A characteristic piece of Spanish furniture was at this time the solid-looking cabinet known as the vargueño, so denominated from the little town of Vargas, near Toledo, formerly a well-known centre of their manufacture. These cabinets, whose origin, according to the Marquis of Monistrol, may be traced to a fifteenth-century form of huche, or chest provided with drawers for guarding articles of value, and which opened in the centre, are commonly made of walnut. The front lets down upon a massive wooden rest supported by the legs, and forms a folding writing-table containing at the back a number of drawers or compartments for storing documents, or other things of minor bulk.
The woodwork of these cabinets is often without carving; but generally in such cases their bareness is relieved by massive and elaborately ornamented iron fastenings and a decorative key.
The Ordinances of Granada tell us that in 1616 the making of defective furniture had grown to be a scandal in that town. The cause, it seems, was partly in the wood itself, proceeding from the Sierra de Segura, Pinar del Duque, and the Sierra de Gor. “Divers of our carpenters and joiners cut their walnut and other woods while yet the moon is crescent, whereby the wood decays and spoils. Others there be that make and sell chairs, desks, beds, and other furniture of green unseasoned wood which warps and loosens, insomuch that within some days the article is worthless. Therefore we order that all walnut wood and other woods for making furniture be only cut at the time of the waning moon, and be not used until they shall have seasoned thoroughly, so as not to warp; and that they be approved by the inspectors of this trade, under a penalty of six thousand maravedis for each of the aforesaid Ordinances that be not complied with.”
IX
DOOR OF THE HALL OF THE ABENCERRAJES
(Alhambra, Granada)
The municipal laws of the same city relative to the “chair-makers who make hip-chairs to sit in, and leather-covered chests,” were cried, in 1515 and 1536, “in the street of the chairmakers and carpenters.” Fettered by irksome regulations of this kind, we cannot wonder that the arts and crafts of Christian Spain were fated to decline.[20] Owing to the “false and faulty workmanship” prevailing in Granada, it is provided by these statutes that the wood employed in making chairs must be bought by the manufacturers in public auction only, held “in the little square where dwell the chairmakers.” It must be thoroughly dry and free from flaws, and of sufficient stoutness to sustain the decorative marquetry. The chair which lacks these requisite conditions must be seized and burnt. The four nails which fasten the seat of the chair to the legs must traverse the frame completely and be hammered back upon the other side, unless the surface of the chair be inlaid, in which case they need not pass completely through. The leather for the seats and backs of chairs must be good in quality and well prepared and dressed, besides being strongly sewn with flaxen thread. Chairs of all sizes must bear the official city mark, stamped by the authorities at a charge of one maravedi for each of the large chairs and a blanca for each of the small.
Makers of the leather-covered chests are ordered to use the hides of horses, mares, or mules, and not the hides of oxen, cows, or calves, because, if covered with this latter, “the chests grow moth-eaten and are destroyed much sooner.” The craftsman who transgresses this command must lose the faulty piece of furniture, and pay four hundred maravedis, while under a further penalty of two hundred maravedis the hinges must be fixed inside the chest, and not to its exterior.
