[Design for a Work Table], By H. Fitzcook. Published as one of the "Original Designs for Manufacturers" in the Art Journal, 1850.

But though here and there in England good designers came to the front, as a general rule the art of design in furniture and decorative woodwork was at a very low ebb about this time.

In furniture, straight lines and simple curves may be plain and uninteresting, but they are by no means so objectionable as the over ornamentation of the debased rococo style, which obtained in this country about forty years ago; and if the scrolls and flowers, the shells and rockwork, which ornamented mirror frames, sideboard backs, sofas, and chairs, were debased in style, even when carefully carved in wood, the effect was infinitely worse when, for the sake of economy, as was the case with the houses of the middle classes, this elaborate and laboured enrichment was executed in the fashionable stucco of the day.

Large mirrors, with gilt frames of this material, held the places of honour on the marble chimney piece, and on the console, or pier table, which was also of gilt stucco, with a marble slab. The cheffonier, with its shelves having scroll supports like an elaborate S, and a mirror at the back, with a scrolled frame, was a favourite article of furniture.

Carpets were badly designed, and loud and vulgar in colouring; chairs, on account of the shape and ornament in vogue, were unfitted for their purpose, on account of the wood being cut across the grain; the fire-screen, in a carved rosewood frame, contained the caricature, in needlework, of a spaniel, or a family group of the time, ugly enough to be in keeping with its surroundings.

The dining room was sombre and heavy. The pedestal sideboard, with a large mirror in a scrolled frame at the back, had come in; the chairs were massive and ugly survivals of the earlier reproductions of the Greek patterns, and, though solid and substantial, the effect was neither cheering nor refining.

In the bedrooms were winged wardrobes and chests of drawers; dressing tables and washstands, with scrolled legs, nearly always in mahogany; the old four-poster had given way to the Arabian or French bedstead, and this was being gradually replaced by the iron or brass bedsteads, which came in after the Exhibition had shewn people the advantages of the lightness and cleanliness of these materials.

In a word, from the early part of the present century, until the impetus given to Art by the great Exhibition had had time to take effect, the general taste in furnishing houses of all but a very few persons, was at about its worst.

In other countries the rococo taste had also taken hold. France sustained a higher standard than England, and such figure work as was introduced into furniture was better executed, though her joinery was inferior. In Italy old models of the Renaissance still served as examples for reproduction, but the ornament became more carelessly carved and the decoration less considered. Ivory inlaying was largely executed in Milan and Venice; mosaics of marble were specialites of Rome and of Florence, and were much applied to the decoration of cabinets; Venice was busy manufacturing carved walnutwood furniture in buffets, cabinets, Negro page boys, elaborately painted and gilt, and carved mirror frames, the chief ornaments of which were cupids and foliage.

Italian carving has always been free and spirited, the figures have never been wanting in grace, and, though by comparison with the time of the Renaissance there is a great falling off, still, the work executed in Italy during the present century has been of considerable merit as regards ornament, though this has been overdone. In construction and joinery, however, the Italian work has been very inferior. Cabinets of great pretension and elaborate ornament, inlaid perhaps with ivory, lapislazuli, or marbles, are so imperfectly made that one would think ornament, and certainly not durability, had been the object of the producer.