Illustrated History of Furniture Part 18

[Ill.u.s.tration: A Sideboard in Mahogany with Inlay of Satinwood. In the Style of Robert Adam.]

The "wine table" of this time deserves a word. These are now somewhat rare, and are only to be found in a few old houses, and in some of the Colleges at Oxford and Cambridge. These were found with revolving tops, which had circles turned out to a slight depth for each gla.s.s to stand in, and they were sometimes shaped like the half of a flat ring. These latter were for placing in front of the fire, when the outer side of the table formed a convivial circle, round which the sitters gathered after they had left the dinner table.

One of these old tables is still to be seen in the Hall of Gray's Inn, and the writer was told that its fellow was broken and had been "sent away."

They are nearly always of good rich mahogany, and have legs more or less ornamental according to circ.u.mstances.

A distinguishing feature of English furniture of the last century was the partiality for secret drawers and contrivances for hiding away papers or valued articles; and in old secretaires and writing tables we find a great many ingenious designs which remind us of the days when there were but few banks, and people kept money and deeds in their own custody.

[Ill.u.s.tration: Carved Jardiniere, by Chippendale.]

[Ill.u.s.tration: A China Cabinet, and a Bookcase With Secretaire. Designed by T. Sheraton, and published in his "Cabinet Maker and Upholsterer's Drawing Book," 1793.]

Chapter VIII.

First Half of the Nineteenth Century

The French Revolution and First Empire--Influence on design of Napoleon's Campaigns--The Cabinet presented to Marie Louise--Dutch Furniture of the time--English Furniture--Sheraton's later work--Thomas Hope, architect--George Smith's designs--Fashion during the Regency--Gothic revival--Seddon's Furniture--Other Makers--Influence on design of the Restoration in France--Furniture of William IV. and early part of Queen Victoria's reign--Baroque and Rococo styles--The panelling of rooms, dado, and skirting--The Art Union,--The Society of Arts--Sir Charles Barry and the new Palace of Westminster--Pugin's designs--Auction Prices of Furniture--Christie's--The London Club Houses--Steam--Different Trade Customs--Exhibitions in France and England--Harry Rogers' work--The Queen's cradle--State of Art in England during first part of present reign--Continental designs--Italian carving--Cabinet work--General remarks.

Empire Furniture.

[Ill.u.s.tration]

There are great crises in the history of a nation which stand out in prominent relief. One of these is the French Revolution, which commenced in 1792, and wrought such dire havoc amongst the aristocracy, with so much misery and distress throughout the country. It was an event of great importance, whether we consider the religion, the politics, or the manners and customs of a people, as affecting the changes in the style of the decoration of their homes. The horrors of the Revolution are matters of common knowledge to every schoolboy, and there is no need to dwell either upon them or their consequences, which are so thoroughly apparent. The confiscation of the property of those who had fled the country was added to the general dislocation of everything connected with the work of the industrial arts.

Nevertheless it should be borne in mind that amongst the anarchy and disorder of this terrible time in France, the National Convention had sufficient foresight to appoint a Commission, composed of competent men in different branches of Art, to determine what State property in artistic objects should be sold, and what was of sufficient historical interest to be retained as a national possession. Riesener, the celebrated _ebeniste_, whose work we have described in the chapter on Louis Seize furniture, and David, the famous painter of the time, both served on this Commission, of which they must have been valuable members.

There is a pa.s.sage quoted by Mr. C. Perkins, the American translator of Dr. Falke's German work "Kunst im Hause," which gives us the keynote to the great change which took place in the fashion of furniture about the time of the Revolution. In an article on "Art," says this democratic French writer, as early as 1790, when the great storm cloud was already threatening to burst, "We have changed everything; freedom, now consolidated in France, has restored the pure taste of the antique!

Farewell to your marqueterie and Boule, your ribbons, festoons, and rosettes of gilded bronze; the hour has come when objects must be made to harmonize with circ.u.mstances."

Thus it is hardly too much to say that designs were governed by the politics and philosophy of the day; and one finds in furniture of this period the reproduction of ancient Greek forms for chairs and couches; ladies' work tables are fashioned somewhat after the old drawings of sacrificial altars; and the cla.s.sical tripod is a favourite support. The mountings represent antique Roman fasces with an axe in the centre; trophies of lances, surmounted by a Phrygian cap of liberty; winged figures, emblematical of freedom; and antique heads of helmeted warriors arranged like cameo medallions.

After the execution of Robespierre, and the abolition of the Revolutionary Tribunal in 1794, came the choice of the Directory: and then, after Buonaparte's brilliant success in Italy, and the famous expeditions to Syria and Egypt two years later, came his proclamation as First Consul in 1799, which in 1802 was confirmed as a life appointment.

We have only to refer to the portrait of the great soldier, represented with the crown of bay leaves and other attributes of old Roman imperialism, to see that in his mind was the ambition of reviving much of the splendour and of the surroundings of the Caesars, whom he took, to some extent, as his models; and that in founding on the ashes of the Revolution a new fabric, with new people about him, all influenced by his energetic personality, he desired to mark his victories by stamping the new order of things with his powerful and a.s.sertive individualism.

[Ill.u.s.tration: Cabinet in Mahogany with Bronze Gilt Mountings, Presented by Napoleon I. to Marie Louise on his Marriage with her in 1810 Period: Napoleon I.]

The cabinet which was designed and made for Marie Louise, on his marriage with her in 1810, is an excellent example of the Napoleonic furniture. The wood used was almost invariably rich mahogany, the colour of which made a good ground for the bronze gilt mounts which were applied. The full-page ill.u.s.tration shews these, which are all cla.s.sical in character; and though there is no particular grace in the outline or form of the cabinet, there is a certain dignity and solemnity, relieved from oppressiveness by the fine chasing and gilding of the metal enrichments, and the excellent colour and figuring of the rich Spanish mahogany used.

On secretaires and tables, a common ornament of this description of furniture, is a column of mahogany, with a capital and base of bronze (either gilt, part gilt, or green), in the form of the head of a sphinx with the foot of an animal; console tables are supported by sphinxes and griffins; and candelabra and wall brackets for candles have winged figures of females, stiff in modelling and constrained in att.i.tude, but almost invariably of good material with careful finish.

[Ill.u.s.tration: Tabouret, or Stool, Carved and Gilt; Arm Chair, In Mahogany, with Gilt Bronze Mountings. Period of Napoleon I.]

The bas-reliefs in metal which ornament the panels of the friezes of cabinets, or the marble bases of clocks, are either reproductions of mythological subjects from old Italian gems and seals, or represent the battles of the Emperor, in which Napoleon is portrayed as a Roman general.

There was plenty of room to replace so much that had disappeared during the Revolution, and a vast quant.i.ty of decorative furniture was made during the few years which elapsed before the disaster of Waterloo caused the disappearance of a power which had been almost meteoric in its career.

The best authority on "Empire Furniture" is the book of designs, published in 1809 by the architects Percier and Fontaine, which is the more valuable as a work of reference, from the fact that every design represented was actually carried out, and is not a mere exercise of fancy, as is the case with many such books. In the preface the authors modestly state that they are entirely indebted to the antique for the reproduction of the different ornaments; and the originals, from which some of the designs were taken, are still preserved in a fragmentary form in the Museum of the Vatican.

The ill.u.s.trations on p. 205 of an arm chair and a stool, together with that of the tripod table which ornaments the initial letter of this chapter, are favourable examples of the richly-mounted and more decorative furniture of this style. While they are not free from the stiffness and constraint which are inseparable from cla.s.sic designs as applied to furniture, the rich colour of the mahogany, the high finish and good gilding of the bronze mounts, and the costly silk with which they are covered, render them attractive and give them a value of their own.

The more ordinary furniture, however, of the same style, but without these decorative accessories, is stiff, ungainly, and uncomfortable, and seems to remind us of a period in the history of France when political and social disturbance deprived the artistic and pleasure-loving Frenchman of his peace of mind, distracting his attention from the careful consideration of his work. It may be mentioned here that, in order to supply a demand which has lately arisen, chiefly in New York, but also to some extent in England, for the best "Empire" furniture, the French dealers have bought up some of the old undecorated pieces, and by ornamenting them with gilt bronze mounts, cast from good old patterns, have sold them as original examples of the _meubles de luxe_ of the period.

In Dutch furniture of this time one sees the reproduction of the Napoleonic fashion--the continuation of the Revolutionists' cla.s.sicalism.

Many marqueterie secretaires, tables, chairs, and other like articles, are mounted with the heads and feet of animals, with lions' heads and sphinxes, designs which could have been derived from no other source; and the general design of the furniture loses its bombe form, and becomes rectangular and severe. Whatever difficulty there may be in sometimes deciding between the designs of the Louis XIV. period, towards its close, and that of Louis XV., there can be no mistake about _l'epoch de la Directoire_ and _le style de l'Empire._ These are marked and branded with the Egyptian expedition, and the Syrian campaign, as legibly as if they all bore the familiar plain Roman N, surmounted by a laurel wreath, or the Imperial eagle which had so often led the French legions to victory.

It is curious to notice how England, though so bitterly opposed to Napoleon, caught the infection of the dominant features of design which were prevalent in France about this time.

[Ill.u.s.tration: Nelson's Chairs. Designs Published by T. Sheraton, October 29th, 1806.]

Thus, in Sheraton's book on Furniture, to which allusion has been made, and from which ill.u.s.trations have been given in the chapter on "Chippendale and his Contemporaries," there is evidence that, as in France during the influence of Marie Antoinette, there was a cla.s.sical revival, and the lines became straighter and more severe for furniture, so this alteration was adopted by Sheraton, Shearer, and other English designers at the end of the century. But if we refer to Sheraton's later drawings, which are dated about 1804 to 1806, we see the constrained figures and heads and feet of animals, all brought into the designs as shewn in the "drawing room" chairs here ill.u.s.trated. These are unmistakable signs of the French "Empire" influence, the chief difference between the French and English work being, that, whereas in French Empire furniture the excellence of the metal work redeems it from heaviness or ugliness, such merit was wanting in England, where we have never excelled in bronze work, the ornament being generally carved in wood, either gilt or coloured bronze-green. When metal was used it was bra.s.s, cast and fairly finished by the chaser, but much more clumsy than the French work. Therefore, the English furniture of the first years of the nineteenth century is stiff, ma.s.sive, and heavy, equally wanting in gracefulness with its French contemporary, and not having the compensating attractions of fine mounting, or the originality and individuality which must always add an interest to Napoleonic furniture.

[Ill.u.s.tration: Drawing Room Chair. Design published by T. Sheraton, April, 1804.]

[Ill.u.s.tration: Drawing Room Chair. Design published by T. Sheraton, April 1, 1804.]

There was, however, made about this time by Gillow, to whose earlier work reference has been made in the previous chapter, some excellent furniture, which, while to some extent following the fashion of the day, did so more reasonably. The rosewood and mahogany tables, chairs, cabinets and sideboards of his make, inlaid with scrolls and lines of flat bra.s.s, and mounted with handles and feet of bra.s.s, generally representing the heads and claws of lions, do great credit to the English work of this time. The sofa table and sideboard, ill.u.s.trated on the previous page, are of this cla.s.s, and shew that Sheraton, too, designed furniture of a less p.r.o.nounced character, as well as the heavier kind to which reference has been made.

[Ill.u.s.tration: "Canopy Bed" Design Published by T. Sheraton, November 9th, 1803.]

[Ill.u.s.tration: "Sister's Cylinder Bookcase." Designed by T. Sheraton, 1802.]

[Ill.u.s.tration: Sideboard, In Mahogany, with Bra.s.s Rail and Convex Mirror at back, Design published by T. Sheraton, 1802.]

[Ill.u.s.tration: Sofa Table, Design published by T. Sheraton, 1804.]

A very favourable example of the craze in England for cla.s.sic design in furniture and decoration, is shown in the reproduction of a drawing by Thomas Hope, in 1807, a well-known architect of the time, in which it will be observed that the forms and fashions of some of the chairs and tables, described and ill.u.s.trated in the chapter on "Ancient Furniture," have been taken as models.

There were several makers of first-cla.s.s furniture, of whom the names of some still survive in the "style and t.i.tle" of firms of the present day, who are their successors, while those of others have been forgotten, save by some of our older manufacturers and auctioneers, who, when requested by the writer, have been good enough to look up old records and revive the memories of fifty years ago. Of these the best known was Thomas Seddon, who came from Manchester and settled in Aldersgate Street. His two sons succeeded to the business, became cabinet makers to George IV., and furnished and decorated Windsor Castle. At the King's death their account was disputed, and 30,000 was struck off, a loss which necessitated an arrangement with their creditors. Shortly after this, however, they took the barracks of the London Light Horse Volunteers in the Gray's Inn Road (now the Hospital), and carried on there for a time a very extensive business. Seddon's work ranked with Gillow's, and they shared with that house the best orders for furniture.

Thomas Seddon, painter of Oriental subjects, who died in 1856, and P.

Seddon, a well-known architect, were grandsons of the original founder of the firm. On the death of the elder brother, Thomas, the younger one then transferred his connection to the firm of Johnstone and Jeanes, in Bond Street, another old house which still carries on business as "Johnstone and Norman," and who some few years ago executed a very extravagant order for an American millionaire. This was a reproduction of Byzantine designs in furniture of cedar, ebony, ivory, and pearl, made from drawings by Mr.

Alma Tadema, R.A.

[Ill.u.s.tration: Design of a Room, in the Cla.s.sic Style, by Thomas Hope, Architect, In 1807.]

Snell, of Albemarle Street, had been established early in the century, and obtained an excellent reputation; his specialite was well-made birch bedroom suites, but he also made furniture of a general description. The predecessor of the present firm of Howard and Son, who commenced business in Whitechapel as early as 1800, and the first Morant, may all be mentioned as manufacturers of the first quarter of the century.

Somewhat later, Trollopes, of Parliament Street; Holland, who had succeeded Dowbiggin (Gillow's apprentice), first in Great Pulteney Street, and subsequently at the firm's present address; Wilkinson, of Ludgate Hill, founder of the present firm of upholsterers in Bond Street; Aspinwall, of Grosvenor Street; the second Morant, of whom the great Duke of Wellington made a personal friend; and Grace, a prominent decorator of great taste, who carried out many of Pugin's Gothic designs, were all men of good reputation. Miles and Edwards, of Oxford Street, whom Hindleys succeeded, were also well known for good middle-cla.s.s furniture. These are some of the best known manufacturers of the first half of the present century, and though until after the great Exhibition there was, as a rule, little in the designs to render their productions remarkable, the work of those named will be found sound in construction, and free from the faults which accompany the cheap and showy reproductions of more pretentious styles which mark so much of the furniture of the present day. With regard to this, more will be said in the next chapter.

There was then a very limited market for any but the most commonplace furniture. Our wealthy people bought the productions of French cabinet makers, either made in Paris or by Frenchmen who came over to England, and the middle cla.s.ses were content with the most ordinary and useful articles. If they had possessed the means they certainly had neither the taste nor the education to furnish more ambitiously. The great extent of suburbs which now surround the Metropolis, and which include such numbers of expensive and extravagantly-fitted residences of merchants and tradesmen, did not then exist. The latter lived over their shops or warehouses, and the former only aspired to a dull house in Bloomsbury, or, like David Copperfield's father-in-law, Mr. Spenlow, a villa at Norwood, or perhaps a country residence at Hampstead or Highgate.