I fear that I have very feebly enforced and very inefficiently illustrated the true principles on which works of furniture should be constructed; and yet I feel that the structure of such works is of importance beyond all other considerations. Space is limited, however, and I must pass on; hence I only hope that I have induced the reader to think for himself, and if I have done so I shall have fulfilled my desire, for his progress will then be sure.
Respecting structure I have but a few general remarks further to make, and all these are fairly embraced in the one expression, "Be truthful." An obvious and true structure is always pleasant. Let, then, the "tenon" and the "mortise" pass through the various members, and let the parts be "pinned" together by obvious wooden pins. Thus, if the frame of a chair-seat is tenoned into the legs, let the tenon pass through the leg and be visible on the outer side, and let it be held in its place by glue and wooden pins—the pins being visible. Yet they need not protrude beyond the surface; but why hide them? In this way that old furniture was made which has endured while piece after piece of modern furniture, made with invisible joints and concealed nails and screws, has perished. This is a true structural treatment, and is honest in expression also.
I do not give this as a principle applicable to one class of furniture only, but to all. When we have "pinned" furniture with an open structure [(see the back of chair, Fig. 33)], the mode of putting together must of necessity be manifest; but in all other cases the tenons should also go through, and the pins by which they are held in their place be driven from one surface to the other side right through the member.
In the commencement of this chapter on furniture, I said that after the most convenient form has been chosen for an object, and after it has been arranged that the material of which it is to be formed shall be worked in the most natural or befitting way, that then the block-form must be looked to, after which comes the division of the mass into primary parts, and lastly, the consideration of detail.
As to the block-form, let it be simple, and have the appearance of appropriateness and consistency. Its character must be regulated, to an extent, by the nature of the house for which the furniture is intended, and by the character of the room in which it is to be placed. All I can say to the student on this part of the subject is this: Carefully consider good works of furniture whenever opportunity occurs, and note their general conformation. A fine work will never have strong architectural qualities—that is, it will not look like part of a building formed of wood instead of stone. There is but small danger of committing any great error in the block-form, if it be kept simple, and to look like a work in wood, provided that the proportions of height to width and of width and height to thickness are duly cared for [(see page 23)].
After the general form has been considered, the mass may be broken into primary and secondary parts. Thus, if we have to construct a cabinet, the upper part of which consists of a cupboard, and the lower portion of drawers, we should have to determine the proportion which the one part should bear to the other. This is an invariable rule—that the work must not consist of equal parts; thus, if the whole cabinet be six feet in height, the cupboards could not be three feet while the drawers occupied three feet also. The division would have to be of a subtle character—of a character which could not be readily detected. Thus the cupboard might be three feet five inches, and the drawers collectively two feet seven inches. If the drawers are not all to be of the same depth, then the relation of one drawer, as regards its size, to that of another must be considered, and of each to the cupboard above. In like manner the proportion of the panels of the doors to the styles must be thought out; and until all this has been done no work should ever be constructed.
Next comes the enrichment of parts. Carving should be sparingly used, and is best confined to mouldings, or projecting or terminal ends. If employed in mouldings, those members should be enriched which are more or less completely guarded from dust and injury by some overhanging member. If more carving is used, it should certainly be a mere enrichment of necessary structure—as we see on the legs and other uprights of Mr. Crace's sideboard, by Pugin (Fig. 41). I am not fond of carved panels, but should these be employed the carving should never project beyond the styles surrounding them, and in all cases of carving no pointed members must protrude so as to injure the person or destroy the dress of those who use the piece of furniture. If carving is used sparingly, it gives us the impression that it is valuable; if it is lavishly employed, it appears to be comparatively worthless. The aim of art is the production of repose. A large work of furniture which is carved all over cannot produce the necessary sense of repose, and is therefore objectionable.
