The introduction of machinery, however, is a fact, and its effects on manual skill must be accepted as a necessity. Nor must we pass over the further fact, that if the modern joiner is not the equal of the journeymen of Chippendale, he can do more. He has powers at command, and can carry into execution quantities, beyond the reach of half-a-dozen, perhaps a score of his predecessors. The consumer ought to reap advantages from this latter fact which he has failed hitherto to get, as shall be explained presently.
This brings me to the consideration of the proprieties of design, and the beauty of decoration of our present furniture. If workmanship is affected by altered conditions of the manufacture, so also is design, that union of effective and suitable decoration with the required convenience of each piece of furniture, which may be called style.
The artist, as regards his productions or style, is fashioned partly by what he thinks and loves, partly by his materials and his tools. With some materials he can do little, for want of tools and appliances. As regards material, wood remains what it always has been, but the steam-engine supplies an absolutely new set of tools. What has been done with them? The impressed marquetry has been mentioned, but as yet nothing really new has been done by the use of machinery. Thin veneers which might be cut out with scissors, as if one were cutting paper in inexhaustible fulness and variety, are restricted, in this impressed marquetry, to such as can be copied in the coarse material, zinc, which has to be punched or sawn out for the manufacture. Then again we have the carving or copying machine. At present nothing more is done with it than to copy, and to copy somewhat clumsily, in duplicate or in large numbers, that which has first been carved or modelled by hand. It would be premature to decide, that with so powerful a tool in his hand, an accomplished artist trained to use it, could not produce real and rapid sculpture. But no such artist has yet stepped on the stage, and it can only be an artist who can put the matter to a proof.
In following the style and ornamentation of former periods, our new machinery is in no sense a help to us. The man who cuts out his material for a Sheraton chair felt what he was going to carve upon, chose his pieces, arranged the grain, and the spare material just as he would require it, with careful reference to the use of his carving tools from first to last. The pace, too, required in executing orders was then more deliberate; costly and elaborate plant and machinery not being required, provincial workmen of admirable skill were to be found in many towns. There is no royal process by which we can put a log of wood into one end of an engine, and find a chair, a table, or a cabinet at the other. What steam machinery does for us is to perform with certainty, and with immense rapidity, the simple operations of sawing, planing, boring, and turning. It is by turnery that ornamentation is done in the engine. Any length of moulded edges can be soon turned out, any amount of the parts of panelling, of turned rails, and of ornaments turned on flat surfaces pressed on the cutting tool, together with the piercing of fretwork and curved and shaped edges to boards. The saw being a fixture in this instance, is an advantage, but machine turnery is not rich in resources. The tool itself is filed laboriously to the mould required, and the wood merely pressed against it. When the wood revolves (as in the old lathe), the turner, with the simple edge of his chisel or his gouge, was the master of an endless variety of ornament limited only by his fancy or skill of hand.
It is nevertheless in the turnery and the fret-cutting machinery, that a furniture artist must find the elements of a style. The man of genius, the poet and maker, who can throw himself into these elements, will do wonders with them. The lathe is as old as history. During the sixteenth, seventeenth, and eighteenth centuries, turned wood furniture was made in considerable quantities in this country, in Italy, and in the Indian possessions of the Portuguese. All the furniture of Arabs, Moors, and Turks springs from the lathe and the moulding plane; the tables and stools, the ingenious reticulation of Cairene geometrical panelling, the screens of woodwork so effective in the queen of Arab cities and in Damascus are derived from these humble sources.
To surface ornament of marquetry, occasional carved insertions can be added. But light, neat, and elegant woodwork, panelling, bookcases, cabinets, dressers, chairs, and tables, can be turned out without these additions, and the variety might be endless.
Carved acanthus foliage, bulging legs and surfaces, artistic carving and marquetry, and chiselled metal-mountings must be the work of trained sculptors. The engine gives them no real help. To design, that is invent (not to copy), carving and marquetry that will bear comparison with the products of Riesener, and of the school of Gibbons, is not to be done by command of appliances or skilful workmanship only. The artist who is thoroughly at home in designs of this kind, is the pupil or descendant of masters whose traditions are well established:
"Fortes creantur fortibus."
But neat furniture, unornamented by hand-work, ought to be turned out of the engine-room, the perfection of lightness, convenience, and strength. And here the buyer will look for the advantage of cheapness. We do not find that our large makers supply well-made machine furniture cheap. As a broad rule, prices seem to be calculated on what a man would do, and work done in the machine is priced, as if a man had made it by hand. In point of fact, five or six men's work is done in the same time, and the cost of wages charged on articles so made, will leave a disproportioned profit, notwithstanding the expense of setting up and maintaining the steam plant.
Decorative furniture can never be had at a cheap rate.