French and English furniture / distinctive styles and periods described and illustrated

by Esther Singleton

Beside the bed, there was always laid a narrow strip of carpet, or tapestry, or rug, always referred to as a “bedside carpet.”[^[9]]

In the bedroom, we always find a large “trussing chest,” used as a receptacle for the bed clothes, and there may be another chest for the preservation of wearing apparel. The latter is more likely to be a chest-with-drawers, consisting of the chest proper, below which are two long drawers, appearing to the eye as four on account of the panels, mouldings and knobs. On lifting up the top, a deep well is revealed, at the side of which there is a “till,” or compartment, for small articles, trinkets, etc.

At first, the chest was decorated with carved panels and mouldings, and was usually rendered secure with a lock and great iron hinges that were extremely decorative. The date and the initials of the owner were carved upon it, as well as a fanciful motto or legend. At a later period, the chest was placed on a frame of short square legs. The next development was the addition of a long drawer below the chest. Another drawer was added, and another, until this piece of furniture gradually became, instead of a simple box or trunk, a “chest-of-drawers,” a “chest-with-drawers,” a “nest-of-drawers,” a “case-of-drawers,” a “press,” a “cupboard-press,” etc., etc. The bureau, or desk, or “screetore,” is another development; and, of course, the cabinet in its simplest form is nothing but a chest-of-drawers with shelves inside shut in by doors.

This development will be apparent by glancing at the chest-of-drawers, or case-of-drawers, on Plate [X.] This contains but four drawers, although at first sight it would seem that there were eight. The panels of these drawers are edged with a flat bevelled moulding stained black, and within that is a sunk panel, in the centre of which is the brass handle-plate. A moulding incised with cuts edges the top slab. The chest-of-drawers stands on four turned knobs or balls. A specimen handle and key-plate of the period appropriate for chest, chest-of-drawers, or cabinet are No. 5 and No. 6 on Plate [X.] The case-of-drawers is also found in the bedroom, where the other furniture includes a dressing-table and glass, tables, chairs and stools, very often a cupboard, sometimes a desk or “screetore,” and always plenty of cushions.

The “drawing-table,” of course, has no place in the bedroom; such a one as that shown on Plate [XI.], with either a square or round top is the most usual. Its “carpet” matches the hangings of the room. The cupboard, chairs, stools, and couch and desk do not differ from those already described. The dressing-table is merely a simple table covered with drapery, and upon it or above it stands or hangs a mirror, the frame of which in general design is like the one shown on Plate [XI.] In very rich homes, this is of solid silver, but more frequently it is carved and gilt, or made of olive-wood, or ebony. Sometimes it has merely a square and unornamented frame, and again the frame may be inlaid.

Turning now to the chairs, we find the heavy wooden chairs, such as are shown on Plate [VII.], Nos. 1, 2, 3, and 4, and No. 2 on Plate [VIII.], are giving place to newer forms. One of the most typical is the “low leather” chair, which we have already spoken of in the preceding chapter. This was generally covered with leather put on with large brass nails, and was sometimes also decorated with fringe. Genoa velvet, silk, serge, needlework, etc., were also used for covering this form of chair. A square straining-rail usually connects the legs close to the floor. It was popularly known as “the Cromwell,” and is shown on Plate [V.] and in the Frontispiece. Two good variants occur on Plate [I.], No. 3, and lower right-hand corner. Another typical chair, which is also reminiscent of Abraham Bosse, appears on Plate [VII.] This shape is frequently met with in the pictures of the old Dutch masters.

This particular specimen, which is preserved at Knole Park, is covered with rose-coloured velvet, divided into squares by means of a braid of mixed gold and silk threads, and adorned with a fringe of the same. The nails that fasten the material are copper-gilt, and a large quatrefoil ornament marks the intersection of the legs. The oval finials on the back are also decorated with copper-gilt nails. The woodwork is painted with red lacquer ornamented with a floral design in gold.

All the styles shown on Plate [I.] are also known in England. A very characteristic chair is the “high backed” chair, known also to France and Flanders. It is very slender and upright. Examples are shown on Plates [V.] and [VIII.] The side-posts are either spiral, as in Plate [V.], or spindle, as shown in No. 1 and No. 6 on Plate [VIII.] The back panel and seat are of cane webbing, or stuffed and upholstered. The frame of the panel may be rounded as in No. 6 on Plate [VIII.], or square as No. 1 on the same plate. The top is usually carved in some kind of scroll-work. Sometimes the cane-webbing is framed with a simple moulding, as shown in No. 6. Plate [VIII.] and again it may have an ornate combination of scrolls and leaves, as shown in No. 1 on the same Plate. Stretchers render the legs firm. Sometimes there are two spiral front rails as shown on Plate [V.], but more frequently the rail is an elaborate arrangement of scrolls, as shown on the chair in the upper left hand corner on Plate [VII.] or on No. 4 and No. 5 on Plate [VIII.] The feet are often made of a large and somewhat clumsy scroll turned outward, as shown on No. 5, Plate [VIII.] Another variety occurs on the arm-chair above. Another species of foot is moulded into a kind of embryonic claw, known as “the Spanish foot.” The arm-chair on Plate [VIII.] is one of the richest productions of the age. It is elaborately carved and gilt. The border or frame surrounding the panel of the back is beautifully carved with the strawberry leaf, and Cupids and other figures enrich the top. The side supports of the back are spirally turned, ending in a decorative acorn (which is repeated in detail on No. 3). The seat and back are upholstered in red velvet. This valuable relic dates from 1660.

A simpler chair, also dating from 1660, occurs on Plate [VII.] This is of walnut. The side-supports are continuations of the back legs, the front legs curve outward, and the front rail is a series of scrolls. The back is surmounted by a carved and pierced pediment. The stuffed seat and back are covered with needlework on canvas.

Other typical seats of the day are shown on Plate [VI.], a settee or double chair, and stool, the frames of which are painted black. The back of the settee is very high with a curved or wavy top. The arms curve downward with a bold sweep. The four short legs, curving outwards, with projecting knees and feet, are connected by heavy straining-rails formed of heavy scrolls. Both settee and stool are upholstered in rich Mortlake tapestry of the age, representing sprays of flowers.