Illustrated History of Furniture Part 4

The buffet on page 43 is an excellent specimen of the best fifteenth century French Gothic oak work, and the woodcut shows the arrangement of gold and silver plate on the white linen cloth with embroidered ends, in use at this time.

[Ill.u.s.tration: Carved Oak Table. Period: Late XV. or Early XVI. Century.

French.]

[Ill.u.s.tration: Flemish Buffet. Of Carved Oak; open below with panelled cupboards above. The back evidently of later work, after the Renaissance had set in. (_From a Photo, by Messrs. R. Sutton & Co. from the Original in the S. Kensington Museum._) Period: Gothic To Renaissance, XV.

Century.]

[Ill.u.s.tration: A Tapestried Room in a French Chateau, With Oak Chests as Seats.]

[Ill.u.s.tration: Carved Oak Seat, With moveabls Backrest, in front of Fireplace. Period: Late XV. Century. French.]

We have now arrived at a period in the history of furniture which is confused, and difficult to arrange and cla.s.sify. From the end of the fourteenth century to the Renaissance is a time of transition, and specimens may be easily mistaken as being of an earlier or later date than they really are. M. Jacquemart notices this "gap," though he fixes its duration from the thirteenth to the fifteenth century, and he quotes as an instance of the indecision which characterised this interval, that workers in furniture were described in different terms; the words coffer maker, carpenter, and huchier (trunk-maker) frequently occurring to describe the same cla.s.s of artisan.

It is only later that the word "menuisier," or joiner, appears, and we must enter upon the period of the Renaissance before we find the term "cabinet maker," and later still, after the end of the seventeenth century, we have such masters of their craft as Riesener described as "ebenistes," the word being derived from ebony, which, with other eastern woods, came into use after the Dutch settlement in Ceylon. Jacquemart also notices the fact that as early as 1360 we have record of a specialist, "Jehan Petrot," as a "chessboard maker."

[Ill.u.s.tration: Interior of An Apothecary's Shop. Late XIV. or Early XV.

Century. Flemish. (_From an Old Painting._)]

[Ill.u.s.tration: Court of the Ladies of Queen Anne of Brittany. (_From a Miniature in the Library of St. Petersburg_) Representing the Queen weeping on account of her Husband's absence during the Italian War.

Period: XV. Century.]

Chapter III.

The Renaissance.

THE RENAISSANCE IN ITALY: Leonardo da Vinci and Raffaele--Church of St.

Peter, contemporary great artists--The Italian Palazzo--Methods of gilding, inlaying and mounting Furniture-Pietra-dura and other enrichments--Ruskin's criticism. THE RENAISSANCE IN FRANCE: Francois I.

and the Chateau of Fontainebleau--Influence on Courtiers, Chairs of the time--Design of Cabinets--M.E. Bonnaffe on The Renaissance, Bedstead of Jeanne d'Albret--Deterioration of taste in time of Henry IV., Louis XIII. Furniture--Brittany woodwork. THE RENAISSANCE IN THE NETHERLANDS: Influence of the House of Burgundy on Art--The Chimney-piece at Bruges, and other casts of specimens at South Kensington Museum. THE RENAISSANCE IN SPAIN: The resources of Spain in the sixteenth and seventeenth centuries--Influence of Saracenic Art, high-backed leather chairs, the Carthusian Convent at Granada. THE RENAISSANCE IN GERMANY: Albrecht Durer--Famous Steel Chair of Augsburg--German seventeenth century carving in St. Saviour's Hospital. THE RENAISSANCE IN ENGLAND: Influence of Foreign Artists in the time of Henry VIII.--End of Feudalism--Hampton Court Palace--Linen pattern Panels--Woodwork in the Henry VII. Chapel at Westminster Abbey--Livery Cupboards at Hengrave--Harrison quoted--the "parler," alteration in English customs--Chairs of the sixteenth century--Coverings and Cus.h.i.+ons of the time, extract from old Inventory--South Kensington Cabinet--Elizabethan Mirror at Goodrich Court--Shaw's "Ancient Furniture" the Glas...o...b..ry Chair--Introduction of Frames into England--Characteristics of Native Woodwork--Famous Country Mansions, alteration in design of Woodwork and Furniture--Panelled Rooms at South Kensington--The Charterhouse--Gray's Inn Hall and Middle Temple--The Hall of the Carpenter's Company--The Great Bed of Ware--Shakespeare's Chair--Penshurst Place.

[Ill.u.s.tration]

It is impossible to write about the period of the Renaissance without grave misgivings as to the ability to render justice to a period which has employed the pens of many cultivated writers, and to which whole volumes, nay libraries, have been devoted. Within the limited s.p.a.ce of a single chapter all that can be attempted is a brief glance at the influence on design by which furniture and woodwork were affected. Perhaps the simplest way of understanding the changes which occurred, first in Italy, and subsequently in other countries, is to divide the chapter on this period into a series of short notes arranged in the order in which Italian influence would seem to have affected the designers and craftsmen of several European nations.

Towards the end of the fifteenth century there appears to have been an almost universal rage for cla.s.sical literature, and we believe some attempt was made to introduce Latin as a universal language; it is certain that Italian Art was adopted by nation after nation, and a well known writer on architecture (Mr. Parker) has observed:--"It was not until the middle of the nineteenth century that the national styles of the different countries of Modern Europe were revived."

As we look back upon the history of Art, a.s.sisted by the numerous examples in our Museums, one is struck by the want of novelty in the imagination of mankind. The glorious antique has always been our cla.s.sic standard, and it seems only to have been a question of time as to when and how a return was made to the old designs of the Greek artists, then to wander from them awhile, and again to return when the world, weary of over-abundance of ornament, longed for the repose of simpler lines on the principles which governed the glorious Athenian artists of old.

The Renaissance in Italy.

Italy was the birthplace of the Renaissance. Leonardo da Vinci and Raffaele may be said to have guided and led the natural artistic instincts of their countrymen, to discard the Byzantine-Gothic which, as M. Bonnaffe has said, was adopted by the Italians not as a permanent inst.i.tution, but "faute de mieux" as a pa.s.sing fas.h.i.+on.

It is difficult to say with any certainty when the first commencement of a new era actually takes place, but there is an incident related in Michael Bryan's biographical notice of Leonardo da Vinci which gives us an approximate date. Ludovico Sforza, Duke of Milan, had appointed this great master Director of Painting and Architecture in his academy in 1494, and, says Bryan, who obtained his information from contemporary writers, "Leonardo no sooner entered on his office, than he banished all the Gothic principles established by his predecessor, Michelino, and introduced the beautiful simplicity and purity of the Grecian and Roman styles."

A few years after this date, Pope Julius II. commenced to build the present magnificent Church of St. Peter's, designed by Bramante d'Urbino, kinsman and friend of Raffaele, to whose superintendence Pope Leo X.

confided the work on the death of the architect in 1514, Michael Angelo having the charge committed to him some years after Raffaele's death.

These dates give us a very fair idea of the time at which this important revolution in taste was taking place in Italy, at the end of the fifteenth and the commencement of the following century, and carved woodwork followed the new direction.

[Ill.u.s.tration: Reproduction of Decoration By Raffaelle. In the Loggie of the Vatican. Period: Italian Renaissance.]

[Ill.u.s.tration: A Sixteenth Century Room. Reproduced from the "Magazine of Art" (By Permission)]

[Ill.u.s.tration: Salon of M. Edmond Bonnaffe, Decorated and Furnished in the Renaissance Style.]

Leo X. was Pope in 1513. The period of peace which then ensued after war, which for so many decades had disturbed Italy, as France or Germany had in turn striven to acquire her fertile soil, gave the princes and n.o.bles leisure to rebuild and adorn their palaces; and the excavations which were then made brought to light many of the works of art which had remained buried since the time when Rome was mistress of the world. Leo was a member of that remarkable and powerful family the Medicis, the very mention of whom is to suggest the Renaissance, and under his patronage, and with the co-operation of the reigning dukes and princes of the different Italian states, artists were given encouragement and scope for the employment of their talents. Michael Angelo, t.i.tian, Raffaele Sanzio, Andrea del Sarto, Correggio, and many other great artists were raising up monuments of everlasting fame; Palladio was rebuilding the palaces of Italy, which were then the wonder of the world; Benvenuto Cellini and Lorenzo Ghiberti were designing those marvellous chef d'oeuvres in gold, silver, and bronze which are now so rare; and a host of ill.u.s.trious artists were producing work which has made the sixteenth century famous for all time.

[Ill.u.s.tration: Chair in Carved Walnut. Found in the house of Michael Angelo.]

The circ.u.mstances of the Italian n.o.ble caused him to be very amenable to Art influence. Living chiefly out of doors, his climate rendered him less dependent on the comforts of small rooms, to which more northern people were attached, and his ideas would naturally aspire to pomp and elegance, rather than to home life and utility. Instead of the warm chimney corner and the comfortable seat, he preferred furniture of a more palatial character for the adornment of the lofty and s.p.a.cious saloons of his palace, and therefore we find the buffet elaborately carved, with a free treatment of the cla.s.sic antique which marks the time; it was frequently "garnished" with the beautiful majolica of Urbino, of Pesaro, and of Gubbio. The sarcophagus, or _ca.s.sone_, of oak, or more commonly of chesnut or walnut, sometimes painted and gilded, sometimes carved with scrolls and figures; the cabinet designed with architectural outline, and fitted up inside with steps and pillars like a temple; chairs which are wonderful to look upon as guardians of a stately doorway, but uninviting as seats; tables inlaid, gilded, and carved, with slabs of marble or of Florentine Mosaic work, but which from their height are as a rule impossible to use for any domestic purpose; mirrors with richly carved and gilded frames are so many evidences of a style which is palatial rather than domestic, in design as in proportion.

[Ill.u.s.tration: Venetian Centre Table, Carved and Gilt. In the South Kensington Museum.]

The walls of these handsome saloons or galleries were hung with rich velvet of Genoese manufacture, with stamped and gilt leather, and a composition ornament was also applied to woodwork, and then gilded and painted; this kind of decoration was termed "gesso work."

[Ill.u.s.tration: Marriage Coffer in Carved Walnut. (Collection of Comte de Briges.) Period: Renaissance (XVI. Century) Venetian.]

[Ill.u.s.tration: Marriage Coffer, Carved and Gilt with Painted Subject.

Italian. XVI. Century.]

A rich effect was produced on the carved console tables, chairs, stools and frames intended for gilding, by the method employed by the Venetian and Florentine craftsmen, the gold leaf being laid on a red preparation, and then the chief portions highly burnished. There are in the South Kensington Museum several specimens of such work, and now that time and wear have caused this red groundwork to shew through the faded gold, the harmony of color is very satisfactory.

[Ill.u.s.tration: Pair of Italian Carved Bellows, in Walnut Wood. (_South Kensington Museum._)]

Other examples of fifteenth century Italian carving, such as the old Ca.s.sone fronts, are picked out with gold, the remainder of the work displaying the rich warm color of the walnut or chesnut wood, which were almost invariably employed.

Of the smaller articles of furniture, the "bellows" and wall brackets of this period deserve mention; the carving of these is very carefully finished, and is frequently very elaborate. The ill.u.s.tration on page 51 is that of a pair of bellows in the South Kensington collection.

[Ill.u.s.tration: Carved Italian Mirror Frame, 16th Century. (_In the South Kensington Museum._)]

The enrichment of woodwork by means of inlaying deserves mention. In the chapter on Ancient Furniture we have seen that ivory was used as an inlaid ornament as early as six centuries before Christ, but its revival and development in Europe probably commenced in Venice about the end of the thirteenth century, in copies of geometrical designs, let into ebony and brown walnut, and into a wood something like rosewood; parts of boxes and chests of these materials are still in existence. Mr. Maskell tells us in his Handbook on "Ivories," that probably owing to the difficulty of procuring ivory in Italy, bone of fine quality was frequently used in its place. All this cla.s.s of work was known as "Tarsia," "Intarsia," or "Certosina," a word supposed to be derived from the name of the well-known religious community--the Carthusians--on account of the dexterity of those monks at this work.[6] It is true that towards the end of the fourteenth century, makers of ornamental furniture began to copy marble mosaic work, by making similar patterns of different woods, and subsequently this branch of industrial art developed from such modest beginnings as the simple pattern of a star, or bandings in different kinds of wood in the panel of a door, to elaborate picture-making, in which landscapes, views of churches, houses and picturesque ruins were copied, figures and animals being also introduced. This work was naturally facilitated and encouraged by increasing commerce between different nations, which rendered available a greater variety of woods. In some of the early Italian "intarsia" the decoration was cut into the surface of the panel piece by piece. As artists became more skilful, veneers were applied and the effect heightened by burning with hot sand the parts requiring shading; and the lines caused by the thickness of the sawcuts were filled in with black wood or stained glue to give definition to the design.

[Ill.u.s.tration: A Sixteenth Century "Coffre-Fort."]

The "mounting" of articles of furniture with metal enrichments doubtless originated in the iron corner pieces and hinge plates, which were used to strengthen the old chests, of which mention has been already made, and as artificers began to render their productions decorative as well as useful, what more natural progress than that the iron corners, bandings, or fastenings, should be of ornamental forged or engraved iron. In the sixteenth century, metal workers reached a point of excellence which has never been surpa.s.sed, and those marvels of mountings in steel, iron and bra.s.s were produced in Italy and Germany, which are far more important as works of art, than the plain and unpretending productions of the coffer maker, which are their _raison d'etre._ The woodcut on p. 53 represents a very good example of a "Coffre-fort" in the South Kensington Collection.

The decoration is bitten in with acids so as to present the appearance of its being damascened, and the complicated lock, shewn on the inside of the lid, is characteristic of these safeguards for valuable doc.u.ments at a time when the modern burglar-proof safe had not been thought of.

The ill.u.s.tration on the following page is from an example in the same museum, shewing a different decoration, the oval plaques of figures and coats of arms being of carved ivory let into the surface of the coffer.

This is an early specimen, and belongs as much to the last chapter as to the present.