The specimen (illustrated p. [117]), with the movement by Kenneth Maclellan (1760-80), is of more grandiose character. The panelled door was probably an importation, and the other decorations in lacquer done in this country.

Among the Scottish clocks, the Patrick Gordon example (1705-15), (illustrated p. [263]), proves this usage of imported Oriental panel with added decoration in as near a style as could be done on the spot. In this example the remainder of the so-called lacquered decoration is stencilled.

LONG-CASE CLOCK WITH LACQUER DECORATION.
Brass dial with circular medallion with maker's name, "Joseph Dudds, London" (1766-82).

LONG-CASE CLOCK.
Maker, Kenneth Maclennan (London).
Finely decorated in green lacquer.
Date, 1760-80.
Height, 8 ft. Width, 1 ft. 8 in. Depth, 10 in.
(By courtesy of Percy Webster, Esq.)

The English School.—Dutch lacquered work was as prevalent between 1680 and 1725 as was Dutch marquetry. The rivalry between "John Company" and the Dutch traders was one factor that has to be considered. Lacquered work was coming straight from the East to Amsterdam and to English ports. What was not absorbed by the Dutch burghers came to England. Apart from this competitive Oriental trade, there was the lacquered work actually made in Holland. In examining the state of that country at this time one meets with a surprise. It was a land teeming with colour. Dutch painters have taught us to think otherwise. The Rijks Museum exhibits the prevalent styles of the seventeenth century. Here we find leather decorations derivative from Spain in rich gilding, Louis Quatorze boudoirs with classic gods and goddesses. The "Chinese Boudoir" from the palace of the Stadtholder at Leeuwarden shows the intense love of colour that had conquered Holland in the late seventeenth century. Here we find the Chinese prototypes in porcelain which provided the potters at Delft with problems to solve, and lacquered work which suggested patient imitation by Dutch cabinet-makers, but the colour and advanced technique of such Oriental originals must have confounded the old craftsmen.

The potter simulated the porcelain with his enamelled earthenware, the cabinet-maker produced lacquered work which passed muster in Holland and England. Take the house of the rich burgher. The table was covered with an Eastern rug, called a "table carpet." The linen cupboards so beloved by the Dutch were surmounted by Chinese and Japanese porcelain. Often a Japanese lac cabinet gave another touch of colour to the interior. Rich damask curtains, Spanish leather hangings, Oriental rugs, finely inlaid cabinets of ebony and silver, and a glowing array of copper and brass, filled the heart of the Dutch vrouw with pride. Such rooms were regarded as a "holy of holies," and the family had their meals in the kitchen or living room and were warned off the show room. The seventeenth-century Dutchwoman, according to all accounts, seems to have been a shrew. But enough is extant to prove that Holland was artistically, in regard to the home-life of Stadtholder and burgher, resplendent with colour, in spite of the low tones of the canvases of Dutch painters.