Daniel Defoe, in his "Tour of Great Britain," says: "The Queen (Mary) brought in the custom or humour, as I may call it, of furnishing houses with China ware which increased to a strange degree afterwards, piling their China upon the tops of Cabinets, scrutores and every Chymney Piece to the top of the ceilings and even setting up shelves for their China ware where they wanted such places, till it became a grivance in the expence of it and even injurious to their Families and Estates."
At Hampton Court to-day we can see the chimney-pieces in the corners of the smaller closets with the tiers of diminishing shelves reaching almost to the ceilings, and displayed thereon are the "flymy little bits of Blue" which Mr. Henley laughs at in his Villanelle. Perhaps some day our National Museum will overflow and refurnish Hampton Court Palace, which to-day in its furnishing, apart from the pictures and tapestries, is but a shadow of its old self.
Although germane to the matter, the foregoing is somewhat in the nature of a digression from the subject of the "japanned" furniture, which took such a hold of the popular fancy that the making of such things was practised as a hobby by the amateurs of the period. "A Treatise on Japanning and Varnishing" was issued by John Stalker in 1688, and, just as "painting and the use of the backboard" were essentials in the curriculum of the early Victorian seminary, so were the young ladies of the reign of William III. taught the gentle art of "Japanning." In the Verney Memoirs we find Edmund Verney, son of Sir John Verney, the Squire of East Claydon, writing to his little daughter Molly (aged about eight years) in 1682 or 1683, at Mrs. Priest's school at Great Chelsey: "I find you have a desire to learn to Jappan, as you call it, and I approve of it, and so I shall of anything that is Good and Virtuous, Therefore learn in God's name all Good Things, and I will willingly be at the Charge so farr as I am able—tho' They come from Japan and from never so farr and Look of an Indian Hue and Odour, for I admire all accomplishments that will render you considerable and Lovely in the sight of God and Man.... To learn this art costs a Guiney entrance and some 40's more to buy materials to work upon."
John Stalker's treatise is probably the earliest printed work in connection with furniture-making. We never hear of any individual name connected with the manufacture of furniture during the oak period, although there had been a guild of cofferers. The names of the makers of the superb Charles chairs are lost in oblivion, and we have to wait till the eighteenth century before any artist-craftsman or designer gives his name to a style.
Stalker's treatise is contained in a folio volume of eighty-four pages of letterpress and twenty-four pages of copper-plate engravings. The title-page reads: "A Treatise of Japanning and Varnishing, Being a compleat discovery of those Arts. With the best way of making all sorts of Varnish for Japan, Woods, Prints, Plate or Pictures. The method of Guilding, Burnishing and Lackering with the art of Guilding, Separateing and Refining metals, and the most curios ways of painting on Glass or otherwise. Also rules for counterfeiting Tortoise Shell, and Marble and for staining or Dying Wood, Ivory, etc. Together with above an hundred distinct patterns of Japan Work, for Tables, Stands, Frames, Cabinets, Boxes &c. Curiously engraven on 24 large Copper Plates. By John Stalker September the 7th 1688. Licenced R. Midgley and entered according to order. Oxford Printed for and sold by the Author, living at the Golden Ball in St. James Market London in the year MDCLXXXVIII."
This comprehensive work is "Dedicated to the RIGHT Honourable The Countess of Darby a lady no less eminent for her quality, Beauty and Vertue, then for her incomparable Skill and Experience in the Arts that those Experiments belong to, as well as in several others."
In a page and a half of the preface the author takes us through the history of painting from early Grecian times, particularly pointing out that the art of portrait-painting alone can keep our memories green. He goes on to say: "Well then as painting has made an honourable provision for our bodies so Japanning has taught us a method, no way inferior to it, for the splendour and preservation of our Furniture and Houses. These Buildings, like our bodies, continually tending to ruin and dissolution are still in want of fresh supplies and reparations. On the one hand they are assaulted with unexpected mischances, on the other with the injuries of time and weather; but the art of Japanning has made them almost impregnable against both; no damp air, no mouldring worm, or corroding time, can possibly deface it; and, which is more wonderful, although its ingredients the Gums, which are in their own nature inflamable yet this most vigorously resists the fire, and is itself found to be incombustible. True, genuine Japan, like the Salamander, lives in the flames, and stands unalterable, when the wood which was imprison'd in it, is utterly consumed.... What can be more surprising then to have our chambers overlaid with varnish more glassy and reflecting than polisht Marble? No Amorous Nymph need entertain a Dialogue with her Glass, or Narcissus retire to a Fountain, to survey his charming countenance, when the house is one entire speculum. To this we subjoin the Golden Draught, with which Japan is so exquisitively adorned, than which nothing can be more beautiful, more rich or majestick."
In John Stalker's opinion Europe, both Ancient and Modern, must in the adornments of cities give pride of place to Japan, for "surely this Province was Nature's Darling and the Favourite of the Gods, for Jupiter has vouchsaft it a visit as formally to Danae in a Golden shower."
In an epistle to "the Reader and Practitioner" he severely censures inferior artificers who "without modesty or blush impose upon the gentry such Stuff and Trash, for Japan work, that whether it is a greater scandal to the name or artifice, I cannot determine. Might we advise such foolish pretenders, their time would be better imployed in drawing Whistles and Puppets for the Toyshops to please Children, than contriving ornaments for a room of State."
He cautions the reader against the common error of mistaking Bantam work for real Japan. "This must be alledged for the Bantam work that it is very pretty," &c. &c.; but the Japan is "more grave and majestick ... the Japan artist works most of all in Gold and other metals, and Bantam for the generality in colours with a small sprinkling of Gold here and there, like the patches on a Ladie's countenance."