edge moulding are covered with beaten ſilver work. The monogram,
C. M. F., is the ſame as that on No. '68. 135.
The central monogram on the top is formed of the letters P. D.
on one upright ſtroke and an S brought into the lower part of the
letters, which are Italian. They are reverſed and difficult to read;
the P. may be read R, and perhaps belong to a member of the
family of the Sackvilles, Earls and Dukes of Dorſet. The ſilver,
ſeventeenth century, furniture preſerved in the King's room at Knole,
to which theſe objects belong, includes a toilet ſervice of later date,
that was bought from a ſale of the effects of the Counteſs of North-
ampton by Lionel, Duke of Dorſet, in 1743.
1833.'69.
IRROR. The frame of ſtained lime wood, richly carved
in fruit, foliage, and ſhells, in high relief, attributed to
Grinling Gibbons. Engliſh. Late 17th or early 18th century.
H. of frame 6 ft. 4 in., W. 4 ft. 9 in. Townſhend Bequeſt.
The works of this kind known to be by Grinling Gibbons, is cut
generally in lime, pear or other white and tolerably cloſe-grained woods.
His work is generally ſtudied from actual nature ; it ſhows extraordinary
boldneſs, richneſs without being redundant, and delicacy, which can
hardly be ſaid of the carving of this frame.
This piece has been ſtained and varniſhed, but the heavineſs of the
work forbids our attributing it to other hands than thoſe of a pupil
1 84 Farnz'tare and Wood-work.

or workman of the maſtſier. We have up to this date no piece from
Gibbons' own hand in the collection with which this can be com-
pared; but as the works he executed had a great popularity in his
day, wood-carving in. all forms was made by the pupils he employed,
and this frame has been probably made by one of his ſucceſſors.
3987.'56.
IRROR. - Carved and gilt wood frame; circular top,
with borders or ſide pieces in looking glaſs. Engliſh .P
About 1700. H. 7 ft. 2 in., W. 4 ft. 3 in. Bought,
301. 105.
A good example of light gilt framework made perhaps in England
in imitation of French deſigns. The glaſs is compoſed of various pieces.
There is an arched top piece 3 the ſides are held in by a double border
and there is a bottom border of ſimilar width. The angles at top and
bottom turn out into circular ſpaces. The glaſs in theſe parts, as in
thoſe forming the top and bottom borders, is not all in ſeparate pieces.
In theſe parts the frame-mouldings are, in fact, planted on, though
appearing _to hold ſmall ſeparate pieces of glaſs. The central mirror
and the ſides are bevelled, and are of a Vauxhall" plate. The other
parts have been perhaps renewed. Theſe deſigns are all derived from
French patterns of the Louis XIV. period. '
2387-'55-
IRROR. Glaſs, in carved and gilt frame. Engliſh.
Attributed to Chippendale. About 1710-20. H.
6 ft. 2 in., W. 3 ft. 7 in. Bought (Bernal Coll.), 501.
The frame is in three diviſions encloſing as many ſeparate ſheets of
glaſs. The frame of the main portion ſtarts from two gracefully curved
volutes, like thoſe we meet with in Italian gilt carvings of the laſt
' century. They branch out into ruſh leaves and other ſlender folia-
tions, and return over two ſhoulders on which ſits the ſmaller top
diviſion. Two carved Cranes ornament theſe portions, and there the
leaves end in natural points. Roſes are twined amongſt the upper
leaves. The top glaſs has a wreath of roſes applied to the glaſs,
and there are other moulding lines applied in ſuch a way as to ſeem



























tri'lii'lzliw. --"llfflwll"Wiltl'I'll'!'lr=wllr*l*"*-
s
win .zi) fill' PI-'lll'l'n Hull-r 'ill MU-l lily" r 'an 4 1
'All lh'llli r 3 l-Pl "1 "'Iilnl*-',l- . llll ly ".ll - "ll
wi - 'T w 'Hil I lli l i; e




l i I
*' A 'l .LA A.Lnmlnſiilu-fluulmdn-ofluukbnllBUmnunuAMlMMflWfl-QMMÞMU- "two-44 '- u-u 1 1



I i __
-_ ._
ſ. 'i '-
llll. l






-*


r] ljlj ll








-I'
l
i .
(


P-
\_..__--
i










il
l Hſih wi
l-j
il l




i' H ii
Ill. illum-illum llllllll
l
r
I




will'


-_
-_


WWWFWWWWWWW
. . i l'* 'l
ill-if?










llllll .l
L .2 'ell j
I: i il
z...i,;_.z£..:5 .lfllllll
M'I R ROR.
Italian, ſale X V. Century.

Flemiſh Mirrors. 1 8 5

to include ſeparate narrower pieces of glaſs, but there are but three.
The piece at the baſe is the ſmalleſt, and is encloſed in pieces of
Carved rockwork and ſhell-like curves. This claſs of ornament pre-
vails in the frames made by Chippendale. They were more or leſs
in imitation of the Louis XVe. work called rococo, from their extra-
ordinary and ſhell-like curves and Ornaments.
Little rockwork brackets, arches, &c. are often to be ſeen on theſe
Engliſh frames; and of theſe fantaſtic maſſes ſome were formed as
ſtands ſor pieces of china. One general likeneſs may be traced
throughout this claſs of looking-glaſs frames, and one general deſcription
may ſuffice for moſt of them.
The ſpecimen now deſcribed is one of the quieteſt and moſt graceful
of its kind.
2388.'55.
IRROR. Glaſs, in carved and gilt frame. Engliſh.
Attributed to Chippendale. About 1710-20. H.
7 ft., W. 4 ft. 6 in. Bought (Bernal Coll.), 361. 105.
4471-'57-
IRROR. In carved wood frame of architectural de-
ſign. Flemiſh. Middle of 17th century. H.
2 ft. 1 in. Bought, 11. 105.
The top finiſhes in a pediment, ſupported by an architrave. In
the intervening ſpace is carved a death's head.
7694.'61.
i IRROR. Burniſhed metal, circular, in a frame of walnut
wood, carved in relief with an angel, a ſkeleton, and
various animals, each accompanied by a capital letter in gold.
Theſe letters form the words " Bonum " and " Malum." Below
is a large letter Y, from which the various emblems ſpring.
1 8 6 Furniture and Woodwork.

Italian. Early 16th century. Diam., including frame, 1 ft. in.
Bought (Soulages Coll.), I 501.
The form of this mirror is that of a circular ſhield. The frame-
work is convex and richly carved. The diameter of the frame itſelf
is equal to that of the mirror encloſed within its Circumference.
The mirror is of burniſhed metal, the luſtre of which is dimmed,
though the ſurface has not been actually corroded. The back is
decorated with a baſ-relief caſt, repreſenting a Madonna and Infant
Saviour. They are ſeated on a garland upheld by two angels ſtand-
ing and having the cords of each end of the garland round their
necks. Two little angels play muſic in the air above them.
The whole of this relief has been overlaid with the pureſt gold.
The frame is a circular garland of carved walnut wood. The outer
and inner rims are cut into egg-and-tongue mouldings. The flower-
work is made up of ſtems and foliations deſigned after natural foliage,
and cut with the utmoſt preciſion.
At the baſe is a large Roman letter Y placed amongſt the foliation
and reaching from one rim of the framework to the other. An angel
is reclining. between the branches of the letter.
On the right of this figure is that of a woman draped and kneeling.
Over her is a dragon repreſenting ſin or evil, againſt which ſhe is
defending herſelf. Following to the right in this direction are various
animals repreſenting virtues, to which the kneeling ſigure ſtretches her
hand. _
The unicorn is typical of virginity. The mediaeval tradition was that
the unicorn would ſcent out a pure maiden in the wood and would lay
its head in her lap, who was ſuppoſed to help the hunter in this way to
take it. The lion is fortitude, one of the four cardinal virtues. At the
end of the group is the guardian angel, a majeſtic figure in flowing
drapery. Round this half of the frame interſperſed among the foliage
are carved and gilt letters ſpelling backwards the word'M. V. N. O. B.
Bonum,--Good.
On the other half beginning from the Y are the vices. Firſt, a
fiend with horns and cloven feet, emblematic of pride; next, the
hog, of gluttony3 the porcupine, of ſerocity 3 an apiſh imp or impiſh
monkey, of luſt3 a wolf, of cruelty; finally, death perſoniſied by a
ſkeleton. The letters'M. A. L. U. M., Evil, in Roman capitals are
cut out and gilt like thoſe on the other ſide, and laid amongſt the
foliations of the carving. They read upwards from the baſe as the
letters on the oppoſite ſide, that is each Word begins on the ſide of
the letter Y. On the lower or inner ſide oſ the top centre of the frame
Italian Mirrars. 1 8 7

is a flaming bombſhell carved and gilt, one of . the devices of the houſe
of Eſte. This mirror is ſaid to have belonged to Lucrezia Borgia, wife
of Alfonzo d'Eſte, Duke of Ferrara.
The letter Y or the Greek T is adopted from a Pythagorean
emblem of the courſe of human life ſuppoſed to be typified in that
letter. The grammarian, Servius, commenting on the deſcription in
Virgil of the golden branch gathered by ZEneas in the ſearch for his
father's ghoſt, conſiders this branch as an image of the Pythagorean Y.
T In the neighbouring groves
a There ſtands a tree-
a One bough it bears 3 but wondrous to behold
' a The ductile rind and leaves of radiant gold ;
a This from the vulgar branches muſt be torn,
a And to fair Proſerpine the preſent borne,
U Ere leaves be given to tempt the nether ſkies." 1
The T or Y was a type of the courſe of life, ſtraight at firſt and
without conſcious choice, but branching out as life goes on, and offering
two ways or roads to the foul; that on the right hand leading up the
path of virtue to repoſe and happineſs, and that on the left to temptation,
ſin, and deſtruction. According to Servius, the branch ſignifies the
power of virtue "imitating the letter Y." The branch is ſaid to be
hidden in the foreſt becauſe, in truth, in the Confuſion of this preſent
life, in great part cauſed by vice, the integrity of virtue lies hid, &e.
For a more extended reference to Perſius and other writers who
recogniſe the Pythagorean doctrine of the meaning of this letter, we
may refer the reader to Notes and Queries, September 4, 1869.2
7695.'61.
IRROR. Burniſhed metal, in a ſquare frame of walnut
wood, with carved mouldings, upheld by a ſhort
moulded pillar reſting on a quadrangular foot. The whole
of the framework carved with emblematical devices, palmette
Ornaments, &e. Italian. About 147 5-8 5. H. 2 ft. 7 in.;
ſize of plate, Iozlz in. by 82- in. Bought (Soulages Coll.), 1501.
This piece is remarkable for its frame. The mirror ſtands on a
baſe, ſquare, with canted angles ſhaped like the ſtem of a chalice or

v 1 ZEn. vi. 206. Dryden's tranſlation.
2 See alſo Hiſtoric Devices, 810., by Mrs. Bury Palliſer, p. 199.
1 8 8 Farnz'tare and Wood-work.

drinking cup. The four large ſides riſe to within three inches of the
frame, gradually diminiſhing ſo as to contain four ſlightly concave
panels or ſpaces, which are decorated with carved emblems each in
a circular panel. The intervening narrow panels on the angles are
decorated with palmette work, which alſo runs round thſſe baſe. Below
that is a straight plinth with upper and lower bead mouldings to raiſe
this decorated border on a ſort of ſtand. The emblems in the four
ſpandrils or concave ſpaces are, I., the elephant,- the meaning of
which is not very clear. Ancient writers inſiſted on the reverence the
elephant had for the moon (which acts as a mirror or reflection of
the ſun). ZElian ſtates that at the increaſe of the moon they gather
branches of trees in the woods, and turning their eyes up towards
that luminary, raiſe their branches in adoration. Pliny, ſpeaking of
the elephant, says that they a withal have in religious reverence
(with a kind of devotion) not only the ſtarres and planets, but the
ſunne and moon they alſo worſhip. And in very truth, writers there
be who report thus much of them, that when the new moon be-
ginneth to appeare freſh and bright, they come down by whole herds
to a certain river named Amelus, in the deſerts and foreſt of Mau-
ritania, where, after that they are waſhed and purified by ſprinkling
and daſhing themſelves all over with the water, and have ſaluted and
adored after their manner that planet, they returne againe into the
woods and chaſes, carrying before them their young calves that be
weary and tired." 1
Another ſide is occupied by a gooſe carrying a pin in its mouth; an
alluſion to the claflic traditions of the fidelity of that fowl. On a third
is carved the civet cat, prized for its muſk perfume. The fourth has a
knot of twiſted hair faſtened at the bottom to a baſe of velvet or other
material for a head dreſs. The uſe of a chignons " and other artificial
additions to a lady's hair is not an invention of our own day.
The frame of the mirror is ſet on this baſe or ſtand. Between the
two is an interval of about three inches, and this portion is formed into
a wide baluſter or leg with a knop and collars turned in the lathe. By
this the mirror itſelf was eaſily held up for uſe, the knop giving a firm
hold for the hand. The frame is ſquare finiſhed with S-ſhaped ſcrolls
rolling over each ſide of two ſquare tablets, one above and one below the
top and bottom portions. On the little ſquare tablets are carved the
device of a ſmall mound with three a Marguerites " or daiſies on them.
The ſcrolls and ſquare between them form the outline of the a bow " of
the god of love. The frame is decorated with delicate line mouldings

1 Pliny, B. viii. ch. 1., tranſlation quoted by Mrs. Bury Palliſer, Hiſtoric Devices,
&c., p. 71. .
Italian Mirrors. 1 8 9

ſormed of notches, plait work, guilloches, &e. and further has a band of
palmette leaves carved all round. Theſe. leaves are modelled and relieved
with great delicacy, and if the work is examined, the ſame tender treat-
ment of theſe minute Ornaments will be noticed throughout. It belongs
to the beſt period of Italian wood carving, and its date may be placed
before or at the beginning of the 16th century, while the treatment of
claffical details in architecture and woodwork was ſtill new, and
was managed with a degree of care that was loſt when the ſtudy of
Roman clafficaliſm led to the adoption of vaſt proportions in ſtructure
and boldneſs and coarſeneſs in the decoration that was required in
conſequence.
The daiſies carved on the framework, as well as the exceptional
delicacy and excellence of the carving, point to the ownerſhip of a
lady of the name of Margaret in high poſition, poffibly Marguerite d'Va-
lois, daughter of Charles d'Orleans, Comte d'Angouleme, and Louise of
Savoy. This lady was bornat Angouleme in 1492, and became the
wife, firſt, of Charles IV., Duc D'Alencon, in 1509; ſecondly, of
Henri D'Albret IV, ſecond King of Navarre, in 1526. By this mar-
riage ſhe had a daughter, Jeanne d'Albret, mother of Henri IV. She
died at the Chateau of Odos en Bigorre in 1549.
This princeſs was a patroneſs of letters, and was ſurnamed the
Pearl, Margarita, the tenth of the Muſes, &c., and her name was
celebrated by the poets and artiſts of the day.1
There is in the Louvre a piece of miniature carving in boxwood, an
CD,2 containing delicately ſculptured compoſitions from the life of
St. Margaret of Antioch, who ſuffered martyrdom under the reign of
Aurelian. That M is ſuppoſed to have been made for, or in honour of,
Marguerite de Valois; and the alluſive carvings on this mirror may
indicate that it was made for the ſame perſonage. But this is offered as
a conjecture only.
7696.'61.
IRROR. Burniſhed metal, rectangular, in an ebony
frame, inlaid with interlaced work in ivory. At the
bottom is a bow, alſo in inlaid ivory. Italian. About 1500-20.
H. 2 ft. 1 1 in., W. 2 ft. 7 in. Bought (Soulages Coll.), 501.
1 Hiſtoric Devices, &c. 163.
2 Collection Sauvageot.
I 90 Furniture and Wood-work.-

The inlay is in elegant linework ſuch as we ſee in the ornamental
details of 16th century paintings, repreſenting embroidery, e.g., on the
altar front in the freſco painting by Raffaelle of the Diſpute of the Sacra-
ment. It has the elegance and delicacy that fine interlaced lines never
fail to impart when inlaid on a poſitive black. The bow may ſerve to
mark it as a preſent from a lover to his miſtreſs.
7648.'61.
IRROR. Burniſhed metal, in a ſtand of iron dama-
ſcened with gold and ſilver. The frame, of archi-
tectural deſign, is ſurported on ſcrolls which reſt on a ſquare
baſe, with ſcrolled angles and feet. The whole covered with
medallions of claffical ſubjects, arabeſques, cartouches, &c., in
gold, ſilver, and ſilver-gilt. At the back of 'the mirror are
figures of our Saviour and of angels in niches; in 'front are
claffical figures. The whole ſurmounted by a group of Venus
and Cupid. Italian (Milaneſe). About 1550. Made for the
Royal Family of Savoy. H. 3 ft. 10 in.; baſe, 18 in. by
25 in. Bought (Soltikoff Coll.), I,2811.
This toilet glaſs, the moſt ſumptuous piece of furniture of its claſs
in the collection, is of iron worked over with gold, ſilver, and ſilver-
gilt. The proceſs known as damaſcening is as old as the claffic
period, and in this as in other inſtances, it conſists in cutting or
ſcratching out in iron the ſhapes of the ornament and hammering in the
ſofter metals which are forced and keyed into the lines and indentations
of the harder ſubſtance.
Portions of the work on this mirror are planted on with rivets as
diſtinct mouldings, ſuch as thoſe that border the drawn front. Others
are inlaid and held in by pins with heads left as part of the ornament.
Other parts are hammered in in the uſual way and modelled carefully
with tools afterwards. Parts are of ſilver, and have been gilded over
by the mercurial proceſs. '
The general compoſition is in three parts :--a glaſs in a ſquare
frame with ſcroll Ornaments maffively deſigned joined by a foot flat ſtand,
the ſtand forming the top of a toilet drawer. Below that is a drawer or
ſquare box ſtanding on four feet formed by volutes, one on each angle 3
"I'llctV-lll'l" w .- l *®"*- -
l l' il. ,. ' * 'ill llll'l
ul ' l I. l'T'ſſ'll
il
l
lfrſn" i

2
Ii'
.'l l

'l TT" *l1'ff"'.'\*'r ffl-w in' ,* '-
+- n'liMh'l-[lllill i in. in.
l
I
lll r
r .
9.' l'flll
hhlſi

Will; ſil ill-vil'
I I
l '.lW
ll ill]
N I il*(
l
il lllhljl
(i

l'j.( I' i
_w it'
l
I
l
'il
tI
i
l
I
I
ii ll




ill'
'il l, .i Mi
:jl i'jl 'il ſſ l il .
lily 4.,(1
* *"* Milan
iflffiffiflqfli ſi




a',
'a



ill-ill


ill' will?
"will 's
llllllll l
MIRROR.
Ilii!-
e.
4.'


'i
.l'll
Why.
[iii./rim (-IIZYlZ/IUSZ), 'mild/cry" Xl'l. Cenfmja
lll l ll :!"'*>'.ll* '* '.l llllllllll

l .-
.. !
illjlli) z I' .
ll i' i I)
'I'll-ill
7648.'61.
ll' l he;
l
l
. l
H
I
4!
.u ur'li .ll 1 ll
lpl'ſſ ,
'HI*'
il' '
p__*
.n
" n';
lWÞ:
P___
m
-_-_
_f____
__._.


till-V' * *
I
lT y-
"lull!
j) il
H
(II
i' l' . '. * l
"l lill
:jz * nd


____._ .
b v
-f __*'_
l _ -
,-'_-
l
'l *
1'.
.'l
2,-
l


Ill, H
i i 'A i' i
ol'
l
llctll ſillllll!
l
ill
Italian Mirr0r5.. - 19 1

above the volutes are broad brackets, cutting off the corner angles.
The brackets are joined to the ſides both on the top and at the baſe
by volutes. Groteſque ſatyr maſks are applied to the fronts of the
'brackets All theſe ſeparate parts are covered with damaſcened work.
The drawer front is ornamented with damaſcened borders, and divided
into - panels by bands of ſtrapwork, The panels are marked out by
ſilver knobs or pinheads, and other pinheads or dots on a ſmaller ſcale
are made to add brilliancy to the gold work in the other borders.
The centre panel contains a repreſentation of the ſiege of Rome by
Lars Porſena. The Etrurian King is ſeated on a throne, and warriors
are bringing to him the treaſures of the city, of which the building
forms a background to the ſcene. Single figures of claffic warriors fill
the ſide panels.
The panel at the back of this portion has the repreſentation of the
heroiſm of Horatius Cocles defending the bridge over the Tiber during
the ſame war. _
On the two ends are ; 1. The devotion of M. Scmvola, who ſtabbed
the ſecretary by mistake inſtead of the King, and is ſhown burning
his right hand in the altar fire ; 2. M. Curtius leaping his horſe into the
chaſm in the Roman forum.
- The baſe of the mirror forms the top of this lower portion, and it
pulls out to form a toilet tray. The upper ſurface is laid out in
damaſcened work in the form of a pavement in perſpective, and the
moulding round it contains, in cartouches, tiny hunting ſcenes.
The foot of the mirror is ſomething like that of a mediaeval cup or
chalice with boſſes and neckings. The ſurfaces of the larger of theſe
boſs-like forms are decorated with figures. Apollo and his attributes
are on one ſide ; Mars and his attributes on the other. Female figures
perſonifying Peace and Plenty are on the ends, which are narrower
than the fide ſurfaces. Under theſe oval ſurfaces there is room for
figures of claffical ladies at the toilet, ſurrounded by elaborate arabeſques.
All are in rich damaſcened work.
The front of the glaſs is ſupported on each ſide by niches, on which
are gilt figures in relief playing muſical inſtruments. The top has ſmaller
niches above theſe ; two with ſmaller gilt figures, alſo playing on muſical
inſtruments.
The cover of the mirror itſelf pulls out ſideways. It is damaſcened
over with a landſcape and figures. Claflical figures decorate the ſloping
inner ſides of the mirror frame. On the top is a central niche with a
gilt figure of Juno and her peacock. A ſtatuette of Venus and Cupid,
the former holding the apple, ſurmounts the whole.
192 - Furniture and Woodwork.

The back of the frame is differently ornamented. There is leſs
relief in the component parts of that front. It forms an architectural
pedimental facade with columns, cornices, &c. Theſe are delicately
ornamented with arabeſque work. The centre forms a niche with
perſpective lines and diviſions. In front is an image of the Saviour on
a pedeſtal. On each ſide are ſmaller niches with ſitting figures of
angels in relief. Above each of theſe ſmall niches is a ſquare panel
with a figure in damaſcened work, one of the Saviour bound to the pillar,
the other of the Saviour blindfolded and mocked. In the tympanum
is a demi-ſigure in relief repreſenting the Eternal Father iſſuing from a
glory of angels. He is giving benediction, and the ſymbolic dove,
repreſenting the Holy Spirit, is beneath Him.
On the top the niches are flat, only repreſenting receſſes by per-
ſpective lines. They are occupied by three ſmall figures in relief
of the theological virtues, Faith, Hope and Charity.
On this ſide of the ſtand there is a panel containing the Saviour
carrying the croſs. Strapwork and arabeſques decorate the back of the
cover.
It is a ſtrange mixture of ſacred hiſtory and pagan mythology,
thoroughly characteriſtic of the deſigners of the day.
The work was executed in Milan, in which city worked ſeveral
artiſts in this proceſs.
Of theſe the moſt famous were Giovanni Pietro Figino, Bartolommeo
Piatti, Franceſco Pellegimo and Martino Ghinello. But we have no
evidence as to which of theſe artiſts were the authors of the toilet glaſs
in the Muſeum. More than one hand is apparent in the deſign. The
back and the front differ materially in the ſpirit as well as the ſubjects of
the decoration.
This piece belonged to the Debruges collection, from which it
paſſed to that of Prince Soltykoff, and from him it was purchaſed for
the Muſeum.
218.'66.
IRROR, with frame and ſliding cover of ebony pointed
and gilt in arabeſques. Venetian. About 15 50.
H. 82 in., W. 7-12- in. Bought, 11. 105.
The frame is inlaid with pearl work in Oriental arabeſque patterns,
in imitation of Perſian.





I
i
i
I
i'
= s
i!
M
"m




if;
l-I
l
i
w
4'




lil')
'iſſc i i ſſi'ill
i




zi-Ljzzf wfffi in 'lilglilzl'lipzll _* MTH-
-' fix, - .
ed) ,z I' Mlfflljlzlzlll"Il.Hilllllllhmuw mn-WW








life i . . iz. ii'H t I' A >_£-1



--_-s-.*-.-.,
"I "my 'r ffirrwmvffin-
1 ' ctl '
i

'
if', VT'VT'WV
I

"13 ,ffl-rrr "


ii'n will z.'. * * or





i 'i i i * it
lillilſl'


I,


I
l


lii 'i




4!
11


3 w N'W li j
I yxl ill ruin-illum. lii


w i
W '131. ..
liililiii iiillllnlli
(w
ill


i


L




1 it, -.'
will'
__-
,-
Iulll'illum-i illilllllllllllllll i il
l
li




ſſ-ſſIl-l um


liillllkil

his. liniiii ,Il 1 i

TN]
"'" 'v' 'w' 'v v-
MIRROR.
p Italian, nzz'ddle qf X Vſ. Ccrzfwzy.
7226. '60.


Italian Mirrors. 1 9 3

7226.'60.
IRROR. Burniſhed metal plate in carved and inlaid
frame of walnut wood. The plate is partially covered
by a ſunk ſliding panel carved with a female buſt. The frame
of monumental deſign, carved in relief with maſks, garlands of
fruit, flowers, &c., reſting on a bracket and ſurmounted by a
cornice. Italian. I6th century. H. 3 ft. 5 in., W. 2 ft. 2 in. -
Bought (Soulages Coll), 2001.
The head that forms the central ornament is a profile medallion in
ſlight relief of a head of ſingular beauty.
The frame at the ſides is inlaid on its flat parts with what appears
to be cork, perhaps the wen or .. excreſcenſe of a cheſtnut tree. Maſks
ſtretch out on the flanks with acanthus leaves above and below them,
and maſks, ſcrolls, &c. are applied over the inlaid wood of the frame.
The bracket on which it is ſupported bears a ſhield in front, but the
armorial bearings are defaced.
7354-'61-
IRROR. Glaſs, in a frame of ebony, inlaid with ivory ;
panelled doors in i front; ſcroll-work. and ivory
borders. Italian. ' About 1600. H. 12 in., W. 95 in.
Bought, 5l. 95.
On the outer frame the inlay is arranged in broad and narrow
bands of white. Each door has two panels. Broad bands of delicate
arabeſque work form the ornament of theſe panels. .
The part behind the glaſs is inlaid very plainly. This looking-glaſs
is ſupported by an eaſel or reſt.
Probably Genoeſe, and of the early part of the 17th century.
288.'64.
IRROR. In frame of carved, pierced, and gilt wood,
with deſign of foliage in high relief. Italian. 17th
century. Extreme height 8 ft. 11 in., W. 5 ft. Bought, 501.
I. N
1 94 Furniture and Woodwork.

A coarſe imitation of the earlier cut open Venetian ſcutcheon work,
ſuch as was ſormed to decorate the panels of carriages as well as
glaſs frames. The compoſition conſiſts of ſweeping acanthus foliage
ſtarting from the frame, and _ rolling round with bold and graceful
curves and vcut with the freeſt uſe of ſharp tools, the wood being Willow
or other wood of very ſoft grain. In many inſtances ſuch leaves and
volutes roll round into brackets for porcelain at regular intervals,
which thus ſtand framed as it were before a background of varied gilt
ſurface. In the caſe of this glaſs, the projecting pieces are ſhort rudely
cut leaves, but the work is effective from the ſize and freedom of the
carving. The glaſs bears but a ſmall proportion, ſcarcely a third, to the
whole ſize of the piece. This looking-glaſs was formerly in the dining
room of Mr. W. M. Thackeray, from the ſale of whoſe collection it
was purchaſed.
7866.'61.
IRROR. Engraved glaſs, in frame of carved and gilt
wood, foliage pattern. Italian. I7th century. H.
of frame 22 in., W. 19 in. Bought.
A canopy with wreaths of flower work forms the ornament, in
which is a ſcutcheon bearing the arms of the Venetian family of
Barbo.
2389-'55-
IRROR. Glaſs, in carved and gilt wood frame, with
figures of heathen deities, cupids, fruit, flowers, ſtrap-
work ornament, &c., in the ſtyle of Louis XIV. Italian?
About 1700. H. 5 ft. 3 in., W. 4 ft. 7 in. Bought (Bernal
Coll.), 181. 105.
The carving is elaborate. All the foliage and ornament that form
the baſe or foundation, amongſt which the figures, &e. are diſpoſed, is
cut up into detached details ſo as to anſwer eſpecially for the gilder's
object, that of a richly broken ſurface. The work though good is leſs
bold and free than the generality of the gilt carving of Florence and
Venice, where this work was principally produced and has, perhaps,
more affinity with the neater but leſs pictorial work executed in France
in the good times of Louis XIV.
Natcraſſckerr. I 9 5

1128.'64.
ODEL of a Slipper. Carved in boxwood; apparently
the work of ſome French priſoner during the war.
Early part of preſent century. L. 372- in. Given by the Rev.
R. Brooke.
223.'66.
UTCRACKERS. Boxwood, carved with a bearded
' head, covered with a German cap, ſurmounted by
a pelican in her piety; below are Gothic letters,
- apparently monograms. German. About 1500-
30. H. Iozl; in. Bought, 61. 65.
The head of U Mahound," or the "4 Saracen's head," with the
lower jaw and neck moving on a peg joint for lever, forms the engine
itſelf. The head is covered with a cap, having a pelican feeding her
young on the top. The broad flap has two wyverns or monſters in
relief on its under ſide. The beard is in criſp pyramid curls, and on
the cheſt are two black letter is tied together with a cord in the way
of engraver's monograms, of which numerous examples may be ſeen in
Silveſtre's V Monogrammes Typographiques." On one ſlank are the
four gothic letters, f , i , d , b ,, and on the oppoſite s , t , All theſe
letters are adorned with quaint monſter-headed ends and flouriſhes cut
with great ſpirit. _ The humour of the Nurnberg toy work is admirably
expreſſed in this ſpecimen of 16th century carving.


224.)66.
UTCRACKERS. Boxwood, carved with mouldings.
On the ſummit is an ape-headed man reading among
books and globes. German? 1700. L. gL-in. Bought, 51. 125.
The nutcracking machinery conſiſts of a piece of boxwood, with
another jointed into it. Both end in ſlat handles, like thoſe of a very
maffive ſpoon, each of them inclining outwards. On the top, carved
N 2
1 9 6 Farnz'zare and Woadwark.

out of the block which forms the body of the piece, is a man with
an ape's face, ſhort whiſkers, and a ſerio-comic cut of countenance.
His head wears a morning cap ſuch as is ſeen on portraits of literary
characters of the age of Dryden and Pope. One leg is croffed, and on
it a book widely open, which is upheld by one hand while the head is
leant thoughtfully forward on the other. The ſeat is a pile of books,
others of which form a footſtool.
Theſe are admirably cut, and ſo is the head and general poſe of the
ſigure. The general humour of the carving would lead us to trace it to
the German toy-cutters, notwithſtanding the bitterneſs of the ſatire
implied in the compoſition. v
1052.'69.
ANELS, bordering (ſix pieces). Wood, carved
with ſcroll ornament and Cufic inſcriptions. Arab.
13th century. H. 12 in. by 358- in. (Paris
Exhibition, 1867.) Bought (Meymar Coll.).


The work on theſe oblong or border panels is in the ſame ſtyle,
and has the ſame elegant outline and delicacy, as the later work deſcribed
in No. 1049. '69.
The letters are cut over a rolling fcroll, that forms a double volute
with each turn. It has ends or curls at intervals as offsets.
Four of the pieces have characters which Dr. Rieu has tranſlated
and explained as follows :-
I. a This bleſſed pulpit was ordered to be made by our lord the
Sultan."
2. a Al-Malik al-Mauſoor Huſem uddunya waddifi Lajifi."
3. "Al-Manſoori." (This was on the 10th of Safar, one of the
months.)
4. a Of the year 696, may God make its end fortunate."
Lajifi reigned only two years and two months, A.H. 696. 698,
1296-8. He repaired the moſque of 'Ben Tulufi (Jami el Toolſon or
Tayloon in Cairo), in conſequence of a vow made ſome years before
his acceffion when, in danger for his life, he had found a ſafe hiding
place in that moſque. Theſe pieces therefore belong to the pulpit of
that moſque (much made up) now in the South Kenſington Muſeum.
PANEL5


V.
(cles © l
a
ARA , 3t/z ar 14t}z Century. ct ,
Diagram of Arrangement and Piece of Detail. i
(1051_ *69, p. 199_)
Araa Panels. 1 9 7

1077.'69.
ANELS (ſix pieces). Wood, carved with Arabic inſcrip-
tions. Arab. 14th century. Various dimenſions.
(Paris Exhibition, 1867.) Bought (Meymar Coll.).
The ſcrollwork ſeen under the lettering is bolder and finer in execu-
tion than that under the letters of the inſcriptions of ſome other pieces
in the collection as, e.g. in 1052. '69. The panels are ſurrounded by
fcroll borders and lines of ivory. The characters are read by Dr. Rieu
as follows z- '
No. 1. At the top of the frame, and No. 5 on the left ſide (ſpec-
tator's right) :-
** No drowſineſs ſeizes Him, nor yet any ſleep. This is that which
is in the heavens and that which is in the earth. Who is he that will
intercede with Him but by His leave .P He knows that which is before
them, and that which is behind them, and they do not embrace any
part of His knowledge but what he pleaſes. His throne encompaſſes
the heavens and the earth, and He is not burdened (by their main-
tenance)."-Koran, ch. II. 256.
No. 4, loweſt piece, and No. 6, right hand piece (ſpectator's
left) :--
** I call to life and cauſe to die. Abraham ſaid, Then verily God
brings the ſun from the Eaſt, now bring it from the Weſt 3 then he
who had denied God was confounded, or like unto him who paſſed
by a city and it lay waſte on its vaults. He ſaid, How will (God) call
(this) to life."-Koran, ch. II. 260-261.
Nos. 2 and 3 from the top :--
2. V The refuge of the poor and of the needy."
3. V The ſervant of God the moſt High."
The letters of theſe two inſcriptions are larger and the panels
ſhorter than the others, viz., 92 in. by 12 in.
The longer inſcriptions are 1;,l in. in height.
1049.'69.
ANELLING, made up into a table. Walnut wood.
The top and ſides formed of various panels of wood
and ivory of Arab 14th century work. ' The framework and
legs modern French. H. 2 ft. 4 in., diam. 2 ft. 10-5 in. (Paris
Exhibition, 1867.) Bought (Meymar Coll.).
I 9 8 Fnrnz'tare and Wood-work.

This is merely made up from fragments which have formed part of
a ſcreen or of wall panelling. The old portion forms a central ſtar of
of 12 triangular points. The lines forming theſe points are prolonged
and croſſed, ſo that they encloſe 12 longer triangles and 12 polygons.
This arrangement forms one entire figure. The centre and triangles
are inlaid in ivory. Each of the 37 diviſions of the figure is ſilled by
a carved ſcroll flower, reſembling a fleur-de-lys in general outline. We
are reminded of the old Greek honeyſuckle ornament in the continual
roll of the tendrils forming this ornament. It is larger or ſmaller, more
ſimple or more complicated, according to the amount of ſpace, but it
is the one ornament of all the panelling of which this piece has formed
a portion. In the larger panels one ſet of the lines under-lies another,
in ſlighter relief, and helps to give richneſs and myſtery to the maſs of
lines and volutes.
The points of the central ſtar are formed by ſmall carved ivory plates
inſerted. The correſponding hexagon panels outſide theſe are alſo of
ivory. The outermoſt hexagonal panels have inlaid ebony lines and a
carved border, edged with lines of ivory round them.
The ſupports of the table are formed by ſix cuſped Moreſque arches
of modern make.
Above each arch is inſerted a narrow panel containing an Arabic
legend.
Theſe have been tranſlated by the kindneſs of Dr. Rieu, and are as
follows :- i
1. " The ſervant in need of God the moſt High."
2. a Altunbugha, the cupbearer of Al-Malik-al-Naſir."
3. a The refuge of the poor and of the needy."
4. a The hoard of the widows and the orphans."
No. I and No. 4. are repeated.
Altun boga al-Maridani was raiſed to the rank of Amfir by Al-
Malik al-Naſir Muhammed Ben Kalafin, who gave him his daughter in
marriage. He began A.H. 738 (A.D. 1338) the building of the
moſque called after him Jami al-Maridani ; he died governor of Aleppo
A.H. 744 (A.D. 1343).
1085.'69.
ANELS, fragments of (nine pieces). Wood, carved
and inlaid. Arab. 14th century. Various dimenſions.
(Paris Exhibition, 1867.) Bought (Meymar Coll.).
Arab Panels. 1 99

Theſe pieces are fragments of a ſtar-ſhaped ſyſtem of panels, and
have the fame characteriſtics and are in the ſame 'ſtyle as the work on
the table No. 1049. '69.
1051. '69.
ANELLING. Walnut wood, carved in geometric deſigns
and inlaid ; from the moſque of Tooloon, Cairo. Arab.
13th or 14th century. H. 8 ft. 3 in. by 7 ft. 3 in. (Paris
Exhibition, 1867.) Bought (Meymar Coll.).
This large piece, of which we give an illuſtration, has been much
made up, and the framing pieces are modern. It conſiſts of irregular
polygons grouped round a centre, and having four ſtar-ſhaped and four
plain carved panels on the outer line of each group of eight.
1083.'69.
ANELS, fragments of (ten pieces). Wood, carved and
inlaid with ivory. Arab. 14th or 15th century.
Various dimenſions. (Paris Exhibition, 1867.) Bought
(Meymar Coll.).
The work on this ſet is carefully cut, and ſeems to belong to the
ſame period as the panelling on the table 1049. '69. The borders of
the panels have ſlight variations. One piece, the half of a ſtar-ſhaped
panel, the borders of which have inlaid lines of ivory, is in the ſtyle of
the 16th century work in No. 1078. '69.
1084.'69.
ANELS, fragments of (twelve pieces). Some wood inlaid
with ivory, others ivory inlaid with wood. Arab. 15th
and 16th century. Various dimenſions. (Paris Exhibition,
1867.) Bought (Meymar Coll.).
200 > Furniture and Woodwork.

The fragments in this frame belong to two periods. Eight ſpear-
head ſhaped pieces of carved ivory belong to the earlier period.
The remainder are compoſed of coarſe inlaid work of the I7th
century.
1075.'69.
ANELS of Doo-rs. Walnut wood, carved and inlaid with
ivory. Arab. 16th century. H. 4 ft., W. 4 ft. 3 in.
(Paris Exhibition, 1867.) Bought (Meymar Coll.).
The carving is coarſer than that of 1051. '69, and other like frag-
ments of panelling. It is a compoſition of pieces, combined in a geome-
trical figure. Some of the ſmall panels are of marquetry only, and-theſe
are probably late inſertions. The framework mouldings are of deal,
and modern. The outer frame that contains the whole, and turns on
its ends as on pivot hinges, is of late date and coarſely carved.
1078.'69.
ANELS (five pieces). Wood, carved in Oriental pattern.
Arab. 16th century. Various dimenſions. (Paris
Exhibition, 1867.) Bought (Meymar Coll.).
Theſe fragments are narrow. They have a rolling ſcroll flower-
ſtalk with buds, beginning from a central flower, of which the prominent-
lines form a fleur-de-lys, the lines of the central petal extending and
rolling beyond the point of junction in largerv curves. This fleur-de-lys
form, however, ſtrikes the eye in the centre.
The ſcroll intertwines with a band that runs along the middle of the
whole border, and bulges in ſemicircular cuſps up and down, towards
one ſide and the other alternately, much as the flowery ſcrolls of inlaid
Italian quattrocento work are connected by conventional bands or ſtraps
more or leſs architectural in character.
1081.'69.
ANELS, fragments of (twenty-one pieces). Wood, carved
and inlaid. Arab. 15th or 16th century. Various
dimenſions. (Paris Exhibition, 1867.) Bought (Meymar
Coll.). '
Of the ſame character as the work on 1077. '69.





,-_ --,---_-5 - * it', T. 'V- , 'pl- v (r . j-r- r, --u_ " f'ffln **
. * . = z Wlllllll'l'lll Will-ill r" '-
ſ .l k I-*ffl"l i m l l 'ill i "


anouſi-atuflcWMMWn-Ahh-u A un - in x u

L waſh'uunwJlmouuWnuuuuMu-'UwuuA-Nu



Wlwilji 'yf-"I'- ' llIlUjH-illwj :Eiffli'i I"*'z,H. _ Milk 4 ielilillliilall!il il ll-I llllllllllllll ill a lillulliliill l ilinllllllliillfiin!l-l ._ el .. llmllmsllli In?
PANELLING.
And', 'If/If or XI'. Cam/73',
tczr.'(9.


.Mn-
Arab Panels. 2 0 1

1082.'69.
ANELS, fragments of (fourteen pieces). Wood, carved
_ and inlaid with ivory. Arab. 17th century. Various
dimenſions. (Paris Exhibition, 1867.) Bought (Meymar
Coll.).
The forms of the flower-ſtalks or ſcrolls are thicker and the work
is coarſer than that found on Nos. 1083. '69, 1084. '69, and other
ſpecimens of the ſame work; but the deſign is but little varied. The
pieces are ſquare, oblong, heart-ſhaped, the top and ſides in ſtraight
lines inſtead of curves- The principal carving of each panel is on
wood, with coarſely cut ſcroll borders of ivory inlaid ; the ſmaller pieces
have lines only of ivory or bone.
1076.'69.
ANEL. Wood, carved and inlaid with ivory in geo-
metric pattern. Arab. 17th century. H. 2 ft. 83 in.,
W. 23-12- in. (Paris Exhibition, 1867.) Bought (Meymar
Coll.).
Inlaid in coarſe marquetry work of geometrical dies. Many
portions of this have been replaced by bare ſlices of ivory.
1079.'69.
ANELS (fifteen pieces). Wood, inlaid with ivory. Arab.
17th century. Various dimenſions. (Paris Exhibition,
1867.) Bought (Meymar Coll.).
This fragment, like the one which precedes and the next piece,
1080. '69, is of marquetry without carving. The dies that form the
patterns, generally ſtars, are triangles of wood and bone, and ſome of
the latter are ſtained green. The central figure of the panelling in this
number is an eight-pointed ſtar formed by the junction of two Croſſes
2 0 2 Furniture and Woodwork.

placed diagonally one over the other. As the centre forms an eight-
pointed ſtar, eight ſmall panels are contained in the heads of the arms
of the two Croſſes, the tops of which are pointed; eight triangles are
contained in the intervals between theſe, and ſo on.
1080.'69.
ANELS, fragments of (eight pieces). Wood, inlaid with
ivory. Arab. I7th century. Various dimenſions.
(Paris Exhibition, I 867.) Bought (Meymar Coll.).
- Inlaid work of the ſame character as the two laſt.
1524. ' 71.
ANEL. Wood, rectangular, carved with an inſcription in
Arabic. From Cairo. Arab. I7th century. 1 I-Z- in.
by 322- in. Bought, 155.
1225.'71.
ANELS, fragments of (thirty-one), Wood, carved and
inlaid with bone. From Cairo. Arab. 15th and I7th
century. Various dimenſions. Bought, 11. 105.
Some of the carved pieces placed in this frame belong to the 15th
century 3 ſome are in marquetry of the later period. The latter pieces
have occaſionally dies of tin or white metal amalgam placed in minute
proportions amongſt the triangular pieces of wood and ivory.
1 456. '7 1 .
ANEL. Carved and painted wood, ſitted in pieces form-
ing a geometrical pattern. From a Coptic houſe in Cairo.
Arab. 18th century. H. 3 ft. 13; in., W. 1 ft. 932- in. Bought, 95.
This and the following eight panels are in various geometrical
ſhapes. The mouldings are generally a band of ſine reeded lines, and
Arab Panels, 2 0 3

have been coloured red; the panel coloured grey. They are examples
of domeſtic interior woodwork of the period they repreſent.
1457-'71-
ANEL. Carved and painted wood, fitted in pieces form-
ing a geometrical pattern. From a Coptic houſe in Cairo.
Arab. 18th century. H. 3 ft. I? in., W. 1 ft. 92 in. Bought, 95.
1458.'71.
AN EL. Carved and painted wood, fitted in pieces form-
ing a geometrical pattern. From Cairo. Arab. End
of 17th century. H. 3 ft. 3% in., W. I ft. 9 in. Bought, 95.
1459-'71-
ANEL. Carved and painted wood, fitted in pieces form-
ing a geometrical pattern. From Cairo. Arab. End
of 17th century. H. 3 ft. 3-3- in., W. I ft. 9 in. Bought, 95.
1460.'71.
ANEL. Carved and painted wood, fitted in pieces form-
ing a herring-bone pattern. From Cairo. Arab. End
of 17th century. H. 3 ft. 2-Y- in., W. 1 ft. 8 in. Bought, 95.
1461.'71.
ANEL. _ Carved and painted wood, fitted in pieces form-
ing a zig-zag pattern. From Cairo. Arab. End of
_17th century. H. 3 ft. 3-3- in., W. 1 ft. 9 in. Bought, 95.
204 Fnrnz'tare and Woodwork.

1462.'71.
ANEL. Carved and painted wood, fitted in pieces form-
ing a zig-zag pattern, with borders of painted flowers.
From Cairo. Arab. End of 17th century. H. 3 ft. 5 in.,
W. I ft. 62 in. Bought, 95.
1463.'71.
ANEL. Carved and painted Wood, fitted in pieces forming
a geometrical pattern, with white flowers on dark ground.
From Cairo. Arab. End of 17th century. H. 3 ft. 3 in.,
ctW. 1 ft. 82 in. Bought, 95.
The ſubdiviſions form ſix pointed ſtars with diamond ſhapes between.
The mouldings of the panels have been coloured red, and the panels
green.
.1474.'71.
ANEL. Carved wood, fitted in pieces forming a
geometrical pattern. Arab. End of 17th century.
H. 14-3- in., W. 10 in. Bought, 45.
8174.'63.
ANEL. Oak, carved and pierced work. Engliſh. 15th
century. H. 10%in., W. log in. Transferred from
' the Board of Works.
. 8130.'63.
ANEL. Oak, carved with tracery. Engliſh or French.
15th century. H. 21 in., W. 9 in. Transferred from
the Board of Works. i
Engliſh Panels. 20 5

8 1 3 I . '6 3 .
ANEL. Oak, carved with tracery. Engliſh or French.
15th century. H. 21 in., W. 9 in. Transferred from
the Board of Works.
8163.'63.
ANEL. Oak, carved with linen pattern. Engliſh or
Flemiſh. H. 2 3-3- in., W. 95 in. Transferred from the
Board of Works.
The top and baſe are cut out into cuſped arches, and the letters
A M, tied with a cord, are placed in each.
8148. '6 3.
ANEL. Oak, carved with linen pattern. Engliſh or
Flemiſh. 15th century. H. 22l21- in.,-W. 7-41; in.
Transferred from the Board of Works.
Rather more ſhaped at the top than is uſual in Engliſh linen patterns.
8 I 7 1 . '6 3.
ANEL. Oak, carved with linen pattern. Engliſh. Late
15th century. H. 15z{- in., W. 10 in. Transferred from
the Board of Works.
8139. '6 3.
ANEL. Oak, carved with linen pattern. Engliſh. Late
1 5th century. H. 16-5- in., W. 9-32L in. Transferred from
the Board of Works.
The upright lines and top and bottom foldings unuſually cloſe and
numerous.
206 Furniture and Wood-work.

8144.;63.
ANEL. Oak, carved with linen pattern. Engliſh. Late
15th century. H. Io-Y- in., W. 10 in. Transferred from
the Board of Works.
8147. '6 3.
ANEL. Oak, carved with linen pattern. Engliſh. Late
15th century. H. 21 in., W. 9 in. Transferred from
the Board of Works.
8 1 67. '6 3.
ANEL. Oak, carved with linen pattern. Engliſh. Late
1 5th century. H. 14-Y- in., W. 672- in. Transferred from
the Board of Works.
8160. '63.
ANEL. Oak, carved with linen pattern. Engliſh. Late
15th century. H. 14-3 in. , W. 9% in. Transferred from
the Board of Works.
8161.'63.
ANEL. Oak, carved with linen pattern. Engliſh. Late
15th century. H. 202 in., W. 9-£- in. Transferred from
the Board of Works.
8183.'63.
ANEL. Oak, carved with window tracery, of the third
pointed or perpendicular, period. Engliſh. 15th cen-
tury. H. 16-g- in., W. 83; in. Transferred from the Board of
Works.


P/ZNELS.
"U


Engliſh, 15t/2 Century. Flemiſh, 1611.' Century.
(8139. '63, p. 205.) (8191. '63,p.211)
w lllllllllllllllffll


l = :1 _>;_-. .>:.,z ' =-_-,,
***r::-_=_-::.=7.==r- cer-w


_. ſſl'
Will',
il' il" Ill _ i, *'

FROM A CABINET. FROM A PRESS.
Frenc/z, 161/2 Century. German, 1 51/2 Century.
(772- "65, P- 54-) (497- '68 P- 65-)



FROM A CHEST. ' :I_'.
Italian, 161/2 Century.
(497- "68, P- 65-)
Engliſh Panels. 207

This is as minute and as much in imitation of the ſtonework
window tracery of its period as the correſponding work in France. The
repetition of upright members for work on this ſcale marks a decided
inferiority to the graceful turns and inclinations of the ſubdiviſions in
continental tracery of flamboyant character.
8168. '6 3.
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H. 1972- in., W. 1 12 in. Transferred from
the Board of Works.
8 I 70. '6 3.
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H. 1672- in., W. 11 in. Transferred from the
Board of Works. '
This panel has a light cuſped moulding on the top of the linen,
which is quite plain, with one central ſpine and no vertical folds or
mouldings.
8171. '63.
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H. 1511- in., W. 10 in. Transferred from the
Board of Works.
8164.'63.
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H. 1672- in., W. 45- in. Transferred from the
Board of Works.
208 Furniture and Wood-work.

8138.'63.
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H. 132- in., W. 5% in. Transferred from the
Board of Works.
8143. '63.-
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H. 102 in., W. 8£ in. Transferred from the
Board of Works.
8169. '63.
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H. 18% in., W. 1071- in. Transferred from the
Board of Works.
8145.'63.
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H.I7% in., W. 6%; in. Transferred from the
Board of Works.
8146.'63.
ANEL. Oak carved with linen pattern. Engliſh. I 5th
century. H. I7£ in., W. 6 in. Transferred from the
Board of Works.
8161.'63.-
ANEL. Oak, carved with linen pattern. Engliſh. 15th
century. H. 20743; in., W. 93; in. Transferred from the
Board of Works.
Flemiſb Panels, 209
1585-'55-
ANEL. Carved oak; in the centre the buſt of a king,
in high relief, graſping a ſword; on either ſide the royal
arms of England. Engliſh? 16th century. H. 202 in.,
W. 2 ft. 2 in. Bought, 81.
The panel has an inner frame, which is circular and ornamented
with renaiſſance leaf and beadwork. The head is turned to the right,
and the left hand holds the ſcabbard. The king is in claffic armour.
There are tablets on each ſide of the frame, and the arms are on ſhields,
ornamented with volute ſcrolls on the tops and ſides. Horſes' heads
are in the arabeſque work on the ſides. The character of the work-
manſhip, as well as that of the deſign, ſo cloſely reſemble thoſe of
the ornamental work on the ſtalls of King's College, Cambridge, that
we may attribute them to the ſame period and the ſame hand-that of
an Italian or German carver, in all probability, though executed in
England.
1583-'55-
ANEL. Carved oak, perforated arabeſque pattern; oval
cartouche in centre with recumbent figure. Engliſh or
Flemiſh. I6th century. H. 9% in., W. 2 ft. 1 in. Bought, 41.
8121. '63.
ANEL. Oak, carved with ſunk tracery. Flemiſh? 15th
century. H. 19; in., W. log in. Transferred from
the Board of Works.
8 1 75. '6 3.
PANEL. Oak, carved with ſunk tracery. Flemiſh P 15th
century. H. 14Z in., W. 5 in. Transferred from the
Board of Works.
F. O
2 1 0 Farnz'tare and Wood-work.

An elegant example of ſuch work. In a central, ſhield, forming
part of the tracery, there is the Immaculate Lamb on a ſcutcheon,
with a crown above it.
8198. '63.
ANEL. Oak carved with ſunk tracery. Flemiſh P 1 5th
century. H. 142. in., W. 5 in. Transferred from the
Board of Works.
194- '54-
ANEL. Carved oak, pierced and ornamented with
crockets, &e. Flamboyant Gothic ſtyle. French.
15th century. H. 17% in., W. 9 in. Bought, 65.
43- '52-
PANEL. Carved oak; perforated and carved with figures
in relief; ſubject, David and Bathſheba. Flemiſh or
German. 16th century. H. 9 in., L. 1 ft. 74: in. Bought, 31.
44- '52-
,PZANEL. Carved oak. With medallion in centre, con-
taining a head in high relief. Flemiſh. 16th century.
H. 1 ft. 4 in., W. 10 in. Bought, 11. 55. '
8 I 3 7. '6 3.
P AN EL. Carved oak, arranged in flat ſided ovals, of which
the ends form ogee arch heads, with cuſping. Flemiſh.
,Early 16th century. H. 22 in., W. 92- in. Transferred from
the Board of Works.
Flemiſh Panels. 2 1 I

8 I 9 1 . '6 3.
ANEL. Carved oak, arranged in flat fided ovals, of which
the ends form ogee arch heads, with cuſping. Flemiſh.
Early 16th century. I-I. 18 in., W. IO% in. Transferred from
the Board of Works.
8 134. '6 3.
ANEL. Carved oak, arranged in flat fided ovals, of which
the ends form ogee arch heads, with cuſping. Flemiſh.
Early 16th century. H. 2 52 in., W. 10-Z4L in. Transferred from
the Board of Works.
This panel is croſſed by two bands ploughed into flat grooves about
li- inch wide, dividing the ſpace into half-diamond ſhapes, which con-
tain light cuſpings.
42. '52.
ANEL. Carved oak. Scroll work, ſurmounted by a
cherub with expanded wings. Flemiſh. 16th century.
H. 2 ft., W. 8 in. Bought, 51.
8 1 8 9. '6 3.
ANEL. Oak, carved with tracery. French. 15th
century. H. -1 5% in., W. 72- in. Transferred frbm the
Board of Works.
A medallion crowned in the centre, bearing the ſacred monogram
I.H.S.
81 7 7. '6 3.
ANEL. Oak, carved with tracery. French. 15th
century. H. 18 in., W. 8 in. Transferred from the
Board of Works.
02
2 1 2 Furniture and Woodwork.
8158.'63.
ANEL. Oak, carved with tracery. French. 15th
century. H. 10 in., W. 5-2- in. Transferred from the
Board of Works.
A fragment only. On it can be traced the armorial bearings found
on the Seigniorial Chair, No. 8464. '63, p. 92.
195-'54-
ANEL. Carved oak, pierced and ornamented with
crockets, &e. Flamboyant Gothic ſtyle. French.
15th century. H. 17% in., W. 9 in. Bought, 65.
8182.'63.
ANEL. Oak, carved with tracery. French. I 5th
century. H. 12% in., W. 6 in. Transferred from the
Board of Works.
The whole tracery forms a rich fleur-de-lys, ſomething like thoſe
contained in the central tower windows of the Cathedral of Rouen.
The crown and royal arms of France are below, alſo in the tracery.
8154.'63.
ANEL. Oak, carved with tracery. French. I 5th
'i century. H. 12-41- in., W. 6% in. Transferred from the
Board of Works.
The tracery is more complicated than that on the laſt number. It
is in four diviſions.
8149.'63.
ANEL. Oak, carved with tracery. French. I 5th
century. H. 16-41- in., W. 6-Y- in. Transferred from the
Board of Works.
Frenc/z Panel5. 2 I 3

8190.'63.
ANEL. Oak, carved with tracery, the bands arranged in
a diaper pattern. French. 15th century. H. 24 in.,
W. Io-g- in. Transferred from the Board of Works.
The tracery formed into borders that croſs each other diagonally and
form ſquares in the interim's, in which are cuſpings. i
8186.'63.
ANEL. Oak, carved with tracery, the bands arranged in
a diaper patternſſ French. -15th century. H. 841- in.,
W. 7-,{- in. Transferred from the Board of Works.
In circles that interſect each other. The cutting is very fine and
exact.
8153.'63.
ANEL. Oak, carved with tracery. French. 15th
century. H. 21 in., W. 9741; in. Transferred from the
Board of Works.
8155. '63.
ANEL. Oak, carved with tracery. French. 15th
century. H. 21 in., W. 972- in. Transferred froct'm the
Board of Works.
8192.'63.
ANEL. Oak, carved with tracery. French. 15th
century. H. 17-2- in., W. 572- in. Transferred from the
Board of Works.
Very delicate cutting. It has a ſhield, crowned and bearing a fiſh,
in the centre of the tracery.
F. o 3 4-
2 1 4 Farnz'tare and Woodwork.

M
Panels carved with tracery, as in this and the foregoing numbers,
were common on church ſeats, woodwork of public halls and palaces,
and the ſides and ends of cheſts, ſideboards, &c., during the fif-
teenth century, in France. The accompanying woodcut repreſents
No. 8182. '63, p. 212; one of the beſt preſerved in the collection.
It is probably part of a cheſt.








' millillllflllll/[Mllllllfllſſſſllffllllll(ill
U'
247.'64.
ANEL. Walnut-wood; carved in low relief with a
recumbent figure of Diana within an oval border.
French. 16th century. H. I ft. 6 in.,W. 2 ft. 6 in. Bought,
41. 45. 2d. *'
8188. '63.
ANEL. Oak; divided' into reticulations, and carved
with cuſpings. German. Late I 5th or early 16th cen-
tury. . H. Io-g- in., W. 5% in. Transferred from the Board of
Works.
German Panels.
215
'8132.'63.
ANEL. Oak ; divided into reticulations, and carved
with cuſpings. German. Late 15th or early 16th cen-
tury. H.19-{,:-in., W. 8725- in. Transferred from the Board of
Works. '
Between the reticulations, which are all the ſame in form in theſe
German panels, viz., an oval with ſlat ſides and the points going into
the form of ogee arch heads, runs a plait or twiſt of twigs with knots at
intervals, a treatment after nature. Probably Bavarian work of the I 5th
century.
8172. '6 3.
ANEL. Oak; divided into reticulations, and carved
with cuſpings. German. 15th or early 16th century.
I-I. 142- in., W. 92- in. Transferred from the Board of
Works.
. 8133."63.
ANEL. Oak; divided into reticulations, and carved
with cuſpings. German. 15th or early 16th century.
H. 2o%in., W. Iozlſ in. Transferred from the Board of
Works.
8194.'63.
ANEL. Oak; divided into reticulations, and carved
with cuſpings. German. 15th or early 16th century.
H. 11-5- in., W. 9-3- in. Transferred from the Board of
Works. i
4101.'56.
ANEL. Carved oak; perforated ſcroll-work. German.
Early 16th century. L. 3 ft. 10 in., W. I ft. 7 in.
Bought 2l.
2 1 6 Furniture and Wood-work.

The carving is a treatment of actual thiſtle leaves. The ſcroll of
leaf work rolls over in full volutes, and the edges run out into long
thorny points. This work ſhows none of the round holes or ſpots of
ſhadow which, in renaiſſance acanthus work of a more developed kind,
gives relief to the delicate ſpines that run up the centres of the leaves.
8124. '6 3.
ANEL. Oak; carved and pierced, a rolling acanthus
foliation with a pointed conventional flower. German.
Early 16th century. Transferred from the Board of Works.
Still more delicately carved than the laſt, but of a ſimilar character
of deſign.
8204.'63.
ANEL. Oak; carved and pierced with rolling acanthus
foliation. German. Early 16th century. H. 48 in.,
W. 20 in. Transferred from the Board of Works.
This conſiſts of four panels from a coffer or cheſt front, with birds
and monſters introduced amongſt the foliations.
8160.'63.
PANEL. Oak; carved and pierced, with a ſhield in the
centre. German. 16th century. H. 14-} in., W. 971; in.
Transferred from the Board of Works.
8184.'63.
ANEL, Oak; carved. German. 16th century. H.
I5-g- in., W. 6-3 in. Transferred from the Board of
Works.
8197.'63.
ANEL. Oak; carved with acanthus foliage and pierced.
German. 16th century. H. 2 ft. 9% in., W. 12% in.
Transferred from the Board of Works.
Italian Panels. 2 1 7
8 I 8 7. '63.
PANEL. Oak ; carved with acanthus and thiſtle flower ;
a monſter in the centre. German. 16th century.
H. 15 in., W. 73 in. Transferred from the Board of Works.
8223.'63. _
ANEL. Oak; open pierced-work with thiſtle flowers,
&c.; the Immaculate Lamb in the centre. German.
Early 16th century. H. 2 ft. 643- in., W. 13% in. Transferred
from the Board of Works.
336-'53-
ANEL. Carved oak, arabeſque ornament. Italian.
16th century. Z-Y- in. by 372; in. Given by Mr. John
Webb.
7891. '61.
ANEL. Wood, carved in high relief. Phoebus and
Daphne. Italian. 17th century. H. 12? in.,
W. 4-12- in. Bought, 21.
2716. '56.
ANEL. Marquetry of tinted wood; arabeſque decora-
tion in the ſtyle of the cinque-cento period. Italian
(Roman), modern. Square W. 2 ft. 1;- in, Bought (Paris
Exhibition, 18 5 5), 101.
2 1 8 Farnz'tare and Wood-work.
245.'64.
ANEL. Walnut-wood; carved with an armorial ſhield,
ſurmounted by a biſhop's hat. Spaniſh. 16th century.
H. 1 ft. 10 in., W. I ft. 3 in. Bought, 11. 85.
245.'64.
ANEL. Walnut-wood; carved with an armorial ſhield,
ſurmounted by a biſhop's hat. Spaniſh. 16th century.
H. 1 ft. 10 in., W. 1 ft. 3 in. Bought, 11. 85.
96. '66.
EDESTAL for a Candelabrum, or f' Gueridon." Wood,
carved and gilt, formed by a youthful Triton ſupporting
a baſket of flowers, and reſting on a ſcroll tripod baſe. French.
Early 18th century. H. 3 ft. 2-3 in., W. of baſe 1 ft. 6-Y-in.
Bought, 1341. 155.
97. '66.
EDESTAL for a Candelabrum, or " Gueridon." Wood
carved and gilt, formed by a youthful Triton ſupporting
a baſket of flowers, and reſting on a ſcroll tripod baſe. French.
Early 18th century. H. 3 ft. 2-Y- in., W. of baſe I ft. 6-15 in.
Bought, 1341. 155.
2445-'56-
EDESTAL. Carved oak(?) wood. An elephant's head
and floriated ſcroll work. Italian. 17th century. H.
2 ft. Izlz in., W. 1 ft. 7 in. by 1 ft. Bought, 81.

r
' 'r
i! ill Il
[I
V 7
l \
' :zz
' A)
I] i i
. l' . f'l 1 4/l/\// 'll- "an, .
=. um lzzf _ A /,H' i. zſſfr- ,
t 'Al m i \ ,, 'flfllffl r i I . - -,.
\ H m ' . l
w' '"l.
A' 9, * ' ' - '
l ll/l,". "\\V\ \ - 'It
a i - . H.,a \
e= \-\-llln,- Ice .
fie J' r ' -
'I :.Eſi\ i'vr- , A l/ - 7 I
_ ' .. . 7 a y- u ' l/ ' A ) 4 'i \
\ \ FO_"- >
, \ ,l
\\\\\
if
' ' in.,, _' '
:w/ '- nll will-i,
"a lum- . .
I
* m
I
ESLQW
PEDESTAL. .
O '
Italian, 17t/2 Century. * 27:
(2445-"560


Pedeſtals. 5 2 1 9

_ An elephant's head and trunk was the cognizance of the Caſali
family of Cortona.
7853-'62-
EDESTAL for a Candelabrum. Wood, carved and gilt;
repreſenting a ſea god. On a tripod baſe of dolphins.
Italian. 17th century. H. 5 ft. 7 in. Bought, 91. 105.
This and the following are a pair of carved figures formed to ſuſtain
lamps or candleſticks. The great halls of Italian houſes or palaces,
being paſſage rooms, were but ſcantily furniſhed, and two ſuch gilt
figures as theſe are ſufficiently ſhowy to form objects viſible from one
end to the other of a room of this kind. The baſes are carved and are
made to be mounted on ſolid, or apparently ſolid plinths, painted in the
Italian manner, in imitation of marble.
7854.'62.
EDESTAL for a Candelabrum. Wood, carved and gilt;
repreſenting-a ſea god. On a tripod baſe of dolphins.
Italian. 17th century. H. 5 ft. 7 in. Bought, 91. 105.
4709-'59-
IPE. Carved box-wood. With ſilver mounting. Italian,
of an uncertain date. L. 24 in. Bought (Muſeum of
the Collegio Romano).
A remarkable piece of carving, conſiſting of a candelabrum corn-
poſition' with ornamental collars and neckings. Tiny figures, two
inches high, of children playing are placed at intervals down the ſtem._
The bowl has a group of huntſmen mounted and ſpearing a great bird.
The whole is in three lengths. The deſign and execution of the
little figures is ſo correct and ſo well carried out that we are reminded
by them of the beſt Italian work of the 16th century.
2 2 0 Far-niture and Wood-work.

444-'65-
LATTER or Trencher. Lime wood. A bread trencher,
with carved border of wheat, barley, oats, and rye;
deſigned by John Bell, ſculptor. Modern Engliſh. (Sum-
merly Art Manuſſfactures, 1847.) Diam. 14-Y- in. Bought,
11. 165.
158. '66.
LATTER. Wood painted, with medallions containing
wild beaſts and winged female figures on black ground.
Spaniſh. (Mexican?) 17th century. Diam. 17in. Bought, 11.
156. '66.
LATTER. Wood painted, with circles and feather orna-
ment in red, yellow, and white on black ground.
Spaniſh. (Mexican?) 17th century. Diam. 1773; in. Bought,
105.
I 57. '66.
LATTER. Wood painted, with circles and feather orna-
ment in red, yellow, green, and white on black ground.
Spaniſh. (Mexican P) 17th century. Diam. 18 in. Bought,
IOJ'.
157. '66.
_ LATTER. Wood painted, with circles and feather orna-
ment in red, yellow, green, and white on black ground.
Spaniſh. (Mexican P) 17th century. Diam. 18 in. Bought,
105.
Playing Cards. 2 2 1
4675-'58-
LAYING Cards. Wood blocks, engraved for printing
playing cards. French. 17th century. Bought,
4l. 105.
The four ſets of kings, queens, and knaves hold flowers, but have
no diſtinguiſhing ſigns of the ſuits to which they belong. The dreſſes
are richly covered with fleur-de-lys ornament. On the ſides of the
knaves of ſome of the ſuits are inſcriptions, which read VIVENT LES
BONS ENFANS: and QVI IOVANT * SVMENT.
The cards are of the middle of the 17th century, or perhaps later.
4656-'59-
LAYING Cards. Wood block, engraved for printing
playing cards. French. 17th or 18th century. Bought,
11.
Two of the knaves hold ſcrolls, on which is the name PARIS.
There are ten card blocks.
4674-'58-
LAYING Cards. A wood block for printing playing
cards. Spaniſh (made in France). 17th century.
Bought with laſt ſet, 41. 105.
This is a pack for Spaniſh uſe, but moſt likely made in France.
It belongs probably to the ſame ſet as one of which portions are pre-
ſerved in the library at Rouen. They are of the reign of Philip V.,
and the French arms are quartered along with thoſe of Leon and
Caſtile in the ace card (of the ſuit of Bezants or money), which
contains the royal arms of Spain. The block contains twenty-four
cards, which are cut on it in the order deſcribed below. The ſuits
are money, ſwords, clubs or ſtaves, and cups. -
M. Merlin, in his account of the Rouen cards, conſiders that the ſuit
is intended for the Spaniſh game of ombre, once ſo popular in England
2 2 2 Furniture and Wood-work.

during the reign of Charles II. and Catherine of Braganza, his Portugueſe
queen. In this ſuit forty cards are uſed, and the 8, 9, 10 cards are
not included. Two of the ſuits counted in the increaſing ratio of
numbers, and in the other two the value decreaſed in the inverſe ratio
to the increaſe of numbers.
In this block the cards range :--
Iſt row. 3 of bezants, knave of cups, king of clubs, knave of clubs,
knave of ſwords, 9 of bezants.
2nd row. Knight of cups, knight of bezants, king of bezants, knave of
bezants, knight of clubs, king of ſwords.
3rd row. King of cups, ace of ſwords, ace of cups, ace of clubs, ace
(eagle and arms of Caſtile and Arragon), knight of ſwords.
4th row. 7 of bezants, 6 of ſwords, 8 of ſwords, 7 of ſwords, 9 of
ſwords, 5 of money.
The letters I G andl C can be traced on the ſpace between the
ſecond and third row.
Below the royal arms in the Rouen ſet is the name Iohan Volay.1
In the muſeum block theſe letters, or letters in the ſame place, have
been cut away.
8374.'62.
ORTFOLIO or Blotting Caſe. Marquetry of coloured
woods. A bouquet of flowers in the centre. Modern
Italian (Nice). 14-Y- in. by 11 in. Bought, 41. 165.
7401.'60.
OST. Overlaid with Moſaic work of mother-of-pearl and
black lacquer, probably one of the poles of a bed or
canopy. Syrian. 16th or I7th century. L. 4 ft. 6 in.
Bought, 11. 125.
It is divided by boſſes diſtant from four to ſix inches from each other,
the intervals getting leſs as they near the top. The ſurface is incruſted


' Merlin. Hiſt. des Cartes a Jouer, p. 97, et ſeq.
Engliſh Room. 2 2 3
with pearl inlay. The boſſes are decorated with tiny quatrefoils and
hexagon diviſions, each containing a ſix-ſided flower, are laid round the
intervening lengths of woodwork. Each length is bordered by a ring
of braſs.
4088.'57.
RAYER-BOOK Caſe; mahogany,with panels of tortoiſe
ſhell, inlaid with pique work of mother-of-pearl and
braſs. Dutch or Flemiſh. About 1700. L. 7zT'-in., W. 6 in.
Bought, 21. 85.
2419.'56.
RAYING Deſk or Prie Dieu. Carved oak. 16th cen-
tury. H. 5ft. 6in., L. 2ft. 2 in., W. 2ft. 6in.
Bought, 3l.
4870 to 4881.'56.
i; OOM. The panelled lining. Carved oak; re-
moved from an old houſe near Exeter, with doors
and carved pilaſters to match. Engliſh. About
1 5 50-7 5. Enti're L. 52 ft., average H. 8 ft. 3 in.


The panels of this room meaſure, H. 16-12- by W. 133 in. The
lower tier meaſures 1812= in. by 133. The width is the ſame throughout.
The mouldings are 2 of an inch, the baſe mouldings replaced by ſimple
weathering. The top or cornice courſe meaſures 16 in.; a narrow
ſkirting border of ſtrap work 531.; in.
The top courſe of mouldings conſiſts of a corona ſupported on
ſmall narrow brackets 3 in. deep ſet cloſely together, and a fine lower
mould of minute pendentives meaſuring with lower ſtring I=£- inch.
The cornice courſe is formed into long panels covering two of thoſe
below, They are filled with arabeſque work elegantly deſigned and
2 24 Farnz'tare and Woodwork,

cut. In the centre of one is a nude figure of Ceres perfectly modelled.
She is crowned with 'wheat ears, holds a-ſickle and ſits on a wheat
ſheaf; other ſheaves are round. her, and two ruſtics are amongſt the
arabeſques. In ſome of theſe cornice panels there are central demi
figures of nude genii, in others lion maſks. ct
The ſides of doorways and the corners of the room are ſupported by
pilaſters 8 in. wide, with Corinthian capitals, the ſhaft panel filled with
rolling acanthus or vine ſcroll carving and a ſmall figure, in ſome of a
warrior, in others of a boy preſſing grapes', &c. All theſe differ in the
arabeſque work. There are dado baſes to the pilaſters carved with
cartouche and ſtrap work. The doors are narrow and contain two
panels in their width: they fit in with the reſt of the panelling.
Light wrought-iron latches and ſcutcheons remain in their places on theſe
doors.
The work reſembles the beſt late 16th century Flemiſh carving.
It is an excellent example of the houſe decorations made for courtiers
of the age of Raleigh and Drake, and of the great noblemen of the
reign of Queen Elizabeth. We place this ſet of panelling under the
head of room, as it is the only complete interior which is to be ſeen in
the Departmental Collection of Engliſh work of its day. It is to be
regretted that the means are wanting to put before the ſtudent the low
arched ſtone fireplace, carved chimney piece, and moulded plaſter
ceiling that completed the original room, and muſt have made an
arrangement as comfortable as it is rich and durable.
1736.'69.
OOM. The interior fittings of a ſitting-room in a houſe
in the Rue St. Louis, Paris, belonging to the Marquiſe
de Serilly, Lady of Honour to (Lieen Marie Antoinette.
French. Latter half of 18th century. H. of room 16 ft.,
L., with openings, 14 ft., W. 9 ft. 7 in. Bought, 2,1001.
The interior meaſurements of this room are 9 ft. 9 in. by 9 ft. 7 in.
On one of the wider ſides is the fireplace, oppoſite to this is an arched
receſs in the wall. Two other arched openings occupy the centres of
the other two ſides. Of theſe probably one or two have been windows.
Small rooms of theſe dimenſions were often paſſage rooms, or it may
have occupied a corner of the houſe of which it formed part.
v-Jlt'" 0., ullr lfflzlffl WWHHWZ'H' * _
.,_.v._u.ufr.r.n..ncmrfflw, ......... meal-er _r.../.r. t ..
. . t t LCKNKLL Ne xx \\L.\L.1..._..\L c-HKENHKEKLZEKEKtLLLÞD.
.,....Ar..rr....-..C.r. ,.rr

out
l, l'ſſ)OIl{ OF Tlll'l MARQCIHIS I'll')
[Drum/1, -YI'///. Czvz'my.
A Frenc/z Room. A 2 2 5

The four walls are formed into four arched panels, occupying nearly
but not exactly the half of the ſeveral ſides.
The arches form lunettes, in which are recumbent figures. The
lunette over the fireplace contains that of Pomona. She is crowned
with fruit and holds a cornucopia, from which fruit is rolling. She is
partly covered by yellow drapery; the arms, boſom and one leg are
uncovered; a lion is crouched at .her feet; a'hill-ſide and a landſcape
bathed in miſt form the background.v Below this lunette is a chimney
mirror with a frame of ſmall leaf-work cloſely cut and pierced in the
intervals between each leaf. The looking glaſs paſſes behind and ſhows
through theſe openings. This moulding is gilt in green and yellow
gold. Guilloche mouldings decorate the panels of the ſmall pilaſters
which ſupport this and the other lunettes in the room.
The fireplace projects nearly nine inches. It is of grey marble
ſupported on the two ſide fronts by terminal draped figures of bearded
men, each with the outer arm bent over the head, on which, as on the
heads of Caryatides,.reſt the rounded corners of the mantel-ſhelf. The
mouldings of the mantel-ſhelf and of the horizontal panel that ſtretches
from theſe ſide figures and forms the front of the chimney-piece are
delicately chiſelled in gilt bronze work, and are the work of Gouthieres,
the bronze mount maker of the laſt century. Garlands of bunches of
holly leaves occupy the centre of the panel and meet in a round patera
decorated with claffic acanthus, after that on the frieze of the temple
called of Jupiter Tonans at Rome. A ribbon ties theſe parts together.
Similar chiſelled and gilt work fills the panels of the lower terms at the
ſides. The interior of the fireplace is lined with caſt iron plates,
which have decorations on them. The back plate has a Chinaman
ſitting and pouring himſelf out coffee, with an ape at his ſide. Claffic
heads form centres to the cavettoes that occupy the angles 3 and figures
of boys repreſenting the ſeaſons. decorate the ſide plates.
On either ſide of the fireplace are pilaſter panels decorated with
arabeſques, medallions, and figures.
The three feet loweſt on the walls are formed into dado panels.
They are alike in decoration all round the room. A central candelabrum
ſupports an amphora, and acanthus volutes turn on each ſide ;. on theſe
are ſtands each bearing a cupid running and holding torches or pouring
wine into the vaſe, alternately. They hold Wreaths of flowers painted
after nature, and theſe flowers vary in each group.
The arabeſque work is all in delicate relief. The boys and flowers
are painted after nature, and the carved work gilt in green and yellow
gold.
F' P
2 2 6 Farnz'tare and Wood-work.

Above the dado ſeries are tall pilaſter panels with a narrow pane
above and below them. Theſe tall panels contain elaborate arabeſque
decorations in the ſtyle of the Raphael pilaſters in the Vatican. Each
compoſition is ſupported on a figure carved in relief, modelled with
great preciſion, and gilt. The figures each ſide the fireplace repreſent
winter; an old woman bearing chains, the type of froſt: and ſtanding
on cloud, ſtorm and lightning.
In medallions, amongſt fruit baſkets, arabeſques, vaſes, &c. that
riſe from the head of this figure, are ſcenes painted in cameo repreſent-
ing :-the lower one, a family group with a hearth and table; in a
higher medallion is Vulcan at his forge; and in a third the zodiacal ſign
Capricornus. The ground of theſe cameo paintings is blue for the
centre, and pink or red-grey for the upper and lower. Green and
yellow gold is uſed in the gilding, and from a vaſe half-way up iſſue two
ſconces for candles with candles carved and painted, the wicks black,
though they are only relief; but looking at firſt ſight as if they could be
turned round and lighted.
On the oppoſite panel the medallions contain cameoes, repreſenting
Jupiter in clouds in the central, and a ſcene from ZEſop's fable of the
huſbandman and the ſnake in the lower; the ſign of the conſtellation
Piſces in the upper.
The ſmall narrow top and bottom panels to theſe have a guilloche
carved, croſſed by painted work of garlands rolling in the ſame direction.
The other ſides have panels divided in the ſame way. On that to
the left of the fireplace the panel decorations begin with figures of
Autumn, a nude male figure bearing a garland of vine leaves and a
baſket of flowers and fruit on his head. The central cameoes contain,
one Diana, the other Apollo; Diana hunting, cupids playing in the
lower, and the ſigns of the conſtellations Scorpio and Libra in the upper;
wine cups, birds, &c. among the arabeſques.
Vulcan at his forge is painted in the lunette over the door opening.
On the panels of the ſide oppoſite the fireplace the lower figures are
Summer, nude female figures holding garlands of flowers; and with
trophies, corn and flowers in baſkets on their heads. The central
cameo contains Aurora with the chariot of the Sun, and Flora ſcattering
flowers ; girls and boys playing among wheat-ſheaves and a reaping
ſcene are in the lower cameo ; the ſigns of the conſtellations Leo
and Cancer (here a lobſter) in the upper cameo. A reclining figure of
Juno, draped in white and grey, occupies the lunette on this ſide ; her
right hand ſupports her cheek, and a peacock is in the clouds at her
ſide.
A Frenc/t Room. 2 2 7

On the pilaſters of the remaining ſide the ſubjects are Spring, nude
male figures with butterfly wings. In the central cameoes are flying
figures ſcattering buds and pouring rain from vaſes 5 in the lower, lovers
. and a ſhepherd and ſhepherdeſs with birds' neſts; and the ſigns of the
conſtellations of Aries and Taurus in the upper. -
In the lunette is the god Neptune reclining by the ſea ſhore:
the figure is nearly nude. He holds a rudder in the right hand, and
water iſſues from a caſk under his arm. Rocks, ſky, and ſea form a
background.
Round the top of the room runs a carved cornice, ſupported on
brackets, below which is a band of wreaths and pateras, carved and
gilt. The ceiling is teſtudo ſhaped. Four coved panels on the ſides
contain demi figures in high relief of cupids, ending in acanthus ſcrolls.
They have been ſilvered, and the metal is now oxydiſed. They uphold
wreaths, delicately carved and gilt, and between them are medallions
painted in cameo, white on pink: four figures repreſenting the four
ſeaſons. The ground of the panels is painted lapis lazuli. In the
arches are boldly carved ſcallop ſhells, in oxydiſed ſilver, with gilt
wreaths above them.
The centre forms a round picture, in which is painted Jupiter with
a pink mantle, in clouds and ſupported by his eagle. It is framed in a
garland richly cut and gilt; and in the ſpandrils are eagles with expanded
wings and crowns of bay carved in relief and gilt.
The paintings in the receſſes formed by the window and door open-
ings are modern. They repreſent : one, Mars and Venus with attributes
and animals, in medallions painted amongſt the arabeſque work; the
other has medallions of Diana and Endymion, with dogs, game, &c.
The panels on two ſides of the room open and ſhow bookcaſes. All
the panel carving is in oak admirably cut and the gilding, though
partly renewed, has ſurvived in many parts. The lunettes are attributed
to Natoire, the panel deſigns to Fragonard, and the terminal figures of
the fireplace to Clodion.
A harp, the property of the Department, richly carved and gilt,
No. 8531. '63, is kept in the room. It is ſaid to have belonged to
Queen Marie Antoinette. Chairs carved with lyre backs and eagle
heads a-t the corners, covered with white brocade; and a ſmall table,
probably by Rieiſener, in a marquetry diaper of two woods; and
another table in white wood inlaid with a group of figures, buildings, &c.,
by David are placed to ſuit the room. Theſe are lent by Mr. Barker.
It is to be regretted that a parquet floor of oak is not laid down in
it inſtead of a drugget of crimſon, out of keeping with the delicacy of
the colours preſerved in the old work.
P 2
2 2 8 Furniture and Wood-work.

It is ſaid that this room was prepared by Queen Marie Antoinette
and Madame de Serilly, who had been a lady of honour at her court, as
a ſurpriſe for the Marquis, this lady's huſband, on his return to Paris
after a long abſence. This nobleman was paymaſter of the forces of
Louis XVI.
6895 to 68951. '60.
OUNDELS (eleven), of beechwood. Painted on one
ſide, in various colours, with devices, encloſing mottoes
in old Engliſh character. In a circular box, on the lid of
which is painted the Tudor roſe. Engliſh. Early 16th
century. Roundels, diam. 5-2- in. Box, H. 2 in., diam. 62 in.
Bought, 51.
This and the two following ſets are flat circular plates of beechwood
turned in the lathe, and meant for uſe at deſſert in lieu of plates. On
them comſits, ſweetmeats or fruit were handed round the table after
dinner in houſes of the 16th century in this country. ,
They have poſies or rhyming mottoes on the back. In ſome in-
ſtances ſuch compoſitions were in the coarſeſt language. Such is not
the caſe in the ſets now to be deſcribed.
The roundels in this firſt ſet are the moſt carefully executed. They
are in aturned box, on the lid of which is painted the Tudor greyhound,
with a ſcroll above containing a legend of three or four lines, but ſo broken
up and damaged that the original words can nowhere be put together.
Below the panel or containing lines may be ſeen a ſtill longer motto or
legend alſo obliterated. Parts of the painted preparation on which the
writing has been placed are broken away, and only words or fragments
of words can any longer be deciphered. The little roundels themſelves
have formed a complete ſet of twelve, but one is wanting. Twelve, it
ſhould be remembered, has been conſidered a proper number for a
feaſt, and one in exceſs of that is of ill omen.1
They are gaily illuminated, a broad band round is gilt, and lined
out with alternated knots and flowers, red lake being glazed over the

1 Thirteen ſat down to the Laſt Supper. Hence when thirteen ſit down there has
been a ſuperſtitious notion that one of the company will die within the year. In France
it is or has been a Cuſtom to ſend for a quatorzieme, a profeffional diner out for
theſe occaſions, when the ominous number of thirteen at a dinner was found to be
otherwiſe inevitable.
Rounde/s. 2 2 9

gilding in places. Within this outer border, which is the ſame for all
the roundels, comes a band of gilt, again cut up by little knots of black
at intervals, and within that a central ſpace devoted to the a poſie " or
motto. This is ornamented round with boldly drawn ſcrolls, twiſts,
knots, &c., and narrow ſcrolls on which are two texts of Scripture
with the proper references. Theſe are ſometimes broken up on rolls
or diviſions of the ſcroll into four or more portions. Sometimes only
one quotation is made. The T poſie" conſiſts of four rhyming lines,
and in this ſet are broad but not coarſe jeſts addreffed to .wives,
huſbands and bachelors; meant, therefore, for the gueſts at a mixed
party. The texts round are many of them drawn from the Book of
Eccleſiaſtes, as addreſſed, in a great meaſure, to the regulation of the
tongue, the thoughts and the ſenſes in the ordinary occupations of life;
in other words to the formation of V manners " in the higher ſenſe of
Wykeham's motto at New College, Oxford, a Manners makyth
2,
man. The quotations, however, are not always correctly referred to.
On one we read-
1.
44 I ſhruwe his hart yi5 (that) maried me,
My wyffe and I can neuer agree 3
A knaviſhe quene by Jove I ſweare,
The good man's bretche ſhe thinks to weare."
On one ſide, a Follow not ye multitude to euel." On the other,
U Accuſe noo man preuelie (privily)."
2'
a Thou maiſt be poore, bt (but) what for yt (that),
Lord, yf yu thou) hadeſt neither cape nor hatt,
Thy mynde may yet ſo quiet be
That thou maiſt wynn as muche as iii. (three)."
On one ſide, a The root of all euel is covetouſneſs." On the other,
U Golde 8: ſilver hathe ondon many a man."
3.
" If yu be younge, then mary not yett;
If yu be olde, y11 haſte more wyt :
For younge men's wyues wil not be taught,
And olde meun's wyues be good for naught."
2 3 0 Farnz'tare and Wood-work.

On one ſide, a A righteous man ſhall lyue by his faithe." On the
other, a Withe out faithe it is impoſſible to pleaſe God."
4.
'5 This woman maye have huſbands fyue,
But neuer whilſt ſhe is alyue ;
Yett dothe ſhe hoope ſo well to ſpedd (ſpeed),
Geue up yt hoope it ſhall not nedd (need)."
Round on ſcrolls, ſupported by knots admirably drawn and inter-
lined, " Have no pleaſure in lyenge, for the offe (?) thereoff is
nought."
5.
V If yt a batcheler y11 bee,
Kepe ye ſoo ſtill, be ruled by mee,
Leaſt yt repentance all too latt (late),
Rewarde ye with a broken patt (pate)."
Round-
a Talke wiſelie and honeſtlie.
Spake euel of noo man.
Be not haſtie of thy tonge.
Learne before thou ſpeake."
6.
Under a death's head-
U A wyffe yt married huſbands iii.,
Was neuer wiſhed thereto by me.
I wolde my wiffe ſholdc rather diee (die),
Then for my deathe to weepe or cryee."
Round on ſcrolls : 'f Set an order in ye houſe for y'1 ſhalt die & not
lyue. Deathe is better than a wretched lyffe or contenual ſickneſs."
7.
V And he yt reades this werſe euen now,
May happe to haue a lowring ſow (?)
Whoſe looks are nothing liked ſo badde,
As is her tonge to make hym madde."
On 'a ſcroll round: a If any man ſaye I loue God, and hateth his
brother, he is a lyar. Euery one that hateth his brother is a man-
ſlayer."
Roanclels. ' 2 3 1

8.
a Aſk yu yl' wyffe if ſhe can tell
Whether yu in mariage haſte ſpedde well ;
And let her ſpeake as ſhe dothe knowe,
For xx pounde ſhe will ſaye noo."
On a ſcroll round, juſt inſide the outer border: a Reatche yr hande
unto ye poore yt God may bleſſe ye wth plentuouſneſs. Lett us doo
good unto all men, but moſte of all unto ye houſholde of faithe."
9.
a Take upp thy fortune withe good happe,
VVithe ritches yu doſte fyll yi (thy) lappe;
Yet leſſe were better for yfl ſtore,
Thy quietnes ſholde be the more."
On broken ſcrolls immediately round, but only right and left:
a Ste'td faſte in the waye of the Lorde. Be gentle to here the worde
off God."
IO.
U Thou art ye hapieſt man a lyue,
For euery thinge dothe make thee thriue;
Yet may yl' (your) wiffe yr maiſter be,
Wherefore take thrift & all for me."
On a ſcroll round outer border: a All yt will lyue Godlie in
Chriſt Jheſu muſt ſuffer perſecution. We muſt enter into ye king-
dome of God thioughe muche troble and affiyctions."
Another is addreſſed to a lady :-
** Thou haſte a ſhrowe to thy good man,
Perhapes an onthrift to, what than?
Kepe hym as longe as he can lyue,
And at his ende his paſſeport giue."
Immediately round on a ſcroll: a A man ye uſeth muche ſweringe
ſhall be filled with wickedneſs, and ye plauge (plague) ſhall neuer goo
from his houſſe."
The box lid is covered with a roſe drawn in brown on a gilt ground,
and with concentric circles or borders round it.
There are no definite leaves or flowers in the decoration of the
roundels ſtudied from actual natural forms. The writing is fine run-
i 2 3 2 Furniture and Woodwork

ning Italian hand, very ſmall, but clearly written, and the capitals
rubricated or done in red. Each line is begun by a capital, though the
rhyming lines are not kept diſtinct, but run on for the ſake of gaining
all the ſpace required.
The two ſets next to be deſcribed are more coarſely executed.
6896 to 68961. '60.
OUNDELS (eleven). Beechwood, painted on one ſide
in various colours with devices, encloſing ſcriptural and
other mottoes in old Engliſh characters. In a circular box, on
the lid of which is painted a ſhield of arms. Engliſh. 16th
century. Roundels, diam. 53 in. Box, I-I. 112- in., diam. 65- in.
Bought, 51.
The leaves and flowers of this ſeries have no deſinite reſemblance
to nature, but a ſort of ſtrawberry is to be ſeen in moſt of them, though
in connexion with leaves generally conventional. One or two bear
oak leaves and acorns, roughly drawn. The writing is good Elizabethan
current court hand.
The poſies in couplets, the lines running into each other.
U Hee that climes higher yn he ſholde,
Is like to fall lower yI1 he would."
V Who in the life of his ſoule doth delight,
his carnall luſt hee muſt mortifie quight."
T Women are like netles who toucheth them they ſting them,
but hurte not thoſe that wringe them."
" No ſiſh ſo dumbe nor beaſt ſo dull of heart
that heares mee ſing and will not beare a part."
" Hee that moſt the houſe of Lais haunts,
the more hee looks the more hir face enchants." ,
" Who in his life is vuide of care,
ſhall in the ende have ſimple fare."
a O bondage vile, the worthy man's deface,
flie far from him that learning doth embrace."
'5 O death, yi power is great I muſt confeſe,
I often with that it were lefe."
Rounde/5. ' 2 3 3

a If women were as litle as they are good,
a peſcod would make yem a goune and a hood."
a Care rather for hunger than delight or pleaſure,
For when though art hungrie then meate is a treaſure."
a Be nether dumbe nor give yi tonge the leaſe,
But ſpeake thou well or heare and hold yi peace."
The handwriting differs from that of the laſt ſet. The letters are
taller, and leſs even, ſomewhat inferior as to caligraphy. There are no
rubricated capitals, nor are capitals employed at all to diſtinguiſh the
ſeveral lines. The ſpelling is not more modern than that of the laſt
ſeries. The work is of about the ſame period in the 16th century,
though by a leſs ſkilful hand.
927 to 9271. '64.
OUNDELS (twelve). Beechwood, painted and gilt on
one ſide with ſtrap work and floral ornament; in the
centre a poſie inſcription in old Engliſh characters. Engliſh.
16th century. Diam. 53 in. Given by the Rev. R. Brooke.
The poſies read as follows :--
a In Godlie ſort ronne well thy race,
and from the poore torne not thy face."
a Thy youthe in follie thou haſte ſpent,
Defere not now ffor to repent."
** Lett wiſdome rule well all they waies,
and ſett yi mynde the Lorde to pleaſſe."
U Of wordlie goodes thou ſhalt have ſtore,
be thankfiill to the Lorde therefore."
" Thy hautie mynde dothe cauſſe ye ſmart,
.and makes the ſleape withe carefull hart,"
a In worldlie wealth ſett nott thy minde,
but ſeke the Lorde, thou ſhalt hym fynde."
a My ſonne, of pride looke thou beware
_ to ſerve the Lorde ſett all thy care."
" Truſte not this worlde, thou wooefull wight,
but lett thy ende bee in thy ſight."
2 3 4 Farnz'tare and Wood-work.

_V Thy fooes witche grieffe to the have wrought,
and thy deſtruction have they fought."
V Spare not to ſpeak when yu art bent,
Thou ſhalt well ſpedde and not repent."
V Thy love that thou to one haſte lent,
In labor loſte thy time was ſpent."
V In wedlock twiſſe thou ſhalt be found,
a ſhrewe at laſt ſhall the confounde."
In this ſet the writing is ſhort, but very clean and clear; conven-
tional flowers and knots between them on moſt of the roundels in red
lines. The general drawing of the illumination is indifferent, but the
painting bright and readily done. It reminds us more of the 15th
century work we ſtill ſee on the rood ſcreens of the Norfolk churches,
Sall, Aylſham, and many others. The old conventional treatment has
been preſerved, and it is broad enough to look well as architectural
decoration, though not ſufficient for cloſer inſpection and for handling
and bringing under the eyes. The handwriting is cloſer than the laſt,
and reſembles that of the firſt ſet deſcribed.
246.'69.
,CULPTURE; a panel in oakwood, CarVCd With
Eſther before Ahaſuerus, and the triumph of
Mordecai. Engliſh. Early 17th century. H.
_1_ ' 1' .
II,I in., W. 5 ft. 14, in. Bought, 107


L VV'
The compoſition repreſents three actions of the ſtory. In the right-
hand panel Eſther kneels before the King, who crowns and protects
her. Attendant guards are armed with halberd and muſket, and wear
Elizabethan ruffs, long hoſe, and baſket-hilt ſwords. The King ſits on a
throne with a canopy ſupported on claffical Tuſcan columns.
In the left-hand compartment or half of the panel Ahaſuerus ſits on
his throne, and Mordecai is introduced on horſeback ; guards and
attendants ſtand round. A court fool behind the curtain of the King's
throne points to a female figure, perhaps a portion of the throne, under
the King's legs. _
In the middle of the background which repreſents the colonnades
and buildings of Suſa, is a terrace on which Eſther and her attendants
are waiting-on the King. Haman is hanging from a gallows at the ſide
Engliſh Scalptare. __ 2 3 5

of the building. Two female figures of Prudence and Juſtice, with
garlands, maſks and ſtrap work, form rich ſide decorations to the entire
Compoſition, which has perhaps been the panel of a bed head of late
16th century work.
The details of the ornamental work at the ſides are admirably
deſigned and carved in the renaiſſance manner. The main Compoſition
is ſtudied in many of its details from the coſtumes, arms, &c. of the
day.
1771.'69.
CULPTURE; a buſt in limewood, carved with double
portraits, male and female, on one body. Engliſh?
Preſent century. H. 12 in., W. of baſe, 42 in. Given by
Charles Hawkins, Eſq.
This may have been executed in England, but it bears the character
of Italian art. The double head or maſk may alſo be the type of
Prudence, one of the four cardinal virtues.
59. '6 5.
CULPTURE; in limewood, a dead bird with a fly,
hanging in front of a wreath of wild flowers; in glazed
frame. Modern Engliſh. By T. W. Wallis. H. 102 in.,
W. 65 in. Bought, 181.
868. '68.
"N CULPTURE; in pearwood, a girl's head in high relief,
within a hemiſpheric receſs. By H. Godard. Prize
object in the Society of Arts' competition, 1867. Modern
Engliſh. Diam. 6g'- in. Bought, 41.
851. '68.
CULPLURE ; a panel in oakwood. Carved in high relief
with renaiſſance ornament of cherub's head, ſtorks,
dolphins, &c. By C. H. Line. Prize object in the Society
2 3 6 Furniture and Wood-work.

of Arts' competition, 1867. Modern Engliſh. H. 2 ft. 5% in.,
W. II in. Bought, 101.
852.'68.
CULPTURE ; a panel in oakwood. Carved in high relief
with renaiſſance ornament of cherub's head, ſtorks,
dolphins, &e. By W. H. Baylis. Prize object in the Society
of Arts' competition, 1867. Modern Engliſh. H. 2 ft. 8 in.,
W. 11? in. Bought, 121.
248.'69.
CULPTURE; a panel in satin wood, inlaid with coloured
wood in high relief; in the centre a gilt medallion ſur-
rounded by feſtoons. By T. Godfrey. Prize object from the
Society of Arts' competition, 1868. Modern Engliſh. H.
20-3- in., W. I4i in. Bought, 101.
249.'69.
CULPTURE; a panel in walnut wood. Carved in high
relief of ſcroll foliage; with fruit and muſical inſtru-
ments in lighter wood, a frame for an elliptic medallion. By
E. T. Grove. Prize object from the Society of Arts' compe-
tition, 1868. Modern Engliſh. 8-g-in. by 13% in. Bought, 51.
2418.'56.
CULPTURE; aGroup. Carved wood, in relief; painted
and picked out with gold; the Adoration of the Magi.
Flemiſh or German. About 1500. H. 4 ft. 2 in., W.
3 ft. 11 in. Bought, 51. 105.
Flemiſh Sculpture. 2 3 7

2520.,48.
CULPTURE; a Maſk. Carved wood. Flemiſh. 17th
century. 3?- in. by Zi in. Bought.
1 173. '64. ,
CULPTURE; a Group. Boxwood, Repreſenting the
Death of St. John the Baptiſt; the executioner delivering
the head of the Saint to Herodias. Flemiſh. By Lucas
Faydherbe, of Mechlin. Firſt half of the 17th century. H.
12 in., L. 153; in., W. 6i in. Bought, 301.
The principal figure is that of the daughter of Herodias, whoſe
head turns laughingly towards the ſpectator. The lower drapery is thin
and tranſparent, and under its folds, which have the clinging appearance
of wet linen, the full limbs are completely modelled. The boſom and
ſhoulders are nude. The head is dreſſed with'a ſort of panaclze of
oſtrich feathers, which look like a palm tree at her back, and a ſcarf of
thin drapery that hangs looſe from the head to the waiſt, ſeeming to
ſerve for a ſtem, adds further to this appearance. The head of the faint
is exprefſed with dignity, and the clenched hands and general attitude
fitly convey the idea of his death. The requiſite ferocity is imparted to
the executioner.
Lucas Faidherbe, to whom this ſpirited piece of carving is attributed,
was born at Mechlin during the earlier portion of the 17th century.
He ſeems to have been a pupil of Rubens, and we ſee in the luxu-
riant outlines and fullneſs of muſcular form the traces of that maſter's
teaching. He was both a painter and ſculptor, like many of his
contemporaries.
4315- '57-
CULPTURE; an image in carved wood, painted and
gilt; the Virgin ſeated on a chair, holding the infant
Saviour on her knees; the back hollowed for the purpoſe of
fixing in a group. Flemiſh or French. 12th or 13th centurv.
H. 23512 in. Bought, 41. 65. i
2 3 8 Farnz'tare and Woadwark.

Part of an altar compoſition. The figures repreſent a ſeated
Mother and Holy Child, and theſe have filled a niche, arranged with
others as architectural panels or arcades. They are intereſting as
ſpecimens of the ſculpture of the age.
4440-'57-
CULPTURE; an image in boxwood. The Virgin and '
the infant Saviour ; on the pedeſtal, carved in high relief,
the temptation of Eve ; in the interior is a cavity for containing
relics. French or German. 14th century. H. 15 in. Bought,
31. 31.
v 1050.'55.
SCULPTURE ; an image in boxwood. The Virgin and
L Child. French. 15th century. H. Io-Y- in., base 3-'5
by 2g in. Bought, 41. 05. rod.
A ſmall image made for domeſtic uſe. It is ſingularly complete and
ſerene in outline. The brow and eyes, the cheeks and form of face of
the Madonna, belong to the beſt period of French art. We might call
it Italian from its great and graceful ſimplicity, but the general arrange-
ment of the drapery reminds us rather of the finer ſpecimens of late
quattro-cento or early 16th century work in France, when the ſculptors
of the elder ſchool acquired the completeneſs of ſkill and knowledge
which the early renaiffance introduced. The drapery is dignified in line
and compoſition, the hands are perfectly modelled from life. On the
heads we trace holes by which gold or gilt crowns have been faſtened to
them.
76. '6 5.
CULPTURE in relief. A panel of walnut wood, carved
in low relief with an allegoric repreſentation of the theo-
logical and cardinal virtues. French. 16th century. H.
15 in., W. 1 23- in. Bought (Pourtales Coll.), 1 21. 45.
French Scalptare. 2 3 9

A Compoſition of ſeven draped female figures. The figures are in
the manner of thoſe generally attributed to Bachelier, of Toulouſe,
though we have but little authentic ſculpture of his hand left to us.
The three theological virtues are eaſily diſtinguiſhed, Faith by the
crucifix, Hope, who is bound and looks upwards, by the anchor,
Charity by a group of children. Of the four cardinal virtues, Tem-
perance holds a cup of water, Juſtice a ſword and balance, Fortitude a
broken column and Prudence a mirror and a ſerpent.
5722- '59-
CULPTURE; a figure in walnut wood. A female nude
figure ſupporting a baſket of fruit. French. 16th
century. H. 18 in. Bought (Soulages Coll), 2l.
' A T Canephora" or baſket woman, ſuch as are figured in the baſ-reliefs
of the frieze of the Parthenon at Athens. Flowers on the baſket are
touched with gilding. The figure has been part of ſome piece of
' furniture.
169. '64.
CULPTURE ; a ſtatuette in boxwood. A warrior, probably
Alexander the Great; on an enriched pedeſtal. French
(or Spaniſh ?). 17th century. H. 14 in., W. 6 in. Bought,
311. 115. 6a'.
The hero is taking a ſtep forward on his right leg, and the left hand
is extended as giving directions to his men. The right hand is reſting
on the hip and holding the baton of command. He wears a cuiraſs of
ſcale armour, with a cloſe ſkirt or tunic of mail to the knees, not a
claffical cuiraſs. The Ornaments are in the ſtyle of the decorative
details of Berain and other French interior deſigners of the 17th century.
The ſhirt ſleeves are tucked up above the elbows. The head is
covered with a ſeventeenth century claffical helmet, and is crowned with
bay leaves. In the helmet is a theatrical plume of oſtrich feathers.
The ſtand has three principal ſides with ſcallop ſhells elaborately
carved on two, and a cartouche bordered by acanthus foliage, and ſup-
ported by figures of boys, containing a baſ-relief of a river god on the
third ſide. It is probably French of the middle of the reign of
240 Furniture and Woodwork.


Louis XIV. The details of the ſtand as well as the modelling of the
figure and coſtume mark the beſt efforts of the art of that day.
1 70. '64.
CULPTURE; a ſtatuette in boxwood. Julius Cmſar.
French (or Spaniſh P). I7th century. H. 14 in., W.
5-£- in. Bought, 311. 115. 6d.
The ſigure ſteps forward on the left foot. The right hand holds a
military baton of command, which is graſped with an action of deciſion
or of anger. This is alſo expreſſed in the features, which are directed
to the left, while the left hand is pointed forward as in giving a
command.
The hero is crowned with bay leaves. He is dreſſed in the Roman
anatomical cuiraſs, and wears buſkins on his legs.
There are Ornaments on the ſtrips that form the kilt or ſkirt of the
cuiraſs identical with thoſe found on claffical ſigures of Louis Quatorze
and the coſtume claffical dreſſes occaſionally worn at tournaments
and feſtivities at the court of that monarch. At the ſame time the
minuteneſs of the anatomical details on the figure, ſuch as the veins on
the hands, have a Spaniſh' character, but ſcarcely enough to warrant us
in attributing this and the preceding piece to a Spaniſh artiſt.
On theſtand are three principal ſides, bearing as many cartouches.
Two of theſe are ſurrounded 'by garlands of leaves and bear minute
baſ-relief repreſentations-1, of the Emperor haranguing his legionaries 3
2, of the Senate offering him the Imperial crown; a third ſurrounded
by acanthus leafage and ſupported by eagles, repreſents Neptune with an
urn and ſeated on a rocky ſhore, perhaps in alluſion to the conqueſt of
Britain. The eagles, leaves, and ſmall reliefs are cut with the utmoſt
preciſion, and artiſtically deſigned and modelled.
132. '69.
CULPTURE; oakwood; a ſeated figure of a faint
(poſſibly St. John the Baptiſt), in the breaſt of which
is a receptacle for relics; from a folding ſhrine or oratory.
German (Cologne). Date about 1350-75. H. 19in., W.
62-in. Bought, 31. 145. 6d.
German Scalptare. 2 4 1

This and the two following images are ſerious in intention. The
draperies are carefully diſpoſed, and fall gracefully over the ſhoulders and
knees. The hands are large but well modelled, the heads are
exaggerated but the faces have beauty as well as individuality. They
have evidently been modelled from living perſons.
1 3 3. '69.
CULPTURE; oakwood; a ſeated figure of a female
faint, in the breaſt of which is a receptacle for relics;
from a folding ſhrine or oratory. German (Cologne). Date
about 1350-75. H. 19£ in., W. 7 in. Bought, 31. 145. 6d.
134. '69.
CULPTURE; oakwood; a ſeated figure of a female
faint, in the breaſt of which is a receptacle for relics;
from a folding ſhrine or oratory. German (Cologne). Date
about 1350-75. H. 19 in., W. 6-Z-in. Bought, 31. 145. 6d.
4845-'56-
CULPTURE. Carved oak, in high relief, of St. James.
German. 14th or 15th century. H. 2 ft. 6713- in. Bought,
155. 9d. '
This and the ſeries following are figures in relief detached from
their original ground. They are fronts, relieved from the ground
by colours and gilding; and the more eaſily diſcerned from the
diſtance at which they are meant to be ſeen. They have formed part
of a large pictorial piece of wood ſculpture, probably an altar back, re-
preſenting the Annunciation and the twelve apoſtles, of whom we
recogniſe St. James the Leſs, the patron faint of Spain. He bears in
his hat the ſcallop ſhell. Another of the figures is perhaps St. Simon
the Canaanite; St. Thomas holds an implement in his hand. Theſe
figures are all gilt and painted, the colour repreſenting linings or
F. 9
242 Farnz'tare and Woadrwark.

under dreſſes, and the gold the clamys or toga, the outer dreſs which
wrapped round as an oblong ſcarf or ſhawl, uſually leaving one arm free
and the ends hanging ſtraight. The gold has been laid on by water
gilding over a carefully prepared ground of white, formed by waſhed
chalk and coats of ſize, ſo as to form a ſufficient bed to give luſtre to
the metal when laid on.
4846.'56.
CULPTURE; an image of oakwood, in high relief, of
St. Simon. German. 14th or I 5th century. H. 2 ft. 6 in.
Bought, 155. 9d.
4847-"56-
CULPTURE; an image of oakwood, in high relief, of the
Bleſſed Virgin. German. 14th or 15th century. H.
2 ft. 6-J; in. Bought, 155. 9d.
4848. 65.
CULPTURE; a figure of oakwood, in high relief, of '
the Archangel Gabriel bearing a lily in his hand. Ger-
man. 14th or 15th century. H. 2 ft. 6-}.,- in. Bought, 155. 9d.
4841.'58.
CULPTURE; an image on a panel. Wood (lime P)
carved in relief. Figure of St. Matthew. German.
15th century. 22 in. by 19 in. Bought, 41. 45.
This and the three ſucceeding objects belong probably-to the ſides
of an altar piece of wood, carved and with figures in complete relief.
They are from the hands of ſcholars of the North German ſchool of
the early 15th century. The figures, heads, limbs and extremities are
faithful and ſkilful tranſcripts from nature. But the action of the figures
marks the love of ſmall detail of a homely kind, that we ſhould only
German Scalptare. 243

Occaſionally notice in Italian or finer Flemiſh art. The writers hold
up their pens to ſee how the nibs look, or reach down books of
_ reference from the deſks by their ſide, rather than give to us any higher
conception of the abſorption of their thoughts and faculties in the con-
templation of the inſpired record. They are exactly ſuch cloiſtered
figures as might have been ſeen engaged on tranſcription in Benedictine
or Ciſtercian libraries of the I4th or 15th centuries ; ſitting on ſhort
benches with their backs to the paſſers by and their attention riveted on .
the faithful execution of the taſk before them. The different Evangeliſts
are diſtinguiſhed by their emblems ; St. Matthew has an angel, St. Mark
a lion, St. Luke an ox, St. John an eagle.
4842.'58.
CULPTURE; an image on a panel. Wood (lime P)
carved in relief. Figure of St. Mark. German. 15th
century. 22 in. by 20-5- in. Bought, 4l. 45.
4843.'58.
CULPTURE; an image on a panel. Wood (lime P)
carved in relief. Figure of St. Luke. German. 15th
century. 22 in. by 19 in. Bought, 4l. 45.
4844.'58.
CULPTURE; an image on a panel. Wood (lime P)
carved in relief. Figure of St. John. German. 15th
century. 22 in. by 22 in. Bought, 4l. 45.
2417. ' 56.
CULPTURE; a group. Carved wood, in high relief;
the Flagellation of Our Bleſſed Lord (part of a retable).
German. 15th century. H. 1 ft. 10 in., W. 1 ft. 6 in. Bought,
31. 105. _
g 2.
244 Furniture and Wood-work.

1 3 5. '69.
'ſſ'l CULPTURE; a group in wood. The Cruciſixion, with
figures of the Virgin, St. John, and angels. The lion
and cubs are emblematic of the Reſurrection. A copy of a
German original of the I 5th century (.P Modern German. H.
2433; in., W. 7 in. Bought, 131. 85.
The Saviour is repreſented as hung with the two arms ſtretched
to the utmoſt tenſion of which they are capable. The figure there-
fore falls into a compoſition of the ſhape of the letter Y. It is lifted
up high above the heads of the two attendant figures; St. Mary on
the right, St. John the Evangeliſt on the left. Between the heads of
theſe two perſonages and the feet of the cruciſied are two angels
flying out, and taking a direction that would make them circulate
round and round the feet of the figure like the flight of ſwallows. They
point to a ſcroll which unites their figures to the croſs, and has had
upon it a legend or writing, now worn away. The Mother ſtands below
with an amice or veil over the head, and over that a long outer veil
forming a ſort of cloak or mantle folded over the body after firſt paffing
completely over the head. The hands are claſped in expreffion of
agony. The St. John holds his goſpel in his hand. Below the ground
on which theſe two ſtand, and which repreſents a rock, is a cave,
and in it a lioneſs with cubs, intended to ſymboliſe the royal character
as well as the valour and power attributed to the (5 Lion of the Tribe
of Judah." The croſs has a regular tree trunk with bark and in ſome
parts bunches of leaves cut; on its ſurface. The general attitudes and
features of the figures and faces are ſerious and expreffive.
4213- '57-
CULPTURE; the panel of a caſket, a fragment. Box-
wood, carved in relief, with groups of knights and
ladies playing on muſical inſtruments, &c.; mediaeval romance
ſubject. German. About 1480. 8%; in. by 2-Z-in. Bought,
21 165.
This is a repreſentation altogether mediaeval in feeling, and belongs to
the ante renaiſſance period. It is a fragment- only of a panel, probably the
German Sculpture. 24 5

top of a jewel caſket. We make out a ſcene of repoſe in a garden or
orchard. The folds of a ſkirt widely diſpoſed imply the ſitting figure of
a queen, or the lady love of the compoſition ; at her feet are a number of
figures forming a tier or row at the feet of the lady whoſe cloak or mantle
only is ſeen above. One is a lady leaning forward, not ungracefully,
and holding a dulcimer or flat ſtringed inſtrument, with a hollow baſe.
This is played by a child in a caſſock or looſe frock. A female atten-
dant on the right is drawing water out of a ſtone fountain with an
iron ladle chained to the ſide of the baſin. On the left are knights,
one of whom can be made out, and the legs of two others. A dragon
and a monkey or fiend, perhaps Sin, are lying transfixed and dead at the
feet of the knights; a hawk is alſo on the watch. The orchard is
full of flowers carefully made out, and the armour of the knights is
deſigned exactly from the 15th century ſuits. They wear hoods of
chain, and one has his feet bare, having taken off his ſolleret or iron
ſhoe, for relief. The ancle and inſtep are protected by chain.
146. '6 5.
CULPTURE; a fragment repreſenting the Sacrifice of
S Abraham in high relief, painted and gilt. German.
15th century. H. 17 in., W. 6 in. Given by C. All-
dridge, Eſq.
62. '6 5.
CULPTURE; a ſtatuette of Oakwood, repreſenting an
x emaciated aged woman (melancholy or old age) ſeated
on a ſtool carved in arabeſques. German. Early 16th century.
H. 6z],- in., W. 2 in. Bought (Pourtales Coll.), 41. 15. 8d.
A curious piece of wood carving, deſigned not for a Magdalene,
whoſe beauty is always repreſented both by the mediaeval and cinque
cento artiſts, but as a melancholy ſatire upon old age. The head is fine
and the face bears an expreſſion of ſweetneſs and melancholy. But
the figure is not agreeable. The whole body is carefully modelled, the
hands, legs, knees and feet all well executed. The ſkin is given with
repulſive fidelity to life, the wrinkled expreffion of the falling in and
contraction of what has once been the full proportions of vigorous life,
246 Fnrnz'tare and Wood-work.

is taken from an actual model, and can ſcarcely be meant for anything
but a ſatire on the ſhort-lived reign of feminine beauty, and the empti-
neſs and fall of bodily attractions, when viewed in the preſence of death.
In the 16th century the old repreſentations of ſins and virtues gave
place to perpetual remembrances of the inevitable certainty of death.
The dances of death, compoſitions following more or leſs the ſame
tradition as that of Holbein on the Bridge of Baſle, may be counted
by hundreds. This figure is ſeated an a tiny bench or ſlab, ſupported
on four ſmall pilaſters that ſtand on a baſe, ornamented on their four
ſides with arabeſques in actual relief.
6994.'60.
CULPTURE; a buſt, carved in pear wood, of a young
man, on pedeſtal. German. About 1520-30.
(Aſcribed to Albert Diirer.) H. 7-%;in., diam. of baſe 3-g-in.
Bought. 461. 145. 6d.
This has probably been executed from ſome ſketch or drawing of
Albert Diirer, not by that artiſt himſelf, whoſe works of ſculpture are
exceedingly ſcarce. It repreſents a young man with the face turned
and looking upwards with intenſe earneſtneſs of expreſſion. The eyes
are wide apart ; the lips are modelled with minute finiſh, and the Chin,
which is fine and ſmall, is alſo carefully made out. The hair comes over
the forehead and falls in curling maſſes all round the head. It reminds
us of that Italian head uſually given to repreſentations of St. John the
Evangeliſt.
6995.'60.
CULPTURE; a buſt, carved in pear wood, of a young
woman, on pedeſtal. German. About 1520-30.
(Aſcribed to Albert Dufflz) H. 71., in., diam. of baſe zginj
Bought, 461. 145. 6d.
A girl of about I 5. She and the male head may be brother and
ſiſter, though the likeneſs would of courſe reſult rather from their treat-
ment by the artiſt than from an undoubted ſimilarity of features. The
expreſſion of the head is ſweet and full of purity. The hair is divided
over the forehead and comes round the head in a great twiſt like a
Crown.
German Scalptare. 247

r 6973.'60.
CULPTURE; a plaque of box-wood; carved in relief
with regardant portraits of a man and woman in elabo-
rate coſtume. German. About 1530. H. 3£ in., L. 437- in.
Bought 161.
Portraits evidently of a huſband and wife. The woman is dreſſed
in the bodice and ſkirt of the 16th and following centuries, as in
ordinary German portraiture of that long period. She wears a
chemiſe of fine lawn gathered into an embroidered collar round the
throat, which is open. Over this comes an outer body forming a car-
dinal or over Cape for out-door wear ; it is of ſilk or velvet and
embroidered. She holds flowers in her hand. The huſband wears a
cap with flaps to faſten up by loops, or let down to protect the neck.
He wears no beard but has whiſkers cut in the modern faſhion. His
lawn ſhirt is gathered in at the throat with an embroidered collar. He
wears a cloak of cloth, with fur lining and velvet ſleeves, which is tied
round the waiſt. His hand reſts on the pommel of his ſword, a Spaniſh
rapier, of which the hilt is furniſhed with the hooks below the guard,
made to catch the point of the adverſary's weapon in fencing. The back-
ground is formed by a wall, the ſtones in courſes, which falls back in
perſpective to a receſs. Above are towers and walls, apparently thoſe
of Niirnberg, in the diſtance. An architectural frieze or moulding frames
in the Compoſition.
6969.'61.
CULPTURE ; box-wood, carved in relief with a full-length
ſtanding figure of the Virgin ſupporting the Infant
Saviour; a landſcape background in low relief. German
16th century. H. 973; in., W. 771- in. Bought, 21. 165.
The figure of the Madonna is modelled in perfectly correct deſign.
The head is turned in profile, while the general poſe is in full face.
The background is lightly laid in the loweſt relief. There is a thin
liny arrangement of the drapery which robs the figure of the breadth
and dignity of the beſt work of Italy or Germany of the 16th century 3
but the deſign and the cutting have been the work of an accompliſhed
artiſt,' Whether the work can be affigned to German or Italian nationa-
lity is doubtful, the beſt deſigners of the former country having received
a training ſo thoroughly Italian.
248 Farnz'rnre and Woodwork. '

4528.'58.
CULPTURE; pear wood, carved in high relief. The
Judgment of Paris. In the foreground is the monogram
of Albert Diirer. German. 16th century. 941- in. by 7 in.
Bought, 491. 55. -
The ſcene of this compoſition is laid in a German ſir foreſt.
On all ſides are trees of ſpruce ſir, and in the diſtance a walled city,
with towers and ſpires. This, perhaps, ſtands for Niirnberg. The
compoſition repreſents the Judgment of Paris.
The goddeſſes ſtand round a recumbent figure dreſſed in armour.
His armour and accoutrements are minutely detailed in the faſhion of
the German renaiſſance panoply. The ſkirt or kilt that clothes the
loins is of ſilk, notched and curled in the faſhion we ſee in Albert
Diirer's Triumph of Maximilian. Nothing can exceed the exuber-
ance of feathery ornament which diſtinguiſhed the German dandyiſm of
the early renaiffance period. .
All the armour of this ſleeping warrior is detailed minutely 3 the
chain ſkirt which protects tſihe loins is accurately made out. Mercury,
or ſome attendant figure, offers to Paris, who flumbers, the apple which
is to be awarded. Cupid, draped, and with flames on the point of
his arrow, is ſhooting down from middle air upon the ſleeping figure.
This is carved from one of Albert Diirer's drawings. A plate has
been preſerved of an etching by Albert Diirer of this ſubject, but it is
rare. The following is the account given by Bartſch of the plate :-
Paris, a Arme de toutes pieces et etendu a terre au devant de la
gauche, ſemble dormir. Les trois deeſſes ſont debout aupres de lui a la
droite de l'eſtampe. Un vieillard a grande barbe, vetu d'une large robe
bordee de fourrure (qui ſemble prendre ici la place de Mercure), s'ap-
proche de Paris, tenant la pomme d'or de la main droite et portant
l'autre vers la tete du dormant," etc. Sans marque. Bartſch. I 34.
-Peintre Graveur, vol. vii.
This anſwers pretty nearly to the compoſition here given, which is
probably taken from it.
299.'70.
NCULPTURE; a figure in boxwood, repreſenting death
with a bow and arrows. German. 18th century. H.
1258- in. Bought, 101.
Italian Sculpture. 249

4077-'57-
CULPTURE; an image carved in boxwood; the Virgin
and Child. German. 17th century. H. I 32- in., baſe,
43 in. by 372- in. Bought, 61.
The Virgin. is covered with a mantle, which falls from the head.
The Holy Child wears a frock with buttons at the throat.
5892-'59-
CULPTURE; an image carved in wood, of the Virgin
and Child; originally covered with geſſo or ſtucco
ground and painted. Italian. 15th century. H. 4 ft. 2 in.,
W. at baſe, 16% in. Bought, 31. 175. 8d. '
It has formed part of an altar compoſition. It is gracefully de-
. ſigned, with the full Venetian type of rounded youthful beauty which
we ſee in the Madonnas of Gian Bellino. We notice it here becauſe of
the method in which the wood is rough hewn, and leaves holding for
the ground laid on in geſſo or plaſter for ſubſequent gilding, tooling, and
other elaborate ſurface ornamentation.
7719.'61.
NCULPTURE; an image carved in wood. The arch-
angel Gabriel; from an Annunciation group. Italian
(Piſan). 15th century. Said to have formerly ſtood in the
cathedral at Piſa. H. 6 ft., W. 2 ft. 3 in. Bought.
This is a tall, graceful figure, retaining much of the dignity of the
ſchool of the early Piſani. The figure is draped in a frock or gown
that falls below the feet and is drawn forwards from behind by the
ſlight advance of the upper part of the body implied in the action of the
figure. Over this is an oblong pallium or mantle that falls over
the ſhoulders, is lifted by the arms, and again melts into the general
diſpoſition of the drapery beneath. The figure is worth notice here as
an example of painted work of the ſchool of Piſa. The under dreſs is
blue, the upper red 3 both are powdered with gold ſtars.
2 50 Farnz'tare and Wood-work.
7534-'60-
CULPTURE; a panel in wood, painted and gilt. Half-
length figure of the Virgin with the infant Saviour,
carved in high relief; below, on a pedeſtal, is the inſcription
V Mater Amabilis." Italian (Milaneſe). About 1490. H.
2 ft. 1 1 in., W. 2 ft. Given by M. H. de Laſalle, Paris.
A medallion-ſhaped panel ſtanding on an oblong baſe; the figure is,
conſequently, backed by a round receſs, with plain border and flutings
converging to a centre within, this portion being gilt and giving ſplen-
dour to the figure before it. The heads and faces are full of gentleneſs
and repoſe, and belong to the tender ſchool which the Della Robbia's
ſo well repreſented in pottery in the numerous coloured compoſitions of
haf-relief, with blue or coloured backgrounds, now to be ſeen in Tuſ-
cany. Fine examples of theſe can be ſtudied in the Muſeum. The
piece here deſcribed has been placed in a corridor of a convent or
private houſe, not in a church.
7836.'61.
CULPTURE; a panel in wood, carved in low relief.
The Virgin, the youthful Saviour, and St. John, after
Raphael, in carved wood frame of architectural deſign, parcel
gilt. Italian. 16th century. Panel, H. 11-3- in., W. 9% in;
frame, H. 2 ft., W. 1 ft. 10% in. Bought.
7865.'61.
CULPTURE; a panel in wood, carved in low relief,
coloured and gilt. A kneeling figure of a Grand
Duke of Tuſcany before an altar. Italian. 16th century.
H. 2 ft. 4 in., W. 2 ft. Bought. (Transferred to Building
Collection.)
Such portraiture was not rare in Italy. Wax medallion portraits
of princes and princeſſes of the Medici and other Italian families, with
Italian Scalptare. 2 5 1

the colours, dreſs, &c., made up to nature, were not uncommon in the
late 16th and during the 17th centuries. The work is here cut in relief
in Wood and coloured. The perſonage is kneeling in a ſomewhat
theatrical attitude before an altar, in a room or private oratory.
Through an open window we have a view of the tower of Giotto and
the dome of Brunelleſchi on the Cathedral Church of Santa Maria dei
Fiori, Florence.
2788.'56.
CULPTURE; a ſtatuette in wood. St. Auguſtine.
Italian? 17th century. H, 1871, in., baſe 6 in. by
45 in. Bought, 61.
The irregular poſition of the features and the exaggerated expreffion
belong to a late period. The drapery is more Spaniſh than Italian. It
might however be traceable to the exaggerated movement and theatrical
poſes of the followers of Bernini.
7325.'60.
SCULPTURE; the head or maſk of an Angel. Carved
cheſtnut wood, portion of furniture decoration. Italian.
17th century. 8 in. by 5 in. Bought, 65. 3d.
_ 7325a.'6o. _
CULPTURE; the head or maſk of an Angel. Carved
cheſtnut wood, portion of furniture decoration. Italian.
17th century. 8 in. by 5 in. Bought, 65. 311.
7325h.'60.
CULPTURE; the head or maſk of an Angel. Carved
cheſtnut wood, portion of furniture decoration. Italian.
17th century. 8 in. by 5 in. Bought, 65. 3a'.
2 5 2 Fnrnz'znre and [Food-work.

73250.'60.
CULPTURE; the head or maſk of an Angel. Carved
cheſtnut wood, portion of furniture decoration. Italian.
I7th century. 8 in. by 5 in. Bought, 65. 3d.
4902-'59-
CULPTURE; carved wood and ivory group of two
peaſants dancing. Italian (Neapolitan). I7th century.
H. 13 in., baſe 1 in. by A in. Bought, 201.
The Neapolitans have preſerved an immenſe ſkill in modelling and
colouring up to life figures and characters of every-day occurrence. We
ſhall ſee other inſtances in abundance in the Muſeum and in ſimilar
collections, of ſuch work in terra cotta and other materials. In this
caſe the wood and ivory are made to repreſent the fleſh and rags of the
two beggars who ſhow through various rents their legs, arms, &e.
281.'69.
CULPTURE; hard wood, carved in high relief with
a group of nude children dancing, by L. Frullini of
Florence. Modern Italian. 5-5- in. by 23; in. Bought, 31.
282.'69.
CULPTURE; hard wood, carved in low relief with a
group of nude children preſſing grapes and playing, by
L. Frullini of Florence. Modern Italian. 63'- in. by 23,- in.
Bought, 31.
283.'69.
CULPTURE; hard wood, carved in low relief with a
group of nude children bearing corn, by L. Frullini
of Florence. Modern Italian. 23 in. by in. Bought, 21.
Spaniſh Sculpture. 2 5 3

284.u)284r.'69.
CULPTURE, four pieces; hard wood, carved in low
relief with nude children bearing the emblems of Poeſy,
Sculpture, Painting, and Muſic, by L. Frullini of Florence.
Modern Italian. Each plaque 2z£- in. by IT13- in. Bought, 41.
285.'69.
CULPTURE; walnut wood, carved in high relief with
a frieze of flowers and central maſk. 16th century
ſtyle, by L. Frullini of Florence. Modern Italian. 6 in. by
2723- in. Bought, 11. 125.
249.'64.
CULPTURE; an image. Wood, painted and gilt. A
faint; portion of a well-known altar piece at Valladolid.
The work of Berruguete. Spaniſh. About I 520. H.
2 ft. 9 in., W. 15z3£- in. Bought, 51. 55. 3d.
The faint is turning to the left, with his left hand and arm extended,
as if in animated converſation or reproof 3 the head is high, the noſe
aquiline and long, the eyes blue, and the hair, beard, &c., black. It
repreſents a man of 45 or 50. In his right hand he holds a book
preſſed againſt his body. The dreſs is gold, delicately ſtriped in the
Spaniſh faſhion. The mantle is large and in broad folds 3 it is lifted
by the outſtretched arm and falls on one ſide to the ground ; it is blue,
with cloſely laid ſpots of gold all over it. The hands and feet are well
modelled and all the body that is ſeen coloured after nature.
92. '64.
CULPTURE; a head or maſk of a Saint. Carved wood_';
a fragment of a ſtatue, ſmall life ſize. Spaniſh. About
1560. I-I. 13 in., W. 6 in. Bought, 41.
It is of good modelling. The head, perhaps, of St. Paul, and comes
from a niche, or from a compoſition of ſeveral figures in an altar ſhine,
2 54 Farnz'tare and Waadrwork.

90.'64.
CULPTURE; an image in boxwood, partly painted; St.
Sebaſtian. Spaniſh. Late 16th century. H., including
pedeſtal, 15 in., W. 5 in. Bought, 41.
The ſaint ſtands on his right foot; the left, as well as the two
arms, are bound to the rugged branches of a tree. The head looks up-
wards to the right, as if expreſſing anguiſh and devotion. The hair is
black and hangs long down the back. The marks of wounds are ſeen
in the limbs and on his body, which is nude with the exception of a
white cloth round the loins.
St. Sebaſtian was ſhot, but not to death, by Mauritanian archers, by
order of the emperor Diocletian. But he recovered and was martyred
by being beaten to death by clubs ; he is therefore never repreſented in
the traditional paintings or ſculptures as dead or ſhot in any vital part.
175.'64.
CULPTURE ; an image. in wood, painted. St. Sebaſtian.
_ Spaniſh. Early 17th century. H. 8 in., W. 5 in.
Bought, 41.
The ſaint is ſtanding on his right leg ; the left is bent and partially
ſupports his body. The arms are bound to the branches of a tree, and
his head falls back in an attitude of ſupplication, while it adds to the
expreffiveneſs of the writhing action of the limbs. The bands, tree,
and ground are gilt and painted. The fleſh of the ſaint and his wounds
are faithful imitations of nature.
322.'64.
CULPTURE ; an image in box or pear wood. The Virgin
and Child. Spaniſh. 17th century. H. Q-Y- in., W.
13,- in. Bought, 11. 55.
Though on this ſmall ſcale, the modelling of the figures, extremities,
and draperies are carefully and correctly executed.
Spaniſh Scnlptare. 2 5 5

331.'66.
CULPTURE; an image in wood, carved and painted, of
St. Francis of Affisi, after a ſtatuette by Alonſo Cano in
the Cathedral of Toledo. Spaniſh. 17th century. H. 19% in.
Bought, 31. 135. 611.
Saint Francis is recogniſed by the mark 'of the nail in the portion of
his right foot which is ſeen under his frock ; his other foot and hands
are hidden. .
He ſtands on his left leg, the right advanced, and the foot already
deſcribed exaggerated in its proportions.
The hands are folded over the breaſt, concealed in the long ſleeves
of the Franciſcan habit. The head is covered by'the hood, and the
face, which is fully painted, is turned upwards, as if in contemplation.
The dreſs is dark grey, the old colour of the Franciſcan habit, and
covered with black lines to expreſs the grain of coarſe cloth or to give
greater gravity to the colour.
A knotted girdle of real ſtring hangs from the waiſt.
.174.'64.
CULPTURE ; an image in painted wood. St. Francis
Xavier, Spaniſh. 17th century. H. 22 in., W. 872- in.
Bought, 31. 195.
The ſaint is in his black Jeſuit habit, with the cloak hanging on the
ſhoulders, and gathered by the action of the arms and hands, which are
preſſed to his heart. His head inclines to the right, with an expreffion
of tender affection. His mouth is open, as if in the act of giving utter-
ance to a ſermon or exhortation. The head and hands are beautifully
modelled and are painted directly in imitation of real life. The figure
ſtands in a green field, on a white ſquare ſtand or pedeſtal.
St. Francis Xavier, the companion of Ignatius of Loyala, was born in
Navarre in 1506. He died in the iſland of San Cian (in India) in
1552.
104.'64.
CULPTURE; an image in painted wood. The Infant
St. John. Spaniſh. 17th century. H. 21 in., W. 85; in.
Bought, Il. I 35. 8d.
2 5 6 Furniture vand Wood-work.

The child is modelled and painted exactly after nature._ The head
looks to the right, while thſie hands are both directed as if lifting,
careffing, or calling attention to ſome object to the left.
171.'64.
CULPTURE ; an image in painted wood. The Infant St.
John the Baptiſt with the lamb. By Alonzo Cano.
Spaniſh. Firſt half of I7th century. H. 11 in., W. in.
Bought 71. 185.
This beautiful group repreſents the infant Baptiſt, ſeated, looking to
the right. The arms careſs a lamb, which is on its hind legs and is
preſſed by the child againſt his body. The dreſs is a camel's hair frock
without ſleeves and a red cloak. The drapery of the cloak is dis-
jointed, and has the look of crumpled linen, ſuch as may be recogniſed
in much of the Spaniſh ſculpture of this century, rather than the
graceful folds of older religious'drapery.
41.'69.
CULPTURE in relief. Marquetry of inlaid woods,
repreſenting in low relief the figure of our Lord after
the ſcourging, with a female (poſlibly St. Thereſa), looking on '
ſorrowfully. Spaniſh. Dated 1661. H. 1 I% in., W. 8-3; in.-
Bought, 101.
The wood is inlaid, but remains in relief, admitting, though ſlight,
'wonderful delicacy of handling, in the heads, limbs, and details. The
landſcape background contains a town, with towers, &c., trees, moun-
tains and clouds. The Saviour is ſitting crowned with thorns, with the
ſcourge beſide him, and facing the ſpectator with an expreffion of in-
tenſe ſadneſs. All the features are deſigned with the tendereſt feeling
for the ſadneſs of the Paflion ſo dear to the ſerious imagination of Spaniſh
art. There is a round arch through which we look out of the hall of
Pilate's houſe to the country beyond. Through this is ſeen the half
figure of a woman, probably that of St. Thereſa or ſome private devotee.
In the right hand corner may be ſeen the letters G . F . H combined,
Geronimo Hernandez Faciebat The death of Hernandez, however,
Spaniſh Sculpture. - 2 57

is placed by Nagler 1646, which does not agree with the date given,
nor can we name any other artiſt whoſe initials would correſpond with
this date. The woods are coloured up to nature, and the pear wood of
the nude Chriſt and of the face and hands of the woman, the archi-
tecture, &c._, repreſents a ſort of warm grey or buff hue that might ſtand
for that of fleſh in its expreffion of emaciation and of ſorrow.
325.'64.
CULPTURE. Figure of a mounted negro in painted
wood. The dreſs and horſe-trappings made of ſilk,
velvet, &c. Repreſenting an attendant on one of the Three
Kings; part of a clothed Nativity group common in Spain
and South Italy. Spaniſh. Middle of 18th century. H.
24 in., L. 23-3- in., W. 8 in. Bought, 141. 05. 8d.
This and the three following numbers are parts of a numerous ſet of
figures forming a Nativity group, ſuch as are commonly put together at
the feſtivals of the Nativity and Epiphany in the convents and churches
of Catholic countries. In this inſtance the horſes and men are modelled
with perfect knowledge of artiſtic anatomy and deſign. The attendants
are one brown, and the others actual negroes, as denoting the countries
from which the Magi came. Uſually, one of theſe three perſonages
alone is black, but the attendants in pictures of the mediaeval period are
of every hue, and the kings travel with hounds and hawks, and in all the
ſtate of mediaeval potentates. Theſe horſes are of the great Flemiſh
breed, which the Spaniſh kings took with them to their ſouthern poſ-
ſeffions. Their trappings are of ſilk, woven on purpoſe, the ſtirrups,
buckles, and appointments are of ſilver. Moſt of this group is wanting.
We may judge from the coſtly completeneſs of theſe fragmentary mem-
bers of it on what a ſcale the whole muſt have been prepared.
326.'64.
CULPTURE. Figure of a mounted negro in' painted
wood. _The dreſs and horſe-trappings made of ſilk,
velvet, &e. Repreſenting an attendant on one of the Three
Kings; part of a clothed Nativity group common in Spain
and South Italy. Spaniſh. Middle of 18th century. H.
24 in., L. 27 in., W. 8 in. Bought, 141. 05. 8d.
F. R
2 5 8 Farnz'ta're and Woodwork.

327.'64.
CULPTURE. Figure of a mounted negro in painted
wood. The dreſs and horſe-trappings made of filk,
velvet, &e. Repreſenting an attendant on one of the Three
Kings; part of a clothed Nativity group common in Spain
and South Italy. Spaniſh. Middle of 18th century. H.
24 in., L. 22% in., W. 9 in. Bought, 141. 05. 8d.
9 3. '64.
CULPTURE. Figure of a horſe. Carved and painted
wood, with green velvet ſaddle; a portion of a compoſi-
tion of the Adoration of the Magi. Spaniſh. Firſt half of
18th century. H. 21 in., L. 21 in. Bought 51. 135. 8d.
165.'64.
CULPTURE ; a figure in boxwood, ſtanding and holding
a book. Spaniſh. About 1600. H. 10 in., W. 43 in.
Bought, 41. 45. 2d.
A claffical figure, probably an orator, ſtanding at reſt, with the
right hip bent. The head is that of a woman, or of a very young man,
with flowing hair, and a face of much beauty. The right hand holds a
ſmall book, and has a ring on the third finger. The left ſeems to preſs
the heart, but the hand is gone, and the drapery' of the cloak Croſſes the
cheſt in a broad fold, and is preſſed againſt the body by the action of
the left hand. It covers the body without concealing the general out-
line of the limbs. The feet are ſeen, carefully and well carved, as are
the hands, the one at leaſt that remains.
106.'64.
CULPTURE; a group in relief; carved and painted
wood. The Depoſition from the Croſs (part of a
predella). Spaniſh. About 1570. H. 1 ft., L. 2 ft. 6 in.
Bought, 31. 35. 2d.
Spaniſh Sealptare. 2 5 9

The group conſiſts of the Maries and St. John ſupporting the dead
Chriſt. The expreflion of more than one of the faces, eſpecially that of
the Magdalen, who faces the ſpectator, is full of pathetic beauty. On
either ſide of the Compoſition are ſtanding figures of St. Joſeph of Ari-
mathea and Nicodemus, in eaſtern dreſs, and holding implements of the
Paffion. A background landſcape is painted, and rocks painted and
gilt are under their feet.
172.'64.
CULPTURE ; an image in painted wood. Standing figure
of the Madonna and the Infant Saviour. Spaniſh.
_School of Seville. About 1640. H. 77£ in., W. 3£ in.
'Bought, 2l. 165.
The Virgin ſtands on her left leg, with the right bent underneath.
In her right hand ſhe holds a ſceptre, and the left ſupports the Holy
Child. His right hand is ſtretched out in benediction, and in his left is
an orb. The dreſs of the Virgin is gilt, figured over with red ornament,
and her mantle is blue with gilt figured work on it. She has a veil on
the back of her head, and a portion of it winds round and hangs over
the ſhoulder of the Infant. She ſtands on graſs.
The general ſtyle of the face, which is rounded and ſerene, reminds
us of the Madonnas of B. Garofalo. All the faces, extremities, &c.,
are coloured from life.
1284.'71.
CULPTURE; abuſt in carved and painted wood. The
ccVirgen de los Dolores." Probably the work of
Montafies. Spaniſh. 17th century. H. 16£-£- in., W. 192£7 in.
Bought, 41.
Few pieces of wood ſculpture in the Muſeum ſurpaſs this buſt in
beauty and ſolemnity of geſture and expreffion. The face is oval, and
the noſe long and ſlightly aquiline. The eyes are all but cloſed with
rief. The mouth is ſmall, and its expreffion ſerene but mournful.
The hair falls down from the forehead on each ſide of the neck; it is,
or has been, a rich brown, not black. The dreſs, as far as it is ſeen,
a a
260 Furniture and Woodwork.

red 3 it comes to the bottom of the neck. The head and ſhoulders are
covered by a blue mantle-ſhaped veil. It has been placed in a receſs or
deep frame.
Montanes, to whom this is attributed, was born in the 16th century,
and died in 1650.
89. '64.
CULPTURE; boxwood, carved in relief with the Virgin
and Child enthroned; the Virgin crowning a female
Saint with flowers. Spaniſh. I7th century. H. 53: in., VV.
32 in. Bought, 11. 125.
A little devotional compoſition repreſenting Saint Roſe of Lima, a
favourite faint in Spain. She is kneeling, while the Madonna places a
crown of roſes on her head. This well-known perſonage was born at
Lima, in South America, of Spaniſh parents. Her name was Iſabella,
but the beauty oſ her complexion procured for her the name by which
ſhe is known in hiſtory. She died in 1617. This repreſentation is
ſome years later in date, not earlier, probably, than 1650.
173.'64.
CULPTURE; an image in wood. The Virgin ſtanding
with the Infant Saviour. Spaniſh. I7th century. H.
32,- in., W. 22 in. Bought, 11. 45.
This carving lacks the breadth and ſimplicity of earlier Spaniſh
work. It is, however, executed with minute laboriouſneſs, the hair,
border of the dreſs, &c., are touched with gilding.
600.'64.
CULPTURE; an image in boxwood. The Virgin with
the Infant Saviour. On the baſe is an eſcutcheon con-
taining a monogram. Spaniſh. I7th century. H. 14 in.,
W. 4-i- in. Bought, 81.
Nothing ſhows the diſtinction between Spaniſh and Italian Work,
which have ſo much in common, more clearly than theſe draperies.
Spaniſh Sculpture. 2 6 1

Though Spaniſh artiſts ſtudied in Italy, and got much of their art
education from that country, their 17th century deſigners ſeldom reached
the grace of Italian lines of drapery in their ſculptures. The folds have
more movement and are at once fuller and more broken into angles and
turns. The general impreffion given is that of a coarſer type of art.
The head of this Madonna is graceful and dignified. On the pedeſtal
is a monogram with the letters S.M.S.F., Sanctae Matris Sanctus Filius.
167.,64.
CULPTURE; an image in wood, painted. The dead
Chriſt laid on a bier. Spaniſh. 17th century. H.
22 in., L. 82 in. Bought, 11. 75.
This ſmall Chriſt is painted up to life. If the colouring of the fleſh
is pale, ſomething muſt be attributed to time and fading. It has, how-
ever, been intended to be of the hue of death, and the wounds and blood
are true to life. The folds of the ſheet and of the bed on which the
body lies are touched with gilding.
1046.'55.
CULPTURE; a group of the Crucifixion. Carved in
boxwood. At the foot of the Croſs are the Virgin,
St. John, and the ſoldier holding the lance that pierced the ſide
of the Chriſt. With a ſtamped leather caſe. Spaniſh. About
1700. H. 63- in. Bought, 41. 165. rod.
The remarkable feature about this little group is the ſmall ſcale into
which much ſpirited action and expreſſion have been compreſſed by the
artiſt. The ſoldier is mounted and dreſſed in doublet, ſcarf, &c., in the
manner of a Spaniſh cavalier of the latter part of the 17th century.
Though the figures are not above an inch high, the faces and features
are appropriate and expreffive. It has been preſerved with care in a
padded leather caſe, lined with ſatin and tooled and gilt outſide with
bookbinder's work.
2 6 2 Farnz'tare and Woodwark.

102. '64.
CULPTURE; an image of painted wood. Our Saviour
bearing his Croſs. Spaniſh. By Carnicer of Salamanca.
About 1730-50. H. 2 ft. 6 in., L. 3 ft. 3 in., W. 14713 in.
Bought, 311. 115. 6d.
The Saviour is repreſented on his way along the traditional V Via
Crucis," from Pilate's houſe to Mount Calvary. The Saviour has
ſtumbled and fallen from exhauſtion. The left hand ſupports the fallen
body; the right holds the croſs over the ſhoulder. The head looks,
with an expreſſion of agony and an appeal for compaffion, to the left.
The face, hands and feet are painted up to nature, and the blood flowing
from the thorny crown is repreſented with rigorous fidelity. The dreſs
is elaborately painted, the ground being gold with flowers and other
decorations. The gilding in ſome places appears through. The waiſt is
tied with a knotted cord of gold thread of great length, doubled round
the body and hanging down, with coſtly diſregard to the ſplendour of
the material. A round rope of gold wire different in texture is faſtened
round the neck, alſo abundant in length. This repreſents the rope with
which the Saviour was dragged by his guards to execution. The croſs
is mounted on the top and ends with gilt metal.
4240-'57-
EAT or ſtall end. Carved oak. German. 14th century.
H. 4 ft. 3-1-2- in., W. 1 ft. 9 in. Bought, 61.
Carved with a bold curling volute encloſing a flower compoſed of
large ſlat petals.
6004.*59.
EAT or bench. Walnut wood inlaid with geometrical
marquetry of coloured woods. The ſeat forming a
coffer; maffive back and ends. Italian (Florentine). About
1550. H. 2 ft. 9 in., L. 8 ft. 2 in., W. 2 ft. 5 in. Bought,
141.
A large fixed ſofa or ſeat for great halls or galleries. Such furniture
was covered with Carpets, or had cuſhions when occaſion required the
French Secretary. 2 6 3


uſe of theſe reception rooms. At other times they furniſhed ſuch places
ſufficiently without requiring the cleaning or renewal of expenſive
coverings.
138. '6 5.
ECRETARIY, or Writing Bureau. Marquetry of inlaid
wood, mounted in gilt metal; the falling front orna-
mented with a large deſign of military ſitrophies, globes, &c.
French. 18th century. H. 4 ft. 2 in., L. 4 ft., W. 2 ft.
Bought, 2501.
It conſiſts of a ſloping deſk to open and form a writing-table, and
ſtands on curved legs, with a pair of drawers below the falling lid or deſk.
The ſquare or flat portion of the top is protected on its back and ends
by a ſmall gallery or row of metal arches, an inch and a quarter high.
The ends and the drawer fronts are covered with marquetry, each end
in two ſpaces or panels of reticulated pattern, and a circular ſpace or
panel with a well executed foliage deſign, in green on beech-wood ſtained
yellow. The ground of the whole is purple wood (Bais d'zfmaranthe),
and the reticulated patterns are in white woods, lined into conventional
diaper foliage. There are horizontal diſpoſitions, of the ſame patterns
and deſigns, on the drawer fronts. The flapct front is formed into one
large panel by carefully deſigned boughs and leaves inlaid on purple
wood. The deſign of the work is a large trophy or aſſemblage of land
and ſea military implements-arms, ſtags, globes, &c.-in coloured
woods. Half the panel above theſe conſiſts of a ſun (emblem of
Louis XIV.) in orange wood, the rays formed by ingeniouſly putting
grained aſh into a huge pencil of rays, all converging to the centre. The
grain is ſo carefully joined and laid together that it is ſcarcely poffible to
follow the junctures with the eye ; and the whole has the appearance of
a ſingle piece, with grain radiating from a centre.
The branches that form the panel leave irregular corner ſpaces and
a ſpace below the centre. Theſe are inlaid in parterre forms, each cen-
tral form fitted by a metal fleur-de-lys. The ſpace under the centre is
occupied by a group of cupids and a maſk, all caſt and afterwards
chiſelled in gilt bronze. The edges are metal-bound throughout, and
of excellent workmanſhip.
It is in the manner of Rieiſener, but known ſpecimens of the finer
periods of this French manufacture are wanting in the Muſeum.
2 64 Furniture and 'Wood-work.

4908.'58.
ECRETARY or Writing Bureau. Marquetry of various
coloured woods, inlaid with engraved ivory, with gilt
mountings. German. 18th century. H. 8 ft., L. 4 ft., W.
2 ft. 2 in. Bought, 1251. r
This is to be noticed for the ingenuity and ſkill with which the
workmen of the 18th century in France and Germany maſtered the
difficulties of the ſomewhat extravagant forms of furniture that then
came into faſhion. The bulging and varied ſurfaces of many fine pieces
of French Louis XIV. and Louis XV. furniture, in which the ſides and
fronts of knee-hole tables, ſecretaires, and other uſeful writing-table
cabinets, were made, are often elegant and effective. The faſhion ſoon
went beyond the modeſt requirements of good taſte. The gentle
ſwellings that preſented good opportunities for marquetry, which re-
quires ſurfaces tolerably unbroken for its diſplay, are difficult of exe-
cution, and have to be carefully ſitted on a mould, and many and ſlow
alterations are needed to get them correct. The joiners and cabinet-
makers began to make a diſplay of their ſkill in this accompliſhment,
and in the ſtill more difficult taſk of preſerving mouldings that run along,
and ſometimes diagonally acroſs, alternate bulges and hollows, where a
front opens on a ſurface of this kind. The ſecretary or bureau we
are now deſcribing has curves, bulges, and ſurfaces of this kind. It
is extravagantly and almoſt wantonly toſſed into curves and flouriſhes
of ſurface, that cannot be intelligibly deſcribed on paper. The lower
portion is a cupboard; the middle an eſcritoire or writing-deſk, with
ſloped flap cover. This is bulged out like the upper ſurface of a violin,
and the ſides of the lower part curve inwards, while the angles are
- brought out into narrow flat ſurfaces curving ſharply towards the central
doors and ſide panels. They roll over beſides, above and below. There
is a bookcaſe above, with panelled doors, and the top finiſhes in volutes
like thoſe at the angles of a Corinthian column, radiating from a centre,
and in two ſtages, ſiniſhing with a pedeſtal or plinth for a buſt on the
ſummit. Ivory marquetry ornaments the upper and lower doors, forming
only ſpots here and there, with ſuſtaining garlands or ſtrings. Butter-
flies,lmuſical inſtruments, &c., are added on the ſloping central flap.
The lower doors have each a central ivory medallion, with an em-
blematic device, and a legend round. That on the right-hand door ſhows
a ſun riſing over a mountain, and has the legend "HeſperIo portV
DVX hIC MICat aVreVs ortV 3 " that on the left a ſetting ſun, and
Sedan C/zairr. 2 6 5
the words a DVX ſoL InVaDIt LentVs in aXe CaDIt." The capitals
mark dates, and if we put them together, give us in the firſt hexameter
line MDCCXVVVVVIII, or 1738, and in the _pentameter line
DDDCLLXXVVVIII, or 1738, the ſame date ſpecially intended to
be commemorated.

42. '64.
EDAN Chair. Black leather, ornamented with gilt metal
mountings, and bearing the initials F. C. beneath an
earl's coronet. Engliſh. About 1760-80. H. 5 ft. ZY in.,
L. 3 ft., W. 2 ft. 973; in. Given by Mr. John Ward.
Covered with black leather, with edge mounts of gilt metal, forming
a border along the top of linen feſtoons, with acanthus moulding, &c.,
above. The top is ſurmounted by an earl's coronet. The ſame coronet
'ſurmounts a ſcutcheon below the window, on which are the initials
F.C. Carved and gilt lions ſupport the bottom of the chair behind, and
rich gilt and ſilk tags and taſſels are hung from the four corners. The
poles are carved and gilt in the central part that lies immediately
under the chair when in motion.
40. '64.
EDAN Chair. Painted panels, ornamented and crowned
with wood carvings of foliage, doves, &c.; with poles,
ſtraps, and other fittings. Uſed at baptiſms of the Grand-
Ducal family of Tuſcany. Italian. Early 18th century. H.
8 ft. 3312- in., L. 4 ft., W. 3 ft. 2 in. Bought, 451.
A ſtate chair gaily painted 3 white, with a border of gilt ribbon and
natural flowers placed among its folds.
The upper half is glazed in panes, the ſide doors open like thoſe of
a carriage. Along the window edges, on the angles, centre horizontal
line and baſe, run mouldings and borders elaborately carved and gilt.
Along the edge of the top runs a pierced Creſt of acanthus work carved
and gilt. In the centre of each ſide are two' demi figures of ſi nymphs
upholding oval paintings repreſenting the four T Laſt things," Death,
Judgment, Heaven, and Hell. A crown occupies the centre, on which
2 6 6 Farnz'tare and Wood-work.

are four female ſitting figures of the four cardinal virtues, Juſtice, Mercy,
Fortitude, and Temperance. This is ſurmounted by doves holding an
olive branch in their bills. It is lined with white ſilk brocade.
917. '6 9.
HELF or bracket. Wood, carved and painted in geome-
tric deſigns of various colours. Morocco. L. 8 ft.,
W. II% in. (Paris Exhibition, 1867.) Bought, 31. 45.
The top is ſurrounded by a gallery of little pierced Mooriſh cuſped
arches. It reſts on three pairs of brackets, dividing a narrower ſhelf
which they ſupport about half way down into three finall and two large
pigeon holes. The painted decoration conſiſts of geometrical lines,
figures, and knots carefully ruled out, and containing in the various
intervening ſpaces a teſſellation of gilding, blue, green, and red colour.
The whole of this work is minutely counter-changed and interwoven,
giving with little effort a rich and not inharmonious effect.
5965-'59-
IDEBOARD. Carved walnut, with cupboard and two
drawers in the lower part, and a flat top ſupported by
four turned ſupportsreſting on them; cavaliers on horſeback in
low relief carved on the panels. 17th century. H. 5 ft. 9 in.,
L. 4 ft. 6 in., W. 2 ft. Bought, 161.
The front of this buffet conſiſts of two cupboard doors carved in
relief, with drawers above. The top of the cupboard forms a dreſſer,
having three arched openings ſupported by turned baluſters two inches
in diameter, towards the bottom of which may be recogniſed the familiar
bulging acorns, ſo common in the Engliſh work of the Stuart times.
Theſe form three arches by the help of arch-ſhaped boards which meet
them from the top, with key pieces in their centres ; maſks are carved
on thoſe of the ſmall ſide arches, and ſitting female figures on that of the
centre, much as in the ſtate entrances to ſome of our old manſions con-i
ſtructed during the reign of the earlier Stuarts. The moſt intereſting
parts of the work are the three panels, one at the back of the open
arched portion, and one on each door panel. All three contain ſpirited
Engliſh S ic1eh0arc15. 2 6 7

repreſentations of Cavaliers wearing the grand croſs of the St. Eſprit or
of the Bath, probably the latter.
Theſe generals or princes are mounted on the heavy Flemiſh horſes
that figure in the equeſtrian portraits of Vandyck pictures. The dreſſes
are preciſely thoſe of the time of Charles I. , with half armour, flap
hats and feathers, and the buff boots of the day. One of the figures
is uncovered and holds a truncheon in his hand, another has a cylindrical
hat with a bruſh-ſhaped feather on one ſide. The figures ſtrongly
remind us of thoſe of Prince Rupert and Prince Maurice. The ſmall
frame pieces beſide the back panel are carved with foliated ornament of
the Engliſh character ; arabeſque work rather larger in detail Ornaments
the ſtyle of the lower door panels. Nude boys playing are carved in
relief on the drawer fronts, each of which is a repetition of the other.
The piece may be conſidered as Engliſh, and it may be ſafely conjec-
tured to have been made for ſome member of the court of Charles I.
8042.'62.
IDEBOARD or buffet. Painted and gilt wood with
marble top. In front is an allegorical painting by
E. Poynter, repreſenting the conteſt between Wines and
Beers. Modern Engliſh. Deſigned by Mr. W. Burges;
made by Meſſrs. Fiſher. H. 5 ft. 6 in., L. 4 ft. 7 in., W.
17 in. Bought (International Exhibition, 186 2), 401.
The central cupboard or locker is framed together with ſquare pieces
that form the legs below. The top or dreſſer ſurface is marble, and has
aback covered with red velvet faded to tawny, ſtudded with nails; a
ſhelf for ſmall cups, plates, &c., acts as a ſtep above the marble. The
intereſt of this piece of furniture lies in the paintings with which it is
decorated. The frame pieces are painted with conventional gothic
windows and a border with- animals chafing each other. The central
doors are decorated with figures. On one ſide the wines ; a tall female
figure with golden hair repreſenting Hock, which name may be read on
her ſhield. She is leaning one knee on a caſk and remonſtrating with a
burly male figure of Sir John Barleycorn, with a mace on his ſhoulder
and bearing his paternal coat of three barley ſheaves all proper on his
ſhield. Behind Hock are Champagne and the manly Burgundy, while
Sir John is backed up by his friends, Scotch ale, a female warrior and a
ſturdy male, Porter. They are all deſigned with vigour and ſpirit, and
ſhow a rare effort to ſuit the decoration to the uſe of the furniture.
2 6 8 Furniture and Wood-work.

'8439-'63-
IDEBOARD or buffet. Carved oak, open baſe, above
which is a panelled cupboard in two ſtages, the doors
and panels carved with warriors, female faints, and groteſque
figures, the angles of -Gothic buttreſs and pinnacle form. On
the top is a ſhelf on open arches ſilled in with 'arabeſque .panel
in 'front of later work; the iron hinges of flamboyant tracery.
Flemiſh. 15th century. H. 5 ft. 3% in., L. 4 ft. 3 in., W.
2 ft. 1 in. Bought (Soulages Coll.), 801.
This piece is of a kind rarely now found complete. It dates from
the 15th century, but quite at the end; as the arches are all circular
and the angle buttreſſes proclaim the mixture of ſtyles ſuch as we ſee
more fully in the old Biſhop's Palace at Liege, at the Exchange at
Antwerp, and elſewhere amongſt the monuments of civil architecture
in Belgium. The centre projects from its baſe with a narrowed' front
and canted ſides. Theſe are divided from the ſquare part at the back,
and from the front by elegant buttreſſes of about one inch and a half
projection 3 round, cleanly cut into ſcales with offset mouldings at the
different ſtages of their height, and pinnacle tops piercing the buttreſs
weatherings with which they finiſh under the ſlab that forms the top of
the cupboard. The panels are cut into rounded arches and are in two
tiers. Theſe contain ſingle figures of the virtues in the upper row, on
the ſquare and canted ſides. In front they ſorm two doors with large
lock.plates now loſt. In two ſmall arched panels, one in each door,
are baſ-reliefs of St. Catherine of Alexandria and St. Barbara. The
hinge ſtraps form two narrow panels of pierced tracery work with three
heads in relief planted on them. They extend the whole width of each
door above and below, and the panels are reduced an inch and a half by
each. Below theſe upper tiers we have a tier of narrower arched
panels, with reliefs of virtues and vices, as ag. Fortitude, Cowardice,
Exceſs, Temperance, &c. Two projecting beak-headed groteſques
divide the one central door from the two narrow panels on the ſides.
The buttreſs legs are joined by frame pieces cut into wide and
narrow arches on the front and ſides reſpectively; they are connected
by a horizontal bar below. The ſquare ſide panels are carved. The
ſtep or upper ſhelf is hollow, has round arches at each end, ſtumpy
pinnacle columns at the corners, and has probably had a depreſſed round
arch in front. The front is now ſilled by a horizontal panel of cinque
r tak' *]'*,*-***ſi_,,,
4




















.. 'il T'
> i ;> War-s i 'an l'l' Llll' "Till - i ;r-
.zl Tifflvffl'xzi wllmllll,.'llll,ill'llwllnilllllllliil'l" -,,,y,lijlqjjlzllili 'llllljh
.lia t' "all ' 'lE lllllilllllll Il.. W llilllllllil-'l al S'l' l will l' - *
_ *. ' * '* ' 'r- ' * *
L-

. f -___-.
ire; __- A
Rd-
a ____
_ ____
it; i___
;'___, .-__*__-_*
f T T i _ T,
.: fm _.-
































in. > il ll'V-i ll- '.'ll mill-il w r i. lll'lll'lilllll
ill *,U * w" w A," '- "U .,J! N'u'p i'- .W'I; 3 . I my 4 '. I r. um, 3
Xliii"- ill) l '1 rl "l"nillllwlllllllllllll lll'liaiiwll'+' lllllill'll llllilllll lt_ l y+ -; ill il ill pill ill in. _3'
SIDIZBOA RI) OR BU FFIST.
Firm/1, .YP'. Cum/ty.
French Sia'ehoara'. ' 269

cento arabeſque, with the arms of De Clare on a ſhield in the middle.
Theſe bearings, however, or three cheverous gules, may alſo indicate
thoſe of a continental poſſeſſor.
72 1 7. '60.
ct IDEBOARD or buffet. Carved walnut wood, in three
ſtages; the ſupports and angles of groteſque figures,
ſatyrs, &c. A naked Amazon in the centre of the ſecond ſtage,
on either ſide of which is a panel containing a trophy ſupported
by Amazons. The back of the third ſtage filled in with a
groteſque crouching figure, with foliage. French. About
1560. H. 7 ft., L. 4 ft., W. I ft. 8 in. Bought (Soulages
Coll.), 501.
The top ſtage forms a back panel with ſtep-ſhelf between it and the
dreſſer or top of the central cupboard ; this has a projecting cornice.
A groteſque figure ſquatting, and with its legs ending in bold arabeſque
volutes, and two cherub heads, occupy this panel. Two caryatid figures
of ſlaves in high relief act as ſupports to the cornice on each ſide, and
two fiank groteſques ſpread the outlines of the front elevation. The
front of the little ſhelf below and the mouldings of the panel are all
carved in relief; the ſhelf front with groteſque figures. The cupboard
or central diviſion is divided in front by a nude figure of an armed
amazon into two panels, with bold carved projecting outer mouldings ;
theſe contain trophies in ſquare architectonic frames ſurmounted by
interrupted pediments, an eagle and Ganymede forming the central
figure of the pediments; theſe are ſupported by amazons in armour.
Side terminal figures of Mars and of amazons balance the central figure
on the angles, front and ſide. The end panels are carved and bold
curved roll mouldings finiſh the cupboard portion. Below it is a convex
carved moulding running the length of the front and returned on the
ends. The front is in two, and opens two drawers, but this diviſion
does not ſhow when the drawers cloſe. Two ſitting female groteſque
figures with wings and bunches of fruit on their heads form ſolid
ſupports. Carved ſquare baluſter ſupports, with a carved panel between,
form the back. The whole ſtands on'a ſolid plinth with moulded front
and ſides.
270 Furniture and Wood-word.

7218.'60.
IDEBOARD or buffet. Carved wood, in three ſtages;
the ſupports and angles of groteſque figures, ſatyrs, &c.
Two draped female figures in the centre of the ſecond ſtage,
on either ſide of which is a panel containing an eagle. The
back of the third ſtage ſilled in with a trophy of weapons of
Warfare, amidſt which is a figure of Bellona. French. About
1560. H. 7 ft. 6 in., L. 4 ft. 8 in., W. 1 ft. 10 in. Bought
(Soulages Coll.), 601.
This, though not much larger in main meaſurements than the laſt,
is more ſquare and high ſhouldered, and looks a far more impoſing piece
and fitted for a larger room. The upper part has a projecting cornice
with egg and tongue, ſlat and receding hollow mouldings, all carved with
Greek volutes, palmetto leaf, bead ſtrings, &e. delicately ſo as to
preſerve the general outlines and ſurfaces. This is ſupported by draped
female figures, and groteſque ſide pieces projecting below and curling
inwards carry the outline from the cornice, which is narrower, to the
full width of the dreſſer ſhelf below. The figures ſtand on a carved
ſhelf, and the back panel is ſilled with a military trophy roughly carved,
and an armed Bellona dancing amongſt the arms and holding a ſcimeter
of the ſhape of a chopper. Two draped ſigures of Faith and Love on
a pedeſtal or baſe divide the ſquare door panels, and ſquatting groteſques
turn the angles. The panel mouldings conſiſt of a bold projecting
convex carved outer member, which is concave on its inner ſides,
then an inch of flat and fine ſtrings within. The narrow drawer fronts
form one line of knotty carving, ſtrings of fruit, &c. Square ſolid ſupports
have ſatyr fronts carved on all ſides. There are three ſatyrs in relief at
the back, and two arabeſque panels between; and a baſe with ſtrings of A
carved mouldings.
The modeſt ſquare character of this buffet is preſerved throughout.
If the carvings are examined they will be found full of the eſſentials of
good deſign. The caryatid figures of the upper canopy and the virtues
between the doors are correct and graceful. Maſks, foliage, conventional
architectonic ornaments are uſed in profuſion over the panels and
mouldings, but with a careful regard to the Preſervation of the original
outlines and the ſurfaces of the ſirſt deſign. '
French Sidebaards. 2 7 1

7219.'60.
IDEBOARD or buffet. Carved wood, in two ſtages 3 the
ſupport and angles of groteſque figures, ſatyrs, &e. A
group of nude man, woman, and child in the centre of the
upper ſtage, on either ſide of which is a panel with figures of
Mars and Mercury ; a band of marquetry along the upper
part. French. About 1560. H. 4 ft. 7 in., L. 3 ft. 10 in.,
W. 1 ft. 7 in. Bought (Soulages Coll.), 501.
This conſiſts of a cupboard with dreſſer top and a baſe with back
panel. The carving is more artiſtic and the work finer than moſt of
thoſe we are now deſcribing. The three figures in the centre are Mars,
Venus, and Cupid. Mars wears a helmet, and Venus is furniſhed with
a towel. The figures on the front and ſide angles are groteſques. The
top ends in a mould of ſquare drops carefully cut, and there is a ſlat of
marquetry inlay above the doors, with a marble plaque in the centre.
The drawer fronts form one convex carved moulding, the principal
member of the horizontal group that finiſhes the upper portion. The
door panels have broad projecting mouldings, much as the laſt deſcribed.
The back panels underneath project an inch and a half forwards on bold
convex mouldings, and the arabeſque panels are kept well out. Carved
baluſter ſupports divide and hold theſe panels. The front ſupports are
groteſque female figures ſquatting acroſs the angles, with groups of
fruit and leaves elaborately carved 3 a ſort of cloth or drapery rudely cut
into folds confines the carving to the outer ſides. The baſe has three
carved mouldings, conſiſting of three main members in three ſizes, with
fine ſtrings.
4050. ' 56.
IDEBOARD or "Dreſſoir de ſalle-a-manger." Carved
oak. French. About 1580. (Brought from the neigh-
bourhood of St. Lo, Normandy.) H. 7 ft. 9 in., L. 4 ft., W.
1 ft. 9 in. Bought 151.
4051.'56.
IDEBOARD or "Dreſſoir de ſalle-a-manger." Carved
oak. French. About 1560. (Brought from the
'*'
2 7 2 Farnz'tare and Wood-work.

neighbourhood of St. Lo, Normandy.) H. 7 ft. 9 in., L. 4ft.,
W. 1 ft. 9 in. Bought, 301.
It conſiſts of three parts, a central cupboard with dreſſer top. A
drawer below; an open lower part ſupported by carved figure, legs on a
ſquare baſe. The work on this piece is of very ſimilar character to
that of Elizabethan furniture of the ſame period. The doors are
panelled with fine mouldings. There is a bold ſcrolled ſcutcheon or
cartouche in the centre. The three ſpaces that flank and divide the
doors are decorated with large maſks and ſcrollwork around them. The
drawer under the cupboard has a bold gadrooned front to it that gives
a marked central line. The front of the plinth or baſe is ſimilarly cut.
The ſupports are two ſphinxes, and the back behind them is panelled.
The panels are divided by Elizabethan claſſic pilaſters, and filled up by
ſcroll ſtrapwork. On the dreſſer there is a ſtep or ledge with bold
carved horizontal mouldings to it. The panel at the back of this part
is carved with a recumbent Diana and ſcrolled ſcutcheon work round
it; beſide this panel are ſphinxes that ſupport the cornice.
8453-'63-
IDEBOARD. Carved walnut wood, in three ſtages;
decorated with columns, maſks, terminal figures, foliage,
&c., and the plain ſurfaces inlaid with marquetry of mother-of-
pearl, marbles, and coloured woods. French. About 1550-60.
Aſcribed to Bachelier of Toulouſe. H. 7 ft. 8-3; in., L. 4 ft.,
W. 1 ft. 8 in. Bought (Soulages Coll.), 3001.
This is a ſpirited and well-executed ſpecimen of a cinque-cento
ſideboard. The centre is a cupboard with an architectural front, with
a ſingle central panel ſlanked by two Corinthian columns and a niche
between, on each ſide. Each ſide niche contains a figure in high relief.
The central niche contains a baſ-relief repreſenting David carrying the
ſword and head of Goliath. The ſide niches contain, on one ſide a
female figure holding the ſword and the balance, and repreſenting
Juſtice; the correſponding figure holds a column and repreſents For-
titude. The lower portion begins with a drawer front and ſides. This
horizontal part is ſupported by groteſque figures of winged ſatyrs,
ſquatting and ſpreading ſideways. The plinth or baſe is ſquare, and is
connected by a panelled back with the upper portion. The drawer
front and return ſides are indented by bold flutings that curve outwards,
French Sia'ehoara'. 2 7 3

and are partly filled by marble inlays. The upper portion, beſides having
the top of the cupboard to form a dreſſer, has projecting from its archi-
tectonic back a low ſhelf or ſtep with panelled front. The back,
Which is arranged to converge to a pediment, is full of ſalient points, ſo
as to give abroken outline on the top and ſides, this part being the moſt
ſtriking in a piece of furniture deſigned for dining room uſe. The
main portion above the low ſhelf or ſtep is a ſquare panel containing
carving. It repreſents Judith carrying her burden, aſcending a flight
of ſteps. Projecting forward over this is a bold ſquare corona and
cornice upheld by two ſatyrs in full relief. The broken pediment above
is crowned by a central buſt ſtanding on a ſcroll, and is formed by two
groteſque peacocks which ſupport it on each ſide, ſuggeſting the in-
terrupted pedimental arrangement without having recourſe to mere
imitation or model work of actual architecture. On either ſide of the -
main ſquare panel are two half panels ſtretching out on each flank.
They are of architectonic character with pilaſters, and are covered by
groteſque maſks and garlands that hang from theſe ſides to the central
part. The maſks and garlands form ſalient knots or maſſes. The
half-panels again are flanked by carved monſters, whoſe tails curve
upwards and give a floral richneſs to theſe flank terminations. Half
pediments, with the broad part facing outwards, ſurmount theſe monſters,
and a dragon ſitting over each of the half pediments, balances the central
peacock Compoſition. The Corinthian columns, cornice flats, and the
flat portions of the back panelling of the bottom part are decorated with
inlay of pearl and varied woods.
This piece formed part of the Soulages Collection.
4049.'56.
IDEBOARD or Dreſſer. Carved oak. French. 16th
century. (Brought from the neighbourhood of
St. Lo, Normandy.) H. 8 ft. 2 in., L. 4 ft., W. 1 ft. 9in.
Bought, 151.
In three ſtages : a top drawer with two ſhelves or ſteps, a central
cupboard drawer below, and ſupports on a baſe with panelled back.
The cupboards in the centre are double, each of the two doors opening
to one ; they are in all but 13-3 inches high. The framing of the door
panels is peculiar. Four triangular pieces, mitred together, form the
door; there is a bold convex member carved with ſtrapwork, which is
the noticeable moulding of theſe panels, and the breadth allows a good
ſized key-hole to be pierced through. The centre is formed by a carved
F. s
274 Furniture and Woodwork.

cherub head, with wings in bold relief. The centre . is not more than
the equal in width of the moulding, which with its two ſides bears the
proportion of two to one of the panel. The dreſſer or cupboard
top has one broad ſtep,and above that a narrower, thus giving three ſets
of ſhelves for diſplay. The whole is ſurmounted by a moulded cornice
and ſhaped pedimental top. The drawers, &e. are furniſhed with
neat little loop handles, made out of iron of about 3- of an inch thick,
and two inches long. They ſwing in a ſmall loop, and are flattened
out and curved over like a ſiſh-hook, ſhowing the convex ſide outward.
Eaſily made ironwork of this kind is ſimple and light in effect ; it does
not interfere with any of the carved work. The flat framing-pieces
of the dreſſer are adorned with 16th century groteſque maſks and
figures, and the baluſter legs are worked on all their ſides with wood
inlay.
6746-®59- _
IDEBOARD or Credence. Carved oak; Gothic deſign;
an inciſed maſk on each of the two doors. German or
Flemiſh. 15th century. H. 3 ft., L. ft. 10 in., W. 1 ft. 8 in.
Bought, 31. 45.
Though from its height and the uſes that may be made of furniture
that reaches ſome way up the wall of a room, this piece is called a ſide-
board or cupboard, it may be deſcribed as an example of a cheſt, ſuch as
are common in old houſes, in churches, and veſtries, for the Preſervation
of records, &c., with the frame-pieces at the ſides prolonged into legs.
There is rude ſlamboyant tracery on each ſide of the doors, and
diamond-ſhaped piercings on their fronts; and a bar below the panels,
carved with foliage.
,. 24. ' 51 .
IDEBOARD, with Mirror. Carved walnut wood in
the Italian ſtyle of the 16th century. Italian, modern.
(A. Barbetti, Siena.) H. 12 ft. 7 in., L. 6 ft. 2 in., W.
2 ft. 7-L-in. Bought (Exhibition of 1851), 4001.
This ſideboard is backed by a looking-glaſs on the upper and lower
portions, ſo as better to ſhow off whatever is put on it. The central
board is furniſhed with a drawer, the front of which with the returns
at the ends and flanking off-ſets behind, forms a belt of flat fluting filled
' Italian Sideaoard. 2 7 5

with quills, and divides the piece into two parts. The lower part
is plain, with a ſlat floor touching the ground. The centre board is
ſupported by brackets, ſhaped like an Italian capital C, formed of ſcrolls.
A lion occupies the open part, and the tail branches into delicate
foliage in entire relief; the over rolls of the top and bottom have maſks,
&e. on them in relief. Theſe ſupports ſtand on moulded plinths.
They are backed by ſquare piers, with a panel on each outer face
filled with garland-work.
The upper part conſiſts of an architectural door-frame ſupported on
'compoſite columns, fluted above and carved with arabeſques on their
lower portions 3 the architrave is covered with delicate arabeſque work
and animals, the Coffers on its under fide being alſo filled with carving.
The architrave follows round the return ends. The flanking pilaſters
and their baſes have ſunk panels occupied by candelabrum compoſitions
in the ſtyle of the Venetian arabeſque panels. A band of ſimilar work
runs below the columns, and this again is brought down 'to the table
by a bold moulding eight inches in depth, the main part carved with flat
ſcales, and the upper and lower fillets with plaited and foliage cuttings.
Above the architrave and cornice riſes a ſculptured fcroll pedimental
compoſition, having on each ſide a boy on a lion, and an heraldic
trophy in the centre.
The general decoration is much in the ſtyle of the window pedi-
ments' ſculptured in marble on the faeade of the Certoſa di Pavia (of
which a caſt may be ſeen in the Muſeum). The glaſs frame within
the doorway conſiſts of two carved mouldings, the outer ſmaller than
the inner, and garlands looped into ovals, with trophies of arms, muſical
inſtruments, &e. in the central part.
One of the angle ſcutcheons of the looking-glaſs frame bears two
coats of arms. 1. Per pale, argent and gules, a tower ſurmounted
by a ſtar of ſix points. Over all a feſſe divided dente16, of the ſecond
and firſt. 2. Or, three bars denteles. -
The delicate carvings executed by Barbetti of Siena ſhow off the
grace and lightneſs of hand of the modern Italian workman to perfec-
tion. Excellent ſpecimens of his work have been ſent to the Inter-
national Exhibitions of 1851, 1855, 1862, and 1867.
39- '64-
LEDGE. To be driven by hand; carved and gilt wood.
Engliſh. 17th or early 18th century. H. 3. ft., L.
3 ft. 10 in., W. 2 ft. 4 in. Bought, 51.
sz
2 7 6 Farnz'ſare and Woodwor/z.

Made for ſkaters to puſh a lady before them on the ice.
It is ſhaped like a ſhoe. The back is carved and pierced in imita-
tion of Chineſe or Indian pierced woodwork. The front is carved
with garlands and a little cupid ſpreading his cloak as a ſail in the middle.
The reſt of this portion is a compoſition of acanthus and other leafwork.
It ſtands on two ſkids ſhod with iron. '
1150. '68.
m LEDGE. Lime wood, carved, painted, and gilt, tue front
b repreſenting a phoenix, the body formed like a ſhell is
upheld by two nude children ſupporting armorial ſhields; the
driver's ſeat, which is behind, reſts on a coloſſal maſh. Swiſs.
Early 18th century. L. 6 ft. 8 in., H. 3 ft. 7 in. Bought, 91.
This has been made for draught over ſnow. The ſeat portion is
carved into the form of a nautilus ſhell, ſupported by two cupids, all
painted after nature. The cupids are connected by coarſe carved and
gilt ſcrollwork to the front, which riſes up over the feet, and is ſur-
mounted by a phoenix in a neſt, ſurrounded by flames carved, gilt and
painted.
There is a driver's ſeat behind, which is outſide the vehicle, and
leaves only room for the legs each ſide the back of the ſledge, reſting on
a green wood baſe, on which the whole ſtands.
It has been mounted onwooden ſkids, now wanting. The general
arrangement is the ſame as that of a Ruffian droſky. It is meant to be
drawn by a horſe.
300.'67.
PINNING Wheel. Carved walnut wood. Engliſh.
Firſt half of 18th century. -H. 3 ft. A in., diam. of
ſi wheel, 12 in. Given by F. 1-1. Rich, Eſq.
It ſtands on three turned feet ſcrewed into a turned flat table,
which connects and holds together the ſupports of the upper part. Two
of theſe feet are' connected by the treadle. The rails that form the
conſtruction are turned in the lathe, and parts afterwards fluted deli-
cately with a gouge.
Spinning Wheels. 2 7 7
4475-'58-
PINNING Wheel. Wood. Lacquered and decorated
with Chineſe deſigns. French. 18th century. H.
15z£- in., L. 16 in., W. -8-}; in. Bought, 31.
Z- 7 I.
PINNING Wheel. The ſtand and framework of turned
wood, and the wheel ornamented with an impreſſed
deſign. Italian (Venetian). Late 17th century. H. 4 ft. 1 in. ,
L. of baſe 135; in. Bought, 81.
It reſts on four turned legs containing the treadle between them ; a
table above connects the legs, wheel ſupport, &c. together. There are
ſeveral winders, making a complicated though not confuſed piece of
feminine houſehold gear.
304 to 304c1. '66.
PINDLES (two), reel, diſtaff, and winder. Walnut wood.
Turned and carved, with boxwood collars and carved
ivory ſtuds. Spaniſh. Probably early preſent century. Reel,
H. 3 ft. 6 in.; Diſtaff, L. 1 ft. 6 in.; Winder, L. 2 ft. 7 in.;
Spindles, L. 14 in. and 11 in. Bought, 21. 145. 7a'.
This has no wheel ; a wide winder of turned rails connecting two
ſets of radiating ſpokes is puſhed round by the hand. It has a pretty
top ornament made of little turned rails framed together like a claffic
ſhrine, with'a turned ornament in the centre. All theſe portions are
richly decorated with ivory knobs and collars.
2 142. ' 5 5.
POON. Boxwood, The bowl carved on the inſide with
a portrait and inſcription in German, outſide an equeſtrian
figure of an Elector of Germany ; the ſtem carved with Adam
2 7 8 Furniture and ctWoodwarL.

and Eve embracing, and the 'Virgin and Child ; on the end is a
monkey. German. Dated' 1676. L. 72 in. Bought (Bernal
Coll.), 71. 155.
The mixture of ſacred and profane on this piece is ſingular enough.
The bowl contains a figure of an Elector, a very ornamental perſonage,
well furniſhed with hat and feathers, lace and other ſplendour. The
head is ridiculoufly exaggerated as compared with the body. This is
probably meant to imitate the diſproportioned reflection of a poliſhed
convex ſurface. The inſcription in the bowl runs as follows :-
DAS BLVT JESU CHRIST GOTTES SOHN MACHGET
VNS REIN voN AL SINITN'.
The blood of Jeſus Chriſt cleanſes us from all ſin.
It is a pathen loffel or chriſtening ſpoon, and has been given by the
godfather at a baptiſm.
2343-'55-
POON. Maplewood. The ſtem covered with ſmall
figures of the twelve Apoſtles; on the bowl is the ſacred
monogram. German. I7th century. L. 52 in. Bought
(Bernal Coll.), 11.
The ſtem is divided into ſquare maſſes, each containing in groups
four of the twelve apoſtles, with little architectural mouldings to
ſeparate them. It is a baptiſmal ſpoon. The work is vigorous and
comes from the ſchool of carvers of ſmall ſigure ſubjects of Nurnburg
or Augſburg.
4724-'59-
TAFF, of Bamboo cane. Engraved with four alternating
rows of medallions, with groteſques between, filled with
ſubjects from the Apocalypſe and from the Goſpels; at the
bottom, a ſhield of arms and the following ſignature,--
V Antonius Spanus Tropienſis incidebat." Italian (Calabrian).
Italian Stanes. ſi z 79

16th century. L. 4 ft. 93- in. Bought (Muſeum of the Collegio
Romano). * i
Each of the eight ſubjects engraved on this ſtaff is contained in a
circular medallion, and ſupported in the interſtices by groteſque ſquatting
figures, foliage, ſcrolls and branches. Each medallion meaſures but
1% inch, and is ſurrounded by a border containing a Latin legend de-
ſcriptive of the ſubject. The little compoſitions are ſpirited in deſign,
and deſcribe the life and acts of the Redeemer and the myſtic viſions
of the Apocalypſe. The groteſque figures and ornamental work are in
the Venetian manner. The work is done with the etching needle,
and for fineneſs of execution it would bear compariſon with the work
of the Dutch engravers of the 16th and 17th centuries.
The arms are two coats quarterly, I and 4 a croſs charged with
five creſcents, 2 and 3 party per feſs; in chief an eagle diſplayed, in
baſe a bull's head couped. Antonius Spanus was a Neapolitan artiſt,
born in the 16th century, who entered the ſervice of Philip II. of Spain
in 1 59 5, and' died at Madrid in 1615.
4725-'59-
TAFF, of Bamboo cane. Engraved with the ſeven
joys of the Bleſſed Virgin; borders of foliated ſcrollwork
between the ſubjects. Italian. I6th century(?). L. 4 ft. 2 in.
Bought (Muſeum of the Collegio Romano).
Seven engravings, finely executed, deſigned in the ſtyle of the
Roman ſchool, repreſent the ſeven joys of the Bleſſed Virgin Mary,
with a legend, a Septem Gaudia B. V. Mariae." Theſe are-1, the
Annunciation; 2, the Adoration of the Shepherds; 3, the Adoration
of the Magi; 4, the Reſurrection; 5, the Aſcenſion 3 6, the Deſcent
of the Holy Spirit; 7, the Aſſumption. The compoſitions twine
round the ſtick, and are executed with the etching needle. Bands of
delicate ſcrollwork ſet off the ſubjects. There is no ſignature viſible.
There are no indications of its ever having been mounted in metal top
or bottom. It appears to have been prepared for a crozier or abbot's
ſtaff, but not completed.
4723-'59* a
TAFF, of Bamboo cane. Engraved with 59 ſubjects,
ſcriptural and eccleſiaſtical, each with a Latin legend;
the interſpaces decorated with cherubs' heads. Italian. I6th
280 , Fnrnz'zare and Wood-work.

century. L, 5 ft. 3% in. Bought (Muſeum of the Collegio
Romano).
The ſubjects are 59, but a 60th cartouche is added to contain
heraldry or a ſignature, never added. The ſurrounding work is leſs fine
"in execution and deſign than on thoſe laſt deſcribed. The ſubjects are
deſcribed in Latin legends : I. V Creavit Dominus coelum et terram."
2. V Faciamus hominem ad imaginem et ſimilitudinem noſtram," &c.
The firſt ſeries repreſent the typical events of the Old Teſtament
hiſtory down to the Flood, and the repeopling of the earth, with the
renewal of the Promiſe. To theſe ſucceed a ſeries repreſenting ſcenes
in the life of the Redeemer, till the work reaches the top. Gold or
enamel rings have covered the joints of the cane, but theſe are gone.
It has been uſed probably as a paſtoral ſtaff.
7855.'61.
TAND. Wood. Carved and gilt; maffive tripod form.
Italian. 17th century. H. 3 ft., W. 2 ft. 6 in. Bought.
It forms one of a pair. The carving is bold and cleanly cut. It
is intended to ſhow off the gilding by contraſts of ſurface, and by alter-
nating matted with burniſhed gold.
They have ſerved for ſtands for lights or vaſes, and probably were of
Venetian production.
7855a.'61.
TAND. Wood. Carved and gilt; maſſive tripod form.
Italian. 17th century. H. 3 ft., W. 2 ft. 6 in. Bought.
779 '65-
K TAND for a fire-pan or V braſero." Ebony, octagonal
baluſter frame, with cut braſs mounts. Portugueſe.
17th century. H. I ft. 2 in., diam. 1 ft. 9 in. Bought, 41.
Antique Tahle. 2 8 1

This ſtand has held a large pan of braſs, lifted by two maffive braſs
rings, ſuch as are uſed in the Levant generally, and in ſouthern countries
where the cold weather laſts too ſhort a time to require the permanent
uſe of hearths and chimnies.
7895.'62.
TOOL. Carved wood. White and gold, the ſeat covered
with ſilk. French. 18th century. H. 1 ft. 5 in., W.
1 ft. 9 in. Bought, 31. 45.
'70. 8.
ABLE, of metal, in imitation of bronze. The table
is ſupported by a terminal pillar, againſt which is
_ 'A a figure of "Victory" ſtanding on a globe, on
which is inlaid in ſilver a Creſcent moon. The
figure of " Victory " has a trophy in her right hand, and above,
,.
. , I
w:
- 557.'
A, r


on the pillar of the table, is a terminal head. The original, in
bronze, was found at Pompeii in 1864, in a houſe cloſe to the
Temple of Venus; it is preſerved in the Muſeo Borbonico.
Antique Roman. H. 2 ft. 10 in., W. at baſe, 1 ft. 1 in.
Bought Caſtellani), 401.
The leg and foot of the table of which this is a reproduction are
antique. This part conſiſts of a vaſe ſtanding on the head of a terminal
figure of a bearded man of Etruſcan character. The terminal poſt is quite
plain below the neck; two ſquare pieces, an inch every way, project
where the arms would be. The foot of the table is an oblong platform
with baſe mouldings ſtanding on four claw feet. This part is 13 in.
by 102 in. The terminal ſupport is at one end of it. In front riſes
a figure of the winged Victory holding a tropaeum in her right hand,
and raiſing the left over her head. The trophy conſiſts of a cuiraſs,
plain, in the ſtyle of thoſe on the Trajan column, mounted on a croſs of
rough timber, with knots marked on it. The arm pieces ſupport a
ſword and a ſmall ſhield.
2 8 2 Furniture and .Woodwork.

The Victory is balanced on a ball, and the ball mounted on a
circular pedeſtal which unites the figure to the oblong platform, on the
corners of which ſtar-ſhaped flowers have been worked by damaſcening.
The top of the ſupport ſpreads into four croſs pieces of metal intended
to hold a wooden or a marble ſlab.
It is of Greco-Roman workmanſhip. The Etruſcan character of
the head and the reſemblance between this type of head and that of the
heads of the pedimental figures of the ZEginetan ſeries in the Britiſh
Muſeum, will help to ſhow how long the traces of Greek authorſhip or
tradition could be recogniſed in Etruria, and how much they affected
the ſumptuary arts that ſet off the houſes and chambers of the patricians
of the Roman empire.
652. '69.
ABLE. Walnut wood, inlaid with flowers and foliage in
mother-of-pearl. Cochin Chineſe. H. 2 ft. 3% in.,
L. 2 ft. 6% in. , W. 1 ft. 42- in. (Parisj Exhibition, 1867.)
Bought, 241.
A table in all reſpects fitted for modern European uſe. The height
is that of our ordinary tables.
The top is of walnut wood framed into a flat panel, and inlaid with
mother-of-pearl of various opaleſque tints. The frame, into which the
legs are ſet, bulges out at the depth of an inch to the ſame outline as
that of the top. This portion is inlaid alſo, ſo are the upper portions
of the legs. The inlaid parts are flat. Four ſquare legs are joined on
in continuation of theſe parts, and have mouldings of an architectural
character for the reſt of their length.
The table has poffibly been made to an European order.
'68. 99.
ABLE. Copper ſilvered and oxydiſed; covered with
foliage in repouſſe work, and bearing the monogram of
King Charles II. The original, of ſilver, is the property of
Her Majeſty the Queen, and forms part of the Royal collection
of plate at Windſor Caſtle. Engliſh. Date about 1670. H.
Engliſh Tables. 2 8 3

2 ft. 9 in. Top, 3 ft. 6 in. by 2 ft. 4 in. Electrotype caſt by
Meſſrs. Franchi and Son.
The centre and the borders of the original table are in ſeparate
plates of repouſſe work. The ornament is compoſed of tulips, ſuch as
were common in the ſilver plate decoration of the day, with rolling
acanthus ſcrolls branching from them till they meet the correſponding
pair which touch them in the centres of the ſides. A royal crown and
the monogram OC intertwined form the central ornament of the table.
The legs are ſingle twiſt baluſters, as in the ſtair ramps of the day,
with bulbous feet, and each pair joined by braces ſhaped with curves
and angles, and united to the oppoſite pair by a ſtraight flat piece, on
the centre of which is a boſs of repouſſe work. The metal has been
laid over wood.
'68. 122.
ABLE. In the centre of the top is the conteſt of Apollo
and Pan in low relief; at each corner an earl's coronet
and a monogram; ſcroll legs and pendent front ſimilarly deco-
rated; a crown of foliage at the interſection of the ſtrengthening
bars. The original, ſilver beaten and chaſed, is the property of
the Counteſs De La Warr, Knole Park. Engliſh. 17th
century. L. 3 ft. 5 in., W. 2 ft. 10 in. H. 2 ft. 7 in. Electro-
type. Bought of Meſſrs. Franchi and Son.
The top is compoſed of ſeveral plates, each ſeparately beat up and
mounted on the wooden ſlab that forms the table top. On the central
plate, which forms a large medallion, is the conteſt of Apollo and Pan.
The latter is playing his pipes under a tree, with gods liſtening in the
background. Apollo holds his lyre under his arm, and awaits the
judgment of the liſteners. The deſign is correct in general outline,
but not of a high order.
The corner plates contain the fame monogram as that on No. 69. '63.
The legs are S-ſhaped. The two reverſed curves, however, meet with
an angle, not with a ſweeping curve.
The legs are ſupported on claw feet with balls under the claws,
and each pair connected by curved braces, which again are connected
together by a ſtraight piece with a circle in the centre.
2 84 Farnz'zfare and Wood-work.

'68. 100.
ABLE. Copper ſilvered and oxydiſed; the upper ſur-
face chaſed, with the arms of King William III. in the
centre. The original, of ſilver, is the property of Her
Majeſty the Queen, and forms part of the Royal collection of
plate at Windſor Caſtle. Engliſh or Dutch. Date about 1700.
H. 2 ft. 7 in. Top, 4 ft. by 2 ft. 412- in. Meſſrs. Franchi and
Son.
The table, of which the Muſeum contains this caſt, is of beaten
work in the fineſt French or Dutch-French manner of the period.
The frame is ornamented by four bands of flower Wreaths in high
relief, one on each ſide. In the centre of each are the roſe, thiſtle,
ſhamrock, and ſleur-de-lys. The ſupports are female terminal figures
going down into acanthus leaves, and with ſimilar work in place of the
two arms. They are connected below by four pieces curving like the
feet that ſupported the central leg of round loo tables in the laſt century.
They are maffive in appearance, being mounted on wood and carefully
joined. The centre, where theſe four braces meet, forms a ſquare
plinth or baſe, ſurmounted by a pine well beaten up with clean and
pointed edges and angles wherever they occur in the modelling.
The top is flat, and ornamented by chaſing only; it is divided into
one central and ſix other panels ; the ends into two, and the ſides into
three. The central panel contains a chaſed and engraved trophy of
arms ; and the others :--thoſe on the corners, contain each one of the
emblematic flowers, roſe, thiſtle, &e. ; and the middle ſide panels,
figures of dogs or cupids.
It is poſſibly from the deſigns of Daniel Marot, who was much
employed in Holland at the court of William III., and may have
executed the table in Holland, or ſent his deſigns to this country.
'69. 6 3.
ABLE. Ebony with ſilver mounts, conſiſting of ſcrolls
in relief, and a monogram ſurmounted by a coronet.
The original, ſilver beaten and chaſed, is the property of the
Counteſs de la Warr, Knole Park. Engliſh. 17th century.
Engliſh Tahles. 2 8 5

L. 3 ft. 4 in., W. 2 ft. 3 in., H. 2 ft. 5215 in. Electrotype.
Bought of Meſſrs. Franchi and Son, 321.
The mounts on the four corners conſiſt of tulips and acanthus
leaves. The central plate contains a monogram compoſed of the letters
CMF in Roman capitals, doubled and ſurmounted by an earl's coronet.
The legs are turned in the lathe and ornamented with rings of beaten
ſilver. They are connected at the ends by curved braces ornamented
with edges and a row of borders of beaten ſilver. Theſe braces are
joined by a ſtraight piece ſwelling into a circular centre ornamented
with a roſette of beaten ſilver.
4620.'58.
ABLE with drawers. Wood inlaid. Supported by four
ſpiral columns, the top of marquetry of coloured
woods in geometrical patterns, bone and ebony moſaic borders,
and at the corners four ſtars. Engliſh. About 1700. H.
2 ft. 7 in., L. 3 ft., W. 2 ft. 7 in. Bought, 1 11. 1 15.
The top is of marquetry, not inlaid in the Italian way, but formed
of ſlices or ſections of laurel, arbutus, and other rare native woods,
ſhowing the concentric circles of the grain. The centre is a panel with
a border of ebony and ivory; circles with large ebony and ivory ſtars
fill this panel, and ſtars are placed on the four corners of the table ; the
legs are connected by a ſtout framing. Roſewood, box, walnut and holly
are alſo employed in the inlaying. Probably a piece of Tunbridge work
of the laſt century, before mahogany had been introduced into the manu-
facture of furniture by Chippendale and other contemporary makers.
632.'68.
ABLE, Card. Roſewood inlaid with other coloured woods
in claſſic groups and borders. Engliſh 18th century.
H. 2 ft. 6% in., top ſquare, 2 ft. 7 in. when open. Bought,
231. 105.
Inlaid with a central medallion of claffic figures, and a border of
claffic foliage. Marquetry of coloured woods during the reign of William
2 8 6 Fnrnz'tnre and Woodwork.

and Mary, and of Anne, is generally deſigned in bold arabeſque foliage,
with birds in coloured woods more or leſs helped out by burning and
engraving ſo as to give gradation of hue and varieties to the ſame light
wood. The general uſe of ſuch furniture came to us from Holland;
but the character of the deſign of theſe tables belong rather to the north
of Italy and Savoy. The Nice workman continues to produce pictorial
groups of inlaid work in furniture. Whether, therefore, the work
here ſhown has been made in England we will not undertake to decide.
633.'68.
ABLE, Card. Roſewood inlaid with other coloured woods.
in claſlic groups and borders. Engliſh 1 8th century.
H. 2 ft. 6? in., top ſquare, 2 ft. 7 in. when open. Bought,
231. IOJ'.
635.'70.
ABLE, dreſſing. Satin wood, with bow-ſhaped front
containing a drawer, reſting on ſlender legs connected by
curved braces ſupporting a box ; above, a neſt of five drawers,
with pedeſtal cupboards connected by a ſhield-ſhaped ſwing
toilet glaſs; painted with garlands of flowers and griſaille
medallions. Engliſh. Late 18th century. Bought, 2001.
The table is painted with garlands of natural flowers on the flab,
the edges, the front and ſides of the drawers, round the glaſs, and in
ſpiral bands down the legs. The drawers have ſilver handles. On the
ſmall panels left at the corners of the little upper drawers are painted
cameo gems with heads of claffic poets.
Chiaroſcuro paintings are painted on the cupboards that Hank the
glaſs, in the manner of Cipriani, who painted furniture of this deſcription
made by Lock, Chippendale, Heppelwhite, and others who worked
under the Adams. The door fronts form panels, and contain on one
ſide Comedy, dancing, and led by Cupid, who bears a torch. On the
other, Tragedy, Medea with a dagger and one of her dead children at
her feet. The glaſs has wreaths of painted work above it centering in
a round medallion painted with a little girl playing with a ſparrow, and
under the glaſs is a dove. The legs are turned and decorated with
inlaid ivory rings. They are connected by four curved braces riſing
Engliſh Tables. 2 8 7

and meeting in an oval panel, on which is ſupported a toilet box, painted
like the reſt of the table with flowers and Wreaths in natural colours.
349-'71-
ABLE. Painted wood, ſemi-oval, the top decorated with
a fan-ſhaped ornament in the centre, medallions with
female figures and an urn, and a broad band of feſtooned
flowers; the fide alſo painted with garlands and gilt; the four
legs fluted and gilt. Engliſh. About 1800. L. 3 ft. 92 in.,
W. 20-43- in., H. 2 ft. 8 in. Bought, 781. I 55. i
This table and the next are pairs, and form either a circle when
placed together or two conſole wall tables.
The top is painted pink, with a centre repreſenting a radiating
drapery or awning, green. There is a border round the table of warm
grey ultramarine aſh colour, now worn to a purple hue with time. On
it is a feſtoon of roſes, polyanthuſes, and other flowers carefully ſtudied
from nature and well executed, partly reſtored. This border has painted
edge decorations, and the edge of the table is ornamented with a guil-
loche of white on grey, and the frame below has ſimilar colours,
garlands and medallions white, and black and white on grey 3' the lower
and upper edges of this part are bordered with carved work, gilt. The
four legs are fluted and carved in the ſtyle of the Adam Brothers.
On the pink top are two medallions, painted in the manner of
Angelica Kauffmann, and probably by her, containing ſhepherdeſſes in
white, with lambs and flowers, and a landſcape background, all coloured
after nature.
Between theſe two there is a cameo medallion, white on grey.
349a-'7I-
ABLE. Painted wood, ſemi-oval, the top decorated with
a fan-ſhaped ornament in the centre, medallions with
female figures and an urn, and a broad band of feſtooned
flowers; the ſide alſo painted with garlands and gilt; the four
legs fluted and gilt. *Engliſh. About 1800. L. 3 ft. 92 in,
W. 20%in., H. 2 ft. 8 in. Bought, 781. 155.
2 8 8 Fnrnz'tare and ſifflaadwark.

125.'65.
ABLE Top. Octagonal, wood, inlaid in concentric
circular pattern "with ſegmentary diviſions filled with
bunches of flowers,__intarſiaiura work in the Florentine ſtyle.
Modern Engliſh. (C. Carrick, Canterbury.) Diam. 19? in.
Bought, 311. 105.
2455-'55-
'ſiſi ABLE. In japanned papier-mache.' Engliſh, modern.
H. 2 ft. 4% in., diam. 2 ft. 2 in. Bought, 101.
75.'66.
ABLE. Polygonal, of oak carved with ſcroll ornament
and medallion. The three legs fluted and carved.
Flemiſh. 17th century. H. 2 ft. 11;- in., diam. 2 ft. 9 in.
Bought, 61.
A polygonal table on three legs made to turn rup and put away.
The centre is rudely carved with a figure of Charity in low relief. The
legs are ingeniouſly managed. Two are framed together, and the third
t folds flat back into this frame. From the underſide of the ſlab a ſmall
piece of wood with an eye falls into a mortice hole in the third leg, and
is kept in place by a peg. The hinges are wooden pins turning in
holes made to correſpond. No iron hinges are required. Similar round
tables were made in this country in the laſt century with four legs,
two of which, framed together, turn on a pin which is faſtened to the
under ſide- of the table and fold flat together with the other pair, the
frame pieces being cut away ſo as to admit of their fitting.
7221.'60.
ABLE. Carved walnut wood; ſupported on circular
pillar legs, decorated with wreaths of foliage; the croſs
rail richly carved. French or Italian. About 1550. H.
2 ft. 11 in., L. 4 ft. 1 in., W. 2 ft. 6 in. Bought (Soulages
Coll.), 251.
r" * Man-'Wre- **'*

H
'll


ll i . (A ill it jMW-'Jelll Ijſy'jfflffllw'nfyuffljllj *],\juympp;u ly' 'Ill NNW; '1 l ny l- I illum" l ly"yHlUW-IUWEZ
(I r _ i Mr - \ _ 71! l l: lll w' , w j ll illH-'iJ'h-l l'ſ'ſſ-'F ;
all ll'llllll'l'lllwMix; l.@llllllllil lllll ill' lh' .
iſi I

i ) 0 ' o'



*_ -_A
Irn/um or Ev'n-11, mule/le' q/ X Þ'ſ. Cc'ztmj'.
4M L- _

' r _* r) * l) 7 ,\ WW if' ' X: \ a X.
il i i A 1 l'ulul nl'il r] iil' l i' 4' vl l i vxllill
TABLE.
__-_-_- J-Ahmh-J
fir AF<
I
* him' llll" i r. tliii'
llllluml llllmlllll lu in , i;

















l
l








iizlllll


.ll
. l
>{7_-_ -__
V ll'ct i
w lln-_ A
l
l' z- --->_- -
* ' ;*-..-*.:. ' ,
N I Mr 'v _' l
4 r, '-
'1 l
tin' ry 'I i i
r l vl = l.
l'l' l- I lln- . a



ll
l.
lllllllllllilllllln.
l
l lhlllill
'l"1llllllt*'
r l'i-
'l'zſ
, 'KHH
i, j
l .

n'el HL * ll'lll Mr . *' ſ
llllhlllllll....1llll lllllllllllil-lid



U
-
"
.-
na'
4'


:._l.


l
Frenc/z Tables. 2 8 9

An oblong table with two drawers under the ſlab. They are carved
with arabeſques in high relief, with branches formed into the heads of
angels between. To theſe drawers there are ring handles of old beaten
iron, quiet and ſimple in character. A bold carved moulding finiſhes
this front. The legs are round, with vine foliage carved round them,
and caps and collars like architectural columns. In lightneſs, however,
and general ſimplicity they retain their character of furniture ſupports.
Pendent Ornaments drop from the angles. The legs are in two couples
near the centres of each end. They ſtand on a baſe which runs under
both, Croſſes over to the other two, and ſuſtains under the middle of the
table three turned baluſters with arches over them. The baſe or plinth
ſlants down in front; and this ſlope is carved, and forms a rich line
correſponding to the drawer fronts. The leg parts reſt on ſphinxes,
the heads of which turn upwards. The general deſign reminds us
of the work of Bachelier of Toulouſe, Ducerceau, and others who
made the Italian deſigns that were ſo well known and ſo boldly
executed in France.
7216.,60.
ABLE. Carved Cheſtnut wood; a conſole table; the
ſupports are griffins, coupled together with open ſtrap-
work Ornaments. French. About 1560. H. 2 ft. 9 in., L.
4 ft. 7 in., W. 2 ft. 4% in. Bought (Soulages Coll.), 401.
Theſe tables are ſupported by an arcade of three arches down
the centre, and the groteſque animals ſtand at right angles to them on
each end. The baſe is ſimilarly ſhaped, carved, and forms a ſort of
continuous plinth to the ſupports.
This and the table next deſcribed, as well as No. 7221. '60, belong
to the claſs of furniture ſuch as cabinets, dreſſers, dining-room preſſes,
&c., ſpecially deſigned by the architects of the day. The griffins,
ſphinxes, and other mythological animals that ſupport this ſeem more
or leſs to connect them with architectural faeades or chimney-pieces.
7215. '60.
ABLE. Carved Cheſtnut wood; a conſole table; the
ſupports formed of two ſphinxes, &c., with acanthus
ſcroll ornament. French. About 1560. H. 2 ft. 7in., L.
4 ft. 3 in., W. 2 ft. 2 in. Bought (Soulages Coll.), 401.
F T
290 Farnz'tare and Waodwork.

2415.'56.
ABLE. Ebony, inlaid with marquetry of various coloured
woods, on twiſted ſtem. French. 18th century. H.
2 ft. 8-f; in., diam. 193,L in. Bought, 51.
6497.'56.
ABLE. Carved and gilt wood; a conſole table, decorated
with feſtoons of flowers and ſcrollwork. French. 1 8th
century. H. 2 ft. 11 in., L. 3 ft. 11 in., W. 1 ft. 5-23 in.
Bought, 161.
40. '64.
ABLE. Carved and gilt wood, with ornament of vaſe and
garlands; a conſole table (without the ſlab), French.
18th century. H. 2 ft. 7z£- in., W. 2 ft. 9£ in. Bought, 501.
The deſign conſiſts of feſtoons hanging from the ſide brackets that
are intended as ſupports or legs, and meeting in the middle. It is, as
wood conſtruction, ſomething of a contradiction or tour de force, but is,
as carving, exceedingly light. The carving is powerfully executed with
ſharp tools in lime wood. It may be taken as a ſpecimen of the finer
work which marked the return to a better feeling in furniture during the
days of Louis XVI.
8460.'63.
ABLE. Carved and painted wood, with marble ſlab. A
conſole table. French. About 1750. H. 3 ft. 6 in.,
L. 7 ft. 6 in., W. 2 ft. 10 in. Bought, 501.
In the rococo or Pompadour manner. We can hardly call it a
ſtyle from the utter abnegation of deſinite form or recogniſable principle
in its deſign. The folds and curves of ſhells may, perhaps, be taken
as the neareſt types in nature to the broken and diſconnected curvings
French Tahles. 2 9 1

and Whirligigs of this broken and unprincipled character of deſign. It
* ſerved, however, to ſet off and give lightneſs and flaſh to gilding, and
a certain impoſing ſplendour to the drawing-rooms of the day. It was
beſt ſeen at night, and under the light of ſcones and wax candles. A
ſpecimen may be ſtudied in No. 41. '64, the next deſcribed.
41. '64.
ABLE. Carved and gilt wood, ſhell ornament; a conſole
table (without the ſlab). French. About 1760. H.
2 ft. 7£ in., W. 2 ft. 972- in. Bought, 201.
7667.'61.
ABLE, with drawers. Walnut wood. Inlaid with floriated
ornament in light coloured Wood; carved legs; a low
braſs railing on the top. French. 18th century. H. 2 ft. 6 in.,
L. 2 ft. 6£ in., W. 2 ft. 8 in. Bought, 91. 105.
2715.'56.
ABLE. Carved lime wood ready for gilding; a conſole
table; ſtyle, Louis XVI. French, modern (Sauvrezy,
Paris). H. 2 ft. 8 in., L. 3 ft. 8 in., W. 1 ft. 6 in. Bought
(Paris Exhibition, 18 5 5), 201.
This is an imitation, and in pear, of the ſtyle of work of which we
have an example in 40. '64. It is leſs light and elegant, as may be ſeen
by comparing the greater thickneſs and the want of play in the leaf
petals and other carved members. But it is good work as compared
with any that our modern manufacturers would turn out of the hands of
Engliſh workmen to-day. Splendid examples of ſoft wood carving by
our workmen of the ſchool of Gibbons may be ſeen in the fragments of
architectural carvings in deal, reſcued from houſes now deſtroyed in and
about the ſite of the propoſed law courts, ſome of which are to be ſeen
in the Muſeum. At preſent, however, this is an art little practiſed, our
good wood carving being in hard wood, executed and brought to a final
ſurface with labour, and very ſlowly.
T 2
2 9 2 Furniture and Woodwork.

8027.'62.
* I *ABLE. Ebony. The top bordered witha broad band
of blue and gold champleve enamel. Modern French.
(Meſſrs. Barbedienne) H. 2 ft. 9in., L. 4 ft. 11 31,- in., W.
2 ft. 11 in. Bought (International Exhibition, 1862), 1201.
The border round the ſides of the table is blue enamel, and the
decorations gilt bronze arabeſques with cartouches and ſtrapwork of
champleve work, that is, the metal is cut away leaving edges only, and
ſilled with plates of grey' poliſhed agate.
The ſupport is a ſeries of arches on legs, with raiſed quills down
their ſides, and has two croſs ſupports on the ends in the ſame general
diſpoſition as thoſe of No. 7216. '60 and others.
1599. '71.
ABLE. Wood, painted with colours and gilt; the top
octagonal, reſting on peacocks' necks, the plinth tripod.
Indian (Caſhmere). H. 2 ft. 7-_%;in.,diam. 2 ft. 8 in. Bought
(Annual International Exhibition, 1871), 121. 105.
The table reſts on a ſingle ſupport with tripod feet like our old
turned tea tables of the laſt century, and has been made after ſuch a
pattern. The whole is elaborately painted with ſhawl deſigns.
1604.'71.
ABLE. Wood, painted with colours and gilt, the top
rectangular, the front and ſides of turned lattice work,
with carved and gilt characters. 'One half of a table only.
Indian (Caſhmere). H. 13% in., L. 2 ft. 22 in., W. 13,-} in.
Bought (Annual International Exhibition, 1871), 101.
The top has a raiſed rim. The ſupports are turned bars framed
together in ſquares of about four inches each way. It is of a height
for oriental uſe, z'.e., for perſons ſitting on the ground. The decorations
are of ſhawl patterns, applied to the different ſurfaces of the rails, top,
&e. in deſigns of ſuitable ſizes.
Italian Tables. 2 9 3

102. '6 9.
ABLE. Walnut wood. Inlaid with marquetry of lime-
wood in ſcroll work and medallions, containing figures
of the cardinal virtues and Pagan deities. Italian. 16th cen-
tury. H. 2 ft. 9337 in., diam. from angles4 ft. 7 443- in. Bought, 901.
The conſtruction is maffive. There are eight legs, and theſe are
framed into ſolid woodwork under the top, and held together below by a
ſquare rail three inches by two. In the frame work of the top there are
four drawers, the fronts of which, with the frame pieces in the intervals,
form eight panels of rich arabeſque inlay 3 foliage with animals amongſt
it. The legs have brackets on their outer ſides further to ſupport the
top. They form additional thickneſs to the legs rolling over like a
thick leaf at the top, and dying down to nothing at the point where they
are framed together by the bottom rail 3 the brackets are decorated with
inlaid work. The top of the table is decorated with inlay of marquetry,
helped out by bold line engraving.
This decoraton is laid out with great effect. A border of bold ara-
beſque work, three inches broad, runs round the rim, and the edge or
thickneſs is inlaid with ſtrapwork. Inſide are drawn in four finely deſigned
panels, four of the Dii majores, the greater members of the claſlic hier-
archy of gods : Jupiter ſeated on a throne with a zodiac round him, the
ſigns of which are repreſented on the circular belt with great ſpirit 3
Neptune, the lord of the ſea, drawn by marine monſters; Apollo in
his chariot; Venus riſing from the ſea, drawn by dolphins. There are
four intervening compoſitions repreſenting the four cardinal virtues :
Juſtice, blindfold and holding the faſces, emblems of impartial judgment
and authoritative deciſion; Temperance holds a cup 3 Prudence has a
mirror and a ſnake. .
To complete the compoſition there are four finely drawn groups of
female figures in repoſe, after the arrangement and in imitation of, the
day and night of Michael Angelo on the Medici tombs at Florence.
The ſcutcheons into which the large groups are brought are ſupported
by figures of boys, with garlands, ſtrap work, maſks, &e. The centre is
occupied by four ſhields, ſupported by as many boys. For a ſtudy of
varied compoſitions of Italian renaiſſance decorative deſign few of the
objects of the collection can be brought into compariſon with this table.
If we look at the elaborate decorative works of Philibert de l'Orme,
and other French artiſts who went to Italy to perfect themſelves in
Italian deſign, as applicable to the requirements of architecture and
furniture, we ſhall look in vain for ſuch maſterly drawing as we ſee
here, evidently that of a ready and rapid hand.
294 Farnz'tare and Wood-work.

236. '69.
ABLE. A pair of folding leaves, of walnut wood, on
treſtles of wood, and ornamented with guilloche and
ſtellated patterns in ivory. Italian. Early 16th century. W.
when open 3 ft. i- in., L. 5 ft. a. in., H. 2 ft. 7-32L in. Bought,
441-
The table is of Certoſino inlaid work in a ſeries of wide and narrow
borders. It is a ſlab in two leaves hinged down the middle, and
faſtened to a pair of treſtles, like thoſe that ſupport modern dinner trays,
held by a chain from ſeparating too widely. By tightening the chain,
which is hooked by any link deſired to a pin in the top frame, the
height can be regulated. The top of the table is inlaid with a great
feeling for propriety, in patterns compoſed of diamonds and ſquare dies
of ivory. Theſe are arranged in ſtars or flowers down the middle of
each plank. They form larger ſpots, ſet in ſmaller work ſo as to contraſt
the breadth of the evenly diſtributed work with theſe ſalient points. The
centre again is formed into a ſort of panel by fine lines of holly, box,
or other white wood. The edges are alſo inlaid. Everything in the
effectiveneſs of mere geometrical inlay on this ſmall ſcale depends on
the different contraſts thus preſented, and on the proportion between
large ſingle Ornaments and maſſes of ſmall ornament collected into
flat ſpaces to give relief and repoſe. The monotony of the latter is both
rich and broad when thus affociated, and the ſtars or patterns are
effectively ſet off. The leaves can be removed, as was not uncom-
monly done at great entertainments in the middle ages and 16th century,
when dinner or ſupper was ended and the gueſts were invited to take
part in the dances and pageants that followed.
5925-'59-
ABLE. Walnut wood. With foliated ornament of
white ſtucco in imitation fof ivory. Italian. About
1560. H. 2 ft. 8 in., L. 3 ft. 10 in., W. 1 ft. 10-2 in.
Bought, 81. -
The ſhape is oblong; the legs are turned, with collars, caps, and
baſes, to repreſent plain columns. Croſs pieces top and bottom, the latter
cloſe to the ground, frame the whole together. The top is one plank,
and has an inlaid border of arabeſque work with a centre. The ara-
beſque work is of white compoſition, inlaid in imitation of ivory. The
Italian Tahles. 2 9 5

rails of the frame work, and the Circumference of the turned legs, are
cut out in ſimilar ſtyle and alſo filled in with the ſame white Compoſition.
It has ſtood well, though in ſome parts the material has ſhrunk and
fallen away. It has probably been a kind of putty or mixture of
plaſter, wax, and oil, ſo as to have a certain amount of toughneſs and
ſome ſort of affinity with the wood work, to which plaſter merely made
up with water would not attach itſelf. As it is, cutting which is com-
paratively rude is effective when ſo filled, and it can be executed with
ſar leſs labour and ſkill than would be required for cutting ivory or white
wood and fitting it with the requiſite accuracy into the ſpaces ſunk to
receive them.
5926. ' 59.
ABLE. Walnut wood. With foliated ornament of
white ſtucco in imitation of ivory. Italian or French.
About 1560. H. 2 ft. 8 in., L. 3 ft. 10 in., W. 1 ft. Io-Z- in.
Bought, 81. i
A duplicate of the laſt.
7214.'60.
ABLE. Carved walnut wood; a library table with deſk ;
the upper part enriched with ſcroll foliage; the four legs,
each formed by two large ſtatuettes of ſtanding cupids. Italian.
About, 1570. H. 3 ft., L. 4 ft. 4 in., W. 2 ft. 9 in. Bought,
(Soulages Coll), 601.
The front is carved. The boy ſupports in two pairs, one to each
end of the front and back, are well deſigned. A bar connects theſe
ſupports below, both with the back and with each other. This bar
is gadrooned and reſts on claw feet.
The top of the table is furniſhed with a raiſed ſloping writing deſk,
which opens with a flap lid. Inſide are ſix receptacles for papers, the
fronts pulling out. They are ornamented with carved maſks.
6008.'59.
ABLE. Wood. Carved and gilt. With marble ſlab.
A conſole table, decorated with feſtooned flowers, ſcroll
work, &c. Italian (Genoeſe). About 1700. H. 3 ft. 3 in.,
L. 4 ft. 3 in., W. 1 ft. 8 in. Bought, 161.
296 Furniture and Woodwork.

6812.'60.
ABLE. Mahogany; a lady's work table, ſquare, fitted
with drawers encloſed by a door ; marquetry of coloured
woods forming views of buildings; the front panel inlaid
with a view of the entrance hall and ſtaircaſe of a large public
building; bordered on the top with ebony and mother-of-
pearl. Italian. About 1760. H. 2 ft. 9in.,L. 1 ft. 9 in.,W.
1 ft. 5 in. Bought, 501.
This is a ſpecimen of pictorial marquetry or wood inlaying. The
figures of architectural ſtructure are correctly repreſented as to per-
ſpective, but are not probably meant to repreſent, even roughly, any
deſinite ſcene. Probably Genoeſe work.
6813.'60.
ABLE. Mahogany; a conſole table, ſemicircular; ſitted
with drawers encloſed by three doors; marquetry of
coloured woods, the three panels in front, with views of build-
ings and figures; on the top, an arcade, temple, and river ſcene ;
bordered with ebony and mother-of-pearl. Italian. About
1760. H. 2 ft. 10 in.,, L. 3 ft. 3 in., W. 1 ft. 8 in. Bought,
501.
Of work ſimilar to that of No. 6812. '60. It has alſo an archi-
tectural ſcene repreſented with water, boats, &c. The forked battle-
ments remind us of thoſe of the old Porta della Vacca in Genoa,
a lofty gateway battlemented in this forked faſhion, over which hung
formerly portions of the old chain that defended the port of Piſa by
cloſing the traffic up the Arno, and had been taken in the war between
the two republics. Probably Genoeſe work.
2726.'56.
ABLE. Marquetry of tinted woods, &c., oblong, inlaid
with arabeſque ornament in the ſtyle of the cinque cento.
Italian (modern). H. 2 ft. 6% in., L. 4 ft. 6 in., W. 2 ft. 1 1 in.
Bought (Paris Exhibition, 185 5), 891. 125.
Of ebony and light coloured wood. The top is laid out in ſquares
of ebony, with edges with box and walnut in fine lines, the ſquares '
Marocco Tables. 2 9 7

ſet diagonally and interſecting at the angles. In the central ſquare is a
ſitting Minerva, with attributes, and in the half ſquares or triangular
panels round it are ſitting figures of the ſciences, all in coloured marquetry.
The intervening bands filled with arabeſques and figures. The frame
of the table, the ſides of the octagonal legs, are ſimilarly decorated.
The top is edged with chiſelled gilt metal. The legs are connected
'by a broad flat brace laid in diamond and half-diamond ſhaped panels
that interſect at the points. The ſtiles inlaid with marquetry in ara-
beſque deſigns, and the ſhapes they encloſe filled with carved and pierced
ebony.
52. ' 52.
ABLE. Black and gold lacquered work. A lady's work
table, with interior ſittings and carved ivory implements.
Japaneſe, modern. H. 2 ft. 4 in., L. 2 ft., W. 1 ft. 43 in.
Bought, 121.
916.'69.
ABLE (fourteen ſides), Wood, carved and painted in
geometric deſigns. Morocco. H. 19? in., diam. 2 ft.
(Paris Exhibition, 1867.) Bought, 21.
Round the top is a gallery of little Mooriſh arches in pierced wood.
The ſide ſupports form ſimilar arches, and are connected by triangular
bracing pieces at the back, glued to the angle poſts and the top. The
ornament is edged with thin black lines and painted with the primary
colours and gilding in the uſual Mooriſh manner.
778.'65.
ABLE. Teak wood, inlaid with marquetry of ebony and
ivory in pattern of interſecting circles ; on ſpirally turned
legs. Portugueſe. Probably manufactured at Goa. Firſt half
of 17th century. H. 2 ft. 7 in., L. 3 ft., W. 2 ft. Bought,
141.
The borders of this table and the broad bands binding the edges
are of roſewood. The ſurface is covered with circles interlaced, and
2 9 8 Farnz'tare and Woadrwark.

having a ſtar in the middle, all in roſewood. To the ſtar there is
an ivory eye. The legs are bold 3-inch turned poſts, with ſhallow
twiſts twining round them. Double ſets of bars, ſimilarly ornamented,
meetina turned knot in the middle and connect the legs. Reticulated
inlaid work of circles, ſtars, &c. decorates theſe portions, and the
drawers are furniſhed with handles and mounts of pierced latten or
braſs work, apparently ſtamped out of thin ſheets of metal, about
Tl-gth or zlgth of an inch thick.
Teak is a hard cloſe-grained wood, ſuitable to inlaying It is the
material of which moſt of the Indo-Portugueſe furniture has been made.
It is very durable, and is conſidered as preſervative againſt infects.
780.'65.
ABLE. Teak wood, inlaid with roſewood in floriated
arabeſque pattern. Portugueſe. Early 17th century.
H. 2 ft. 4 in., L. 3 ft. 5 in., W. 2 ft. 5 in. Bought, 31.
The legs are four ſolid poſts, I-L- inches ſquare. They are framed
together with double ſets of croſs bars, and ſtand on feet made of ſlat
pieces ſhaped out. There are lines down theſe portions looking like
inlay, but really theſe are merely veneers of mahogany and roſewood laid
on, not let into ſpaces dug out. The top is a ſlab of teak wood with an
inlaid centre and border of ſcroll foliage of roſewood, and a flat border of
the ſame. This is framed round the teak with mitred angles. The legs
are dovetailed through the top. The deſign and workmanſhip correſpond
to that of the other Portugueſe work of this date. (See Cabinet No.
782. '65 and 782a. '65.)
306.'66.
ABLE. Mahogany, ornamented with gilt metal maſks
and feſtoons, the top formed of Sicilian alabaſter; pre-
ſented by Ferdinand VII. of Spain to the Marques de Altamira.
Spaniſh Latter part of 18th century. H. 2 ft. 10 in., L.
3 ft. 9-5- in., W. 2 ft. 4% in. Bought, 161. 165. 8a'.
As this table bears a Spaniſh hiſtory, it may have been made in
Spain. It is certain that the Bourbon princes introduced French work-
men, and adopted French patterns and methods. The decoration is
Tarſia Worh. 1 299

mainly confined to the metal mounts, which are in the manner of
Gouthieres and other artiſts who worked during the latter part of the
reign of Louis XV., and whoſe finer and more delicate and correct
productions belong to the cloſe of the laſt century during the reign of
Louis XVL, whoſe queen, Marie Antoinette, both ſet the faſhion and
herſelf extenſively adopted it, of this light furniture and the more claffical
forms that were adopted after the diſcoveries at Herculaneum and
Pompeii.
5785-'59-
ARSIA, or inlaid wood work. A female figure ſeated
under a canopy. Italian. (Florentine?) 14th century.
H. 2 ft. 9 in., W. I ft. 10 in. Bought, 41.
An example of pictorial inlay ſuch as has been ſeldom practiſed in
wood work, and well worth the ſtudy of modern artiſts. It is a panel
inlaid on the flat and may have been part of church ſtall work, or of
the panelling of a council hall. The Compoſition repreſents a ſeated
female figure. She holds a globe in one hand and a ſword in the other
and ſtands for Juſtice or Fortitude, two of the cardinal virtues. It is
not the figure of a ſaint, having no glory round the head, ſuch as was
univerſally given in ſome form or other till the age of Michael Angelo.
The figures of Juſtice commonly hold a pair of ſcales ; this, therefore,
is perhaps Fortitude, variouſly repreſented armed with the club of
Hercules, or breaking Sampſon's pillar, or armed ſimply as indicating
power, as in this caſe. The figure is ſeated on a ſquare throne or ſeat
with a round ſtuffed footſtool; the hair is plainly dreſſed, the waiſt
ſhort and without bodice ; the dreſs tied in with a narrow twiſted
ſcarf ; the ſkirt is long and a cloak or mantle falls over and round
the knees in ample folds. The floor is in alternate ſquares laid in
perſpective, the woods being lime and walnut. The arch covering
the niche in which the figure ſits, is an Italian Gothic arch of Sienneſe
character, the cuſps cut up into finer cuſps and having ſquares on
their main points. The background is roſewood, and the dreſs,
face, 850., as it were painted by the dexterous uſe of the different
directions of the grain of the pinewood of which the figure is made. '
The grain is ſo managed and counterpoſed as to give flowing natural
lines that follow the ſinuoſities of the deſign as the ſtrokes might
do of an artiſt's bruſh, feeling the form as he paints in his colours.
The real means uſed are very ſimple, and the boldneſs and dignity
of the treatment ſeem to reach the utmoſt perfection of pictorial
300 Furniture and Woodwork.

deſign in ſuch methods. Another piece will be ſeen to be of the
ſame kind of work and as ſkilfully executed, though of an inferior
deſign.
7399.'60.
ARSIA, or inlaid wood work, repreſenting the interior of
apreſs, containing eccleſiaſtical utenſils. _ Italian. 15th
century. H. 2 ft. 9 in., W. I ft. 10 in. Bought, 11. 125.
The ſubject of this flab ſhows that it has been intended for the
panelling of an oratory. The utenſils are: a Cuſhion to be uſed as,
or placed on, a book deſk, in perſpective. Beſides this there is the
wooden framework of a lectern for the prieſt to read the goſpel
at the maſs. The cupboard or receſs in which the compoſition is
made to be ſhows alſo a ſhelf and a box for ſmall linen, napkins, &c.,
for ſervice at the altar. There is alſo a U navicula" near it, a metal
receptacle with two lids for holding incenſe for uſe during the maſs;
and a thurible hanging. All the chains, including that which draws
up the lid to enable the incenſe to be put in, are rendered with painf-
taking fidelity. A croſs in a panel, for devotional uſe, an umbrella for
ſpreading during the removal of the Hoſt from the tabernacle or to take
to the ſick, complete the ſeries of utenſils. Walnut, cheſtnut, lime,
pear, and oak are the Woods employed in the work. All theſe are
helped out as to colour and variety by occaſional burning, which
gives hot brown ſhades of any intenſity and free from the liability to
fade with time.
37- '52-
EA Caddy. Japanned papier-mache. White ground,
with coloured foliage decoration, in imitation of oriental
work. Engliſh, modern. H. 52 in., L. 9 in., W. 87,a in.
Manufactured and given by Meſſrs. Jennens and Bettridge.
2147-'55-
OILET Comb. Boxwood, carved and perforated.
French. About 1500-20. 6-3- in. by 43;- in. Bought
(Bernal Coll.), 21. 55.
Double, the teeth are finer on _one ſide. The wood is pierced in
geometrical tracery, and ſo delicately and ſharply that only the careful
Tailet combs. 3 0 I

hand of a lady could be expected to uſe it without damage. The
raiſed edges which divide the central part into little panels, are neatly
notched. On theſe may be read, on either ſide of a little central
panel containing a heart pierced by an arrow, the letters vide will?
une i'apme--Life and happineſs to her I love. The work is ſo
like that of Italian artiſicers that we muſt ſuppoſe it was made to the
order of ſome French gallant by an Italian workman.
4229.'57.
OILET Comb. Boxwood, pierced with geometrical
tracery, ſtudded with ſilver and enriched with marquetry
of bone and coloured woods. Italian (Venetian). About 1500.
62- in by 9-12- in. Bought, 81.
An enormous implement, and containing teeth ſo open and coarſe
on one ſide that we muſt conclude that it was intended for or'ie of thoſe
beautiful heads covered by waved and tangled hair of great ſtrength,
ſuch as Paris Bordone loved to paint. The teeth on the other ſide are
fine. They have evidently been uſed, and down to comparatively recent
times. The work of the decoration is geometrical piercing like the
laſt named, and the borders inlaid with coloured bone -in diamond dies
laid ſide to ſide, and the pairs reverſed. The centre has a ſort of
Mooriſh or Arab geometrical panel, and is inlaid in the ſame colours
with work in the manner known as Certoſino work.
2 32. ' 54.
RAY. Lacquered or japanned papier-mache, with pearl
inlay and ornamented in gold. Engliſh, modern.
(Jennens and Bettridge) 25 in. by 19 in. Bought, 41.' 105.
An imitation of Chineſe lac work, with an effort to adapt to it the
deſigns of mediaeval decoration. There may be reaſons why ſuch
regular foliated ornament ſhould be out of place in lac work. The
Chineſe and, ſtill more ſucceſsfully, the Japaneſe have deſigned all
their decorations of this kind with a feeling for balance of decorative
deſign and colour on their flat ſpaces, that is juſt indeed, and in
good proportion, but utterly contrary to any mechanical or architectural
balancing, repetition, and exactitude. Chineſe decoration therefore
30 2 Farnz'tare and Waodewark.

gives us the idea of poverty and dryneſs when it is not laid on with
this eaſy ſenſe of freedom and is not, in ſhort, felt rather than done by
rule.
132.'65
RAY. Papier mache, chocolate ground with pattern of
vine leaves and grapes in gold and mother-of-pearl, with
ſockets for decanters. Deſigned by R. Redgrave, R.A.
(Summerly Art Manufactures, 1847.) Modern Engliſh. L.
28 in., W. 14-L- in. Bought, 31. 45.
With little figures introduced among the decoration.
144.'69.
RAY, Marriage. Wood, painted in tempera on both
ſides by Dello Delli; on one ſide is the Triumph of
Love, on the other a ſhield of arms encircled by a feſtoon of
fruits. Italian. 16th century. Diam. 2 ft. 4-3- in. Bought, 301.
A marriage tray, with Florentine gilt mouldings forming an octa-
gonal panel. The ſubject of the painting, which is the V Triumph of
Love," makes it evident that it has been a bridal preſent.
The painting is equal to the work of Dello Delli, who painted trays
for marriage preſents in great number; and there is a beauty and ſweet-
neſs about ſome of the female faces that reminds us of Angelico, and give
us no reaſon to doubt the authenticity of this attribution. The compo-
ſition repreſents the V Car of Love," with a lover bound as a captive,
while an old lover or a ſage, a bearded man, is bound and carried captive
on another of its ſides. On the right of the car is the triumph of
love over age, and the abſolute ſovereignty of beauty is expreſſed
by the ſubjection of old men. The miſtreſs of Alexander is riding on
the philoſopher Ariſtotle, who is clothed in ſcarlet and ermine, and on
all fours on the ground, with a bit in his mouth, the lady having full
command of the bridle rein. On the lefi: of the car youths are courting
maidens. In the background is a ſea and ſea port, with Veſſels coaſting
along. On one ſide of the port are a ſeries of roofed bowers or ſheds
opening on to the ſea, and containing benches and tables like the booths
of our ſuburban tea-gardens. The beauty of the ladies' heads is great,
and ſtyle of the painting that of fine early quattrocento (15th century)
Florentine art. The colouring is harmonious, but bright and pure. It
French Warclrohes. 3 0 3

is executed in tempera, which has been varniſhed with fine colourleſs
maſtic. The edges are framed in a ſimple moulding richly gilt in the
Florentine manner over a red ground.
ERNIS MARTIN. For a deſcription of ſpecimens of this
decoration, ſee Appendix.
123.'64.
7 ARDROBE. Carved oak; the panels ornamented
in low relief with foliage, quivers, and torches;
the top arched and ornamented with maſks
crowned with feathers. French. Early 1 8th


Bought, 501.
This is a wardrobe or hanging cloſet, the doors made of large
panels which are encloſed by mouldings broken at the ends and
corners into thoſe capricious ſhell-like curls and ſcales ſo popular in the
days of Louis XV. of France. The doors open the whole height from
the floor. Each door contains two panels, and the mouldings are found
by ſinking out of the ſolid, leaving the central panel the ſame ſurface as
the ſides or rails and the ſtiles. One moulding, however, on the ſide-
pieces riſes above the general thickneſs of the wood, and marks the line
of each panel. The central carved work, which is freely deſigned after
nature, and delicately executed, is partly in relief and partly counterſunk
-an effective variety. This method ſerves both to break the monotony
of ſuch large plain ſurfaces and to bring into unity the component parts
of the panel, ſo that each door forms to the eye and in artiſtic effect,
as well as phyſically, one whole.
On careful examination of this and other ſimilar ſpecimens, it will
be ſeen that where the broad carved central rail fits into the ſhaped
curvings of the upper and lower panels, the wood partly overlaps, and is
therefore laid an the upper and lower wood, where the carvings riſe
above the thickneſs of thoſe portions. This is to ſave the waſte of
planing away ſome half-inch of the entire ſurface of a large plank for the
ſake of one ſmall portion where the requirement of thickneſs is greater.
But it is ſo carefully and neatly executed, that it conveys the deſired
impreſſion of the more coſtly proceſs. The wood has been thoroughly
304 * Furniture and Wood-work.

ſeaſoned to allow of ſuch exact workmanſhip, and under all changes of
temperature, ſuch as furniture of that date muſt have undergone, there is
no appearance of ſhrinking anywhere. '
The following is a ruder ſpecimen of the ſame kind of wardrobe,
made on the ſame general lines.
5052-'57-
ARDROBE or Cupboard. Carved oak. The Marriage
i Cupboard of a Norman peaſant woman. French,
modern, from St. Lo, in Normandy. H. 7 ft., L. 5 ft. 5 in.,
W. I ft. 9 in. Bought, 41. 85. rod.
This, like the laſt, is a mere upright panelled cupboard, with two
wide doors opening its whole width, and ſuitable for hanging dreſſes.
Floral ornaments, after nature, about the curves, and flouriſhes at the
angles, tops, or turning-points of the panel mouldings, are partly ſunk
and partly raiſed. It may be preſumed that its ſize and comprehenſive
interior ſpace give ſuch a piece of furniture a value to the farmhouſe or
cottage for which its general claim to gaunt magnificence would ſeem to
make it unſuitable.
1071.'69.
OODWORK, Fragment of window ſcreen. Frame
fitted together, inlaid with ivory and ornamented with
an inſcription. Arab. 16th century. 1813.; in. by 7%,- in.
(Paris Exhibition, 1867.) Bought (Meymar Coll.).
This ſcreen is compoſed of a trellis of very minute reticulations of
little bars of turned wood. The open ſpaces are not above one-eighth
of an inch ſquare, and the rods cut out'of ſtuff a little larger. Theſe
rods or bars are ſquare where they interſect.
The inſcription is on a larger ſcale. The letters form central
maſſes, into which the reticulated rods fit. They are none of them
round, but the letters that ſhould be round are made polygonal by
mitreing ſhort lengths together.
The legend is tranſlated by Dr. Rieu as follows :--
" Verily God and his angels bleſs the prophet."
Arab Wood-work. 3 0 5

1072.'69.
OODWORK, fragment of window ſcreen. Frame,
fitted together and inlaid with ivory. Arab. 16th
century. 12-513- in by 9 in. (Paris Exhibition, 1867.) Bought
(Meymar Coll.).
This fragment of ſcreen and the next are of pieces of walnut wood,
five-eighths of an inch in diameter, turned and inlaid. Hexagonal
blocks are left at intervals where the turned pieces are fitted together.
Oppoſite each face of the hexagon is a triangle. The faces of theſe
portions are inlaid in ſmall triangles of ivory and ebony, like the Bombay
work.
1073.'69.
OODWORK, fragment of window ſcreen. Frame,
fitted together and inlaid with ivory. Arab. 16th
century. 1973 in. by 12-12- in. (Paris Exhibition, 1867.) Bought
(Meymar Coll.).
1074.'69.
OODWORK, fragment of a window ſcreen. Frame,
fitted and inlaid with ivory. Arab. 16th century.
18-342 in. by Ioi in. (Paris Exhibition, 1867.) Bought
(Meymar ColL)
The portions of this fragment into which the turned rails fit are
diamond ſhaped, and the trellis forms alternately hexagon and diamond-
ſhaped diviſions; and between theſe diviſions ſmaller diamond-ſhaped
pieces with connecting rails fill the intervals and maintain the equal
diſtribution of ſolid and open ſpace. The larger ſurfaces are inlaid
with geometrical pieces in Bombay work, including the tin dies found
in that work. Boſſes turned and compoſed of eight inlaid or compoſed
pieces, alternate with boſſes of plain walnut wood on the centres of
the diamond-ſhaped portions.
\ F. U
306 Farnz'tare and Wood-work.

1470.'71.
ſi OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis, in three panels, each of which has a repreſentation
of a vaſe. From Cairo. Arab. End of 17th century.
H. 3 ft. 10%in., W. 4'ft. 9% in. Bought, 11.
One of a ſeries of fragments of ſimilar work, but which have certain
varieties ; ſome being more ſimple than others.
Nos. 1469. '7I, 1472. '7I, 1474. '7I, are compoſed of pieces
round or oval, flat-fronted, about an inch on the longer axis, with ſine
turned pieces between. They exclude the light, but not abſolutely, and
give flee paſſage to the air.
Others of theſe fragments are trelliſes with open intervals of three to
four inches between the rails.
1471.'71. _
OODWORK, part of a window ſcreen. Painted frame,
made up of rails turned in the lathe and fitted
together to form a trellis, incorporating two tree-like Ornaments.
From Cairo. Arab. End of 17th century. H. 1 ft. 7 in.,
W. 16-3- in. Bought, 55.
1472.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 1 ft. 5 in., W. 62- in. Bought, 25.
1473.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 1 ft. 9-35 in., W. 1 ft. 6i- in. Bought, 45.
Arah Wooclworh. 3 0 7

1474.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. Incorporating a portion of an Arabic inſcrip-
tion. From Old Cairo. Arab. End of 17th century.
H. 2 ft. 433.; in., VV. 17 in. Bought, 75. 6d.
1475.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 2 ft. 4 in., W. 10 in. Bought, 35. i
1476.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 13-35- in., W. 10-12- in. Bought, 25.
_ 1477-'71-
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 1271- in., W. 12 in. Bought, 25.
1478.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 18££ in.,W. 15? in. Bought, 35.
Uz
308 Farnzſirnre and Woodwork.

1479-'71-
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and ſitted together to
form a trellis. From Cairo. Arab. End of I7th century.
H. II in., W. 9 in. Bought, 25.
1480. '71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of I7th century.
H. 185-1,-in., W. 1232- in. Bought, 35.'
1481. '71.
OODWORK, part of a window ſcreen. Frame, made
up'of rails turned in the lathe and ſitted together to
form a trellis. From Cairo. . Arab. End of I7th century.
H. 2 ft. 633- in., W. 2 ft. 2-5- in. _Bought, 55.
In this ſcreen the trellis is in ſquares, the turned rails are framed
into round boſſes two inches in diameter, and ſmaller turned rails croſs
the ſquares diagonally, producing a proportion in ſcale of parts between
the boſſes and the rails of the ſquare and diagonal trelliſing. The
light can enter only by ſmall points, and will always be tinted by the
reflected colours of the Woodwork.
1482. '71.
V OODWORK, part of awindow ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. 18th century. H.19-};in.,
W. 72- in. Bought, 35.
Arad Wood-ware. 3 09

1483.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
I-I. 3 ft., W. 222- in. Bought, 55.
1484. ' 71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 1 ft. 4 in., W. IO% in. Bought, 25.
1485.'71.
\ N ſOODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 93 in., W. Zi in. Bought, 15.
1486.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 8 in., W. 72 in. Bought, 15.
1487.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and ſitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 10 in., W. 10 in. Bought, 15.
3 1 0 Farnz'zare and Wood-work.

1488.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and ſitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 2 ft. 2 in., W. 172 in. Bought, 55.
1489.'71.
OODWORK, part of a window ſcreen. Frame, tranſ-
verſe bars, forming twelve openings. From Cairo.
Arab. End of 17th century. H. 22 in., W. 1931, in.
Bought, 45.
1490.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and ſitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 2 ft. 6e13- in., W. 1 ft. 2 in. Bought, 45.
1491.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 2 ft. 6l2- in., W. I4-Y- in. Bought, 45.
1492.'71.
OODWORK, part of a window ſcreen. Frame, made
up of rails turned in the lathe and fitted together to
form a trellis. From Cairo. Arab. End of 17th century.
H. 21-Y-in., W. 21g-in. Bought, 55.
Arah Woaa'warh. 3 I 1

1467.'71L
OODWORK, part of a window ſcreen. Painted wood,
with perforation of joined pieces. From Cairo.
Arab. 18th century. H. 3 ft. 1-},- in., W. 2 ft. 83 in.
Bought, 11.
1468.'71.
OODWORK, part of a window ſcreen. Framed, with
perforation of joined pieces. From Cairo. Arab.
18th century. H. 2 ft. 115; in., W. 1 ft. Zg in. Bought, 95.
1469.'71.
OODWORK, part of a window ſcreen. Framed, with
perforation of joined pieces. From Cairo. Arab.
18th century. H. 2 ft. Ilzi- in., W. 1 ft. 85 in. Bought, 95.
1465.'71.
OODWORK; a front carved and perforated in floral
and geometrical deſign, gilt. From Cairo. Arab.
18th century. H. 1 ft. 972- in., W. 1 ft. 7 in. Bought, 85.
This has formed the front or door of a receſs or ſmall cupboard ; it
is cut effectively though roughly, and has been prepared with a thick
bed for gilding in the Italian manner.
1466.'71.
OODWORK, a window ſcreen. Framed, with perfora-
tion of joined pieces, in two principal panels with
ſmaller ones opening on hinges. From Cairo. Arab. 19th
century. H. 4 ft.' 105 in., W. 4 ft. 32- in. Bought, 21.
3 1 2 Furniture and Wood-work.

1453-'71-
OODWORK, a ſhop front. The front of a chemiſt's
and barber's ſhop. Carved and painted wood, ſhow-
ing arched door with a window on either ſide, above which is a
perforated ſcreen and rows of ſmall baluſtrades. Egyptian-Arab.
19th century. H. 9 ft. 11 in., W. 10 ft. 1 in. Bought, 61.
A ſpecimen of ordinary Cairene domeſtic Woodwork. The centre
is a ſquare door; there are two window openings with cuſped Arab
arches beſide it, and a little gallery of pigeon-hole arches along the top
and below the windows. Above theſe is a narrow ventilating opening
divided by a row of turned upright rails, and round the whole a wide
band of plain wood, with a moulding half an inch wide cut into a rope
pattern planted on each edge. The work is coloured green, the framing
pieces, mouldings, &c., ſome red and ſome yellow for gilding.
1454-'71-
OODVVORK ; a door. Carved and painted wood,
_ ſitted in pieces forming a geometrical pattern. From
Cairo. Arab. Early 18th century. H. 4 ft. 10 in., W.
2 ft. 1-721- in. Bought, 155.
The work on theſe doors is of the character of the work in Panels,
Arab, No. 1456. '71, and following numbers.
1455-'71-
ſi OODWORK; a door. Carved and painted wood, 1
ſitted in pieces forming a geometrical pattern. From
Cairo. Arab. Early 18th century. H. 4 ft. 9>£z in., 'W.
2 ft. 2z£- in. Bought, 155.
8129 to 8224. '63.
OODWORK. Ninety-ſix pieces of Gothic architectural
decoration, chiefiy of oak, conſiſting of panels, friezes,
pilaſters, &e. Engliſh, Flemiſh, &e. 15th and 16th centuries.
Engliſh Wood-work. 3 I 3

Average dimenſions 20 in. by 1 2 in. Transferred to the South
Kenſington Muſeum from the Office of Works.
The pieces worth attention among theſe fragments are chiefly panels
or portions of panels, ſhowing the various changes which that kind of
wall decoration has gone through in the north of Europe, where the
ſaſhions in this reſpect during the 15th and early 16th centuries were
ſimilar, though there are ſtill certain national diſtinctions to be obſerved
in details. Theſe have been noticed under Panels numbered between
8129-8224.
120.'65.
OODWORK, a boſs. Carved wood, from a former
palace of the Biſhops of Exeter. Engliſh. 15th cen-
tury. H. 19% in., diam. 19-_1.,- in. Bought, 11. 135. 4d.
This and the following five boſſes are curling branches and leafwork,
and ſo maffive that we ſhould ſuppoſe them to have formed the points of
junction of a vaulted roof, and to have been painted in imitation of
ſtone. Their ſize and weight are exceſſive for the junctions of
panelling. '
123. '65.
OODWORK, a boſs. Carved wood, from a former
palace of the Biſhops of Exeter. Engliſh. 15th
century. H. 1932= in., diam. Ig-Y- in. Bought, 11. 135. 4d.
1 19. '6 5.
OODWORK, a boſs. Carved wood, from a former
palace of the Biſhops of Exeter. Engliſh. 15th cen-
tury. H. 1971, in., diam. 19-3- in. Bought, 11. I 35. 4d.
121.'65.
OODWORK, a boſs. Carved wood, from a former
palace of the Biſhops of Exeter. Engliſh. 15th cen-
tury. H. 19% in., diam. 19735 in. Bought, 11. 135. 4d.
3 14 Farnz'zare and Wood-work.

124.'65.
OODWORK, a boſs (one half only), Carved wood,
from a former palace of the Biſhops of Exeter.
Engliſh. 15th century. H. 19-;-in., diam. II% in. Bought,
11. 135. 4d.*
122.'65.
OODWORK, a boſs. Carved wood, from a former
palace of the biſhops of Exeter. Engliſh. I 5th cen-
tury. H. 19%,- in., diam. I9-%- in. Bought, 11. 135. 4d.
118.'65.
OODWORK, a ſcreen. Oak, carved, the lower part
in Gothic tracery panels, the upper in open work
tracery; removed from a former palace of the Biſhops of
Exeter. Engliſh. 15th century. H. 7 ft. 10 in., W. 6 ft.
11 in. Bought, 251.
6790.'60.
OODWORK, a Cuſping. Piece of carved oak, Gothic
deſign, ſurmounted by a pomegranate. Engliſh.
15th century. From the Star Chamber, Weſtminſter. 82 in. .
by 1 ft. 9 in. Given by Miſs Bulley.
71. '64.
OOD WORK, a bracket. Carved oak, foliage and
flower ornament; originally portion of the ſtalls in
the chapel of Eton College. Engliſh. 18th century. H.
2 ft. 8 in., W. 2 ft. Bought, 21. 125. 6d.
Theſe ſeries of brackets, of which this is a ſingle example, are in
double ſets of curves, with acanthus leaves on the faces and cut ſcroll
Engliſh Woaa'worh. 3 I 5

work on other portions. They ſupported a continuous corona or
canopy that formed the covering of the ſtalls of the chapel.
72. '64.
OODWORK, a bracket. Carved oak, foliage and
flower ornament, originally portion of the ſtalls in the
chapel of Eton College. Engliſh. 18th century. H. 2 ft.
8 in., W. 2 ft. Bought, 21. 125. 6c1.
67. '64.
OODWORK, a column in carved oak. Fluted ſhaft
with Corinthian capital and baſe. From the chapel
of Eton College. Engliſh. 17th century. H. 11 ft. 9 in.,
W. of baſe 1 ft. 9 in. Bought, 61. 65.
The oak ſhaft of the column is made up of ſpars glued together.
No ſplit or open joints are viſible' after a century and a half of all
varieties of temperature. The wood has been varniſhed.
68. 64.
OODWORK, a column in carved oak. Fluted ſhaft
with Corinthian capital and baſe. From the chapel
of Eton College. Engliſh. 18th century. H. 11 ft. 9 in.
W. of baſe 1 ft. 9 in. Bought, 61. 65.
Companion to No. 67. '64.
69. '64. ,
OODWORK, a pilaſter. In carved oak; fluted ſhaft,
Corinthian capital and baſe; from the chapel of
Eton College. Engliſh. 18th century. H. 11 ft. 9 in., W.
1 ft. 9 in. Bought, 31. 185. 9a'. *
3 1 6 Furniture and Woodwork.

70. '64.
OODWORK,a pilaſter. In carved oak; fluted ſhaft,
Corinthian capital and baſe; from the chapel of
Eton College. Engliſh. 18th century. H. 11 ft. 9in., W.
1 ft. 9 in. Bought, 31. 185. 951.
846.'68.
OODWORK, a door and frame with architrave ſup-
ported by fluted columns; from a houſe (No. 18,
Carey Street) in Lincoln's Inn. Yellow deal. Engliſh. Early
18th century. H. 13 ft. 3 in., W. 9 ft. 1 in. Given by the
Board of Works.
The architrave riſes with a curve on each ſide to form the pedeſtal
of a pot of flowers carved in high relief, from which a graceful wreath
deſcends each ſide, filling the pedimental panel. The carving is in the
manner of Gibbon, as ſeen in the work over the communion table
of the church of St. James, Weſtminſter and elſewhere. A circular
pedimental top is ſupported on carved brackets, as are the portions of
interrupted cornice that cover the projections ſupported by the pilaſters.
The larger mouldings of the pediment and door frame are delicately cut
with acanthus foliations. The work is perfect throughout and very
exact. No ſlips or errors in the uſe of the chiſel on this ſoft material
are viſible. The delicate curved ſurfaces of the mouldings are preſerved
intact through all the carving. A woodcut of this doorway is given in
the Frontiſpiece.
5909-'56-
OODWORK, a chimney piece front. Carved lime
wood, in the centre compartment the fable of the Fox
and the Stork; ſcroll work at ſides. Engliſh. 18th century.
(Attributed to the father of Sir Humphry Davy,) H. 1 ft.
2-Z; in., L. 6 ft. Bought, 31. 35.
Engliſh) Wood-wore. 3 I 7

A ſpecimen of the carving in ſoft wood, for which excellent work-
men were found in England for the three firſt quarters of the laſt
century. The upper part is an architectural entablature. The cornice
mouldings are covered with delicate ſurface carving, and the lower
member is a ſmall pierced battlement in the manner of Chippendale.
lEſop's fable of the Stork and the Fox is the ſubject of the centre
panel 3 the ſtork is returning the trick of the fox, by giving him nothing
but a long necked vaſe, out of which ſhe is eating, while the fox is
reduced to licking the lip of the jar for his ſhare. Little panels filled
with ſuch ſubjects, or with Apollo, the Muſes, and ſimilar claffical
compoſitions continued to the end of the century to form the centres
of chimney-piece ornament in London houſes.
85. ,64.
OODWORK, a chimney piece. Carved and painted
wood, the. columns Corinthian, backed by marble
pilaſters, the architrave ornamented with a frieze of infant
ſatyrs among vine branches. Engliſh. 18th century. H.
5 ft. 9 in., W. 7 ft. 2 in. Bought,v 301.
328.'67.
OODWORK, a mantelpiece of deal. Carved, with
ſunken panel in centre, and pediment broken for recep-
tion of a buſt; from a houſe in Carey Street, Lincoln's Inn
Fields. Engliſh. Early 18th century. H. 10 ft. 3 in., W.
5 ft. 8 in. - Given by the Board of Works.
The ſhelf is moulded like the corona of an architectural frieze. A
Vandyke frame with projecting corners and garlands hanging therefrom,
frames in the marble' jambs of the fireplace. The carving of the
_ mouldings is an egg alternating with ſcallop ſhells and carved roſettes.
The upper frame alſo has projecting corners top and bottom, and
garlands on the ſides. The larger ſurfaces of all the mouldings of this
and of the lower ornamental portion are delicately carved with light
acanthus foliations.
3 1 8 Fnrnizare and Woodwark.

191. '69_
OODWORK, part of a ſcreen. Pinewood; ſix com-
plete, and four three-quarter Corinthian columns, with
pedeſtals and entablatures. Engliſh. 18th century. H.
12 ft. I% in., W. 12 ft. 2-32L in. Bought, 181.
This portion- of ſcreen conſiſts of two round arches ſtanding on,
groups of four columns. The ſoffit of the arches is divided into a double
ſet of coffers with roſettes ; the mouldings of the coffers and the roſettes
are richly carved and the ground coloured blue. The mouldings of the
architraves, caps and baſes, are elaborately carved without regard to the
preſervation of the horizontal lines and curved ſurfaces, ſo that theſe
members are cut up by the work put upon them.
They formed part of a dividing architectural ſcreen in Fife Houſe,
on the Thames, lately removed for' the works of the Embankment,
formerly the. property of the Earls of Fife. The work dates from the
third quarter of the laſt century.
4239.'56.
OODWORK. A door. Oak, with architrave, pedi-
ment, &c., inlaid with arabeſque ornament in mar-
quetry of Various woods. Flemiſh. (Brought-from the Hotel
de Ville, Antwerp.) Dated 1580. H. 9 ft. 6 in., W. 4 ft. 7 in. '
Bought, 2 51.
The decoration repreſents an architectural perſpective, with obeliſks,
porticoes, churches and ſteeples. The inlay columns are made to
repreſent marble by the mottled grain of the wood uſed, and the ſame
device gives variety to the cornices, &e. repreſented in the landſcape.
On a panel in the pediment are the letters-
CHRISTVS : do.
DORSIENT ' AL.
37- '65-
TOODWORK, a bracket. Carved and gilt wood, pattern
of ſcroll work and foliage, with a ſhell ornament at
top. French? 18th century. H. 3 ft. 5 in., W. 18 in.
Bought, 201.
French Wooclwcrh. 3 1 9

28. '44.
OODWORK. Model. A ſpecimen of parquetage for
flooring. French, modern. (Marcellin,Paris.) 135 in.
by 12 in. Bought (French Exhibition, 1844), 165. Ia'.
This and the following ſix pieces are models only of floor-inlaying,
and could not be applied to uſe or made in large quantities on a ſcale ſo
fine and minute as that of the execution of theſe examples.
They are geometrical deſigns delicately outlined in ebony, mahogany,
and other dark coloured woods, and filled in with teak, Indian walnut,
and other woods, the grain being uſed to give ſheen and effectiveneſs to
the arrangement.
29- '44-
OODWORK.. Model. A ſpecimen of parquetage for
flooring. French, modern. (Marcellin, Paris.) 14-}in.
by 1271- in. Bought (French Exhibition, 1844), 165. la',
30- '44- .
OODWORK. Model. .Aſpecimen of parquetage for
flooring. French, modern. (Marcellin, Paris.) 12£ in.
by Ili- in. Bought (French Exhibition, 1844), 165. 1a'._
31- l44-
WOODWORK. Model. A ſpecimen of parquetage for
flooring. French, modern. (Marcellin, Paris.)
_ Square, W. 12 in. Bought (French Exhibition, 1844), 165.
32- '44-
OODWORK. Model. A ſpecimen of parquetage for
flooring. French, modern. (Marcellin, Paris.)
Square, W. 18 in. Bought (French Exhibition, 1844),
165. Icl.
3 2 0 Furniture and Wood-word.

27.'51.
OODWORK. Model. A ſpecimen of parquetage for
flooring. French, modern. (Marcellin, Paris)
Square, W. 11-Z-in. Bought (Exhibition of 1851), 11. 15. 9d.
26. '51.
OODWORK. Model. Aſpecimen of parquetage for
flooring. French, modern. (Marcellin, Paris)
Square, W. 14? in. Bought (Exhibition of 1851), 11. 15. 951.
2714. '56.
OODWORK. A pilaſter. Lime wood, carved with
arabeſque ornament in relief; ſtyle of Louis XIV.
French, modern (by Cruchet, Paris). H. 12 ft. 7 in., W.
2 ft. 2 in. Bought (Paris Exhibition, 18 5 5), 1201.
2714a. '56.
OODWORK. A pilaſter. Lime wood, carved with
arabeſque ornament in relief; ſtyle of Louis XIV.
French, modern (by Cruchet, Paris) H. 12 ft. 7 in., W.
2 ft. 2 in. Bought (Paris Exhibition, 18 5 5), 1201.
1056.'44. _
OODWORK. Frieze. Carved wood. Arabeſque
ornament. French, modern. (Lianard, Paris) H.
7-Y- in., L. 2 ft. 2 in. Bought, 81.
Italian Wood-work. 3 2 1

5388.'57.
X N lOODWORK. Part of the ramp of a ſtaircaſe, carved
in walnut wood. Scroll work, terminating in a figure
of a kneeling faun. German or Italian. 17th century. H.
3 ft. 6 in., L. 4 ft. 7 in. Bought, 121.
Cut with bold curves and ſcrolls, of which the ſurfaces, though
plain, are delicately played with. Though it is pierced through and
ſeems light, the whole ſtructure has all the ſtrength required for its
deſtination.
3679-'56-
OODWORK. The lintel of a door. Carved teak
wood. Indian, from an ancient palace at Hangaru-
kette, in Ceylon. L. 7 ft. 9 in. Square, W. 6-'5 in. Bought, 41.
It is carved on three ſides, with a running pattern of foliated
moulding of late claffic or renaiſſance character. In the centre of the
under ſide a ſquare panel is occupied by a Runic knot. The beam is
cut out ſo as to drop into the uprights, into which it is mortiſed.
There are no peg or nail holes. The work is probably of the
17th century. The claffic character of the carving is probably
traditional, and the ſtyle dates from the period of the Macedonian
conqueſts.
_ 49oo-as9-
OODWORK. Part of the frieze of a room. Carved
fir wood. Gilt on blue ground; compartments of
ſcroll-work and cupids. Italian. About 1500. 3 ft. 11 in.
by 1 ft. '4z,1-_ in. Bought.
7863.'62.
OODWORK. Part of a frieze, in carved wood. Two
groups of children in high relief. Italian. 16th
century. L. 12 in., W. 5-3- in. Bought, 51.
F' x
3 2 2 Farnz'tare and 'Wood-work.

7862.'62.
OODWORK. Part of a frieze, in carved wood.
Three groups of children in high relief. Italian.
16th century. L. 1 ft. 23; in. , W. 472- in. Bought, 51.
7416.'60.
OODWORK. A bracket. Carved cheſtnut wood.
An arm of a ſeat or other object of furniture. Italian.
15th century. H. 1 ft. 5 in., W. 22 in., L. 1 ft. 4 in. Bought,
11. 45.
7415.'60.
OODWORK. A bracket. Carved wood. Compoſi-
tion of two dolphins, foliated ornament, &c. Originally
a truſs or bracket to ſupport a ceiling beam. Italian. 15th
century. H. 1 ft. 3;}in., W. I ft. 2£in., L. I ft. 4in. Bought,
11. 41.
5790-'59-
OODWORK. Part of the frieze or cornice of a room.
Carved wood. Ornament of dolphins, Florentine
lilies, &c., in blue and gold. Italian (Florentine). 16th
century. H. 15%; in., L 7 ft. 1 in. Bought.
4899-'59-
OODWORK. Part of the frieze of a room or receſs.
Carved fir wood. Gilt, on blue ground; compart-
nents of ſcroll work and cupids. Italian. 16th century.
3 ft. 11 in. by 1 ft. 471- in. Bought.
Italian Wooclworh. 3 2 3

88. '64.
OODWORK. Wood carving. Two pieces, gilt;
being portions of the ceiling of the Palazzo Vecchio,
Milan ; in a frame. Italian. 16th century. Frame, L. 13-;-in.,
W. 7£ in. Given by J. C. Robinſon, Eſq.
Theſe are ſmall fragments covered with ſtucco, and have dropped
from panels of a renaiſſance ceiling divided into coffers and moulded
with elaborate decorations. For fuller details of ſimilar decoration the
reader may be referred to the coſtly work of Profeſſor Lewis Griiner,
T Freſco Decorations and Stuccoes in Churches and Palaces of Italy,
&c.," in the National Art Library. A number of the drawings pre-
pared for this work may be ſeen amongſt the collections at South
Kenſington.
133. '6 5.
OODWORK. A column. Walnut wood, carved and
gilt; the capital Corinthian, the ſhaft carved in ara-
beſque ornament. Italian. Dated 1522. H. 6 ft. 7 in.,
diam. Gi in. Bought, 731. 105.
A ſupporting member of a doorway or chimney-piece. This is of
ſolid walnut wood. Part has been painted in preparation for gilding.
The arabeſques are very finely deſigned and cut. Both the ſide
expoſed to view, and that which has lain back againſt the wall, are cut
with equal care. No portion of any cabinet or cheſt meant to ſhow the
higheſt efforts of wood ſculpture, among the finer ſpecimens of the
Muſeum collection, ſhows better deſigned or more delicate work. Yet
this has been intended for, and formed an actual part of, a large com-
poſition of an architectural character.
134.'65.
OODWORK. A column. Walnut wood, carved and
gilt; the capital Corinthian, the ſhaft carved in ara-
beſque ornament. Italian. Dated 1522. H. 6 ft. 7 in.,
diam. 6-3- in. Bought, 7 31. 105.
Companion to the laſt deſcribed.
x 2
3 24 Furniture and Wood-work.

7861.'62.
OODWORK. A pilaſter. Carved wood. Scriptural
figures in high relief. Originally a portion of ſome
article of furniture. Italian. 16th century. H. 2 ft. 2 in.,
W. 3 in. Bought, 71. 105.
* 7860.'62.
OODWORK. A pilaſter. Carved wood. Scriptural
figures in high relief. Originally a portion of ſome
article of furniture. Italian. 16th century. H. 2 ft. 2 in.,
W. 3 in. Bought, 71. 105.
8441.'63.
OODWORK. The cornice of a room. Carved pine
wood. A compoſition of large pendent modillions
arranged in couples, and carved with maſks and feſtoons of
fruit; between theſe the frieze is decorated with cartouche
panels, the ſoffit has cartouche panels and pendent boſſes.
Venetian. About 1560. From the Palazzo Benſi Ceccini,
Venice. H. 2 ft. I in., L. 78 ft. 6 in. Bought (Soulages
Coll.), 501.
The heads are alternately thoſe of children ſmiling and of old men
crying. It is worth notice that the wood, fir or pine, now worn to a
light umber brown colour, is as rich and effective left unvarniſhed as if
it were oak or walnut, and this wood better preſerves its lighter colour,
ſo that the carving is more diſtinguiſhable.
8442.'63.
OODWORK. The cornice of a room. Carved pine
wood. A compoſition of pendent modillions, and
richly carved mouldings, with projecting boſſes in the ſoffit.
Venetian. About 1570. H. 17 in., L. 65 ft. 6 in. Bought
(Soulages Coll.), 501.
Of ſimilar character to the laſt.
Norwegian Woodwork. 3 2 5

2386.'55.
OODWORK. A bracket. Carved and gilt wood,
ſupported by two figures of mermaids. Italian.
About 1700. H. 13 in., L. 12-5- in., W. 632- in. Bought
(Bernal Coll.), 71. 155.
2386a.'55.
'OODWORK. A bracket. Carved and gilt wood,
ſupported by two figures of mermaids. Italian.
About 1700. I-I. 13 in., L. 12%in., W. 6-2- in. Bought
(Bernal Coll.), 71. 155.
'68. 10.
OODWORK, caſt of. Plaſter reproduction of a door-
way of pine-wood, carved in relief, with interlaced ſerpent
decoration. Norwegian. 1 Ith or early 12th century. From
the wooden church of Sauland, in Norway. H. 15 ft. 3 in.,
W. 6 ft. 3 in.
The original woodwork, of which the Muſeum contains this exact
reproduction in plaſter, was ſent to Paris for exhibition in the gallery
of the a Hiſtory of Labour," in 1867, and afterwards lent by the
Norwegian Government to the South Kenſington Muſeum.
The whole is a tall upright round arched door-head and jambs. The
arch of the door has a curved moulding of rolling ſcroll foliage of Runic
character, ſimilar in ſtyle to the work above and at its ſides, which forms
one panel or ſurface of carved pine wood. The ſubject of the carving,
which is completely carried out, is a conteſt of dragons. Two large winged
dragons ſurmount the hips of the arch. Their necks intertwine in the
middle, and their tails and legs deſcend in bold circular convolutions on
the ſide jambs. Each of theſe tails is gripped in the fangs of three or
four other ſerpents, which continue the contortion of line till the whole
ſpace is occupied. Theſe rings or knots appear decoratively arranged,
and in a ſymmetrical order. The dragons or ſerpents are, however,
carefully kept diſtinct through the maze of folds they make, and the
A 3 26 Farnz'tnre and Wood-work.

action, ſhape, and gradual diminution of diameter in each monſter, as
it nears the tail, can be traced.
The deſign is of the ſame character as that of the old Anglo-
Saxon and Iriſh jewellery and goldſmiths' work, and of the ancient
Croſſes and monolithic monuments of Ireland.
It is to be regretted that a Wooden church of ſuch workmanſhip
ſhould have been deſtroyed. The wood, which is exactly imitated in the
painting of this and the next piece, appears to be pitch-pine, but is alarge
grained, very reſinous pine of another kind, the pitch-pine being
unknown in Norway.
The wood is now covered by a reſinous varniſh, which time and
weather have drawn to the ſurface. This has protected it effectually
from rain. Oak would have periſhed long ſince in ſuch a climate, and
the ſame wood, under a ſouthern ſun, would have had all its reſinous
properties dried and burnt- up. The particular wood has been exactly
ſuited to the requirements of the work and place.
'68. 11.
OODWORK, caſt of. Plaſter reproduction of a door-
way of pine-wood, carved in relief, with interlaced dragon
and ſerpent decoration. Norwegian. 1 Ith or early 12th century.
The original is from the wooden church of Flaa, in Norway,
demoliſhed in 1854. In was exhibited in the fection of the
V Hiſtory of Labour," in the Paris Exhibition of 1867, and
afterwards lent to the South Kenſington Muſeum by the Nor-
wegian Government. H. 12 ft., W. 5 ft. 9 in.
This doorway is ſimilar in character and in deſign to No. '68. Io. It
is of the ſame wood, and the plaſter caſt of it is coloured in the ſame
way, to repreſent the original.



Ina'ian, Chineſe, yapaneſe, ancl other Oriental
Wares.

INDIAN.
17. '52.
any, i OX, or Jewel Caſket. Carved ſandal wood. Indian
' (Mangalore), modern. 7 in., L. 14? in.,
W. 10in. Bought (Exhibition of 18 51), 301. 105.


547.'68.
ANEL. Sandal wood. Carved with foliage; Ahmedabad
i work. Modern Indian. L. 157£-in., W. 95;- in. Given
by the Government of India.
It has in deſign ſome reſemblance to the cloſely packed foliage of
Burmeſe deſign. The ground bears but a ſmall proportion to the orna-
ment, and is diſpoſed in delicate ſlat patterns, ſo as to contraſt with the
foliated work over it.
21. '52.
ARD Caſe. Carved ſandal wood. Indian, modern.
43; in. by 3 in. Bought (Exhibition of 18 51), 125.
3 2 8 Furniture and Wood-work.

_22. '52.
GG Cup. Carved ſandal wood. Indian, modern. 32 in.
by 12 in. Bought (Exhibition of 18 51), 125.
23. '52.
AN. Carved ſandal wood, repreſenting a Peacock.
Indian, modern. L. 1 ft. 5 in. Bought (Exhibition
of 1851), 145.
18. ' 52.
OX. Carved ſandal wood. A work-box. Indian,
modern. H. 5 in., L. 10? in., W. 7 in. Bought
(Exhibition of 1851), 11. 185.
Inlaid in octagonal patterns, white in outline. In theſe are ſtars of
ſix points, each point of three pieces. The ſtar contains a hexagon piece
and a ſtar inſide that. The difficulty involved in the execution of
marquetry ſo minute on curved ſurfaces may be eſtimated by the con-
ſideration that thirty-ſix dies go to make up the entire ſtar, and that
nine ſtars are inſide the Circumference of a circle an inch in diameter.
8881.'63.
IPE-STEM. Inlaid Bombay work, with amber mouth-
piece. Modern Indian. L. 4 ft. 9 in. Bought, 31.
20. '52.
ACK, or Letter Stand. Sandal wood, inlaid with
marquetry. Indian (Bombay), modern. H. 4 in.,
L. 11 in., W. 32 in. Bought Exhibition of 18 51), 31. 105.
Indian Wares. 3 2 9

19. '52.
OX. Carved ebony. A writing box. Indian (Rohilcund),
modern. H. 2% in., L. Ilzl; in., W. 3-5- in. Bought
(Exhibition of 18 51), 21. 105.
10. , 52.
OX. Lacquered wood. Cylindrical, with flat cover;
inciſed ornament. Indian (Sindh), modern. H. 3% in.,
diam. 9% in. Bought (Exhibition of 18 51), 165. 6d.
The decoration of theſe Sindh wares has ſomething of the effect
of marbled paper. This is produced by rubbing ſoft ſealing wax on
the parts to be decorated, and the motion of the lathe diſtributes the
colour in the way ſhown. Parts are inciſed in circular Ornaments, ſtars,
&c., and theſe parts combined by flowing leaves or ſtalks. In all caſes
theſe follow each other in one direction, the direction of the lines is never
reverſed.
1 1. ' 52.
OX. Lacquered wood. Cylindrical, with flat cover;
inciſed ornament. Indian (Sindh), modern. H. 3-;-in.,
diam. 971, in. Bought (Exhibition of 18 51), 165. 6d.
12. '52.
OX. Lacquered wood. Cylindrical, with hemiſpherical
cover; inciſed ornament. Indian (Sindh), modern.
H. 63; in., diam. 9 in. Bought (Exhibition of 18 51), 1 15.
13. ' 52.
OX. Lacquered wood. Cylindrical, with hemiſpherical
cover; inciſed ornament. Indian (Sindh), modern.
H. 6 in., diam. gig in. Bought (Exhibition of 18 51), 115.
3 30 Farnz'tare and Wood-work.

789.'69.
ALKING Stick. Wood, painted and carved, with
ivory top and ferrule. Modern Indian (Jodhpore).
L. 3 ft. 6z}_- in. (Paris Exhibition, 1867.) Bought, 125.
This ſtaff is a ſpecimen of the ſame work as the painted wares of
Sindh that are firſt turned in the lathe.
The ſtick is divided by ſets of indented rings coloured black, and
the intervals marbled with colours in irregular wavy lines, produced,
probably, by imparting motion not to the bruſh, but the ſtick.
790.'69.
ALKING Stick. Wood, painted, with ivory top and
ferrule. Modern Indian (Jodhpore). L. 3 ft. 5 in.
(Paris Exhibition, 1867.) Bought, 105.
In this inſtance the whole ſtaff is marbled in one continuous ſet of
lines, running down in the ſame irregular wavy movement, produced
in the ſame way as that on 789. '69.
791. '69.
ALKING Stick. Wood, painted and inlaid with
ivory. Indian (Jodhpore). L. 3 ft. 431; in. (Paris
Exhibition, 1867.) Bought, 125.
This ſtaff is of the ſame ware with black rings at intervals inlaid
with quatrefoil flowers and other forms in ivory.
1. '52.
OX. Lacquered wood. Oblong; a work-box. Indian
(Lahore), modern. H. 9£ in., L. 25 in., W. 13 in.
Given by Her Majeſty the Queen.
The ſurface is lacquered and painted in the pattern of Caſhmere
ſhawl work. The main tints are copper green and Vermilion, on which
is laid ſilver leaf. The running patterns are then drawn with a reed,
thick green pigments added in the parts meant to be covered, and the
whole lacquered, by which proceſs the ſilver acquires the hue of gold.
I na'ian Wares. 3 3 1

This work is made at Caſhmere, Delhi, and Lahore. On the lid is an
Arabic inſcription, V By order of Goolab Singh Bahadoor."
2. '52.
OX. Lacquered wood. Oblong; a work-box. Indian
(Lahore), modern. H. 8%in., L. 18 in., W. 12 in.
Given by Her Majeſty the Qleen.
Green inſide, and ſhawl patterns in Vermilion on the lid. Inſide
are trays ſimilarly decorated, blue and gold are added.
3- '52-
OX. Lacquered wood. Decagonal, with raiſed cover.
Indian (Lahore), modern. H. 8 in., diam. 1 1 in.
Given by Her Majeſty the Queen.
The top is hinged and faſtens with a haſp. It is painted in concen-
tric bands of green, and foliated deſigns in graduated lake are painted
over theſe colours. '
4- '52-
OX. Lacquered wood. A writing box, with ſtand or
tray, containing various inſtruments. Indian (Lahore),
modern. Box, H. 353- in., L. 1 1 in., W. 2-g- in. Tray,
L. 14 in., W. 55 in. Given by Her Majeſty the Ween.
In this piece gilt patterns are laid over blue, green, and white bands.
Inſide are metal ink-boxes for inks of two colours. The blades of the
ſciſſors are hollowed, ſo as to be eaſily ſharpened, and the finger loops
are one in front of the other and pack together when cloſed.
5. '52.
OX. Lacquered wood. A writing box, with ſtand or
tray, containing various inſtruments. Indian (Lahore),
modern. Box, H. 3£ in., L. 113.,L in., W. 35- in. Tray,
L. 13% in., W. 5-2- in., ' Given by Her Majeſty the Qieen.
3 3 2 Furniture and Wood-work.

6. '52.
OX. Lacquered wood. A writing box. Indian (Lahore),
modern. H. 2 in., L. 11 in., W. 23,L in. Given by
Her Majeſty the Queen.
9
7. 52.
OX. Lacquered wood. A writing box. Indian (Lahore),
modern. H. 2 in., L. 10% in., W. 2 in. Given by
Her Majeſty the Been.
8. ,52.
OX. Lacquered wood. Awriting box. Indian (Lahore),
modern. H. 2 in., L. 62- in., W. 1-,}c- in. Given by
Her Majeſty the Queen.
9- '52-
OX. Lacquered wood. Awriting box. Indian (Lahore),
modern. H. li- in., L. 72 in., W. 1% in. Given by
Her Majeſty the Queen.
16. '52.
BOX. Lacquered wood. A writing box, with ſtand or
tray. Indian (Rohilcund), modern. H. of Box, 2?- in.,
L. 1043- in., W. 3 in. Tray, L. 14% in., W. 7-} in. Bought
(Exhibition of 1'8 51), 31.
The central cartouch contains in Arabic characters the name,
U Khohemdahn. " -
Indian Wares. 3 3 3

14. ' 52.
ANE, or Stick of Office. Lacquered and painted wood,
with chaſed ſilver knob and ferrule. Indian, modern.
L. 4 ft. 6 in. Bought (Exhibition of 18 51), 21. 45.
This is Caſhmere or Lahore work. There are joints at intervals
forming boſſes, painted with green and red flowers on a white ground.
It is the Arab "Aſſar," a ſtaff held by the leader of prayers in
moſques, and repreſents the rod held by the' Patriarch Moſes.
785.'69.
OX. Circular, with domed top. Wood, painted with
gold and colours in Perſian ſtyle. Modern Indian
(Hyderabad). H. Ziinqdiam. 82- in. (Paris Exhibition, 1867).
Bought, 21. 155.
786.'69.
ARD Tray on foot. Wood, painted with Indian
deſigns. Indian. H. 5% in., diam. 8-£,£- in. Bought, 25.
784. '69.
OX for Letters. Wood, painted in gold and colours with
emboſſed floral deſign. Modern Indian (Kurmool).
H. 7 in., L. 13g- in. ct (Paris Exhibition, 1867.) Bought, 41.
Made for European uſe. The decoration is ſimilar to that of the
Hyderabad ware, but much more coarſe in execution. The deſigns
are raiſed by the preparation laid on as a foundation, and are in gold
and colours on a green ground.

3 34 i Farnz'tare and Wood-work.

BURMESE.
225.'65.
with lacquer, the writing black', the ground gold
with red foliated Ornaments and figures of gods,
encloſed in two outer boards painted red with gilt


Ornaments. L. 2121.,- in., W. 3=Z in. In a wrapper of a coloured
cotton fabric interwoven with flips of bamboo, and a cotton
bandage 12 ft. 4 in. in length, in which is woven an inſcription
in the ſame character as the book. Burmeſe. Bequeathed
by the late Mrs. Boyd Miller. ct
1225.'64.
OOK, formed of 16 leaves of thin wood covered with
lacquer, the writing black, the ground red and gold
ornamented with medallions of birds, Burmeſe. L. 21 in.,
W. 3% in. Given by Lady Campbell.
1226.'64.
OOK, formed of 11 leaves of thin wood covered with
lacquer, the writing black, the ground red and gold
ornamented with medallions of birds. Burmeſe.. L. 21-_I;- in.,
W. 2% in. Given by Lady Campbell.
1227.'64.
OOK, formed of 9 leaves of thin wood covered with
lacquer, the writing black, the ground red and gold
ornamented with medallions of birds. Burmeſe. L. 21-_.1,; in.,
W. 33:- in. Given by Lady Campbell.
Ina'ian Warer. 3 3 5

1228.'64.
OOK, formed of 14 leaves of thin wood coated with
lacquer, the writing black, on red and gold ground,
encloſed in two outer boards ornamented with birds and ſun in
gold lacquer on red ground. Burmeſe. L. 212- in., W. 3% in.
Given by Lady Campbell.
CINGALESE.
402-'54-
ASKET. Ebony, inlaid with ivory in ſcrolls,
flowers, and leaves; the details engraved with black
_ lines; mounted with ſilver corners, hinges, handles,
" and claſp of chaſed and pierced work. Oriental
(Cingaleſe). 17th century. H. 3-2- in., L. 7% in., W. 4-3- in.
Bought, 81.


Fine ivory volutes, and floriated deſigns. It has ſilver mounts and
occaſional ſtar heads in the ſame material.
38. '68.
ASKET, oblong, with arched top. Wood overlaid with
ivory, carved in openwork with monſters and foliage.
Modern Cingaleſe. H. 63; in., L. 83; in., W. 531., in. Bought,
151. 1 55.
The baſe or foundation of the work only is inwood. The apparent
ſurface and decoration belong rather to the deſcription of ivories.
3 3 6 Furniture and Woodwork.

3678-'55-
AN. Leaf of talipot palm. Circular, mounted on a
handle of painted wood. The fan decorated with ſcroll
ornaments enriched with plates of mica. Cingaleſe, modern.
Diam. of fan, 2 ft. 9 in., L., including handle, 7 ft. Given by
Captain H. L. Layard, Commiſſloner for Ceylon, in the Paris
Exhibition, 1855.
793-'69-
ALKING Stick. Sandal wood, carved with animals
and foliage. Indian (Ceylon). L. 3 ft. 3 in. Paris
Exhibition, 1867. Bought, 31.
JAVANESE
1074.'52.
H. 7-35 in., diam. 4% in. Bought (Exhibition of
18 51), 65.


1073a.'52.
UP. Carved cocoa-nut ſhell. Javaneſe, modern.
H. 6-55; in., diam. 3-2 in. Bought (Exhibition of
18 51), 65.

Samatra Wares. 3 3 7

SUMATRA, PERSIAN, &e.
965-'53-
ſ OX. Bamboo. Cylindrical; to hold lime for betel
' l .chewing. Sumatra, modern. L. 63 in., diam.
12- in. Given by the Cryſtal Palace Company.


963-'53-
OX. Bamboo. Cylindrical; to hold lime for betel
chewing. Sumatra, modern. L..77£- in., diam. 22;- in.
Given by the Cryſtal Palace Company.
964-'53-
OX. Bamboo. Cylindrical; to hold lime for betel
chewing. Sumatra, modern. L. 72; in., diam. 2 in.
Given by the Cryſtal Palace Company.
8496.'63.
ASKET. Wood, inlaid with floral ornament in mother-
of-pearl on black ground; the lock, feet and clamps of
gilt metal chaſed. Old Perſian. The mounts European.
16th century. H. 4-Y- in., L. 1272 in., W. 5 in. Bought, 71.
The decorations are rudely put together. The box ſtands on a ſort
of plinth with chaſed metal mounts, probably French of the early 18th
century.
929-'53-
ASE for a Mirror, with lid. Wood; lacquered and
painted in various colours, with groups of ſeated
figures in oriental coſtume. Perſian, modern. L. 8 in.,
W. 5-3- in. Bought, 155.
1"
3 3 8 Farnz'tare and Wood-work.

7345-i6l-
ALABASH. Formed of half of a double cocoa nut,
carved in low relief, with a floriated deſign, and an
inſcription in Perſian characters. Perſian (?). 1 2-514; in. by 5£ in.
Bought, 11. 155.
1262.*55.
RAY. Lacquered work, oblong octagon. X Ancient
Hindoo 16th or 17th century. L. 1977.; in., W.
Io-L- in. Bought, 21. 05. 5d.
An oblong octagon. The wood is left bare except where the
decorations are painted. There is a band of rolling foliage round, and
animals and foliated ſcrolls in the middle. The colours are dark blue
and ſilver glazed or lacquered in parts. It is ſaid to be ancient Hindoo
rather than Perſian, to which ſtyle of decoration it has a ſtrong affinity.
155. '66.
OF F ER. Quadrangular, with bevelled lid. Wood over-
_laid with black maſtic, in which are embedded bits of
mother-of-pearl in floriated Oriental pattern. Probably
imported by the Portugueſe from India. Perſian or Indian.
16th or 17th century. H. 14z{- in., L. 19 in., Iozlſ in.
Bought, 81. 85. 5d.
1527.'71.
' IRROR Caſe. Minute marquetry of wood, bone,
and metal. Perſian. About 1750. 7-Zz in. by 5-g-in.
Bought, 105.
In this piece may be traced the deſcent of the Bombay inlaid work
introduced, according to Dr. Birdwood, into Bombay ſince the date
aſſigned to this piece.
Perſian ares. 3 3 9

920.'69.
OX. Minute moſaic of ivory, white, ſtained and gilt.
Modern Perſian. H. 65 in., L. 155 in. (Paris Exhi-
bition, 1867.) Bought, 141.
. 935 '69-
OX. Minute moſaic of ivory, white, ſtained and gilt.
Modern Perſian. L. 2 ft. 35 in., W. 95 in. (Paris
Exhibition, 1867.) Bought, 101. 165.
This box and No. 920. '69 are ornamented alike. The decora-
tion is laid out in the form of panels, a large one in the centre and
rows of oblong panels on either ſide at right angles to it. They are
filled with' minute geometrical patterns inlaid, chiefly compoſed of ſix
or eight pointed ſtars, black and white, on a gilt ground. The work is
helped out by delicate painting in ſhawl patterns. Corners to the
panels are contrived by inlaid triangular dies of mother-of-pearl much
larger than the reſt of the inlaid pieces, on which is painted a roſe, not
conventionally as in the ſhawl work. This gives a gariſh look to
theſe portions.
923.*69.
RITING-CASE. Wood, carved with birds and foliage
in low relief. Modern Perſian (Shiraz). L. 85 in.,
H. 15 in., W. 15 in. (Paris Exhibition, 1867.) Bought,
11. 85. '
924.'69.
RITING-CASE. Wood, carved with heads, birds, and
flowers. Modern Perſian (Shiraz). L. 85 in.,
H. 1-53- in., W. 15 in. (Paris Exhibition, 1867.) Bought,
11. 85.
This and the laſt number are of box or other hard white wood
carved in relief and varniſhed. The deſigns are elegant floriated
running patterns, as in other Perſian borders, &c., but this piece con-
tains on the top two portrait buſts and figures of children climbing trees.
The caſe draws out of the outer box that is ſeen, as in the papier mache
Perſian writing caſes.
Y 2
340 Furniture and Wood-work.

Lacquered Wares.

CHINESE.
4778-'58-
OX and Cover. Red lacquered ware. Circular;
I ornamented with gilding. Chineſe, modern. H.
11 in., diam. 22 in. Bought.



The top is ornamented with landſcapes, each within a line, repre-
ſenting a fan mount, the top being notched to ſuggeſt the plaits of the
fan.
47-'52-
OX. Carved red lacquered work (cc coral lac "), repre-
ſenting a baſket of flowers. Chineſe or Japaneſe,
modern. H. 1% in., L. 5 in., W. 4 in. Bought, 21.
A ſpecimen of material reſembling coral, and coloured with ver-
milion, which is made up with the vehicle before it is applied. The
diſtinguiſhing ornament is a Greek fret. Theſe forms are cut out of
the ſolid lac amalgam.
48. ' 52.
RAY. Dark red carved lacquered work, in form of a
leaf. Chineſe or Japaneſe, modern. 71,- in. by 5 in.
Bought, 11.
49-'52-
RAY. Dark red carved lacquered work. Chineſe or
Japaneſe, modern. 53 in. by 4% in. Bought, 11.
It is leaf-ſhaped, the ground fretted, and the ſibre lines left ſmooth.
There are air holes, as if ſuch a box was intended for infects or ſilk-
worms.
C/zineſe Wares. 3 41

2159. ' 5 5.
ATCH Pot. Iron wood, inlaid with raiſed marquetry
of mother-of-pearl, coloured woods, &e. Chineſe.
H. 5 in., diam. 3% in. Bought (Bernal Coll.), 81. 55.
Several materials are uſed in the ornamentation; horn, coloured
ſhells, carnelian, and pebbles of different colours, forming hawthorn
branches, birds with argus-eyed tails, &e. The inlaid materials are let
in about 1-16th of an inch. The core has been turned in a lathe.
3 5. ' 52.
EA Caddy. Lacquered work. Black and gold.
ſi Chineſe, modern. H. 572- in., L. 10 in., W. 7-5- in. A *
Bought, 11. 105.
Decorated with ſmall figure deſigns in two golds. The orange gold
laid over Vermilion 3 yellow bronze feet. White metal tea-boxes fitted
inſide. '
1224.'64.
AN. Sandal wood; carved in openwork deſigns. Chineſe.
L. 22737 in., W. 3% in. Given by Lady Campbell.
The outer members are pierced only, and not carved as in Indian
ſans of this ſcale and in this material. It is difficult, however, to be
decided in aſſigning this to Chineſe workmanſhip. '
621.'68.
AN. Gold lacquer. With figure and building ſubject.
. In lacquered caſe. Chineſe. L. of fan 11 in. Caſe,
L. 12-2- in., W. 3 in. Bought, 31. 105.
34-2 Farnz'tare and Wood-work.

JAPANESE
884.'69.
as" OX. Gold lacquer work, ornamented externally and
internally with leaf pattern. Ancient Japaneſe.
H. 23,- in., diam. 3£ in. (Paris Exhibition, 1867.)
Bought, 121.


The ground is gold, and the foliage alſo, but very delicately relieved
and carefully modelled. '
877.'69.
RAY. Gold lacquer ware, ornamented with rock and
river ſcenery. Ancient Japaneſe. wi in. ſquare.
H. Izi- in. (Paris Exhibition, 1867.) Bought, 241.
822.'69.
OXES. A ſeries of five. iWood, ornamented externally
and internally with ſhell-ſhaped paintings, tortoiſes, and
bamboos, and emboſſed lacquer; with two covers and ſtand.
Ancient Japaneſe. H. 1 ft. 72- in.; 12 in. ſquare, including
ſtand. (Paris Exhibition, 1867.) Bought, 1121.
Theſe boxes ſit one over the other, and the decorations conſiſt of
ſeven large bivalve ſhells, ſeparated, three halves ſhowing the outſides,
and four halves the inſide. The inſides are decorated with ſcenes of
interior domeſtic life, figures, rooms, &e. One of the ſhells on the
ſtand is partly deſigned on the inſide, partly on the ſide edge and on the
exterior, ſo that the entire ſhell, which has no additions to its exact
dimenſions on this account, is drawn as if it had been on a film glued
jfapaneſe Wares. 3 4 3

down in the way ſhown. It is, however, drawn like the reſt, the
artiſt having choſen this voluntary difficulty in executing it. The forms
of the ſhells are in ſhallow relief of lac preparation.
823.'69.
NKSTAND. Gold. Lacquer ware; emboſſed ornament
inſide and out; containing penknife, Indian ink, metal
bottle, and ſlab. Ancient Japaneſe. 85 in. ſquare. (Paris
Exhibition, 1867.) Bought, 141.
4060.'56.
OX. Wood, the grain in relief, with raiſed lacquered
work and incruſtations of ivory. Ancient Japaneſe.
H. 55 in., L. 15 in., W. 115in. Bought, 11 155.
The wood of which the box is made is a large grained pine. It
has, by ſome proceſs or other, had the ſoft fibre worn or picked away
from the hard veiny portions, which ſtand out in relief in their natural
waved or parallel lines. Perhaps this has been done by ſteeping the
wood in the water of a running ſtream, or by the uſe of acids, ſo that
the ſofter parts have been worn or eaten away. A cloſe inſpection
ſeems to ſhow that a nail or other blunt implement has been uſed to
pick out the abraded portion, or to help out the actionof water or acids.
The ornament ſtands up out of this bold natural ground work in
ſtrong relief. The ſame work is uſed on a ſmall pipe-caſe.
318.'67.
RAY or Panel. Wood covered with lacquer, on the
inſide all gold, on the bottom gold objects on black
ground; in frame of Japaneſe character, deſigned by the late
Earl Cadogan. Ancient Japaneſe. H. of panel 92- in. , W. 9 in.
Given by Lady Auguſta Cadogan.
This has been the bottom of a ſmall tray. The frame is of wood,
burned with a hot iron into fanciful ſhapes after the pierced work that,
not unfrequently, forms the ſupport of Chineſe furniture.
344 Furniture and Wood-work.

893.'69.
OX. Wood, carved with geometric pattern and figure of
an owl on a tree in lacquer and mother-of-pearl, con-
taining four ſmaller boxes ſimilarly ornamented. Japaneſe.
H. 5-3- in., diam. 5-Z- in. (Paris Exhibition, 1867.) Bought, 61.
The ground is diapered with a regular pattern of hexagon ſtars,
with lines running through from point to point, diagonally and in
ſquares, like thev wall decorations ſeen in the ſpandrils of arches in the
ſecond pointed ſtyle of our architecture 3 in Weſtminſter Abbey, for
example. '
On this is laid the lacquered decoration. The compoſition and the
mother-of-pearl, &e. are thick enough to ſtand well out in relief.
628.'68.
ASKET. Ebony. Carved with landſcape and figure
ſubjects, and mounted in gold lac and ivory. Japaneſe,
I7th century. H. 8 in., L. II% in., W. 743- in. Bought, 1401.
This is partly made up, the ſtand being modern. The panels are
carved in ebony in low relief, and in the Dutch taſte of the ſeventeenth
century.
345-n>3665.'69.
PIUM Pipe, Caſe, and Pouch. The pipe of cane
mounted in white metal with gilt ornament; the caſe
and pouch of wood varniſhed, with metal ornaments in relief of
water plants and infects. Modern Japaneſe. L. of pipe caſe,
9-2- in. ; L. of pouch, 33;- in. Bought, 41. 45.
The mouth piece is of bronze, with a keylin on it, inlaid in bronze.
The bowl is of white metal.
The box or pouch is of palm wood, with the ſibre ſhowing as in
the laſt piece. It has inlay of metal as well as lac work. The deſign
of the ornament is water lilies, the leaf of rough white bronze, andethe
flower of pearl ſhell. The bamboo pipe caſe is ſimilarly ornamented.
Japaneſe Wares. 3 4 5
It is formed of ſections that make up -a tube, not quite round 3 the
pieces are joined by ſibres of cane as fine as pack thread, which alſo
imitate the bamboo jointings. A ſmall ſilver box is alſo attached by
ſilk cords running through the lids of the boxes, which, when dropped,
ſhut by their own weight.

878.'69.
OX (hexagonal). Black lacquer ware, with gold cane-
work pattern; inſide is a tray of gold lacquer. Modern
Japaneſe. H. 2-2; in., diam. 4%,- in. (Paris Exhibition, 1867.)
Bought, 81.
The ſides return at each angle with ſmall curves, ſo as to indent
the angles.
880.'69.
OX. Gold lacquer, formed by two interſecting ſquares,
ornamented with a landſcape and ſtorks. Modern
Japaneſe. H. 2 in., L. 6£ in. (Paris Exhibition, 1867.)
Bought, 121.
The fancy of the artiſt has made the box as if two ſquare boxes
partially interſected each other 3 the top of one is ſlightly higher than
the top of the other to enhance this conceit, not uncommon among
the Japaneſe. The gold ground and black ground of the decoration
are counter changed on the top and ſides of the (apparent) two boxes,
as if one had borrowed part of the decoration of the other.
876.'69.
OX and Cover. Gold lacquer ware, in form of the two
halves of a ſhell, ornamented with a river ſcene.
Modern Japaneſe. L. 5% in., H. I-Þ- in. (Paris Exhibition,
1867.) Bought, 121. .
The two ſhells are modelled on the top with great fidelity to nature.
Like No. 880. '69, the two ſhells and the boxes below appear to
interſect each other. ..
346 Farnz'tare and Wood-work.

881. '69.
OX, with indented corners. Gold lacquer ware, orna-
mented with landſcape on lid and medallions on ſides.
Modern Japaneſe. L. 4 in., H. 12- in. (Paris Exhibition,
1867.) Bought, 101.
Parts of the decoration are little fan ſhapes, hearts, oblong ſquares,
&c., drawn with a fine line on the gilt ſides. Theſe ſhapes are kept
black as the ground of the top is, and landſcapes are drawn on them in
gilt with extraordinary delicacy. '
882.'69.
. OX, cylindric. Gold lacquer inlaid with mother-of-pearl
leaves. Modern Japaneſe. H. 2% in., diam. 25:- in.
(Paris Exhibition, 1867.) Bought, 21.
874.i69.
OX and Cover. Gold lacquer ware with flowers in i
relief. Modern Japaneſe. H. 4lg- in., L. 7% in.
(Paris Exhibition, 1867.) Bought, 61.
875.'69.
RAYS (four). Black and gold lacquer, with exterior caſe
of ſimilar material, the top forming another tray, orna-
mented with birds and foliage and ſea-piece. Modern Japaneſe.
H. 4-Z; in., L. 5 in. (Paris Exhibition, 1867.) Bought, 201.
The whole when together forms a minute cabinet on a' ſhaped
ſtand. The caſe has cuſped openings at the ſides and ends, ſhowing
the fittings within. The trays have moulded edges and raiſed rims.
The thickneſs of the wood can ſcarcely exceed one-twentieth of an inch,
and the lacquer work is fine and delicately worked in proportion.
:7apaneſe Wares. 3 7

820.'69.
EFRESHMENT Caſe. Wood, coated with lacquer,
containing bottle and two cups caſed in wickerwork and'
lacquer trays. Modern Japaneſe. H. 85 in., W. 65 in.
(Paris Exhibition, 1867.) Bought, 11.
' Two ſemicircular pieces connected, like hour-glaſs ſtands, by bars,
open on a hinge and ſhow ſets of trays on one ſide. The two upper
contain two ſmall cups of porcelain painted with blue, and covered
outſide with fine wicker work. Below there are a box and five little
trays, filling completely the lower compartment. Theſe are balanced
by a bottle covered with wicker in the other half of the caſe. When
cloſedthe ſides or lip of the bottle are ſo placed as to meet the 'two
cups on one edge and keep them in place.
821.'69.
ASE. Lozenge-ſhaped. Wood, ornamented with lac-
quer and mother-of-pearl. _ Containing two ſets of
triangular trays, ſome lacquered and ſome varniſhed. Modern
Japaneſe. H. 9 in., L. 10 in. (Paris Exhibition, 1867.)
Bought, 21. ſi
There are boxes and trays in this caſe. The grain of the wood is
ſhown in ſome of them brown, and looking like teak, very finely
poliſhed with lac. The trays are ſome of them ſtained, ſome painted,
and all poliſhed to a high gloſs. The unpainted trays have gold duſt
rubbed by ſome means into the fibres of the wood ſo as not to be
rubbed away by the hand poliſhing which has paſſed over the Whole.
273-'54-
OX. Gold lacquer on pearl inlay. Japaneſe, modern.
H. 3 in., L. 155 in., W. 3 in. Bought, 101. 105.
This box is divided longitudinally. One half is encruſted with
peacock tinted mother-of-pearl. The other has gold lacquer decoration
on powdered gold ground. The decorations run round the corners.
348 Farnz'rane and Woodwork.

74- '54-
OX. Wood, lacquered, black ground, and raiſed gold
ornament. Japaneſe, modern. H. 2-3517 in., L. 10 in.,
W. 8327- in. Bought, 81. 85.
280.'65.
OX. Black lacquered wood, cylindrical, with pattern of
birds, foliage, &c., in raiſed gold and ſilver, ſaid to be
intended for a ſpittoon. Modern Japaneſe. H. 1 5 in., diam. 7 in.
Given by Her Majeſty the Ween.
' It is in the form of a large match-pot ſilled up to within ſeven
inches of the top. Hawthorn boughs with ſilver bloſſoms, flying
ſtorks, &e. form the decoration.
279. '65.
OX, Cover, and Interior Tray. Black lacquered wood,
with foliated pattern in dull gold; a red-ſilk cord is
attached by two ſilver rings. Modern Japaneſe. H. 75- in.,
L. 13-,}T in., W. 12 in. Given by Her Majeſty the Been.
282.'95.
OX and Cover. Black lacquered wood, with foliated
pattern in dull gold; ſcarlet ſilk cords are attached to
the box by ſilver rings. Modern Japaneſe. H. 33:- in.,
L. 16-41- in., W. 4 in. Given by Her Majeſty the Been.
A ſimilar box, No. 283. '6 5, has been transferred to Edinburgh.
285.'65.
. OX and Cover. A writing caſe. Black lacquered wood,
with foliated pattern in dull gold; ſcarlet ſilk cords are
attached to the box by ſilver rings. This box has a tray with
Japaneſe Wares. 3 49
a ſmall ſlate palette inſerted, and contains twelve ſtrips of card-
board of various colours; a ſtick of Indian ink, a pencil, and a
ſilver inſtrument for dropping out water. Modern Japaneſe.
H. 3-32L in., L. 15-2-7 in., W. 32 in. Given by Her Majeſty the
Queen.
The ſtrips of card are for writing meſſages or letters. They are
ornamented with faint deſigns duſted on in gold. They are cut from
ſheets, all of which are decorated in ſtripes for this purpoſe. The
ſheets are of various colours. In the collection of H.R.H. the Duke of
Edinburgh is a piece of paper or card of this kind, bearing the ſignature
of the Mikado, done by his own hand.
The ſilver water bottle is the ſize of a ſhilling piece cuſped on the
edges. The handle of ſilver acts as a plug, and can be preſſed in to
make water drop out to moiſten the Indian ink for writing. A ſimilar
box containing packets of cotton thread ſilvered and gilt, each 13 inches
long, has been transferred to Edinburgh. Theſe all form parts of the
outfit of a Japaneſe cavalier.
286.'65.
OX and Cover. Black lacquered wood, with foliated
pattern in dull gold. This box contains a tray on
which reſt ſix ſmall knives in black lacquered wood caſes with _
dull gold patterns. Modern Japaneſe. I-I. 2-i- in., L. 9 in.,
W. 4% in. L. of each knife, with caſe, 7£ in. Given by Her
Majeſty the Qieen.
The ſteel blades are extremely ſharp. The metal is not equal to
that of which the ſword and lance heads are made,
287.'65.
OX and Cover. Black lacquered wood, with foliated
pattern in dull gold, ſcarlet ſilk cords are attached to
the box by ſilver rings. This box contains twelve ſquare pieces
of card-board of various colours with patterns in gold.
Modern Japaneſe. H. 27415 in., L. 911- in., W. 8 in. Given by
Her Majeſty the Been.
3 50 Farnitare and Wood-work.

288.'65.
OX and Cover. Black lacquered wood, ornamented with
two Japaneſe characters in dull gold, attached are ſilver
rings and green ſilk cord- bindings. This box contains two
long paintings repreſenting Japaneſe ſcenery, mounted on
embroidered ſilk, with ivory rollers. Modern Japaneſe.
H. 4 in., L. 12-3 in., W. 52 in. Length of each painting
9 ft. 9 in., W. 1072- in. Given by her Majeſty the Qleen.
The rollers drop into ſmall frames or loops contrived inſide for the
purpoſe. The decorations are landſcape ſcenes of fiſhing villages.
Theſe are executed in fibres of white and gold.
289.'65.
OX, Tray, and Cover. A lady's dreffing caſe. Black
lacquered wood, with foliated pattern in dull gold, and
partly covered with canvas lacquered in red; ſcarlet ſilk cords
are attached to the box by ſilver rings. This box contains
twelve wooden combs of various degrees of fineneſs, partly
lacquered and gilt, two bruſhes, reſembling ſhaving bruſhes, the
handles lacquered; and two twiſts of ſilvered and gilt paper
uſed as hair Ornaments; alſo ten ſets of thin ſquares of paper
in gilt, decorated with colours on their borders, uſed for
decorating the hair. Modern Japaneſe. I-I. 7 in., L. 11 in.,
W. 9 in. Given by Her Majeſty the Been.
281.'65.
OX and Cover. Black lacquered wood, with foliated
pattern in dull gold; ſcarlet ſilk cords are' attached to
the box by ſilver rings. Modern Japaneſe. H. 372- in.,
L. 16£ in., W. 4 in. Given by Her Majeſty the Ween.
:ſſſ'apaneſe Wares. 3 5 1

264.'54.
OX. Wood, olive green lacquer, with birds and flowers
in raiſed gold. Modern Japaneſe. H. 35 in., L. 6-2- in. ,
W. 65 in. Bought, 31. 35.
265.'54.
OX. Wood, red lacquer, with raiſed Ornaments in gold,
&c. Modern Japaneſe. H. 45 in., L. 1 ft. 6 in., -
W. 11 in. Bought, 61. 65.
287,287a.'69.
OWL and Cover. Wood lacquered; the inſide black, the
outſide a complicated running pattern in gold with brown
tranſparent colour. Modern Japaneſe. H., with cover, 45 in. ;
diam. 95 in. Bought, 11. 175. 6c1.
The general tone of this decoration reſembles that of rich gilt work
or tortoiſeſhell. It is however, from the method adopted in its decora-
tion, beyond anything that could be produced by mere gold on lacquered
ſhell. The method employed is difficult to underſtand. On the wood
is a layer of geſſo, a bed of ſome fine plaſter or paſte. The top of
this is a horny white. Over that is a layer of black ; over the black is
laid gold leaf, and over the leaf is a rich brown tranſparent lacquer.
Theſe appear to be laid on the ſubſtance after it has been ſtirred in a
recurring but not regular pattern, with ſome ſmall blunt tool. The
complications of the patterns appear to be produced by the action of
this tool, traced in the material before it has hardened. AThere is not,
ſtrictly ſpeaking, a pattern in it, but certain ſalient lines and twiſts
recur at intervals as if the action of the hand in ſtirring the mixture
repeated itſelf in a rough and ready way, as it travelled round the ſurface
of the bowl. ' -
The reſult is a wrinkled and indented ſurface, which might alſo be
produced by chilling the material rapidly in cold water.
Theſe Wrinkles are rubbed down and the ſalient points rubbed off,
ſhowing where there have been holes with brown gilt and black edges,
3 t5 2 Furniture and Woodwork.

and finally a white centre, or a black centre, according as one or more
of the coats of colour have been rubbed away in bringing the whole to
a ſurface.
Where theſe lumps have not been ground down there is an in-
equality in the ſurface gilded, which makes the brown lacquer 'lighter
or deeper in colour, according to the depth of theſe inequalities. It
reſults in an undeſinable ſplendour of colour.
268.'54
OX. Wood, covered with gold avanturine lacquer; hex-
agonal. A toilet box. Modern Japaneſe. H. 241- in.,
diam. 3% in. Bought, 11. 15. -
This is of ſimilar make and reſulting richneſs of colour with the
laſt deſcribed.
_ 363.*65.
ADDLE. Part of a ſet of horſe furniture, in 27 pieces,
conſiſting of ſaddle and ſtirrups in gold lacquered ware,
richly decorated with gilding, white leather ſaddle flaps with
ſtamped devices in gilding, and ſcarlet and white ſilk interlaced
cords and taſſels. Modern Japaneſe. Given by Her Majeſty
the Ween.
The ſaddle tree is in four pieces, the bow and cantle behind are in
two, and the two pieces along the back are morticed into theſe at each
end. The mortices are not glued, pegged or nailed, but are laced
together through holes contrived for the purpoſe. By this means a
certain elaſticity is retained at the points of junction of the character of
the joints of bones in vertebrate animals. The wood where theſe holes
are made is protected on the ſurface by ſtrong linen cloth glued on to'
increaſe its tenacity. The ſtirrup leathers paſs through ſlots con-
trived for the purpoſe, with a ſpace cut out on the under-ſide of the
tree, that the ſtirrup leather may not preſs on the .horſe's back.
The ground of the ſurface is lacquered with avanturine of duſt
gilding, and on the bow and cantle are peacocks, partly on one, partly
on the other ſi'de of each of thoſe pieces. The forms are raiſed in relief,
Japaneſe Lac-ware. 3 53

and opaleſque pearl ſhell is employed for inſertion to repreſent the eyes
of the tail plumage.
The ſaddle cloths, &e. are of ſtamped leather, the indented parts
forming gilt Ornaments. The ſtirrups are formed to hold the entire
foot, like a broad ſlipper rolling up over the toes and connected by a
piece of metal of three-ſixteenths of an inch thick, pierced and
lacquered, with the loops of the ſtirrup ſtraps.
This metal piece is laid ſo that its edge is towards the rider's leg,
and its fiank towards that of the horſe. It joins a rim of iron or bronze
that runs round the wood that forms the ſtirrup.
All theſe parts are lacquered as the ſaddle tree is, and with the ſame
peacock figure. The head of the bird is at the top where the metal
meets the wood, and the rounded toe of the ſtirrup forms the breaſt. i
Theſe objects form part of the equipment of a Japaneſe knight or
man-at-arms.
364.'65.
ADDLE. Part of a ſet of horſe trappings, in 27 pieces,
conſiſting of ſaddle and ſtirrups in gold lacquered ware,
richly decorated with gilding, gilt leather ſaddle flaps with
ſtamped devices in various colours, and ſcarlet and white ſilk
interlaced cords and taſſels. Modern Japaneſe. Given by Her
Majeſty the Been. i
This ſaddle tree, and the ſtirrups belonging to it, are like the laſt-
deſcribed, except as to the decoration, in which black is prominent.
The figuring is of rolled land iopen ſcrolls' or Writings, and both ſaddle
and ſtirrups are decorated with theſe forms. '
The ſaddle cloths are of black, ſhot with gold in rich tiſſue, and
embroidered with a dragon in thick relief, in gold and colours.
358.'65.
UP. Lacquered wood, thickly inlaid with mother-of-
pearl, and with flowers in dull gold on either fide. A
long handle is attached, ſimilarly inlaid with mother-of-pearl.
Uſed for throwing water over the mouth and noſtrils of a horſe.
F. Z
3 54 Farnz'tare and Wood-work.

Modern Japaneſe. H. of cup 4-5- in., diam. 5 in., L. of handle
2 ft. Given by Her Majeſty the (lueen
This and the following form part of the outſit of a Japaneſe cavalier.
359-'65-
UP. Black and green lacquered wood, with flowers in
dull gold on either ſide. A long handle of ſimilar
material is attached. Uſed for throwing water over the mouth
and noſtrils of a horſe. Modern Japaneſe. H. of cup 4-Y- in.,
diam. 5 in., L. of handle 2 ft. Given by Her Majeſty the
Queen.
360.'65.
ANE. Lacquered wood, thickly inlaid. with mother-of-
pearl and mounted in ſilver. Modern Japaneſe.
L. 3 ft. 2 in. Given by Her Majeſty the Been.
361. '65.
> ANE. Lacquered wood, inlaid with mother-of-pearl ;
with ſpiral ſilver band and ſilver mounting. Modern
Japaneſe. L. 3 ft. 2 in. Given by Her Majeſty the (Lieen
845.'69.
OX. Wood, the outer caſe coated with ſtraw-work ; the
lid ornamented. Modern Japaneſe. H. 3-Z- in.,
L. Io-g- in., W. 6% in. (Paris Exhibition, 1867.) Bought,
45. 5d. -
This box and the eight following pieces are noticeable for the
delicate beauty produced by the ſtraw decorations.
j'apaneſe Lacware. 3 5 5
The ground work of the ſurfaces is of ſplit ſtraw, laid out into
ſquare parquetry of one and half inches, or leſs, according to the ſize of
the box.
This work is in the natural colour of the ſtraw; the grain runs in
each panel in a direction at right angles to that next it. The orna-
ments are figures, foliage, birds, &c., all in an intarſiatura, or rather
moſaic, for it is planted on, not let into, the ſurface of ſtained ſtraw; a
rich violet purple is the predominant hue in the ſcheme of colour, but
the birds, foliage, &c. are carefully rendered according to nature.

846.'69.
OX. Wood, the outer caſe coated with ſtraw-Work; the
lid ornamented. Modern Japaneſe. H. 35 in.,
L. 10-41- in., W. 65 in. (Paris Exhibition, 1867.) Bought,
45. 5c1.
847.'69.
OX, fitted with five drawers. Wood, covered with
ornamental ſtraw-work. Modern Japaneſe. 55 in. by
55 in. (Paris Exhibition, 1867.) Bought, 25. 2d.
848.'69.
OX, ſitted with ſive drawers. Wood, covered with
ornamental ſtraw-Work. Modern Japaneſe. 5 in. by
55 in. (Paris Exhibition, 1867.) Bought, 25. 2c1.
849.'69.
OX. Wood, the outer caſe covered with ornamental
ſtraw-work. Modern Japaneſe. 75 in. by 25 in.
(Paris Exhibition, 1867.) Bought, 35, 7d_
ZZ
3 5 6 Furniture and Wood-work.

850.'69.
OX. Wood, the outer' caſe covered i with ornamental
ſtraw-work. Modern Japaneſe. 231; in. by 6% in.
(Paris Exhibition, 1867.) Bought, 35. 351.
851.'69.
OX. Wood, the outer caſe covered with ornamental
ſtraw-work; on the top a female figure in a garden.
Modern Japaneſe. I I-g- in. by 8 in. (Paris Exhibition, 1867.),
Bought, 55. 9d.
t 852.'69.
OX. Wood, the outer caſe covered with ornamental
ſtraw-work. Modern Japaneſe. 8£7,; in. by 6 in.
(Paris Exhibition, 1867.) Bought, 45.
853.'69.
OX. Wood, the lid is covered with ornamented ſtraw-
work. Modern Japaneſe. 83- in. by 6 in. (Paris
Exhibition, 1867.) Bought, 45.
273.'65.
CREEN. Six leaves, the frame of black lacquered wood
with gilt metal mountings; the leaves covered with white
paper, with cloud-like pattern in dull gold; in each leaf is a
panel of ſplit cane work. Modern Japaneſe. H. 5 ft. 1 I in.,
W. 13 ft. Given by Her Majeſty the Queen.
Each leſſaf has a blind- made of fine cane ſibre ſewn together. This
is to allow free paſſage to air. >
j'apaneſie Lacware. 3 5 7
K-
278.'65.
_ ' RAY, Black lacquered wood with'flowers- in dull gold.
Modern Japaneſe. L. 2 ft. 6 in., W. I'Tt. 7 in. Given
by Her Majeſty the Ween.
Hawthorn ſprigs, with ſilver bloſſoms, and other portions in gold.
281. '54.
ASKET and Cover. Bamboo .wicker-work, with raiſed
handle. Modern Japaneſe. H. 4£ in., diam. 35- in.
Bought, 45.
278-'54- .
ASKET and Cover. Bamboo wicker-work. Flat, tray-
ſhaped. Modern Japaneſe. H 233- in., W. 9 in.
Bought, 45.
279-'54-
ASKET and Cover. Bamboo wicker-work. Modern
Japaneſe. H. 4% in., diam. 7 in. Bought, 45.
280.'54..
ASKET. Bamboo wicker-work, with raiſed handle; two
compartments, with cover. Modern Japaneſe. H.
83; in., diam. 6 in. Bought, 55.
282.'54.
ASKET and Cover. Bamboo wicker-work; ſpherical;
with raiſed handle. Modern Japaneſe. H. 42 in.,
diam. 4 in. Bought, 45.
3 5 8 Farnz'tare and Wood-work.

283.'54.
ASKET and Cover. Bamboo wicket-work. Modern
Japaneſe: H. 2% in., diam. 32 in. Bought, 45.
284. ' 54.
ASKET. Bamboo wicker-work. Modern Japaneſe. H.
1-38- in., diam. 4 in. Bought, 45.
33. ' 5 2.
RAY. Lacquered work. Quatrefoil ſhape; black
ground, inlaid with mother-of-pearl. Modern Japaneſe.
L. I 12 in., W. 9 in. Bought, 55.
34- '52-
RAY or Saucer. Lacquered work. Red ground with
gold foliage. Modern Japaneſe. Diam. 4% in.
Bought, 55.
36. ' 5 2.
RAY. Lacquered work. Circular; black and gold.
Modern Japaneſe. Diam. 7-L- in. Bought, 55.
50. ' 5 2.
RAY. Avanturine lacquered work. With raiſed gold
foliage and birds. Modern Japaneſe. 15-3- in. by
11-3- in. Bought, 155.



APPENDIX.


HE CORONATION CHAIR.
This chair is of oak, with ſtraight ſupports and ſides,
flat ſeat, and gable back. The ſides, arms, and back are
decorated with carved woodwork of architectonic
character.
The back riſes into a crocketed gable with pinnacles at each ſide
and the arms curving downwards, the panelling is plain, and below
the ſeat are light open quatrefoils to let the ſtone be ſeen through them.
The outſide of the arms or ſides is panelled in four narrow cuſped arches
like window lights of the beginning of the 1 Ith century. It is made of
oak, faſtened together with pins and has been covered with a coat of
plaſter (geſſo), which was afterwards gilded.
Two little leopards, to be noticed
preſently, probably ſurmounted the
two pinnacles, of which we ſtill ſee
remains on either ſide, or they might
be intended as reſts for the hands, and
placed at the extremity of the arms.
The arms themſelves may have been
moulded, but they are covered with a
ſtuffed canvas padding. The corona-
tion ſtone is ſeen through quatrefoil
openings below the ſeat. Mr. Burges
conſiders that circles of gilded glaſs
were inſerted in the circular panels, but
this ſeems doubtful, owing to the
ſhallowneſs of the mouldings. 44 There
can be no doubt but that ſome ſort of
ornament was applied to the pediment
juſt below the crockets . . . . from what remains of the plaſter


,\','a'-
Jſſ - ,.
w 7..
' '2 3.', '\1 51'
. 4 ' ,*-.
1 Þ. _ 'Lf
1 ,- _ a;
< _' \',
,'\ _ \
r ---; 5
63',
4 I'l- '
s
4 ' 2
O
I'-



360 Furniture and Wood-work.

ground." Mr. Burges is inclined to give the preference to 'a moſaic
of differently coloured glaſs," ornamented on its upper ſurface with gilding.
Gilding and painted decoration, however, ſeem more probable than any
inſerted material requiring a bed of cement in addition to its own thick-
neſs. U In this inſtance the pattern would appear to have been a
ſucceffion of parallelograms touching each other, but with the angles
cut off ſo as to afford ſpace for triangular 3' panels of a different colour.
The gilding has been done in the Italian manner, as we may ſee it
in numerous inſtances in the great gilded coffers in the Muſeum. Moſt
of it is irretrievably gone.
A ſort of diaper of quatrefoils ſilled with figures, groteſques, &e.
and a figure of a ſitting king occupied the back and inſide of the arms,
&c.,; _but moſt of this is now deſtroyed. a The figure probably
repreſented a king ſeated, his feet reſting on alion. The front of the
throne (of this king) is panelled, and the panels ſilled with foliage. The
cuſhion on which he is ſeated is diapered in lozenges, while the back
exhibits a ſeries of quatrefoils connected by pellets." 1
The chair reſts on four ſitting lions connected by a flat frame of
four bars of wood, which ſtand on the floor.
The lions are modern work.
Curious hiſtorical notices are given of this chair by Mr. W. Burges
in Sir G. Scott's Weſtminſter Abbey. He tells us, on the authority
of Mr. Hunter, who publiſhed his reſearches in the Archaeological
Journal, that U At the beginning of Auguſt 1296, Edward the Firſt
viſited the Abbey of Scone, where the kings of Scotland had always
been crowned, and where he found the cfatal ſtone' or cſtone of
deſtiny' encloſed in a chair." No ſtone ever had ſuch a wonderful'
hiſtory. It was ſaid to be the identical ſtone upon which Jacob's head
reſted when, at Bethel, V he tarried all night becauſe the ſun was ſet;
and he took of the ſtones of that place and put them up for his pillows"
(Gen. xxviii.). This ſtony pillow, ſo pregnant with revelations of the
future, was ſaidto have travelled to Egypt, and from Egypt to Spain,
then ſito Ireland, and thence to Scotland. King Kenneth cauſed the
following diſtich to be engraved upon it :-
V Ni fallat fatum, Scoti quocunque locatum
Invenient lapidem regnare tenentur ibidem."
Till fates prove falſe, wherever placed,
This ſtone they find, Scots needs muſt reign.

1 Gleanings from Weſtminſter Abbey, p. 123.
T/ze Coronation C/zair. 3 6 1

A prophecy which was fulfilled, according to ſome, when James I.
was called to rule over the whole iſland. a There is a rectangular groove
1 ft. 2 in. by 9 in. on the upper ſurface, which may probably have re-
ceived an engraved plate of metal." . . . U In the eyes of Edward it was
both a precious relic and an emblem of ſovereignty which it was moſt
deſirable to remove from the eyes of the Scottiſh people, and accordingly
it was removed, for ſhortly after his viſit ſeveral inventories make men-
tion of 4 una petra magna ſuper quam reges Scociae ſolebant coronari.'
As to what became of the original chair the documents give us no
information, but we do know, thanks to Mr. Hunter, pretty accurately
the hiſtory of the preſent one." _
a It appears that the king intended, in the firſt inſtance, to make the
chair in bronze, and that Adam, the king's workman, had actually
begun it. Indeed ſome parts were even finiſhed, and tools bought for
the clearing up of the caſting. However, the king changed his mind,
and we have accordingly 1005. paid for a chair in wood, made after the
fame pattern as the one which was to be caſt Pin copper. Alſo 135. 4d.
for carving, painting, and gilding two ſmall leopards in wood, which
were delivered to Maſter Walter, the painter, to be placed upon and on
either ſide of the chair made by him. The wardrobe account of the
29th Ed. I., ſhows that Maſter Walter was paid Il. 195. 7a'. cfor
making a ſtep at the foot of the new chair, in which the Scottiſh ſtone
is placed 3 and for the wages of the carpenters and of the painters, and
for colours and gold employed, and for the making a covering to cover
the ſaid chain' "
There is an entry by a contemporary hand in the inventory of '* the
laſt year of Edward's reign: " Mittebatur per preceptum regis uſque
Abbathium de Weſtmonaſterio ad aſſedendum ibidem juxta feretrum Sti
Edwardi in guadam cathedra lignea deaarata quam Rex fieri precepit
(ut reges Angliae et Scociae infra ſederent die coronationis eorundem) ad
perpetuam rei memoriam" . . . In a certain gilded chair which the King
had made that the Kings of England and Scotland might ſit thereon on
the day of their coronation. Mr. Burges thinks it probable that the
chair was uſed by the prieſt celebrating at St. Edward's altar.2
In 1328, July 1, there is a royal writ ordering the abbot to deliver
up the ſtone to the ſheriff of London, to be carried to the queen-
mother. It never went, however.
The chair has been uſed on all occaſions for the ceremonies of
coronation. Mary, however, is ſaid to have uſed another chair, ſtill
remaining, a curule chair in the Italian form, covered with purple

2 Hunter, Arch. Journ. Xiii. quoted ib.
3 6 2 Farnz'z'are and V' ander/'0715.

velvet, ſent to her ſpecially by the Pope, which is preſerved at Win-
cheſter.3
The coronation chair is ſtill preſerved in the chapel of St. Edmund
along with the ſhield and the tree of the ſaddle of Henry V. This
laſt relic, however, is not to be ſeen there at preſent (1872). It is to
be hoped that it has not been broken up. '
ARDROBE or hanging cloſet, in walnut wood, belong-
ing to Mr. E. Millais, R.A. Exhibited in the
South Kenſington Muſeum.
This preſs or cloſet is 7 feet 3 inches high, by 6 feet 2 inches
(cornice meaſure). It is cloſed by two doors, panelled and decorated
with baluſter-ſhaped pilaſters and ſmall niches, crowned by an archi-
tectural cornice, and ſtands on a ſquare plinth.
The centre and ſides of the front are formed into three pilaſters,
contracting and expanding in bold angles. The wider portions have
ſquare collars, like the ſtair baluſters of the date of Elizabeth or
James I., 1590-1620; in one or two places are wreaths an inch in
diameter, formed by three ſmall acanthus leaves, carved in relief on the
flat collars. On the tops of the baluſters reſt flying brackets of acanthus
carving, which bulge and return under the cornice. The cornice
extends ſeven inches from the ſide outlines, and three beyond the baſe
outline. The upright panels are two ſyſtems of flat niches, their ſmall
ſide columns reſting on carved acanthus brackets. There are two
niches a little above the centre, nine inches high, with pedeſtals in
which pegs remain, and in which ſhould ſtand figures cut in box or pear
wood.4 Above theſe niches are two ſmaller, not quite ſix inches high,
and ranging with theſe, over the three pilaſters, are three others. They
are all rather panelled receſſes than niches, ſunk to ſuch a depth as to
ſhelter figures completely. There is no appearance of ſuch figures
having been actually placed in either of theſe five niches. The ſides
are divided by light raiſed mouldings into rectangles of various ſhapes.
The ſurface of the wood ſuggeſts an earlier date for the execution
of the piece than that of the early ſeventeenth century, but on careful
examination there ſeems no ſufficient reaſons to queſtion the authen-
ticity of this attribution. The metal work of the lock is finely chaſed.

3 4' Regal Records,n by J. R. Planche, p. 61.
4 Richardſon, in his deſcription of this piece, ſuggeſts ſilver, without giving reaſons.
Ivories are not common in ſuch pofitions, and the general unity and conſiſtency of
the whole are in favour of wood.
Naphin Preſir. 3 6 3

It has been figured by Richardſon, in his Manſions, and is ſaid
to have come from Theobalds, which would give it the date cir.
1620, at which time Theobalds was exchanged by King James I.
for Hatfield with Robert, Earl of Saliſbury, ſucceſſor to Burleigh, when
it became a Royal palace. Theobalds was, however, taken down and
the furniture and the materials ſold in 16 50, that the purchaſe-money
might be divided among the ſoldiers of the Commonwealth.5
It was the property of Mr. Mackinlay when figured by Richardſon.
APKIN Preſs. Of carved oak, in the Elizabethan
ſtyle, with a drawer and ſtand, ſupported on gadrooned
acorn legs and baſe. Belonging to the collection of Colonel
Meyrick.
It would not be eaſy to ſhow, in ſo ſmall a compaſs, any ſpecimen ſo
characteriſtic of its day as this unpretending piece of furniture-meant,
however, for the hall, not for the uſe of the pantry. The framework
of the preſs is formed by two ſquare fluted pilaſters ending in acorn
knobs, with croſs-piece to hold the ſcrew. It is heavily loaded with
pierced ſcroll-work in pedimental form. Below is a drawer nearly
ſquare, with front carved all over, but not deeply. This ſtands on a
table, with curved gadrooned or ribbed front projecting boldly out be-
yond the ſquare drawer, and ſupported on turned acorn legs, the acorns
reverſed, and ribs projecting down the ſurface of the cup; pierced
angle-pieces of ſcroll-work are connected with the' lower ſupports.
The upper frame and ſcrew are neat and quiet, with delicate ſpiral
and upright lines proper to each. The maffive centre and ſolid ſupports
all ſuggeſt the very ideal of one of the gable or pedimental compoſitions
ſo pictureſquely ſet to crown the courts or fronts of Burleigh Houſe,
Blickling Hall, Montacute Houſe, the Oxford Schools, or the heavy
'old furniture of Berkeley Caſtle, and the many houſes of the period,
ſome one or more of which will occur to the reader. It exem-
plifies for its ſtyle that connexion between architecture and furniture
which all influential ſtyles, while they laſted, ſeem to have impreſſed
on furniture-makers or deſigners. Often this connexion ſuggeſts the
want of ſenſe of propriety in furniture, and due adjuſtment of purpoſe
and material ; but Occaſionally the alliance gives us happy and intereſting
reſults.

5 What remained of Theobalds was taken down by G. Preſcot, Eſq., the pro_
prietor, in 1765.--" Gentleman's Magazine," xlii. p. 273.
3 64 Furniture and Wood-work.

LOCKCASE, of walnut wood, with carved angle orna-
ments and figures. On the top is a ſmall organ front
concealing the muſical apparatus of the clock. Of the laſt cen-
tury. 'Belonging to Colonel Meyrick, and exhibited in the
South Kenſington Muſeum.
The baſe of the caſe is about two feet ſquare, and of poliſhed
walnut-wood, without marquetry. It falls in with a bold moulding, on
the angles of which are ſeated figures, carved in full relief and gilt;
Apollo and Diana. The central portion is three feet ſeven high and
forms the door, inſide which is the ſpace for the vibration of the
pendulum. It is ſilled with looking-glaſs of bevilled Vauxhall glaſs,
ſhaped into broken curves at the top; dragons carved and gilt are
on the angles, correſponding to the two figures at the baſe. The
upper clockcaſe ſorms a ſquare with top and baſe, ſhaped out into
broken curves, with bold mouldings round all the ſides. On the angles
are ſmall detached wooden columns; theſe ſupport a group of gilt
figures on the top. Two, Diana and Apollo, ſtand on the angles
immediately over the Column caps, and over the ſitting figures of the
ſame perſonages on the baſe.
The top is arranged with groups of ſmall pipes, in the manner of
an organ front, crowned by three .figures, ſmaller than thoſe of Apollo
and Diana, two repreſenting Fame and one Time.
The figures are taken from well-known ſtatues, ſuch as the Apollo
Belvidere, and are admirably deſigned and carved.
The clock face bears ſix dials; the largeſt is marked with twenty-
four hours, and a dark plate turning with the hour-hand covers the
night hours. Various aſtronomical changes are indicated by the other
dials.
The whole piece ſtands between eight and nine feet in height, and
is a good example of the furniture of the time of Anne, which was
deſigned for large halls or corridors, from which ſuites of rooms opened,
andin which, therefore, it could be ſeen from ſome diſtance. The finiſh
of the work, however, bears the cloſeſt inſpection.
HE SPEAKER'S COACH. Carved oak, gilt, with
painted panels. ct
This is the oldeſt carriage, probably, ſtill in a condition for uſe, in
England. It is carved in the ſtyle of the middle of the I7th century.
T/ze Speaker's Coaclz. 3 6 5

The body reſts on two maſlive bearers carved into groups in the
round. Jupiter, Neptune, London bearing a rude model of the Tower,
and a figure denoting Africa, with ſuitable attributes, are the ſubjects of
theſe groups.
From beneath theſe maſſes iron bearers meet the ſtraps by which
the body is ſuſpended to the fore and back ſtandards. The framework
of the body is carved into foliage and figures almoſt detached. Four
figures on the upper angles repreſent the cardinal virtues, Juſtice, Tem-
perance, Fortitude, and Mercy.
Two figures of Ceres, or Abundance, uphold the driving-box 3 the
footboard,- ſupported by lions, is ſurmounted by a groteſque maſk. The
hind ſtandard is carved with figure ſubjects of Mars and Hercules,
and the back of it is carved with a group repreſenting Power, with
captives chained to his throne, and Fame, two figures blowing trumpets
on each ſide.
The framework of the panels is carved, and the roof has a maffive
projecting cornice and a gallery of carved and pierced woodwork, and a
carved central finiſh 3 the upper panels are filled with ſheets of Vauxhall
plate-glaſs, bevilled at the edges, probably replacing leather and gilt '
nails. On the lower leſt-hand panels is painted Britannia, lwith figures
making offerings: and figures of Juſtice, Religion, Liberty, and In-
duſtry, preſenting the Bill of Rights to the Sovereign, who wears claffic
armour; are on the correſponding panels. Below theſe doors are carved
the ſword and mace, emblematic of the Speaker's authority. The ſide
panels contain painted figures repreſenting Letters, Architecture, Science,
and Abundance. On the back panel is a painting of Britannia, with a
mural crown, and St. Paul's in the background; on the lower, Apollo
ſinging the praiſes of peace, and diſcord driven away. The front panel
is painted with a nude figure of Innocence.
There are two feats inſide, and one in the middle for the ſword
bearer and mace bearer. The Chaplain and train bearer occupy the ſeat
oppoſite that of the Speaker.
It is drawn by two horſes only, but the weight muſt be enormous,
'as there are 14 feet from axle to axle, and 19 feet of total length. There
are no ſprings. The perch riſes by two iron- curved braces before
joining the fore part of the bed, ſo as to allow the forewheels to turn.
The colours are black and gold, but there is ſcarcely any black.
The arms of each Speaker and his creſt are inſerted on ſhields that form
details of painting on the four ſides.
There is a tradition that the Speaker's coach was uſed by Oliver
Cromwell. It dates from the middle of the ſeventeenth century, and
3 66 Farnitare and [17 aedewoni.

the carving is equal to the fineſt furniture work of the late Jacobean
period. It is a ſplendid piece o-f ſtate pageantry.
HE ROYAL STATE CQACH.
This carriage, leſs ancient than that of the Lord Mayor, and
ſtill leſs than that of the Speaker, was made about the year 1761 for
the coronation of George III.
It is compoſed of four figures of tritons, who ſupport the body of
the carriage on cables. The driver's box is ſeated on the two front '
figures; the footboard is la large ſcallop ſhell. V A beautiful object,
though crowded with improprieties."6 Its ſupports are tritons, not
very well adapted to land carriages.
The frame is compoſed of eight palm trees, and trophies are carved
on the four angles. The branches of the palm trees ſupport the roof;
a crown ſurmounts the roof, ſtanding on boys repreſenting the three
kingdoms, and holding the ſword of ſtate and various badges.
The panels are of bevilled glaſs in the upper portion; and copper
painted in enamel on the lower.
The paintings are :- on the front, Britannia throned and attended by
Faith, Juſtice, Prudence, Force, Fortitude, Commerce, Abundance,
and Victory, from whom ſhe receives a laurel crown. On the right
door, Induſtry and Invention, giving a cornucopia to the genius of
England; Hiſtory and Peace, with attributes on the panels, right and
left. Left door : Mars, Minerva and Mercury, ſupporting the Crown;
the arts and ſciences on either ſide panel. Back panels: Neptune
and Amphitrite in their car, drawn by ſea horſes, with attendants
of marine deities, winds, rivers, &e. Over this panel is an heraldic
achievement of arms and badges.
The lining is ſcarlet velvet, emboſſed and decorated with badges of
the knightly orders in embroidery. The hammer cloth is of ſcarlet
velvet, with gold badges and mountings.
The hammer cloth fittings have all been renewed in recent times.
The length of the whole is 24 feet by 8 feet 3 inches. It is 12 feet
high, and the pole is 12 feet long.
The carving is by Nicholas Collett, the panels painted by Cipriani,
the chafing by Coit, the coachmaker's part by Butler, the gilding by
Rajulas (and this is triple throughout). The harneſs is by Ringſtead ; it
is of red morocco leather, with ſilver-gilt mounts.

6 Horace Walpole's Letters to Sir H. M.
State Carriages. 3 6 7

The model of this carriage is mentioned by Nollekins7 as having
been made by Capitſoldi and Voyers, and the panels done in water-
colours by Cipriani. According to this writer the old ſtate coach was
purchaſed by the City of London and re-painted by Dance, but this
ſtatement is contradicted by later evidence.
The coach itſelf was deſigned by Sir William Chambers, who
recommended Joſeph Wilton, R.A., and Pigalle, the ſculptor, to
ſuperintend the work.8 '
ARRIAGE. In oak and other woods, leather, &c., richly
carved and gilt. A ſtate carriage belonging to Lord
Darnley. Date about 1725-30.



The carriage exhibited in the Muſeum by Lord Darnley is the earlieſt
example of a modern carriage to be ſeen there at preſent. It is a
chariot, and dates from before the middle of the laſt century. It is
of oak, at leaſt the carved portions. The roof covering, back and ſide
upper panels, are covered with leather ornamented with braſs-headed nails
ſet thickly in a vandyke border. The roof is coved ſlightly, and round
the edge is a row of boſs-headed nails an inch and aquarter in diameter,
ſet cloſe together in the old French method. In ſome old French car-
riages theſe heads were of cryſtal (glaſs) and the rings of the ſetting braſs
or gilt bronze. The corners curl up into a circular plaque ſet
7 Nollekins and his Times, i. p. 24.
3 In 1571 Queen Elizabeth went to open Parliament in a coach drawn by two
horſes in crimſon velvet houſings, richly embroidered. In 1588 ſhe was driven to
St. Paul's to return thanks for the deſtruction of the Spaniſh armada in a " chariot
throne " given her by the 'Earl of Arundel, who firſt made the uſe of carriages general
in England.-Timbs: Curioſities of London, p. 784.
3 6 8 Farnz'rnre and Woodwork.

with ſmall nails. Six earl's coronets of braſs ſet on pins riſe above the
corners and half way between on the ſides. The top is ſive inches wider
than the bottom, three feet nine to three feet four inches. The frame of
the front, ſides, door and the frame into which the door ſhuts are richly
carved and gilt with flowers and flouriſhes of the Louis Quinze ſtyle.
The door hinges on the front and opens by the ſide of the ſeat. The bar
or frame-piece, on which is the ſtep, and which receives the door frame,
is alſo richly carved, and projects backwards and forwards with boſſes
of carved work, as in the Speaker's coach. On the back boſs or end
are figures of Jupiter and Neptune, one each ſide. From this back end
projects a ſhort <-ſhaped ſpring, compoſed in the modern way, of plates
of tempered ſteel, and the ſtrap on which the back is hung is faſtened
to it. The < is hid by a fine piece of bronze work pierced and chiſelled.
The front forms one large window above, and a broad gilt panel below.
On this panel, on the door panel, and on that which correſponds to the
ſeat inſide, and on the lower back panel, the family arms and ſupporters
are painted, and wreaths of flowers well executed fill up the ſpace
round. The frame is maffive.
From axle to axle the diſtance is ten feet three inches, and the perch
which at. the front and the rear ends is fourteen inches wide, forks out
backwards five feet nine inches. From theſe forks ſhaped wrought-iron
ſtays ſupport a carved wooden ſtandard, and there riſes another corre-
ſponding pair of iron ſtays and a ſtandard on the oppoſite end. Theſe
ſtandards are framed together on the top and from them are hung
the broad ſtraps that carry the body. A footboard for two or three
footmen ſtands inſide this. Under it is the hind axle, and into it
the forks of the perch are framed. The front is a maffive frame-
work, the ſore axle being ten inches deep, but the perch is carried-to
it on two arched iron bars, wrought and ornamented. This arch is
contrived to allow the fore wheels to turn under it. A carved frame-
work ſtayed before and behind with iron, holds a bar on which the ſtate
cloth or hammer cloth has been laid for the driver's ſeat. A ſloping
footboard is ſet below. The ſeat and footboard are low, ſo low that
the high front of the footboard would be lower than the tails of the
horſes. From the driving ſeat frame the front ſtraps are hung. Theſe
ſtraps are three inches wide by half an inch. The buckles, tongues, and
loops are all of bronze, caſt and chiſelled up. The hinges are faced
with terminal claffic buſts. The wheels have carved ſpokes and carving
round the nave. They are coloured vermilion. The tires are not
hoops ſhrunk on, but are nailed in pieces like. thoſe of modern gun car-
riage wheels, and the ſplinter bar is ſtayed by iron ſtraps to the points of
the fore axles.
C/zair of Iron. 369

The ſtep of the carriage is covered by the door, and therefore
inſide the carriage. The lining is gone. There is no ſword caſe. The
body rakes back as we ſee the carriages in Hogarth's pictures : that of
the adminiſtering of the bribery oath at the Election has a car-
riage inclined back in this faſhion. The woodwork is well carved
and the bronze ſtrap buckles and Ornaments, all of which bear the
family creſt, are well modelled. The ſchool of good caſters and chaſers
_of metal furniture mounts was well eſtabliſhed in London, and carvers
of ſoft wood were ſo well trained at that day, and have leſt us ſo
many excellent proofs of their ſkill that we muſt aſſign the general
ſtructure and details to Engliſh builders and workmen. Chippendale
was a deſigner of ſtructures of this kind, as were the deſigners of room
decorations, furniture, and houſe carved work in France during the
whole of the century. The ſame muſt be ſaid of the heraldic painting.
Four horſes, ſix for Court ceremonies, have dragged this ponderous but
ſumptuous and pictureſque ſtructure down St. James' Street, perhaps to
Maidſtone and Canterbury, to meet His Majeſty's Judges of Affize,
or on other State occaſions. No great pace could be got out of it, and
running footmen on the pavement, on either ſide of the ſtreet, eaſily
kept up with the horſes. It is to be regretted that the harneſs has not
been preſerved.
The arms are thoſe, either of the firſt Earl of Darnley, who died in
1728, or of his ſon. Firſt quarter: ſizure, a griffin ſegreant armed and
langued gu. Darnley. Second: quarterly of four. Iſt. azure, a
chevron between three lozenges or. Hyde. 2nd. gu. Three lions
paſſant guardant or. O'Brien. 3rd : within an orle engrailed gu.
a feſs chequy arg. and az. Stewart. 4th : ſa. A lion rampant within
an orle of cinqfoils ar. Clifton.
The firſt earl quartered theſe four coats in right of his wife.
HAIR of Wrought Iron, preſented to the Emperor
Rudolph the Second, belonging to the Earl of Radnor,
and exhibited at the South Kenſington Muſeum in the Loan
Collection in 1862.
The general form of this chair correſponds with that of the antique
ſella curulis of the Romans. It is not, however, actually a folding
chair, nor made to be carried before the potentate whoſe privilege
it was to uſe it. The back and arms are four uprights of unequal
length, but inſtead of meeting like ſciſſors in the front and back, or
F. " A A
3370 Farnz'tane and Woodwork.

i croſſing like an X in two pairs on the ſides, theſe portions meet in a
central boſs and from that deſcend in two curves to four other members
which end in ſquare poſts or feet, fronted with goat maſks and having
caps and baſes of architectonic character. The caps form pedeſtals
to figures of Ulyſſes and Achilles habited as antique Roman warriors.
Behind them, reclining on the double curved members, are figures of
Penelope and Briſeis, the ſquare toſſps of the ſecond or lower curve of
theſe members forming pedeſtals to theſe figures, or rather footſtools, for -
they recline. They are half draped, half coiffees in the renaiſſance
faſhion. Below the boſs uniting theſe four members is a demi-figure of
a ſea nymph, with four volutes to her tail, which roll up and act as
connecting inſide bars to the ſpreading ſupports. All the ſupports,
arms, back, and legs are ſquare in fection, and emboſſed and chaſed
with delicate arabeſque work.
The arms are horizontal bars of ſimilar work, and the extremity of
each is a circular boſs covered with arabeſque work.
The upper part of the back is a band of wrought iron, conſiſting of
a group of horſemen, all in complete relief and without background,
repreſenting the triumph of Julius Caeſar or Alexander. The horſemen
enter an arch at one end, and the conqueror is ſeated in a triumphal
four wheeled car, which is drawn by horſes capariſoned in deep houſings,
at the other. The angles, which are the tops of the back frame pieces,
are decorated with niches on each face tenanted by claſlic warriors, and
they are covered by pedeſtals above, on one of which ſtands a claffic
philoſopher and on the other a warrior in armour.
Between this riſes a pedimental ſtructure in diminiſhing tiers, form-
ng a ſacade ſupported by tiers of Doric columns, and brought down by
volutes and brackets to the ſquare baſe.
In two tiers of panels is repreſented in tiny figures the dream of
Nebuchadnezzar. A warrior, in a niche, divides the loweſt and largeſt
of theſe panels, and little figures of genii, virtues, &e. ſupport the frame.
As a ſiniſh to the whole, two angels or genii ſupport a medallion por-
trait of the Emperor Rudolph the Second (died I612). '
The date, I 574, and name of the artiſt, Thomas Ruker, are on the
boſs under the ſeat.
The ſeats and back are cuſhions ſuſpended by cords, which are
knotted in a pictureſque faſhion to rings contrived for that purpoſe, and
the taſſels in which they end hang down at the ſides to add a furniſhed
look to a material ſo rigid as iron when applied to perſonal uſes.
For a photograph of this remarkable piece ſee Arundel Society's
publications, Decorative Furniture, Italian, Flemiſh, Sta., 1871, plate
xxx.
Bottle Farnitare. 3 7 1

ABLE and Cabinet, of Boule work. No. 69 in the Ex-
hibition at Gore Houſe. Belonging to the Qieen,
Windſor Caſtle, and exhibited at Gore Houſe in 18 53.
Among the examples of Boule work to which we can moſt readily
refer, one of the earlieſt is a ſmall cabinet or eſcritoire, ſlightly receſſed in
the middle, with three ſide and one central drawers, and a cupboard in
the centre with pigeon holes.
The table on the top is low enough for writing, and a ſet of three
ſmall drawers is placed on it, leaving room for writing materials in the
front portion. *
The'ſide diviſions ſtand on four legs each. Theſe are connected
below by curved X braces, and are mounted with gilt metal mouldings
and gilt acorn feet. The drawer fronts curve in and out in ſlight rolls,
which are perpendicular. The legs are parts of four uprights ſet on
the angles that frame the ſide diviſions together, and as they riſe they
fall in by curved bracket pieces to the top, where they form ſlight pro-
jections to ſupport the table, which overhangs the faces of the front and
ſides.
All theſe curved ſurfaces are covered with Boule marquetry, and
this material includes ſhell, braſs, white metal, and blue enamelled
bronze. Where the central front and drawers end hang braſs pieces,
repreſenting the corner or front of a canopy of rich velvet or ſilk, inlaid
with white metal, &c., and finiſh below with metal taſſels.
The principal part of the ſurface is braſs, and the ſhell and other
metallic inlays are inlaid as Ornaments on it.
The reſult is a greater ſhow of metallic luſtre, varied as it is by the
different hues of the white, blue, and ſhell work, than if the main
groundwork were tortoiſe-ſhell, and the metal ſubordinate to it in the
ſcheme of decoration.
It is, in conſequence, a ſpecial repreſentative of this claſs of work.
The ſmall ſize of the piece, which is not higher than the ſervice of
a writing table requires, marks an early ſpecimen of a claſs of furniture
that became larger and more ſplendid in the days of Louis XV.,
when Boule had eſtabliſhed his reputation. Certain circumſtances
connected with the decoration of the front have led to doubt whether it
was not made before Boule's own time. (4 The armorial bearings
introduced in various parts of the inlaying indicate it to have belonged
to the celebrated family de Retz. The principal eſcutcheon bears
the arms of Henri de Gonde, Duc de Retz and Beaupreau (1590,
A A Z
3 7 2 Farnirnre' and 1/[7 ced-warm
16 59), who died, leaving two daughters, co-heireſſes. The arms as
here depicted being uſed by him till 1659." 9
'Theſe arms were, however, probably continued in uſe by one of the
daughters, as the royal licenſe in ſuch caſes was occaſionally given to
the huſband to continue and tranſmit a title otherwiſe extinct.
At any rate, this work has all the characteriſtics of the ſtyle com-
monly ſaid'to have been invented by Boule, though in 16 59 he would
not have been above 17 years old, and it was perhaps executed ſubſe-
quently to that date, either in accordance with an order given and not
executed, or otherwiſe.
It forms part of the Royal collection at Windſor Caſtle.
OULE Table and Cofnmode, of old Boule work, belonging
to the Duke of Hamilton. Exhibited at Gore Houſe.
The Boule tables are found often of very maffive conſtruction.
This example forms a table with ſarcophagus-ſhaped drawers below.
The upper draw is concave on the ſurface, while the lower bulges out-
. wards. The angles are ſupported by trapezophora of old Roman
deſign. They are curved triangular legs, having female terminal buſts
above and bold claw feet below. Theſe are connected with the leg by
acanthus foliations, and curved offsets form ſhoulders to the upper
figure, and fit round into ſpaces taken out of the angles of the drawers.
A pair of wings ſtretches upwards, forming a ſpecies of niche round
the heads.
The lower drawer is hung from, rather than ſupported by, theſe
angle bearers, which ſtand clear of it. Curved pieces connected with
the back of the claw feet and ending in a ſeparate ſet of ſpiral ſhell-
ſhaped feet, effectually ſupport the lower part of the commode. A
richly decorated central ſwing handle, ſcutcheon, &c., to the upper
drawer, is balanced by two handles to the lower. The lock furniture
of the lower draw forms a drop ornament below the upper handle.
ABINET of old Boule work. i Square, with an upright
central panel, and panelled doors on each ſide; date
about 1700. Belonging to the Qzeen.
This cabinet was exhibited at Gore Houſe, and is made, as his later
works were, in duplicate, the portions let in, or forming the ornament

fit
3' Catal. Gore HouſeExhibition, 2'5. -
Bottle Furniture. 3 7 3

in one example, being reverſed as to material in the other. One
action of the ſaw in all modern Boule work, by putting together two
materials, produces two grounds and two pieces cut from them which
are counterparts of each other.
In the caſe of this cabinet the ground is the tortoiſeſhell- and the
decorations are of metal.
Under the top ſlab is a bold egg and tongue cornice line in metal.
It is interrupted by the narrow upright panel forming the centre, which
projects enough to break the cornice and meet the edge of the ſlab. It
breaks a curved baſe moulding in the ſame way. Thetwo ſide doors
form together one panel, the corners of which are cut out by curves.
The panel is indicated by a moulding of claffic leaf work; volutes of
metal, like the angles of Ionic columns, are planted on the four angles
of the front, and fill the curves deducted from the corners of the panel.
Halfway down the panel is a broad band of chiſelled metal, forminga ſort
of fanciful altar front. It fills half the width of each panel, but curves
out till it occupies the whole at the baſe. The ground of this altar
front is of metal with fine ſcrolls of ſhell work on it. Maſks and
other ornament in relief give expreſſion to points of this decoration.
Two little flying cupids ſupport ſcrolls of ribbon over this front, which,
like the whole of the panel, is interrupted by the upright panel of the'
centre. .
Two pairs of piſtols in the lower part of each ſide indicate, per-
haps, that this piece of furniture was made for one of the retired
marſhals or generals of the old wars.
The various raiſed and chiſelled portions of the ornament are
intended to relieve the quieter work round them. They are taſtefully
diſtributed about the entire front of the cabinet, and are in due pro-
portion alſo to each other.
In the ſame ſtyle, and made at the ſame time, is a ſquare upright
cabinet of Boule work, exhibited at Gore Houſe, belonging to Mr. Morriſon. There are ſeveral differences of detail, but the general
arrangement of parts and lines of diviſion are alike. (See a photograph
of this piece in the Arundel Society's Decorative Furniture, French,
1871, No. vii.)
ONSOLE Table and Cabinet, ſurmounted by a clock, of
Boule work. Belonging to the Duke of Buccleuch,
and exhibited at Gore Houſe.
This piece conſiſts of a conſole table with marble top, ſupported on
four trap'ezophora, the two in front nearer together than thoſe at the
a
3 7 4. Far-nimate and lfflaadtvark.

back. The table itſelf curves inwards, and is narrower before than
behind; and the two front legs are leſs maffive. Crowned buſts reſt
on the hips of theſe legs, which are ſhaped inwards as they deſcend.
All ſtand on a flat plinth or baſe.
One drawer, with maſk and ſwing handle in the centre, faces the
framework of this portion.
The more delicate and elaborate ornamentation is applied to the
upper cabinet. It is formed by two ſets of three drawers each and a
central cloſed portion ſet a little back. Four terminal caryatid figures
in metal ſupport the 'uprights which divide theſe parts. A little trelliſed
arbour or front in the ſtyle of Berain, containing a ſmall figure of Plenty,
is inlaid on the door of the central diviſion. Above the terminal figures
riſe, on pedeſtals, heraldic lions ſupporting armorial ſhields.
Theſe indicate the ownerſhip of the piece with the cipher M. E.
It was made for Maximilian Emmanuel, 1662-1726, who was elector
from 1679 till his death.
Above the central part riſes a tall clock, the ſides ſloping gradually
inwards from the two lions and the dividing piers, which give the
character of ſupports for this finiſhing portion of the piece. On the
hips of the frame are rich mounts, terminal' figures in relief well
chiſelled, and the heads curving inwards till they meet the curves and
foliations of the finiſh, a figure of Fame, ſeated on a figure of Time
with two cupid children at her feet.
LOCK. Boule work ; on a pedeſtal of the ſame material,
belonging to the Queen, Windſor Caſtle. Exhibited
at Gore Houſe in 1853.
It forms a ſingle compoſition from the ground to the top of the
clock. It'iis not, however, a clock with long pendulum and weight, ſo
common during the eighteenth century, which required an upright caſe
made in one piece. The French clocks of the Louis Quatorze period
have mainſprings, and as in this inſtance, are generally ſeparate from
the ſtands provided for them. Theſe are ſometimes part of a cabinet,
as in the cabinet and table belonging to the Duke of Buccleugh, de-
ſcribed above; ſometimes brackets to be faſtened to a wall, or, as in
this inſtance, pedeſtals.
The whole piece of furniture is, therefore, in two pieces. The
ſtand is a terminal pedeſtal'decreaſing as it nears the ground, with a
ſpreading baſe, which is not equal in diameter to the top, and ſupported
by double claw feet ſet on the corners of the faces into which the front
and back angles are ſpread.
Hertford Collection. 3 7 5

Each corner of the angle faces finiſhes with goat maſks and other
metal work in relief, and there is a moulded metal top or table above
them, receding, however, from the extreme breadth of theſe upper
Ornaments; and on it ſtands the clockcaſe itſelf. The uſual maſk
backed by broad rays, emblamatic of the ſun, is placed on the upper
centre of the front, and raiſed metal mounts are laid down the angle
faces and on the ſalient angles of the baſe.
All theſe parts ſet off the more ſubdued luſtre of the inlaid portions.

OULE and other Furniture in the Hertford Col-
i lection, belonging to Sir Richard Wallace.
Exhibited at Bethnal Green, 1872.



OLD BOULE WORK.
OULE Coffer and Stand. The coffer is maſſively
mounted with ſwing handles and metal ſtraps over the top,
terminating in maſks in high relief. The lower portion of the ſides is
in white metal, into which the ſhell arabeſques are inſerted in delicate
proportions. The top is covered with ſhell arabeſques, alſo delicate as
compared with the metal baſe. Braſs is added on the reliefs. The
ſtand has a back; white metal and braſs form the baſe of this part alſo.
The legs are joined by a ſhelf below, on which is a metal globe _
covered with ſleur-de-lys in relief, and ſurmounted by the royal crown.
End of the 17th century.
PAIR of Cabinets, dado height, of brilliant metal. Boule
work; the ground braſs and the ſhell delicately introduced.
The centres have ſquare panels with edgings in relieved metal, and on
each a pot of flowers in white metal, the flowers partly in white metal,
partly in ſhell, and differing in the two cabinets. In the centre, above
this panel, are medallions containing; one, the portrait of Henri IV.,
King of France, in relief, and the other, that of Sully, his miniſter.
Theſe and the former belong to the early period of Boule manufacture
in the 17th century. ſi
3 7 6 Farnz'ſſrnre and Woodwork.

TOUR companion Cabinets of the large Boule ſizes, with
P doors. Ionic volutes on the upper corners in relief, and
pedeſtals below, on which recline two ſigures in high relief, one a
ſage numbering on his fingers the triumphs of Louis XIV., the other
a female figure, Fame or War, holding a ſcroll on which is a fortreſs or
entrance to a fortified city. Theſe portions are alike throughout the
four; ſhe points with the other hand to a ſtring of ſive braſs medals of
7 different ſizes ſtanding in relief from. the Boule work in the upper centre
of the panel. Five ſimilar medals balance this arrangement on the
other ſide of the front; the medals all differ, and commemorate events
in-the hiſtory of Louis XIV. Theſe pieces belong to the I7th cen-
tury, and are ſimilar in character to the pieces in Windſor Caſtle.
PAIR of Conſole Tables, ſupported on curved legs, the
two centre legs have a triangular fection. They are connected
by ſhaped and curved braces below, on the centre of which ſtands
a ſacriſicial vaſe in gilt metal. The top has the ground of its decoration
of ſhell, and the deſign repreſents birds behind bars, monkeys on the
tight-rope, and ſimilar ſigures executed with great ſpirit in braſs. The
edge of the table has braſs for the ground, and the decoration, groteſque
dancing ſigures and arabeſques are' in dark ſhell; rich mounts to the
edges and legs in chiſelled gilt metal. I7th century.
CONSOLE Table, round in plan, and reſting on curved
legs richly mounted in gilt metal 3 the top has a deſign of
monkeys playing, tight-rope dancing, &c. I7th century.
WO upright Terminal Pedeſtals, with baſes and tops ;
belong to the ſame period of Boule work. On the front of each
is the cypher of Louis XIV. in Italian letters, double and reverſed, as
part of the arabeſque decoration.
CHEST of Drawers, the front in the ſhape of Cupid's
bow; each of the three drawer fronts in three panels, and the
ſides form-ed into large panels ſtanding up in relief from the ſurround-
Hertford Collection. 3 7 7

ing edges. The top is braſs on ſhell; the front and ſides ſhell on braſs 3
figures of dancers are inſerted amongſt the arabeſques. The handles,
lock plates, and other mounts are maſſively modelled and richly chaſed
and gilt.
SET of ſarcophagus-ſhaped Drawers, ſupported on ſhort
legs, decorated with new or red Boule, the ſhell in this caſe
being laid on braſs, which gives it a red and brilliant appearance.
To the ſame claſs of forms of Boule belongs a wide table with ſhort
legs, the ſpace at the ends being filled up ſlat three quarters of the height
down. The top is divided delicately into a centre and two ſide ſpaces
of Boule work 3 the ſide ſpaces are encloſed by a border of work in new
Boule 3 the centre has a metal panel of braſs, on which is chaſed a hunt-
ing ſcene, villagers with dogs purſuingia hare, tumbling down, &e. The
fronts of a ſet of drawers below are on white metal, with braſs and
ſhell decorations, rich ſwing handles, &e.
KNEE-HOLE Table with ſide drawers, mainly decorated
with braſs on white metal, and a few lines and points of ſhell
introduced. Figures of dancers are introduced among the arabeſque
Ornaments.
CHEST of Drawers, of old Boule work, decorated beſides
the white metal, braſs, and tortoiſeſhell, with ſpots of ivory and
mother-of-pearl, ſome left of the natural hue, others ſtained green or
enamelled with Vermilion.
CLOCK Caſe, on a terminal pedeſtal of plain tortoiſeſhell,
with maſſive metal mounts. The edge of the clock is of
maſſive gilt bronze, with ſemi-figures, repreſenting the four quarters of
the globe, as ſupports to the top of the clock. Cupid is ſhooting on
a pedeſtal as a top finiſh, and. a maffive medallion at the top of the
pedeſtal contains figures of Atlas ſupporting the globe, in gilt metal.
The clock frame within the metal mounts is in delicate ſhell and braſs
work.
3 7 8 Farnz'tare and Wood-ward.

BoMBE TABLES.
PAIR of Conſole Tables,.with bombe drawer fronts, ſix
feet in width at the back. The wood is tulip wood; the
curved legs are edged, and the fronts are covered with bold rococo
bronze work, gilt. The wood,is unpoliſhed, and made before the diſ-
covery of the poliſh of the 18th century. Late 17th century.
LAC FURNITURE.
HERE are two pieces of furniture in the Hertford
Collection, made of old lac, one a conſole table, the ends
falling back in two curves. The lac is ſunk in, in panels, one in the
front and one on each end ; over this is laid a reticulation of gilt bronze.
The centre of the front is occupied by a circular ſpace, encloſed by
metal work, on which are two doves billing, ſtanding on a quiver. The
front reſts on legs mounted with metal work, the tops of which are
figures of ſyrens. This belongs to the early part of laſt century.
TABLE with two drawers, the top and drawer fronts of
old black lac panels, ſet in mounts of chiſelled gilt bronze,
the principal feature of which is a linen feſtoon that decorates the lower
edge of the drawer fronts and ſides. Early 18th century.
VERNIS MARTIN.
In the Hertford Collection are two pieces of furniture decorated in
this manner.
TABLE, with frame of wood and metal mounts. The
legs have ſyrens on the top, connecting them with the frame
and top. Theſe figures are of the ſame form and mould as the leg
mounts on a table of old lac work and gilt bronze deſcribed above.
The wood is coloured malachite green, and covered with the tranſparent
lac varniſh known as Vernis Martin. It belongs to the beginning of
the 18th century. a
OOK-CASE in two ſhelves, with pedeſtal and figures.
above. The ſides curve forwards, bracket-ſhaped on the edges.
The upper portion has a group of figures of Cupid and Pſyche on a
Hertford Collection. 3 7 9

circular pedeſtal, and two large female figures in gilt metal on either
hand, repreſenting Peace and War. The woodwork is coloured and
varniſhed as the laſt deſcribed.
GOUTHIERE AND RIEISENER.
ABINET of old mahogany with gilt metal mounts. The
front is formed by delicately chaſed metal mounts into one
panel, ſlightly projecting beyond two half panels, the angles are returned
and roſettes placed in the corners ſo left. The ſides have trays or ſhelves
of marble with gilt metal galleries, for holding china, and the front is
decorated With a rich piece of arabeſque Compoſition in gilt metal pierced
and chaſed. There are two demi-figures of cupids With arabeſques
curving about them. This portion and a wreath border along the upper
edge of the front, round the legs, &e. are by Gouthiere, and belong
to the laſt thirty years of the 18th century.
SIDEBOARD of old Spaniſh mahogany, with double
A drawer in front, quadrant ends. The principal decoration
conſiſts in the delicate moulded and chiſelled metal mounts attributable
to the hand of Gouthiere. There is a cornice or border of leaf-Work
along the upper part, in Which the fleur-de-lys is figured at intervals. It
has been made moſt probably for the uſe of Louis XVL, by Rieiſener.
Same period.
PAIR of Tables, of which the flabs are of porphyry, and
the legs ſquare with terminal caryatid figures on their tops.
Theſe are covered' with arabeſques moulded, chaſed and gilt, by
Gouthiere. Same period.
ABLE, with legs of ebony or eboniſed mahogany, mounted
with arabeſques ſimilar in character and fineneſs of Work to the
laſt, and by the ſame hand 3 the legs ſurmounted by Ionic capitals.
Same period.
ABINET oſ Amboyna wood, with plaques of Sevres
porcelain, containing paſtoral ſcenes in the ſtyle of Fragonard.
The ſides have porcelain trays or ſhelves with metal galleries to hold china,
and the key ſcutcheons and mounts are delicately chiſelled and gilt z
- 380 Furniture and Woodwork.

probably by iGouthiere. The lines of moulding in metal are carefully
preſerved though covered with chiſelled decoration. Same period.
ſſ RITING Bureau of Rieiſener marquetry with metal
mounts, a piece onthe largeſt ſcale for ſuch furniture. It is ſix
feet by three,_and is four feet in height. It conſiſts of three diviſions.
The top is a ſhelf or ſlab of marquetry in coloured woods on a dark
ground,'ſurrounded by a pierced metal pattern, with vaſes onthe angles 3
the centre is a writing bureau, with curved cover that rolls into the in-
terior When opened. A central lock in the upper portion and between
it and the middle part, with richly chaſed gilt metal ſcutcheon, &e. opens
the whole, rolling back the circular cover and opening the various
drawers, &c. This flap or cover is inlaid in three marquetry panels or
ſpaces. The centre has a lyre, books, and roſes inlaid in two coloured
woods beſides pink ſtained wood for the roſes. In the ſide ſpaces
are a dove and a cock in beech, laburnum, or other wood of light
ruſſet hue. Below the centre is a flab or table projecting beyond the
flap, and below that a knee arch with ſhallow drawer above and two
drawers each ſide of it, the corners ending in legs richly decorated with
mounts of gilt metal by Gouthiere. The ſide drawers are inlaid with
bunches of flowers in coloured marquetry. The two ends of the piece
are divided into upper and lower marquetry panels 3, the upper having
attributes of muſic in white wood (beech) partly darkened by burning,
the lower a letter R in a circle 3 the R for Rex (Staniſlaus). At the
back are ſpaces of marquetry, globes, &c., and a beautiful medallion in
white wood darkened by burning, of a girl's head with her finger to
her lips, an emblem of ſilence. The mounts are bold but gracefully
diſpoſed.
The piece was made by Rieiſener, with mounts by Gouthiere, at
the order of Staniſlaus, King of Poland.
CABINET with marble top and fine gallery of pierced
metal work round it. It is in two ſtages, the lower oblong ſquare
with ſupports cutting off the angles, going down into legs which are
connected together by a ſhelf or tray below. The upper part is oval.
All the edges, diviſions, &c. are mounted with chiſelled metal work, and
the ſurface is inlaid in marquetry of quiet reticulated work with flowers
in the central ſpaces. This is Rieiſener work of the beſt period, about
20 years before the end of laſt century, and the mounts are probably by
Gouthiere.
Rieiſener and Gaatlziere.
381
_aw A _ A Y ___.. __ . . _
CHEST of ghree drawers of mahogany, with gilt metal
chiſelled mounts along the angles and edges of the drawer
fronts. By Gouthiere and Rieiſener probably. The drawers are lifted
on four legs. The mahogany is of the choiceſt grained Spaniſh wood
carefully poliſhed.
TABLE inlaid with ſpecial care in the arrangement of the
woods. The principal part on the top is a baſket of flowers 3
roſes and daffodils, the leaves of the roſes are dark brown; the
loweſt and thoſe of the daffodils, as well as all the reſt of the leaves, are
white, now yellow, and on a light ruſſet hue of ground-work. The
whole ſurrounded with fine inlaid lines forming it into an ornamental
ſpace or panel.
CIRCULAR Table of old dark roſewood, with a ſet of
circular plaques of Sevres porcelain inlaid round, and one in the
centre. They have flowers, but are generally white with blue borders.
That in the centre has a monogram C. L., one in roſes the other in
cornflowers, and a letter M underrunning them in gold. The whole is
ſurrounded by chiſelled gilt mounts. By Gouthiere probably 3 late 18th
century.
SMALL Bedroorn Table, the upper part inlaid with
bunches of jeſſamine on light coloured laburnum or other wood
little leſs dark in hue than the pattern, with bordering of tulip wood.
It is on light legs with chiſelled gilt metal mounts. Rieiſener work of
the end of the laſt century.
CABINET with marble top ſurrounded by a pierced metal
gallery, and richly mounted with gilt metal, chiſelled. It is
in two diviſions, the lower covered with quiet reticulation, and the upper
ſhowing an architectural compoſition, all in very white wood helped by
burning. The whole ſet in a border of tulip wood. There are bold
floriated metal mounts in front with a tied ribbon in metal, and the
metal edge mounts have floriated work on the inner ſides. All theſe
3 8 2 Farnz'tnre and Woodwork.

are backed by tulip wood which follows the outlffies of the metal work
in all its ſubdiviſions, and forms a light edge or background which
iſolates the metal work from the architectural panel. The panel is by
David, with mounts by Gouthiizre. It is of the latter part of laſt
century.
SET OF SHELVES of marquetry work by Rieiſener,
and edged with gilt chiſelled metal. On the outſide the rims
of the ſhelves contain tiny plates of wedgewood ware inſerted. It is
French of about 1790.
CABINET of Amboyna wood, richly mounted with
Gouthiere bronze chiſelled work. The centre has a medallion
in alto-rilievo repreſenting a ſacrifice to Cupid.
CABINET of marquetry, on which the decoration is
very quiet reticulation in three woods, with light lines added.
It is decorated by gilt mounts on the edges and two ſwags of gilt
chiſelled work on the upper part of the front. It belongs to the beſt
period of Rieiſener.

LOCKCASE. Of tulip wood, with maffive mounts
of chiſelled gilt bronze. Containing an aſtrono-
mical clock. By Ferdinand Berthoud. Exhibited
in the South Kenſington Muſeum, belonging to
the Marquis of Weſtminſter.


This maſſive piece of French metal decoration is in the uſual '
upright form. The door or front is a pane of plate-glaſs encloſed in an
architectonic moulding, deſcending in form of the front of a terminal
pier or poſt to a bold moulding, alſo of architectonic character, which
unites the body to the baſe.
Rieiſener and Gaul/Heare. 3 8 3

The baſe is ſquare, of plain veneered tulip and roſewood, and has
on its front a Greek key fret of gilt metal, ſtanding up in bold relief.
This occupies the whole front and the fronts of the returning ſides.
Below the baſe is a bold torus moulding of laurel leaf, and a plinth.
The clock is a chronometer, and marks the twenty-four hours, age
and changes of the moon, day of the month, &c. The maker of the
caſe was probably Rieiſener, and of the chaſed work Gouthiere.
The clock maker, Berthoud, was the firſt conſtructor of chronometers
in France, and was appointed chronometer maker to the Admiralty of
France, member of the Inſtitute, &c. He was born near Neuchatel, -
and ſettled in Paris in 1747, at the age of eighteen, and lived till 1807.
The dateof this piece of furniture may be placed about the year
1780.
OF FER, in Ebony, with mounts of chiſelled metal and
inlaid on the ſides and ends with plaques of Sevres
porcelain; and table of ſimilar character. Belonging to the
Queen, Windſor Caſtle. Exhibited at Gore Houſe in 1853.
Though theſe two pieces are not made by the ſame hand they are
ſo nearly alike in the decorations that we may notice them together.
The box or coffer is ſtraight ſided, divided into three panels on the
ſides by architectonic mouldings of chiſelled bronze gilt; the work,
perhaps, of Gouthiere.
There is a ſmall pierced gallery running round three ſides of the
top and below it on the flat upper rail of the ſide panels; a frieze of
chiſelled metal acanthus ſcrollwork runs round the coffer.
The plaques are attributed by Mr. C. Robinſon to Dodice,
a whoſe beſt productions are dated about 1780." 10
The ſubjects are amatory, and the dreſſes belong to the third quarter
of the laſt century, about the period cited.
The table is mounted with metal in ſtraight lines. The legs are
maflive, and are fluted down their ſides, braced together by X-ſhaped
curved pieces Io inches from the ground. The corner pieces above
them are decorated with ſcrollwork, nearly the ſame as that round the
upper par-t of the coffer, and the drawer fronts decorated with Sevres
plaques leſs fine in execution than thoſe deſcribed above.

Catal. Gore Houſe Exhibition, No. 7 5.
53 84
Farnz'tare and Woodwork.

ABINET, of mahogany, with mounts of chiſelled metal
belonging to the Queen, Windſor Caſtle. Exhibited at
Gore Houſe in 1 8 53.
As this piece is one of the moſt complete examples of the work of
Gouthiere that can be pointed out we may deſcribe it as a type ſpecimen
of his productions.
The body of the cabinet is flat, without relief or inlay, and is of
poliſhed Spaniſh mahogany, of choice grain. All the decorations are
made in the metal work. '
The lower part is a table on four pairs of legs with drawer front
between.
The legs are in two ſquare groups on the ſides 3 the delicate metal
work on their ſides and points of junction with the upper frame repreſents
ſo many quivers full of arrows, the feathered heads projecting above.
The groups are joined by croſs curved braces ſupporting vaſes richly
mounted with chiſelled metal, one to each ſet of legs.
The panel of the centre drawer front is of metal with groups of
little cupids on it in relief, and the two ſide diviſions in continuation are
acanthus volutes, forming an architectonic figure.
Similar but more delicate work forms a frieze to the body of the
piece, over which ſpreads a cornice in the renaiſſance manner. In
receſſes at the angles are half draped caryatides in full relief in gilt
bronze, forming ſupports to the upper cornice.
On the top is a rich central group in metal work, with a ſlat claffic
vaſe each ſide of it. The group is compoſed of two cupids ſupporting
a royal crown ſleur-de-lyſee, with two ſcutcheons below, on which are
the arms of France and Sardinia reſpectively. Scrolls, drapery, rocks,
&c., form a baſe to theſe figures.
This piece of furniture is ſuppoſed to have been added to the Royal
Collections by King George IV.3 but it was not mounted, and was
found in parts ſeparated and neglected at the beginning of the _ſucceeding
reign, when they were found, and the whole cleaned and put together.
The arms of France and Savoy indicate that it was made for one of
the brothers of Louis XVI., two of whom the Comte de Province,
Louis XVIIL, and the Comte d'Artois, Charles X., married Princeſſes
of the houſe of Sardinia in 1771 and 177 5, the period when the works
of Gouthiere were at their beſt.
Indian Woodwork. 3 8 5

NDIAN Woodwork. A pair of Folding Doors. In a door
frame of teak carved and inlaid with ivory and metal
work, from Keroly. In the India Muſeum, India Office.
We cannot point to a more important piece of genuine Indian
wood carving in this country: theſe doors which encloſed, it is ſaid,
a library, were ſent as a preſent to the Indian Government.
The door frame is of teak, ſquare on the outſide where it has been
partly encloſed in the contiguous wall, moulded on the front edge, and
on this outer front carved with a band of leaf-work in high relief, but
kept in regular and architectural repoſe.
The total height of the outer frame encloſing the inner is 6 feet
4 inches, the width is 3 feet 6 inches, and the width of the outer door
frame is 4 inches. The doors themſelves are hinged on pegs, which
are prolongations of the back framing ſtiles, and drop into holes in the
framework. ct
Each Valve is divided into five panels. The ſtiles that frame theſe
together are two inches wide and are covered with a plate of bronze
faſtened by roſette nails riſing three-eighths of an inch above the ſurface
of the plates and tinned, and theſe outer mouldings have an edge
of cut leafwork in bronze. The valves are faſtened by an upright
poſt two inches ſquare, with the corners canted off but left to form
circular diſcs or boſſes correſponding with the panel diviſions. This
upright is covered with bronze pierced in quatrefoils, chevrons and other
ſmall patterns laid on tale plates coloured green and red, which impart a
further metallic luſtre to the bronze. The poſt forms part of one ſide
piece of the right-hand door Valve. _
The panels are 10 inches inſide by 93, and are framed by a zZ-inch
moulding of ordinary European form, the top and bottom fillet being
of bronze; to theſe ſucceed a flat band of iron or bronze chaſed with
foliage and ſilvered, and this band is edged on both ſides with rows of
little carved leaves in ivory.
The centres of the panels are cut and pierced in patterns 3 the top
and bottom panels are alike, reticulated quatrefoils having a roſette
in the centre of carved ivory and plates of talc, with green and red
colour underneath. The ſecond and fourth panels are alſo alike, hexa-
gons, ſeparated by a reticulation of pierced bands, and with ivory
roſettes. ſi
The centre panels are carved in leafwork in the ſtyle of that on the
door frame; and five ivory flowers laid over the carving, the central
flower has eight petals and the other four are halves.
F. B B '
3 8 6 Farnz'iare and Wood-work.

The material of the cutwork is dalburgia or blackwood, and of the
mouldings roſewood ; the outer frame is of teak.
The door frame is carved all round, with no appearance of ſill, the
angles are mitred, and it is probable that it has been the door of a
cloſet or preſs rather than of a room.
It is woodwork belonging to the 17th century.
For elegance of ſhape and proportion, and the propriety of the
compoſition of the frame and ſubdiviſions of theſe doors, their mould-
ings and the panel carvings and Ornaments, we can for the preſent
name no other example ſo inſtructive. We are much reminded by this
decoration of the pierced lattices at the S. Marco in Venice. Windows
in the upper ſtory of the wall faces looking to the piazza and the ſea,
are filled with ſuch work, undoubtedly of Byzantine derivation, but
the adoption of this kind of decoration at Conſtantinople ſhows a great
admixture of Aſiatic feeling with the remnant of Greek and Roman
' tradition that ſurvived at the ſeat of empire to the 12th and I 3th
centuries, perhaps later ſtill.
i HAIR of beaten Gold. Formerly uſed by Runjeetſing.
In the India Muſeum.
This chair, which is octagonal and of the ordinary height and ſize,
is in the form of two bowls reverſed, the upper and the lower decorated
with bold acanthus and lotus leaf-work repouſſe. The upper part'
ſupports a ſeat, and has a circular back and arms decorated with re-
pouſſe foliage. On the two arms are branches of iron caſed with gold,
on which were formerly placed gold lotuſes, that opened with ſegmental
petals and cloſed completely, containing probably mythological figures.
Theſe portions were ſtolen in India by the ſervants of Runjeet Singh in
the Confuſion of an alarm of ſire in his palace. It is of the pureſt gold
on a wooden core, and is not older than the laſt century.
Edinburgh.
The oldeſt piece in this collection is a reading deſk, a little leſs than
two feet in height by the ſame meaſurement in width. It has two
ſupports half an inch ſquare, ſtanding on curved feet, maſſive enough
JAPANESE Lacware, belonging to H.R.H. the Duke of
Collection of t/ze Duke of Edz'nburg/z. 3 8 7

to keep the whole firm. The legs are connected together by a panel 5
the bookſtand flopes back like that of an ordinary book reſt of European
make.
It is ornamented on the flat ſurfaces with landſcape ſubjects in lac
work, and the connexions of the bars that form the framework are
completed by ſilver mounts. The ſmaller wooden ſurfaces, ſuch as
the upright and tranſverſe bars, are diapered in quatrefoils and delicate
flowers in relief in lac and gold.
This piece was preſented to the Duke by the Mikado as a rare
ſpecimen 'of old Japan work. The date is ſtated to be of the 16th
century.
2. Cabinet or ſet of ſhelves, ſtanding on four legs or ſupports 2 feet
2 inches high. The legs paſs through the corners of the ſhelves, which
hold them together. There are four ſhelves at unequal intervals. A
cupboard or locker occupies half of the lower ſhelf but one. This
part _is lined with avanturine or plain gold duſt lacquer, with figures
inſide the doors. Portions of the work are diapered, and other por-
tions decorated with conventional landſcapes, in which the bamboo plant
is a prominent feature. At intervals occur circular pateras, each con-
taining two conventional feathers croſſed in ſaltire.
The edges and junctions are mounted with ironwork delicately
damaſcened with gold. Similar work protects the feet on which it
ſtands.
3. Another ſet of ſhelves of ſimilar ſize is differently arranged, though
belonging to the ſame period and originally a portion of the ſame ſet of
furniture. The ſhelves turn up at the ends. It contains two cup-
boards cloſed with doors.
- The ends are framed up as panels pierced ſo as to leave only an edge
or margin 3 the piercing takes the form of a leaf ſuch as that of a tulip
tree, elegantly cuſped. The greater part of the ends are thus open,
but the leaf-ſhape in which they are pierced leaves ample material at
the angles to enſure the neceſſary conſtructive ſtrength.
There are a complete ſet of boxes and trays that fit into theſe
ſhelves. They are made of canvas ſtiffened and made up on the outſide
with lac-work reſembling wood but lighter and more tenacious, the
angles being ſlightly rounded ſo as to avoid weakening the fibre of the
material by a ſharp line of bending.
The decorations are of the ſame character as thoſe of the laſt
named. Theſe pieces have formed part of the ſtate of a rich family,
and would be of the ſame importance as ſilver plate among'the treaſures
of an European houſe.
B B Z
3 8 8 'Far-'niture and Wood-work.

4. A ſmall cheſt of drawers, three inches in depth by two in width.
This ſmall caſket or ſet of receptacles for valuables is made with the
finiſh and completeneſs of a large piece of furniture. There are three
drawers furniſhed with ſwing handles of ſilver, in proportionate ſize.
They are further cloſed by a door with ſilver hinges and ornamented
with mounts of the ſame metal; and the whole is carried by a ſilver
ring at the top. The lac decorations are pateras cutting each other
and red flowers on a dull gold ground.
5. A box in the form of a maſs of rock. Diameter 2% inches.
The rock is on a ſtand. It has a ſlat top covered with a rocky land-
ſcape, all in rich relief. It contains trays ſo richly lacquered as to look
like work made in ſolid metal.
6. Another ſmall box in the form of two ſans, one partly over-
lapping the other. The top of the under fan is of extraordinarily
delicate ornamentation.
7. A ſmall box, numbered 95, covered with gold branches and
foliage of lacquer work of great delicacy. The leaves are bunches of
ſilver lac.
8. A box for containing medicinal drugs. It is ſitted with trays
and tiny boxes. One tray, a quarter of an inch in depth, contains ten
ſilver roſette-ſhaped boxes ; another is half an inch in depth ; another,
three quarters of an inch, containing ten boxes, each one inch ſquare
and decorated with many varieties of ornament.
9. A box, numbered 97 in the catalogue, meaſuring eleven inches
and a half by ſeven and a half, is ſubdivided and decorated with land-
ſcapes, figures, houſes, &e. It contains boxes and trays, full of diviſions,
and oblong or diagonal and heart-ſhaped boxes (for drugs) ſome lettered,
ſome decorated with flowers and branches.. There are ſteel rings for
lifting the trays and finger holes below the little boxes by which to puſh
them up. In all it contains three trays and ſeven boxes, ſubdivided and
containing ſome three, ſome four or more ſmaller boxes each. One
tray, an inch and a quarter deep, contains as many as fifty ſmall boxes.
Each box is in a looſe wooden caſe of its own.
10. A diſh, numbered 96 in the catalogue, decorated with lac
work in very high relief. The deſign is a flying figure of a warrior
cloaked, and ſhaking a demon out of a bell. The bell is covered on
the top with boſſes in the ſtyle of the bronze Japaneſe bells now in the
Muſeum, and the handles are demon-headed after the ſame type. The
cloak of the flying ſigure is blown out in broad folds behind him.
There is below a rocky platform, with a wooden frame round it.
Particular ſpots or points of light in the ornament are inlaid in mother-
of-pearl.
Collection of t/ze *Da£e of Edinburgh. 389

The lac work on this piece is of a different kind from that on the
foregoing. The material is worked up in relief ſo thick as to give it
the appearance of wood carving. The decorations are bold and
broad._
Exhibited in the South Kenſington Muſeum, belonging
to Sir Rutherford Alcock, K.C.B.
This is an example of wood decorated with ſtraw. The cabinet is
ſeven feet high by five feet ſix inches and it ſtands on a wooden baſe
projecting three inches each way; the baſe is carved into monſter
heads and flames at the angles, and ſtands on claw feet; this part is
lacquered in Vermilion. .
The cabinet is in two parts, which can be ſeparated. There is no
wood carving upon it. The lower part is cloſed with doors, round
which are flat mouldings in ſtraw marquetry. They conſiſt of fine
ſtripes perpendicular to the line of moulding, and the inner border or
moulding is a ſet of fine zig-zags. The ſtraw is ſtained yellow and
brown, and parts left of the natural hue.
The Hat panels of the doors are in ſtraight chequers, formed by
laying the grain in oppoſite directions in the alternate ſquares. The
ſame method on a larger ſcale (two inches each ſquare) is uſed to decorate
the lining of the upper open part of the cabinet, alternately brown and
the natural hue 3 or merely oppoſed in grain as on the lower ſquare doors.
On the doors are painted in ſtained ſtraw, a party of children drawing
a barrow, in which is a vaſe containing one of the ſmall Japaneſe gar-
dens, flowers in full bloſſom, ſuch as the peony, pink, chryſanthemum,
and dwarfed trees with gnarled ſtems. The car is in perſpective
and coloured purple, with gold Ornaments on the wheels. The vaſe
is delicately worked over with ſimple coloured ſtripes and patterns,
and tied round the neck with a crimſon ſcarf.
Branches of trees, ſtorks flying, ſparrows and other ſmall birds flying
and drawn in all attitudes during that action, are laid upon the ſtraw
work in different parts of the upper portion and the two ends or ſides
of the cabinet.
The upper part is divided down the middle, and a portion at the
top ſhuts off each diviſion with ſliding doors or panels. Below theſe it
is open and unequally divided by drawers and ſhelves. The tops of
the drawers alſo form ſhelves, and little piers on them ſupport the other
JAPANESE Cabinet of Woodwork, decorated with ſtraw.
3 90 Farnz'tare and Wood-work.

ſhelves, which are rolled over at the ends like ſlat verandahs. Theſe
open parts of the cabinet are of various heights ſo contrived as to hold
pieces of porcelain of any ſhape and ſize, and to ſhow them off to
advantage. e
The drawer handles, locks, and various mounts on the edges of the
pieces placed where the ſtraw would be liable to injury, are of ſilver,
engraved with peonies and other flowers.
'HINESE Furniture in the Duke of Edinburgh's Col-
lection.
A ſet of chairs and tables or ſtands, the latter of which are 2 feet
8 inches high, the top I foot 4 inches in the largeſt dimenſions. They
are of roſewood, with pierced work below, and a lower ſhelf of teak.
The chairs are 205 inches high, the backs I 5? inches, quite
ſtraight. A marble panel is ſet in the back, which is connected with the
framing by pierced woodwork.
An oval ſtool is inlaid on the top with purple veined marble ſeat.
The frame is carved and the legs moulded, reſting on claw feet. The
wood is roſewood.
Similar Chineſe furniture is imported to England from time to time.
A table in two ſemicircles ſitting together into one round of heavy
cloſe-grained red wood, admirably fitted and poliſhed, formed part of the
furniture of Chang, the Chineſe giant, a few years ago.

CHINESE Sleeping Room; made of timber, and with
the purpoſe of being moved about and erected in a
tent or in any temporary building. In the poſſeffion of
Viſcount Gough, and now in the Dublin Exhibition (1872).
The whole ſtructure is ſix feet in length by two feet ſix inches, and is
ſix feet eight inches high. It conſiſts of a ſmall room framed up in panels
and having one ſide open with a ſmall pent houſe or verandah, with curved
roof and pendants in front. The ſides have windows at three feet from
the ground, the ſide openings are cloſed by ſhutters which ſlip down
the outſide in groves made for the purpoſe. The front is framed in'aſh,
and bordered with work partly pierced, partly in ſmall panels of carved
Chineſe Wood-work. 3 9 I

boxwood. The fretted part is of roſewood. The front of the hood is
decorated in a ſimilar manner. *
I'nternally the room is divided into a fixed bench or couch, the under
part opening with carved and panelled doors, within which are lockers
or cupboards. Theſe are faced with roſewood, and the carving is on
pieces of box inſerted. The couch has a fretted front above it,
juſt as the outer or drefling portion of the room. The roof is
panelled, and the Whole ſtands on a floor. The dreſſing room and
the couch are about the ſize of ſmall cabins on ſhipboard, two
feet wide each. It can be cloſed with Curtains in front, and it is
furniſhed with a framed and boarded floor. The whole forms a
ſmall hut elegantly decorated with pierced and carved woodwork.
Compare with this the Zotheca mentioned p. xxxix.

393
INDEX OF NUMBERS.

The loſt two Namherr indicate the year in which eath ohject her heen acquired.
In the roſe of Reprodactionr theſe namherr are put firſt.


Regiſter No. Page. Regiſter No. Page. Regiſter No. Page.
1. '52. 330 34. '52. 358 '68. 100. 284
2. '52. 331 35. '52. 341 '68. 122. 283
2. '71. 277 36. '52. 358 '68. 135. 182
3. '52. 331 37. '52. .300 '68. 136. 182
4. '52. 331 37. '65. 318 69. '63. 284
5. :52. 331 38. :52. 38 '64. 315
6. ,52. 332 38. ,68. 335 ' 9. 64. 183
7. 52. 332 39. 64. 275 '70. 8. 281
8. '52. 333 39. '70. 68 '70. 9. 86
9. '52. 333 40. '64. 265 '70. 10. 87
10. '52. 329 404.'64. 290 '70. 15. 2
11. '52. 329 40. '70. 68 70. '64. 316
12. '52. , 329 41. '64. 291 71. '64. 314
12. '66. 39 41. '69. 256 72. '64. 315
13. '52. 329 42. '52. 211 74. '54. 348
14. '52. 333 42. '64. 265 75. '66. 288
16. '52. 332 43. '52. 210 76. '65. 238
17. '52. 327 44. '52. 210 80. '64. 123
17. '69. 30 45. '69. 90 85. '64. 317
18. '52. 328 46. '52. 101 88. '64. 323
18. '69. 30 47. '70. 64 89. '64. 260
19. '52. 329 50. '52. 358 89. '66. 177
20. '52. 328 52. '52. 297 90. '64. 254
21. '52. 327 53. '53. 90 92. '64. 253
21. '69. 130 54. '53. 13 93. '64. ' 258
22. '52. 328 54. '71. 312 96. '66. 218
23. '52. 328 55. '35. 13 97. '66. 218
23. '67. 173 55. '71. 312 100. '64. 153
24. '51. 274 58. '67. 130 - 102. '64. 262
25. '52. 47 59. '65. 235 104. '64. 255
26. '51. 320 62. '65. 245 106. '54. 258
27. '51. 320 '64. 32. 82 118. '65. 314
27. '69. 42 67. '64. 315 119. '65. 313
28. '44. 319 '68. 10. 325 120. '65. 313
29..'44. 319 '68. 11. 326 121. '65. 313
30. '44. 319 '68. 16. 87 122. '65. 314
31. :44. 319 68. '64. 315 123. '64. 303
32. 44. 319 '68. 98. 181 123. '65. I 313
33. '52. 358 '68. 99. 282 124. '65. I 314
394 Index of Numbers.


Regiſter No. Page. Regiſter No. Page. Regiſter No. Page.
125. '64. _ 173 235. '66. 83 294. '70. 74
125. '65. 288 236. '69. 294 299. '70. ' 248
132. '65. 302 238. '53. 176 300. '67. 278
132. :69. 240 239. :53. _ 178 304- }>66_ 277
133. 65. 323 _ 240. 53. 175 304d.
133. '69. 241 242. '64. 117 306. '66. 298
134. '65. 323 243. '64. 76 308. '67. 69
134. '29. 241 244. '64. 77 316. 3
135- ' 9- 244 . 245- a 317- ' - 7I
138. '65. - 263 1 245a.}64' 218 318. '66. 153
144. '69. 302 246. '69. 234 318. '67. 343
146. '65 245 247. '64. 4 214 322. '64. 254
148. '69. 155 248. '69. - 236 325. '64. 257
154. '69. 29 249. '69. 23'6 326. '64. 257
154a. '69. _ 29 252. '64. 122 327. '64. 258
155. '66. 147 264. '54. 351 328. '67. 317
156. '64. 53 265. '54. 351 331. '66. 255
156. '66. 220 268. '54. 352 336. '53. 217
157- '66- 220 273- '54- 347 340- >65 77
158. '66._ 220 273. '60. 181 3404. '
159. '66. 220 273. '65. 356 343. '66. 76
160. '66. 6 278. '54. 357 345- ,66 344
161. '66. 3 278. '65. 357 3461. '
165. :64. 258 278. :69. 132 349. ,7L 287
167- ,64- 26! 279- ,54- 357 34943
169. ,64. 239 279. '65. 348 351. 64. 28
170. 64. 240 279. 69. 114- 352. ,70 170
171. '64. 256 280. '54. 357 352a. '
172. '64. 259 280. '65. 348 353. '64. 177
173. '64. _ 260 280. '69. 169 3 53. '70. 170
174- £64- 255 281- 354- 357 357- 154- 23
175. 64. 254 281. 65. 350 358. 65. 353
180. '67. 176 281. '69. 252 359. '65. 354
181. '67. 176 282. '54. 357 360. '65. 354
182. '67. 173 282. '65. 348 361. '65. 354
191. '69. 318 282. '69. 252 362. ,70. 171
194- 354- 210 284- '54- 358 363. £65- 353
195. 54. 212 284- ,69 253 364. 65. 353
217. '66. 31 284r. ' 365. '64. 148
218. '66. 192 285. '65. 348 365. '65. 352
220. '70. 169 285. '69. 253 366. '69. 344
221. '66. 10 286. '65. 349 402. '54. 335
223. '66. 195 287. '65. 349 424. '69. 137
224. '66. 195 287. },6 51 444, >65. 220
225. 334 2gga6 3 497. '68. 65
225. . 174 , 2 . ' 4. 193 524- ,
227. '66. 121 288. '65.. 350 524e.}68' 180
228. '66. 10 t 289. '65. 350 528. '64. 22
232. '54. 301 293. '70. 79 532; '69. 31
Ifla'ex of Numders. 39 5



Regiſter No. Page. Regiſter No. Page. Regiſter No. Page.
547.'68. 327 846.'68. 316 1056.'44. 320
548.'68. 51 846.'69. 355 1071.'69. 304
575- '64- 36 847- '69- 355 I072- '69- 305
582.'54. 20 848.:69. 355 1073.'52. 336
598.'64. 22 849. 69. 355 1073.'69. 305
600.'64. 26o 850.'69@ 356 1073. ,
601. '69. II 851. '68. 235 IO73a.}7L 71
602.'69. 12 851.'69. 356 1074.'52. 336
621.'68. 341 852.'68. 236 1074.'69. 305
632.'68. 285 852.'69. 356 1075.'69. zoo
' 633.'68. 286 853.'69. 356 1076.'69. 200
635.'70. 286 868.'68. 235 1077.'69. 197
636.'70. 47 875.'69. - 346 1078.'69. zoo
652.'69. 282 876.'69. 345 1079.'69. 201
655.'69. 41 877.'69. 342 1080.'69. 202
656.'69. 41 878.'69. 345 1081.'69. 200
657.'69. 151 880.'69. 34; 1082.'69. 201
679.'64. 152 881.'69. 346 1083.'69. 199
721.'69. 61 882.'69. 346 1084.'69. 199
768.'65. 160 884.'69. 342 1085.,69. 198
771- '65- 157 893- '69- 344 Io87- '69- 6
772.'65. 54 906.'68. 27 1128.'64. 64
777.'65. 71 916.'69. 297 1130.,64. 16
778.'65. 297 917.'69. 266 1150.'68. 278
779.'65. 280 918.'69. 179 1153.'64. 28
780.'65. 298 920.'69. 339 1166.'64. 21
781.'65. 72 923.'69. 339 1167.'60. 21
783.'25. 72 924.'69. 339 1168.'64. 21
784- ' 5- 15 927-
1173- '64- 237
784- '69- 333 9271- 64' 233 1183- '64- 156
785.,65. 38 929.:53. 337 1206.'64. 40
785- '69- 333 935- 69- 339 1224- '64- 34I
786.'65. 115 961.'55. 82 1225.'64. 334
787.'65. 116 962.'55 82 1225.'71. 202
788.'61. 161 963.'53. 337 _ 1226.'64. 334
788- '65- 116 964- '53- 337 1227- '64- 334
789.'65. 116 965.'53. 337 1228.,64. 335
789.'69. p 330 972.'69. 178 1262.'55. 338
790.'61. 330 973.'69. 150 1287.'71. 259
790.'65. 117 1020.'69. 150 1453.'71. 302
791.'61. 330 1021.'69. 150 1456.'71. 202
791,'65. 117 1046.'55. 261 1457.'71. 203
793- '69. 336 1047- '55- 149 1458- '71- 203
807.'69. 178 1048.'53. I6o 1459.'71. 203
820.'69. 347 1049.'69. 197 1460.'71. 203
821.'69. 347 1050.'55. 238 1461.'71. 203
822.'69. 342 1051.'64. 177 1462.'71. 204
823.'69. 343 1051.'69. 199 <1463.'71. 204
845,'69. 354 1052.'69. 196 1464.'71. 204
'raaazanN ſo xapnl 9 6 8







99 '89,*oSSv 95 *95<*061z 11z *SS,*zvrz
gvz *gS,*gzSv ozl '95<*681z 191 'SS,'6zoz
gfz -rs,-o+++ rgz '95,*3812 98! *69,'££81
191 *1S{*6zv+ 15 '95,'1g12 SSz *69,*1111
Svr -15,-11++ o1 '95,-931z 1+1 *69,*6911
vvr -rs,-91++ ov *gS<*Sg1z 611 '69,*oS11
11; '1Sc stir of *95,*v312 vzz *696*9211
oft -rs,-+1++ 96z *95,*9z12 65 *95,*1591
6£1 -rs,-rs£+ 11z '95,*9112 1z '95,'Zi91
6£1 -rs,-gs£+ 16: *gS,*Sr1z St *SS,*1z91
LEZ '156 '51817 s _ 5 *n*l711z ISI 'SSc '5091
92 *1S,*96zv Oz 'i "v11z Z6Z '14.'8091
1 *1S,'61z+ 19 *95,*2692 z6z *11,'66SI
Ell *gS,'gSzv 811 *SS,*6zgz 6oz *SSC'SLSL
31 'gS,'oSzv ££ *95,*5292 602 'SSc*£gSr
91 -rs,-++z+ 92 -95,-+152 Sz 'SS,*SgSt
z9z 'LSc'ovzv , SS *gS,*£1SZ oz *SS,*ZÞSI
gIS 'gS<*6£z+ o£ *956*3952 +11 '55,'8251
9+ *9S,*3£zv z£ *gS,*1gSz +11 *SS,'1SSI
10£ *1S,*6zzv St *gSc*gzSz 3££ '11,*1ZSI
191 *1Sc*Srzv 1£z -8+,*ozSz zoz *11,*+251
++z -rs,-£1z+ ggz *SS,*SSvz 01£ *11<*z6v1
SIZ *95<*101+ +6 *9S,*fSvz 01£ '11,*16+1
SZZ *LS,*sgo+ 19 *gS,*zSvz 01£ *11,*06v1
GÞZ '15,*110v grz *95,*5vv2 orS *11,'63v1
ISI *95,*290+ 11 *95,'32vz or£ -11,-38+1
Evf *95,*090v 85 *95,'92v2 6o£ -11,-rg+\
ILZ -95.-Iso+ 9£ *gS(*zzvz 6o£ -11,*9gv1
112 '95,*050+ 12 *95,*12+2 6o£ *11,*$3+1
£1z *955*6+0v Ezz -95,-6112 602 -11,-+g+x
651 -9s,-++o+ 9£z -95,-81+z 6o£ -11,'£3+1
r '95,'Þfof Svz *95,'11+2 809 *l1c*zgvt
26 '95,*£399 06: *9S,'SIÞZ 802 *11(*13v1
£6 *956*289£ £6 *SS(*66£z 802 -11,-03+1
26 *95,*139£ 6 *SS<*96£z goS 11,'61+1
26 *95,*089£ 291 *SS,*£6£z 302 '11,'g1v1
Izf *9S,*619£ 6 *SS,*z6£z 1o£ *11,*11+1
9££ *£S,*319£ St *SS,*o6£z 1o£ *r1,*91+r
a -95,-+192 +61 *SSc'68£z 1o£ *I1,'S1+1
zSr '95,-159£ SzE *SSga9g£z 1o£ *11,'+1+1
vr 'SS,'309£ SZL *SS,'93£z 90£ *11,*£1v1
vr *SS,*1o9£ 312 *SS('£+£z 90£ *I1,*z1+1
1£ '95,*9858 r: 'SSc*rgrz 902 *11,*11v1
091 '95,'Zt95 ZI 'SS,*£112 90? *11,*o1v1
651 '9S,*6z££ zz *SS,*z1lz 11£ *11(*69v1
6z '95,'5928 1+£ *15,*6512 11£ 11,*39v1
58 *95,'3002 Sz *SS,*sSrz [If -11,-19+1
92 '95,-fig: 011 *SSc'gSrz rrS '115'9911
851 *99,'1182 ooE *SS,'1vrz [If -11,-59+1
aZed 'ON Jamfiafl 'aZed *oN 19111893 'aZed *oN .Ismfiafl
Index 0
ſ Numeers. 397



Rei r o '
gſte N . Page. Regrſter No. Page. Regiſter No. Page.
4618.'58. 117 5688.'59. 10 681 '
4219.:58. 46 5689.'59. 101 GZIZZ'ZS. 29?
4 20.,58. 285 5691.'59. 106 686 '60. 9
4639. '58. 127 5692. '59. 106 6892; .- ISS
4226.,59. 221 5693.'59. 106 6895k.,60' 228
4 9- ,59- 175 5694- '59- 106 6896-
4674.,58. 221 5695.'59. 107 68 6k ,6O' 232
4675.,58. 221 5701.'59. 32 6921 360 7
4709.,59. 219 5702.'59. 33 6935:'6o* igg
47:3.,53. 27? 5703.'59. 80 6936.'60i 168
., . 5722.'59. 239 6937.'60.. 16
4725- 59- 279 5757- '59- 2 6 6 ' 7
4835- *57- 154 5784 '59 9 9 9' 60' 249
, . . 3 6 .'60.
4232.,57. 454 5785.:29. 293 6332.'60. 21?
., . 91. 0. 125 6 .'60. 6
4839- 57- 154 5792- '60 12 995 ' 24
4841- '58- 242 5794- '59. I g 7098. '60. "9
4842.'58. 243 5804.'59: 151 7iIg.'6o. 84
4343- p:- 243 5892- '59- 24319 iIi9: '221 ig:
4844.,56. 243 5893.'59. 155 7180.'60. 101
4842.,5. 241 5898.'59. 139 7181.'60 111
484 - ,56- 242 5907- '59- 39 7182- i
4847. ,56. 242 5909. '56. 316 71824.},60' I"
4840; 65. 242 5919.:50. 17 7183.'60. 103
4881.}356_ 223 5921.,59. 12 7184.'60. 102
4882 , 8 5922.,59. 18 7185.'60. 101
488 .,58. 95 5924.,59. 135 7186.'60. 101
88? ,58- 94 5925- 59- 294 7187- '60-
48 .,5 . 141 5926.'59. 295 7188.'60. 12?
4 99.,59. 322 5927.'59. 142 7189.'60. 101
49O .,5g. 321 5939.'59. 129 7190.'60. 9
4904.,58. 80 5960.'59. 104 7191.'60. 9
4905.,58. 80 5965.'59. 266 7192.'60. 12?
49 7.,5 . 121 5999.'59. 134 7193.'60. 10
490 .,58. 264 000.'59. 138 71 '60 O
4909.,58. 81 6001.'59. 134 7194.'60. 99
4910.,58. 81 6002.'59. 134 7196.'60. 99
5052.,57. 304 6003.'59. 138 719 "6o' 102
5087.,57. 153 6004.'59. 262 7198.'60. 102
5088.,57. 321 6005.'59. 150 19 .'6 i [ſo
5417.,59. 39 6006.'59. 150 7zgg.'6O' 103
5679.,59. 108 6008.'59. 295 720 *'6o. 110
5680. 59. 108 6009. , ' 81 7 1.' o. [07
5681- :59. 109 60094.} 59' 82 7222. '20. [04
Sggz-,S9. 109 6497.'56. 290 Zzoi.'6:. 107
5683.,59. 109 6498.'67. 95 7205 '60. 103
5684.,59. 109 6499.'57. 96 7206 '60. II]
5685.,59. 110 6746.'59. 274 7207 '60. [12
59 104 6790. 60. 314 7208.'60. 38




3 9 8 I ndex of Numbers.


Regiſter No. Page. Regiſter No. Page. Regiſter No. Page.
7209.'60. 98 7709.'61. 136 8121.'63. 209
7210.'60. 98 7719.'61. -249 8123.'63. 91
7211.'60. 91 7730.'62. 161 8124.'63. 216
7212.'60. _ 143 7744.'62. 145 8130.'63. 204
7213.'60. 143 7746.'62. 149 8131.'63. 214
7214.'60. 295 7812.'62. 146 8132.'63. 215
7215.'60. 289 7815.'62. 114 8133.'63. 215
7216.'60. 289 7816.'62. 158 8134.'63. 211
7217.'60. 269 7817.'61. 98 8137.'63. 210
7218.'60. 270 7818.'61. 114 8138.'63. 208
7219.'60. 271' 7819.'61. 114 8139.'63. 205
7220.'60. 58 7820.'61. 158 8143.'63. 208
7221.'60. 288 7822.'61. 146 8144.'63. 209
7222.'60. 69 7823.'61. 70 8145.'63. 208
7223.'60. 133 7824.'61. 76 8146.'63. 208
7224.'60. 133 7825.'61. 142 8147.'63. 206
7225.'60. 171 7829.'61. 140 8148.'63. 205
7226.'60. 193 7830.'61. 140 8149.'63. 212
7247.'60. 50 7832.'61. 166 8153.'63. 213
7248.'60. 40 7836.'61. 250 8154.?63. 212
7258.'60. 172 7838.'61. 160 8155.'63. 213
7259.'60. 172 7849.'61. 169 8158.'63. 212
7270.'60. 118 7852.'62. 126 8160.'63. 206
7324.'60. 146 " 7853.'62. 219 8160a*63. 216
7325.'60. 251 7854.'62. 219 8163@'63. 205
73254360. 251 7855.'61. 280 8164.'63. 207
73255. '60. 251 7855a.'61. 280 8167. '63. 206
7325r.'60. 252 7860.'62. 324 8168.'63. 207
7345.'61. 338 7861.'62. 324 8169.'63. 208
7354.'61. 193 7862.'62. 322 8170.'63. 207
7392.'60. 34 7863.'62. 321 8171.'63. 205
7393.'60. 33 7864.'62. 151 8172.'63. 215
7399.'60. 300 7865.'61. 250 8174.'63. 204
7401.'60. 222 7866.'61. 194 8175.'63. 209
7414.'60. 36 7869.'61. 112 8177.,63. 211
7415.'60. 322 7870.'60. 103 8182.'63. 212
7416.'60. 323 7881.'61. 161 8183.'63. 206
7534.'60. 250 7891.'61. 217 8184.'63. 216
7542.'61. 174 7895.'62. 261 8187.'63. 217
7613.'61. 124 7897.'63. 130 8188.'63. 214
7648.'61. 190 7898.'63. 127 8189.'63. 211
7666.'61. 41 7901.'61. 34 8190.'63. 213
7667.'61. 291 7902.'61. 24 8191.'63. 211
7696.'61. 189 7932.'61. 34 8192.'63. 213
7698.'61. 8 8027.'62. 292 8194.'63. 215
7699.'61. 7 8029.'63. 313 8197.*63. 216
7706.'61. 135 8042.'62. 267 8198.'63. 210
7707.'61. 136 8051.'62. 161 * 8204.'63. 216
7708.'61. 136 8052.'62. 162 8223.'63. 217
Index Of Numflers. 399


Regiſter No. Page. Regiſter No. Page. Regiſter No. Page.
8374. '63. 222 8459. '63. 2 8507. '63. 19
8375. '66. 148 8460. '63. 290 8513. '63. 32
8438. '63. 148 8464. '63. 92 8539. '63. 67
8439. '63. 268 8473. '63. 18 8881. '63. 328
8440- '63- 159 8496- '63- 337 8974- '63- 129
8441. '63. 324 8503. '63. 159 9087. '63. 20
8442. '63. 324. 8505. '63. 1
8453. '63. 272 8506. '63. 18






400
GENERAL INDEX.

Abaci, xxxiv.
Abbo, 88.
Abbotsford, 1 14.
Abraham, 245.
Abundance, 36 5, 366.
Academie Royale, cxxxi.
" Academy, Florence, 24.
.......... .. Venice, 1 13.
Achilles, 370.
Actmon, 2 5.
Adam, 24, 124, 151, 196, 277.
....... .., the brothers, cxlv, clv, clxxxiii,
ccxxi.
Adams, cci.
Adonis, 71.
Adoration of Magi, 29, 236, 279.
.......... .. of Shepherds, 9, 29, 279.
Aelian, 188.
Aeneas, 187.
jEſop, 226, 317.
Africa, 63, 365.
Agamemnon, 59.
Aggo, Ubaldini d', 1 24.
Aglie, Count d', ccxl, 37.
Agnus Dei, 180.
Agony in the Garden, 23.
Ahaſuerus, 119, 234.
Albret, Henri de, ſecond King of
Navarre, 1 89.
Albret, Jeanne de, 189.
Alcock, Sir Rutherford, 389.
Aldermaſton, cxx.
Aldus, cxiv, 57.
Aleppo, 198.
Aleflio, Church of St., 24.
Alexander the Great, 2 39, 302, 370.

Alexandria, xxii.
Alfred, lxiii.
Alhambra, cxvi.
Al-Malik al-Manſoor, 199.
Al-Malik al-Naſir, Muhammed Ben
Kalaun, 197, 198.
Altamira, Marques de, 298.
Altis, xiv.
Altunbugha al-Maridani, 197, 198.
Amaranthe, Bois de, 263.
Amazons, 269. _
Amboiſe, Chateau, cxiii.
Ambroſe, St., 179.
Amelus, The river, 188.
America, 62, 63.
Amiens Cathedral, 11, 120.
Amphitrite, 366.
Andrea, cmv.
Andrea di Coſimo, lxxxvi.
Andromeda, 36.
Angel, 2 51.
Angelico da Fieſole, 24, 27, 132,
302.
Anglo-Norman furniture, lxix.
Anglo-Saxon carriages, lxvii.
............. .. houſes, lxi.
............. .. ivories, lix.
............. .. metallurgy, lx, lxiv.
Anne of Bohemia, lxxvii.
Anne, Queen, cxlv, 37, 46, 95, 117,
164, 286.
Anne, St., 174.
Annunciation, 29, 37, 241, 249, 279.
Antiquarian Repertory, clxxxv.
Antioch, xxii.
Antony, St., Abbot, 28.
Antwerp, ccxxxi, 268.
Apocalypſe, 27 8, 279.
General Index.
401
Apollo, Xli, Xlvii, 8, 37, 41, 44, 47,
60, 61, 62, 144, 145, 146, 191,
226.' 283: 293: 3179
Apoſtles, lxiv, 180, 278.
Arab, cxvi.
Arabah, cxcvi.
Arabeſques, cVii, cxlvi.
Aragon, Arms of, 222.
Arca, xxXViii.
Arcadius, liii.
Archaeologia, lxiv.
Architectural WoodWork, lxXX, CV, cvi,
cxxix.
Architecture, 62, 365.
Aries, 227.
Arioflo, 97.
Ariſtotle, 302.
Ark, 74, 75.
Arles, lix.
Arno, 132.
Arundel, Earl of, 367.
Arundel Soeiety, 370, 373.
Aſcenſion, 24, 179, 180, 279.
Aſellineau, ccxxvi.
Afia, 62, 63.
Aſſumption, 279.
Aſſyria, x.
Aſſyrian, viii, Xiii.
' Athens, 2 39.
Athos, Monaſtery of Mount, 151.
Atlas, 377.
Attalus, K. of Pergamus, Xxi, xl.
Aubrey, cxxxix.
Audenaerde, ccxxi.
Augſhurg, 174, 278.
Auguries, 137.
Auguſtine, St., 179, 251.
Aurora, 59, 226.
Auſtria, Arms of, 43.
......... .., Emperor of, iii.
Aylſham, 234.
B
Bachelier ofToulouſe, cxii, 54, 55, 91,
239, 272, 289.
F.
Bagnani, Family of, 107.
Bamberg, ccXXXiii.
Banquets, Mediaeval, lxxiii. -
Baptiſm of Chriſt, 28.
Baptiſt, St. John. See John.
Barbara, St., 268.
Barbedienne, Meſſrs., 292.
Barbetti, 274, 275.
Barbo family, 194.
Barcelona, clxxvi.
Barker, 227.
Barthelemy, cxlix.
Bartſch, 248.
Baſilicas, Roman, 119.
Baths, Xxxix.
Bathſheba, 209.
Battle of the Standard, lXVii.
Baumgartner, cxxvii.
Bavaria, 2 5.
Bayeux tapeſtry, lxvi.
Baylis, 2 36.
Becker and Heffner, ccxXXiii.; _;
Beckmann, cxcix. * - 3
Bedrooms, Xxvi, XxiX, lxxxiii, lxxxv.
. . . . . . . . . .., Ceremonial of, clxvii, clxix.
Bedſteads, cXlii, clxi.
Bekker, xxXiX, Xl.
Bell, 220.
Bellino, 249.
Bellona, 269.
Bellows, cii.
Belus, Temple of, viii.
Benedict, St., 180. _
Benſi Ceccini Palace, 324.
Berain, clii, 239, 374.
Bergamo, cxxxix.
Berkeley Caſtle, clxvii, 36 3.
Berlin, ccxxxiii.
Bernal Collection. See Collections.
Bernardo di Leccio, CV.
Bernini, cxxxi, cXl.
Berri, Ducheſſe de, 10 5.
Berruguete, 2 53.
Bibliophile Jacob, ccxxiX.
Birdwood, lxxxviii, 338.
402
General I ndex.
Biſellia, vi.
Biſhopthorpe, York, The Palace, I 1 8.
Blickling Hall, cxx, 46, 363.
Board of Works, 204-208, 210-215,
217, 316. 317-
Bobo, 88.
Bomb6, cxli.
Boniface, St., 23, 24.
Boniface IV., lxiv.
Borbonico Muſeum. See Muſeums.
Bordone, Paris, 301. '
Borgia, Lucretia, wife of Alfonzo d'Eſte,
Duke ofFerrara, I 87.
Borgofia, F. de, cxv.
Borromini, cxl.
Boucher, cxlviii.
Boulle, Andr6 Charles, cXXxii, clii,
clxxvii, clxxx, cc, 18, 371, 372.
Boxwood, cxxv.
Brambilla, ccxxxvii.
Brannek, ccxxxiii.
Bridge, G. F., 173.
Briere and Jouly, 2.
Briſeis, 370.
Britain, Metallurgy of, lx.
Britannia, 365, 366.
Bronze, Xxxi. i
Brooke, Rev. R., 19 5, 283.
Brown, Rawdon, 1 1 3.
Bruges, ccxxx.
Buccleugh, Duke OF, 373: 374.
Bufetes, cxvi.
Bulley, Miſs, 3 14.
Buondelmonte, 30.
Buontalenti, cv.
Bureau, clxxxiv.
Burges, 267, 359-361.
Burleigh, 363.
Butler, 366.
Byzantine art, xlix.
C
Cabinets, clxxxi-clxxxiii.
Cacus, 1 33.
Cadogan, Earl of, 343.

Cadogan, Lady Auguſta, 343.'
Caeſar, Julius, 86, 240, 370.
Caeſars, 66, 67.
Caligula, 172. -
- Campbell, Lady, 3 34, 3 35, 341.
Cancer, 226.
candelabra, xxxii.
Caniſtra, xxxviii.
Cano, A., 2 5 5-2 56. ,
Canova, Jacopo di, 69.
Capitſoldi, clv, 367.
Capo di Monte, 8 5.
Capricornus, 226,
Caretta, cxcviii. '
Cariole, 8 5.
Carlton Houſe, clv.
Carnicero, 262.
Carpentum, cxcv.
Carpets, xl, lxxiii.
Carriages, lii, lxxvii, cXXiv, cxxv, cxli,
clx, clxxxviii, ſay, ccxxiii, ccxxvi.
Carrick, C., 288.
Carroccio, cxcvii.
Carruc, cxcv.
Caryatides, ix, 225.
Caſali, Family of, Cortona, 218.
Caſkets, lxxx.
Caffandra, 146.
Caſtellani, 86, 87, 28, 281.
Caſtlemaine, cxxvi.
Caſtile, Arms of, 25, 75, 169, 221,
222. '
Catelat, 88.
Catherine, St., of Alexandria, 24, 179,
268.
Catherine of Aragon, 168.
............. .. Braganza, 221.
Cauvet, cxlviii.
Cean, Bermudez, lxxxix.
Cedar beams, ix.
Ceilings, xxx, xl, xlii, xcvii.
Cellini, cxii.
Ceres, 62, 63, 84, 224, 365.
Certoſa di Pavia, 275.
Certoſina, lxxxvii.
General I na'ex.
403
Certoſino work, 70, 72, 75, 96, 97,
115, 133, 135, 146.
Ceylon, cxlix.
Chair of St. Peter, xlix, clxxiii, clxxiv.
Chairs, c, clxxii, clxxvi. I'
Chambers, Sir William, cxlv, cliv, clv,
ccxxii, 367. -
Chambord, cxiii.
Chariots, xix, li.
Charity, 192, 239, 288.
Charlemagne, lvi, lvii, lix, lxii, lxiii.
Charles I., 165, 267.
Charles II., cxxxiv, cxxxix, ccxx, 18,
95, 163, 164., 181, 221, 282.
Charles IV., Duc d'Alencon, l 89.
Charles V., 25, 173.
Charles X., 384.
Charlotte, Been, ccxxiv.
Chartres Cathedral, 27.
Chaſtity, 127, 128.
Chennevieres, Pointel, ccxxiv.
Cherokee chief, 84.
Cherubs, 126, 160.
Chefs, lxxv.
Cheſtnut, lxxxi.
Cheſts, Xcviii.
Chineſe, cxlvi, clxxxi, 301.
Chippendale, cxlv, cliv, clxxvii, ccxxi,
184, 185, 285, 286, 317, 369.
Chriſtopher, St., 28.
Cicognara, ccxxxv.
Cipriani, clv, 47, 286, 366, 367.'
Circus, lii.
Circus Maximus, 97.
Cifium, cxcvi.
Ciſtella, xxxviii.
Citrus, xxxv.
Clare, Earl of, Lord Chancellor of Ire-
land, 83.
Claflic ſymbols, lviii.
Clepſydra, lxiii.
Cleves, duchy of, 22.
Clifton Arms, 369.
Clive, 147.
Clodion, 227.

Clotaire Il., 88, 89.
Cluny, H. de, iii.
Clymene, 145.
Coach, cxciX.
Cocles, Horatius, 131, 191.
Coenacula, xxvii.
Coit, 366.
Colbert, cxxx-cxxxvii.
Collection, Bernal, 9, IO, 12, 14., 15,
22, 25, 93, 162, 171, 184, 185,
194: 278: 3002 325: 341-
.......... .., Carpentier, 122.
.......... .., Debruges, 192.
.......... .., Gigli-Campana, 124.
.......... .., Hertford, cxxiv, cxliv, cli,
ccxxviii, 375.
.......... .., Meymar, 6, 196, 197, 198,
199, 200, 201, 202, 304, 305.
.......... .., Pourtales, 238.
.......... .., Soltikoff, 19, 192.
.......... .., Soulages, iv, 7-9, 32, 33,
54-58, 72, 80, 91, 97-112, 133,
143, 148, 157-160, 171, 186-1 89,
193, 239, 273, 288, 289, 295.
.......... .., Troſs, 173, 176.
Collett, N., 366.
Cologne, liv, ccxxxii, 68, 94, 241.
Colonna, iii.
Coloſſus, xxxiii.
Colour, uſe of, lxx-lxxiii, lxxxi.
Combs, lxxx.
Cornedy, 286.
Commerce, 84., 366.
Compluvium, xxxiii.
Condemnation of our Lord, 23.
Conſtantine, arch of, 136.
Conſtantinople, xliX, liii, lvii.
Conyngham, M., cl.
Copeland, clv.
Corbet, 4. '
Couches, xxxv-xxxix, cxl.
Crace, G., 47.
Cradles, clxx.
Crater, xxxiii.
Cromwell, 0., 365.
CCZ
404
Genera/ Index. , .
Croſs, 262.
Cryſtal Palace Company, 337.
Cruchet, 320.
Crucifixion, 23, 261.
Cupboards, clxxxiv.
Cupids, 37, 61, 135-138, 140-144,
159, 160, 171, 181, 190, 227,
276.
Curtius, M., 25, 133, 191.
D
Dagobert, chair, of, ii, lxi, 11, 87, 89.
Damiano, civ.
Damaſus, St., Court of, in Vatican, 82.
Dance, 366.
Daniel, 143.
Danube, 131.
Daphne, 36, 144, 217.
Darnley, Lord, 83, 367, 369.
David, King, 143, 209, 272.
David, iii, cxlix, cl, clvii, 227, 382.
Davillier, ccxix, ccxxviii.
Davy, Sir Humphry, 316.
Death, '27, 128. .
Debruges. See Collection, Debruges.
De Clare, 269.
Delafoſſe, E., cxlii, cxlviii.
De la Warr, Counteſs of, 182, 18 3,
283, 284.
Della Robbia, 250.
Dello-Delli, cxxxvi, 126, 131, 302.
Delphi, the Oracle of, 145.
Depoſition, the, 258.
Derby Houſe, clvi.
Deſcent of the Holy Spirit, 279, 180,
179.
Deſcent into Limbus, 23.
Deſcription, v. vi.
Diana, 8, 26, 33, 59, 60, 214, 226,
227, 272, 364.
Dii Majores, 293.
Dilettanti Society, clviii.
" Dini Caſſone," 126.
Dionyſus and Ariadne, xviii.

Diptychs, xlix.
Afppor, Vi, X.
Dodice, 383.
Diſcord, 44, 45.
Dolphins, 8, 160, 219.
Dorſet, Dukes of, 183.
Dominic, 8., civ.
D. da Mariotto, civ.
Donatello, 173.
Doon, 29.
Dorſet, Duke of, 183.
Dowels, wood, viii.
Drake, Sir F., I 51, 224.
Dryden, 196.
Ducerceau, cxiii, 289.
Diirer, A., 45, 46, 175, 246, 248.
Du Sommerard, A., lvi, clviii.
Dutch, cxxii, cxxvii, cxliii.
E
Ebeniſte, cxlix, ccxxxix.
Eberſbach, 27.
Edelburga, 2, lxiv.
Edinburgh, Duke of, 349, 386, 387,
390-
Edmund, St., 362.
Edward I., lxxiv, lxxv, 360, 361.
Egypt, iv, v, vii, ix, x.
Egyptians, ancient, vi, xiii.
Ehinger, U., 174. _
Eleanor, Queen, lxxi, lxxv.
Elector'of Germany, 277, 278.
Eligius, St., 88.
Elizabeth, Been, cxcix, cci, ccxx, 165,
224, 362, 367.
......... .., St., 28.
Elizabethan, cxix, cxxi.
Endymion, 59-227.
Entombment, 23.
Eridanus, 145.
Eſprit, St., 267.
Eſſedum, cxcvi.
Eſte family, 107, 187.
Eſther, 119, 234.
General I mlex.
405
Eternal Father, 180, 192.
Eton College Chapel, 314-316.
Etruria, 131.
Etruſcans, XiV.
Euboea, xiX.
Europe, 62, 63.
Eve, 124, 151, 238, 277.
Evelyn, CCXX.
Exedrae, Xxxvii.
Exeter Palace, 313.
Exhibition, London, 18 51, 47, 48,
274, 275: 3202 327*329> 332: 333-
336-
. . . . . . . . . . .., Commiſſioners of,
95>96-
. . . . . . . . . . .., 1862, 161, 162,
275, 292.
. . . . . . . . . . .., Annual (1871), 292.
.......... .., Paris, 1855, 2, 48, 50, 58,
61, 92, 93, 217, 275, 291, 296,
320, 336.
.......... .., (1844), 319.
. . . . . . . . . . .., Retroſpective, 1865,
clViii.
.......... .., (1867), 6, 11, 12,
41, 51, 61,64,15o,151, 178, 179,
196-202, 275, 282, 297, 304, 305,
325>326,350,333,336,339-342-
347,354-356-
. . . . . . . . . . .., (186-7),Rufiian Com-
miſiioner, 150, 178.
Ezekiel, 143.
F'
Faith, 192, 239, 366.
Falſehood, 43.
Fmnc>43,364,365,374,375-
Farneſe I. Ranuccio, 70.
F ate, 44, 45.
Faydherbe, Lucas, 237.
Ferdinand VIL, 298.
Ferguſſon, ccii.
Feudal juriſdiction, xc.
Fiſe, Earls oſ, 318.

Fife Houſe, 318.
Figino, Giovanni Pietro, 192.
Figure ſculpture, lXXX.
Fiſher, 267.
Flagellation, 243.
Flattery, 44.
Fleece, Golden, 26, 97.
Flemiſh Work, cxxii.
Floors, xcvii.
Flora, 226.
Flood or Deluge, 280.
Florence, cxxiv, clii cxxxiv, 28, 131,
I59: 293-
Foculus, xXXViii.
Foliage, mediaeval, lxv.
Follis, Xxxviii.
Force, 366.
Fortitude, 11, 43, 45, 58, 140, 143,
186, 239, 299, 365, 366.
Forum, Roman, 25.
Fountain of Youth, 123.
Fourdinois, 58, 61, 62.
Fragonard, cxlviii, 227, 379.
Frames, cxxiv.
France, lxi.
...... .., Royal arms of, 221, 212, 384.
Francis, St., 2 55.
Francis I., cix., cxii, 17, 58, 62.
Franks, A. W., lx.
Franchi, Mr., 172, 181-183, 283-
285.
Frederickſhorg Royal Palace, 41.
French cabinet, cxxiii.
. . . . . faſhions, cxlii-cxlviii.
Froiſſart, IXXXV.
Frullini, Luigi, 169, 178, 252.
Furniture, large, lxxx.
(3
Gabriel, St., 242.
Gagliardi, Signor, 15 5.
Galileo, 2.
Ganymede, 269.
406
General ndex.
Garde Meuble, Paris, 37.
Garter, Order of, clxxix.
'Gaunt, John of, clxxxii.
Genoa, clii, 296.
Gentile da Fabriano, 128, 130.
Geometric, lxxxviii.
George, St., 124, 177.
George III., 366.
....... .. IV., 384.
Georges, the, 37, 9 5.
German, cx.
Germany, cxiv.
Gherardeſchi, family of, 139.
Ghinello, Martino, 192.
Gibbon, liii, 316.
Gibbons, G., cxxxiv, 183, 184, 291.
........ .., pupils of, cxxxv.
Gibbs' bequeſt, lx.
Gilding, lxxxi, lxxxvi, lxxxix.
Giorgio Maggiore, St., church in
Venice, 92.
Giotto, 28, 251.
Giovanni da Verona, civ.
Giuliano da Majano, civ.
Glaſs, xxx, cxxiv.
. . . . .., painting on, 36ſi
Glaſtonbury chair, clxxvi.
Gobelins, cxxxi, cxlviii.
Godard, H., 23 5.
Godfrey, T ., 236.
Golden Fleece. See Fleece.
Goliath, 143, 272.
Goolab Singh Bahadoor, 331.
Gore Houſe, clviii, 1 8, 371-3 74, 38 3,
384.
Goſpels, 278.
Goths, lxii.
Gothic, cliv.
Gough, Viſcount, 390.
Gouthiere, iii, cxliv, cli, clxxxiii, 225,
299, 379. 380-384-
Graevius, 86.
Graining, antique, xlvi.
Gray, George, 48.
Greek, 333.

Greeks, xiii-xix, Xciv.
Gregory, St., 28, 179.
Grey, Mr., 51.
Grove, E. T., 236.
Griiner, Lewis, 323.
Guidobaldo II., Duke of Urbino, ii,
97, 98- '
Guido del Servillino, civ.
Guildford Caſtle, lxxiv.
Guilds, lxxxii, cxxi.
H
Haddan Hall, cxviii.
' Halkett, clxxiii.
Halls, lxiii, cx.
Haman, 119, 234.
Hamilton, Duke of, 372.
.......... .., W., 83, 84.
Hampton Court, cxlvi, clxix, 66.
Hangarukette, 321.
Harpies, 170.
Hatſield, cxx, 363.
Hawkins, C., 235.
Hebrew furniture, xii.
Hector, 146.
Hecuba, 146.
Heinhofer, P., cxxvii.
Helder Bach, Van, 172.
Helios, 145.
Henri II., 92.
..... .. IV., 189.
Henry II., 62.
.... .. IV., 177, 375.
...... .. VII., xci, clx, ccxx, 1 18.
VIII., cix, clxxxii, ccxx, 44-
46, 97- _
Heppelwhite, A., clvi, 170, 286.
Herculaneum, xxi, cvi, cxlvi, 299.
Hercules, 43', 61, 133, 299, 365.
........ .., Columns of, 78.
Hernandez, G., 256.
Herodias, 237.
Hertford. See Collections.
Heſperus, 59.
General I na'ex.
407
Hilaire, 64.
Hildeſheim, xl.
Hill Hall, clxxx.
Hinges, xxviii.
Hippodrome Meta, 97.
Hiſtory, 366.
....... .. of Our Lord, 29.
Hogarth, ii, cxli, cxlv, 369.
Holbein, cix, 24., 42-46, 66, 246.
Holland Houſe, 46.
Holy Child. See Saviour, The Infant.
. . . . .. Family, 9.
.... .. Spirit, 180, 192.
.... .. Trinity, 24.
. . . . .. Water Veſſel, cxxxix.
Holtzapfel, ccxv.
Hope, 192, 239.
Houſehold gods, xxix.
Hungary, ccxxXv.
Huns, lx, lxiii.
Hunter, 360, 361.
Hyde, Arms, 369.
Iconoclaſts, lvii.
Idol cars, ccii.
India Muſeums. See Muſeums.
Induſtry, 44., 365, 366.
Innocence, 365.
Innocents, Maſſacre of, 29.
Invention, 366.
Iphigenia, 59.
Iriſh, lxi.
Iſabella, Queen, cxvii.
Iſaiah, 143.
Iſchia, 49.
Italian marquetry, cxxviii.
...... .. ſculpture, &c., xcii.
...... .. States, xcv.
Italians, lxxiv.
J
Jackſon and Graham, 50.
Jacob, 360.

Jacobean, cxxii.
Jacopo della Quercia, xcix.
James, St., the Greater, 174., 241.
..... .. I., 361-363.
..... .. H., 52, 95.
Janiculan hill, I 3 I.
Japan, clvii.
Japanneſe, vii, cxliii, cxlvi,
Jennens and Bettridge, 13, 90, 300,
301.
Jeremiah, 143.
Jerome, St., 29, 119.
Jeruſalem, entry into, 2 3.
John, St., 23, 24, 243, 244, 246.
John the Baptiſt, St., 10, 11, 28, 180,
237, 240, 256.
Joſeph, St., 259.
Judah, 143.
Judith, 273.
Juno, 191, 266.
Jupiter, 8, 43, I4.2, 226, 227, 293,
365, 368.
. . . . . . . .. Olympius, xxxvii.
. . . . . . . .. Tonans, Temple of, 225.
Juſtice, 84, 140, 235, 239, 293, 299,
365. 366-
Juſtinian, lv.
K
Kauffmann, A., clv, 287.
Kenilworth, cxviii.
Kenneth, 360.
Keroly, 38 5.
Khorſabad, iX-Xi.
King's College, 66, I 19, 209.
Knole, cxx, 182, 183, 283, 284.
Koran, 196.
Kunigunde, 167.
L
Lacwork, cxlvi.
Ladouſſe, 70.
Lamb, The, 211, 217.
Lambeth glaſs, cxxxvii.
Atczfi
Genera1 Index'.
Lancret, cxviii.
Lanzi, ccxxxviii.
Lares, xxxvi.
Lars Porſena, 131, 191.
Laſalle, H., 250.
Laſt Supper, 23.
Laſt things, 265.
Layard, H. A., viii, cxci, 336.
Lebanon, C'edar of, xii.
Le Brun, cxxxi.
Lectica, xlii, lii.
Lectiſternium, clxiii.
.Lenormant, 89.
Le Notre, cliv.
Leo, 226.
X., cix.
the Iſaurian, lvii.
Leon, 25, 75, 78, 221.
Lepautre, J., cxxxi, cxlii.
Letterwood, cl, note.
Lianard, 320.
Libra, 226.
Limoges, cxxvii, 88.
Line, C. H., 235.
Lionnet, Brothers, 87.
Liſbon, cxxvi.
Litters, cciv.
Lo, St., 273, 304.
Lock, M., clv, clxxvii, I70, 286.
Locks, Ancient, xxviii.
London houſes, lxxxi.
Looking-glaſſes, cxxv, cxxxv.
L'Orme, Ph. de, 293.
Loſely, cxx.
Louis VII., 88.
.... XIII., cxxxii.
. . . . .. XIV., cxxx, cxxxvii, cxliii,cxcix,
ccxxvii, 4, 80, 95, 163, 177, 184,
I94>24o,263,320>374,376-
.... .. XV., cxl, cci, 2, 18, 19, 62, 95,
153-185.264,299>303,368,371-
. . . . .. X VI., cxlii, cxlvi, clxxvii, ccxxx,
5, 18, 20, 95, 228, 290, 291, 299,
379-384-
.... .. XVIIL, 384.

Louvain, ccxxxi.
Louvre, iii, vi, cxii, 87, 90.
Love, 45, 124, 127, 128, 302.
Lubke, ccxxxiii.
Lucifer, 4 5.
Lucullus, xli.
Lueſtorff, 67.
Luke, St., 243.
Luna, 142.
Luneville, cl.
Lyreback, li.
M
Mabuſe, J., xci, cix.
Macedonian, 321.
Machinery, xliii.
Mackinlay, Mr., 363.
Madonna. See Mary, The Bleſſed
Virgin.
Magdalene, 245, 259.
Maggiolino, clii.
Magcti, The, 257.
Mahogany, cxxi, ccxxii.
" Mahound," 19 5.
Mailli, Chateau de, Burgundy, 122.
Malchus, 23.
Malines, Mechlin, ccxxxi.
Malpieri, L., 83.
Malthaiyah, ix.
Manlius Vulſo Longus, 2 5.
Manſard, H., cxlii.
Manſel, J., lxxi.
Mansfield, Lord, cxliv.
Mantovini, Family of, 69, I 30.
Maple, xxxiv.
Marcellin, 319, 320.
Margaret, St., of Antioch, 189.
Margaritone, ccx.
Maria, Sta., del Orto, Venice, 130.
Marie Antoinette, ii, ccxxviii, ccxxix,
37, 224, 227, 228, 299.
Mark, St., 28, 83, 243.
.... .., ..,, Church of, Venice, 119,
386.
Marot, Daniel, 60, 284.
General I na'ex.
409
Marquetry,ſilxxxix, cxxvii, cxxix, clvii,
263, 264.
Marriette, ccxxvi.
Mars, 8, 9, 52, 142, 191, 227, 269,
271, 365, 366.
Martial, cXlii.
Martin, St., 17 5, 176.
Mary, The Bleſſed Virgin, 28, 151,
173, 174, 180, 186, 237, 238, 247,
254, 259, 260, 278, 279.
. . . . .., Mother of James, 174.
. . . . .., Queen, 97, 361.
. . . . .., Wife of Cleophas, 174.
Maſks, 159, 193.
Matthew, St., 243.
Maurice, P., 267.
Maur, St., 180.
Maximian, St., lvi, clxxvi.
Maximilian, 248.
. . . . . . . . . . . . .., Emanuel, 374.
Maximinus, -1 79.
Mazarin, C., cxxx.
Mechlin, 237.
Medea, 286.
Mediaevaliſm, lviii.
Medici Family, xcvi, civ, cxii, 1 7, 137,
1 38, 293.
Mediterranean, vii, 78.
Meehan, C. P., ccxxxvi.
Meiſſonnier, cxlii, cxlix.
Mercury, 8, 14'2, 271, 366.
Mercy, 84, 36 5.
Merlin, M., 221.
Merrifield, civ.
Meudon, iii.
Meymar Collection. See Collections.
Meyrick, Colonel, cxix, clxxxvii, 36 3,
364.
Michael, St., 45, 174.
Michel Angelo, 152, 293, 299.
Mikado of Japan, 387.
Milan, clii, 192.
Miletus, xl.
Millais, E., R.A., 362.
Miller, Mrs. Boyd, 334.

Millichope, lxix.
Minerva, 9, 19, 63, 84, 297, 366.
Minton, 51.
Mirrors, xvii, xxxi, xcvii, c, cxxxv.
Monmouth, clxx.
Monopodja, xxxiv.
Monreale, li.
Montanes, 260.
Months, The, 17, 60.
Monza, lvi.
Mooriſh, cxvi, 297.
Mordecai, 234.
Morocco, 266.
Morriſon, J., 373.
Mortlake, cxxxix.
Moſaic, XXV.
Moſes, xiii, 333.
Mudejar, cxvi.
Mulready, 48.
Mummy caſes, viii.
Murano, lxvii.
Muſeo Borbonico, clxxviii, 2, 3, 86,
87, 281.
Muſes, The, 37, 189, 317.
Muſeum, Aſhmolean, lxiii.
. . . . . . . . .., Bethnal Green, iii.
. . . . . . . . .., Britiſh, V, Vi, viii, xi, xiii,
Xviii, xiX, xxviii, Xxxi-Xxxiii, l, cx,
282.
. . . . . . . . .., Bruſſels, cxcii.
. . . . . . . . .., Edinburgh, 48, 58, 83.
. . . . . . . . .., Hotel de Cluny, lxxxiii,
cxxvi, cxliv.
........ .., India, 385, 386.
. . . . . . . . .., Louvre, iii, Vi, vii, Xlix.
. . . . . . . . .., Munich, clxiii.
. . . . . . . . .. of the Collegio Romano, 219,
279, 280.
........ .. of the Vatican, 83.
. . . . . . . . .., Palermo, Xxiii.
. . . . . . . . .., Venice, cxxv.
Muſical inſtruments, viii.
410
General I ndex.
N
Nagler, 257.
Napoleon III., 90.
Narbonne, lxiii.
Naſh, Manſions, cxi, cxix.
Nativity, 23, 36, 2 57.
Natoire, cxlviii, 227.
Naumachia, xliv, xlvii.
Neapolitan, 252.
Nebuchadnezzar, 370.
Neptune, 62, 63, 71, 227, 240, 293,
365, 366, 368.
Nero, xxxiii, 172.
Nevillier, 64.
New College, 229.
Newton, C., xl.
Nicene Creed, 125.
Nimrfid, ix.
Nineveh, viii-X.
Nollekins, 367.
Norfolk churches, 234.
Northampton, Counteſs of, 183.
Norwegian, lxiii, lxv, 325.
Noyers, de Dangu, cxxx.
Nuptiale, xxiv.
Niirnburg, lxxxii, ccxxxiii, 67, 1 74,
I75: I95: 247-
Nymphs, 160.
O
Odoacer, lvi. .
Odos, Chateau de, 189.
Og, King of Baſan, xii.
Ohtere, lxiii.
Olympus, 8.
Orange, lix.
Orvieto, civ.
Orleans, C. de, 189.
Offian, cxcvii.
Oſtrich eggs, xxxii.
Ottoman, cxi.
Ouen, S., 89.
Ovid, lxxxvi, xcviii.
Oxford Schools, 363.

Painting, 62.
Palaces, xci.
Palazzo, Vecchio, Milan, 323.
Pallone, Game of, 164.
Pan, 283.
Panels, lxxiii, cxiii.
Paradiſe, 124.
Pardo, G., cxvi.
Paris, Judgment of, 248.
Parker, lxxix.
Parma, Grand Duke of. See Farneſe.
Parthenon, xvii, 239.
Paſſe, Criſpin de, 4.
' Paſlion of Our Saviour, 23, 29, 173,
192.
Patricians, xliii.
Paul's, St., Cathedral, 365, 367.
Pauſanias, xiv, xv.
Peace, 63, 83, 191, 379.
Pellegrino, Franceſco, 192.
Penelope, 370.
Pennant, cxxxviii.
Penn, William, 84.
Pentecoſt. See Deſcent of the Holy
Spirit.
Perrault, cxxxi.
Perſepolis, ix, cxcii.
Perſeus, 36.
Perſia, lxxxvii.
Perſian, ix, xii.
Perſius, 187.
Peter, St., 23. i
.... .., ..,, Keys, 28.
Petorritum, cxcvi.
Petronius, xxxix, xli.
Petworth, cxxxiv.
Phaeton, 144, 145. _
Philibert, de l'Orme, cxii, 293.
Philip II., cxxvii, 279.
..... .. V., 221.
Philippon, A., cxxxi.
Philiſtines, 143.
Phocas, liv.
(Feneral.[na%x$
21111
Phoenix, 43.
Pia, Princeſs Maria, 178.
Piatti, Bartolommeo, 192.
Picart, B., cci. A
Picture frames, xxix, xxxi.
Piera, Franciſcus M., 139.
Pietra Dura, ciii. -
Pifetti, cxlvi.
Pigalle, 367.
Pilate, 23.
Pilentum, cxcv.
Pinacotheca, xxvii.
Piſa, 249, 296.
Piſces, 226.
Pius VI., 83.
Planche, R., 362.
Plate, table, Xxx-xl.
Plenty, 84, 191.
Pliny, xxxv-xxxix, 188.
Plutarch, Xxviii, xl.
Pluteus, xxxiii.
Po, the river, 145.
Poemer, Wolfgang, 175.
Poetry, 62.
Poiſſon, Henry, I 17.
Pomeranian cabinet, cxxvi.
Pomona, 225.
Pompeii, xxi, cvi, 2, 3, 86, 87, 281,
299.
Pompey, xl.
Pope, lvi, 196.
Porcelain, clxxxvi.
Porter, Sir R., cxcii.
Portland Place, 47.
Power, 143, 365.
Poynter, E., 267.
Preſcot, G., 363.
Priam, King of Troy, 146.
Prignot, Eugene, 50.
Primaticcio, cix, cxii.
Priſage, lxxvii.
Progreſſes, lxxi, lxxvii.
Proſerpine, 1 87.
Prudence, 43, 140, 235, 239, 293, 366.
Pſyche, 378.

Pudenziana, Sa, xxv.
Pugin, A. W., clviii, 47, 48.
Punic wars, xxi, xxxix, xliii.
Pylades, 59.
Pyramus, 2 5, 128.
Pythagorean doctrine, 1 87.
Python, 145.
£2
Quattrocento, lxxxv'.
Queen, the, cxlii, 181, 282, 284, 33 1-
384.
Quercia, D., 1 24..
Queverdo, cxlix.
Quincy, de, xxxvi. i
R
Radnor, Earl of, 369.
Raglan, cxviii.
Rajulas, 366.
Raleigh, Sir W., ii, 224.
Raffaelle, cvii, 190, 226.
Ravenna, lvi.
Redgrave, _R., 48, 302.
Regulus, 2 5.
Religion, 365.
Remus, 71, 137.
Renaiſſance, xciii, xcviii, cix, cx.
Rene de Provence, 56.
Repofitoria, xl.
Reſtout, J., cxlii.
Reſurrection, 23, 24, 279.
Retz et Beaupreau, Duc de, 371.
Reveil, ccxxiv.
Revolution, clvii.
Rhea, 71.
Rheniſh, lvii, lviii.
Riafio, J., cxvii.
Rich, H., 276.
Richard of Cornwall, lxx.
Richard III., clxvi.
Richardſon, 362.
Rieſener, iii, cxliv, cxlix, 227, 26 3,
379-383-
41 2 * General Index.
Rieu, Dr., 196-199, 304.
5 Ringſtead, 366.
Roach, Smith, lx.
Robert, cxlix.
Robinſon,J. C., 153, 323, 383.
Rococo, cxl, cxlv.
Roman furniture, &c., xx-xlviii, lxiv.
Rome, Xcv, xcvii.
Romulus, 71, 137.
Roofs, lxxviii, lxxxii.
Roſe, St., 260.
Roſpiglioſi, I 36 5.
Roffi, Cav. de', clxxiv.
Rothſchild, Baron, cl.
Rouen, 11, 212, 221.
Round table, clxxix, 13.
Roundels, clxxxv.
Rovere, C., ccxl.
Rubens, 237.
Rudolph Il., 369, 370.
Ruker, T., 370.
Runjeet Singh, 386.
Rupert, Prince, 267.
S
Sackvilles. See Dorſet, Dukes of.
St. Audemar, ciii.
St. Cloud, iii, cxlix.
St. Gobain, cxxxvii.
Sta. Sophia, lv.
Salamanca, cxvii.
Salembier, cxlviii.
Saliſbury, Robert, Earl of, 363.
Samſon, 10, 11, 299.
Samuel, 143.
Sanſovino, Jacopo, 69.
Santiago, lxxxix.
Saracens, 131.
" Saracen's Head," 195.
Sardinia, arms of, 384.
Saturn, 8.
Satyrs, 146, 170-172, 191, 273.
Sauzay, cxxxv.

Savarin, cxxxix.
Saviour, the Infant, 174, 186, 2 37,
2 38, 278. -
......... .., Our, 173, 174, 180, 190
192, 279, 280.
Savoy, arms of, 43, 384.
. . . . . .., Louiſe de, 189. -
. . . . . .., Royal family of, 190.
Saul, 143.
Sauvrezy, 291.
Saxony, arms of, 43.
Scabellum, xxxvi.
Scamnum, xxxvii, xxxviii.
Scaevola, M., 191.
Science, 365.
Scipio, xliii.
Schwahn, Heinrich, 160.
Scone, abbey of, 360.
Scorpio, 226.
Scott, Sir G., 360.
. . . . .., Sir Walter, I 14.
scourging at the Pillar, 2 3.
Scrinia, xxvii.
Seaſons, 17, 58, 60, 135, 136, 143,
173, 226, 227.
ſſ Sebaſtian, St., 254.
Seats, xxxvi.
Secchi, clxxv.
Secular games, xlvii.
Semper, Profeſſor, 48.
Seneca, xli.
SerE, 122.
Sergius, St., I 50.
Serilly, Marquiſe de, 224, 228.
Servius, 187.
Settles, lxxvi.
Seville, cxv.
Sevres, cxlviii, clii, ccxxix.
Sforza family, 103.
Shakeſpeare, 166.
Sheba, Queen of, 119, 126.
Sheraton, T., clvi, clxxvii, 90.
Ships, xliii.
Sideboards, clxxxiv.
Siena, ccxxxviii.
General I ndex.
413
Silver, xxxix, cxxvii, cxxxiii, clxxvi.
Silveſtre, 195.
Simon, St., 2'41.
Slaves, xliii.
Smirke, S., lxxviii.
Smith, M. T., 15.
Society of Arts', 173, 235, 236.
Soho, cxxix.
Solaria, Xxvii.
Solomon, Vii, ix-xii, 119, 126, 127.
Soltikoff. See Collections.
Soulages, iv; and ſee Collections.
Spain, lxxiii, XCV, cxiv, 221, 241.
Spaniſh, cxv.
Spanus, A., 278, 279.
Speaker's Coach, cxxvi.
Speke Hall, cxviii.
Sphinx, 170, 171, 289.
Standard, battle of, cXcVii.
Staniſlas, King, clxxxiv, ccxxviii, 380.
Star Chamber, 314.
Steno, 104.
Stewart arms, 369.
Stirling Maxwell, Sir W., ccXli.
Stowe, cc.
Strickland, A., xci, ClXXXV, ccV.
Strutt, 163.
Stuart, cxvii, cxxi, 266.
Sublicius, Pons, 131.
Suger, 87, 88.
Sully, 375.
Summerly, 220, 302.
Sun, 226.
Suſa, 239.
Syrian room, Britiſh Muſeum, xiv.
TF
Tables, xxXiv-xxxix, lxxvi, xcix civ,
cxiii, clxxviii.
Tablets, xliv.
Tablinum, xxxvi.
Tapeſtry, xxi, xl, lxxiv, lxxxiv, lxxxix.
Tapeta, Xl. -
Tarquin the Proud, I 31.

Tarfia, ciii.
Taurus, 227.
Tellus, 144.
Temperance, 11, 43, 58, 140, 239,
293.365-
Thackeray, W. M., 194.
Theobalds, 363.
Theodoric, lvi.
Theodoſius, lii, lv, cxcv.
Theophilus, liii.
Theatres, xliv.
Thereſa, S., 256.
Thiſhe, 25, 128.
Thomas, St., 241.
Throne, Conſtantinople, liV.
Tiber, 131, 191.
Timber, Xlvii.
. . . . . . . .., houſes of, lxxxii.
Timbs, 367.
Time, 43, 45, 364. 374-
Tippoo Saib, x.
Titian, 3 5.
Titus, arch of, 119.
Toledo, cXv, 2 55.
Tomlinſon, ccxv.
Tooloon, moſque of, Cairo, 198.
Tools, xlvi.
Torrigiano, xci.
Tortoiſeſhell, ccxiv.
Toulouſe, 70.
Tourlaville, cxxxvii.
Tower of London, 365.
Townſhend Bequeſt, 183.
T racery, lxxxiV.
Tragedy, 286.
Trajan's Column, 131, 137, 211, 287.
Travelling, ccvi.
Trianon, iii, cxlix.
Triclinium, xxiv, clxiii.
Tripods, xxxiv.
Triton, 218.
Triumphal arches, cvi.
Troy, 146.
Truth, 43.
Tudor, cx, cxviii.
LONDON:
Printed by GEORGE E. EYRE and WlLLIAM Sr-o'rnswoonn,
Printers to the Queen's moſt Excellent Majeſty.
For Her Majeſty's Stationery Office.
1000.
[6662.--{ 25_}1 1/73.]
r, .
z I- _ .
ict Al Wir-
as.
.l.z_......_....... . ,
If;
2 . . .
,. . . . . . ,. . . , . . . , . . . , . .. > s...,.e&..uJ .Qnuaw .. . . .
..,. HIS-U. . . . . , . . . , , . 2." New-a 919. &Xffiw As ..,usflsr , , I;
5.. . , . .[MÞWÞZPWSHFA r. &ark/r . , ., 1
. 1 , .
u
WET-1
: .. L .- . . ax
Eva? en. , , , . . . , , . ..,. , .
. . . . Earls
. .z 451.. ._ 3.. 2
.fl an.
I .-
r:='-;. .zw
..,-1.:
7302.
;*.-*'-.->-v * -
'h
.. ..3 '4 T
4
Narrow;
. r. _
a.
..,.., I.
4.?
. Flat.
rows.
r.
l
ll
l
8_
9
4.
2
2.
4.
3
O.
5
1
u .. IVERSIATYJOF'
3 90
.. '1 v
.. a. 1.. .
, , . . . , , . me
_.- 7'.
..-.._m
..i,
in
made . . .
_ . . . , , .. . . .. . . , . wrſeezu
. . . . , .Mmmus
, .J rwnt
haw,
NNW! .
i a. .þ, "un-V. 5. &As. :.....1-
,. ..Lfflkd
..zmwfl, . ..
.\.....
a." m _.
. ..u:
.Lmwtlk. .. ..u
v-1._*
x '2 ..fl .
an? .Z.
,. He, _ ..,
.. ..,ſa . . . , , 1 . I. human? . . . .. In? _,
2, .. . , . . . . a. are? at ,.. . z.......:.i.., nt tie.
4.. ..L......L . . w ..eu
(15 "PT Xlfflu