The joiners put together panelling, chairs, couches, frames of tables, shelves, cupboards, and other complex pieces of furniture.
Upholstery.—Chairs and sofas required to be stuffed are then handed over to the upholsterer, and the seats and backs are stuffed with curled horsehair, carefully arranged so as not to wear into holes. A French edge is given to some stuffed seats by bringing the edges of several ridges of horsehair together, so inclined towards the upper edge, that each roll receives support from the others, which react on the pressure thus brought upon them, like springs. One would suppose that these edges were maintained by whalebone, like the stocks in which a past stiff-necked generation suffered so much. Where ribbon scrolls, tiny bunches of flowers, &c., are carved on the frames and top rails of chairs and sofa-frames, if these are to be polished only, the polishing is done before the upholstery. If parts are to be gilt, or the whole gilt, these operations are postponed till the upholstery is completed. So also when panelling, sideboards, bookcases, &c., are to be made up, the moulded lines which can only be conveniently hand-polished while in lengths, are treated thus before making up; and there remain only flat panels and surfaces, that can be evenly rubbed for the final polishing. In upholstered furniture, the coverings would be greased and stained, if polishing were done over or in connection with them; but in the case of gilt work, it must be left in most cases to the last, for fear of dimming or rubbing the gold during the processes of sewing, nailing, stuffing, &c.
I may remark here, that though arm-chairs, fauteuils, &c., are made in great London establishments, the manufacture of light chairs on a large scale is a special branch of the trade, and mostly carried on at High Wycombe, in the neighbourhood of which town there are extensive woods of beech, and where land and water carriage is at hand to convey these productions to London and elsewhere.
Cabinet-making.—It is by no means easy to lay down the exact technical boundary between what I have been describing as joinery, and what I am now about to call cabinet-making. They are considered, however, as distinct branches or rather, perhaps, different operations of the trade; and in such establishments as we are discussing, the cabinet makers and joiners have their own separate workshops and benches, and corresponding separate repositories for storing and drying their woods. Every kind of work is required in making costly cabinets, bookcases, sideboards, commodes, or by whatever name we choose to call the beautiful chests, cupboards, and other artistic receptacles, tables, consoles, brackets, &c., that go to complete the requirements of our modern reception rooms.
They are seldom made with the quaint or elaborate interior fittings, such as have been alluded to in older work, but every resource is brought to bear on the external decoration. Here we come to the arts brought to bear on the ornamentation of furniture.
Let us begin with carving. Sculpture is the highest or most beautiful kind of decoration that can be applied to furniture. It can only be executed by a trained artist. To go no farther back here than the Italian and French Renaissance furniture, generally made of walnut-wood, it is the spirited and graceful sculpture that makes its first great attraction. The Italian carving of this kind is the most graceful; while that of France by Bachelier and others, and much that was executed in England and Germany, being, if less graceful, always spirited and thoroughly decorative. As a general rule, sculpture so applied is conventional in design and treatment, that is, we rarely see it, (except, perhaps, occasionally in little ivory statuettes, and in bas-reliefs,) strictly imitative of nature, like perfect Greek sculpture. But neither should we find strict studies from nature on Greek furniture, if we had it, except with the same limitations. The furniture made by Greco-Roman artists, and discovered at Pompeii,[ [6] bears witness to this assertion, such as a head, a bust, the claws of animals, sculptured on furniture generally ending in scrolls or leafwork. If a human figure is complete, it bears no real proportion to objects round it, and so on.
Excellent wood sculpture used to be executed in England, from the days of Grinling Gibbon to those of Adam and the Chippendales, suited to the furniture then in fashion. I wish I could say that our furniture makers of to-day could easily, or did generally, command such talents. Ingeniously carved representations of animals and game on sideboards we sometimes see, but game 'dead' in every sense. If, indeed, Messrs. Crace, Howard, Jackson and Graham, and other firms could persuade the Royal Academicians to model for them, those artists would have to give some material amount of time to the study of how they could so effectually modify their skill as to suit the requirements and opportunities of a piece of furniture, these being quite peculiar. The French are easily our masters in this respect, but even they sacrifice good qualities proper to this kind of sculpture, in a morbid search after the softness of nature.
A curious piece of mechanism has been invented, and is in use in most large London furniture workshops, for carving by steam. Besides boring out and cutting away superfluous material, there is an engine for making mechanical sculpture in bas-relief, or the round. The wood is fixed on a metal table, which is moved to and fro and up and down, so as to come in contact with a revolving cutter held above it. The wood is then shaped and cut, according as it is elevated or moved. There are three or four cutters, and one piece of wood may be placed under each. Under the middle cutter, replaced by a dummy tool that does not really cut, the workman places his cast or model, and makes the dummy cutter pass over every undulation of its surface. The two or three cutters on either side cut the corresponding blocks exactly to the same depths and undulations as are followed by the blunt tool. It is a copying machine. That such copies, though they may pass muster, will ever have the charm of original carving, the reader shall not be asked to believe.
Certain elaborate methods of decorating and finishing woodwork must now be described, viz. those known as inlaying and marquetry. These two processes are distinct, but marquetry furniture has often portions decorated with inlaying, as also carved ornaments and decorations of beaten, cast, or chiselled metal-work. This last addition is not generally of the same importance in our modern English woodwork that it was a century ago, and I will describe the former methods first.
Inlaying means the insertion of pieces of more costly wood, stone, small discs, or carved pieces of ivory, into a less valuable material. The process is as old as any manufacture in wood working of which we possess records. Beautiful plates or blocks of ivory can be seen in the Assyrian gallery of the British museum, found at Nineveh by Mr. Layard. They are deeply cut with lotus and other leaf decorations, figures and hieroglyphics, and most of them have an Egyptian character. The ivory figures, too, have been inlaid and filled up with vitrified material. Remains of these decorations are still discernible, and the thickness of many of these pieces of ivory shows that they have been sunk bodily into woodwork of a solid character.