The Chippendale china-cabinets with gla.s.s fronts, were the outcome of the fad for collecting Chinese and French porcelain, and excellent taste was displayed in collecting these small articles within definite and appropriate limits. Cabinets with gla.s.s doors were also used as receptacles for silverware.

Thomas Sheraton (1760-1786), another great name in the Mahogany Period, admired Louis XV and Louis XVI and one can easily trace French influence in the "light, rhythmic style" he originated. Sheraton's contribution to interior decoration was furniture. His rooms, walls, ceilings, over-doors, windows and chimney pieces, are considered very poor; which accounts for the fact that Sheraton furniture as well as Heppelwhite was used in Adam rooms.

Sheraton made a specialty of pieces of furniture designed to serve several purposes, and therefore adapted for use in small rooms; such as dressing-tables with folding mirrors, library step-ladders convertible into tables, etc.

The backs of Sheraton chairs had straight tops and several small splats joined to a cross-rail, and not to the seat. The legs were straight.

Sheraton introduced the use of turned work on the legs and outer supports of the backs of chairs, and produced fine examples of painted furniture, especially painted satin-wood. He, also, did some very fine inlaying and used cane in the seats and backs of chairs which he painted black and gold. Among those who decorated for him was Angelica Kauffman.

Heppelwhite chairs are unmistakable on account of their _shield_, _heart_ or _oval_ backs and open splats, which were not joined to the seat in the centre of backs. The most beautiful were those with carved Prince of Wales feathers, held together by a bow-knot delicately carved. They were sometimes painted. The legs of Heppelwhite furniture were straight.

We see in the book published by A. Heppelwhite & Co., a curious statement to the effect that cabriole chairs were those having stuffed backs. This idea must have arisen from the fact that many chairs of the eighteenth century with cabriole legs, did have stuffed backs.

Robert Adam, born in 1785, was an architect and decorative artist. The Adam rooms, walls, ceilings, mantels, etc., are the most perfect of the period; beautiful cla.s.sic mouldings encrust ceilings and sidewalls, forming panels into which were let paintings, while in drawing-rooms the side panels were either recessed so as to hold statuary in the antique style, or were covered with damask or tapestry. It is stated that damask and tapestry were never used on the walls of Adam dining-rooms. James Adam, a brother, worked with Robert.

Every period had its own weak points, so we find the Adam brothers at times making wall-brackets which were too heavy with ram's heads, garlands, etc., and the Adam chairs were undoubtedly bad. They had backs with straight tops, rather like Sheraton chairs, and several small splats joining top rail to seat. The bad chairs by Adam, were improved upon by Sheraton and Heppelwhite. The legs of Adam furniture were straight.

The ideal eighteenth century interior in England was undoubtedly an Adam room with Heppelwhite or Sheraton furniture.

Sir John Soane, architect, had one of the last good house interiors, for the ugly Georgian style came on the scene about 1812. Grinling Gibbons' carvings of heavy fruits and flowers, festoons and masks made to be used architecturally we now see used on furniture, and often heavily gilded.

William Morris was an epoch maker in English interior decoration, for he stood out for the "great, simple note" in furnishings. The pre-Raphaelites worked successfully to the same end, reviving cla.s.sic simplicity and establishing _the value of elimination_. The good, modern furniture of to-day, designed with reference to meeting the demands of modern conditions, undoubtedly received a great impetus from that reaction to the simple and harmonious.

CHAPTER XXII

THE COLONIAL PERIOD

The furniture made in America during the eighteenth and early nineteenth centuries was reproduced from English models and shows the influence of Chippendale, Sheraton, Heppelwhite and the Adam brothers.

For those interested in these early types of American output, the Sage and other collections in the Metropolitan Museum, New York, give a delightful object lesson, and there has been much written on the subject in case any data is desired.

If some of our readers own heirlooms and plan reproducing Colonial interiors of the finest type, we would advise making an effort to see some of the beautiful New England or Virginia homes, which remain quite as they were in the old days; fine square rooms with hand-carved woodwork, painted white, their walls panelled in wood and painted the same white. Into these panels were set hand-painted wall paper. The authors saw some made for a house in Peabody, near Salem, Ma.s.sachusetts, some time between 1760 and 1800, and were amazed to find that the colours were as vivid as when first put on.

Here let us say that the study of interior decoration throws a strong light on the history of walls. In Gothic days the stone or wood of the feudal hall was partially concealed by tapestries,--the needlework of the women of the household, a record of the gallant deeds of men used as interior decoration. Later of course, the making of tapestries became a great industry in Italy, France and Belgium, an industry patronised by kings and the n.o.bility, and subsidised by governments.

Next we have walls sheathed with wood panelling. Then during the late Renaissance, painted portraits were let into these panels and became a part of the walls. Later, the upper half, or two-thirds of the panelling, was left off, and only a low panelling, or "dado,"

remained. This, too, disappeared in time.

Landscape paper was the bridge between the panelled walls with pictures built into them, and the painted or papered walls with pictures hung on them. The paper which we have already referred to, is one of the finest examples of its kind, and while there is only enough for one side of a room, it is valued at $5,000. The design is eight feet high, each strip 22 inches wide, and there are eighteen of the original twenty strips. Two breaks occur, numbers 16 and 18. The owner believes that the Puritan att.i.tude of her ancestors caused them to destroy the panels which showed nude figures engaged in battle. This paper is now the property of Mrs. Eliza Brown of Salem, Ma.s.sachusetts.

It was found in her grandfather's attic in Gloucester, and was given to Mrs. Brown by her grandmother. It was in an army chest belonging to Judutham Baldwin, a Colonel of Engineers in the Revolutionary Army, who laid out the forts in Boston Harbour.

Kate Sanborn, in her book on "Old Wall Papers" speaks of this particular paper. "Paper from the Ham House at Peabody, Ma.s.sachusetts, now occupied by Dr. Worcester. Shows tropical scenes. These scenes are quite similar to those of the Pizarro paper and may have been the work of the same designer." (The so-called "Pizarro in Peru" paper is shown in plate 34 and 35 of the same book, and is in Duxbury, Ma.s.s.) Pizarro's invasion of Peru was in 1531. The colouring of Mrs. Brown's paper is white background with foliage in vivid greens, while figures of Peruvians wear costumes of brilliant blues and vermillion reds, a striking contrast to their soft, brown skins.

This paper is now in the market, but let us hope it may finally rest in a museum.

CHAPTER XXIII

THE REVIVAL OF DIRECTOIRE AND EMPIRE FURNITURE

The revival of Directoire and Empire furniture within the past few years, is attributed by some, to that highly artistic, and altogether illuminating publication, the _Gazette do Bon Ton_--Arts, Modes and Frivolities--published in Paris by the Librarie Centrale des Beaux Arts, 13 rue Lafayette and contributed to by the leading artists of Paris--the ultra moderns.

There was a time, fifteen or twenty years ago, when one could buy Empire furniture at very low figures, for in those days there was many a chance to pick up such pieces. To-day, a genuine antique or a hand-made reproduction of an antique made sixty years ago, will command a large price, and even in Paris one has difficulty in finding them in the shops at any price.

Empire furniture ceased to be admired in America when the public got "fed up" on this type by its indiscriminate use in hotels and other public buildings.

The best designers of modern painted furniture are partly responsible for the revived interest in both Empire and Directoire. From their reproductions of the beautiful simple outlines, we, as a people, are once more beginning to _feel_ line and to recognise it as an intrinsic part of beauty.

PLATE XXI

A Victorian group in a small portion of a very large parlour, 70 x 40 feet, one of the few remaining, if not the last, of the old Victorian mansions in New York City, very interesting as a specimen of the most elegant style of furnishing in the first half of the nineteenth century.

We would call attention to the heavy moulding of ceilings, the walls painted in panels (painted panels or wall paper to represent panels, is a Victorian hallmark), beautifully hand-carved woodwork, elaboration of design and colon carpet, woven in one piece for the room; in fact the characteristic richness of elaboration everywhere: Pictures in gilded carved frames, hung on double silk cords with ta.s.sels, heavily carved furniture made in England, showing fruits, flowers and medallion heads, and a similar elaboration and combination of flora and figures on bronze gas fixtures.

Heavy curtains of satin damask hung at the windows, held back by great cords and ta.s.sels, from enormous bra.s.s cornices in the form of gigantic flowers.

Also of the period is an immense gla.s.s case of stuffed birds, standing in the corner of the large dining-room. This interior was at the height of its glory at the time of the Civil War, and one is told of wonderful parties when the uniforms of the Northern officers decorated the stately rooms and large shaded gardens adjoining the house.

As things go in New York it may be but a matter of months before this picturesque landmark is swept away by relentless Progress.

[Ill.u.s.tration: _Part of a Victorian Parlour in One of the Few Remaining New York Victorian Mansions_]

CHAPTER XXIV

THE VICTORIAN PERIOD

Gradually architecture and interior decoration drew apart, becoming two distinct professions, until during the Victorian era the two were unrelated with the result that the period of Victorian furniture is one of the worst on record.

There were two reasons for this divorce of the arts, which for centuries had been one in origin and spirit; first, the application of steam to machinery (1815) leading to machine-made furniture, and second, the invention of wall-paper which gradually took the place of wood panelling and shut off the architects from all jurisdiction over the decoration of the home.

With the advent of machine-made furniture came cheap imitations of antiques and the rapid decadence of this art. Hand-made reproductions are quite another thing. Sir Richard Wallace (of the Wallace Collection, London) is said to have given $40,000 for a reproduction of the _bureau du Louvre_.

Fortunately, of late years a tide has set in which favours simple, well made furniture, designed with fine lines and having special reference to the purposes for which each piece is intended, and to-day our houses can be beautiful even if only very simple and inexpensive furniture is used.

In the Victorian prime, even the carved furniture, so much of which was made in England both for that country and the United States (see Plate XXI), was not of the finest workmanship, compared with carvings of the same time in Belgium, France, Germany and Austria.

To-day Victorian cross-st.i.tch and bead work in chairs, screens, footstools and bell-pulls, artificial flowers of wax and linen, and stuffed birds, as well as Bristol gla.s.s in blue, green and violet, are brought out from their hiding places and serve as touches of colour to give some of the notes of variety which good interior decoration demands.