[Figs. 13] and [14] are more elaborate and expensive mirrors, the broken pediments in each case suggesting the influence of Sir Christopher Wren. Although the architectural inspiration, which was absolute in the Gothic periods and strong in the Elizabethan, was very much less marked in the time of Queen Anne, still the classical influence of Wren's Renaissance style is shown in many ways, and particularly in the many varieties of the broken pediment which are favourite forms of decoration for the tops of mirror frames. [Fig. 13], in addition to the broken pediment, is decorated on the frame with egg-and-tongue mouldings, and on the base with a bust of a cherub in high relief. [Fig. 14] is surmounted by a boldly carved figure of an eagle enclosed by the broken pediment. On either side are carved festoons of fruit and flowers, possibly suggested by the work of Grinling Gibbon. These important mirrors, interesting and effective as they are, require large rooms to set them off.
Simple mirrors, as in [Figs. 11] and [12], present no difficulties regarding their disposal. The more elaborate ones, however, apart from their expensiveness, should not be purchased unless there is a suitable place in which to hang them. This suggests a maxim which applies to the collection of any sort of furniture, viz. not to purchase any piece until you have decided what to do with it. Adherence to this rule may involve the occasional loss of a bargain, but it avoids confusion and possible domestic complications. We knew an enthusiastic collector who resisted the purchase of old examples with the greatest difficulty. His wife, on the other hand, whilst appreciating possibly as keenly as her husband the attractions of the antique, was also fastidious regarding the prompt settlement of tradesmen's bills. The climax was reached one day when the husband, instead of settling certain pressing accounts, attended a sale and purchased an enormous Dutch wardrobe which was found to be at least eighteen inches too tall for any room in the house.
Another form of decoration applied to mirror-frames of the Queen Anne period was that known as "Gesso" work, whereby a design was built into relief with layers of size and plaster applied with a brush. It gives scope for delicate line work, and is often softer than carving. [Figs. 15] and [16] are mirrors decorated with Gesso ornament, to which, however, little justice can be done in a photograph.
[Fig. 17] is a fine mirror of pinewood with Gesso ornamentation, in which the broken pediment form has taken a somewhat fanciful shape.
In [Fig. 18] the broken pediment appears in a more strictly architectural form. This mirror, which is of painted pine, was formerly in the "Flask" Tavern, Ebury Square, Pimlico. Although its date would be about 1700, it is clearly in its mouldings reminiscent of the Jacobean period, which style no doubt continued in popularity amongst the poorer classes. This mirror is an interesting instance of the merging of the two styles.
Marquetry was also used on the mirror-frames of this period, an example in a broad frame inlaid with a floral pattern being shown in [Fig. 19]. This mirror was sold for seventeen guineas.
[Fig. 20] is an example of a toilet mirror of the Queen Anne period, the front of which lets down with a flap, after the manner of a bureau, revealing a nest of drawers. This form of mirror is not often met with, and an opportunity of acquiring one at a reasonable price should not be neglected. [Fig. 21] is of similar construction mounted on a stand, an architectural touch being given by the pilasters on either side of the mirror. This pattern is singularly simple and charming.
Stools of the period under review are generally difficult and somewhat expensive to acquire, but these are not reasons for giving up hope. A type of the William and Mary stool is shown in [Fig. 22]. The scrolled feet and X-shaped stretcher are characteristic. Stools were very popular articles of furniture at this time. We find them in numbers in contemporary prints, and they continued to be used as seats at meal-times, as no doubt (providing the table were low enough) they were more comfortable than the stiff-backed chairs of the time. In the face of decided evidence of their prevalence in the Queen Anne period, their scarcity to-day is somewhat remarkable.
In the coloured frontispiece is shown a simple stool of the time of the early Queen Anne period covered with Petit-point needlework, with which the ladies of that period delighted to occupy themselves. This needlework—which, in addition to being used as a covering for furniture, was also framed to hang on the walls—is often patterned with quaint trees, people, goats, dogs, and a sprinkling of lovers and birds. A stool such as is shown in the frontispiece makes an admirable seat for a knee-hole writing-table.
[Fig. 23] is a large stool of the Queen Anne period with escallop-shell decoration, cabriole legs and an early form of the claw-and-ball feet. It is covered with contemporary needlework.