Upholstery was an exceedingly important part of interior decoration at that period, and there were right and wrong ways to hang curtains and decorate the framework of beds with valances, fringes, lambrequins, etc. Figs. 44 and 45 show two of Marot’s arrangements of lambrequins.
The massive bed with its four posts of carved oak, which had so long been in fashion, had now been supplanted by one in which upholstery was the chief decorative feature. This bed consisted of a light frame supporting a canopy, the four corners of which were surmounted by a bunch of plumes, or ornaments, or knobs, in imitation of ostrich feathers, called “pommes.” The furnishings of the bed, including head-board, canopy, counterpane, curtains and valances, were of the same material—velvet, brocade, silk, satin, chintz, or white dimity worked in coloured crewels or worsted. Three beds of this period are to be seen at Hampton Court Palace—William’s, Mary’s and Queen Anne’s. Both William’s and Mary’s are now in the Private Diningroom. The former, which is about fifteen feet high, is covered entirely with crimson damask, and Mary’s, which is much smaller, with crimson velvet. The small bed used by George II when he lived in this Palace, and which stands between William’s and Mary’s, may also belong to this period. Queen Anne’s bed is more elaborate. This stands in her State Bed-chamber; and it is not unlikely that Queen Anne’s bed originally belonged to Mary; for she owned a number of very handsome beds draped with materials of the latest fashion. The elaborate designs upon the rich Genoa velvet that adorns this piece of furniture are quite in the Marot style.
Plate XLVII.—Carved Oak Bahut.
CLUNY MUSEUM, PARIS.
Fig. 38: Ornament in the Auricular Style.
The bed of this period was particularly suited to Marot’s taste, and he made many designs, in which the festoon is conspicuous.
The bed shown in the frontispiece of this book is a typical example of Marot. The heavy cornice is adorned with a cartouche in the centre and four “pommes” of ostrich feathers in vases at the corners. The headboard is also characteristic of Marot, and consists of an urn with swags of leaves and husks, with mermaids as caryatides or supporters at the sides. At the base of the bed is a mascaron. The silk draperies are arranged in formal swags tied with bows of silk and cords and tassels, and the valance around the bottom of the bed is similar to the cornice decoration. Running around the cornice is a brass rail for the outside curtains, which can be drawn around the bed enclosing it entirely, with the exception of the “pommes.” The counterpane, bolster and pillow are covered with material that carries Marot designs. The pillow is adorned with tassels.
Another of Marot’s designs for a bed is reproduced in Plate [XLVIII]. This is interesting on more than one account. The carving of the canopy shows the advent of the rocaille work that ran mad during the periods of the Regency and Louis XV. The scrolls in the woodwork at the foot of the bed are of the same form as the stretchers in tables, chairs, stands and stools of the period. The decoration of the room is worth notice also. The walls are covered with tapestry, and the same lambrequin that adorns the bed is repeated all along the walls under the cornice. The same decoration is repeated around the seat of the armchair on either side of the bed. The low foot-posts of the bed are surmounted by “pommes,” which usually hold the positions above, here occupied by carved shells. Finally, the sconce mirror over the chair is graceful in form.
Queen Anne’s bed at Hampton Court Palace gives one a good idea of the Marot decoration. It has a square canopy and tester, below which hang curtains that when drawn enclose the entire bed. The head-board is upholstered. The furnishings of this bed are entirely of stamped or cut velvet, a white ground with formal patterns of crimson and orange. The chairs, tabourets and long forms are also covered with this material.
A beautiful chandelier of silver decorated with glass balls hangs from the ceiling, which was painted by Sir James Thornhill. The design depicts Aurora rising from the ocean in her chariot, drawn by four white horses and attended by cupids, while Night and Sleep sink away.
