From records, and what remains to us, we know that the room, the hangings, and the furniture were patterned all over with scattered flowers and inscriptions—violets and the words "bonne pensée"; or vases of lilies and "pax," angels and incense pots, ciphers and initials, badges and devices, or whatever there be of suggestion and mystery. The panelling and furniture were "green like a curtain," as the old accounts have it; or vermilion and white, like some painted chairs at Knole; or even decorated with paintings and gilt gesso patterns like the Norfolk screens. Fancy a bed with the underside of the canopy having an Annunciation or spreading trellis of roses, and the chamber carved like one in thirteenth-century romance:—
"N'a el monde beste n'oisel
Qui n'i soit ovré à cisel."
If we would know how far we are from the soul of art, we have but to remember that all this, the romance element in design, the joy in life, nature, and colour, which in one past development we call Gothic, and which is ever the well of beauty undefiled, is not now so much impossible of attainment as entirely out of range with our spirit and life, a felt anachronism and affectation.
All art is sentiment embodied in form. To find beauty we must consider what really gives us pleasure—pleasure, not pride—and show our unashamed delight in it; "and so, when we have leisure to be happy and strength to be simple we shall find Art again"—the art of the workman.
OF DECORATED FURNITURE
Decorated or "sumptuous" furniture is not merely furniture that is expensive to buy, but that which has been elaborated with much thought, knowledge, and skill. Such furniture cannot be cheap, certainly, but the real cost of it is sometimes borne by the artist who produces rather than by the man who may happen to buy it. Furniture on which valuable labour is bestowed may consist of—1. Large standing objects which, though actually movable, are practically fixtures, such as cabinets, presses, sideboards of various kinds; monumental objects. 2. Chairs, tables of convenient shapes, stands for lights and other purposes, coffers, caskets, mirror and picture frames. 3. Numberless small convenient utensils. Here we can but notice class 1, the large standing objects which most absorb the energies of artists of every degree and order in their construction or decoration.
Cabinets seem to have been so named as being little strongholds—"offices" of men of business for stowing papers and documents in orderly receptacles. They are secured with the best locks procurable. They often contain secret drawers and cavities, hidden from all eyes but those of the owner. Nor are instances wanting of owners leaving no information on these matters to their heirs, so that casual buyers sometimes come in for a windfall, or such a catastrophe as befell the owner of Richard the Third's bed.
It is not to be expected that elaborate systems of secret drawers and hiding-places should be contrived in cabinets of our time. Money and jewels are considered safer when deposited in banks. But, ingenuity of construction in a complicated piece of furniture must certainly be counted as one of its perfections. Sound and accurate joinery with well-seasoned woods, properly understood as to shrinkage and as to the relations between one kind of timber and another in these respects, is no small merit.