Professional Documents
Culture Documents
ment
and
Joseph Aronso
2000 ILLUSTRAT
By Joseph Aronson
Joseph Aronson
CROWN PUBLISHERS,
Marin County Free Library
Civic Center Administration Building
INC.,
NEW YORK
e
6
06
'
?9
CONTENTS
PAGE
FOREWORD
vii
ACKNOWLEDGEMENTS
ix
TEXT
- 475
BIBLIOGRAPHY
476
A GLOSSARY OF
DESIGNERS AND CRAFTSMEN
480
FOREWORD TO THE
me that the art and industry of
needed a convenient encyclopedia.
Everyone who buys or uses furniture, who makes, designs, or sells it, collectors, architects, decorators and
students must feel frequently the singular lack of a
handy reference work for the checking of details, the
It
FIRST EDITION
furniture sorely
and
body
and pertinent to the critic and the speseemed justified in the cause of
compactness. If accuracy, accessibility and thoroughness could compensate for brevity and limited details,
it seemed that a handy one-volume encyclopedia could
prove useful and valuable for most needs. I have sought
therefore to provide dependable initial information.
The seeker after more detailed knowledge has available
a vast library from which the bibliography ( page 476
is selected as having been of most assistance to the
all
interesting
cialist.
That
sacrifice
writer.
One picture, say the Chinese, is worth ten thousand words. This numerical ratio based on the quantity
of photographs offered in this volume would probably
satisfy the writer and the reader in their joint tempta-
effecting the
in
advance. In
this
connection
it is
interesting to observe
Joseph Aronson
furniture lore.
monographs
The major
part of this
book
consists of
New York,
N.Y.
October 10, 1938
has in
common
with other
a generation achieved
of Furniture, in
itself.
There
places.
The simple fact that a vade mecum to this art survived over a quarter of a century is significant. During
this period I have received a stream of generous and
constructive criticism, resulting in: the format of this
edition, which intends primarily to offer a quicker correlation between pictures and text; addition of material
VII
FOREWORD
The format, with its continuous dictionary style, endeavors to bring illustrations into close sequence with
minimize page turning, to visualize and
verbalize simultaneously. The ideal balance is of course
never achieved, since illustrations simply do not occur
in such neat sequence. Let us confess that most evoluthe
text, to
A actually inspired
the reverse may often be true.
fact;
form
B. Chronologically,
This merely proves that style development is never the
work of an individual; rather, the large maturing of
style
is
homogeneous
and one-purposeful.
The enlarged view of 19th-century furniture is a
bow to the passage of time and widening horizons. As
the century recedes
into
perspective,
its
Industrial
Whether
is
may
worse it sums
and perceptions of its
makers, the sentiments of a wide range of impulses reflecting a whole milieu. This book offers no esthetic
judgments. It seeks only to illustrate those forms and
styles that in their time gave satisfaction to their makers
and users.
Parenthetically, I make no claim for the authenticity of any piece pictured in this volume. A piece whose
origins and history must be reconstructed from the
quarians.
FOREWORD
VIII
It is furniture;
up emotions and
and
its
little
varied in
volume
dedicated to conciseness.
England merits disproportionate attention because
the domestic scale in furniture, the felicity of everyday
living, as we know it, and the prototypes of most American furniture developed there. And, of course, there is
American
provincial derivation from English
substantial representation of
its
furniture.
for better or
capabilities
physical evidence of
material leaves
much
The question
in favor of conciseness.
were
sacrificed to brevity.
to the
Joseph Aronson
New York,
November
N.Y.
1, 1965
ACKNOWLEDGMENTS
world of assistance, advice, and cooperation of many individuals and institutions, this work
would have been impossible; and whatever merit it
may prove to have is largely due to their generous aid.
Among the collectors and dealers who provided photo-
Without
am
pleased to
list:
Newark,
Brunovan,
Herman
hams Antiques,
N.J.;
Inc.; B. Olivieri;
York;
The Atheneum
seums.
much
material into
my
hands.
IX
The
ol
member
of the capital of a
ADAM, The
Brothers. Robert,
began practicing
ACACIA. A group
James
1728-1792;
London
in
Some
varieties
brown
for
is
is
mahogany.
The Adams
ACANTHUS.
ing in
Conventionalized leaf of a plant growAsia Minor. It is found as the basis of all foliage
ornament
Thus we
find
etc.,
to execute their
some designs, such as Hepplewhite, Angelica Kauffmann, Pergolesi, Flaxman, and others, presumably in
the association of designer and craftsman. They believed that every detail of the house and its furnishing must grow from the same mind, and carried this
out in
designs
all
for
lighting
carpets,
fixtures,
sedan chairs,
service, snuffboxes, and whatnot. The fundamentals of all this they state in their book, The
Works in Architecture of Robert and James Adam
the
(1773). "We have been able to make use of
beautiful spirit of antiquity, and to transfuse it with
." While there exists in their
novelty and variety.
work the delicate splendor of the style of Louis XVI,
it derives not from the French but directly from the
Roman remains. This classicism is in the earlier work
imposed upon the accepted forms and proportions of
Georgian furniture; later, it demanded lighter lines,
in style and delicacy far removed from the midGeorgian solidity.
table
ACANTHUS SCROLL
LEAF
MOLDING
mon
in
Jacobean furniture as
ACROTERIUM.
finials
on chair posts
turning. [737.]
The Adams
Mahogany to
woods covers
Age
the
Age
of
just this span; beginning with the accepted mahogany, they later employed whole sur-
in Architecture of
Adam
1778 )
Designed
furniture
was
tion
of great delicacy
raised
plaster
classical
arches,
figures,
niches,
was painted
(composition),
architectural
etc.,
generously
or
with
motifs
were patterned
carpet or in stone.
square
or
lines
rinceaux, in fact,
all
outlines;
a preference for
swags,
festoons,
lions'
heads and
etc., with
The
style
academic
spirit
Yet
of architectural correctness.
day
it
the criticism, in
its
its
own
ADELPHI, THE.
Brothers
Signature or trade
name
of the
Adam.
executed in
medallions
as
of
pilasters,
distributed.
Floors
AFFLECK, THOMAS.
Philadelphia
pendale
1269.]
style.
[33,
cabinetmaker,
Worked
in
Chip-
AMERICA
AMERICA. The
WOOD.
Age
Age
Age
Age
of Oak, 1500-1660
of Walnut, 1660-1720
of
Mahogany, 1720-1765
of Satinwood, 1765-1800
ALCOVE.
castes.
way
of
its
to the British
See ambry.
strains
styles. In
be
AMARANTH.
Purplish
wood used
for
veneering
and
"purpleheart."
AMROYNA. An
The
in furniture since
times.
In
appear:
the
Puritan colonies
in
New
in the South.
medieval churches
recess
for
the
AMRULANTE
XV
and
after. [1251.]
AMBULANrE
AM&R.Y
permanent, bore little fruit. In the Canadian Maritime Provinces and the American Southwest, respectively,
there are relics of provincial improvisations on themes
of the mother cultures. [1170.]
forests.
AMRRY.
many
ALPINE. The mountainous sections between Germany and Italy were meeting places of the northern
Roman
the furniture of
ALMERY; ALMONRY.
inlay.
is
furniture or
tinct
and
style,
lands, periods,
and southern
Tyrol mixed
colonies, less
AMERICA
AMERICA
EARLY COLONIAL PERIOD-17TH CENTURY
The New England
class.
colonists
War
in
England, they
left
their
Late
Gothic-Tudor tradition.
Novelty of a decorative nature was excluded for
reasons of religious principle, economy, and possibly a
lack of
skill.
1620-1720
is
of
the
New
largely distinguished
by
directness
its
and the persistence of English Jacobean characterPictures 221 and 227 show chairs of clear Gothic
lineage. Chests and cupboards bore the distinctive
istics.
and
357.
types, as in 1194.
Desk
efforts,
and
it
is
actually imported
is
companies.
identified in
Ameri-
ing.
CHAIR TABLE,
1675.
CARVER ARMCHAIR,
Metropolitan
'
Museum
CHEST
Ipswich,
Massachusetts,
1650-1700.
1909
* *
iW
1675.
CRADLE,
1625-1675.
AMERICA
AMERICA
AMERICAN FURNITURE IN THE 17TH CENTURY SIMPLIFIED THE
DECORATION DETAILS OF THE MOTHER COUNTRIES.
COURT CUPBOARD,
Metropolitan
Museum
of Art
PRESS CUPBOARD
Jacobean
c.
style.
9
6
PILGRIM TYPE
WAINSCOT CHAIR,
1660.
7
BREWSTER CHAIR
WAINSCOT CHAIR,
1648.
AMERICA
10
TRESTLE TABLE,
FLOWER CHEST,
SPICE CABINET,
Massachusetts, c.
1650. 11 SUNConnecticut, c. 1680.
12 MINIATURE
Pennsylvania. Model of William and Mary
highboy.
Metropolitan
Museum
AMERICA
AMERICA
AMERICAN FURNITURE OF THE EARLY 18TH CENTURY IMPORTED MOTIFS
OF ENGLISH RESTORATION, WILLIAM AND MARY, AND CONTINENTAL STYLES.
13
Schuyler, Albany.
Henry Ford Museum, Dearborn, Mich.
WALL
15
CUPBOARD, Pennsylvania. Gothic
reminiscence in hardware and joining.
Metropolitan
Museum
of Art
AMERICA
CHAIR DETAILS-FLEMISH
L~l
AMERICA
STYLE
14 HIGHBOY, Boston,
decorated lacquer.
Ginsburg and Levy
style,
trumpet turnings,
1*
=4 lrchrt
PLAM
SPANISH FOOT
of
HIGHBOY STRETCHER.
AMERICA
AMERICA
10
17
Metropolitan
19
Museum
1680-1700.
J.
Wesley
18
Rln>*,
1947
New England, c.
of Design,
Providence
1730.
black,
*&/>
'I
..
^ \J
'$
20
painted black,
Israel Sack, Inc.
21
foot. Attributed to
Hampshire,
c.
c.
maple, Spanish
New
1720.
23
ROUNDABOUT CHAIR.
Metropolitan
24
Museum
18th century.
1909
AMERICA
25
with 26
HIGHBOY,
AMERICA
12
is
matched
below.
Israel Sack, Inc.
27A A
27
DETAIL,
attributed to
V^JP
in
two pieces.
Samuel Dunlop.
1775-1790,
Wadsworth Atheneum, Hartford
AMERICA
AMERICA
13
Boston,
Goddard
28
in
CHEST,
SNAKt
Toof
AMERICA
AMERICA
14
35
30
MIRROR, Dutch
KNEEHOLE DESK c.
1760.
style.
31
BLOCKFRONT DESK,
1760-1770.
WALNUT
32 QUEEN ANNE
ARMCHAIR,
drake foot, attributed to William Savery,
C.
1750.
34
Massachusetts,
C.
1760.
AMERICA
15
33
CHIPPENDALE-STYLE CHAIR
to
Thomas
Affleck.
attributed
36
37
CAMELBACK
SOFA,
Philadelphia,
c.
1760.
ftSBfflfi
AMERICA
AMERICA
16
39
38
CHEST-ON-CHEST,
Massachusetts, 1770-1780.
LATE-18TH-CENTURY BED.
John
S.
Walton, Inc.
AMERICA
40
17
SERPENTINE-FRONT BUREAU,
Massachusetts,
41
C.
1750.
ogee bracket
AMERICA
feet,
BOMBE CHEST,
Massachusetts, c. 1760.
Henry Ford Museum, Dearborn, Mich.
42
TALL CLOCK,
second quarter of
of History
and Art
AMERICA
AMERICA
18
44 CHEST, Sheraton
style,
1820-1830.
FEDERAL PERIOD
The Colonial period may be considered ended by
the Revolution. When the war was over, there was
enough resentment of English things to promote the
French influence; since English style of the period
classical, however, it is difficult to isolate
the direct Italian influence through Thomas Jefferson,
the French imports, or the English classicism of Adam,
Hepplewhite, Shearer, and Sheraton. Of the latter,
there remain excellent interpretations by the Salem
carver Samuel Mclntire, by Charles Bulfinch, and by
Robert Wellford of Philadelphia. The pinnacle of
American classicism was attained by Duncan Phyfe
[962] with his superb designs after Sheraton and the
French Directoire manner.
was strongly
43
PENNSYLVANIA CLOCK,
1810.
Henry Ford Museum, Dearborn, Mich.
c.
The houses
had by
this
into
which
this furniture
found
own
its
way
idioms, dif-
AMERICA
19
45
EXTENSION TABLE
Hepplewhite
style, late
18th century.
CD
FEDER.AL.
TURNING
craftsmanship flourished.
bellished
architecture
corner boards
became
discreet
and furniture
pilasters;
flat
became pediments.
classicism
alike.
em-
Exterior
cornice boards
friezes;
gables
same
costuming: fireplaces, doors and windadoes and cornices were fine-scaled after
architectural
dows,
architectural excesses.
AMERICAN SHERATON
CHAIR. BACK.
iffliinmiiu
it
46 Left, Baltimore.
47 Center,
New
York.
48 Right, Massachusetts.
50
CABINET,
49
Sheraton
51
style.
CLOCK.
SHERATON CHAIRS,
1800.
c.
AMERICAN
21
54 Attributed
56 Newburyport, Massachusetts.
55 Maryland.
to Mclntire.
52
INLAYS
ARE STRESSED
TAMBOUR
DESK, New
i-i-.TnYiv---
57 Philadelphia.
York.
-niV
"-"-
IN EARLY-19TH-CENTURY
CARINETWORK.
3^33 fees"
22
53
58
REDPOSTS,
POSTER
in the
SERPENTINE-FRONT SIDEROARD,
Hepplewhite
style, c.
1790.
MAHOGANY FOUR-
59
Massachusetts.
Salem,
Sheraton tradition, New York, c. 1820.
60
1817.
Henry Ford Museum, Dearborn, Mich.
c.
61
attributed
Michael Allison.
Henry Ford Museum, Dearborn, Mich.
to
^Bf^
Israel Sack, Inc.
^N,
65
DETAIL OF CARVING,
table
/
64
TRIPOD TABLE,
New-York
66
SOFA TABLE.
c.
Museum
1810-1820.
Historical Society,
New
York City
1800.
of the City of
New
York
24
AMERICA
71
MIRROR,
Albany
67
86 inches high.
Institute of History
and Art
DESK.
Photographs Henry Ford Museum, Dearborn, Mich.
69
SHERATON-STYLE
68
SEWING TABLE,
The
stretcher
is
rare.
Massachusetts,
c.
1800.
CHAIR,
Massachusetts, 1790-1800.
73
SIDEBOARD,
Sheraton
W^^^
t'
r*
72
GIRANDOLE MIRROR.
Albany
Institute of History
and Art
74
FALL-FRONT DESK.
Israel Sack, Inc.
75
BOW-BACK SOFA,
Massachusetts,
c.
1800.
76
York, c. 1810.
Henry Ford Museum, Dearborn, Mich.
26
77
82
front
wood
absent or
pendent on
ladder-back
The country
furniture developed
scarce
chair,
in
city
with
life.
its
many
utilitarian types
ing chairs,
etc.,
in
arts
1830.
the
far
that declined
By
greatest
found
their
1820.
1820-
is
only
PENNSYLVANIA
"
LEPPELBORTIE"
82
84
83
century.
NEW ENGLAND
BOW-BACK WINDSOR
c.
1830.
c.
stretcher.
Anderson Galleries
AMERICA
28
AMERICAN EMPIRE
85
ARMCHAIR, New
York(?), 1815-1820.
Museum
89
DETAIL OF BED
Albany
87 DROP-LEAF BANQUET
1820-1825.
Munson-W illiams-Proctor Institute,
by Lannuier.
Institute of History
and Art
?),
88 PIER
Utica, N. Y.
of the City of
TABLE, marble
S.
Walton, Inc.
New
York
ANCIENT FURNITURE
29
mood
About
pounded
earlier
in
mere
detail.
The
of the
style
the
Columbian Exposition
fashionable levels
this
in
1893.
On
most
the
Italian
and an
MAHOGANY SIDEBOARD
c.
this situation
1820.
Museum
of the City of
New
York
subject
is
is
American
As
COCK; PHYFE.
EMPIRE
Napoleon's Empire style was not long in arriving.
It
added
work
pure
line.
Even Phyfe's
after
title
latter into
wood
Curved brackets,
heavily ornamented.
Sleigh
furniture of massive
legs, etc.,
beds,
Greek-Egyptian
stonework of the
plainness.
to
OR
massive bureaus,
AMORINI
(Italian).
Profuse
in
winged head
is
in
used.
Italian influence.
scroll sofas,
The
style setters
clienteles
lively.
The
curves
of
knowledge
ancient civilizations
is
of the fur-
gleaned from
ANCIENT FURNITURE
ARCA
30
ment
ANGEL BED.
to offer as
there
is
The
dealers.
pillars in front.
The
curtains are
head
drawn back
pane goes
right
down
in
is
recognized
repaired,
as
wood and
esses.
by which authenticity
restored, or copied.
may
sections
ANIMAL-COUCHANT FOOT.
signs
reliability.
at the
canopy
premium on
since
pitfall,
being
to
after an
old proc-
the
restored
new
top mounted on a
how
base, no matter
well
[1035.]
detected.
ally
necessary
for
the
I.I
DUCTION
ANTIQUING. The
from soiling by
that time was dressed with macassar
to protect chairbacks
pattern con-
ANTIMACASSAR.
hair,
which
at
finishes).
oil.
process of treating
wood
or finish
Even
and
nails are
used to
ANTIQUE, THE.
Roman styles.
is
furniture" implies
ture."
local attitudes
as to age
and
cultural worth.
Antique furniture
and
dirt colors
to provide an
uneven
beauty, association, or documentary interest or personal sentiment. Though the United States Customs
to
surface.
is
very hard, of
is
Wood
and
with washes of
ANTIQUES.
be the
See
also
will
and
as
such
pieces.
Like
used
is
found
all
in
It
is
many American
fruitwoods,
in provincial furniture
it
18th-century
throughout Europe.
too relative
aesthetic deficiencies.
is
APRON. A
of
The
APPLIQUE.
ARARESQUE.
Painted, inlaid, or
flat
antique collectors comprises a complete industry, with values and standards and ethics.
The genuineness of antiques is almost as relative as
ARCA.
Italy.
cult of
more than
his judg-
carved designs,
ARCADE
ARMOIRE
31
ARCADE.
ARM
PAD. The
ARCADED RACK.
ARM STUMP.
The
arm
ARMCHAIR.
IDID
ARMOIRE. A
t>AClC
The Gothic
ARCADED PANEL.
English
Typical
Renaissance
relief.
[226.]
ARCHED STRETCHER.
stretcher in chairs, tables,
Arched or hoop-shaped
and cabinets of the English
[267,
1032,
ARCHITECTS' FURNITURE.
1235,
FRENCH REGENCE,
1276.]
Specifically,
English
etc.
in a
for
for
then
the
Similar to
fashionable
davenport
interest
in
architecture.
desk.
ten i7ic;i
T6tS
of a cornice.
Also
AUK WRIGHT.
maker.
From
"wright,"
refers to
Early
"ark,"
name
name for
English
the old
mechanic or maker.
Late Gothic types
in
for
cabinet-
cabinet, and
Arkwright furniture
England in which the
work.
Metropolitan
columns,
tall
types
Restoration period.
See chair.
Museum
of Art, Rogers
Fund, 1919
ARRAS
ART NOUVEAU
32
endowed
influence
armoire
the
with
wealth of
ARRAS.
and walls
after the
city Arras,
ARRIS. Sharp
of
two
or salient edge
tapestries
was
ARROW.
ARROW
SPINDLE.
in
[79.]
ART MODERNE.
92
CANADIAN,
Montreal
93
AUSTRIAN OR BAVARIAN,
Museum
XV.
of Fine Arts
A.HT
MOD6RME
ART
arts
new
lines
inspired this "New Art." It drew on various motivesGothic and Japanese principally and established an
ornamental vocabulary based on natural growing
forms.
The
typical line
is
ASSYRIAN
33
1884,
grew
it
revival of in-
overmechanization; and
inspired groups
it
the
like
the
in
The
crafts.
ideal
Webb, and
and
c.
Museum
New
of
Modern
copyists
Art,
designed
1908.
amateur
deliberately
and book
glorifying
quality,
manufacturers who accepted the outward forms for machine-made products. The Mission style is one of the
offshoots. The furniture forms of the Arts and Crafts
less successful.
His man-
in furniture
York City,
95
Guimard
interest
design.
94
all
new
Paris,
c.
1900.
Movement
and
examine the forces at
individuals
were moved
ASH. A
is
to
only
now
materializing. See
many
of
which
to
and
jasmine. The olive ash burls of both England and
France are exquisitely figured, and capable of beautiful veneer matching. The color varies from a light
honey color to a medium brown. The American ashes
are used principally as lumber where great strength
a group that also includes olive,
is
lilac,
privet,
The wood
is
ASPEN.
Species
weight and
of
poplar;
the
wood
poor
is
light
in
structurally,
ASSYRIAN.
Assyrian
decorative
art
was approxi-
mately contemporaneous with the Egyptian. Ornamental motives were borrowed, the lotus and other
natural forms being adapted. Animal forms were
distinctive, featuring the
winged
bull, lion,
and
more
eagle.
ASTER CARVING
BALL FOOT
34
BACHELOR CHEST.
of
drawers
Modern name
typically
in
early-18th-century
style. [568.]
ASTER CARVING. On
also
sunflower carving,
BACK STOOL.
ASTRAGAL.
ing;
ATHENIENNE. Round
in
Louis
English
[173.]
in Al-
The game
[1338.]
}
BAG TABLE.
two drawers, the lower having a cloth bag attached. Common in 18th and early 19th century,
England and America. See also table. [68, 96, 1260.]
or
ATUHTfS
ATHENIENNE
ATLANTES.
male
figures.
tapestries
carpets
or
AUSTRIA.
Austrian furniture
is
96
German,
essentially
All IT
It
The Alpine
is
oak, pine,
and
fir
in paneling, chests,
and beds
recall
may be
considered uniformly
See also Germany. [457, 466.]
German
in
character.
had a rounded
studded with
top,
nails. It
HARDWARE.
BALDACHIN. A
columns.
African
wood
of
medium
density
See
texture.
modern
member, found
in
Light-colored
wood
similar
in
color
[27, 183.]
and
etc.,
17th-century work.
ball.
and
and satin-smooth
claw and
Same
as
bun
BAROMETER CASE
35
BANDY
LEG. Cabriole
banister.
Baluster.
RANISTER RACK.
lar
leg.
upright members.
American work,
it
was common
as
split
turnings.
[242.]
RANJO CLOCK.
in the
97, 98
RALLOON RACK.
Chairback
extensively used
Hepplewhite,
form of a banjo.
[101.]
1850-1870.
developed by
Victorian work.
style
in
[97, 897.]
BA LESTER.
supporting a
it
also
formed chairbacks
flat,
in archi-
BAMBINO.
as a decorative feature in
the various
waves of Chinese
known
in
wood
as the
"bamboo
is
ochre yellow.
BANDEROLE.
99
York, 1820.
RANK. A
Painted or carved ribbon decoration,
100
BAROMETER. New
Willard, 1801.
Middle Ages
England )
See also
RIBAND.
RANQLETTE
HANDING. A narrow
BANTAM WORK.
inlay. [389.]
century Dutch and English work, derived from Bantam in Dutch Java. Design usually incised in black
bamboo settee
ball feet
enslisw
\<*
cento^v
Type
of lacquering in late-17th-
ground.
BAROMETER
An upholstered bench.
(French).
CASE.
entific instruments,
were objects
Handsome
sci-
of great interest in
cases
BAROQUE
BEAD
36
BAROQUE. The
The
LlTI lfLIK
I>kLoqvi
this free
Baroque.
Motion is the essence of the Baroque, as distinguished from the repose of the classic ideal. Large
curves, fantastic and irregular, are explosively interpreted, reversed, ornamented. Twisted columns, dis-
torted
[172.]
merely exaggeration of
ornament was added
scale. Fantastically
later;
the
earlier
work was
and bold.
Rococo, came
tiness
in
Its
and charm
for
BARREL CHAIR.
Baroque magnificence.
rounded
fully
Louis
XV period.
RASE. The
[289.]
lowest
member
of a piece of furniture or
of a column.
overloaded
blustering
insistently, paneled,
were
BAS-RELIEF.
shaped stretchers; others had twisted columns or complex scrolls as legs. Beds, particularly in France and
England, were colossal structures of draped textiles.
BASSET TABLE.
Card
BASSINET.
for
[107.]
jects
only
slightly
See
also
CARVING.
Bed
RASSWOOD.
weight,
strength.
readily.
Queen Anne
table,
baby.
made
Originally
period.
basket
of wicker.
American wood
of
light
color
and
texture,
slight
and medium
figure,
Works well and does not warp or check
Used for inexpensive painted flatwork, but
soft
plywood
panels.
BATIK.
wood
polychromed;
and
BATTEN.
Strips of
across one or
BEAD.
The Baroque
inlays
is
[159.]
RAYWOOD.
wood used
as
a brace or cleat
more boards.
Honduras mahogany.
37
Bead mold
in
BEADED DRAWER:
quarter-round
profile
Fine
BED
also
molding.
molded half-round
or
[476.]
cabinetwork
construction.
in table or
HEAL BBLMMEL.
and drawers. Deincreasingly complicated after Early Georgian types, as male dandyism
spread. The name was acquired during the George IV
signed for men's use, they
became
period. [520.]
Box >ED
NEU/ yoRK
Looms
C.I fc$0
Early spell-
ings of "buffet."
BEALVAIS:
DUTCH
and
in elegance
wood
panels
in
size;
made
a complete room-within-a-room.
One
BED. Ancient drawings
Rome.
Over basic structures of stone, wood, or metal were
thrown animal skins and textile for softness and
warmth. The framework was often well designed and
types in Egypt, Assyria, Persia, Greece, and
made
to
alcoves
for
beds.
The
leaves
or canopy
grew
it
in
Europe the wooden-enclosure idea was favored, utilizing the two walls of a
corner. Picture 102 shows a North German example
of costliness.
In
northern
foreground
is
wood panels in
place of curtains. Pictures 103104 show free-standing
German structures of wood embodying the same idea,
early 19th century, often with sliding
example, 105,
lish
is
bed stock
a separate frame.
The wooden
its
it is
By
had spread
its
was
to
exaggerastate
bed
BED
38
102
of
No wood was
1568.
Corner
curtains.
fabric
visible.
members pentes,
103
SOUTH GERMAN,
early
17th
century.
Free-standing
wood canopy.
104
c.
1500.
Detached
boxlike
enclosure.
many
separate bed
frame
drapery.
small
appeared:
variations
in
the
an alcove, draperies
*\ >\
the
angel bed,
with
fLA
III
the
heavy
"sleigh"
century beds
scroll.
bed.
is
In
Most
America
this
significant
was known
about
all
as
19th-
Victoria
105
Carved oak,
inlaid
and painted, 10
106
105A CHINESE,
framework
closed
MING DYNASTY,
is
described
in
1368-1628.
documents
Dover Publications,
of
ENGLISH,
BED
40
BED
Metropolitan
Museum
of Art, Rogers
Fund, 1923
missing.
109
AMERICAN,
111
FRENCH,
S.
Walton, inc.
Don Ruseau
110
PHYFE,
112
1800-1810.
Museum
of the City of
New
York
Don Ruseau
BED
BED
43
still
chiefly
in the
113
wall.
COLONIAL AMERICAN
c.
Metropolitan
Don Ruscau
Museum
of Art
THE ALCOVE AS BASIS OF THE BED DESIGN EXPRESSED THE ULTIMATE LUXURIOUSNESS OF THE
18TH CENTURY.
116
BED ALCOVE
Harmony
of
in the
architectural
alone.
Now
in
117
BED ALCOVE,
Metropolitan
Museum
of Art
Now
in
Metropolitan
Museum
of Art
45
118
ITALIAN RENAISSANCE,
16th century.
Di Salvo
IN
ENTIRELY,
120
FLEMISH
footboard.
.rflA' dfl
*
*****
'?r ??
* '
fti!r r**?*^L3i
I
~Z,
119 ITALIAN, 17th century.
'
"i
c.
with stump
BEDSTEPS
ENCLISH
16 CENTURY
French
EARLY 19TH-CENTURY
EMPIRE INFLUENCE.
121 AMERICAN EMPIRE
STYLE, mahogany with ormolu
decoration, c. 1810-1820. Probably
the bed referred to in Duncan
Phyfe's
122
bill.
See phyfe.
MAHOGANY "FRENCH
Rest6ration,
with
the style of
New York or
in
Newark, 1835-1845.
123
FRENCH,
designed by Per-
ir
Co., Inc.
BED BOLT
47
BED BOLT.
some
styles
BED MOLDING.
large
in
molding of a cornice.
steps
made
BEDSTOCK.
for
bedding.
[105.]
America;
in
middle-
Adapted
color.
BELLFLOWEB.
seat,
Queen Anne
Ornamental
resembling bell-shaped
detail,
flowers
period.
carved or painted,
arranged
vertically.
cabinetmaker; he had
New
Btooklyn
125
by John Belter.
Museum of Art,
"parlor suite,"
Metropolitan
Gift of Mr. and Mrs. Lowell Ross Burch and Miss Jean
Belter
tion
for
is
chairbacks,
which were
later
pierced and
carved in complex designs that would have been impossible in solid wood. [125, 912.]
Museum
124A CHAISE
124
LONGUE
CENTER TABLE.
by
Belter,
c.
1860. Rosewood.
127
FLEMISH,
BENCH.
15th-century Gothic.
word sometimes
WAGON
settee.
refers to seat
131
SPANISH.
Lo Mejor de Espana
BENCH Workman's,
joiner's,
etc.
Heavy work-
"Bench
made" implies handwork, as distinguished from matable, usually fitted
with
132
FRENCH, RUSTIC.
128
FRENCH BANQUETTE,
129 SPANISH.
17th century.
Lo Meior de Espana
Don Ruseau
Metropolitan
Museum
of Art,
^TcTJmZentLTl94l
BENEMAN
49
BF\F>I\V
GUILLAUME.
Outstanding
cabinet-
France;
noted for monumental mahogany cupboards and com-
modes
in
of architectural character.
BENTWOOO.
of
was one of
and millions
of chairs, tables, etc., made by this technique were
produced, are still being produced, and are in general
use. Bentwood must not be confused with molded
plywood. See also nineteenth century. [913, 1006.]
parts scientifically joined together. This
BERAIN. French
BENTWOOD
by thonet, Vienna
after 1860.
of Louis
BERGERE.
Upholstered armchair with closed upholstered sides. Specifically, chairs of French style,
copied
in
England
"birjair," "barjair."
BEVEL. A
like
Also
spelled
[284.]
BIBELOT.
Germany.
and
glass,
Small objets
whatnots, etageres,
BIBLE BOX.
metal,
d'art;
etc.,
etc.
Similar
knickknacks.
made
to
Stands
for collections.
137
BIBLE BOX
Itlltl
IOIIII
)|l
50
BIBLIOTHEQUE. French
BIRDCAGE
KM
mil
II It.
German
the
of
style
19th
Empire forms. It is
nobility and the
Empire meubles de
t.
lesser
skill,
are
odd mixtures
Carved
the
classic
flora
are
interpretation.
and de-
recall
Empire
outlines.
The woods
are largely
name
furniture remains.
The
style, imitative
teresting
in toto.
Germany.
[138, 151,
BILBOA.
named
1056.]
after the
BIRCfl.
niture,
usually
inexpensive.
BIBDCAGE. Openwork
BIPPCACE
ENGLISH
ie TW CENTURV
(Dene
i
HI
BIEDERMEIER
BIEDERMEIER
BIRDCAGE CLOCK.
Now,
hinged top
BIRDS-BEAK Rounded V
cut on
molded
corners:
BLISTEB. Figure
BIBD'S-EYE. Small
figure in
wood
BLOCK FOOT.
other woods. It
in
BISELLUJM. Roman
BLACK WALNUT.
BLACKAMOOR.
seat for
two persons.
See walnut.
Negro
figure
in
in
Victorian
work,
1850-1870,
England and
America.
6LACK.AMOORbLOCK.
FCOT
maple,
leg, as
in
grain resembling
as
Chippendale work.
[409.]
KFRONT
HI Ot
RLOCKFRONT.
BONBE
552
etc.,
divided
be peculiarly American, a Baroque expression dating from the period of 1760-1780, and is associated with the work of John Goddard and the
seems
to
Newport
School.
[367, 489.]
BOLECTION.
BOMBE.
BOISER.IE
vogue
many
for light
of the lighter
I8CENTUR.Y FRENCH
wood
woods
maple.
In
whitish
finish,
and
are
given
cloudy
Other devices include bleaching, sucmahogany and walnut; pigmentation, in which the open grain is filled with light
opaque fillers; pickling, using plaster on soft woods.
grain
color.
cessful to a degree in
BOARD.
ing tables
IIP
1?
&
trestles. Later,
refers to sideboard.
BOASTING. Rough
or preliminary carving.
[122.]
BOBBIN-TURNED. The
BODYING-IN. The
coarse wood in the
operation of
filling
the grain of a
process of finishing.
for
%mm^mmm
fflWF
W mfmhiW
KOMII
BOMIFl R BE JOER.
cabinet with
flat
fall front,
period of Louis
XVI and
Dah a
141
BOOKCASE
53
I l<
BONHEUR DU
French
Same
as bible box.
BOOKCASE. The
BONNET TOP. An
Co., Inc.
BOOK BOX.
BONN EGB ACE. Bed
it
Brothers, Inc.
in shelved closets,
earliest
stored
known
of a highboy, secretary,
sign.
room.
BONNETIEBE.
French cabinet,
deep enough
peculiar to
tury. [142.]
to
Normandy and
tall
About
1700,
smaller
cases
were known
in
peared
first
in
terest to
BOOKCASE
BOOKCASE
54
Metropolitan
Museum
of Art
s.
143
BIBLIOTHEQUE,
painted white and gold, from the Hotel de Gaulin, Dijon, 1772.
the wall paneling, this shape is essentially that of the breakfront
cZ/urm?ii ^yOacma:,
144
and beautifully proportioned. Kent applied nonarchiornament in the form of columns, consoles,
and rich carving. By mid-18th century, Chippendale
had developed his masterful designs to a level that
has remained a standard ever since. [144, 727, 1322.]
The architectural character remained throughout
the 18th century, in which the bookcase form detectural
England. These were usually conceived as the permanent decorative features of a given wall, in which
respect they developed from the architectural idea.
with 146.] Chippendale, the Adams, Hepplevalued the bookcase as a wall feature, and
their bookcases are among the best of their designs.
[Cf. 143
white,
The
etc.,
its
superior development
century.
size,
recess
cabinets,
smaller
stands,
combinations
with
curios.
Nineteenth-century bookcases were too often an excuse for an excessively architectural composition of
too
many
They
often
had
re-
WHATNOT.
Cabinet-
ADAM
146
ENGLISH
147
ENGLISH,
c.
French
1800.
Needham's Antiques,
Inc.
148
AMERICAN BREAKFRONT,
Gothic tracery.
<b
Co., Inc.
BOOKCASE
57
149 BOOKCASE-CONSOLE,
English Regency.
151
BIEDERMEIER
c.
1810.
152
ENGLISH REGENCY
c.
1820.
Metropolitan
Museum
153
of Art, Rogers
Fund, 1923
Needham's Antiques,
BOOKREST.
able,
on which to
BOOKSHELF.
reading stand.
BOOTJACK. Hinged
or solid
board with
cut to
fit
work, a
same purpose.
BORAX.
showy
furniture, par-
of the
word
in this sense
is
speculative.
The
origin
One
guess
it
Inc.
154 REVOLVING
156 REVOLVING
BOOK-
BOOK
BORNE
ROULLE
59
bull's-eye forms, or
bottle bottoms,
BOTTLE TURNING.
ROLILLOTTE TARLE.
made
RORNE. French
common
in
particularly
of that
[158.]
[910, 1307].
ornament
or oval
on
game
BOSS. Round
for the
chests.
158
BOUILLOTTE TABLE,
Doha
parquetry.
Brothers, Inc.
BOSTON ROCKER.
157 BOSTON
and top rail.
ROCKER
c.
1835. Stenciled
gilt
flowers on seat
ROULLE.
floors,
inlaid
"wood
walls,
He advanced
the
in-
EOC III
60
159
ivory,
mounted bronze-dore.
HOI
BOURBON RESTORATION
61
ROLRRON restoration.
After Napoleon
I,
the
Sweden
ROX RED.
ROW RACK.
or
hoop
is
Windsor chairback
continuous either
in
ROW
top
rail of
a chair.
in Scotland.
ROWFRONT.
etc.,
Convex-shaped front of a
chest, buffet,
wood
was common
l6r, c
lid.
fer. [3.]
ROX STOOL.
BOWL STAND.
ROX. One
Same
of the
as hasin stand;
washstand.
box
section;
ROXWOOD.
Buxus.
and
object.
Its
Dense,
light
yellow
is
wood
genus
of
RRACED RACK.
Boxes.
160
Metropolitan
161
PAINTED BOX,
Museum
Museum
162
SEWING BOX,
163
DUELING BOX,
of the City of
New
York
of the City of
New
York
American, 1800-1820.
Museum
of Art
London,
c.
1830.
BRACKET
62
BRACKET. A
lighting fixture.
leg
and
member between
supporting
many
the
Itltl
164
AKIitOM
first
165
"SALEM" SECRETARY,
and body
Chippendale work.
RRACKET CLOCK.
on a bracket or
shelf.
[421.]
BRACKET CORNICE.
RRACKET FOOT.
[102.]
The
foot runs
two ways
CHIPPENDALE
FEETVORK
6HACKETS
C.
Bracks
Clock.
BRASSES.
Handles.
RRAZIER.
Metal
receptacle
for
holding
burning
commonly used
in the Orient and the Mediterranean countries for heating; they are often beautifully
designed and decorated. [1156.]
coals,
RREAK. Marked
projection on a cabinet.
RREAKFROIVT.
Specifically, the
case or
1800.
American Breakfront.
BRETON
63
BUILT-IN FURNITURE
ered with a raised pattern.
and drapery
An
important upholstery
fabric originating in
styles.
.[287.]
BBOCATELLE. Heavy
woven
pediment whether
usu-
appear to be embossed.
straight,
Referring
swan-neck, or goose-
come
to a point.
[91, 738.]
BROKEN FRONT.
Breakfront.
RROKEN PEDIMENT.
is
RRONZE.
cient world,
its
BREAKFRONT BOOKCASE,
French provincial
BREWSTER CHAIR.
ormolu, process
wood
characteristics are
Continent.
[7,
common
New
dower chest
as
its
or
hope
New
ration, particularly in
hardwood
African
mottled figure,
of
RUFFET.
RURINGA.
from the
227.]
in earlier chairs
style of Brittany.
Jacobean
seat. Provincial
in
of gilding bronze,
XV
is
BRETON.
of considerable deco-
RUHL.
BRITISH COLONIAL.
it
exhibits local
influences
in
BUILT-IN FUBNITURE.
cupboards, bookcases,
etc.,
Chests,
cabinets,
known
is
Europe
nomadic
corner
BBOABCLOTH.
Plain
material for
bed
BBOCABE.
Textile
figures
woven
curtains
fabric; mentioned
and draperies.
woven with
as a
a pattern of raised
silver, in later
BUTTEBFLY TABLE
64
BUBEAU.
when
set
upon a
table,
from a chest
word came
for the
BUBEAU BOOKCASE.
Chippendale's
term for a
BUBEAU TABLE.
his
kneehole
table.
BUBJAB.
Chippendale's
name
BUBL.
appearing on
When
trees, often
from an injury
to the bark.
produce beautifully figured mottled or speckled patterns. These are used for the most decorative veneering. As the usable portions are often small, they are
matched in symmetrical panels. Walrtut, maple and
ash are the commonest American burls, but many fine
burls occur
BURR.
French
167
age
<b
Co., Inc.
BUILT-IN FURNITURE
utilities
all
Burl.
of the log.
The
root spreads
elements.
veneering.
BULBOUS. Turning
hardware.
BUTT JOINT.
wood
or of
BULLION I TMNGE.
tion.
BUTTEB CUPBOABD.
BULL'S-EYE MIRROR. Round ornamental
mirror,
often with convex or concave glass. See also girandole. [72, 866.]
BUN FOOT.
somewhat
Europe
BUTTEBFLY TABLE.
leaves are supported
flattened. [356.]
a butterfly
after
BUTTERFLY WEDGE
65
alp/-
CABINET
drawers or shelves.
The
[91] or
ambry.
It is
and the
a seat or table;
this
first
legs high
enough
The
'
type
is
came
whatever
its
fe.h
168
source,
in-
The
cabinet was mounted on
its
Scole
mixed ances-
closetlike armoire
BUTTERFLY TABLE.
BUTTERFLY WEDGE.
Butterfly-shaped
cleat
them
in-
together.
BLTTEBNIJT. Hardwood
importance increases with the demand for black walnut. Also known as white walnut, its grain is similar
to that of black walnut, but
its
color
is
lighter
and
texture softer.
BYZANTINE. From
Byzantium,
Roman Empire
of
Roman
debased
Eastern
was
Near
style.
stones,
in
bands,
stiff
remain
in later
etc.,
as Italian work.
BYZANTINE.
England
in the
Middle Ages.
and popu[239.]
inlaying, marquetry,
the
name
persisted.
The Augsburg
style
was
BYZANTINE THRONE
Metropolitan
169
170
Museum
of Art, Gift of
J.
Symons
Galleries, Inc.
CABINET
67
CABINET
Since
170
CHEST-ON-STAND;
from chest;
flamboyant
Flemish, late-15th-
by cabinets
Renais-
sance, France.
lacquered cabinets [392] of Queen Anne and Georgian times, the richly carved and gilded bases of late17th-century cabinets, and the important cabinets of
Chippendale and the Georgian designers testify to
their vitality.
many
is
part
Cabinets were
less
Many
in,
or so
in the
18th century
172
DUTCH,
17th-century
Baroque.
Metropolitan
171
INDO-PORTUGUESE,
ivory,
17th century.
ebony, and mother-of-pearl inlay.
PLEKISH
CRLDENCQ
Redwood
l5thC
with
Museum
of Art, Rogers
Fund, 1912
CABINET
68
CABINET
Metropolitan
173
The
Museum
of Art, Gift of
].
late- 15th-century
features.
174
CHINESE INLAID
175
WOOD CABINET,
FBENCH, Henry
IV, early 17th century. Armoire a deux corps. Style of Jean Goujon.
Louis
XIII
c.
1620-1625;
Italian
influence,
CABINET
THE CABINET REACHED ITS HEIGHT AS A SHOWPIECE AFTER 1600 IN ALL ADVANCED CENTERS
OF EUROPE.
178
CABINET
70
CABINET
179
CABINET
17th century.
Louis XVI.
Frick Collection
Victoria
180
ENGLISH
c.
1771.
Rosewood and
181
REGENCE
"VITRINE.
warn
CHARLES
E.
CABINET
marble mosaic.
CABINET
72
CABINET
ViCt ri "" nd
,ffiENa,s
Albert
Museu m, C rown
Copyright
'".*.i,. aJ marquetry.
CABINET STAND
73
CABRIOLE
CABINET STAND.
CABRIOLE.
chests, etc.,
be nomadic. The handsome chests and, later, Oriental cabinets were mounted on elaborately carved
and gilt frames. Planned for use against a wall, only
the fronts were ornamented. There was often a rim
to hold the cabinet in place. The shape either evolved
into a side-table form, or combined with the cabinet
to form the highboy and the tall cabinet.
to
CABINETMAKER.
furniture makers.
chairmakers,
etc.
See
also
cabinet;
construction;
JOINERY.
CABINETWORK. The
woodwork and
furniture, as distinguished
from
car-
are
CABOCHON.
method
tal
distinguish the
Rococo
lines that
style.
is
particularly exempli-
XV
ending
in a
work the animal resemblance was abandoned and became an abstract sinuous line ending in a scroll.
molding. [810.]
CABLE FLLTING.
filled
pentry.
CABLE. Rope
Institute of History
and Art
The name
resemblance to the
its
which
all styles in
A good flowing
an unbroken center line
design.
of the
wood
is
it
is
French and
mannerisms, with a
British
more pleasing
to
an
emerges
and adaptations.
French-speaking
remembered
972.]
[262,
CAFFIERI, JACQUES,
1678-1755; PHILIPPE,
1714-1774. French bronze workers; made important
metal decorations for furniture, period of Louis XV.
CANDLE BOARD.
CAMBER.
CANDLE BOX.
slightly
of
CANAPE.
or
in the
314,479,528.]
Hollowed
minimum
CANCELLATED
74
CABRIOLE
convex surface, to
18th centurv.
Tall hanging box of tin or
wood
in
[964.]
zontal lines.
CANDLE
CAMELBACK.
Double
curved
chairback,
shield-
section
of
SLIDE.
secretaries,
CAIWEO. Raised
CANDLESTAND.
or imitations of stone.
Used
as furniture
ornaments by
tal or
with four
desk
small objects.
[17, 1243.]
204.]
CANE.
CAMPAIGN FURNITURE.
Primarily military;
por-
Flexible rattan
woven
in
open patterns
for
vivals of the
CANADA.
tlements indicates
little
set-
faII,
re-
646,902.]
CANNELLATED.
CHAIR.
r
17
CANADA
CENTURY (?)
184
18th century.
Musee de
Fluted.
la Province,
Quebec
CAQUEFEU5E
CARTONNII
75
CARD
pierced) in
It
dale. [413.]
CARD TARLE.
Appearing
in
in
18th-century Eng-
land.
style
classes
made
the
and
found
in
The
fixed type, or
permanent,
game table
185
CANTERBURY,
English
c.
1800.
CANOPY.
Covering or hood over bed or throne, suspended from wall or ceiling or carried on posts. Architecturally, an ornamental projection. See also testeb.
irvr ^
ylr
r-^F
[102, 1311.]
CANT.
I
Bevel or chamfer, as on an edge.
CANTEEN.
or bottles.
CANTERBURY.
In
current
a magazine
use,
rack;
and
music,
plates.
etc.,
also
Named
who
tray, cutlery
first
ordered such
a piece. [823.]
CANTONNIERE.
also
CANTOINE, CANTONEER.
In Sheraton's
of a
column or
pilaster.
The
by
used
in furniture orna-
CAROLEAN.
tobation.
CAPPING. A
CARTEL CLOCK.
II,
bronze. [416.]
CAQUETEUSE; CAQUETOIRE.
or framework of a piece
CARTON-PIERRE.
CARTONNIER
* papers. [1378.]
foi
hold-
r-.n
**
**
CARVING
76
CARVING.
is
CARTOU CH G
CARVER
CARTOUCHE.
unrolled scroll
CHAtK.
Ornamental feature
form of an
or oval table with the edges curled or
in the
furniture.
Derived from
tural forms,
it
Italian
ini-
and
William Rockhill Nelson Gallery of Art (Nelson Fund), Kansas City, Mo.
Renaissance architec-
186
COPTIC CARVING,
on.
CARVER CHAIR.
wood
188
simplified detail
Albany
189
Institute of History
is
due
c.
1690. Coarsely
and Art
1815-1820.
190
I.
Daha
187
face of
century.
New
Mexican
chest;
Spanish
in
influence,
pine-board
early
19th
Museum
of
New Mexico
Brothers, Inc.
CARVING
191
ITALIAN RENAISSANCE,
metric spaces in
flat relief.
Relics of the
most ancient
of this decorative
utility
such as
stools,
reli-
Middle
gether with the Near
ences, which include
relief. During this era
of the Early
wood
furniture as
Romanesque carving
Ages show
Eastern or
Mohammedan
influ-
low
sharp geometric forms
the Far East enjoyed the labors
in
motives and methods. China, Japan, and India exploited carving beyond most other arts; these were
largely in
quality.
[472, 934.]
Renais-
and
subtler,
is
finer
with
much
freestanding
relief,
by which
Baroque
art
is
particular, the
Frick Collection
civilizations
adapted
CARVING
77
192
See 574.
Company,
Inc.
CARVING
78
form
indeed,
of
Romanesque-Celtic influence
in
in
the
cruder
French
i? Co., Inc.
[798.]
stiff
fol-
classic
of Chippendale influence,
Metropolitan
193
LOUIS
NEW ENGLAND
Israel Sack,
c.
Friedsam Collection
style of Louis
196
of Art, Michael
195
Museum
XVI
early
19th
century,
in Provincial simplicity.
FRENCH RENAISSANCE,
16th centurv.
I)
Lichhold-Wallach, Inc.
':)
'
ii-i
I
COItMlJCOPlA
BlEDEEMEIEE
SOW
3M
C l&iO
CARVING
lish
etc.
Much
plastic or
mod-
CASKET.
made
of precious
coffer. [160,178.]
The
CASSAPANCA
79
CASSAPANCA.
English box
1073, 1077.]
ornament.
[641, 646.]
CARYATID.
bean, Francis
197
CASSONE,
CAK.YATIDS
I,
Italian,
etc.
[640.]
trick Collection
198
CASSAPANCA,
CASSOLETTE. Box
Metropolitan
walnut.
incense or perfume; also called "essence vases." England, last half of the 18th century.
Italian chest or
commendable
design. This
mar
CAST IRON.
CATHEDRAL SHAPE.
large
list
of outdoor furniture.
The ease
of duplicating
beautifully
modeled,
with
ginning early in the century, were designed architecturally or with decorative cast-iron elements of naive
charm if not of appropriateness. Beds were fitted with
cast-iron
also IRON;
METAL FURNITURE.
CASTELLATED.
[199, 1299.]
cornice,
is
good design.
Pointed
arch
in
bookcase
CALSECSE.
sides.
CAVETTO. Concave
molding usually found as the important member of a cornice. In English walnut furniture this was often veneered crosswise.
CEDAR. The
red
cedar
against moths.
It first
furniture
drawer
for
familiarly
used
for
protection
is still
CEDAR CHEST.
CASTOR.
for the
Fund, 1912
of Art, Rotters
materials.
century,
CASSONE.
Museum
The
linings,
boxes,
and traveling
current.
woolens,
protection
chest
were of wood;
they are
now
for
storage
of
etc.,
for
against moths.
CELLARETTE. Deep
1351.]
drawer
81
199
STOVE,
Troy,
New
Spring
York,
design.
200
Philadelphia, 1804.
Israel Sack, Inc.
From "Industry
201
with
CERTOSUVA
82
track under
its
operation
also construction.
CERTOSUVA.
hammedan
CENTER TABLE.
origin.
Appears
in
Venetian work
Mo-
in the
and
in
203
and
DIRECTOIRE CONSOLE,
135,543,952.]
CERAMIC.
Seen
Italy,
202
Sevres plates.
gilt
bronze
with
Frick Collection
OiM^
Doha
204
WEDGWOOD PLAQUES
1780, bv Saunier.
Brothers, Inc.
inserted
in
cylinder desk,
c.
French
i?
Co., Inc.
CHAIR.
ancient.
CHAIR
83
CHAIR
The' chair, a single movable
Most
familiar types
seat,
were known
is
most
in ancient
of
England,
skirts.
The
folding, or X, type
From Rome
and ivory elaborately wrought and cushIn Rome the X-chair had some
significance of caste; it seems to have been reserved
for magistrates and nobles on public occasions. The
cathedra was a chair with a back used by women.
metal, wood,
ioned with
silk pillows.
mon
left little
evidence of a com-
styles and
17th century.
earliest
from thrones
to simple
had
lines
became
flowing,
XV
details,
stretchers
and
spiral
boisterously
turnings,
crestings;
rarely comfortable.
carved
these
The X-chair
fairly
disappeared at
wholly
new
type,
Baroque
in its
wholesale curvature,
was
ture
French
chair.
different
all
Anne
new top-
more comfortable.
by 1700 most
als.
style.
rail
XIV saw
slats,
shapes,
more comfortable.
The French influence again became dominant
lower,
after
new
motive from
classical times.
show
clearly
the frenzied
early-19th-century chairs
significance.
dubbed
The
chaises a
Phyfe
Of
in
in
84
CHAIR
work, most ornate and uncomfortable in the excessively carved Swiss and German forms. The northern
cial
versions of
new
almost
types in themselves.
The old
etc.,
were
chairs of
in
The ladder
all
in
The Windsor
chair,
and bent
triumph of light-
turnings
utilizing
America into a
and economy.
The nineteenth century began with a proliferation
of chair styles and sheer quantity as a result of the
Industrial Revolution. Sheraton and the Empire dominated England and the Continent and the colonies.
From these came infinite variations, some creditable,
but more on the path of debasement that ran right
through the century. Most characteristic types on historic models are the balloon-back Victorian Rococo
shapes in England and America and France; the
semiclassic, such as the Riedermeier in northern Europe and the Directoire derivatives in Italy. The last
quarter of the century saw the whole gamut of eclectically inspired innovation, approached from every
fashion angle. Upholstery saw the most intensive development in history.
parts,
developed
in
new challenge to
those who perceived the scope of the new mechanics
and materials as well as of the new society. AdvenCollaterally, the chair presented a
sel-
was
and
into Thonet's
bentwood.
Plasticity
was recognized
in
The
chair,
art.
culminated in
chair and
its
derivatives; in
Rertoia's wire frames; Hans Wegner's wood craftsmanship; the engineered logic of George Nelson. In
the United States this idiom has had the benefit of
commercialization by architecturally
such as Knoll, Risom, and Miller.
oriented
firms
205
GREEK
TOMBSTONE
showing
B.C.
CHAIR
208
ROMAN,
209
210
ROMAN,
211
210 REVIVAL
by Lannuier,
FRENCH,
1815,
212
gilded.
Metropolitan
Museum
stone,
2nd century
c.e.
Metropolitan
Museum
of Art
212
CHAIR
CHAIR
86
stretched leather.
214
Metropolitan
Riggs,
Museum
of Art
1913
certosina
Metropolitan
216
ENGLISH
Museum
of Art, Rogers
Fund, 1913
CHAIR
87
217
219
218
25
224
222
Arthui
S.
Vernay, Inc.
223
Metropolitan
Museum
of Art,
CHAIR
CHAIR
88
227
225
Renais-
sance detail.
Metropolitan Museum of Art,
Gift of George Blumenthal, 1941
225
AMERICAN,
17th century.
J
' .
_ - . . early
,.
smaller; Gothic influence in carving.
228
228
229-30
ENGLISH
c.
1635-1650,
lighter
229-30
Arthur
S.
Vernay, Inc.
and
CHAIR
89
233
232
231
234
Metropolitan Museum of Art,
Gift of J. Pierpont Morgan, 1916
236-237
235
Stair ir
Company,
Inc.
Don Ruseau
Metropolitan
239
238
CHAIR
90
CHAIR
NORTHERN EUROPE,
Museum
ENGLISH,
of Art, Rogers
Fund, 1909
240
possibly
AMERICAN,
241
PENNSYLVANIA,
Gift of
1700-1725,
members. Walnut.
Metropolitan Museum of Art,
Mrs. Robert W. de Forest, 1933
flat
NEW
ENGLAND, 1700-1720.
242
Turnings used decoratively.
Israel Sack, Inc.
Stair
h Company,
Inc.
Don Ruseau
Metropolitan
Museum
of Art, Rogers
Fund, 1908
nj
245
x ,-.r>T/~.
h ROUNDABOUT
nnimi-. ,. TT ._
AMERICAN
CHAIR,
.
Spanish
246
',
foot.
FRENCH PROVINCIAL,
late
18th century.
decorative variations.
FLANDERS,
17th Century.
248
247 ENGLISH, 18th century.
Rush seat, ladder back.
Stair b-
Company,
Inc.
Museum
of Art, Photograph, A.
J.
Wyatt
250
251
250
tury.
Metropolitan
Museum
of Art, Gift of
J.
Frick Collection
252
SPANISH
253
Gift of Mrs.
Henry
S.
Museum
of Art,
Redmond. 1947
Metropolitan
Museum
of Art, Rogers
Fund, 1911
254
255
Metropolitan
Museum
1932
Jr^^-'^
'.**'j^^j*.'
BY
1700
256
ENGLISH,
258
AMERICAN
1660-1680. Charles
c.
II style.
Hartford, Conn.
Caned walnut.
LIGHT, GRACEFUL,
Metropolitan
AMERICAN
c.
260
FRENCH
of Art, Gift of
261
FRENCH "CONFESSIONAL."
Late Louis
early Louis
XV
XIV
style.
The
stretchers
date.
1700.
Metropolitan
259
FRENCH,
Metropolitan
c.
J.
257
show
259
Museum
it^rr,
FlCam/K
Museum
Foof
1913
Museum
of Art, Gift of
J.
262
Frick Collection
262
ENGLISH,
AMERICAN
263
early 18th century. Straight front legs with animal foot suggest cabriole.
264
ENGLISH,
French
264
Co., Inc.
263
Early Georgian.
266
Museum
of Art, Rogers
Fund, 1910
Metropolitan
Museum
of Art, Rogers
Fund, 1931
267
French
C-
Co., Inc.
?;
%
268
268
c.
c.
269
AMERICAN,
Dutch
influence,
type.
ENGLISH c. 1750.
273 ENGLISH c.
knee.
272
272
"Dr*k
STho.ll
on
PHILADELPHIA
c.
1710.
Israel Sack, Inc.
-foot-
Kna
273
270
274
CHINESE
STYLE,
275
276
Arthur
278
PHILADELPHIA
c.
1770.
S.
Vernay, Inc.
Arthur
S.
Vernay, Inc.
97
Metropolitan
Museum
of Art, Rogers
Fund, 1926
SIGNED
279
CHAIR
Metropolitan
Museum
of Art, Gift of
J.
red.
THE ERA OF LOUIS XV, CURVES FLOWED OVER EVERY SURFACE AND LINE.
THE CURVILINEAR SHAPE REACHED PERFECTION IN THE MID 18TH CENTURY,
AND WAS A RASIS FOR CHAIR DESIGN IN EUROPE FOR THE NEXT CENTURY.
IN
282
281
PROVINCIAL FRENCH.
Don Ruseau
VENETIAN,
mid-18th century.
Brunovan, Inc.
283
LOUIS XV,
height of Rococo
French
6-
style.
Co., Inc.
Metropolitan
Metropolitan
284
REGENCE.
Museum
of Art, Rogers
Fund, 1922
286
"GONDOLA,"
Metropolitan
Louis
XV
Museum
c.
1750.
of Art, Gift of
J.
99
j
r5:*fr
"*?*^*
Arthur
288
S.
'
tin
->-.ig-
/.
Vernay, Inc.
EARLY-18TH-CENTURY TYPE.
c-^*
,(
Needham's Antiques,
Inc.
290
ENGLISH,
1735-1750.
Arthur
S.
Vernay, Inc.
291
WING CHAIR,
George
I, c.
1725. Walnut.
Needham's Antiques,
Inc.
292
295
ARMCHAIR,
LYRE MOTIF.
297
HEPPLEWHITE
c.
1785.
292
Metropolitan
Museum
of Art, Purchase,
1928
Metropolitan
Museum
of Art, Rogers
Fund, 1926
LINES,
296
Metropolitan Museum of Art,
Gift of J. Pierpont Morgan, 1906
297
Arthur
S.
Vernay, Inc.
CHAIR
Arthur
298
300
ISH,
CHAIR
101
i>.
Vernay, Inc.
299
interpretation
SHERATON STYLE,
301-302
of
Louis
Lo Meior de Espana
303
Metropolitan
Museum
Metropolitan
of Art, Bequest of
Museum
1910
300
303
304
CHAIR
102
CHAIR
c.
1795.
SOON AFTER
1800
WORK BEGINNING
French
ENGLISH
Co., Inc.
Nathan
1825.
P.
308
LATE REGENCY,
English
c.
c.
1800.
Arthur
S.
Vernay, Inc.
CHAIR
309
CHAIR
103
Munson-W illiams-Proctor
Institute, Utica,
N.Y.
Collection Bergdorf
310
309
310
DUNCAN
311
ENGLISH REGENCY
PIRE
after
PHYFE,
c.
Goodman Antiques
FRENCH
c.
NEW
Thomas Hope.
313
DonRuseau
312
Museum
of the City of
New
York
Metropolitan
Museum
of Art, Rogers
Fund, 1926
313
Symons
315
ENGLISH
c.
1800,
Galleries, Inc.
Victoria
IN
splat back,
c.
1800.
318 The
seat
upholstered;
was probably
c.
1775-1800.
originally
105
CHAIR
319
320
319
fitted
slide.
The comb
is
off
321-322
Stair 6-
Company,
Inc.
323
325
324
John
S.
326
Walton, Inc.
ITALIAN NEO-CLASSIC.
Symons
Galleries, Inc.
329
327 Henry Ford Museum, Dearborn, Mich.
328
Lavezzo.
CHAIR
CHAIR
107
330
333
332
330
NEO-GOTHIC, German
331
GERMAN
c.
CLASSICISM,
1820.
332
MID-VICTORIAN AMERICAN
333
SWEDISH,
c.
c.
1860 (Buttfield).
334
SWEDISH,
335
JAPANESE,
1961.
CHAIR-BED
10
CHAISE LONGUE
CHAIB TABLE.
CHAISE LONGCE. A
338
MID-19TH CENTURY,
suggests Louis
XV;
tight upholstery.
336
LOUIS XV STYLE.
Don Ruseau
337
BIEDERMEIER, German(?)
Two
c.
Don Ruseau
1820.
CHAMBER HORSE
109
CHASING. Ornamentation
of metal
ormolu.
CHALFFELSE.
by
etching, en-
seat. [675.]
CHECKER, CHEQUER.
CHEESEBOX SEAT.
ENGLISH VICTORIAN
c.
CHENILLE. A
trimming and banding upholstered furniture. It is also used in rug weaving, and
in fabrics for upholstery and drapery fabrics.
ends standing out, used
CHAMBER HORSE.
in
18th century.
CHEBRY.
1726-1796. English
China, he published in
Designs of Chinese Buildings, Furniture,
strongly influential in developing the fad for
1757 his
etc.,
chinoiserie.
CHAMFER.
CHANNEL. Groove
filled
with reed-shaped
American wild-cherry wood is a hard compact fine-grained, red-brown wood, usually light. It is
highly suitable for cabinetmaking, is beautiful and
strong both for structural and for decorative uses; it
resists warping and takes a fine polish. It was favored
by the colonists wherever it was found, and much old
American furniture of cherry remains from the entire
period of colonization as well as from the 19th century. The European cherry is similar but lighter in
color; it appears in much country furniture, and extensively in Biedermeier and similar 19th-century
styles.
convex mold.
CHARLES
I.
CHARLES
II.
r w
e>
CHERUB. Winged
from
the
Renaissance
and
CHARLES
detail.
See
afterward;
also
called
figure
is
alone.
See
game
table.
[1275, 1319.]
Lou/s XIV
Xuitittl"""".",
H^w^f,
CHEST
CHEST.
coffer, or chest, is
furniture. In ancient
artistic
CHEST
110
all
lid,
the
receptacle
had begun
boards,
etc.;
and produced,
buffets
340
lid
Victoria
WOODEN
ITALIAN c. 1500.
painted gesso with iron mounts.
Museum
of Art, Rogers
the chest
of drawers.
341
Metropolitan
finally,
Fund, 1918
CASSONE;
tph
CHEST
342
CHEST
16th century.
344
CHINESE,
undated. Style
may be from
14th century to
contemporary.
Liehhold-Wallach
345
WOOD CHEST
in
shape
with linenfold and Late Gothic carving, dovetailed corners. Berne, SwitMetropolitan
Museum
of Art, Rogers
Fund, 1907
CHEST
346 Center,
left,
17th century.
347
Stenciled decoration;
theme
recalls
Philadelphia
Museum
of Art
inlay.
PENNSYLVANIA GERMAN
1720.
tural
GERMAN BAROQUE,
c.
architec-
Baroque work.
348
VENETIAN,
Duveen
Brothers, Inc.
113
349 UMBRIAN, early 17th century.
Early appearance of drawers.
350
SPANISH "PAPELERA,"
Renaissance
ment.
architecture
with
17th
century.
Moorish
senti-
351
CONNECTICUT
ford"
chest;
feet.
CHEST
CHEST
THE DRAWER DISTINGUISHES THE ADVANCED CHEST FROM THE ELEMENTARY PORTABLE CHEST. IN GENERAL
IT WAS ADDED TENTATIVELY TO THE
BASIC LIFT-LID DESIGN. HOWEVER, THE
FULLY DRAWERED CABINET APPEARED
EARLY IN REGIONS WHERE JOINERY
HAD ADVANCED.
354
353
Philadelphia
Museum
Henri/ Ford
of Art
352
352
CONNECTICUT
353
(Hartford)
c.
1700. Sunflower
CHEST,
CHEST,
355
made
for
15th century,
church vestments.
Metropolitan Museum of Art,
Cloisters Collection, Purchase, 1947
356
ENGLISH
c.
1700.
Oak
357
MASSACHUSETTS
c.
358
PENNSYLVANIA
c.
print decorations.
ENGLISH c. 1830. Naval captain's chest with two portable elements; similar to "campaign" chests.
359
CHEST
360
CHEST
116
ENGLISH
c.
Anderson Galleries
CHIPPENPAle
361 FRENCH COMMODE, end of the 17th century. Rich hardware over
rosewood veneers complements extravagant modeling of bombe shape. Forerunner of the sinuous lines of Regence and Louis XV Rococo.
Needham's Antiques,
362
ENGLISH
c.
Inc.
leaf.
363
ners,
364
DUTCH(?),
ENGLISH
c.
ogee bracket
365
BOSTON
Hancock
366
CONNECTICUT
top drawer
see also
c.
523
367
c.
lift
handles.
Made
for
family.
NEW ENGLAND,
1770-1780. Blockfront
style.
Israel Sack, Inc.
368
attributed
to
Charles
Cressent,
bronzes
by
Caffieri
369
LOUIS XV MARQUETRY.
Doha
Brothers, Inc.
LOUIS XV MARQUETRY
STAND.
370
374
NEW ENGLAND
maple.
c.
French
it
Co., Inc.
BOMBE CHEST ON
372-373
PROVINCIAL FRENCH,
Don Ruseau
5*"i
375
..v
(JME
1752).
Co., Inc.
French
376
LOUIS XVI
c.
AM
(Marie Antoinette?).
XVI.
CHEST
CHEST
121
377
COMMODE
378
DIRECTOIRE,
of Louis
(JME
XVI
style.
1787)
c.
1795.
Frick Collection
French
li?
Co., Inc.
4M***>'^^m~~^r
%\J%
122
CHEST
f$*J%
iiJ'>
Don Ruseau
FRENCH
Metropolitan
Museum
of Art, Rogers
381
Fund, 1947
FRENCH,
EMPIRE
CUCST
1600
CHEST
123
383
382
FRENCH DIRECTOIRE.
384
GERMAN BIEDERMEIER c.
1820.
Don Ruseau
FRENCH EMPIRE.
Don Ruseau
387
AMERICAN
Anderson GaHerie
386
with
NEW YORK
c.
1830.
c.
1800.
gilt stencils.
Munson-Williams-Proctor
(From Fountain Elms)
Institute, Utica,
N.Y.
c.
1810.
CHEST OF DRAWERS
CHEST OF DRAWERS.
storage,
usually
Case
fitted
clothing.
of
CHIFFONIER
125
with drawers, for
The drawer
chest,
or
remained
it
"tall-
CHEST-ON-CHEST.
Chests of drawers in two secone placed upon the other. Surmounted by elaborate cornices or pediments, they were often imposing
pieces of furniture. They are chiefly English and
American, 18th and 19th centuries. See also highboy.
tions,
[38, 739.]
CHESTERFIELD.
Overstuffed
CHESTIVCT. Moderately
soft
grayish-brown
wood
use
now
is
391
for
weak
structurally,
its
principal
veneer cores.
CHfiVAL GLASS,
Biedermeier.
389
CHIFFONIER,
French,
XVI
Louis
marquetry.
CHEVAL GLASS.
CHEVAL
feet.
small form,
is
made
to
tables. [874.]
CHEVRON.
V-shaped
design
for
inlay
and other
decoration.
CHIFFONIER.
change. [389.]
CHILDREN'S FURNITURE
126
CHILDREN'S FURNITURE.
Small-scaled furniture
every
style.
This tendency
is
Modern
specialized.
CHIMERA; CHIMAERA.
Mythical
fire-breathing
accessories of a
fire-
CHIIWNEYPIECE. Mantel
shelf.
Ornamental
struc-
etc.,
an ornament over a
fireplace.
furniture of rich
cities traditionally
homes
in Chi-
made of choice hardwoods, beautifully finunornamented except for careful moldings and
design,
ished,
hidden
in
French
390
CHINA CABINET,
English,
Sheraton.
prior to the
served
or
static
The range
and couches,
many uses and sizes, and
and pursuits
The
finesse, taste,
brass
these parts
less
is
extensively
employed than
is
Chimeqa
is
generally inferred
CWMOI6ER1E
6-
Co., Inc.
CHINA CABINET
CHINESE TASTE
127
and stones, faience and marwoods and ivory, and the whole gamut
of accessory materials. It
ture
maker
is
an
is
artisan, not
an
artist;
there
any
in place
and
no name
furniture,
origin as well
is
Important cab-
and display of
fine china.
CHINESE CHIPPENDALE.
18th-century adaptation
gestions freely,
is
now
style
outlines
modern
CHINESE FOOT.
CHINESE
Bracket foot.
TASTE.
Europe
became
fantastically
or understood,
Persia, China,
It
The
result
is
often
taste
Metropolitan
Museum
of Art, Rogers
Fund, 1909
Teakwood
EST
Chines*
CMimNpiit
I01H CET
Chinese
Cuihesi
Table
CHINA
128
CHINA
CHINESE FURNITURE
Photographs from Chinese Household Furniture, by George Kates,
courtesy Dover Publications, New York
399
394 PAIR
OF CUPBOARDS,
39 inches high.
398
397
K'ANG CUPBOARD, 45
and
inches long.
CHINA
402
SEMICIRCULAR
SIDE TABLE,
393
TABLE, 33
3 feet long.
inches high.
403
WARDROBE
9 feet high.
406
K'ANG CUPBOARD,
for
bed-
405
inches long.
401
ICE
brass
CHEST
with pewter
lining,
86
CHIPPENDALE
130
CHINOISERIE
582, 1038.]
CHINTZ.
CHIP CARVING.
with chisel or
Chippen-
dale published
Its
which
it
as a guide to style,
so
much
is
labeled Chip-
designs.
bits of
Most were
in the
detail.
when
there existed
much
greater establishments.
He
and
for
noble
manded high
were masterful.
As a designer Chippendale was open
tion
French
<b
Co., Inc.
to imi-
XVI.
to every
chang-
131
structurally.
He added
style
and
looks
and
is
firm, at
no
distinction to whatis
ment.
408
is
alike, in the
manner
cutting mold-
ings, etc.
CHOP INLAY.
CHURN MOLDING.
Norman
C ill
in
architecture.
icitK.l
style, 17th
century, so called after the architect Churriguera. See
also SPAIN.
of the legs
132
Metropolitan
Museum
of Art,
Metropolitan
410
Museum
of Art, Bequest of
MANNER,"
rail,
fretted
1750-1770.
back
seat; the
arms have a
fine
CHlPPENDAJ_e
"
THE FR.ENCH
English
ex-
back, scoop
legs chamfered.
(v^ANNER."
412 Left. SQUARE BACK WITH MIXED DETAILS. Openwork vase-shaped splat with Gothic, Chinese, and acanthus
carving; Chinese cresting and fretwork on posts; dolphin feet.
C. 1755.
Arthur
S.
Vernay, Inc.
CHIPPENDALE
411
OVERMANTEL MIRROR
in
Needham's Antiques,
Inc.
414
NEW YORK
CHIPPENDALE,
inscription under
"1757 Philena Rarnes." Gadrooned square
laggard style. Carved tassel and ruffle in
413
seat reads
Chinese fretwork.
apron
in
CINNAMON WOOD
CLEAT
134
The High
CINQLEFOIL.
used
tiquity.
in
were taken
directly
of the period.
and
all
subsequent
strip-
in
which
architectural
The
centuries.
CIRCASSIAN WALNUT.
styles
classic style
CISELEUR
antiquity. Italy
islands, north-
ornaments.
The
CISTERN.
XVI
CLASSIC. The
Rome,
Adam and
the Louis
styles
rectoire,
tiquity extended to
the
Empire
style
CLAVICHORD.
NORTHERN EUBOPE
EARLY 19m CEhtuB/
CLOCK
135
XIV
style,
where
it
bombe
and
heavily
cases, often
ornamented
[636.
monumental
644].
in size
Decoratively
Wooden
Fine
mahogany
415
SHELF CLOCK,
Metropolitan
German,
Museum of Art,
16th
Gift of Mrs.
416
417
ROCOCO,
by Robin.
CHIPPENDALE
C.
1770.
Needham's Antiques,
Inc.
418
By
CLOCK
136
CLOCK
QUEEN ANNE,
Sawtell.
419
CHIPPENDALE
Symons Galleries,
1775.
Inc.
c.
French
420
REGENCE STYLE,
<b
Co., Inc.
1740-1750,
in
Palais
CLOCK
137
CLOCK
424-425
AMERICAN
c.
1830.
426
AMERICAN c.
1780.
427
Dalva Brothers,
EMPIRE REGULATOR,
France,
c.
Inc.
1815.
COCK BEAD
421
LOUIS XV
c.
422
NEW YORK
c.
423
1775
AMERICAN c.
By Charles Geckles.
Henry Ford Museum, Dearborn, Mich
CLOTH OF ESTATE.
Medieval
decorative
cloth
in 18th-century
rank.
COASTER.
CLOTHESPRESS. Wardrobe;
cabinet
storing
for
English tray
and
fitted
bottles
with small
rollers,
on a dining
used
table, 18th
century.
Textile consisting of
Used
for
silk
or wool.
tapestry
in
ornate styles.
to
Small
half-
the edges of
CLOVEN FOOT.
form of an animal's
cleft foot,
in the
CLUB FOOT.
flat
CLUSTERED COLUMNS.
Three
or
more
small
wooden columns
CLOVEN POOJ
COCKFIGHT CHAIR
COCKFIGHT CHAIR.
COCKLESHELL.
COLUMN
139
COCK'S-HEAD HINGE.
They occur
in
COLONIAL. American
set-
Improperly applied to
most American furniture up to 1850. See also
AMERICA.
Other Colonial types developed from current styles
in the mother countries wherever explorers and coltlements to the Revolution.
onists
extended
Spain,
spheres
the
of
England,
France,
style;
ex-
the
duced a
brilliant provincial
COLONNETTE.
tally
churriguerresque.
Miniature columns
on furniture. [1061, 1336.]
used ornamen-
COCOROLO. Dark
COLUMN.
style.
(See orders.)
Its
supporting member, or as a
ffitgg&rasgSggai | IfiT^JTfi^^^^
ART NOUVBAU
AM EeiCAtJ
COLOU A
I
MODERN AMERICAN
MAK6LE AMP IPOM
COFFER.
table,
trunk,
earliest
forms
furniture
made
it
COFFERED PANEL.
COIN CARINET.
(French, medaillier)
Collector's
COLLAR.
[539.]
Horizontal molding on a
COLLARED TOE.
leg.
COMB BACK
COMMODE
140
COMB BACK.
The
sistent
form,
pilasters
is
colonnettes
may have
or
a con-
commode
etc.
It
COMMODE, BEDBOOM.
word
chests,
mounted on
about
1708,
legs,
connected
but the
with
name appears
only
also
POT TABLE.
Regence type by
428
bedroom commode,
early 19th
Don Ruseau
century.
429
"CLOSESTOOL,"
or
bedroom commode.
CLOU STOOL
commode en tombeau,
agus-like idea.
describes
Boulle's
sarcoph-
Georgian commodes, especially by Kent, were lavishly decorated but lacked the unity of the French
designs.
Cavallo
COMMODE
COMMODE
141
^vavm \urrr/m7777J/JJWh
430
CABINET TABLE,
mode
COMMOPE
FOKrv\
Metropolitan
431
form.
COMMODE,
English, 1760-1770, in
432
433
COMMODE,
COMMODE,
English, 1770-
^80,
in the
French manner of
the HeppJewhite
school.
infl "ence in
^^
"""
*'*" Uu
~m
Cr wn Copyright
inlaid decoration.
Victoria
COMMODE
143
THE CHEST WITH DOORS DEVELOPED SIMULTANEOUSLY WITH THE DRAWER CHEST. THE NAME "COMMODE" IS NOT DEFINITIVE. ACCORDING TO SIZE,
USE, AND LOCALE THE SAME TYPE MAY RE CALLED
A CHEST, CARINET, SIDEROARD, ETC. IN THE 18TH
CENTURY IT RECAME CHIEFLY AN IMPORTANT
ORNAMENT.
434
DEMILUNE COMMODE,
435
QUEBEC,
style of Louis
436
Sacristy
FRENCH PROVINCIAL,
18th
Louis XV.
late
1800-1850.
cupboard
century,
style
of
Don Ruseau
in
provincial
Musee de
la
Province,
Quebec
..-
437
Bonaparte.
438
FRANCE,
Jacob
b
J
n
u v
and TLouis
believed
>
Dul'va
to
Brother^.
have been
Metropolitan
Museum
1925
COMMONWEALTH
*%X^
FACTHIAGAIE
COMMOWnJEALTH
CUA1C
TABLE
COMMONWEALTH.
in
English history
CONSTITUTION MIRROR
145
<*
rU/JIP
CE6MIUELUAVI
Austere
(1649-1660).
styles.
forms
re-
lian; ENGLAND.
comsoj-e BEActErs
COMPO; COMPOSITION
(carton-pierre). Molded
substitute for wood carving. Whiting, resin, and size
are kneaded and molded in carved shapes, which are
then attached to
wood
onists.
[11.]
CONSOLE.
COMPOSITE.
CONCERTINA MOVEMENT.
used
in
Folding
mechanism
The word
"console"
is
also
and
1279 et seq.]
mirror of about
CONFESSIONAL.
or after.
The head
CONFIDENTE
CONFIDANTE; CONFIDENTE.
England
chest, 17th or
and many
fine
Constitution Mittor
CONSOLE
FRONT VIEW OF
CONSTRUCTION
146
SCROLL ON ARM.
CONSTRUCTION.
In the
making
hand
of
still
wood
furniture
and
equipment for economy and quality control.
From the cutting and seasoning of timber, the conversion into dimension stock, veneers and plywoods;
the machining of moldings, rabbet, and dadoes,
tity-production procedure depends on machines
scientific
etc.;
the assembly
and the final finishing and assembling, all possible handwork is eliminated for precision as well as for economy. Nevertheless, the suc-
of machined parts;
cession of steps
still
TOP RAIL
CkHINQ
>acjc
j)/?At
po/r
Stomp
C.<lo//ail
FRONT VTEW OF
NOtE
i'niiii
CHAIR.
fjOt&AlL
.11114-
DRAWN FULL
FURNITURE.
CHAIR
440
IN
DINING-ROOM.
SCALE DRAWING
with
details,
Louis
XVI
chair from
SPLINED
CONSTRUCTION
1.
The
147
wooden
is
is
From
made and
is
list,"
projected
usually transferred to
CONSTRUCTION
From
this
or schedule of dimensioned
parts.
2.
many
of
raw
441 DOVETAILED
American chest.
its
material.
tion.
This
is
costly
and
disciplined
assembly-line procedures.
4. Finish. Production methods in finishing have advanced tremendously with the advent of new syn-
and
paint,
(See also
and
to achieve
The
chairs)
construction
and
of
framework
furniture
(like
were specialized trades in much of furniture history. Material and skills vary widely. Chairs
are frameworks designed primarily to withstand such
stress as weight and twisting. They basically follow
an arbitrary shape in which the articulation of members is as important as the proportions, which are
governed by the human body and by a particular
manner of sitting. Thus, styles of design and construcgories that
442
DRAWER
"-C-
SLIDE, English
chest
c.
DOVETAIL
EE BATED JOINT
MOQTISE -AMD-TENON
TONGUE- AND-GPOOl/E
1755-1760.
148
CONSTRUCTION
and body comfort
lightness in handling,
The simple
stool, legs
for sitting.
MAT e K
A
and capable of
arrangement of the
By the strategic
parts, the members brace one another. Adhesives at
the joints prevent the parts from moving and allow-
A good
chair
is
a great
engineering achievement.
The molded
wooden
seat,
it
evolves
and
seat.
The effect was originally obtained through upholstering. Modern materials and techniques achieve such
forms in
plastics,
surface-softened, as
table
is
essentially
an engineering problem.
designed to
It is
is
flat
parts
and
tight fitting of
modern Western
work.
7' "*
*
tW'i'/*
V-o"
position of structural
go together, instead of a strip being inserted in identical meeting grooves. Dovetailing, now used to join
drawer sides, occurs in older casework at the meeting
of sides and top.
All rules for joinery are qualified
by
position
and
material.
Virtually
all
is
an
art
may
styles;
corner blocks
The heavier
and
were grooved to
hold the lighter inner panel (later of plywood), the
feet being part of the posts. In late-18th-century work
there was a recurrence of flush sides, both in solid and
in veneered panels. With the advent of plywood it
became more feasible to use flush sides. Drawer cases
are held together by horizontal partitions, or dust panels, between the drawers. Flush doors in cabinets are
best made with framed cores.
Joinery,
%'
rigid
resisting stress.
3 9
*\%'
2 5reFr cH * E,;
2'-o
Jop
of
A LS
I'-S"
2 Aprow-s
2 Apaois
ways
L6CS
posts
better
known
crossrails
as
cabinetmaking,
differs
CONSULATE.
The
style
[212.]
CONTEMPORARY.
to
modern
Current
eclectic work,
historical styles,
more
presently specific
CONTRE-PARTIE.
predominates.
style,
CONVERSATION CHAIR
CONVERSATION CHAIR.
Loose term for comfortable chairs, not quite so low or so deep as lounge
chairs,
CORNER CUPBOARD
149
CORNER ARMCHAIR.
two
sides
based on three
being in
roundarout chair.
[268.]
CONVOLUTE.
CORNER RLOCK.
COPY.
more
or less fidelity.
Triangula
etc., as
CONSTRUCTION.
The patina
CORNER CUPBOARD.
Cupboard designed
to
fit
ones were
COQUILLAGE.
for frames
Shell
coquille, a shell. It
work
motive
is
in
ornamental design
and
in
in
French
French
made
were
French-influ-
CORBEL.
Common
furniture.
CORDOVA LEATHER.
Leatherworking in Europe
its inspiration from the technique of
decorating leather evolved in Cordova, Spain, during
the Middle Ages. By the time the Renaissance spread
derived most of
over Europe,
all
leatherwork came to be
known
as
CORE.
Internal
part
of
plywood,
usually
poplar,
crossed layers of
CORINTHIAN.
Corinthian
Cwjm
England c. 1810.
Henry Ford Museum, Dearborn, Mich.
CORNER CUPROARD
150
443
443
AMERICAN,
444
ENGLISH,
walnut,
c.
1745.
ration.
445
CONNECTICUT VALLEY,
1730-1750.
444
Metropolitan
Museum
of Art,-
-r"*
448
GENOA,
parquetry in Louis
XIV
style.
CORNER CUPROARD
151
449
452
FRANCE,
453 BALTIMORE
marble top.
c.
1780.
Mahogany corner
table,
Don Ruscau
COUNTERSINK
152
CORNICE (CORNISH)
decoration of
many
styles,
stencil motif,
CORNUCOPIA SOFA.
legs.
COROMANDEL. Bombay
del coast;
Philadelphia
450
Museum of
mid-
stripes. [647.]
Art
PENNSYLVANIA GERMAN,
COSTUMIER. Stand
COT.
Musee dc
la
Province, Quebec
COTTAGE FURNITURE.
demands
rather
erally in
on basic functional articles. Good 18th- and 19thcentury work is scantily ornamented, unlike provincial
work of France. Late-19th-century English reform
movements worked largely with country models.
[1324.]
COTTONWOOD.
Soft-textured light
COUCH.
wood
of poplar
plywood
cores.
COUNTER-ROULLE.
shell inlay.
COUNTERPANE.
woven
Coverlet
for
point, a fabric
bed,
originally
From
woven on both sides. Mentioned
squares or figures.
in
in
COUNTERS.
surfaces are
ing.
They
marked
whose top
measuring or count-
COUNTERSINK.
Conical boring in
wood
to receive
than the
wood
surface.
is
lower
CRADLE
153
CRADLE.
style.
is
that of
Peasant styles
much
bear
rural
is
17th
century.
Panels
recall
Late
Stair ir
454
COURT CUPBOARD,
Jacobean,
Company,
melon-bulb
Inc.
turnings,
Italianate carving.
COURT CLIPBOARD.
origin,
dence
forms.
richly carved
sils,
wine,
Generally
and used
etc.
to hold plate
cabinet,
same period.
double-bodied
[4,
appear
in
American work
of the
461, 548.]
COURTING CHAIR.
Two-chair-back settee or
COURTING MIRROR.
sofa.
or hollow molding.
COVED CUPROARD.
whose top
is
Early
swept forward
American
like a
cupboard
hood.
now
in the
Metropolitan
Museum
of Art.
COZY CORNER.
Near East led
by
were reduced by lower-class commercial interpretation to a species of hooded corner
to draped, cushioned constructions;
settee compositions
class in
456
AMERICAN
PINE,
early 18th
century
CREDENCE
CROSSRAIL
154
CREDENCE.
ENGLAND. [473.]
CROSS FIRE.
it
CREDENZA.
An
important
CROSS STRETCHER.
ITALY. [719.]
straight or curved,
on Windsor
chair,
or
concave
figure in
furni-
and leading
tables,
CROSSRANDING.
later.
design. [653.]
on
Italian inspiration
century.
ture
Baroque
Intersecting X-stretcher,
II,
is
in
[1196.]
which
character-
and follows
CRESTING. Carved
daybeds, mirrors,
decoration on top
rail of chairs,
Continent.
etc.
CROSSRAIL.
Horizontal bar or
rail in a
chairback.
CREWELWORK.
linen.
CRIR.
Child's
457
sides.
CRICKET. Old
inches wide.
wooden
English
CRICKET TARLE.
Small
usually
footstool,
American work.
Jacobean
three-legged
Stretcher
on Windsor
CRINOLINE STRETCHER.
chairs,
CRESCENT STRETCHER.
CRISSCROSSED WORK.
Latticework.
CROCKET.
in
work
of the 18th
century.
CROMWELLIAN. The
Puritan domination in
brief
period,
England
time
is
is
The
1649-1660,
named
after
of
its
furniture of this
out of which
it
by the Puritan
England colonies; consequently,
the early gateleg tables, Welsh dressers, square-backed
chairs, and other furniture of the colonies exhibit the
same qualities. The wood was chiefly oak; turnings
settlers of the
New
is
76 inches high, 45
CROTCH
155
when
The matching
much
of these
favored by
club foot.
CROWN.
Motive
Charles
in decoration. In carving
it is
II.
It
wall decorations.
Its
bean and
found
in Italian,
later.
by a
Sicilian
ornament
lid or cover.
Jaco-
Metropolitan
458
C - 5CB.OLL
and
design found in
much
later in
England.
CUP-TURNING. Cup-shaped
bulge
in
turned
legs.
CUPBOARD.
is
[457 et
seq.]
459
c. 1500.
and Albert Museum,
Crown Copyright
OAK AMBRY,
English
c.
1475.
Museum
of Art, Rogers
Fund, 1910
CUPBOARD
CUPBOARD
156
i^
GOTHIC
Arthur
S.
,,,,,,.,,..,
,,,
..
.
,
MolDinJG PtriiL
Vernay, Inc.
Company,
Inc.
V
^lSl/?ii
*nj
\
INvS
^A
ELIZABETHAN
CABiWETivoee
DET4I S
1-
STRAP*/ O
R.K
Sage, 1909
CUPBOARD
157
463
ENGLISH
c.
Stair i?
1620.
Company,
Inc.
Anderson Galleries
early 18th century. Fluted
decoration reminiscent of linenfold paneling.
465
MASSACHUSETTS,
466
BAVARIA
High painted
cupboard.
Heboid Wallach
Metropolitan
Museum
of Art, Rogers
Fund, 1907
BOW
CUPID'S
DAVENPORT DESK
1S8
bow
curve,
CURLED FIGURE.
Feathered
shaped,
rails of chairs.
appearance
in
the
grain of
for
special veneerings,
inlays,
etc.
[374.]
CURLED HAIR.
Upholstery
tail
filling
made
resiliency
hair of
principally
is
its
the curled
DAMASK.
it
to
See Scandinavia.
DANTE CHAIR
CURRICULE CHAIR.
DANISH.
upholstery,
more
French,
English,
CURULE CHAIR.
Two-chairback
settee,
English. [1078.]
CURULE CHAIR.
of the
Romans.
sella curule
DARLY, MATTHIAS.
[788.]
or point projecting
DAVENPORT.
CUSPED ARCH.
DAVENPORT RED.
Couch
that
may be unfolded
to
form a bed.
CUTWORK.
Fretwork.
DAVENPORT DESK.
CYLINDER FRONT.
Quarter-round
fall
name
made during
front of a
France and
Small
writing
desk,
chiefly
lift lid,
with or
England. [483.]
CYMA. From
wave a
simple double
curve.
CYMA RECTA.
CYMA REVERSA.
CYPRESS
dish
The cyma
recta reversed.
wood
ability.
of very hard texture, valued for its durCypress chests were made as early as the 14th
century.
cuspEf
aizch
iivi
woopwaek
467
DAVENPORT TABLE
DAVENPORT TABLE.
hind a sofa
DAYBED
159
Long narrow
when placed
in the center of a
room.
DAYREDS.
Rest
beds,
chaise
may be
longues,
and other
They
are pictured
GREEK SCULPTURE
1st century.
Anderson Galleries
DAYRED,
scroll leg
468
469
471
II,
Metropolitan
Museum
of Art, Rogers
Fund, 1910
DEAL
DEAL.
DESK
160
English term for pine, particularly the Scotch
name
as the
Dutch term
rectangular blocks in a
when
DERRYSHIRE CHAIR.
obean period.
DECALCOMANIA.
Picture
applied
in
reverse
to
DESK. The
removing the paper. As a substitute for painted decoration, it appeared in the late 18th century, but
became popular only in the early 1800's, chiefly in
America. Hitchcock and similar chairs were sometimes
lid. Inside were kept writing maand valuables. This form was known in ancient
China and Egypt; it is the monastic scriptorium of
the Middle Ages. These Gothic forms, growing larger,
came to be mounted on stands [474], and presently
the hinging of the lid was reversed so that the inner
side formed a writing surface when opened [476].
Hence the slant-front and fall-front types that are
known today. The desk box survived into the 18th
century. From the French practice of covering it with
a woolen cloth (French bure) comes the word "bureau," later signifying any desk compartment, and
corrupted in America to mean chest of drawers.
DECANTER STANDS.
See coaster.
English
style,
approxi-
of
Queen Anne
round-back
in scale
original desk
was
The filling in of
floor came in the
late 17th century with the appearance of the chest of drawers [485]. In England and
later in America this type became a leading article
the
tall
secretary.
18th-century types of England and America are superb architectural compositions. In the Empire period
the slant front almost disappeared, and the straight
was very
large,
DEMI-DOME.
in a
cupboard.
slant front
tall
came back;
it
known
as "ladies' desks,"
DEMILUNE.
commode.
Half round
in plan, as in a
console or
[434, 1066.]
ing with
back.
lids,
From
variations;
DEMOISELLE.
headdresses.
land.
DESK
DESK BOX
161
473
472
MASSACHUSETTS,
Jacobean, 1680-1700.
DESK BOX,
DESK BOX.
were
small;
as
to
which they
474
finally
SCANDINAVIAN,
17th century.
DESK
DESK
162
476
479
AMERICAN,
LOUIS XV,
height of Rococo.
French
it
477
PENNSYLVANIA
c.
Co., Inc.
478
DESK
163
DESK
DESK
164
DESK
--T7T*
.1.11,
484
LOUIS XVI
plaque.
.:imuiultM
French
ir
Co., Inc.
DESK
165
482
FRENCH ROCOCO,
Needham's Antiques,
483
ENGLISH,
Inc.
Anderson Galleries
ITALIAN
485
486
ENGLISH
c.
1710.
Needham's Antiques,
slope front.
Inc.
DESK
166
Russell Sage,
1909
DESK
DESK
167
490
CONNECTICUT
c.
DESK
mahogany
Don Ruseau
Provincial style of Louis XV,
probably late 18th century. Hoof foot.
492
491
GEORGE
I,
WALNUT KNEEHOLE
DESK.
Needham's Antiques,
Inc.
FRENCH,
DESK
168
DESK
493
ENGLISH
c.
Needham's Antiques,
1795. Directoire influence.
French
Inc.
494
FRENCH,
plaques in
495
AMERICAN,
1810-1820.
Mahogany bureau
desk,
.^.-'i.
fall
496
FRENCH
c.
1785.
Stamped
front.
New-York
Historical Society,
New
Co., Inc.
York City
French
3TC
ir
Wedgwood
J^^^d(i^^^^:^i
<b
Co., Inc.
*$&.
DESK
Mrtropolitan
Gift of Mr.
497
DESK
169
AMERICAN,
Museum
of Art,
Sheraton style
made
in
Stout,
New
1935
York
498
AMERICAN,
1790-1800.
Tambour
about 1800.
499
LOUIS XVI,
signed Piret,
1785.
Bronze-dore by
500
French
ir
Co., Inc.
MASSACHUSETTS
c.
1800.
Figured mahogany.
Metropolitan
Museum
of Art,
C. Moore,
Jr.,
Gift Fund,
1932
503
ENGLISH
c.
Symons
504
DESK DRAWER
in
campaign
chest, English
c.
Galleries, Inc.
1830.
IH"
iiittiMtanMMI
l'-PSTM
LATE QEOCOIAN DECORATED
ii
E4RLV VICfOeiAlJ
CLOSED DESKS
'
505
DESK ROX,
Salem, Massachusetts,
c.
1730, walnut.
DIRECTOIRE
171
DIAMOND-MATCHED VENEER.
Straight-grained
DIAMOND POINT.
Diamond- point
Panels (wvo*mJ
so
Lozenge;
a geometric-shaped
panel in casework, typical of early-17th-century work
in France, Flanders,
DIAPER. Design
and England.
[466, 633.]
small,
[377, 516.]
Don Ruseau
DINING TABLES.
510
See table.
DIRECTOIRE PEDESTAL
DIAPCfc PATTERl!
Revolution
ended the
of the Di-
ostentation
Roman
of
and
materials,
to
emphasize Greco-
brief
marked
in
The hasty
other
autoc-
was less
where the retardataire
created the Early Regency
transition in style
countries,
CAT&L<S
full
manner
in
Prop leaf
PSM&R.OKB
506
DAYBED,
XVI with
Revolution.
reeding, insert diamonds, typical of
Don Ruseau
1795. Matched mahogany
*ns TRANSITION LOUIS XVI TO DIRECTOIRE. Commode c.
CHEST POST.
DIRECTOIRE
DETAIL,
509
surfaces.
veneer! presage EmJ"flat
512
DIRECTOIRE DAYBED
c.
1805.
Don Ruseau
DIRECTOIRE
173
513
507
ITALIAN DIRECTOIRE
FRENCH DIRECTOIRE
c.
1800.
Daybed
of simple style.
DonRuseau
ITALIAN
514 ITALIAN
Don Ruseau
511
DETAIL, FOOTBOARD.
Provincial Directoire.
DIRECTOIRE
COMMODE
c.
DIECC1DIK
Anderson Calleries
DOWER CHEST
174
DISC FOOT
DISC FOOT.
Flat,
rounded foot
in
DOLPHIN HINGE.
name
taries,
DISHED. Hollowed
out, often
by
also
turning.
"f
hardware.
DOME BED.
dome
or arched shape.
DOME
DRAKE FOOT
PHILADELPHIA
DISC
FOOT
DISHED CORNER.
top.
[1060.]
In
etc.,
DOSSER.
DOCUMENT DRAWER.
seats.
the central
section.
etc. [477.]
sets
tallboy.
DOVETAIL. Method
DOG-EAR.
DOGTOOTH.
Ornamental
detail,
chiefly
in
Early
Gothic,
also
DOLPHIN.
in
Ecclesiastical
[545.]
IN
CARCASE
Boards Joiwgd
B* FLUSM
in
DOLE CUPBOARD.
DOVETAIL
DOVETAIL
them
DOWER
of providing a chest
hope
chest,
The romantic
not easy to distinguish between the ordinary chest and those planned as dower.
In the Italian
T>Ol.PHIM
it
is
Foot
Enclisk
work
&GENC/
of ornamentation.
Two
distinct types
chest,
are found in
DOWN
DRESSING TADLE
175
DOWN. The
in upholster-
DRAFT CHAIR.
chair;
DRESSER. L A low
Legendary beast used in more or less deScaly feet and claws, fierce heads,
serpentine coils, etc., are motives drawn from the
dragon, being generally derived from Oriental art.
Free renderings occur in Baroque carvings in Italy,
France, and Germany.
in furniture.
over
it,
FOOT. Three-toed
DRAPERY.
commode.
2.
from
used
dressoir.
DRESSING MIRROR.
DRAKE
styles.
DRAGON.
tail
in the
is
in
Small mirror on
standards,
dressing. Also,
cheval
glass. [874.]
DRESSING TARLE.
rics
In
16th,
triumph of European
and 17th
thrones,
weaving and
centuries.
canopies,
beds,
Winand
commonly about
The luxury
of the period
England and France encouraged their development in many varieties. Men made much of dressing
tables in England and France, and for over a century
much ingenuity was expended on arrangements of
mirrors, lighting, etc. The "Beau Brummels" of
England and the poudreuses of France are outstanding types. See also beau bbummel; powdeb table;
in
Small piece of
under a
fall front,
lid,
lid
is
slip
is
wood
drop
When
the
pulled forward to
support
it.
DRAW
top, the
is
in
two
which pull
The
original base
omAMj
our i-e+p-
jr/xe
to
7or
SECTION
SHou/lJ<S
C>(tE
EXJ-SK10ED
LEAF
Queen Anne
style
c.
1750.
176
DRESSING TABLE
517
Frick Collection
516
riq
Symons
520
Don Ruseau
518
516 POUDREUSE, Louis XVI. 517 LOUIS XV MARQUETRY. 518 LOUIS XV PARQUETRY. 519 LATE-18THCENTURY ENGLISH. 520 BEAU BRUMMEL TAMBOUR
CUPBOARD,
English
c.
1790.
Galleries, Inc.
Symons
Galleries, Inc.
Metropolitan
Museum
1911
serpentine chest.
524 OPEN
TABLE, satinwood, English c. 1800.
523
524
Symons
Galleries, Inc.
DRUNKARDS CHAIR
DRESSOIR
mmm t mm
.
526
ENGLISH,
527
AFTER EASTLAKE
Victorian
c.
1870.
-*
"WWWfe
T
525
c.
MASSACHUSETTS
c.
1880.
DRESSOIR.
ment
for china.
countries.
Now
DRINKING TABLE.
chiefly
and Germanic
rural in England in
DROP. Pendant
free, half
surface, as the
husk ornament
in 18th-century classical
work.
DROP FRONT.
Desk
for use.
DRUNKARD'S CHAIR.
DROP LEAF.
when
DROPPED SEAT.
Round
library or center
528
tuf y-
DRUNKARD'S CHAIR.
DRY SINK
DRY
179
lined;
WATER RENCH.
DUCHESSE. French
stered chair
and
stool
couch. Hepplewhite's version had two armchairs facing each other, with a stool or ottoman of the same
level
between.
DUCHESSE RED.
DUCKFOOT.
Dutch
foot;
DUMBWAITER.
Generally
three
or
four
circular
at the
bottom,
18th century; spread to France and Germany. They were generally placed near the hostess'
end of the table, and carried additional plates and
silver, dessert and cheese and, later, liquor bottles
and glasses. An American version for use upon the
table developed as the "lazy Susan," a revolving tray
in the early
DUMMY ROARD
Symons
FIGURES. Boards
529
some rude
DUMBWAITER,
Chippendale
c.
Galleries, Inc.
1760.
the silhouette
DUTCH CUPROARD.
DUNLAP, SAMUEL,
made
2nd.
New
Hampshire
joiner,
carved
deep
DUTCH FOOT.
shells. [27.]
DUTCH FURNITURE.
DUTCH COLONIAL.
DUTCH INFLUENCE.
roque;
massive,
and
to leave a
is
simplified Ba-
unpretentious.
Local woods
furniture. This
stolid,
permanent char-
were used almost exclusively; turning is common, usually deeply cut and with feet often eccentrically turned
to produce a rudimentary cabriole foot called Dutch
foot, spoon foot, pad foot, or duckfoot. There was
foot.
See Netherlands.
In English furniture, the influ-
DUTCH SETTLE.
back pivoted
to
form a
table.
180
EARLY GOTHIC-SOLID BOARDS AND SIMPLE PANELING, PRIMITIVE HARDWARE
EASTLAKE THE
AND CARPENTER ORNAMENT-REPRESENTED TO CHARLES
THE WINDSOR
MACHINE.
THE
TO
LOST
RETURN TO BASIC CRAFTSMANSHIP,
CARTCOUNTRY
THE
OF
"APPRECIATION
AN
SHOWS
CHAIR, PRETTIFIED,
."
WRIGHT, UNCONTAMINATED.
.
530
WINDSOR
531
UPHOLSTERED CHAIR,
model
for
Taste, 1872.
EAGLE
181
EAGLE.
Its
its
revival from
Roman and
decorative uses.
The
and claws,
became ramp-
Em-
EAR.
wing
of a
rail crestings in
paint-
wing
Brooklyn
535A
Chip-
c.
pendale chairs.
EARLY AMERICAN.
See AMERICA.
mock
EARLY CHRISTIAN.
EARPIECE.
effort to
Museum
In an
compounded
England and
in the
large chair, so
distinctly
ItlMSTI
deteriorate."
This
Morris
return
and
to
his
machine-wrights
coterie.
it
The name
lingered to
terful skill.
work
wood.
denote a cabinetmaker of mas-
in this difficult
182
EBONIZE
EBONIZE. The
hardwood
staining of native
to re-
semble ebony.
EBONY
(Diospyros).
Tropical
black color,
Macassar has
is
general
of
Of those
in
the
of light
stripes
wood
in texture.
black-brown.
ECBINCS. Greek
egg-and-dart molding.
tables
and
and folding
seats, in-
ECLECTICISM.
adapting at will the forms and motives of any previous period. It permits their modification or combination with other styles as freely as the designer's
dictates, or
it
may
of an earlier style.
Thus
seem always
designing.
is
all
modern copying
or utiliza-
The major
it
Low
The
legs are
century was
energy
to
whim
appears that,
takes on an original,
constructive,
light of
18th-century
revivals
EDGING. Thin
nineteenth centuby.
strip of solid
wood
at the
edge of a
EGG-AND-DART
AND- ANCHOR).
(EGG-AND-TONGEE)
(EGG-
woodwork
ivummj.
EGYPTIAN.
record of
its
Ancient Egypt
left
turned
fairly
feet.
538
536
footstool;
537
Museum
of Art.
complete
decoration of
tombs, thanks to the custom of supplying the dead with mundane articles planned to
its
we may
decoration.
Wood
wood was
often
made
a feature,
and there
and natural
proached.
finishes
on syca-
were
The substance
is
the basis of
with
Gothic
dominant;
elements
the
Jacobean includes the period during which the Renaissance spirit was wholly absorbed into English art. At
Elizabeth's accession in 1558, the dominant Tudor
forms of furniture were based on the perpendicular
Gothic architecture; the arts as a whole possessed a
homogeneity of spirit and design never after ap-
evidence
most subsequent
work,
sance
is
of-pearl, gold,
EMBRASURE
183
EGYPTIAN TASTE
large, straight,
and
an elaborate use of Italian Renaissance carving. Flemish craftsmen at this time came as refugees and
ties in
new
EGYPTIAN TASTE. A
brief attempt
was made
to
had assumed a
was plainly im-
died in 1791.
ELM
(iilmiis).
The wood
appears to
styles,
EMBLEM.
from
Metropolitan
539
Museum
EGYPTIAN DESIGN:
cabinet
c.
1926
1810.
religious
sym-
on which they
The use
of
first
appeared.
emblems
is
particularly characteristic of
Elizabethan embroidery.
ELIZABETHAN.
culture
of
Tudor period
is
EMBBASLRE. The
particularly
splay, or reveal, of a
ture, such as a
stool.
window,
EMBROIDERY
184
EMBROIDERY.
EMRROIDERY FRAME.
EMPIRE. The
neoclassic
A committee
Napoleon.
edict of
headed by David
of artists
and
architecture
style of
in the early
Fontaine formulated a
full
designs in
set of
1801.
ologists
designers.
The
furniture
is
The
style
of classical
ican
work
sence. It influenced in
Thomas Hope;
is all in
the
in
England men
like
Empire
es-
Sheraton and
known
it
grew
into
as Biedermeier.
its
persistence for
it
more than
able. [86, 88, 121, 149, 307, 383, 427, 540, 1060, 1270.]
ENAMEL. On wood
furniture, a
hard glossy
finish
and oil to
baked on.
satiny
ENCOH.MUF.
finish.
On
metal,
enamels are
Metropolitan
540
EMPIRE STYLE,
chair,
mahogany
Museum
of Art, Gift of
France,
and ormolu.
J.
1804-1815.
Revolving
desk
EMPIRE
541
bed
foot.
French
6-
Co., Inc.
Munson-Williams-Proctor
540A
tions
York
1830.
c.
One
of
two dropleaf
Institute, Utica,
N.Y.
sec-
EMPIRE
END TABLE.
now
as
end
tables.
motif,
variation
on
work
of the Louis
XIV
period,
it
was extensively
used by Chippendale.
Yale University Art Gallery, Mabel Brady Garvan Collection
New
York
ing, gilt
c.
mahogany
ENGLAND. The
ture are
somewhat
indefinite
owing
to
the variety
as
by
their
detail, the
known by
mature
characteristics.
other
of English styles,
is
ENGLAND
186
the
real
classifications
follow
names of the great architects, cabinetmakers, designers, and artists. Their printed works and executed
the
furniture
tell
great talents that made 18th-century furniture synonymous with great design.
Age of Satinwood is least distinct, chronologically or as a school of furniture style. It represents
545
LIVERY CUPBOARD,
Museum
delicate,
of Art
all
the
everywhere.
The Gothic Age established a fairly universal system of furniture, solid and angular in outline, architectural in form and ornament. The development of
furniture is marked principally by the passage from
the hands of the carpenter to the specialized joiner
or cofferer.
boards; the
latter
its
descend-
antsambries, hutches, cupboards [684], and sideboards represented most of the furniture; there were
thronelike chairs, forms, joint stools, benches, and
trestle tables,
and
little else.
small
amount
of
beech
544
READING DESK,
Museum
plank construction.
linenfold panels
period,
saw the
rise to
and
zigzags.
either
and
straps
were conspicuous.
dominance
of foreign forms.
Age of Walnut
and
|AbLC &ASE
tCflc
and
ENGLAND
187
546 CHEST,
16th
century.
Panel
construction,
Charles of London
Renaissance
detail.
TUDOR-ELIZABETHAN
The reign of the Tudors, 1485-1603, covers the last
phase of the Gothic style and the beginning of the
Renaissance [549]. In the reign of Henry VIII the
power displaced that of the Church, and domestic furniture began a robust development. Italian
influences came with Italian architects; but only in
secular
548
COURT CUPBOARD,
more
Stair
& Company,
Inc.
carving
EARLY JACOBEAN
easily
melon
members;
stretchers are square and low. Paneled chairs, drawtop tables, court cupboards, colossal beds with heavy
wooden canopies are prodigally ornamented with groturning
appears
on
all
upright
dated 1659.
inlaying,
and other
Italian
exuberances.
Inigo
workmen
Under James
and Charles
I,
styles.
The
and intertwined
weak acanthus
circles,
palmettes, etc.
The melon-
common.
geneous.
Stair 4r
Company,
Inc.
ENGLAND
188
Charles of London
552
Anderson Galleries
h
551
ENGLISH
wellian
Left.
c.
WAINSCOT CHAIR,
Cromwellian.
553-554
SETTLE
c.
1680.
Rope
seat
Arthur
S.
Vemay,
inc
c.
1625.
Anderson Galleries
ENGLAND
189
fi
Charles of London
Charles of London
Ionic caps.
557 Above.
c.
1620.
CKM/Ll.l*U
558
TBESTLE-FOOT GATELEG
c.
1660.
Stair ir
Company,
CROMWELLIAN OR COMMONWEALTH
The
tuted
Civil
luxuries favored
revolt, substi-
came from
profiles. Ball- or
bun-turned
is
used.
Inc.
190
560
Stair ir
559
STATE CHAIR
style
c.
CHAIR,
1685-1689.
English
or
560
II.
Company,
Inc.
Restoration
SPIRAL-TURNED WALNUT
561
Flemish. Period of Charles II.
c. 1685. Walnut base with Spanish foot.
CHEST-ON-STAND
WILLIAM AND MARY SCROLL-LEG TABLE. Walnut
562
burl
Metropolitan
559
Museum
of Art,
RESTORATION
Charles
From
II
who preferred
XIV shed some
work
of
its
in walnut.
brilliance
The
court of Louis
rising
are everywhere
static
new
feature,
displaying
large
surfaces
of
selected
The demand
niture. Rest
was made
new
species of fur-
sofas,
upper
classes as required
c.
1690.
ENGLAND
191
LATE JACOBEAN
Late Jacobean, often used to limit
named
James
this
period,
is
II.
565
Anderson Galleries
Holland
tion,
style
in 1688.
weavers,
painters,
traders con-
religious
carvers,
tolerance
joiners.
New
to
chests. Chairs
but trumpet,
bell,
cup, and
bun turnings
are
more
typical.
due
Metropolitan
563
565
CLOCK,
Charles
Museum
II,
of Art, Bequest of
London, 1680.
MARQUETRY CHEST-ON-CHEST.
564
MARQUETRY CABINET,
late
17th century.
ENGLAND
192
^T L_
^
-
1
Hjj
'
III
^?
_y
%D
570
Metropolitan
566
WALNUT AND
Museum
of Art, Rogers
Fund, 1910
INLAY.
QUEEN ANNE
The
Dutch
elegance. There
is
little
work of the years 1690-1720, but the tendency is toward a more English interpretation of the flowing
Baroque outlines. Sleek and sophisticated, there is
generally a unity of curved lines in
niture, as well as a restraint of
Queen Anne
fur-
The
cabriole leg
skillful
association
mem-
new
tables.
were moderate
in size,
beau-
and charm.
SECRETARY,
S.
Vernay, Inc.
wl
ENGLAND
193
Ml
SI
M etropolitan Museum
568
SMALL CHEST
now
called
1710.
c.
of Art
Type
"bachelor's chest."
GEORGIAN
The
I's
George
Queen
Anne
Arthur
S.
Vernay, Inc.
CHEST-ON-STAND,
569
WING CHAIR,
with stretchers.
Arthur
S.
Vernay, Inc.
style,
withstood:
first,
new
pros-
Raroque
The
style.
tects
was
archi-
classification
florid,
of
"architects'
fur-
denying
the
magnificent,
work
of Kent, Langley,
typical.
in
this time,
and
resistance to decay,
its
popularity vir-
194
ENGLAND
>\.
Metropolitan
Museum
J.
Boury, 1937
574
Stair
MOMM
and Company,
Inc.
-v
ENGLAND
195
575
577
MIRROR
c.
1715.
MAHOGANY DESK
through architects
century
like
style.
576
CABINET, George
erie lacquer
powdered
II.
Cream
chinois-
scarlet lacquer.
French
i?
Co
ENGLAND
ENGLAND
196
Chippendale's genius
in
is
always
CHIPPENDALE
The name
of
lies in his
this
the Middle
widespread in-
of
publication in 1754 of
The Gentle-
It
type known,
work
is
in
much
work appears to
collaboration with Robert Adam,
design. Furthermore,
whose
known
made
of
his
old-fashioned.
$
k
p? R?^
lF" r"Tv
K f n ft
TjK)
lesser
had
unworthy of
They stopped
at
no
detail as
confined to furniture.
by
men. Consequently, there are vigorous schools of Chippendale in America (see Philadelphia Chippendale); Scotland, where most literal
copies were made; and Ireland, where the style was
so liberally modified as to be recognizable as a distinct manner. ( See irish Chippendale. )
The Rococo taste came from France as the style of
Louis XV, was greatly restrained in English work,
but attained special splendor in gilt mirrors and commodes. The eclecticism of the period also led to an
abortive Gothic revival. Interest in chinoiserie and
Oriental themes came in periodic waves. All these
details, surprisingly welded together, found their way
into mahogany.
or copies
came under
a revolutionary
older style;
and
all
other interior
symmetry was
this,
characteristic,
sometimes
painfully,
unstructurally,
became
so.
The
griffins,
fluting
chimeras,
ENGLAND
197
Sheraton
known
and publisher of
more than as a working
cabinetmaker. His book The Cabinet Maker and Upholsterer's Drawing Book (1791-1793) purports to
show the "present taste in furniture" probably indicating that many of the designs were not his own.
However, the designs shown are so good and so well
is
as a designer
'
that, like
The
XVI
same
as
his
classic
Rectangular
style.
Hepplewhite's
to
many
serpentines;
The Rococo
end
in
spade
feet.
is
in straight lines.
Chairbacks were in
camel, always
Tapered
five
shapes
filled
with
furniture then
Hepplewhite employed decorative painting extensively, and sponsored the use of satinwood
and fine inlaying.
In 1788, two years after Hepplewhite's death, his
widow published his book The Cabinet Maker and
Upholsterer's Guide, which had much the same effect
on his reputation as the Director had had on Chippendale'sthat is, the whole style is sometimes ascribed
paterae, etc.
to him.
Shearer collaborated
Hepplewhite and is
credited with the familiar sideboard design. His drawings appear in Designs for Household Furniture
(1788).
with
flat
porcelain
for
everyone
toire
and
much
for Sheraton, as
brilliant
work on Direc-
styles that
else.
After
some
his
based.
He
died in 1806.
must be remembered that Chippendale, Hepplewhite, and Sheraton, outstanding though they were,
held no monopoly sufficient to name the period for
them. They were the great lights of a vigorous style,
but there were lesser lights and there were cabinetmakers with the craft and grace to execute the designs offered. The production of books on furniture
was a thriving industry; and part of every gentleman's
education was in architecture, the classics, and design.
Among the contributors must be listed Chambers,
Manwaring, Ince and Mayhew, Lock and Copeland,
and innumerable others.
The tremendous furniture output of the mahogany
period can be largely lumped into two types: the
Baroque-Rococo, through 1755, and the Classic Revival, after that time. The former, known by fuller
It
is
exempli-
comes mere
the
Sheraton.
eccentric. This
niture,
is lost;
is
and
post-Sheraton period
as
laid
down by
ENGLAND
KEK1T TABLE
\J(oS
K/BBAND* BACK.
579
CHINESE
Arthur
S.
Vernay,
Inc.
580
Arthur
S.
Vernay, Inc.
581
GOTHIC.
ENGLAND
199
Needham's Antiques,
Inc.
582
WPiCnTJCii'
wen 17CK
CARD ABLE, 1760-1765.
5J
586
585
SOFA
c.
1765.
584
CHAIR
"IN
Needham's Antiques,
Arthur
S.
inc.
Vernau, Inc.
ENGLAND
200
Arthur
WINE TABLE
S.
Anderson Galleries
Vernay, Inc.
(plan view
above
588
SECRETARY BOOKCASE
1785.
satinwood with typical painted panels.
lection of
589
c.
1795.
c.
Lord Leverhulme.
Symons
,***
ft t
Mahogany and
From the col-
*U fi
lllllllr:^;-. ^A'M.'.'MIIIIU"
Galleries, Inc.
IN
ENGLAND
201
IN-
Arthur
590-591
S.
Vcrnay, Inc.
DRUM
590-591
TABLE, HEPPLEWHITE CHAIR with
Prince of Wales feather carving.
592 DRESSING TABLE c.
1795 by Seddon, Sons and Shackleton. 593 HEPPLEWHITE
CABINET c. 1780. 594 SHERATON ARMCHAIR, 17801790.
Classic
TOKCJ4jFR
Metropolitan
A d a/v\
Pe destal
Symons
594
OARP
Arthur
S.
Vernay, Inc.
Adam Armchair
Galleries, Inc.
593
Museum
1919
202
ENGLAND
595
MIRROR
C.
Sumons
Galleries, Inc.
Sumons
Arthur
596
SHERATON COMMODE,
1780-1790.
S.
Vernau, Inc.
597
and
CHINA CARINET
c.
1810.
Galleries, Inc.
inlays
fittings.
Satinwood, tulip-
wood banding.
598
piiiwiniiniiiiiiiii;;i;
c.
1800.
Metropolitan
Museum
of Art, Fletcher
Fund, 1929
'
ENGLAND
203
ENGLAND
^WWPPWHI
TT1 IIIlIIItTTT
II
'
"-1
GRAINS.
J
\CC
DETAIL
Arthur
599
601
602
S.
SHERATON CHAIR
~*
60
Vcrnay, Inc.
c.
1790.
MIRROR, gilded.
DRESSING TABLE, harewood
H3
CHEST c. 1780. Hepplewhite
lacquer with Chinese decoration.
603
604
style,
yellow
sycamore,
painted
1780-1790.
ENGLAND
ENGLAND
204
English Pre-Victorian
DURING THE REGENCY PERIOD A CERTAIN STOLIDDEVELOPED FROM THE LATE SHERATON, AS
TYPICAL OF ONE LEVEL AS THE OVERSTYLIZED
CLASSICISM USUALLY CALLED REGENCY WAS OF
THE COURT LEVEL.
ITY
DRESSING TABLE
606
DRUM
TABLE,
c.
1840.
1825-1840.
Symons
Galleries, Inc.
St.
608
SIDEBOARD
detail in inlay
c.
c.
James Gallery
1810.
and reeding.
609
REGENCY BOOKCASE
top, brass
c.
1810. Marble
moldings on rosewood.
Symons
Galleries, Inc.
ENGLAND
ENGLAND
205
ENGLISH REGENCY
The name
is
The
Adam
Empire models,
or from
Rome
Roman
Roman
orna-
tem-
like
beds, sideboards as
bits of architecture
sense of Tightness
chaeologist's enthusiasm.
The Adams'
ar-
compo
typical
ornaments and painting were discarded for metal inlays and applications; the ornamental features were
Roman and
paratively
sparse,
on the grotesque.
Queen
name
to
style
new
covertech-
615
SIDEBOARD,
Queen Anne
in
through
the
The
dates of
much
Style.
ENGLAND
ENGLISH
COUNTRY
FURNITURE
610
SIMPLE WINDSOR.
Stair
Jacobean
from the
Arthur
RUSH SEAT.
611
style;
612
retaining
some
details,
613
late 18th century.
The Windsor
ment. Chairs,
chair
stools,
is
wood and
an
pride of craftsmanship.
ENGRAVING. Method
glass, etc.
make them
then
filled
with a composition to
ENTABLATURE. The
made up
its
of architrave, frieze,
S.
by a
distinctive
and cornice.
WINDSOR,
Vemay,
COUNTRY CHIPPENDALE.
elm.
Needham's Antiques,
Inc.
Inc.
ENTASIS.
ENTASIS.
EVOLUTE
207
Slight swelling of a
column
at the
middle
designed to overcome the optical illusion of hollowness that appears in a perfectly straight column. See
also ORDERS.
ESCALLOP SHELL.
See
Cockleshell.
shell
also
MOTIF.
617
Museum
616
ESCRITOIRE,
of Art,
ETAGERE,
English, Mid-Victorian.
of Design, Providence
1850-1860. Papier-mache.
English,
Writ-
ESCUTCHEON.
handle.
They
monogram,
etc.
In fur-
cartouche;
HARDWARE.
ESPAGNOLETTE. Female
ETAGERE.
Commonest
examples
in
in exotic
although graceful
19th century,
the
rSPAOMOLETTE
of
EVOLUTE.
friezes
Recurrent wave
scroll
used to decorate
and bands.
618
FRENCH ETAGERE
Style of Louis
XVI.
EVOLUfE
\V
A V
L.
c.
1790.
FEATHER EBGE
208
FABRICS
FABRICS.
See textiles.
FAN INLAy
FACADE.
sense.
The
resemble
FEDERAL
architectural
classic revivals.
facades,
particularly
in
the
AAEEICAC*
[151, 175.]
(18th-century English),
a fan-shaped
filling,
FACING. An
dles
of veneering
fan motif
The
rails
18th-century furniture.
face only.
FANLIGHT.
window
or over a door,
tins or leading.
FANCY CHAIRS.
there were
if
antiques,
but
The technique
is
A good
make
him from
this
Some
designed or decorated
els.
in imitation of
imported mod-
style,
FANCY FURNITURE.
small, intended
more
Tables, chairs,
etc.,
[78,
usually
for utility.
craftsman
ture and
window over a
with radiating design of mun-
Elliptical or half-round
FARTHINGALE CHAIR.
Elizabeth and James
to
It
I.
"farthingales," to spread in
all
directions.
FASCES. Roman
such as Louis
XIV and
the Empire.
FASCIA. A broad
toration.
FALDSTOOL.
camp
stool.
FAUN.
lid or
drop front, as
flat
Adam.
in a cabinet-
FAUTEUIL. French
upholstered armchair.
The
sides
[87.]
stered solidly.
FAUX-SATINE
FAVAS. Honeycomb-like
Louis XVI decoration.
FEATHER BANDING.
FEATHER EDGE.
paneling.
FANCy'cMAlK
fiMSEICAM xftcEUT
Edge
detail
characteristic
Herringbone
of a
similar in color
of
inlay.
board thinned
off,
as in
FEATHERED
FEATHERED.
Certain
particularly
grains,
when
of
ma-
to as feathered
curly maple
was used
to
common
FEATHERS.
FEDERAL
209
styles.
FEDERAL. American
early
years
of
the
Republic,
1780-1830.
Beginning
is
the period of
Duncan
Phyfe.
highest distinction.
The
work
to
its
Directoire-classic influence so
is
also
Adam
interpretations.
The
Directoire influ-
had
feet,
lion
heads on handles;
Empire
style
employed
bed ends,
as brackets, tables,
scrolls
etc.
Thomas
The
great interest in
citizens
like
pitch. Interiors
1134, 1212.]
is
620
FEDERAL DESK,
fold-over top.
Hepplewhite
DUNCAN PHYfE
Weil
ieif
W/A"3tf -
STAMP
style,
swags, festoons,
Federal furniture
Federal
lyres,
Museum
1780-1800.
Tambour
doors,
inlay.
of Art, Gift of Mrs. Russell Sage,
1909
FINISH
210
FERRULE
FERRULE.
Metal ring or cup, turned or square, fitting the foot of a leg for strength and ornament.
Sometimes with caster [1134] in 18th- and 19th-century work. See also shoe.
FESTOON.
etc.,
FIRER.
AIAEEICAN
F
EDEBAL
FIHIAL5
chair with
two
up
FINIAL. Decorative
FIDDLERACK.
violin.
Queen Anne.
FIDDLERACK
wood such
as
[572.]
FINISH. Generally
(Veneer).
about, the
types with
the
curly
grain
Parallel
in
Planned
for
of smaller
proportions.
name came
monumental
FIELDED PANEL.
Panel formed by molding, grooving, or beveling around a plain surface. Also a panel
of smaller panels.
FIGURE.
used
in
most
or less conventionalized.
styles of decoration,
They
are adapted to
two needs;
first,
wood
in furniture. It originates in
The
an-
Egyptians, Chinese, Mesopotamians, and Romans used color and design on most of their furniture.
The Chinese perfected their lacquer at a very early
date. This is an opaque shellac process with many
rubbed coats yielding a surface of great depth and
durability. The Egyptians used pigment and polychromy more as we know it, and their methods, together with gold and bronze leafing, were handed
down through the Roman and Ryzantine artists to the
cient
Renaissance decorators.
In wood, certain characteristic
markings
other than the customary straight grain. These are
spoken of as crotches, burls, butts, curls, mottles,
feathers, waves, crossfire, etc. See also woods.
more
or preserving the
turned posts.
made up
used as motifs
in
every form of
flat
decoration.
in delicate
ornamental pat-
terns.
oil
or
common
wax, which
known
to the Egyptians,
but
FIR
FLOWER BOXES
211
cheap, sticky-looking
effect.
much
study
in recent years.
common
with
make a tight
finishes. The object
pounds. They
beautiful
today
is
to
and yield
minimum
or film,
skin,
transparency, and
most resistance
the
dirt,
of gloss, the
to
abrasion.
FIRE SCREEN.
Co
1600
a pole adjustable to
heat of the
fire.
FLEMISH SCROLL.
FISHTAIL. Carving on
the top
rail
of a banister-back
FITMENTS.
Articles
made up and
places,
is
on chair
a C-scroll separated from
scroll
chair.
of a
legs, etc.
Baroque double
and
work
built-in
in general
fire-
(British usage).
FLIP-TOP TARLE.
etc.,
applied to
hardware.
handles,
FLITCH.
is
sawed
FLAG (FLAGG).
cut.
seats of
FLOWER ROXES.
chairs. [324.]
Ornamental boxes
FLAMBEAU.
as decoration.
II,
came
to
England from
FLAMROYANT.
720.]
STAND; PLANTER.
Specifically, the
FLAME CARVING.
uralistically
in
for
FLEMISH.
leaf.
See NETHERLANDS.
FLEMISH FOOT
Englahp c \cqo
FLOWER 60V
ITALIAN IKON
FLUSH BEAD
FRANCE
212
In
flutings
furniture,
Good
etc.,
FOOT WARMER.
are
particu-
FOOTBOARD.
p ane
in the
The
is
fillet.
FORM. Old
FLY RAIL.
drop
flap or
leaf.
term
FOIL. Point
at the intersection of
two
arcs.
trefoil,
Gothic
quatrefoil,
cinquefoil, etc.
FRAME.
from earliest
times, folding chairs and couches being found in
Egyptian tombs. Their mechanical aspects always excite more enthusiasm in the mechanic than in the
artist, as few folding pieces present a very attractive
possibility of a coher-
FOLIATED. Leaf
ornaments.
FOLIO STANDS.
mon prior to the
more com-
was made for their storage in deep cases. The top surface was generally tilted, and adjustable for the accommodation of folios.
FOLD OVER.
surface.
Found
and American
FOOTRAIL.
Desk
in
WOO
secretaries.
FRANCE. GOTHIC,
FOOTSTOOL. Low
901, 1094.]
Up
approximately 1100-1500.
was
indistinct
to
product,
scarcely
susceptible
to
outside
influence.
Social conditions
lived a
The nomadic,
unsettled
life
621
FOOTSTOOL, mahogany
scroll"
frame
with applied rosette turnings,
in the
c.
form of
1835-1845.
"Grecian
port-
it
also
FRANCE
with thin
FRANCE
213
filler
huge boxes with wooden panels. Seatings are described as of three types: the faudesteuil, the banc,
cupboards; stools and forms, rude tables, chiefly demountable trestles and elementary seat structures. Oak
predominated. Carving developed with the style, util-
Painting was
decoration;
in panels.
fire
and bed
The
steps. Lesser
selle,
and
tire
It is just as
reasonable to
ebony and ivory inlays are known after this date, but
may have been imported. Iron hinges, locks, and straps
were essential and highly decorative features of the
designs.
still
vital,
ClSbo
Woodwork
With the
rise of a
semblance of
political organiza-
France a few
many
others. Yet in
followed
closely
with the
adoption of
neighbors and
lites.
To
their
and Spain
at
a later
rivals.
satel-
artists,
date,
materials, methods,
rulers.
Thus a
fairly
well-defined
chest,
now more
sedentary,
FRANQOIS
The
became
larger to
I,
1515-1547
it
the pupitre for writing, the demoiselle, a kind of dressing table, and the basset, a very small square or round
stand, like a tall stool. Beds were merely rough frames,
upon which were hung the many draperies; or lit clos,
to
ornament yielded
to
FRANCE
214
FRANCE
French Renaissance
GOTHIC FURNITURE RELICS
ARE MOSTLY ECCLESIASTICAL,
AND HARD TO FIX
GEOGRAPHICALLY OR BY DATE.
622 FOLDING-TOP TABLE dated 1506, oak and linden. Front panel
opened top. Developed from trestle type that could be taken apart.
623
MARRIAGE CHEST,
Metropolitan
624
Museum
Metropolitan
of Art, Gift of
Museum
624
WALNUT CHAIR
625
CHOIR STALL,
of Art,
The
to
support
sug-
with box
seat,
622
pivots
Cloisters Collection,
1947
FRANCE
FRANCE
215
Metropolitan
627
628
CABINET,
style of
Don
Henri IV.
DRAW-TOP TABLE,
Museum
1610-1643. Italian
of Art, Gift of
J.
style.
Ruscait
Provincial character.
630
WALNUT CHAIR
medallion
c.
with
1600.
Symons
629
CABINET,
Italian inspiration.
Galleries, Inc.
BURGUNDIAN TABLE,
631
FRANCE
216
FRANCE
century.
634
tury.
"CONFESSIONAL" ARMCHAIR,
Experimentation with
scroll
late
17th
cen-
members approaching
the cabriole.
CABINET
632
G-.U
Duveen
"
3 \v ,'.'!
r
'.-
-.
'
Brothers, Inc.
v'f'
<
'*
!
.-'
1
1
1
',"
\*%
1|
<^S
11
-
f.
-.
Beo ftiT-
Fmnck
RCMA.//*uCt
FRANCE
acanthus,
FRANCE
217
although the
latter
never to disappear.
The
use,
on
The
style of Francois
furniture
1572,
-and Francois
II,
Catherine de Medicis
II,
III,
and Henri IV
of Navarre. Fierce religious wars upset the logical sequence of furniture evolution and accelerated changes
by the in-and-out movement of courtiers, craftsmen,
and architects. It was a violent period. The Gothic
root withered and died at least in the capitals. In the
provinces it persisted because of the rise of a powerful middle class. Wealth and security seeped down
through the classes. Merchants, artisans, and peasants
enriched their houses with furniture inspired by that
plates
This guild brought cabinets to their highest development in France. These were architectural compositions
in bulk,
roque
architectural
Pilasters
were
commonly used
lozenge panels.
The diamond
stars
The catalogue
much
carved in high
The table
of Francois
it
relief.
is
I.
became an
of
conspicuously
From
new during
the period
architectural entity.
The
bases, vigor-
in
and
in
curtains.
pillars
stituted available
tic
pieces
designs to their
Provincial
and
sitions
The
flat
squab cushions, or
woods and
their
to
skill.
Furniture,
Meubles de
luxe.
gantly carved.
down
flat
of columns,
LOUIS
XIII, 1610-1643
The names
in their fields:
Descartes, Pascal.
it
brought
FRANCE
218
orate
geometric
but not so
panels
much
so as the elab-
and
Cabinets were the piece de resistance. They covlittle coffers covered with
embroidered velvet to colossal structures carried on
twelve ornate supports. They were now no longer
necessarily vertical; the buffet form as we know it
appeared in Guyenne and Gascony with drawers
below. The bureau was new, evidently adapted from
the cabinet by the addition of a fall front, although
the
name
640
Symons
Galleries, Inc.
and
ruffs.
The word
but uncertainty
fauteuils appears
exists as to
whether
it
pattern.
LOUIS XIV-1643-1715-BAROQUE
Louis
XIV came
was transformed
into the
"Manufac-
Under Le
Le
of this period
Caffieri,
Peter Golle.
roots.
FRANCE
The
219
XIV was
Louis
style of
distinctly
Baroque, the
robustly
and
ovals.
They were
weapons,
musical
lilies,
imple-
agricultural
to 1680.
Normandy
rich
tin,
ivory
became
a rage,
first
fected
the process
of
varnishing
known
as
much
Woods were
legs.
Architectural
instruments,
Square baluster
in natural oak.
CONSOLE TABLE
635
bonnetiere
[142].
known
grilles.
the
commode, stemming
Boulle's
name
is
as
fitted
is
a narrow,
either
legs,
piece
XIV
with drawers.
cabriole leg.
Beds achieved new heights, literally and figuraThe woodwork was still a skeleton for manifold
tively.
canopy of the
first
vernis
CLOCK
by Boulle.
638
BOULLE CABINET.
637
GILT PEDESTAL
FRANCE
220
FRANCE
Metropolitan
641
of straight
typical of
Metropolitan
642
Museum
ARMCHAIR
of Art, Bequest of
after design
by
Museum
of Art, Gift of
J.
Combination
is
Berain. Late
644
CLOCK,
mid-18th century.
French
j!
French Regence
THE TRANSITION AFTER LOUIS XIV TO A
SOFTER STYLE MARKED BY THE ASCENDANCY OF THE CURVED LINE.
643 STOOL, of sinuous plan,
vigorous carving in walnut.
of Art, Bequest of
ir
Co., Inc.
FRANCE
FRANCE
221
Metropolitan
646
CARVED DETAIL
Museum
of Art, Rogers
Fund, 1927
rail.
Metropolitan
650
CONSOLE BRACKET,
transitional
Louis XVI-Regency.
649
REGENCE CONSOLE.
Oak.
French
6- Co., Inc.
FRANCE
222
were used
in the
Louis
XIV
was marked
in.
The
transitional period
by the regency
politically
this
when
The term Regence
of Philippe
XV
loosely describes
became
king.
XIV
to the
feminine style of Louis XV. The massive square grandeur of Louis XIV relaxed into softer outlines and
Curves
freer ornament.
bed frame
or stead
was
a detached
rest
this
age of luxury.
Of
tables, the
architectural
console
became common
as
base.
tables
were
toilet
and desks
Seats.
of various types.
The
was
in this period
joint stools,
was
solid
silver,
draped
armchairs.
and
They
was the
first
was a
later,
members, such
shaped into flowing lines.
were
structural
as legs
and
stretchers,
The craze
for chinoiserie
somehow suggested
and
orations;
came
rocks,
the basis of a
this age,
The
having a
florid, gaily
absurd manner.
no novelty, but
acteristic
shape.
vertical line
etiquette of seating
in the
It
apron.
wood and
The
lighter touch
to fine
lighter colors.
men
XV
style.
But
FRANCE
Mum
652
Dalva Brothers,
651
Inc.
FAUTEUIL,
tapestry cover
Dalva Brothers, Inc.
Manner
of
Duveen
Brothers, Inc.
FRANCE
LOUIS XV-ROCOCO
The
is,
to
many
no piece of furniture
instruments,
shepherd's crooks
and unconventionally rendered. Chinese themes were capriciously misinterpreted. Architecture alone was rejected as a source
and
of ornament.
Marquetry and inlaying assumed primary imporFor large veneer surfaces, rosewood, satinwood,
amaranth, and tulipwood were used, while marquetry
was made up of most of the exotic varieties known
today. Mahogany rose to great popularity, and the
native fruitwoods, notably cherry and plum, were
tance.
used
came from
England about 1770; other types were developed earlier. Small tables, or ambulant es, had great variety.
Console tables were architectural fixtures, the most
ing dining tables "of the English kind"
critics,
FRANCE
224
demand through
the mid-
The
Brothers
Martin
with
vernis
their
to a point at
made
a long
list
of table shapes.
lar as
earlier.
Cane
chairs
at
this
luxurious
in gold
lacquers.
came together
bed.
Though
canopy
counterpane
flat
fall-
The
hung from
head
[113].
The
"Polish bed"
tables.
weak
to protect
the
Caffieris
furniture
is
decora-
this
The
previously as
commode
them
originating during
the
Regence. The
many
forms,
shared a
common
leg.
among
purpose
Expand-
many
demands
meet the
LOUIS
The
FRANCE
225
FRANCE
XVI,. 1774-1793 -THE
CLASSIC REVIVAL
came
long before Louis XVI. But here again the old king
curve-weary pointedly
the
from
an intellectual
early Renaissance the imitation of antiquity.
Italy in
[117,
141, 375.]
progress for
many
Roman
ruins
set off a
had been
unearthing of
new
spark.
An-
aprons, etc.
and recalled
all
Metropolitan
655
partially filled in
cannellated
the
etc.,
of Art, Gift of
in
}.
green morocco.
Fluting was
filling
ending
Bound
in
arrows,
lyres,
Museum
DESK CHAIR
APPROACHED.
654
PAINTED ARMCHAIR by
Brizard,
657 Center.
CONSOLE,
Metropolitan
1780-1790.
ii
of Art, Gift of
}.
IBHHIHBHIMHHIHHHPIiMi
1^^*^^*fBSQ_|
11
Museum
Ik
r
Metropolitan
Museum
Metropolitan
of Art, Gift of
Gift of
Ann Payne
Museum
of Art,
Blumenthal, 1943
ggg
WALNUT ARMCHAIR
1780-1790.
FRANCE
Duveen
658
COMMODE,
1773,
ornamentation by Duplessis.
c.
by Riesener.
Marquetry,
delicate
earlier style in
to tables,
its
Mahogany was
Ebony returned
popular, and
to favor.
much
known
cre-
vasseur,
Empire
style.
merely assumed straight lines. A few new shapes appear in chairs by Aubert, excessively classical; such
Roman
chairs
and
Brothers, Inc.
were applied
decorations.
galleries
floral
seats
DIRECTOIRE,
1795-1799;
CONSULATE,
1799-1804
XVI adorned
tri-
and lictor
There were "Patriotic Beds." It is improbable that any considerable quantity of furniture
was produced during this troubled era, short at best,
angles, wreaths, clasped hands, the fasces
of
Rome,
so that
etc.
it is
construe a
difficult to
lines
full style
Simplicity,
out of the
grace, directness,
and Revolutionary symbols, were the index of decorative motives. Woods were more often native fruitwood, walnut, oak, than mahogany, now that foreign
trade was difficult. For the most part the old cabinetmakers continued in their work: Riesener, David,
Jacob, Beneman. Two young unknown designers, Percier and Fontaine, worked under Jacob, and in their
hands lay the evolution of the developing style.
FRANCE
Dalva Brothers,
659
MEDAL CABINET
By Weisweiler.
FRANCE
227
Inc.
Metropolitan
Museum
SECRETABY,
660
6- Co., Inc.
of Art
228
FRANCE
664
PAINTED ARMCHAIR.
DonRuseau
667
662
668
ALCOVE BED,
665
DROP-FRONT SECRETARY,
662-663
Don Ruseau
FRANCE
EMPIRE,
The
classic
1804-1815
Fontaine's
FRANCE
229
solid
first
style
arts,
was galvanized by
sys-
for decoration.
highly polished
wood
grain.
The ornamentation
con-
sisted almost exclusively of bronze or flat gilt appliques (the invention of Gouthiere in the preceding era)
First
Empire
Metropolitan
in France,
1804-1815
Museum
670
CHEVAL GLASS
669
of Art, Rogers
Fund, 1920
top.
Don Ruseau
Metropolitan
671
CONSOLE
Museum
of Art
FRANCE
were
FRANCE
230
stiffened
and added
available to the
looked. Carving
nothing
stars, etc.
form
almost
flat
with
fall
as
rendered in
wood
and
672
in
673
"BONHEUR DU
gilt
bronze ornaments.
JOUR,'
mahogany
secretary with
flat
NAPOLEONIC MONOGRAM
Beauvais tapestry.
Metropolitan Museum of Art,
Gift of Mrs. S. E. Minton, 1899
674
EMPIRE BED
French
6-
Co., Inc.
FRANCE
FRANCE
231
PROVINCIAL FRENCH
The foregoing classification of French styles is essenThe great body of people in the provinces was only partly aware of or interested in these,
developments. The local styles were of course constantly modified by the new influences, but the degree
of acceptance was always subject to local conditions.
tially Parisian.
live
simply. Their
The few
The
In
fets.
provinces,
date
c.
Above. EARLY-17th
677
make
furniture in this
mode
XVI
until the
end
was only
XV
forms.
The Em-
The
buffet
and had
utility
The armoire
riety according to
closed
in,
of sheer
characteristic
different regions.
less
in
those
in
Provence were open at an early date, while the mountainous sections of the Vosges, Auvergne, and Savoie
lit clos, a room within a room. Straw-seated
were treated with innate distinction everywhere;
some distinctly minor forms are interesting. The pane-
retain the
chairs
tiere,
or breadbox,
is
and Limousin
The
available
woods made
PKoviUccOL
fRtWCH
for variations;
iTUpBoAftp Top
oak
CENTURY INSPIRATION.
REGENCE-STYLE MIRROR.
indicate
Anderson Galleries
like
may
1650.
interpreted.
FRANCE
681
KNEADING TROUGH,
uralistic
of Louis
679
XV
SETTEE
Aries. Nat-
mixed outlines
and Henri IV turnings.
carving
fitted into
early style.
682
680
WALNUT CHEST
Signed "Ohneberg EB
1773." (Bordeaux?). Mixed details of Louis XV and Louis XVI
dated 1780.
684
SMALL MIRROR
of Louis
CREDENCE SIDEBOARD,
earlier
and
XVI
inspiration. Gilt
on white.
Aries,
Putting Antiques
by
work.
FOOT LEG,
adapta19th-century American
cabriole.
Similar
FRANCE
in
FRANCE
233
Normandy with
and the
steel in Lorraine;
fruit-
MODERN FRANCE
walnut
in
Saintonge region;
to
period of esthetic
in
France as elsewhere
indetermination.
Styles
floun-
organization.
After
Germany emigres
to lay the
modern
FURNITURE.
in the
faddishness
Oriental
that
elevated
No
the
upholsterer
change
substantial
in
when
the Art
Nouveau
its
furniture, as illogical
less
also
appre-
art nou-
683
in
Anderson Galleries
Don Ruseau
Anderson Galleries
686
FRUITWOOD CHAIR,
TOIRE
COMMODE
Directoire
influence.
687 DIREC-
688
in
FRANCIS
FRANCIS
(Francois)
-Vim vols)
I.
FRENCH RED.
FURNITURE
234
inlaid.
FRUIT MOTIF.
used
also
in Italian
FUNCTIONAL.
ture,
FRENCH FOOT.
in
Motif
serviceable,
utilitarian,
ornamented
as
of furniture in order to
It is
FRENCH POLISH.
Process of finishing
wood with
follows function."
Analyzed
On
position
used
on
the
Continent
but
was sparingly
up avidly by
taken
it
was
also
adapted
also a feature of
is
to
down
Arabian and
word to
movable articles, equivalent to the French meuble
or German mobel. In England the term is more inclusive,
portable or built
as decoration
on rude pine
cludes
usage
Baroque
style,
made
in
limits
the
the
accessory
furnishings
FRIESLAND CUPROARDS.
room com-
is
Dutch work
found
will
it
emphasized.
to the conflict
FURNITURE. American
FRIESIAN; FRIESLAND.
it
closely,
of
his
Owing
it
Particularly characteristic
special utility.
Chinese importation,
its
est.
Only those
may be
cern function
and windows.
emphasize
of
the
fireplace:
effort at beautification. In
all
is
types of
more
applied some
article
FRIEZE.
flat
member,
it
is
usu-
detail.
See
also ORDERS.
claims.
many
is
designed
in
terms of
UPHOLSTERY.
furniture," since
ishes, structural
or linen
and cotton
that in
of the original.
GABLE
GABLE.
235
The shape
Romanesque Era
GEORGIAN
and
Gothic
in
coffers. Decoratively,
as Renaissance pediments,
and
persists
it appears
through the
GABOON.
Jacohan
either of
(uriLfO
flat
cave
enced by
Italy.
all
styles
influ-
by swing-leg types
ing taken
place be-
its
more advanced
in the
GEOMETBIC PATTEBN.
simple mechanical
lines,
circles, etc.
GALLERY.
or
GEOBGIAN.
GALLOON (GALON).
I,
gimp
as
in
the adoption of
promoted
fine living
as
chess or draughts,
backgammon
etc.
Sixteenth-century
GABGOYLE.
Grotesque
figure
originally
Gothic examples,
tal
purposes in
Rest
used
in
known
in
work.
GABLAND.
ers
designers
made
rising
importance of individual
we
think of a
Adam
brothers. Naturally,
much
of
Queen Anne,
1714,
style
up
to the
and
Chairs
tables
have
brass
casters.
whole
classification of tables
legs, eagles'
in
and ball-and-claw
tectural proportions.
stretcher;
if
the stretcher
is
is
feet; cabinets
were
Mahogany was
of solid archi-
used, but
some
GERMANY
236
GERMANY. The
embellished with
The Gothic
tic
domes-
Roman-
The
later
known
as credences
dressoirs,
decoration was
method
universal.
The post-and-panel
of construction
age to
drawer and cabinet forms.
There is a distinct line of demarcation between
North German and South German types, due both to
this
691
SOUTH GERMAN,
with
Liebhold Walliich
GERMANY
237
693
ROUND TABLE
are
ings
Baroque
native
from Liibeck, early 18th century. Turnthe whole form has a rich
characteristics;
quality.
In South
German work
fers
carved
common in Engand trestle tables are of welldeveloped type. A distinct form of bedstead has square
posts and side pieces and a short wooden canopy at
Box
Metropolitan
692
SOUTH GERMAN
Museum
of Art
SACRISTAN CHEST, Salzburg, mid-18th century. Double-bodied buffet type of fine Baroque outline. Walnut, inlaid.
694
settles,
later,
the head. See also gothic. [93, 102, 178, 221, 343, 346,
457,466,484.]
THE RENAISSANCE
The
Germany had
a flourishsigns of
first
consoles,
lion
motifs,
scrollwork,
and
car-
work
of Flanders
Turned
GERMANY
GERMANY
238
baluster legs displaced the latter in the Late Renaissance. This style clung to
work
much
of the South
German
mid-17th century.
In North Germany oak furniture continued to be
made in the Gothic structural tradition through 1550.
until after the
marschen.
apthe
and
intarsia
panels.
man
of
much
Ger-
RAROQUE
The
and shapes
695
ARMOIRE,
696
BEDSTEAD,
Louis
XVI influence.
Both photographs, Liebhold Wallach
and
chairs,
This
is
tional style
GERMANY
of
GERMANY
239
for
years.
work;
it
lines
is
forms a
and
South Germany;
high chairbacks
ROCOCO
The Rococo style of Louis XV permeated German
cabinetmaking through the period 1730-1790. Spreading from Belgium and Lorraine, spheres of French
influence, the lavish naturalism of the French court
styles was brought into Bavaria by the architects Frande Cuvilles and Georg Knobelsdorff; the decorasculptors Johann Hoppenhaupt and Johann
August Nahl ( 1710-1781 ) luxuriated in magnificent
carved decorations for backgrounds and furniture
501s
tive
alike.
and
fruit,
Frederick's
New
Metropolitan
697
Museum
of Art, Bequest of
1725-1750,
698
GERMAN ROCOCO.
on the Rhine and the Main being masis noted, however, that most
of the meubles de luxe the bronze mounted comElectors' castles
tables,
made
in Paris.
in
initiative
its
indulged
prototype.
The
more
although the
German
cabriole
shape
is
distinctive.
GERMANY
240
BIEDERMEIER
After 1830, the style settled
down
recognizably to
699
of the mid-century
Bronzedore
mountings.
700
GERMAN CLASSICISM
CYLINDER DESK
Roentgen.
the period.
The
classic
influence
arrived after
1770 through
made
and cupboards
and some
manner. The
classic
known
as Biedermeier [138].
The
form but devoid of excessive ornament, executed in light mahogany, pear, ash, cherry,
furniture, classic in
ture
was
also popular.
better
furni-
End
of
of
18th century.
GERMANY
241
703 SIDE
704
TABLE
705
c.
HIGH CABINET
AND TABLE,
Munich,
c.
1810.
BIEDERMEIER SOFA
Gothic tracery
701-702
c.
c.
1820.
detail.
1820.
1820.
706
BIEDERMEIER STYLE
Cylinder front.
c.
1826.
GERMANY
242
German
little
and
art
and progressive
than in other countries. After World War I, the movement toward functional form found its prophets in
Germany, where the Bauhaus examined the reasons
for design under the direction of Walter Gropius and
Mies van der Rohe. Other powerful personalities, like
Peter Behrens and Eric Mendelsohn, moved dynamically toward other objectives. The ferment was largely
dispersed by the Hitler regime. The United States was
training
more comprehensive,
unified,
at
708
AUSTRIAN STOVE,
1589. Tile.
&
Museum
Metropolitan
707
GERMAN
CHAIR,
in
down through
Some
accommodated themselves to indigenous skills and tastes. There was always, however, a
firm level of native or peasant taste that exhibits more
of local skill. Woodcarving is a local art where wood
is abundant and appreciated. From the Alps and the
Black Forest to the birch woods of Sweden, carvers
were skillful before outside influences were known.
German craftsmen produced unique furniture in provincial regions from earliest times right up through
and
MODERN
The
essential philosophy
tional Style
grew
largely in
Philadelphia
J'
Museum
of Art
243
GESSO
GESSO.
Plastic preparation
In Italy
it
was
extensively
employed on furniture in
It was never very
II in
it
was
England. [266,
755, 1078.]
English carver
Most
roque
typical of his
festoons, birds
details exquisitely
relief.
and important
furniture.
He combined
superb
709
GIRANDOLE,
design. Rlack
English Rococo,
and gold.
GIBANDOLE; GIBONDOLE.
delier,
c.
and convex
Sometimes called
bull's-eye mir-
alone.
made
ror.) [72,709.]
GLAZED DOOBS.
GIBBS, JAMES, 1682-1754. English architect, follower of Palladio. Like many of his contemporaries,
a lattice
GLAZING.
the subject.
gold, either
by applica-
In painting, glazing
in
1736; he
fine
EMGUSH
GLOBE STC.NDS
flat
tape,
more
or less
and drapery.
that
is
then wiped
on chintz.
quality.
wash coat
tripod, or other
born
effect.
GILLINGHAM, JAMES.
is
244
PHILADELPHIA CHIPPENDALE
CHEST by Gostelowe, 1775-1780. Ser-
710
**:
Jonathan G<
CABINET and CH/S
Lt
his (hop in
BEGS
Adam
brasses.
e>
R,
Church Aliey,
aboul
Second and Third-ftreetsJ
LABEL OF
JONATHAN GOSTELOWE.
711
Museum
of Art, Philadelphia
Cj
o p P
A R D
GLUE
245
GLUE. Adhesive
Good
less readily
Much
study
is
now being
fitting.
joints,
by
GOTHIC
GOTHIC. To
name implied
To
forts of the
homemade
ef-
The reason
lies in
is
GOBELIN. French
make
tapestries in 1529.
In
and transformed
into an upholstery
manufactory un-
als at
The
Gothic
anomaly.
XIV. During the 18th century they made chiefly tapestries, and
in 1826 they added the manufacture of carpets. The
industry is still conducted by the state.
GODDARD, JOHN.
ecclesiart.
was
domestic
furniture
therefore
is
almost
an
An American
chests, etc.,
feet, usually
GONCALO ALVES.
Color
is
light tan
EMGLISW pLAUtcCSr*l
Brazil.
with some
with red-brown
stripes,
curl.
style
GONDOLA (CONDOLE).
curves
downward
called
because of
supposed resemblance
its
to
an
of
veloped
GOOSENECK. Double
(jCOSENta pEPIMNI
Philadel-
phia cabinetmaker;
work ahead
Christian
18th-century gondola.
identified
fETET
The
framework.
and
logical type.
These
details
it
was not
were mounted on
GOTHIC
246
GOTHIC
shadowing the various cupboards, chests, and cabinets. These were invariably of oak. Earlier types were
plank boxes, heavily bound with iron straps and locks,
often with gabled tops. Later, flat-top chests had sides
ornamented with carved representations of architectural forms. Finally the logic of the stone skeleton of
was applied to furniture; a sturdy framework held panels of thinner wood, which in itself
created an ornamental type. The panels were further
ornamented with linenfold, tracery, or painted designs.
buildings
CHEST,
Alpine manner,
c.
1500.
back
rails
chests, the
unknown
on
in secular use.
trestles:
worktable with a
lift
lid
rowed
its
art.
Carv-
Museum
of Art, Fletcher
Fund, 1930
1450-1500,
from
Familiar
floral
animal and
human
714
CHEST,
715
TABLE,
Alpine,
c.
1500.
down
typical;
in
to represent
247
GOTHIC
<r&iusr cescriKi*
716
OAK CHEST,
Metropolitan
Museum
fBitlC
coftuics
French
717
ir
cove
Co., Inc.
c.
1500.
Gothic Furniture
719
CREDENCE CUPBOARD,
France.
718
COFFER-SEAT,
Oak.
Combines
paneling
with
chest.
720
WALNUT
CHEST,
Metropolitan
Museum
190
GOTHIC
GOTHIC
248
"
rii
III"
722
PRIMITIVE
GERMAN
CHAIR,
plank construction.
Cusped arches,
ogee curves and deep, full
quatrefoil,
etc.;
SMALL BENCH,
723
CREDENCE-BUFFET CABINET.
became
The Gothic
in the style
everywhere. Paint-
general.
had extremes of type according to locale. In Italy there never was a true Gothic;
Italian Gothic was merely the imposition of a few
northern motives on a persistent classic taste, diluted
with Eastern (Byzantine and Saracenic) forms and
motives. Spain was Moorish through the early Gothic
stages;
even
as a style
in
and shade
The
is
was
evident. France
The rise of
came with the Renaissance, when
Church influence
in politics
and
in art
waned.
[126,
148, 169, 173, 225, 232, 343 et seq., 544, 753, 1017,
1144.]
GOTHIC REVIVALS
GREEK, ANCIENT
249
GOL'THIERE. PIERRE-JOSEPH,
rangements
GOTHIC REVIVALS.
attempt to reintroduce
methods
to
1740-1806.
famous
(ciseleur),
GRAIN. Wood
fibers
When
boards are
in patterns,
fabric
is
much
tailoring.
GRAINING.
and
wood.
figure of
GRANDFATHER'S CLOCK.
Gothic handicraft
[532,
GRANDMOTHER'S CLOCK.
880.]
GRECO-ROMAN.
classical antiquity,
in
Refined
decoration
roughly 200
style
b.c.-a.d. 200.
of
late
Appeared
basis of the
itself a free
and Rome,
misunderstood and misnamed.
of style in Egypt, Greece,
NEO
for unsur-
it
was
mixture
liberally
GOTHIC
GOTHIC REVIVAL
CABINET C. IS&O
GOUGE CARVING.
Rudimentary form
of decorative
724
GOUGE CARVING,
&R.EEK. CHAUUS
1200-300
B.C.,
has
left
of
Greece,
many
well-devel-
chairs
and
[205]. In literature
cedar
gilt
and
we
tables
were
backs.
GREEK
GUMWOOD
250
lltll
GUMWOOD.
and
b.c.
stain easily to
GREEK ERET.
GRIFFIN (GRYPHON).
Renaissance,
Italian
French
GRILLE. Metal
or
style.
wood
much Late
Renaissance
Adam
through
[89.]
GRISAILLE.
Painting in various gray tints, representing solid bodies in relief. Fashionable in furniture
GROS POINT.
French coarse
fucuc
stitch
embroidery used
GROTESQUES.
decoration.
Gl
it
HON
articles. [202.]
or band ornament
of interlacing circles, found in every style
after the
Assyrian. [463.]
GUIMPE. Gimp.
GUINEA HOLES.
GV LLOCMES
I
H-STRETCHER
251
H-STRETCHER.
HANDLE. Knobs
in
first
found
as well
as
rails
drawer.
Wood,
HADLEY CHEST.
or pulls
to the
metal, glass,
in char-
more
har-
to the case, as
hardware.
[354.]
Partner of Chippendale.
provided no
HAIRCLOTH.
men
of
A mixture
of horsehair
curtains
Bed
curtains
and window
these were
HALE COLUMN.
flat sur-
The conventionalized
became tapestries, which
ter.
HALE-HEADED RED.
sawn
became
in the
hands
out canopy.
Amer-
used as spindles
in
frame.
flat
applied to a
gilt
17th centuries.
Papers, pasted to the wall displaced textile hangings very largely in the 18th century.
HALFPENNY, W. AND
chitects
and designers.
HALL CHAIRS.
named by Manwaring.
HALL CLOCK.
HALL TREE.
for coats
and
Grandfather's, or any
Stand or framework,
clock case.
wood
or metal,
HALVING-IN. Method
tion.
tall,
Many
uprights.
Hanging
5hclf
HARDWARE
HAREWOOD
252
Symons
726
YEW WOOD
c.
1765.
728
ROCOCO MANNER,
late
18th century.
Galleries, Inc.
ENGLISH
HANGING SHELVES,
LATE 18th CENTURY.
727
MAHOGANY
1770.
C.
Ncedham's Antiques,
Inc.
The Rococo
style
in decorative out-
Bronze appliques were a mainstay of the ornamentalist, and much of the effect of Rococo furniture derives
from the contrast of exquisitely chased bronze and
Fittings of metal were originally intended to strengthen the heavy board construction of
chests, etc., and early became decorative features as
well. Earliest Gothic chests have beautifully wrought
HARDWARE.
iron straps
keys.
locks,
hasps and
fittings
mounts
hardware
to
an
and
gilt
dles,
plates,
etc.,
19th century.
and leather,
minum, and the
plastic materials.
HAREWOOD.
HARDWARE
bABOqUE STYLES-
ROCOCO
HARDWARE
253
~~
brass
(Bra^)
Ormolu
CLA55IC REVIVALS
(brass;
CHINESE B.R.ASSES
SABOT
K.NEE
J.0UI5
XVI
HARLEQUIN TABLE
HEPPLEWHITE
254
AC K. Nineteenth-century hall furniture, ranging from wall rack with hooks or pegs to freestanding
structure with box bench, mirror, etc. See also cosTUMER; UMBRELLA STAND. [1299.]
II
It
HEADROARD. The
head section
entire
of a bed; or
HEART-RACK.
HENRY
II;
HENRY
III.
731
HARLEQUIN TABLE.
when
top leaf
is
unfolded.
HARLEQUIN TABLE.
in
automatically
rises
when
the leaves are raised, revealing fittings and compartments for toilet articles or writing materials. Recently
adapted
to
HENRY
VIII. The
away from England's
first
Church influence
and the
insularity,
HABVABD CHAIR.
all
turned members; Early American (17th-century) version of a Gothic type found throughout the Continent
in
HASP. Hinged
in
HASSOCK.
Thickly
stuffed
upholstered
footstool
HEPFLEIVUITC
Wl W DO W JEiy
showing no wood.
HEPPLEWHITE, GEORGE.
that he
began
to
worked
make
Died 1786.
furniture in
It is
and that he
London about
Adam
brothers
known
1760.
much
as
He
did
Chippendale, and produced furniture in a more rational, simple version of their taste. Some of his work
modifies the earlier French styles;
widow,
Two
his
later
output
English Cromwellian.
French
his
732
"HARVARD" CHAIR,
6-
Co., Inc.
Alice, published
HEPPLEWHITE
HERRINGBONE
255
733
HERALDIC FORMS.
prerogative,
it
HERCELANEEM. The
of this
name
excavation of the
Roman
city
The name
Louis
XVI and
specifically
the Adams.
was applied by Sheraton
734
chusetts,
c.
1812.
Massa-
to a
style.
name
preceding
reaction
it,
it
was
HERALDIC
EMBLEM
HERRINGBONE.
bone
effect.
[1030.]
Louis
particularly.
HIGHBOY
256
ii-HiM.i:
Metropolitan
735
Museum
of Art, Rogers
Fund, 1911
HIGHBOY,
[443, 1035.]
HICKORY.
HIGHBOY.
tions,
tough, elastic
American wood,
good for bent parts, or parts where thinness and
strength are required, as in Windsor chairs. Oak color
and texture; it is too hard to work easily.
two
sec-
structure or
tially
Strong,
legs.
The form
is
essen-
HIGHBOY
257
in
AMERICAN HIGHBOY
HIGHBOY
HIGHBOY
258
HIGHBOY
Anderson Galleries
738
to Michael
c.
Allison.
<>
739
c.
1760. Cherry.
HIGHBOY
740
ENGLISH TALLBOY
HIGHBOY
359
c.
1760.
Anderson Galleries
Secretary drawer.
*<
*
'
:
>.~i
ti
--A
741
SWEDISH,
mid-18th century.
260
HIGH CHAIR
HOCKL66
Hitchcock
"fancy" chair, and has a typical "pillow back," or oval-
turned top
rail,
these
HOCK
LEG. Cabriole
and angle
Museum
of Art, Rogers
Fund, 1921
HOGARTH CHAIR.
Queen Anne
style.
Has hoop
splat,
cabriole leg.
743
HIGH CHAIR,
Ohio, 1840-1850.
c.
Made by
Shakers.
HOLLAND, HENRY.
1650.
HOLLY
HIGH CHAIR. This
young
(Ilex).
Greco-Roman
details.
HONEYSUCKLE.
ing.
the whitest of
all
Basis
of
conventional ornament;
it
ornament.
etc., to
HIP. Same
as knee, in
Shaped
etc.
More
HOOF FOOT.
Hoof-shaped base of a leg, representing principally the goat hoof on a cabriole leg. See
to 1760. [262.]
HISPANO-MORESOIJE.
HOOP BACK.
Spanish style with Moorish
HITCHCOCK. The
an American
type, 1820-1850, named after Lambert Hitchcock of
Connecticut. The typical form derives from a Sheraton
Hitchcock chair
is
HoNcyjuau
HOPE, THOMAS
261
HUTCH
HOPE, THOMAS, 1769-1831. English writer, architectural dilettante, who was influenced by the Empire
designs of Percier and Fontaine. His book Household
Furniture and Interior Decoration (1807) formulated
teenth century.
[312, 745.]
chest; traditional form of furniture for storage of trousseaus. See also chest.
HORSE.
HORSEHAIR.
HORSESHOE ARCH.
745
THOMAS HOPE,
HORSESHOE RACK.
sweep
HOUSING.
Windsor
bow
chairs,
outward
makes
fine
HUNTING CHAIR.
front
upon whic h
HUSK. Drop
In joinery, grooving of one piece of
wood
ca tkins
From
587) 1239
of
of
shrubs,
classical times
arranged
in
diminishing
series,
down.
who
HUTCH. From
con-
struction.
HUNT TARLE.
of the back.
into another.
HUCHIER
(1807).
HORSESHOE TARLE.
tury.
fcixfa-Hrirnkczi
is
chest or cabinet
INTAGLIO
IMBRICATION
IMBRICATION.
Decoration resembling
Roman
fish
scales,
in the Italian
Ren-
aissance.
IN
the raw
cabinetwork or woodwork in
wood
is
finished.
INCISED LACQUER.
up
engraved
cut
IM&K.ICATION
or
INDIAN GOODS.
[1144.]
it.
imported into
16th century to the middle
INITIAL.
746-747
in Louis
INTARSIA PANELS
XVI cabinets.
Dalva Brothers,
Inc.
OHIO
were
often
in
wood through
the contrast
the wood.
The
process
is
many
arts,
arts.
this
In the Renaissance
wood; only
method
background wood.
INTAGLIO. Carved
is
raised from
flip ALS
ST
Z2
INTARSIA
IRON
263
INTARSIA. Form
of
wood
functional
man-
Much
tinctive.
ner,
so
called
traditions
from
its
of decoration
INTERRUPTED ARCH.
or top part of
which
is
Irish
is
called
IRISH CHIPPENDALE. Type of mahogany furniture probably made in Ireland by local craftsmen in
It is solid, rather heavy in form,
and ornamented with disconnected flat carving. Lion
masks and paw feet are characteristic. [748.]
published works.
IRON:
INTERRUPTED PEDIMENT.
INVERTED CUP.
cal of
Chippendale.
in
furniture
in
IONIC. Greek and Roman order of architecture, distinguished by double voluted capital. See also orders.
[1208.]
IRISH. Early
cabinetmaking
in-
748 IRISH
CHIPPENDALE,
Metropolitan
Museum
of Art, Bequest of
ITALY
%_
751 IRON BED, 19th century. Tubing bars, cast
ornaments, and spring-steel strapping. Crystal
Palace, 1851.
749-750 CAST-IRON
1843-1845.
State,
SPAMISH
WROUGHT IRON
ITALY.
era, the
If
we
Geography made
it
also
gave
it
modern world.
Roman Empire;
253.]
lished
dogma,
spirit of
and the Renaissance was born. Estabpat, static ideology quivered before the
tion
to the attraction of
its
plasticity
and durability. Utilitarian articles, like stoves, sewingmachine stands, table bases, small receptacles, and
ornaments, are a considerable legacy of Victorian
design. [749.]
In
imposed upon
regional styles in northern Europe and England in
the late 16th century and after. [164, 462, 551.]
poets,
church art,
never truly Gothic, vied with secular art to reproduce
and interpret the glories of Greece and the grandeur
to Christianize than the philosophy. Italian
of
Rome.
ITALY
ITALY
265
observed.
1.
2.
Pre-Renaissance period, 1100-1400. Insincere,misunderstood Gothic on a base of classic Romanesque, Byzantine, and Saracenic art.
Quattbocento, 1400-1500. The Early Renaissance, a style of classical purity, simplicity.
3.
4.
5.
6.
France
classic styles of
etc.;
The
in place of
which Oriental
fabrics
QUATTROCENTO
interest in ancient art
had
bases, pilasters,
furniture of the
Africa.
was needed.
[341,
minimum
713, 753.]
made
was
of planks
all-
and
ITALIAN
GOTHIC ARMCHAIR,
new
14th century.
a distinguish-
settee;
The
chest type
was
a cassone with
cushions
arms
with
flat
seats
many
at right
753
of
is
modified into
all furni-
outline. Chests
modified
The
endowed
furniture
Directoire,
etc., in freely
PRE-RENAISSANCE
of
Venice
Flat surfaces
versions.
Italian
superficial.
is
Renewed
the eclectic
All
such as pointed
details,
[214]
interlacing curved
slats
many
Austerely restrained surfaces in the early phase became highly decorated as the period waxed. Orna-
etc.;
ITALIAN GOTHIC
ITALY
ITALY
266
DURING THE 15th CENTURY THE MEMORY OF ANCIENT ROME INSPIRED THE
ARTS OF THE RENAISSANCE AT THE SAME TIME THAT THE GOTHIC OF
THE NORTH REACHED ITS ZENITH. NEVER TRULY UNDERSTOOD OR DEVELOPED, GOTHIC IN ITALY FADED OUT AS CLASSIC ARCHITECTURE ROSE TO
UNIVERSAL DOMINANCE IN THE 15th AND 16th CENTURIES.
754 "STIPO" walnut writing
cabinet, 16th century.
Anderson Galleries
756
Museum
of Art,
TUSCAN CARVED
WALNUT
PRIE-DIEU,
16th century.
757
SACRISTY CABINET,
late
15th century.
painted on walnut,
Metropolitan
Museum
of Art, Rogers
Fund, 1945
ITALY
760
ITALY
267
CASSONE,
gilt
carving.
Frick Collection
\i
s:
i
^
Anderson Galleries
FLORENTINE
IRON TORCHERE.
761
762
REFECTORY TABLE,
758
UMBRIAN CABINET,
French
6-
Co., Inc.
Anderson Galleries
16th century.
268
ITALY
763
end
of
15th
century.
Di Salvo
764
MIRROR,
Anderson Galleries
765
Tuscany,
early
century.
Anderson Galleries
766
TABLE
French
767
ir
in
two semicircular
parts,
walnut.
Co., Inc.
century.
Anderson Galleries
walnut;
17th
17th
ITALY
ITALY
269
768
769
Metropolitan
770
771
Museum
iron;
17th
silvered
17th century.
773
772
century.
of Art
VENETIAN TORCHERE,
ITALY
walnut, Tuscany,
16th century.
Anderson Galleries
BAROQUE CABINET
c.
1700.
Anderson Galleries
270
ITALY
BY
ROCOCO.
French
774
c.
ARMCHAIR
of
French Regence
inspiration;
6-
Co., Inc.
Venice
1700.
775
SECRETARY-CABINET.
'Ad
i.
*v^
^
M\v>n. mw.
ijr
776
BOMBE CHEST.
km
777
walnut veneers.
ITALY
ITALY
271
XV
influence.
Olhotli
778
780
CHAIR
in
Louis
XV
c.
1775.
manner.
Olivotti
ir
Co., Inc.
272
Metropolitan
783
Museum
ARMCHAIR,
of Art, Gift of
classic
Italianized Louis
XVI;
iiiiiMiimiiitoMiMTriTHTITtTlTITI
MM
Metropolitan
784
LOMBARDY,
mirror in the
785
Museum
1923
manner
of Albertolli.
c.
1800.
Brunovan, Inc.
791
of
18th century.
French
ir Co., Inc.
jjl
NEOCLASSIC CHAIR
792
TRUMEAU,
c.
Directoire
simplification.
793 CHEST
Don Roseau
Italian Neoclassic,
1800-1835
[
786
REDSTEAD,
Brunovan,
789 TRUMEAU.
790 EMPIRE COMMODE,
Egyptian detail.
late
18th century.
French
Co., Inc
Inc.
'
ill
788
-LL^U
1835
Brunovan, Inc.
A few
The wood
and 16th
Ornament
waxed
and
stately,
modern usage,
so that
by
Tuscany,
centering
Renaissance.
Her
strained. Siena
while in
Florence,
in
style
Lombardy
local styles.
Early
the
in
and nobly
refined
re-
gilt furniture,
tarsia),
work
was
led
is
So
is
unorthodox
of capricious form.
in
woods
varicolored
to highly decorative
but the
The
architecturally large
is
typical.
is
sculpture,
is
centuries.
is
all
ITALY
274
ITALY
(in-
painted
are
known
Rome
came
developed
dominate all
to
Cinquecento furniture.
style
is
High and
Late Renaissance. Its exaggerations are characteristically the aftermath of a good mature style in its
decadence. (The period 1560-1800 is often called in
Italy "Decadenza.") The great architects Vignola,
Palladio, and Michelangelo witnessed and promoted
among
the transition;
The
most
movement
fostered
mation flowed.
The
CINQUECENTO
High Renaissance
out of the early
style,
brilliant, utiliz-
infinite variety;
The
likewise guilloche,
distinctive features of
it
features
intarsia, etc.
Newer
rosettes,
quently;
gesso
rare;
is
less
fre-
is
and
soles all
de-
chairs, mirrors
fur-
absurd.
The
abundant.
earlier
Baroque, 1560-1650,
is
a purely Italian
were
this
formal atmosphere;
lions, eagles,
BAROQUE
and wall
seats
tall
The Baroque
ated,
emphasized fullness of
tion.
It
is
not
necessarily
size, scale,
overrich
an exagger-
and propor-
in profile
in
ornament,
ITALY
JACOBEAN
375
Chairs
century
and stamped
leathers;
velvets, silks,
ended. The
nical virtuosity.
Much
succeeding Empire
Italy's
declining
is
significant.
The
land.
to
Italy
The
later
was
and
Chinese forms,
shells,
all
Capricious gaiety
is
1675,
smaller, prettier;
Still
its traits
Napoleon's
style for
work
fall;
much
it
of
were the
rule.
to
lavishly dec-
increasingly natural-
istic.
By
itself
SETTECENTO ROCOCO
lent
style
Directoire
Regence
IVORY. Elephant
of
Egyptian sculptures in ivory are among the finest remains of their art, and Early Christian, Mohammedan,
and Far Eastern and Gothic ivories also reveal the skill
lavished on this material.
Its
use in furniture
decorative
is
Inlays,
features.
mounts,
it
to
ornamental
etc., were used by the EgypRomans, and Byzantines, among others. In the
18th century its use for ornamental details was revived, and again it appears in details of some modern
work, notably the designs of the more elegant French
wood
fancifully
tians,
Jacob-Desmalter,
Napoleon
for
most
JACOBEAN,
Classical Revival
bertolli.
are typical.
wood
who
known
as
after designs
from the Latin Jacobus (James). GenEnglish styles up to 1688. Early Jacobean
I,
1603-1625;
Charles
I,
Jacobean covers
Charles
II,
the
Restoration
period, including
II,
1685-1688.
The
lighter
JAPANESE INFLUENCE
276
JAPAN
to
ty..:.:-.
/APANlSt
? cim
SIAND
\<oSJ
;mmst
JAPAN.
and seating
is
similarly
on
Such furniture
as appears
is
usually lacquered
JAPANESE INFLUENCE.
is
flecked with
flower,
animal,
n Western furniture
it
JACOBEAN INFLUENCE,
Massachusetts,
6-
Leuy
JAPANESE CHEST.
795
796
*-*******
=^
c.
1680. Chest
JAPANNING
JOINT STOOL
277
panels and
flourished
for
several
decades,
of general ideas
details.
if
interior
is
not of actual
is
reflected in
JAPANNING. The
metal,
wood,
etc.,
and other
artists to imitate
decorated.
Adam
for this
Anne and
medium being
earlier
inferior to the
Queen
[14, 1038.]
797
French,
French
<b
Co., Inc.
1767, by Levasseur.
which power was applied. As a consequence, jigsawed detail is typical of the earlier machine age of
to
it
ran
away with
its
de-
JOINERY. The
signers
1830-1890
JEWEL ROX.
made
for
fur-
in
180,
629.]
JEWELING.
JIGSAW. Saw
for
cutting
interior
operated by a treadle,
it
was one
work, such
etc.
of the
first
as
Originally
machines
JOINT STOOL.
legs, orig-
278
JONES, INIGO
JONES, INIGO, 1573-1652. Leading
architect of the
On
ladio.
exemplified by Pal-
I.
He
Joint
Stool
798
DUTCH CABINET
799
JOEY.
duced
ancestry
in
KAS
of pine
18th century.
Metropolitan
Museum
1923
at
JEGENDSTIL (Youth
scious,
it
manineteenth century.
KAS. Dutch
cabinet or sideboard;
appears in the
Dutch-American colonies of New York and the Delaware Valley; sometimes carved walnut, also pine,
cherry, or maple; paneled and painted with rather
primitive ornaments of vases and flowers. See also
armoire. [172, 798.]
KAUFFMA1V1V,
ANGELICA,
artist.
1741-1807.
Came
to
Swiss
London
in
by her
KENT, WILLIAM
KENT, WILLIAM, 1684-1748.
English architect to
279
make
a practice of design-
dried by
heat
is
artificial
means
in
ing,
His work
ornamentation.
brown wood
is
insistently architectural,
and other
KINGWOOD.
KERF. A saw
KLISMOS.
curved shapes.
cut.
KEY
and
is
and
Queen Anne,
Late Georgian.
Ancient Greek chair, prototype for Classic
KNEADING TARLE.
provinces of Europe,
tables.
Utilitarian
now used
furniture
as tables
of
the
and side
orative. [1248.]
KEY PLATES.
KEY PATTERN
etc.
Oval shaped
with concave front, applied to dressing tables or writing tables, etc. Appears in 18th-century furniture of
KNEE. The
riole leg,
KNEEHOLE.
800
KIDNEY DESK
English.
inlaid
satinwood.
[1070,
1113.]
KNOB
LADDER BACK
280
KNOB. Handle
wood, metal,
of
glass,
etc.,
usually
XVI
feature Louis
furniture. Small
knobs
gilt
wooden and
ivory
LABELS
or
The
tiquity.
dates,
initials,
names
common
America.
of
in 18th-
The best-preserved
labels
are
almost
in
1300.
LABUBNUPtt. Hardwood, moderately durable, yellowish in color with brown streaks. It takes a high
polish. In ancient Rome it was known as Corsican
pUPNlTURE
Knobs
ebony.
It
XV
were cut transversely and matched to produce the concentric markings known as "oyster shell."
See also oyster pieces.
saplings
5 syCAMOR.6
HEf>pt.BWHiT6
eass Sutt^roU
oak-Jacobean
Jacobean
LACEWOOD.
spaced flakes
KNOB TURNING.
Turning of knobs
in series,
used
KNOCKED DOWN.
easily
Constructed in sections to be
in Kent,
tity of
color.
LACQUEB.
Oriental lacquer
is
KNOLE. House
mahogany
by
ratchets;
of cellulose
These
is
compound
they must be sprayed by compressed air. Such lacquers now possess many qualities not found in varnish
or shellac finishes, such as resistance to heat, moisture,
and
derivatives.
down
has nothing in
acids. It
finish
KNOP. Bunch
on a turned
KNOTTY
shaft.
PINE.
In
wood; it is also
made opaque, like paint, and tinted to any shade. In
speed, ease of handling, and resistance to wear it is
more economical and more efficacious than older materials such as varnish and shellac. See also finish.
[407, 1330.]
LADDEB BACK.
rails
resembling a ladder.
furniture
niture,
it is
is
and
Wide
but
KNUCKLE.
principally of Chippendale
KNUCKLE
JOINT.
KOA.
pines, having
like curly
pronounced
stripes
and
cross
Common
in the simpler
purposefully chosen.
vogue
stripes
maple.
LADDER. BASICS
slats or
types in Pilgrim
Chippendale work.
[247.]
LADIES' DESKS
LATHE
381
LADIES' DESKS.
English archi-
signs
LAMBREQUIN.
of a bed.
revival.
LAMINATE. The
els
three,
five,
binding up of layers; in
or
more
are
layers
laid
wood
pan-
alternately
and
in
modern
PLYWOOD; VENEER.
LAMINATE MATERIALS
chiefly
etc.,
work
are
such as Formica,
LANNLTER, CHARLES-HONORE.
Cabinetmaker,
He
died in 1819.
panel.
LANTERN CLOCK.
LAMPADAIRE.
LANCET.
LATHE. Machine
by the ap-
wood.
running horizontally.
Albany
801
c.
gilt
bronze.
Institute of History
and Art
282
",
jss9M
v ^-
^^*^DP^^^
BB3*
if
Bf
,r
804A
802
gilt
803
bronze.
c.
1810.
LATTICE
LATTICE. Carved
found
LEG
283
crisscross pattern in cutout work,
in chairbacks,
highboy pediments,
Metal
etc.
is
The following
LAUREL. Hardwood
of
known
for furniture
pronounced wavy
is
deep brown
color.
Best
is
or buff,
is
articles.
as part of the
grain.
layers,
LAURELING.
The topmost,
several thicknesses.
extremely thin,
lattice chairbacks.
treatment
lar,
Gallery
iLJBCLLING
superficially
more
perfect, or
more regu-
Lattice
is
looser
LAVARO.
Washstand. [1338.]
LAZY SUSAN.
1150, 1277.]
ican.
is
XIV.
architect,
personality
of Louis
first
artist, his
He
and
The acanthus
leaf
is
The
water
laurel leaf,
leaf,
constantly in decoration.
(B)
Drop
leaf
is
LEATHERETTE.
Artificial
lose-coated
embossed
cloth
leather
with
made
of
familiar
cellu-
leather
textures.
LECTERN. Reading
[805, 983.]
design.
LEATHER. The
in
many ways
for strength,
permanence, and decorative interest. Dyeing and surface coating yield an unlimited palette, and a great
variety of textures are a product of manufacture as
well as of nature.
The heavier
torius
and
or couches.
lectus cubicularius
The
were
lectus lucubra-
respectively fitted
LEG.
dining.
among
806
LECTERN, German
15th century.
Metropolitan
Tyrol, late
Museum
of Art,
individual
A few
and
styles
Historical Society,
New
imitations,
such as the
LEPPEL SORTIE.
LIRRARY STEPS.
Various
devices
providing
for
They appear
many
The ladder
part unfolds,
OB
unfolds
Sfcl
York City
into steps.
Oak,
c.
Symons
1810.
Galleries, Inc.
807
SHERATON
into
low
c.
table.
LIRRARY TARLE.
LIGNUM VITAE
LIGNUM VITAE. West
known.
It
LOSING
285
was used
Late Stuart
period.
LIME-WHITENED.
was first bleached with a solution of lime. The removal of the painted surface at later dates exposed
this whitened surface, which is sometimes referred to
ture
as "pickled finish."
LIMEWOOD.
Light-colored, close-grained
wood
ti
foLo
Panel
that
Ll
VERY CUP60AI?D
it
It
boards closed together by pressure of a large wooden screw. Linen placed between
the boards and pressed
down
while
damp came
out
is
It
for
tooling out the long ridges. [169, 173, 345, 465, 624,
970, 1072.]
linens.
of the
paws and
in the
much
for
fre-
LIP
MOLDING.
convex
Small
molding
around
Queen
810
LINENFOLD.
Italian,
Museum
of Art
Gothic
abundant
in
Gothic 14th-,
15th-,
and 16th-
along
century
with
persistent
Gothic
and Jacobean
styles.
the
LISTEL. Same
as "fillet," a
aer*
:
LIVERY CUPROARD.
LINEN FOLD
is
vided by
grilles of
was a
wooden
LORE.
plain molding.
also
<4
flat,
16th century.
LORING. Gadrooning.
LOCK, MATTHIAS.
LOUNGE
286
LOCK, MATTHIAS
LONG CLOCK.
LOO TABLE.
Adam
style.
Grandfather's, hall, or
tall clock.
game
LOOP-BACK.
Oval chairback;
also
Windsor bow
LOOP HINGE.
intersecting loops.
as
slip
seat;
separate
wood
seat.
LOPEB.
811
French
parquetry.
6-
Co., Inc.
LOTUS. Ancient
flower
ornament.
The
principal
LOUIS-PHILIPPE. King
of France,
Empire
1830-1848, era
style to exuber-
perimentation.
LOUIS QUATOBZE.
King of France,
French achievement;
812 LOUIS XVI WRITING TABLE,
marked by Raroque magnificence.
Louis XIV,
is
of
LOUIS SEIZE.
1774-1792,
Frick Collection
octagonal legs.
marked by
LOUIS QUINZE.
also FRANCE.
LOUNGE. Type
LOVE CHEST
LOVE SEAT,
813
LOZENGE
287
Brunovan, Inc.
815
814
LOVE SEAT,
ENGLISH LOWBOY,
masks.
LOVE CHEST.
chest,
with the
LOVE SEAT.
and
18th-century
initials of
Double chair
later. Also,
Pennsylvania
Dutch
or small sofa.
816 AMERICAN
Walnut.
LOWBOY,
Queen Anne
1310.]
LOW
RELIEF. Carving
LOWBOY.
stand,
it
in
continues
[23, 815.]
LOZENGE. Diamond-shaped.
etc.,
descriptions.
work
of all
[216, 463.]
817
LOWBOY,
Massachusetts
c.
LUNETTE
LYRE MOTIVE
2811
818
819 LOWBOY, Albany, New
Probably base of a high chest.
LUNETTE.
moon shape
Chippendale,
LOWBOY,
drake
Philadelphia
1750.
c.
Queen Anne,
stocking
Walnut.
feet.
Ginsburg and
821
LOWBOY,
Philadelphia
manner of Savery.
XVI
Louis
it
c.
1760. Mahogany.
The
rich
Duncan
and
Empire
mirror
LYRE MOTIVE. A
lyre figures in
the Renaissance
artists.
It
appears sporadically
in all
in
of
influence
in
and
England
it
con-
Empire
America.
etc.,
with
this
motif,
delicately
found
in
Biedermeier work
in
Germany and
822, 1264.]
Levt,
MACASSAR
MAHOGANY
289
it.
mahogany
supplanted other wood in
it
work, retaining
fine
rapidly
its
had a hard
carved well.
to a
deep
varieties
were pre-
color
changed gradually
etc.,
figures,
stimulated
They
and
Mahogany
Albany
822
c.
Institute of History
and Art
1815. Attributed to
is
essentially a
MADRONE.
823
figure,
MAGAZINE STAND.
developed
zines proliferated.
[185, 823.]
MAGNOLIA. American
tulip tree:
wood
is
light straw
furniture
MAHOGANY.
texture,
West
Khaya of
were the
first
and
The Amer-
Indies, South
Africa.
were quick to appreciate its splendid properties, and its early importation and use in cabinetwork is attested by the 16th-century date of some fine
Spanish Renaissance remains. Other countries were
explorers
Macquoid
calls the
Age
and
of
Duncan Phyfe.
MACASSAR. Dutch
is
mahogany
style.
MAIDOU
MARRLEIZING; MARBLING
290
developed a special treatment of mahogany that is significant. Georgian England had a light
red-brown tone, the result of polishing with beeswax,
Each
style
slightly red-tinted.
rich red,
conception in America held mahogany to be a blackishred wood, the result of universal dark staining and
overvarnishing in American furniture practice.
[90,
Metropolitan
MAIDOU.
824
East Indian
wood
veneers, both in the long grain and the fine, with even
burls resembling
amboyna.
OFFERING TABLE,
Museum
of Art
The
MANWARING, ROBERT.
maker,
niture
published
wood
or
stone
surfaces
was
smooth.
scagliolaa composition.
chairs,
mark
are
Few
resembling those of
surviving pieces with
known.
MAPLE. The
The
fibers
texture of
maple
is
small. It
is
almost
MARBLE.
Greece, and
Remains
Rome
its
chairs,
Ceremonial
ability to survive
or
these imi-
tations extensively.
Italy,
istically
Philippe, Victoria,
in the
commodes
"thronos,"
being conjectural.
from
we have
all
painted
to
times, but
century in
Italy,
MAROT, DANIEL
MAROT, DANIEL.
ture,
born
MARTHA WASHINGTON
291
in Paris
1720. Studied
Hampton Court
whether
is
it
was
is
not known.
Much
detail
of
also
incorporate the
sound compositions.
In lesser hands the effects are garish, but Marot's designs, employing all manner of rinceaux and festoons,
animal and geometric forms, with every color and
richest assortment of motives into
almost a cen-
artists for
by
his
work
in
no
small measure.
MARQUETRY.
Inlay
of
contrasting
also
wood
into
inlay; parquetry.
MARQUISE CHAIR
[666, 827.]
[755.]
MARTHA WASHINGTON.
wood
arms. Hepple-
825-826
XV
style.
is
late
Louis
parquetry'.
Dalva Brothers,
Inc.
827
MARQUISE CHAIR,
English,
c.
1730.
Arthur
S.
Vcrnay, Inc.
MECHANICAL FURNITURE
292
MECHANICAL FURNITURE.
benches
fitted
to design
object
brought
gadgetry. In 19th-
century work
new
demands with
in
the records
Inspired
of the
variously
met new
by
health
Office.
transportation
fads,
methods, space realignments dictated by new indusand economies, new mechanical operations, new
tries
machine
ties,
potentials, or the
amusement
chairs
of simple novel-
mattresses,
adjustable
that disappeared or
are,
like
musical instruments,
On
the other
828
c.
Massachusetts,
MASK.
Decorative motive of great antiquity, representing a human or animal face, distorted, convenor naturalistic.
tionalized,
European
styles.
MATTRESS.
Found
in
practically
all
[1179.]
filled
with feath-
and placed
down,
upon the springs of a bed. The loose cushion of an
upholstered chair (squab or carreau) is sometimes
spring, hair, wool, cotton, etc.,
ers,
MAYHEW, THOMAS.
See also ince and
English
Georgian
designer.
mayhew.
of
Salem, Mass. Distinctive style and superb craftsmanship distinguish his mantelpieces, overdoors,
carvings
for
furniture
and other
MEANDER PATTERN.
Same
as
ORNAMENT.
5op Top
Ro.,i
STVLE a/ c InTIHE-
829
John
S.
Walton. Inc.
293
MERIDIENNE.
Empire
Short
period. It
METAL FURNITURE.
much
The
furniture in bronze
and
rather
durability
and Japan,
In
and
and yield
etc.
power
of
dead
ages.
and
in this
medium executed
830
tury.
WROUGHT-IRON TARLE
831
CAST-IRON RED,
RASE,
Spanish,
shown
Palace, 1851.
Brooklyn
829A
Museum
1869.
of design
and
suitability of materials
and appearance.
[521.]
MEDALLION.
Circular,
oval,
square,
or octagonal
figures,
ornament,
MEDIEVAL.
See Gothic.
>lIISSOMFK.
JUSTE
AURELE,
1693-1750.
ments.
MELON BILK.
Found
Continental
styles.
cabinetmaker or
joiner.
less typically in
[1201.]
for
Anderson Galleries
MIRROR
294
Metropolitan
Museum
833
Fueter,
New
the standards
Victorian,
palaces
its
medieval
of the
1770, by Lewis
of
most great
styles.
The extremely
19th century.
Fund, 1954
York, silversmith.
c.
was
really built
more
for
show than
cost render
of average
it
for use;
and extreme
modern
furniture.
etc.,
where
wood
increased
it
repre-
Modern
ture technique
is
and proper
logical
to create
century
tirely
movement
as old as the
and
brass
success. It
seems en-
make such
structural
its
to
is
peculiarly
expressive
of
the material
and the
process.
may
articles of furniture
also
be made wholly or
in
demand
are
still
far
behind the
technical possibilities.
Sheet-metal work
is
See GOTHIC.
to the point
MIDDLE AGES.
MIRROR.
known
and
frame both exaggerated
size
XIV
Louis
XV
Adam
The
METAL MOUNT.
MEL ISLES.
French
for
movable
furniture.
Under
cases, etc.,
costly
Excellent utilitarian cabinets, chests of drawers, bookare possible technically, but timid taste
was
teristic
in
etc.
Smaller
mounted on stands. In America the elaborate Rococo mirrors were simulated in jigsawed
outline. The later classic revivals produced mirrors
of strong architectural feeling. See also cheval glass;
TRUMEAU.
frequently
MIRROR
MIRROR
295
r
wCT>r.
'A
$5
W' ^Mt
'11
835
**
ENGLISH,
bean.
Small
together.
'
837 ITALY,
late
17th century.
THREE AMERICAN
COURTING MIRRORS, 1780-1800.
834 ITALY,
MIRROR
296
MIRROR
Metropolitan
Museum
of Art
843
844
REGENCE,
REGENCE
c.
1700.
Don Ruseau
Louis XV.
845
ENGLISH,
QUEEN ANNE,
LISH OR AMERICAN c. 1740?
pre-Chippendale.
842
French
R&GENCE.
846
s>
Co., Inc.
Mid-Georgian,
1700-1720. 847 ENG-
Dalva Brothers,
Inc.
Symons
Israel Sack, Inc.
Galleries, Inc.
850
851
848
ENGLISH,
Early Georgian.
Needham's Antiques,
Inc.
AMERICAN,
1740-1760.
ENGLISH ROCOCO,
symmetrical,
c.
1770.
French
ir Co., Inc.
853
BALANCED ROCOCO,
Symons Galleries,
English c. 1760.
Inc.
852
ENGLISH ROCOCO,
asymmetry
less
accom-
Galleries, Inc
MIRROR
300
MIRROR
Don Ruseau
857
856
LOUIS XVI,
TRUMEAU,
style of
gilded.
858
NORTH ITALIAN
Style of Louis
859
TRUMEAU,
c.
1780.
XVI.
ground.
Metropolitan
Museum
of Art, Gift of
}.
860
TRUMEAU,
Di Salvo
MIRROR
Needham'a Antiques,
862
MIRROR
301
ENGLISH, Adam
Inc.
inspiration.
861
864
ADAM,
late
18th century.
Symons
Galleries, Inc.
863
VENETIAN,
Louis
XVI
ITALIAN DIRECTOIRE.
Brunovan, Inc.
derivation.
Olivieri
302
1800.
Symotis Galleries, Inc.
in
engraved
glass
Symons
Galleries, Inc.
t^ffc*)
867
French
ir
Co., Inc.
-i
VENETIAN BAROQUE,
mid-18th century.
and colored.
MIRROR
870
871
MIRROR
303
ENGLISH
c.
1780.
Late
c.
1800.
Shows view
872
FRENCH EMPIRE
Console or pier
gilt
mounts.
glass.
c.
Galleries, Inc.
1810.
Mahogany,
MIRROR
Metropolitan
Gift of Mrs.
873
AMERICAN
J.
c.
Museum
Dudley
1830.
of Art,
Blair,
1947
Gilt
WOOD
Photograph, Newark
877
NEW YORK
family.
875
Now
in
c.
1815,
Museum
made
for
of the City of
the
New
Livingston
York.
VICTORIAN SHAVING
STAND.
876
ENGLISH VICTORIAN.
Museum
MISSION
MISSION. Spanish
America
(California,
Mexico,
and Indians
missionaries
of
The
etc.)
native
furniture
were
built
materials
in
by
a
idea, not
new by
industry,
paced
the heavy,
homemade
air of
fumed dark
stain.
smoky
Joint
in
molding where
it
MIXING TARLE.
MODERN FURNITURE.
furniture
may be
Viewed
in terms of design,
of
power-
water, steam, internal-combustion engine, and electricityfurniture making remained essentially a handicraft. With few exceptions, changes were confined to
organization of production methods as opposed to
technological
man were
by
mushrooming market.
new opulence
Most
new
of these
followed the
new
furniture buyers.
symbols,
modern
in turn
MISSION
MITER (MITRE).
jointing
MODERN FURNITURE
305
the
few
Now
coming
when
to terms
with
recognized, of
the machine.
The London Crystal Palace Exhibition of 1851 summarized the tendencies of the new potential: mostly
bombast, novelty, excess in line, and overloaded
ornament; loss of functional expression and scale.
There was much substitution of materials, showing
the effort to use machine products to solve problems
of cost or structural weakness in handicraft. Welding
metal into tubes and joining them by the same process
appears in a French chair by Gandillot in 1844.
Although painted and shaped to imitate a wooden
chair, its slender members and joints reveal its true
material. By 1840 in Vienna, Michael Thonet had
rendered a Regency-chair design in curved veneer
strips. At the Crystal Palace he showed the same idea
steam-bent
Millions
of
chairs cheap,
weaken the
light,
struc-
strong,
and
MODERN FURNITURE
MODERN FURNITURE
306
technique.
this
wood
Metropolitan
Museum
of Art,
Edward
C. Moore,
Jr.,
Gift Fund,
1926
About
1900, bird's-eye
maple
tinguished
ward Colonna.
by Hector Guimard.
878E SIDE
The
much commercial
upholsterer's
wood
dis-
furniture.
work changed
significantly
in
Collection,
Museum
of
Modern
Art,
New
York, Gifts of
whatever.
878E
878
878
MODERN FURNITURE
Where
problems
directly.
MODERN FURNITURE
307
real
were transitory,
decoration was positive in
room
design.
These influences did not stem the antiquarian imhad come to dominate furniture thinking
by 1910. After the Eastlake influence of the 1880's,
England and America reverted to the great classicsRome and the Renaissance. On the Continent the
Biedermeier influence had never lapsed, and the reign
of Napoleon III revived interest in Empire. An awakened Palladianism restored attention to the 18th century in England, while its counterpart in the United
States launched the preoccupation with Americana,
still current. The search for antiques and their commercial reproduction and inspiration began in the
1890's. Architecture, and furniture and its literature
in this vein were and are the most favored expres-
sion.
and painters figured largely in the philosophical discussions, as they had in ages past; and, as
in the past, they proved that furniture design is best
done by furniture designers. This is not to underestimate the vital impulse of the parent art and allied
arts and crafts. Robert Adam, as the greatest of archiArchitects
Berain,
tended toward excellence of technique and conservatism in design. The British Art Workers Guild
tions
pulses that
in
Movement, and
similar anticommercial organizations emphasized the
craft approach and an educated base for designers.
In America, Gustave Stickley promoted the Craftsman
influence of magazines,
collections,
(1883),
878F
Gift
the
Deutsche
Werkbund
detail, materials,
and
especially to the
878F SIDE CHAIR, 1900, by Charles Rennie Mackintosh. 878G OFFICE CHAIR
by Frank Lloyd Wright. 878H TUBULAR STEEL, 1927, by Mies van der Rohe.
Collection Museum of Modern Art, New York,
878H
Gift of Edgar Kaufman, Jr.
Art
878G
School
Glasgow
of
of
new merchandising
1904,
MODERN FURNITURE
MODERN FURNITURE
308
Similar
commercial
bow
to
whiplash curve,
manship
878J
BARCELONA CHAIR,
1929,
in
Frederick Lunning
MODERN FURNITURE
furniture design.
The
309
International Style
became
^^^ ^^
in-
-W'M
^k
<-~
l>
Wiener Werkstatte appeared. Architects, many pupils of Otto Wagner, formulated a coherent style, and by the time of World
War I, their thought dominated house design and
Arts and Crafts. In 1903 the
decoration in Europe.
Design
in the
in-
furniture manufactories.
may be
listed
Jacobson
in
Malmsten
in
Among
Eames
Herman
outstanding designers
878K
BENTWOOD by Thonet.
Vienna, 1870.
Museum
of
Modern
Art,
New
York
Miller
MODERN FURNITURE
The 1925
together
many
war and postwar European design. Most of the exhibits were of a plush, romantic style, descended in
part from Art Nouveau, with some reminiscence of
Directoire and Empire, much influenced by advanced
painting from Cubism through Abstractionism and
Dadaism. In the elegant vein was exquisite cabinetwork in rare woods, metals, ivory, and glass by Ruhlmann, Dufrene, Leleu. There was much of bizarre
rebelliousness, strident color and pattern the shapes of
jazz. There was also a strain of constructivism, of both
true and false functionalism, as expressed by students
and observers of the new Bauhaus and the functionalists in Germany, the Netherlands, and Scandinavia.
The Bauhaus influence grew steadily in Europe
during the late 1920s. Le Corbusier's Pavilion de
1'Esprit Nouveau (Paris, 1925) showed plated tubing
for everything but chairs, which were historic Thonet
bentwood. Marcel Breuer went on with Mies van der
Rohe's
tubing
designs,
States
tacts.
among many
A new
artistic-intellectual
its
war con-
supplement
down
made medium-price
furniture
is
MODILLION.
MOHAIR.
made from
The Moors introduced
whence
it
into Spain,
ern Europe.
partly,
if
It is
not entirely, of
silk.
a continuous
member
architectural decoration.
classified as
(3)
to
(1)
compound
The flat
flat
or angular,
lished.
diverse
Odd shapes, like the skyscraper bookcase, and bizarre color and glorified amateurism in line and craftsmanship flourished side by
neoclassicism, Orientalism.
whose
and
A decade
interpretations created a
able functionalism
others,
class of
MOLDING
310
concave molding of a quarter circle, though the section may be flatter or more elliptical; (2) ovolo, the
Italian sources.
may be
was a strong
Sensitivity
influence,
to
architectural
and the
1940's
thinking
saw the
rise
flute,
flat-
MOLDING
MORRIS, WILLIAM
311
for the
cyma
roll
MONEY
DISHES. Scooped-out
card tables for holding money or
saucerlike spaces in
MONEY MOTIVE.
Decoration of
flat
overlapping
Cyma
MONK'S BENCH.
%%
Mouldings
(q.v.
N*
V3.V<wL<Vi
RkDWCj
iriwiui
Minimum
U>^-^^^
MONK'S BENCH,
879
Canadian, pine.
Montreal
Museum
of Fine Arts
?L\\\\\^\%
MORESQUE.
left in
torus or bead;
compound moldings
cyma
(7) the
circle.
The
MOROCCO.
in
convex.
arts.
Historically, certain
specific profiles,
fea-
detail,
is
classical for
English
artist,
Faulkner &
Company
was a leader
and politics
machine development by fostering handicraft de-
erals in art
of
MUSHROOM TURNING
312
glass,
Roman and
subsequent.
edging
upholstery;
in
first
appeared
in
Italy,
MOTHER-OF-PEARL. Hard
brilliant
gested
its
Its
it
in
MOTIF (MOTIVE).
MOTTLED.
veneers.
MOUNTS.
Metropolitan
880
CABINET
Museum
of Art.
lones.
Metal
fittings or
ornaments applied on
fur-
tive
metalwork, book printing and bindembracing the whole field of design. This
subsequent European and American design philosophy, which after many divergent movements culminated in the Modern movement. See also nineteenth
CENTURY. [880.]
MUDEJAR. Mixed
Some Moorish
Renaissance forms.
traits
still
and
persist.
MUFFIN STAND.
Small
tier
MULE CHEST.
MULLION.
MORTISE. Hole
tenon or tongue
in
Mohammedan
late 19th
century with adjustable back, loose cushions forming the seat and back rest within a wooden frame. Said
to
by
in tea service in
MORRIS CHAIR.
fits;
woodworking.
or slot in
one of
eried
window. In
furniture,
doors of bookcases,
London by James
reign of Charles
in
glazed
etc.
in 1619, discontinued
during the
Inside vertical
members
of a
wood
panels of a door.
I.
MUSHROOM TURNING.
MOSAIC.
tracery
[622.]
MUNTIN (MUNTING).
MORTLAKE.
the
MUSIC DESK
313
etc.,
amples of elaborate casework designed for these instruments, and in late years the phonograph, the radio,
and television have been added. The tendency is to
simplify the cases for the instruments to the
minimum,
882
as
MYRTLE.
Light tannish-yellow
wood with
fine burl
881
Paris,
c.
1800.
881
883
Symons
Calleries, Inc.
885
884
MUSIC STAND,
Italian,
Brown
NEW
JERSEY,
1824.
Collection of
Newark Museum
Collection
19th century.
"IV.""
as
decorative
NAILS (upholstery).
some
CRADLE,
Israel Sack. Inc.
mam
886-887
NECKING
styles
make
Henry
on screens,
teristic of
NETHERLANDS
315
and
II,
coffers, etc.
WM
Wj&
WM
NEEDLEPOINT.
Many
around the
covering
woolen
of
upon canvas.
NEEDLEWORK. Hand
weaving.
collar
post.
Upholstery
threads embroidered
as
or
WM MM WM
\
is
as old
applique, etc.
NEOCLASSIC.
ancient
NEO-GOTHIC.
Revivals
of
Gothic
detailing,
prin-
extent in
NEO-GREEK (Greek
NEST OF DRAWERS.
graduated in size so as to
fit
Set of several
Countries,
now Holland
came up
via
France. Thus Elizabethan England and South Germany, through propinquity, felt the repercussions of
the Italian Cinquecento, and imposed upon their current Gothic forms the lush Italian plastic and inlaid
ornamentation.
Antwerp, Brussels, and Liege had important furniture makers early in the 1500's. Vredemann de Vries's
book, about 1600, shows compositions with architec-
plied ornaments in
tables
and
chairs.
are
NEWPORT SCHOOL
NINETEENTH CENTURY
316
Townsends, Job, John (father and son), and Christopher, and descendants. Concave shell and block forms
in chests, secretaries, and clock cases, are among the
best work of the period. [1382.]
WCEHTVay
distinctive.
and chair
and
is
reflected in
The
Flanders.
The house
Industrial Revolution
is
The
Cabinet
Bedside table.
and
cialized tools
finally
made production
of parts so cheap
vast output
vious centuries
motif.
his return
is
from
Italy in 1613,
and restrainedly embellished with deep moldWalnut became important after 1660, and inlays
its
public.
The enormous
reservoir of
had accumulated over the prewas tapped for every impulse and
they were
all
embraced or
in
scaled
ings.
that
The key
is
for
The Dutch
traders brought
own
ture object.
mann's work
Austria. It
bits
lected avidly,
of the cabriole leg, partially inspired during this period by the Chinese. From India the Dutch borrowed
German Winckel-
more naturally
it
flowed
What Giedion
calls
Napoleon's order
1801
NEWPORT SCHOOL.
tury,
from Madrid
to Chicago.
to St. Petersburg,
from Stockholm
NINETEENTH CENTURY
NINETEENTH CENTURY
317
phase in France, the Empire represents a retrogressive phase of the style of Louis XVI.
Led by Jacob Desmalter (who signed himself simply
In
earliest
its
work
of the
German border
ebeniste-entrepreneurs
and there
be-
it
styles
in
The
style
was
At the source
in France,
taste
891
REGENCY BED
c.
1828.
nificantly, the
amored
of the Oriental
theme
picturesque. In furniture,
holstery, a
it
set off a
soft
The
The ease
892
1827.
ar-
of
The
Riedermeier.
class, not immediately affected
politics and manners,
Continental
upheavals
in
by
came to dominate style in furniture during the first
893
BIEDERMEIER,
1800.
MID
19th
CENTURY
ENGLISH FURNITURE
its
summary
of
schools.
Ackermann's
and Wil-
not
furniture.
representative
of
the
mass
of
everyday
894
BED
c.
895
CONSOLE,
Louis
XIV inspiration. 896 REGENCY c. 1835. 897 LATE SHERATON, 1840 (?). 898 LOUIS XIV c. 1860 (?). 899 SCOTTISH BARONIAL c. 1880 (?). 900 BED, Neo-Gothic.
NINETEENTH CENTURY
901
BIEDERMEIER,
upholstery
tour-de-force
with
Egyptian
flavor.
German
c.
1850.
902 DETROIT c. 1865. Infinite variety in detail of parts, derived from Windsor, Empire,
and current English models. Millions of such chairs were made from 1840 to 1900.
Henry Ford Museum, Dearborn, Mich.
architects who showed any interest in furwere proclaiming the heathenness of classicism
and advocating a return to the Gothic. Augustus Pugin
carried on the medievalism of his father in his work
on the interiors of the Houses of Parliament. The
Gothic Revival owes much to this impetus. But there
were conflicting arguments for such diverse styles
as the Elizabethan and the Jacobean, the Early French
The only
niture
Renaissance of Francois
XIV, and
I,
its
climax
in the Crystal
handwork. Three
movement aimed
at
was an
intellectual
movement
1840-1880. Left to right: 903 BALLOON BACK, Louis XV deriva1840-1860, fruit and flower carving, haircloth, slip
905 PLANT STAND, marble top, 1850-1870. 906 RENAISSANCE ECHOES, round
seat.
cane seat, 1860-1875. 907 EASTLAKE INFLUENCE, 1870-1880, machined lines and carving.
Henry Ford Museum, Dearborn, Mich.
AMERICAN CHAIRS,
tion,
1850-1870.
904
LATE EMPIRE,
NINETEENTH CENTURY
NINETEENTH CENTURY
320
The
New materials
chines.
known
ing their
mache was
at
its
Papier-
logically
from
his process.
may be
considered one of
tion.
it
after 1840
in
produc-
remained conservatively
orated
general
to
After
opinion).
in France.
1860,
In the
much
may date
what
is
it
superficially Oriental
was
neo-Renaissance gave
East,
strongest.
way
to
As
in
France, the
In-
dian themes. Just as Italy and Spain in the Renaissance had been influenced by Islam, as the Portu-
908
BENCH OR POUF
CHAISE LONGUE.
wood
exposed.
910
for
909
SEAT, no
BORNE OR ISLAND
tail.
1850-1880.
nent in Europe,
its
Oriental craftsmen to
was France
make "bazaar"
rubbish.
that inspired
ex-
economy and
geography absorbed the French influence avidly, although the Gothic Revival (roughly 1820-1850) took
more from English Pugin than from Viollet-le-Duc
In America, an explosively expanding
had merged
NINETEENTH CENTURY
Greece and
of the
new
been alone
Rome
Republic.
in
NINETEENTH CENTURY
321
and
esthetic
prises in
making the
transition
from Sheraton
Thomas Hope; New England and the southern seaboard saw the same evolution. French imports into
The Greek
monopoly
as a
ity for
and furniture followed closely. Neo-Gothic began to edge in after about 1830. Reacting to the
formal symmetry of the Greek was the so-called "picturesque." It aimed to be quaint, small-scaled, and
ers in
Most
shape familiarized by Phyfe and made machinby innumerable adapters clear to the Mississippi
Valley. Their style ranged freely, and so did the scope
of their production. Cabinets and case goods and
beds came from everywhere in New England, central
New York and Pennsylvania, up the Great Lakes and
down the rivers. By 1870 some of these had become
important industries serving the seaboard cities. Grand
able
easily
the machine.
eastern
Boston,
cities.
New
the
in
had the
designers.
toire
Still,
Pennsylvania,
have
West
Virginia,
BELTER CHAIR
c.
What
is
vague
There were a few itinerant designers who visited the plants long enough to leave a parcel of
sketches. How well they wrought is conjectural bestory.
production
cal
process.
1865.
Back carved
in
Museum
laminated
rosewood.
912A, 912B
Brooklyn
912
The
1850,
sale.
personal.
Among hundreds of such enterNew England after 1815, we single out Lam-
inated rosewood.
c.
1860, by Belter.
Lam-
913
Left.
BED
c.
VIENNA c. 1850. Thonet's first work simulated Late Regency design. 914 Center.
1890 (?). Exuberant manipulation of the bending technique in beech and cane.
began
"spool,"
tuosity.
Sheer bulk of
wood made
for grandeur,
and
The develop-
things
916
GRAND RAPIDS
c.
interpretation called Eastlake style. This assimilates about everything the reformers decried. Richly ornamented with inlay
and painting, it typifies the lavish, superior craftsmanship of
the
time.
916A
MAHOGANY TABLE
917 GRAND RAPIDS,
ened. Lamination
may have
library table,
cessories.
There were
therapeutic devices.
machine
them
virtuosity.
and
past
gave them a
life
of their own.
917
916A
Brooklyn
Museum
916
NINETEENTH CENTURY
921A DESK,
1878, American.
Brooklyn
Museum
324
NINETEENTH CENTURY
The
NINETEENTH CENTURY
ket.
classic
Victoriana
show
American
phase rather than the commercial
Most museum
or less faithfully.
this
exhibits of
923
GERMANY.
925
GRAND
manner
RAPIDS,
of
1887.
Richardson."
ENGLISH,
oak" a
inexpertly composed.
Furniture Collection of Grand Rapids Public Library
Brooklyn Museum
924B
NINETEENTH CENTURY
Original design in America
est to a
work
had
little
success. Clos-
after 1895
NINETEENTH CENTURY
325
style, arising
Southwest;
The
and
blossomed
in the
work
of Sullivan, Wright,
and other
War
I.
revivals
of
all
by a Florboom. The Early American theme in its simpler versions rose to dominance, side by side with
well-studied schools of 17th- and 18th-century English
and Provincial French.
ida land
\u- and
haiever their
wen
rclati
itry
naturally
.
.mi- n ilion,
hardly
'
things
927
CRAFTSMAN
FURNITURE,
1898.
wide
distribution.
Page from The Craftsman magazine
it
attained
NONESUCH; NONSUCH
built
ORDERS
326
NONESUCH
by Henry
The
VIII.
Nonesuch
of
Germany and
Scandinavia.
OGEE.
NORMAN.
Style of the
Romanesque, employing the sparing ornament and hard outlines of medieval fortress archi-
basically
some English
tecture.
NORMANDY.
in
what reminiscent
New
OLIVE WOOD.
NOTCHING.
primitive
woodwork.
Roman
Greek, and
as inlays
NULLING. Quadrant-shaped
NURSERY.
cribs,
ONION FOOT.
Oval-shaped cabinet
foot.
tables,
ONLAY.
[918.]
co*Mice
OPPENORD, GILLES-MARIE,
1672-1742. French
OAK.
for
woodworking.
It
wood
valuable
was
The
north-
work
is
in this
wood.
ORDERS. The
XV
style.
ardized ornamental types of columns, with their associated bases, capitals, pedestals, entablatures, etc.
They
Roman
remains,
Its
of central
17th century.
the typical
It is
France occurred
wood
of
all
in the
the Gothic
textile
1738-
toiles
OCCASIONAL TARLE.
use, as coffee
lamp
tables,
tables,
by
Made
XV
Rococo
celebrated "Rureau du Roi," completed
ORDEE
CLOCK
4S
ORNAMENT
OMENTAL
327
by Vitruvius during
the reign of Julius Caesar. He defined three Greek
orders, the Doric, Ionic, and Corinthian, and five
having been originally
Roman
classified
Renaissance.
The
lies in
ingly the
all
were made
members
was
Metropolitan
930
Museum
19th century.
Wood
like table
The whole
lost in their
ing to
make a
model
of a
classicism. In contrast
is
Mosque
furniture
is
1912 respectively.
wood
stripes
is
and
generally
desirable
"Queensland walnut."
brown with
Austrablackish
furniture.
Also
called
Metropolitan
Museum
ORIENTAL
328
933
932
CARVED WOOD,
Charles
Chinese,
18th century.
THRONE,
Victoria
wood
inlaid
*zr^jZ^"-
934
^~i>
-1.:
11 SL
1
,<-
!
I
\hjf
- -~
-.
935
SCREEN,
ORMOLU. From
Charles
936
KOREAN CHEST,
937
ORMOLU,
French Empire.
French
ir Co., Inc.
ORNAMENT. The
manner
trast
intrinsic in the
ment
of embellishment to
is
Certain
more
relief.
Color ornament
may be
contrast in surfaces or
may be
woods, metals,
etc.;
etc.
it
designs.
printed,
in fabrics of
etc.;
also
ornaments,
etc.
938
at various times.
is
borrowed
The manner
or
always characteristic
grow from
ORMOLU,
Louis
XVI commode.
Dalva Brothers,
Inc.
330
ORNAMENT
simple imaginative use of
lines, as circles,
triangles,
scrapped the Gothic system and resurrected the ancient patterns, but quickly changed them to their
means and fancy, so that Renaissance classicism is
mental
every period
if
larly architectural,
that look
backward
to ancient times,
em-
Rococo
extreme of
losing sight of the source and creating a wholly distinct
is
OTTOMAN.
[908.]
OUDRY, JEAN-RAPTISTE.
as director of
signer;
and phases
ornamental
finally the
The Raroque-
larged the
list,
leaf,
OVAL RACK.
OVERLAY.
the water
OVERMANTEL
and
ment over
etc.; also
compounds
like
in
rhythms
and
fireplace.
areas. Horizontal
century
in
OVERSTUFFED FURNITURE.
hand
and
late 18th
surfaces, such as
ele-
combi-
in
is
Chairs,
sofas,
etc.,
completely covered by
woodwork being
OVOLO. Convex
quarter of a
circle.
dart molding,
it is
classical
When
known
usually
the
full
profile,
in
much Renaissance
de-
Veneers cut as
end
favorite device
of the Jacobean
PAD FOOT
PAINTED FURNITURE
331
roque
PAD FEET
PAD FOOT.
ilar to
style displays
scapes,
Simple
flattish
end
style.
floral
[161,
panels,
340,
466,
781,
1043,
1055,
1073,
1163,
1327.]
PADAUK; PADOUK.
Vermilion, or
Andaman
red-
The
China.
tinctive
or sacred tower in
The Chinese
Burma and
crowning motif
England and France,
as the
its
German
See
of necessity as well as
powder
PAGODA. Temple
Dutch work
Germany; com-
wood was
Graining
The
mannerisms appeared
Switzerland, in Alsace, and
vincial
Settecento
939
in the
in
18th-century ) work
PENNSYLVANIA,
Alpine styles
in
Scandinavian lands.
Ba-
in Italy in a free
early-19th century
pine.
New-York
Historical Society,
New
York City
940 AUSTRIAN,
941 BLANKET CHEST, New York State,
roque manner.
c. 1825. Dark green ground with polychrome floral decoration.
The small trunk from New Hampshire has a black ground.
19th century (?). Headboard painted in Ba-
941
PALISANDER
332
PALISANDER.
v~:j:
to.
archi-
Italian
tect;
Italy.
943
Bruce Buttfield
PAPIER-MACHE ARTICLES
of
American workmanship,
1845-1870.
PALMATED.
band
century
it
of papier-mache being
tabletops, boxes,
bling palmettes.
PALMETTE.
PARCEL GILDING.
leaf.
carved or
adapted
in
subsequent
PANEL. Board
and
stiles
panel has
rails
Method
surfaces in
of
applying
gilt
to
same height
as the frame,
PARCHMENT PANEL.
Linenfold paneling.
The sunken
etc.,
styles.
flat
trays,
The
and
is
always molded.
Modern plywood boards are spoken of as panels. Paneled effects are sometimes secured by framed moldings
or painted frames. [455.]
is
PARQUETRY.
448, 944.]
PANEL-RACK CHAIR.
PANETIERE. Bread
treated.
Wainscot
box,
French Provincial.
PAPIER-MACHE.
chair.
especially
decoratively
compound
sometimes
used as a base for small japanned and lacquered ar942
PANETIERE,
'
tuUpWO d
iS
'
'
French
[942.]
Molded
6-
Co., 7nc.
PATERA
333
PATERA.
things.
PATINA; PATINE.
PEAR-DROP HANDLE.
PEAR-DROP ORNAMENT.
Frieze
PEARWOOD.
polish.
Found
decoration
series
in
century.
949 ITALIAN, 16th century, sgabello type, walnut.
951 ITALIAN RO-
fine
COCO,
and 19th
centuries.
warm
tannish pink to a
PEDESTALS IN THE
METROPOLITAN MUSEUM OF ART
in
of small
950,
English work.
1730-1750.
Gift of
J.
medium
PEDESTAL.
They
are found in
Gift of
J.
Pierpont Morgan
'"
'
PEDESTAL DESK.
flat
such as a writing or library table. Best development in England after mid- 18th century. [604, 945.]
top,
945
PEDESTAL DESK,
English
c.
1750.
PEDESTAL TABLE
334
PEDESTAL TABLE.
borne on a single central column or pillar with spreading feet. Pedestals are also used in pairs. Ancient
Roman types were made in bronze. The type recurs
designs,
extensively in late-18th-century English
chiefly by Sheraton, after whom Duncan Phyfe modeled
some superior
designs.
[952,
1233,
983,
1386,
1390.]
PEDIMENT.
to furniture
tall pieces.
952
PEDESTAL TABLE,
953
PEMBROKE TABLE,
TABLE,
PEG. Wood
954
corresponding
erally implies
member
as a fastener or joint.
Peg gen-
joint
is
not
peg or
of simple
maple,
Colonial
etc.
PEMBROKE TABLE.
by brackets
made by Chippendale
Named
PENDANT. Hanging
ornament or drop.
[737.]
in
for
Pem-
inlaid
York
PENNSYLVANIA DUTCH
335
PENNSYLVANIA DUTCH.
Eastern
Pennsylvania
fruit trees,
they sim-
955
unknown
The
outside
bt/
Museum
of Art
Andrew Wyatt
957
ROCKING HORSE,
955
tury.
influences
scarcely touched
them
slow change, as well as the directness and naivete of the designs, is typical of all peasant or rural
ity of
styles.
The name
PERIOD FURNITURE
336
PERCIER, CHARLES
is
recognizable
style,
frames, hardware, or
of
the
for
He
Robert
Adam
niture, etc., in
worked
is
of
ENGLAND
separated
in
Germany, Flanhave
distinct, yet
distinctly
as a
major
QaR6eI
EW-AJIN^
ELIZA
Thus the
7JV D OR
producing
style.
furniture, too
Furniture
time,
character
period
The
PERIOD FURNITURE.
another
certain points in
Italian decorative
legs, posts,
may be borrowed by
same or another
such as
another
artist.
many
tion. [15, 42, 161, 320, 347, 450, 955, 1110, 1331.]
e>ETA(J\JACO&iAjL_
' //XirftJi
CROMWELLIAtf'
CHIPCfNDALE
MOW!
Recency eupiee
A8.p-
MEPPiEUl
*Lat^ CoiTowial
N
l4oo
1500
600
K-W
l/OO
CAfTUl
y/c7ioeci<ANi
N
VICTOR A
Few kal
PHy
hapize
>f
leoo
l^oo
PHILADELPHIA CHIPPENDALE
PIE
CRUST
TILT Top
PHILADELPHIA CmPPENPALE
960
PHILADELPHIA CHIPPENDALE
BOY,
c.
finials.
in
school.
this
HIGH-
climax
PHILADELPHIA CHIPPENDALE.
Distinct school
of characteristic
outline. [37,278,414,738.]
Chippendale
PHILIPPINE MAHOGANY
338
PHILIPPINE MAHOGANY.
wood
is
offered under
finish,
/She,
2s
9
./S>
these woods;
>'*y<
3f
tie****,
<
7nt6t
many
boatbuilding, etc.
it
suffers unjustly
John
961
DUNCAN
ston,
PHYFE'S BILL
to
Mr.
S.
Walton, Inc.
Montgomery Living-
March, 1813.
furniture,
American or European,
to excel in
beauty
on
his mastery,
in 1854.
962
ton,
South Carolina.
Phyfe's earlier work was almost exclusively in mahogany, meticulously chosen. After 1830 he used much
rosewood. The lyre motive commonly associated with
Phyfe appears in chairbacks and table bases. Delicately carved lines were favored, with fine reedings
or flutings to accentuate lightness. Carving of leaves,
plumes, and animal motives were lightly executed
after the Pompeiian example. [63, 189, 309, 961, 1091,
1137, 1259.]
PIANO. Housing
portant
PICKLED FINISHES
963
SHERATON-STYLE SOFA
attributed to
PICKLED FINISHES.
fell
away. The
effect
PICTURE FRAMES.
PIECRUST TARLE.
PILASTERS
339
is
also
now
widely repro-
York,
signs
c.
1800.
PIGEONHOLES.
Manifold small
PILASTERS.
Rectangular
lime-whitened.
PIED-DE.RICHE. French
for
"deer's
foot";
slight
in
leg,
contemporary English
fur-
niture.
mirror hang-
carving in Gothic
detailing, as in chair-
[624.]
or
half-round
pillar
or
surface.
1830
windows
compartments
etc. [1386.]
ing between
composition of fragments of
arranged in de-
**
'
:
'
John
S.
Walton, Inc.
340
PILGRIM
Needhams
965
PLANTER,
English Sheraton,
PILGRIM. The
17th century.
c.
style of the
Antiques, Inc.
1790.
New
England Puritans,
[6, 137.]
PILLEME1VT, JEAN, 1719-1808. French decorative painter known for Chinese compositions.
rail of
sharp
elliptical section,
PIIVE.
The pine
invariably associated
is
an interesting whitish patina. (See limewhitened; pickled finishes. ) The knots were allowed
to remain where they were, to be painted over; knotty
pine was probably never deliberately used for decorative effects prior to the age of reproductions. In
Spain the reddish pine of the mountainous sections
was used in inferior cabinetwork; the same holds true
in Italy. Alpine cabinetmakers traditionally used pine
leaves
Olicicri
use, inspired
or veneering.
PINEAPPLE
PLATE WARMER
341
common
in Victorian
in a
[965.]
PLAQUE. Ornamental
and
woodwork
of cabinets
and other
fur-
Bronze plaques
land.
in the antique
in
PLASTICS.
Synthetic
molded
laboratory, are
materials,
of
furniture because of
products
powders,
etc., in
the
from
modern
(2)
Wallace Nutting Collection, Wachworth Atheneum, Hartford, Conn
964 PIPE
ease
of
manufacture,
reducing
costs.
such as phenolics, ureas, cellulose, acrylics, polyand vinyls, which by heat or pressure, or
tein,
styrenes
or in decorative patterns.
tions
true of
was
local varia-
tone, or
it
all
tensively used
Plexiglas);
Many
plastic family.
some member
is
of the
PUVEAPPLE.
used as
finial,
PIPE ROXES.
uses.
Folk-furniture forms
tobacco,
etc., as
serve
homely
for pipes,
tapers,
Europe and America through the 18th and 19th centuries. [964.]
PLATE PAIL.
wood with
a brass handle. They were neby the long distances between dining rooms
and kitchens in the 18th century. They were usually
made with lattice sides to permit warming, and with
a slot or open side to allow easy access to the plates.
usually of
cessitated
[945.]
PLANE WOOD.
is
chairs
and
struc-
PLATE WARMER.
Ill's
tin
time were
and
fitting
fitted as plate
PLATEAU
342
CQ0SS8AN0
made
estal.
PLATEAU.
century,
18th
the
PL
4.
The lower
5.
The
on a chest
6.
7.
PLATERESQUE.
of Charles
silversmith's
PLINTH.
also Spain.
when
solid to the
floor.
PLYWOOD
when
VENLLR CO*'WWCTI I
to solid
to
rigidity.
Technical
WOOD
advances
changed plywood
ties
ness
since
World War
II
have
to a versatile
subject to scientific
its
applications to industry
and construction,
PLUM WOOD.
Yellowish
heart,
gin,
cost
compared
PLATEAU MIRROR.
con s rR uc r ion
PLYWOOD.
thicknesses
Several
of
plies
wood
of
weak
grain.
maximum
ori-
is
Wood
way
at
is
of the
all
expand and
and moisture are counterbalanced
in the various plies, so that inch for inch of area and
thickness plywood has much greater strength than
solid wood.
Plywood is made in two ways: (1) veneer construction, in which several thicknesses of veneers are
glued together, (2) lumber core, with a thick central
layer of semiporous wood to which are glued thin
veneers at right angles, equal in number and thicknesses on both sides. Thus, a 5-ply plywood panel
3/4 inch thick might have a basswood core 1/2 inch
grain fiber weakness, the tendency to
contract from heat
thick;
on each side
The advantages
of
plywood over
reconstituted
stability
and
The
Belter
for
his
made
pierced
first
wood
are:
1.
Its
2.
Its
3.
Its
swelling, etc.
etc., to
a leading commercial-furniture
The molding
of
plywood
raw
material.
and
tables.
joining of parts.
facilitate
POLE SCREEN
POLE SCREEN.
343
Small
fire
POT TARLE
is
The
as old as furniture.
early meth-
or
oil
wax and
means
known
as
French
Pole
PORTUGAL.
POLLARDED WOOD.
mci-or- WAifr
5<reccK
Pollarding
is
the removal of
Early
development
collateral
with
main
POLYCHROME.
practice undoubtedly
styles.
was favored
in
other ancient
Renaissance
made much
still
survives.
The
guese
style.
Most
and
tables
wrought
all
iron, flat
colonies echoed
and sent
Spanish
corollary, subsided into the general movement of European design. [171, 254, 1147.]
POT TARLE.
Pronounced poe.
Commode
accessory
stand,
bedroom
POMPEII. The
buried
cities
of
Italy
preserved a
complete record of ancient Roman life. The excavaat Pompeii and Herculaneum, begun in 1753,
stirred enough interest in the classic arts to terminate
tions
POPLAR.
Pale
yellow,
smooth-textured
light
in
Used
in
plywood;
England
softwood,
slightly, in imitation of
in Stuart times
and cores
better wood. In
968
POT TABLE,
AmerMa-
colin
top.
Munson-Williams-Proctor Institute,
Utica, N.Y. (From Fountain Elms)
344
Don Ruseau
969
POUDREUSE,
marble top
Provincial
wood
in a
ring,
Louis
XV
style
in
fruitwood.
Empire
POUF. Large
970 PRESS
FOR LINENS,
Louis
XV work.
Small dressing
etc.
ex-
Originating
Mu.iee dc
PRESS. Box
PRIE-DIEU.
seat,
used
is
cushioned and
is
a shelf
hinged
PRIMA VERA.
White mahogany;
light straw-colored
design of chairbacks.
Decorative motive
badge of the
by Hepplewhite
are simi-
heir apparent
as
the
filler-
la
Province,
Quebec
PROVINCIAL
PROVINCIAL,
away from but
345
Styles so labeled refer to
work done
elements of the
style,
The
latter
craftsmen.
of ideas:
first,
own memory;
by the
client or his
such
as Chippendale's Director.
Montreal
as
suggested by the
Biedermeier style
cial versions of
may be
many
said to
publications.
be
The
entirely provin-
The
for
in
Naples and
New
975
CUPBOARD,
French Can-
Regence
detail.
motivation,
of Fine Arts
this
era,
Museum
975
St.
Peters-
York
973
BANQUETTE
of French
EmpiTF
country origin.
974 SPANISH
CHAIR, 19th century. After French
Provincial model.
style,
in the
972
972
Lo Mejor de Espana
little
later
same way
to
skills,
home
product.
all
XVI
influence. Early
Liebhold Wallach
traces of Louis
19th century.
also
England; France;
SPAIN. [1162.]
PUEVINATED FRIEZE.
PURITAN. Of
land
style.
The English
New
Eng-
PURPLEHEART.
979 PINE
CUPBOARD
recalling style of
976
of
SECRETARY,
walnut.
Provincial
French
style
DonRuseau
Louis XV.
977-978 Museum
of
New
Mexico
Museum
of Fine Arts
QUIRK
347
it is
QUADRANT.
QUARRIES.
QUARTERED. Method
QUARTET TARLES.
QUATREFOIL.
Gothic form
made from
the conven-
982
foot,
QUATTROCENTO.
981
mature cabriole
leg.
Ncedham's Antiques,
Inc.
Anderson Galleries
early ogee
1500, characterized by development of classic architectural formality. Dignified, austere furniture, chiefly
in walnut.
QUEEN ANNE.
English
ruler,
1702-1714,
during
England.
QUIRK. Narrow
channel.
SSI
F==
u,
LTSflP
fillet
or
RANDOM JOINTS
348
RABBET
(Bebate). Rectangular
slot or
meeting
groove in
stiles of
cabinet
joint.
BACK.
found
many
in
styles,
Letter Racks in
wood ornamented with fretwork,
with hinged
etc.,
983
984
READING STAND,
FOLDING LECTERN,
Metropolitan
grew
in
BADIATES. Carved
fan motif.
of
framed
furniture. In
BAKE. The
leg, that is
not
strictly
vertical.
RAMP.
In chairs of Portuguese,
corresponding American types, a sudden curve ending in an angle at the end of the post. Characteristic
of the type called
Hogarth
chair.
RAM'S READ.
RAM'S HORN.
Voluted
finial
treatment, as in chair
arms. [13.]
RANDOLPH, RENJAMIN.
maker
in
Philadelphia
the Chippendale
manner
as
cabinet-
made
chairs
Philadelphia highboys.
RANDOM
herence.
iron,
feeling.
brass,
RANGE TABLES
RANGE TABLES.
349
Several
small
identical
tables
RAT-CLAW FOOT.
ball,
as
found
in
American work.
RAYONNANT.
Found
Muslim regions
in
18th-
Known
Koran
as
stand.
RERATE (RARRET).
named
after
RECESS.
surface.
RECESS CARINET.
be
set
within
recess
or
niche;
late-18th-century
English.
work on the
man
Chaise longue shaped like ancient Robed or reclining couch with gracefully curved
Small table
in the
RECAMIER.
of a
in
tongued
RECESSED STRETCHER.
of chair or table set
h-stbetcheb.
REDWOOD.
soft
for
highly
"sequoia."
REEDINGS. Two
lel lines,
or
more beads
fluting.
REFECTORY TARLE.
987
ENGLISH
ITALIAN 'SpANISlJ
Company,
Inc.
350
Metropolitan
989
fine
Museum
of Art, Gift of
J.
REGENCE
REGENCE. French
XV, about
from massive
is
marked by the
transition
XV.
of Louis
REPLICA
351
Roman
ters
1187.]
ornament was highly conventionalized. With greater variety, it was more stylized.
The great change in furniture came in the increased
variety of types. Secular life in the Middle Ages had
been, for the nobles, a rather nomadic affair; the peasants led poverty-stricken and insecure lives. With
the change in political conditions came economic
improvement, security, and a substantial middle class.
Home life improved; furniture became essential, and
developed into many new forms. Practically all types
of furniture appeared, at least in rudimentary forms,
between 1500 and 1700; older types assumed shapes
now recognizable as social conditions and customs
approached the standards of modern times. See also
plied, Renaissance
REGENCY.
ous
is
or sculpture in
which the
styles
are characterized
by high-
or low-relief
individual countries.
RENAISSANCE (Renascence)
of
ancient
interest
Rome,
Gothic
in
the
styles.
culture
the
Renaissance
of
Literally a "rebirth"
terminated
Greece and
the medieval
arts, it
went
directly
back
architec-
RENT TARLE.
filing
arrangement
in collecting
rents. [1385.]
tural
gradual
way
England
and
simplicity of outline
outline,
distinctly
Renaissance
features
in
France,
details.
accurately
all
finish.
details
of material,
in a
earliest
ment
REPLICA.
ROSEWOOD
CABINET.
Sphinx
N eedham'
's
Antiques Inc.
,
REPOUSSE
352
REPOUSSE.
the design
is
REPRODUCTION.
fer to copies
the back.
"Reproductions" in furniture
and
material, method,
all
detail throughout;
re-
Good
matters of
it is
all
a moot
the marks
Anderson Galleries
of
REST REDS.
II.
at
Museum
Fund, 1922
1725. All turned parts
except adjustable back; probably rush seated. Maple, painted
Metropolitan
992
of Art, Rogers
c.
red.
more
comfortably
upholstered.
England
reflected
Rest Beds
THE GOTHIC ARCH EBANC COUCHETTE WAS THE
PRIMITIVE CHEST MADE WITH ENDS, AND LONG
ENOUGH TO LIE DOWN ON. THIS SUGGESTED A
DELIBERATE FRAMEWORK WITH YIELDING SEAT
AND ARRANGEMENT FOR PILLOWS.
-
990
"ARCHEBANC COUCHETTE,"
Renaissance
detail.
French,
Late
Gothic,
993
splats.
**
995
EBENCH
996
nM
"T REGENCE.
(PEOVENCE
WU><-
.-
M."^'"
CHMSE LONGUE.
<
Mu um
,
Metropolis"
997
UT DE
REPOS," Louis
XV.
Art,
Beechwood.
French.
HEPPLEWHITE
PECAMIEB
c.
1922
Roge;rs Fund,
1785.
MjJ^ ***-* **
Painted frame
or^
of
~ gsRMSS*
/iMN*ysAv.Kr.r
REST BEDS
354
REST BEDS
1000
RECAMIER
c.
*j0&tkM^
Metropolitan
Museum
of Art
RESTORATION
1003
RESTORATION.
Thonet, Vienna.
RESTORATION CHAIR
3S5
and
the
highly
It is
is
ism.
In
1830,
[313, 1303.]
RESTORATION CHAIR. A
typical
English
17th-
[256.]
molded
geometric paneling, floral scrolls, carved crowns, and
scroll feet. Grinling Gibbons's rich deep carving is
representative. The wealth, security, and social aspiradecorative
tions of
forms
include
spiral
turnings,
The period
is
Jacobean," "Charles
II."
[256.]
After
the
XVI
MSJOeApCX CHA,e
RESTORATION OF ANTIQUES
RESTORATION OF ANTIQUES.
REVOLVING CHAIRS
were
in
It
remained
for the
mechanical
common commercial
domestic work
is
freer but
use.
still
ROCKING CHAIR
356
Contemporary use
tentative. [201,
treated in
teristically
of the
18th century.
RIRRON.
See riband.
RIRRON STRIPE
common
in
wood
is
a straight-banded grain
RIESENER,
to
JEAN-HENRI,
1734-1806. French
cabinetmaker, period Louis XVI; learned craft under
Oeben. Celebrated for his marquetry work. [377, 658,
660,667,1004,1040.]
in
878 N.]
RIM. Rolled-up
or raised
18th-century American
RINCEAU.
ROCAILLE.
style centering in
ornament. In some
Chippendale chairs the splats simulate elaborately
arranged ribbons. Ribbons in bows or knots were important in Louis
XVI
when
in-
RISING STRETCHER.
Serpentine
or
X-stretchers
XIV and
allied styles.
rocker
is
curved
America and
is
forth.
It
is
it
to
slat
be
practically peculiar to
COMMODE
1004
by
Jean-Henri Riesener. Monogram of Marie Antoinette in Sevres plaque
and
in
bronze-dore.
Dalva Brothers,
Inc.
ROCOCO
1005
ROCKING CHAIR,
ROCKER,
Mid-Victorian.
1006
Thonet, Vienna. Late 19th century.
RENTVVOOD
New
were evolved
The
in
Victorians
made much
Philadelphia
1008
of the rocker.
Museum
of Art
ROCOCO
4r
RANDOLE,
c.
1775, Philadelphia.
1009
1007
Needham's Antiques,
Inc.
Among
the "patent" designs are platform rockers, spring rockDalva Brothers, Inc
ers, "jolting
comfort or
as for
huge wire-frame,
utility.
ROCOCO. A
phase of European
tury,
Louis
XIV
terized
furniture
by
solid,
spirit.
In France,
pompous
classic
grandeur.
The
ROENTGEN
1011
1010
ITALIAN
scale, choice of
CONSOLE.
(?)
French
6- Co., Inc.
borrowed
literally
whose
structure
utility.
Mirrors
tables, consoles
ily to
as
is
more
less inti-
and
small
and important
chests, chairs,
basis.
tables are
founded
the eye
ornaments of
gilt
color or inlay
were used
bronze,
Applied
joints.
gilded carving,
to
draw
lines
lines
together in
restlessness,
by the
classical
and
replacement
severity of the stvle of Louis XVI.
for
its
Elsewhere the
definable period.
and adopted
glittering
The Germanic
countries
an un-
accepted
TO P.
It
1.1.
cal
ROMAN
as a lid.
forms in
as David.
of
Olivieri
on a rectangular
it
TUSCAN "CASSAPANCA,"
Unrestrained freedom of
degrees of ingenuity together with reminiscences of Gothic and Chinese. Notably, most English
all
ANCIfNT JL0M4N
ROMANESQUE
ROUNDABOUT CHAIR
359
otic life
is
most
style.
encouraged
RONAYNE WORK.
loosely.
Ornamental form
of
human
from the
Italian
were used
style
a thronelike chair with back, for the head of the houseSkins or pillows with rich fabrics
The
ROPE MOLD.
women.
furniture making.
[231, 457.]
little
channeled to simulate a
[208, 209.]
ROSE. The
metals.
in a semireclining position.
Chests or cupboards,
storage
of
for dining,
known
as
is
an
Tudor badge in
and frequently appears carved in simple form as a decoration on furniture. In Louis XV and other Rococo work the natural-
The
full
England
istic
rose
rose
was adopted
as the
is
common.
ROSETTE.
"armoire."
Tables were of
all
engraving,
painting,
veneering,
varnishing,
It seems probable that the ancient Romans employed the metals, woods, ivory, and stones known
then, much as we now import and utilize such prod-
etc.
ucts
ROMANESQUE.
the
European
Roman Empire,
roughly 500-1100
Roman
style, stiff
Q0STTS
c.e.
Architec-
and barbaric,
ROSEWOOD.
woods from
from the odor of the newly cut wood rather than from
its color. It is heavy, dense, resinous and of a deep redbrown color, richly streaked and capable of being
highly polished.
It
was used
in fine
European furniture
and America.
ROTTEIVSTONE.
with
oil in
Soft,
finely
polishing wood.
ROUNDAROUT CHAIR.
front,
Soman
escwe-
Brooklyn
1012A
Arthur
1012
ROUNDABOUT
CHAIR,
English,
c.
S.
ROUNDABOUT CONVERSATION
RUNNING DOG.
Vernay, Inc.
1705.
Queen
CHAIR,
Continuous
English,
c.
Museum
1850.
ornamental band
wave motive,
RUSH. Rush
stalks
or
were used
in
medieval times as
into mats.
1012, 1012a.]
Tudor period.
Rush seats in chairs and stools are known to have
been made by the Egyptians. Probably they were
ROUNDEL. Any
in a circular shape,
tera, etc.
this time,
as
beds in the
where
ROUTING.
Decorative
engraved
lines
made by
in
also
known here
RUSTIC FURNITURE.
ROYCROFT SHOP.
RUDDER. The
is
a support
barber
schoolhouse
desks
and
fixtures;
rudder in outline.
RULE
down.
RUNIC KNOT.
northern European work, such as the Celtic, Scandinavian, German Romanesque, etc.
extensive use of
effect
in
made
RUSTICATION.
RUNNER.
shelves,
which the
is
joints are
marked out
as grooves. This
S-SCROLL
SAVONAROLA CHAIR
361
S-SCROLL. Decorative
in
Used
Baroque and Rococo
styles.
shoe
bottom of cabriole
fitting
leg.
etc.
in
vessels,
West
SATYR. Mask
SADDLE.
It
occurs profusely in
SAUNIER, CLAUDE CHARLES. French cabinetmaker, Late Louis XV, Early Louis XVI periods.
SAUSAGE TURNING.
SAFE. Strongbox, usually of metal; in old times
heavy wood with metal straps. Sometimes applied
the
to
spool turning,
in
Has heavy
scrolled seat
SALTIRE. X-form
stretcher.
who
inetmaker
pendale
style,
It is
as Savery's
period or
type
Philadelphia cab-
and serpentine
him are quite simple.
the work loosely identified
chairs
SAMRIN, HUGHES.
had
Italian influence
the Gothic.
to
of
where the
texture,
cabinet or
Ecclesiastical
1800.
hard
[596, 600.]
SACRISTY CUPBOARD.
cupboard
colored,
varieties
SAROT. Metal
SACK RACK.
Much work
practically obliterated
of the rich
Burgundian
of the
[32.]
Italian
him
credited to
SANDALWOOD. Hard
yellow-brown
Used
in
Oriental
(chiefly
its
Indian)
wood from
fragrant odor.
woodwork and
furniture.
SAPELE.
SARACENIC.
Influence
of
Mohammedan
design,
Saver* Lowboy
Motives are fine-scaled, abstract interlacings or geometric forms and some conventionalized floral details.
Inlaying with ivory, bone, brass, and stone
is
typical.
brought to Europe from Saracenic sources. See also italy; oriental; spain. [930,
1032.]
first
SAVONAROLA CHAIR.
Italian
Renaissance
scaoTi-
X-
SAWBUCK
362
SAWBUCK.
SCAGLIOLA. Hard
composition containing
plaster
bits of
stones.
It
therefore
etc. It
cess
is
is
is
was
Romans used
time Italian
is
common
employed
workmen
in English
it,
carried
it
it
Adam
and
util-
itarian purposes.
SCALE.
its
Imbrication; a sur-
quent
fish.
Fre-
in 18th-century carving
throughout Europe, it
occurs often in conjunction with carved shells and
acanthus leaves.
SCALLOP. Carved
sus-
tained a unity of artistic expression through the Middle Ages. From the age of the Vikings there sur-
,'^a^.
ROMiHKjXJf HO0W/
birds
was not seriously affected. In the seventeenth century some quality of Renaissance work
cropped out in Scandinavia, but it was a tentative exlesser arts
The southern
decorative
to
artistic insight.
1015 SCANDINAVIAN ARMOIRE, late 17th century. Baroque influence in the North was tamed to vigorous angularity
and deep shadows.
SCHOOL
363
and beds and cupboards. Painting and, to a lesser extent, carving, were freely used on flat areas. The aristocrats followed closely the patterns of the
Rococo-Classic
quality
Revival,
is
The Empire
had longer
life than elsewhere, developing under the patronage of the Bernadotte fam-
ily into a
style
20th century.
into
itself
a school of distin-
ners.
Metropolitan
1017
SCHOOL.
Museum
of Art, Gift of
textiles,
etc.,
and may be
made
of chair,
known
Egyptian, Roman, Byzantine, and Italian Renaissance work. In medieval times it was actually a fold-
screens."
it
in
is
or
slightlv
410.]
SCOTIA. Hollow
SCRATCH CARVING.
done with
a V-chisel.
Crude form
of carving usually
feet
as
"pole
screen" has
may be
The
on a pair of
ally stand
fire
upon which
had
earliest
2nd century
known
Some
of these
istically are of
SCREEN.
heat of a
the Chinese.
fire.
SCRATCH CARVING
in
New
in
tremendous
Among
fires
of the
the
rage
of
Oriental
SCREEN
SCREEN
364
common
throughout
tile,
after the
tinent
toral
and
and were likewise highly decorated with passcenes, Chinese pictures and characters, birds
mis Center,
r *
1018
lux?English,
II
left.
Symons Galleries,
,0.1
18th
century. Painted leather.
ings;
Inc.
Symons
1019 Center,
right.
French,
Louis XV.
Galleries, Inc.
quetry panels.
1020
period,
is
continuous over
/jf
Museum
six panels.
^BJBHBB
365
SCREEN
**.*
^MHB ttMBBi
_-s_i
SflaV V
bVbVM
BBil
--
111*
h
Bwim
-
J at r
1021
|i
BIBB 53
"B1B1
Lo Mejor de Espaiia
-:-
Bl
fPf
Z^'S
Bk.
~z~'.
HI 1
C. R.
1022
1021
IB*
signs.
made
HUB
J BBBB1
JE
IPB"'
SPANISH, wood
1022-1023
Grade
ir
Sons
H
BBB
BBBB:
BB'>
;*jk
'"
i
1023
1024
CHINESE LACQUER,
incised
and colored.
Symons
fc -""^ffrtfl
*r
..,
^*fiS'
S <*,
'V
Galleries, Inc.
*>v
SCREEN
366
1025
MASSACHUSETTS
c.
1790. Hepple-
NEW
1027
FOLDING WINGS,
English
c.
1028 FRENCH
brocade panel.
1026
Metropolitan
Museum
of Art, Rogers
adjustable height,
1810.
ROCOCO,
1725-1735. Silk
1029
SCREEN made
1788,
for
Marie Antoinette,
Fund, 1941
1027
1 025
1028
Museum of Art,
Ann Payne Blumenthal, 1941
Metropolitan
1029
Symons
Galleries, Inc.
Metropolitan
Museum
Gift of Louis
J.
of Art,
Baury, 1935
Gift of
SECRET DRAWER
367
SCRETOIRE.
SECRETAIRE; SECRETARY.
Specifically,
it
and
comprising
etc.
SEAWEED MARQUETRY.
signs in inlay suggesting
in Italy, the type
marine plant
life.
in
Originating
England, late
1030
SCROLL-TOP DETAIL
century.
carved
Exceptional
detail.
into France,
middle 18th
century.
SCRIBING. Method
whose
SCRIPTOIRE;
SCRITOIRE;
SCRUTOIRE.
See
ESCRITOIRE; SECRETAIRE.
SCROLL. Ornament
detailing.
foot
SCROLL LEG.
SECOND EMPIRE.
Napoleon III,
and opulence,
marked in furniture by an overrich mixture of Rococo
and Renaissance detail. See also France; nineteenth
France,
under
CENTURY.
Small, hidden compartments in
cabinetmakers delighted
in
providing these
difficult-
SCROLL TOP.
Vienna
"Modern" Austrian
later
style,
SECRET DRAWER.
cyma
SCROLL ARM.
or
SECESSION.
1031 SECRET
See 1056.
DRAWERS
in
ir
Cn.. Inc.
leg.
Scroll Fob-ms
Qvtsu
Kutte
Lsaf Scroti
Fmnch
1IIIWWIWI
llMTirrmnn
Empiae
Foot
JfS
*r>
'
>\
SECRETAIRE; SECRETARY
368
SECRETAIRE: SECRETARY
SECRETAIRE; SECRETARY.
1034
ENGLISH "SCRUTOIRE,"
1690-1700, walnut.
1033
1032
1034
SECRETAIRE; SECRETARY
SECRETAIRE; SECRETARY
369
Metropolitan
Museum
1035 Italian, late 16th century. Walnut writing cabinet with the arms of the Strozzi family.
(The fall front is missing.) Typical animal feet, gadrooned base.
1930
P^^f.
French
1036
LISH
lacquer,
6-
Co., Inc.
1037 ENGChinese
gold
1038 French
1036 Dalva
1039 Dalva
.unPWBMSW
Brothers, Inc.
Brothers, Inc.
<nsaaBE***TL
i-
Co., Inc.
SECRETAIRE; SECRETARY
SECRETAIRE; SECRETARY
371
iii
ii it ii ii
ii
ii
"f^j>4r%S*/
$ik*j
v^y\i
>(
"
'*
M U H M M M
'
Frick Collection
1040 FALL-FRONT
mounts.
DESK,
SECRETAIRE; SECRETARY
372
SECRETAIRE; SECRETARY
1042
Metropolitan
1043
Metropolitan
Museum
Museum
Metropolitan
1041
Museum
1926
Black
English
c.
1700.
lacquer.
1042 Upper.
1043 Lower.
VENETIAN,
fall
front.
of Art, Fletcher
1911
Fund, 1925
SECRETAIRE; SECRETARY
1044
1045
ENGLISH
ENGLISH
c.
c.
Needham's Antiques,
1720. Walnut.
1755. Mahogany.
SECRETAIRE; SECRETARY
373
Inc.
Needham's Antiques,
Philadelphia
Inc.
1046
Museum
of Art, A.
J.
PHILADELPHIA CHIPPENDALE,
second
1047
hood.
MASSACHUSETTS,
1760-1775. Blockfront,
fine scrolled
Israel Sack, Inc.
374
1049
Metropolitan Museum of
1050 Blockfront extends over lid.
New
England.
Museum
of Art
Art
SECRETAIRE; SECRETARY
375
4
?\
i&^J
itr&
Olivieri
1053
AMERICAN
c.
1054
1052
AMERICAN
c.
SECRETAIRE; SECRETARY
SECRETAIRE; SECRETARY
376
1056
French
ii-
1057 Symons
Co., Inc.
1056
VIENNESE,
secret drawers
late
MASSACHUSETTS
center, serpentine
1059
Complex mechanisms,
18th century.
behind clock.
Galleries, Inc.
c.
mahogany
inlaid
chest-
Tambour
tambour below.
MASSACHUSETTS,
Sheraton
c.
case.
1059
1058
Philadelphia
Museum
of Art
SECRETAIRE; SECRETARY
377
SECRETAIRE; SECRETARY
Philadelphia
1061
Dalva Brothers,
1060
FRENCH, made
for
Lucien Bonaparte.
Museum
PHILADELPHIA,
of Art, A.
J.
1825-1827, by Quervelle.
Inc.
Decorated on
1063
1062
GERMAN EMPIRE,
PHILADELPHIA,
Bouvier.
Biedermeier.
Atheneum
of Philadelphia
SECRETARY DRAWER
SECRETARY DRAWER.
378
Addition to a bookcase,
fall
make
front to
SERRATED.
origin; a
form of notched
dentil.
SECTIONAL FURNITURE.
complement each
that
appearance
if
used
Furniture
cial
when placed
in units
fitted
silver.
[1064.]
separately.
units
made
Bookcases,
desks,
together. Chiefly
modern commer-
r*w*
work.
';--7WPP^:
,
rr.^
English cabinet-
Windsor
SEGMENTAL ARCH.
Castle. [1386.]
Arch made of
less
than half
SEGMENTAL CORNERS.
curved
lines,
SEGMENTAL PEDIMENT.
ment, the arc of a
ENGLISH TUDOR
1065
LOUIS XVI, by
SERPENTINE. Waving
or undulating surface.
ser-
curves.
c.
circle.
SEMAINIER
Charles of London
1600. Originally each of such
shelves was called a "desk." Shelves were added or subtracted
to form more complex cabinets or simple serving boards or
sideboards.
1064
[476, 816.]
StPPCNDNE reoNT
SEePENIWE STBCTGHK
Riesener.
Frick Collection
SERVER
SEVRES
380
Settles
^^^w^J-^Wr"""*-"^^^*ptmmlttamgm0^^tnmri
Metropolitan
FRENCH
1072
ln ., SERVER-Enghsh
C r. D r, D Jl- u
d
1071
Regency in
r ii.
ym '.ls
Egyptian
"i7
1073
,',
taste.
"f"
Shelves
able back.
.
Shows decline
.
of portability
,-.,
17tn century.
Olivieri
SETTECENTO
(Italian).
Eighteenth
century,
the
1700's.
SETTEE.
a chair, with
stered. [77,
SETTEE.
1072
All
occasionally a
in
G+ UL-.H..
rf
table. [550.]
SEVRES.
U.-^*3
larly
1004.]
&0X SETRf
styles.
[202,
1074
AMERICAN,
17th century.
this
form a bed.
Wadsworth Atheneum, Hartford, Conn.
Philadelphia
1075
Museum
of Art
early 16th century. Linenfold paneling. This type appears to derive from the detachment
of wainscot.
NEW
1077
TUSCAN,
carved walnut,
382
1078
ENGLISH,
gian
double
chair
1720-1730.
gilded
Early Geordecorated,
and
gesso.
Metropolitan
Museum
of Art, Fletcher
EARLY
Fund, 1924
NEW
1079
YORK, Sheraton c. 1800. Painted black with colored decoration.
Metropolitan Museum of Art, Gift of
Henrietta McCready Bang and Ida McCready Wilson,
1936, in memory of their mother, Ann Carter McCready
1080
XVI
VENETIAN,
inspiration.
late
383
ENGLISH
c.
1610.
1a
^/
"W
:.**s:=va.-s *.* i
1082
EARLY GEORGIAN
c.
*-' '--'
*-
'
French
1725.
1083 Venetian,
<b-
late
Co., Inc.
17th century.
1084 Bentwood,
late
19th century.
Thonet
c.
ENGLISH
ncsyoeApotf
Israel Sack, Inc.
1086
AMERICAN CHIPPENDALE,
1087
ENGLISH
marbled, with
Arthur
1088
S.
c.
gilt
1780.
Bamboo
simplified.
turnings,
decorations.
Vernay, Inc.
AMERICAN
WINDSOR,
bamboo
turnings.
1088
1089
ENGLISH SHERATON,
late 18th
century, painted.
Israel Sack, Inc
1091
NEW
ascribed to
YORK,
Duncan
Late
Federal,
Phyfe.
Ginsburg and Levy
1091
1090
SEWING TABLE
SHAKER FURNITURE
386
work
in all
European
SHADED MARQUETRY.
Method
of shading or ton-
SHAKER FURNITURE.
The
Shakers,
religious
founded independent communities in the mid19th century. Chiefly rural and self-sustaining, they
produced their own furniture, simple and straightforward in design, soundly constructed and often well
proportioned and charming in detail. Almost unornamented and invariably of local woods, such as pine,
walnut, maple, and fruitwoods, the Shaker productions are among the best of the rural American types.
sect,
1092
1093
[1094.]
SEWING TARLE.
Small
worktable,
usually
with
1095
common
until the
SGARELUE. Wooden
wedged
into
solid
seat,
scroll-cut
with
slab
1094 BUILT-IN CABINET AND CHEST, TABLE, ROCKand FOOTSTOOL, CANDLESTAND. Note hook
strip on wall on which unused chairs hung.
ING CHAIR
SHAPED WORK
Shaker Furniture
SHELF CLOCK
387
1097
SHEAF-BACK CHAIR,
Museum
of the City of
1096
SHAVING STAND,
New
York,
c.
New
York
1825.
SHEAF RACK.
fan shape.
SHEARER, THOMAS.
No
identified furniture of
his
1095A
and
LOOKING
GLASS,
SHAPED WORK.
flatwork
made
shaped work.
planes are
all
large surface
is
known
as
made
In cabinetmaking
The
latter
requires
wide boards,
to crack.
and most
versatile
in the
ica.
to
388
SHERATON
French
i?
Hartford, Conn.
Co., Inc.
1099
SHELF
1098
CLOCKS,
ENGLISH
ROCOCO,
mid-18th
1099
CONCORD, MASSACHUSETTS^. 1790. Hepplewhite stvle,
mahogany. 1100 RRISTOL, CONNECTICUT c. 1833. Center part mirrored, with glass columns at sides.
century.
SHELL MOTIF.
in
all styles,
is
most common, especially in Italian and Spanish Renaissance furniture. The Rococo style is actually based
in part on the use of the shell ornament. In Queen
Anne
knee of cabriole
theme
XV
in
is
typically placed
form
is
two acan-
5HLL
(LOUIS XVj
on the
SHELVES. They
From
vigorously
ornamental
compositions
for
their
own
shell.
is
a half
ribs to
functional flexible
case
WALL
SHELVES;
compo-
WHATNOT.
[445.]
English cabi-
SHELLAC. Natural resin soluble in alcohol. The mixture may be brushed on or padded on, and dries
which it is susceptible to fine satiny
by rubbing down. The padding produces the
quickly, after
polish
heat.
on his
that grew from his book
less
SHEVERET
389
SIAMOISE
SHEVERET.
SHIELD RACK.
below,
accredited to him.
He
filled
rail
and
a half ellipse
etc. [47.]
manner, after Hepplewhite, Adam, and Shearer. Chairbacks are mostly rectangular; legs are fine tapered
squares. Delicacy and grace mark most of his work;
he was influenced by the Directoire, and this influence
transmitted
is
to
5UIELD BACKS
5MEEATON AND
SHOE. On wooden
fillet
under a
HEPPLE.VUi'T.E
work
after
caster.
1101
c.
1815.
with paper
SHOULDER. Name
filler.
[1022.]
or
1102
SHERATON SIDEBOARD
c.
hip.
SHOW WOOD.
1790.
Needham's Antiques,
Inc.
apron, or leg.
SHOWCASES.
when used
more
*
a glass
SIAMOISE.
box
on. a stand.
Late-19th-century
upholstered
sofa
or
Also
called
"tete-a-tete,"
"vis-a-vis."
[1310, 1329.]
Louis
XVI
XV
and
SIDE CHAIR
SIDEBOARD; HI
390
arms,
usually
II
small.
by adding a back to
Early types were
a stool, called in Italy sgabelle, or by omitting the
arms of a more important chair. The latter type often
appeared in the 16th and the 17th centuries to accommodate the wearers of voluminous skirts, and are
variously known as "farthingale" chairs and caqueevolved either
teuses.
rails that
SIDE TARLES.
1700.
Earlier
types,
developed
from
simple
buffets,
From
lowboys,
etc.,
SIDEROARD; RUFFET.
board" accessory
SIDEBOARD,
or
madia, elevated-chest
Originally a literal
Sideboards
THE SIDEBOARD-BUFFET APPEARED IN ITALY AS A
DEVELOPMENT OF THE CHEST-CREDENZA WALL CABINET, AS ACCESSORY TO CEREMONIAL DINING.
1104
SACRISTY CUPBOARD,
Tuscany, 1490-1500.
Museum of Art, Rogers Fund, 1916
Metropolitan
'
jg&^u
Bologna,
"side
board
during the service of meals. In Elizabethan England
this piece acquired importance, and borrowed from
the Italian and French types of credence sideboards
to the large trestle table cr
style.
16th century.
SIDEBOARD; BUFFET
Tf
TS
rxn.'oi
^
Metropolitan Museum of Art, Gift of Russell Cowles, 1954
1105 SPANISH, 17th century. Probably originally fitted with an iron center stretcher.
EARLY AMeftlCAN
Arthur
SIDEBOARD OR DRESSER,
S.
Vernay, Inc.
1680-1690. Characteristic
legs.
Anderson Galleries
1107
OAK SIDEBOARD,
1108
CHINESE,
West
of
England
polished hardwood.
*~.
Kates,
SIDEBOARD; BUFFET
SIDEBOARD; BUFFET
392
Metropolitan
1110
Walnut
1109
LORRAINE,
Museum
PENNSYLVANIA GERMAN
dresser with spoon rack.
of Art, Rogers
Fund, 1945
Manheim, Pennsylvania).
sideboard dresser.
1112
FRENCH,
Don Ruseau
1111
ENGLISH,
1113
Symons
Galleries, In
SHEARER,
1114
SIDEBOARD.
1115
ADAM STYLE
c.
Arthur
S.
Adam.
Metropolitan
Museum
of Art, Rogers
Fund, 1924
Vernay, Inc
1116
ENGLISH SHERATON,
1117
CONNECTICUT
the
partial
c.
serpentine form,
mahogany
inlaid
Needham's Antiques,
with satinwood.
The
Inc.
Italian version,
cabinet,
Welsh dresser)
is
still
current.
The American
dresser
90, 460.]
century
latter
[82]
The
it
[53, 88,
shallower drawers.
By
Adam and
devices.
Upon
first
to
combine
rail,
all
in
SIX-RACK. American
slats,
woman,
half bird,
Renaissance furniture.
ladder-back
with
chair
six
and drew
shaped
combinations of
bow and
curves. Many
Amer-
ican sideboards
show
SKIRT. Apron:
CONSTRUCTION.
serpentine yielding to
the simple
these
figures, half
these
fronts,
SIRENS. Mythological
many
SLIP SEAT
396
SIDEBOARD PEDESTALS
late-18th-century
traits.
many
offshoots,
there
of
In addition
by a
fall
that
when
closed slants
side rails of
bed
to
SIDEBOARD PEDESTALS.
sitter.
SILVER.
SLAT-RACK CHAIR.
times,
in
wholly made of
exquisitely wrought in the Baroque manner.
the treasury was depleted, most of it was melted
When
down
for
bullion,
etc.,
disregarding
the
artistic
value.
brought the vogue to England; much woodwork was covered with thin sheets of silver. It was
extensively used for handles and mounts through the
Early Georgian period.
Charles
finely shaped.
SLATE.
Fine-textured
stone,
grayish
or
greenish-
II
SILVERWOOD.
wood
18th-century
name
or stained sycamore.
Comfortable upholstered
chair with deeply curved back and hollowed seat and
low arms. American type, middle 19th century.
Empire bed,
They
SINGERIES. Rococo
version of the
[122.]
SLIDE, SLIDER.
SINGLE-ARCH MOLDING.
flush
framed and
Sliding
fitted
panel or pull-out
shelf,
table;
one with
SINKAGE. Dropped
in post or pilaster or
other
flat
member.
secretaries,
chair seat.
into the
framework of the
SLIPPER CHAIR
397
SPADE EOOT
SOFA. Long upholstered seat for two or more persons. The name "sopha" is of Eastern origin and was
used about 1680 to designate a divan-like seat in
France; the same type had also been called canape.
It had a back and arms at each end, but was distinct
from the settee by its greater comfort. Sofas followed
first
styles
SLIPPER CHAIRS,
1122
SLIPPER CHAIR.
low
legs,
English Victorian.
holstered. [1122.]
SLIPPER FOOT.
to
SMITH, GEORGE.
SOMNOE.
projecting cornice or
a shelflike projection.
projecting or ceiling
and
SNAKE FOOT.
SNAP TARLE.
with hinged
tilt
SOCKETING.
wood
seats.
SPADE FOOT. A
SOCLE.
VIV
COvJiOLE
398
SOFAS
French
1124
1125
LOUIS XIV,
tapestry in the
Co., Inc.
second half of 17th century. Gilded wood frame upholstered with Beauvais
manner
of Berain.
Metropolitan
Museum
1913
L^^^^^^fe^^SfeM^
.vt-
t^
i?
,^irh.
^mS&m.^^ M^ZJSMSJ^Mii
,f<
1127
'9
to Louis
XV, canape,
XV. Loose
^^AT'^
French
ir
Co., Inc.
cushion.
1128
LOUIS XV CANAPE,
Dalca Brothers,
Inc.
400
1129
ENGLISH,
Mid-Georgian.
1130
PHILADELPHIA
1132
LOUIS XVI,
Philadelphia
1770. Chippendale.
c.
Style of
Chippendale.
ft
1131
ENGLISH,
Symons
Museum
Galleries, Inc.
Hfl
*?-
-aaam"-if|B "
'fri
Kiniminiraniii
mm
ii
BiiliMi
"^>>
ii
w,,
tir irfflflpfiiY r^"
i
of Art
401
style of the
French
&
Adams.
Co., Inc.
1133
1134
1135
AMERICAN,
S.
c.
1800.
Walton, Inc.
1136
NEW ENGLAND
c.
1800.
Sheraton
style,
inlay.
Israel Sack, Inc.
1134
Ift
CEHTUE/
1135
1136
402
1137
NEW YORK
c.
1815, attributed to
Duncan
Phyfe.
1138
AMERICAN EMPIRE,
black horsehair.
SOFA
Vn
THOMAS MOPE
1139
NEW
tions.
YORK,
black mahogany,
Calhoun Museum, Clemson College, Clcmson, S.C.
gilt
stencil
Callery,
SPAIN
403
SPAIN
AMERICAN,
1140
Metropolitan
1142
Museum
ENGLISH SOFA
1926
1143
SPAIN. The
Rome
falls into
of
1.
Mohammedan
2.
The
4.
toward severity.
Raroque-Rococo, 1600-1700, including the churrigueresque.
Mudejar; the
art of Christianized
5.
defin-
1500.
Plateresque: 1500-1556.
tion
1.
style.
2.
1400-1600.
3.
Empire
3.
Spain, 700-1400.
rise of Christian
of the
Moors, 1250-
fact:
furniture
its
foreign prototype.
1144.
^ffltfRgam^
CABINET
Indo . Por
^,
1147
Um fA
--^o deIslnnd
PERSIST
ly
WaJ
f Des<
">
Providen7e
SPAIN
405
Metropolitan
1151
Museum
PORTUGUESE ARMCHAIR,
Fund, 1911
century. Embossed
of Art, Roners
17th
leather.
WALNUT
CHAIR,
17th century.
1149 17THPortuguese*?).
1150 ARMCHAIR,
embroidered leather and walnut. Late- 16th or early-17th
1148
CENTURY RED,
century.
1152
"VARGUENO,"
French
r Co., Inc.
Hispanic Society of
Amen
SPAIN
406
1153
SEDAN CHAIR,
...
foil.
1155
ARMCHAIR,
early 18th
beech wood.
America
m)m
Hrp It
407
'
JPAN 13-M
1158
1157
1159
1160
1161
1157
panels.
STORAGE
1159
CUPBOARD.
SMALL TABLE.
BENCH,
17th century.
SMALL TABLE,
iron.
1160 courtesy
of
ho Mcjor de Espaiia
1160
1161
SPAIN
Spanish Colonial
*:fc!l
Yt
**A
5"i
y"
'
,,1-j
Photos, Brooklyn
1164
fcnSsV
saC'^4
Museum; Latin-American
Gallery.
SPAIN
409
Spanish Colonial
AT THE OTHER END OF THE ECONOMIC SCALE, THE
EUROPEAN INFLUENCE SEEPED DOWN FEERLY
THROUGH THE MISSIONS TO THE NATIVE PEASANTS.
THEY FOUND NEED FOR A FEW ELEMENTARY ARTICLES OF FURNITURE, WHICH THEY DESIGNED
AND ORNAMENTED IN QUAINTLY REMINISCENT
THEMES WITH NATIVE CRAFT.
1170
1168;
1171-1173
PINE FURNITURE OF
NEW
MEXICO,
From "Popular
courtesy
Museum
TWO
1169-1170
CHESTS, southwestern United States.
Seratch-and-gouge carving, 18th-century style.
Wadsworth Atheneum, Hartford, Conn.
1169
1172
1173
1171
of
New
Mexico
SPAIN
410
SPAIN
Mudejar: "Moorish
inspiration."
little
furniture.
Herrera was
Charles
showed
ness of the
from
Germany,
Italy
including
Austria,
from platero
silversmith, suggesting the preeminence of the metal-
work of the
Even the
copying;
is
period.
earliest
Craftsmanship was
inferior;
or
flat,
is
supported
architect to Philip
in 1556.
II,
who succeeded
Churriguera, another
architect,
to
The
Even
in
The
Empire and
cedar,
distinct;
splayed
trestles, either of
directness
accommodate
Cabinets
were important;
the
outstanding
1174
SPAN RAIL
SPAN RAIL.
a chair,
SPONGE PAINTING
411
Crosspiece between two uprights, as on
bed frame,
etc.
SPANISH CHAIR.
English term for a carved highback chair with upholstered seat and back, introduced into England late in the 16th century.
SPANISH FOOT.
SPIRAL TURNING.
weak
scroll.
and
654.]
SPLAD; SPLAT.
SPARVER.
SPHINX.
half lion.
Tester or canopy.
member
in a
chairback.
[263, 561.]
Queen Anne
woman and
SPLAY.
all classical
as of a surface or leg.
outward spread or
slant,
SPLINT. Thin
SPICE CUPBOARD. A
etc.,
of hickory or oak
splits
woven
into
1331.]
SPLIT BALUSTER:
SPINDLE. A
thin
molded, used
in chairbacks, etc.
or
members
SPLIT SPINDLE.
flat
Turned
surfaces as
where
former use
is
a very
common
The
decoration in Jacobean
[725.]
SPONGE PAINTING.
PENNSYLVANIA WASHSTAND
painting, yellow
c.
1830.
Sponge
and orange.
Henry Ford Museum, Dearborn, Mich.
SPitur
Ca IC40
Sphinx
SPINET. Early
stringed
rooms, they too, were decoratively treated. Late-17thcentury wheels in England have ornamental turnings
SPIRAL EVOLUTE.
a
band ornament.
Continuous wavelike
scrolls in
SPOOL BED
412
SPOOL BED.
in
\<
SPOOL TUBNING.
was a favorite turning after the introduction of the machine lathe, and appears in all forms,
both free standing and split. Table legs, bed frames,
mirrors, etc., were so decorated through the entire
19th century
it
[243.]
in profile like a
chairbacks were
spoon to
fit
often
SPOON CASES.
SPOON BACK.
Hanging case
ar-
for spoons,
Hollowed-out surface,
SPKING.
in
Upholstering with
coil
etc.
springs originated
method
in
webbed
SQUASR FEET.
carved and
filleted.
pivoted. [1176.]
Ecclesiastical
member. Early
chairs
dignitary
or
choir
types.
chair
for
[718, 1154.]
STAND. Any
surface by springing
it
SQUAB. Removable
candle stands,
etc.
into place.
STANDABD.
is
tation
17th
Adjustable or swinging mirrors are caron uprights called standards. Also the term for
a frame that carries a table or case piece.
ried
STANDS
and the
crestings.
Chinese influence gave Chippendale the square leg, which he ornamented either with
vertical
1780.
[1336.]
STALL.
and 18th
c.
SQUIBBEL CAGE.
is
American,
cased form
SPBING EDGE.
FR.ENCH
fcHGUSI
STANDING SHELF
413
STANDING SHELF.
STEEPLE CLOCK.
lar in
Small bookcase.
STENCIL
as
STOOLS
some
were
is
footstools primarily.
STEPPED CLRVE.
now most
window
STICK BACK.
members,
as in a
STILE. Outside
which frames a
STIPO
Chair
made up
Windsor
vertical
chair.
member
of a cabinet or door,
panel.
STOCK. Bed
is
of spindles or small
[754].
stock, or the
framework
of a
bed that
STOOLS. Most
styles.
[105.]
The curule
chair
is
a developed stool.
Throughout the
1179
SPANISH, RUSTIC
Lo Mejor de Espana
1177
1180
c.
Museum
of Art, Rogers
(
Fund, 1918
Cinquecento
of Art, Rogers
Fund, 1912
1625, oak.
EGYPTIAN.
Metropolitan
Museum
STOOLS
414
1181
C.
H84 ENGLISH
ENGLISH, Cromwellian
1640, oak.
c.
1182
FRENCH,
Anderson Galleries
II, oak.
Henri
Cavallo
i i
o-r
1187
t-,-.^,^,.
FRENCH,
*,
}\<
i.
^^
i
-^
Metropolitan
1700-1750
Museum
1922
1186
CONNECTICUT,
1845-1850,
Empire Organ
Stool.
Wadsworth Atheneum, Hartford, Conn.
1183
ENGLISH OR FLEMISH,
period of Charles
II,
ebonized.
1185
ENGLISH,
Early Georgian.
Arthur
S. Vcrnotj, Inc.
415
STUCCO
STRAIGHT PEDIMENT.
ment
of a cabinet or secretary,
terrupted.
STRAP HINGE.
usually of iron,
STRAPWORK.
in
bands
typical of Elizabethan
imported
probably
Italian
is
with
German work
rr8
ENGLISH
549.]
c.
1810, gilded.
STRAW CHAIRS.
or
STREAKING.
in
in
the palaces,
broken by mottled or
STRETCHER.
cross-fire figures.
stretchers;
tinuous
1189
NORTH
line.
double-H-stretchers,
stretchers,
ITALIAN,
Don Ruseau
STRINGING. Narrow
Filled
STRIPE. Many
786.]
wood, narra,
straight and tall.
demands
iron.
positions of
masonry and,
later
late in the
STRAIGHT FRONT.
front,
inlay band.
striped figure,
[1125],
fluting:
STOVE. Heating
serpentine
In
artistic
interest.
however decorated;
differing
STUART. The
Charles
1688,
II,
Stuart
and James
James I, Charles I,
ruled England from 1603-
kings,
II,
1649-1660.
The epoch
is
better
from oak
to walnut,
It
covers the
STUCCO.
SUITE
416
STUDS
STUDS. Large
or
used as
decoration. [1151.]
STUMP. The
grain
which may be
streaks, etc.,
make
of veneers to
STUMP BEDSTEAD.
posts.
[120.]
STYLE.
manner
of de-
group. In
its
narrower sense
means
it
fashion, usually
always given the broader interpretation, synonymous with "school," "period"; as the Gothic style or
is
more
may
name; the
It
style of
work of contemporaries,
or successors who work in a similar manner,
Sheraton
copyists,
refer to the
known
to
Thus the
style
may
com-
piler of a
case of
it is
Metropolitan
1189B
century.
era,
but
it is
by no means able
to
be confined
to the
may be
a major
Rococo, which
is
movement, such
in turn treated
by
a cornice.
SUNBURST.
fire
and
as Renaissance or
times.
An uncommon
Figured grain
in
wood
and
Sheraton design.
in
which
cross-
SUNFLOWER.
in Colonial
SUITE. The
suite of furniture
is
modern
invention,
in
late 18th
Some beds
Museum
England
1909
SUNKEN PANEL
SYNTHETIC MATERIALS
417
The notion of a single motif in all the furniture of the dining room or bedroom is a pure commercial product. It is unwholesome in that it is seldom possible to stretch the same theme over several
century.
and
distinctive shapes
SUNKEN PANEL.
SWELL FRONT.
commode
or
or
Convex curved
SWING GLASS.
front, as in a chest
[603.]
Sinkage or
set-in
panel
in
posts
leg to
support a drop
leaf;
gateleg,
[1219.]
SHAG.
flowers, etc.
in
were both
freer
All
all
manner
of pieces. Textile
SWISS
is
Much
oak.
German
and
three-legged sgabelle type are com-
mon.
furniture
SWIVEL CHAIR.
stools,
[540.]
WAG
SYCAMORE.
SWAN.
in Italy.
style, especially
uprights.
lish
SWAN, ABRAHAM.
English
cabinetmaker,
18th
century.
has more
the
a definitely
roque
in
concept
beautifully
treated
Dyed
known as harewood.
maple-leaved or London plane tree.
English sycamore
SWAN-NECK. Curved
is
It is
it
gray, the
properly
S-
Ra-
18th-century
work. [1030.]
SWEDEN.
SYNTHETIC MATERIALS.
Laboratory
encountered
See Scandinavia.
products
as
molded
laminates,
parts,
bonding
Molded
chiefly of Fiberglas.
They
and contain-
may be molded at a
fabricating in wood or metal.
of
wood-
wood
chips,
may have
cores
made
of
bonded together with synthetic materials by laboratory processes. The face veneers are bonded to the
cores with similar materials.
wood
5I6PISM
Late
U*
iw
veneer,
may be
The
facings, instead of
Np
awn
Swedish Ciksnasik
TABERNACLE
TABLE
418
moisture or bacteria, or
may be
made from
casein,
phe-
nolics, resorcinol.
side tables
and surfacings employing synthetic base maand, for special techniques and equipment,
procedures from heat to electronics. Broadly speaking,
probably designed originally as architectural compositions. At first symmetrical, they ceased to be deco-
was permitted
ings,
terials
shellacs,
time-consuming proc-
their
esses.
Acrilon,
etc.,
have
versatility
draw top being commonest. Drop-leaf and centeropening tables are known from the 16th century. The
ultimate development came in 18th-century England
when
usage in general changed so rapidly. Continental Europe took its table forms from England
social
after that.
many
in
that of the coated fabrics, largely vinyl or rubberbase application to a fabric backing. These are embossed for special textures like leather, with weaves
to look
more
like
felt,
historic use.
etc.,
have come
springs, kapok,
No one
to
down
completely an-
England and
lowboys,
etc.,
Niche or recess
in a piece of furni-
Tables
came under
in various
in
form.
forms appeared
needlework, painting,
Whole
etc.,
all
Gothic scheme, as dining was done off boards temporarily set on trestles. Other tables of ceremonial or
significance were adapted to general
purposes as the need arose. Italian tables of the 15th
century are trestle types, elaborated by means of
heading.
The
special characteristics,
up
or
down,
They
we
this
distinct, so that
and
ecclesiastical
of
TABLE.
lighting, etc.
relative replaceability.
ture,
much
TABEBNACLE.
of dressing tables
1700.
Upholstery Fillers
varieties.
natural material.
and feathers of
1190
are also
known
EGYPTIAN, 1600-1500
Metropolitan
as library tables.
wood.
Museum of Art, Rogers Fund, 1912
B.C.,
TABLE
419
TABLE
1194
NEW ENGLAND,
1191
LATE GOTHIC,
Museum
1195
FLEMISH,
1192
ITALIAN TILT-TOP,
Metropolitan
Museum
of Art, Rogers
FRENCH,
of Art
Fund, 1913
1196
1193
Museum
AMERICAN,
1690-1700.
Don Ruseau
may be
Trumpet-turned,
dovetailed
imported.
Metropolitan
Museum
of Art
TABLE
420
TABLE
.WSSSMHHBtSEErfSEH
1198
FLORENTINE WALNUT,
16th century.
Metropolitan
1199
ENGLISH REFECTORY,
pe-
feet
riod of
Museum
of Art, Fletcher
Fund, 1949
long.
1200
ENGLISH,
Italian influence,
c.
Stair
1201
and Company,
TUDOR DRAW
Metropolitan
1660.
Museum
Inc.
TOP.
of Art, Fletcher
Fund, 1923
TABLE
TABLE
421
1202
plank
top.
side,
16th century.
1204
VENETIAN,
1206. Bottom.
ENGLISH, Tudor
Stair
and Company,
Inc.
TABLE
432
TABLE
DRAW-TOP TABLES
1207
ENGLISH OAK,
mid- 17th
century.
S(oi>
1208
and Company,
ENGLISH
c.
1600.
Inc.
Tudor with
1209 SWISS,
17th
century.
and Company,
Metropolitan
Museum
Inc.
1907
TABLE
TABLE
423
1210
FRANCE,
16th
century,
Renaissance.
Philadelphia
Walnut.
Museum
of Art
THE DRAW TOP MET THE NEED FOR AN EXPANDING TOP IN THE 16TH CEN
DEVELOPED ON THE FOUR-LEGGED OR SLAB-SIDE BASE, WEIGHTED TO
BALANCE INCREASED LEVERAGE. THE WEIGHT FACTOR TENDED TO GET OUT
OF HAND. THIS STYLE REACHED A HIGH POINT IN TUDOR ENGLAND.
TURY,
1211
DUTCH,
Museum
of Art, Rogers
Fund, 1913
TABLE
1212
NEW YORK
drop-leaf section.
TABLE
424
c.
1800. Classical type of two half-round console sections tied with center
Robert Fulton.
Museum
of the City of
New
York
Owned by
PHILADELPHIA
c.
TABLE
lack, Inc.
1214
ENGLISH
Stair
and Company,
Inc.
c.
oak, baluster shape.
1215 ENGLISH, mid-17th
century. Oak, turned posts, trestle foot.
1216 PENNSYLVANIA c. 1710. Wal-
1214
1620.
1217
Sawn
made
in
England a century
earlier.
NEW YORK
Metropolitan
1218 ENGLISH
mahogany.
c.
1810. Oval
swing
leg,
wood
hinges,
c.
1770.
Museum
Swing
leg,
Chippendale style.
memory of Salem Towne
Russell
426
1220 SPANISH,
rustic.
ho Mejor de
Espaiia
foot
French
1223
ENGLISH
c.
Co., Inc.
1730.
Crown Copyright
TABLE
427
1224
ENGLISH, George
gilded base.
1225
types served as
end cabinets
or pedestals.
French
XVI,
ir
Co., Inc.
attributed
French
6-
to
Co., Inc.
II.
Marble top on
French
&
Co., Inc.
LOUIS XIV.
1229
ENGLISH,
1230
decorated Sheraton.
Symons
4?
Co., Inc.
Galleries, Inc.
Museum
Museum
1232
1231
ENGLISH REGENCY,
J.
Marble
Boury, 1932
and
top
of the City of
New
York
Inc.
TABLE
429
1234
AMERICAN,
Early Empire.
swinging
Needham's Antiques,
Inc.
Symons
1235
MARYLAND
fast table,
c.
c.
Pembroke
Galleries, Inc.
Game
1236
or break-
ENGLISH
NEW
1237
YORK, end
1238 ENGLISH REGENCY,
mahogany banded with rosewood and satin-
Drop
leaf,
wood.
French
New-York
Historical Society,
New
York City
ir
Co., Inc.
TABLE
430
TABLE
Mich.
1241 Henry Ford Museum, Dearborn,
1242
Symons
Galleries,
Inc.
TABLE
1243
AMERICAN,
PARTS.
Virginia(?).
18th-century
1245
rustic
Lo Mcjor dc Esixina
with
T-base,
1244
1243
1247
TABLE
431
England.
1244 TURNED
1246 TUSCAN, 17th century.
New
1245
Don Buseau
1248
1246
1249
Arthur
1250
1252
1253
Symons
Galleries, Inc.
S.
Vemay,
Inc.
'256
Daha
Small Tables
ACCESSORIES TO MINOR COMFORTS OF HOME LIFE
CARRIED A LIGHT OR A ROOK OR A JUG. LATER THEY
BECAME MORE SPECIALIZED FOR TEA, SEWING
LAMPS, BOOKS, AS A REDSIDE TABLE, OR AID IN
DRESSING.
tea caddy.
^^Itef^
PHILADELPHIA,
1261
1810-1820.
1260
1259
433
1262
GERMAN,
late-18th-century Rococo.
Dalva Brothers,
Inc.
1263
WORKTABLE,
American Sheraton.
1265 Museum
1264
AMERICAN EMPIRE,
label
of the City of
New
of
Charles-Honore Lannuier.
Ginsburg and Levy
NEW YORK
1265
Museum
c.
of the City of
1817.
York
New
^^^K
->#*-
-4W
Wr^
51 EDEI?MEifc
York
r^^^H^H^HHI^H
TABLE
434
NEW YORK
c.
1267
TILT TABLE
ING-TOP TABLE
NEW
by
NEW
TABLE
435
1276
1273
Necdham's
1274
SALEM
1275
FEDERAL STYLE
Gaming
1276
c.
style
of
Lannuier.
Antiques-, Inc.
of
Charles-Honore Lannuier.
table.
ENGLISH
1277 Left
c.
backgammon
1278
AMERICAN,
FRENCH
with
reversible
Don Ruseau
1275 Mow
1278A
in
Museum
of the City of
New
York
TABLE
436
TABLE
1280
FRENCH,
XV
c.
1750.
Console Tables
CONSOLE TABLES BASICALLY WALL DECORATIONS,
MAY BE FREE STANDING OR HUNG ON THE WALL. AS
A DECORATIVE FORM THEY SPRANG FROM THE SIDE
TABLE IN LOUIS XIV WALL COMPOSITIONS.
1279
Louis
HANGING CONSOLE,
XVI
French,
Metropolitan
1282
Museum
of Art, Gift of
ITALIAN ROCOCO,
Don Ruseau
if"'"
Don Ruseau
1281
FRENCH,
19th-century neo-Rococo.
wood and
J.
marble.
ENGLISH CHIPPENDALE,
Metropolitan
1283
gilt
period.
Museum
Mid-Georgian.
1285
* * *>i*
Metropolitan
Museum
of Art, Gift of
J.
1284
French
ir
Co., Inc.
^SM*.'
I.O.
V V >l_V.4i.V*-%* VUk**..
k
438
TABLE CHAIR
TABLE CHAIR.
top as the back.
Armchair or
settle
[3, 879.]
TABLE DORMANT.
permanent
form
stationary
in the
assume
Middle Ages, in
TARLET CHAIR.
upholstered footstool,
1289
TAILPIECE. A tongue on
the back of
some Windsor
TAVERN TABLE,
act
It
may
TALLROY. Highboy
XVI
work, Eng-
lish
wide low
or chest-on-chest, a
top
tier of
drawers
is
two or
The
three.
TAMO.
Japanese
TAMBOUR.
TAftGCILLE.
vertically or horizontally,
1288
style,
made
of thin strips of
American
wood
light
ash;
yellowish
wood with
Sheraton
TAPER.
Federal period.
nw *
*
tm
The
tury.
v ii.r
'
if f.
""
'
"T
"'!! !
grace.
TAPESTRY.
pictorial in design.
it
came
to
century.
be used
It is
An
ancient
silk or linen,
method
usually
of weaving,
Gothic
style
TARSIA.
TASTE.
Intarsia.
In the
Chinese
to furniture,
as, "in
the Gothic
taste."
simple frame-
TEA. The
fad that
and
its
service
TEXTILES
439
TERN FEET.
TESTER. Canopy
of
wood
lines.
of a four-post or
or fabric. [109.]
TETE-A-TETE.
directions,
siamoise. [1310].
TEXTILES. Woven
1290
TEA TABLE
ritual
with
many
c.
1760.
By
New
Gilbert Ash,
appurtenances,
family
of
graceful,
and
well-designed
"tea
small
TEAK.
TELAMONES.
ing
Atlantes;
human
figures
on a support-
member.
TENON. Tongue
or projecting part of
wood
that
is
fitted into a
TENT BED.
TERM.
stools
sance furniture
rials,
is
compositions.
France by Oberkampf,
spread over Europe, and by 1800 was in general favor
TERMINAL FIGURES.
Ornamental use
sance work of
in
There were many simple weaves of linen, wool, mohair, and cotton, such as rep and moquette.
Rococo styles everywhere used the most elegant
materials: silks, satins, damasks, brocade, brocatelle,
taffeta, and velvet of European and Oriental make.
Colors were light pastel tones; textures were refined
The
They
were woven
part.
Italy,
etc.,
human
mounted
as a finish
all
or
in full relief
on
figure,
for upholstery
made
in
style
re-
and
THERM FOOT
Modern
on the textural
interest
THERM
Spade
TORCH
440
FOOT. Tapered
and chimney
cabinetwork. [1241.]
foot.
THERM
LEG. Four-sided
THIMRLE TOE.
The
square.
THIRTEEN-STATE TRACERY.
the design of
Spade
foot,
of the top.
idea
many
is
Geometric tracery
pattern found in 18th-century English and American
secretaries, based on a Chinese motive. The coincidence of its dividing the space into thirteen divisions
it
top either
tips
over
original states.
TODDY-TARLE.
THOIVET. The Viennese Michael Thonet began
bend wood
to
and directness
aims produced furniture
oil is de
JOUY.
of both structural
that
is
and
visual
toilet.
The use
Accessories to
1084.]
down from
THREE-PLY. Plywood
and gentry
in the
or veneered
work
of three
3/8 inch
TOLE.
thick.
Painted
tin,
articles
and acces-
sories.
THROWN (E)
CHAIR. Turned
chair:
old English.
[238 et seq.]
member
continuous projecting
name
it
North African
veneers. Burly grain and
is one of the most decoraof
the
from
ish
in
like dentils.
Carved
ornamental
repeat
It
occurs
member
of the
back of
a chair,
settee, etc.
in
TORCH. The
thumb.
molding,
TILES
which a
Roman
so recognized since
THUMR MOLDING.
in
bet or groove.
TOOTH ORNAMENT.
THUJA (THUYA). Wood
fits
joint,
They go back
damage
to
Moor-
typical of Louis
XVI ornament;
The flaming
torch
is
Directoire decoration
is
441
Tilt-Top Tables
New-York
with
1292 TILT-TOP
Probably Albany,
New
Historical Society,
patriotic
York area
New
portrait
c.
York City
inlay.
1824.
Symons
1293
1294
SHERATON
c.
1291
Galleries, Inc.
S.
Vernal/, Inc.
TORCHERE
TRACERY
442
Roman
coming
to
walls. In
England
was important during the early 18th cenborrowing from French sources. Chippendale
and the Adams used torcheres of large classical
types as decorative features, the Adams copying the
Roman forms literally. French Empire torcheres were
the torchere
tury,
likewise large
and ornate,
designs. [770.]
TORTOISESHELL.
strips
molding, usually
in circle
TOW.
for
TOWNSEND, JOHN.
Cabinetmaker in Newport, 17601770. Worked with cousin John Goddard, father Job,
and uncle Christopher in perfecting blockfront with
shell in chests and desks. See also goddard, john;
RHODE ISLAND SCHOOL. [1389.]
TRACERY.
common
in
in
bronze appli-
que.
TORCHERE.
the
were
Sixteenth-cen-
characteristic designs.
Tracery,
when
it
modern com-
TRAY
TRIVET
443
TRAY.
front, or
TRAY TABLE.
etc.,
TREFOIL. Three-cusped
acteristic
as
minimum
generally with
bowls, trays,
joinery. Archaic.
or three-arc
of Gothic work.
tray.
ornament char-
a circle. [1144.]
TRELLISWORK.
TRESTLE FOOT.
TRESTLE TARLE.
upon
were merely
or horses. In the
trestles
The
trestle
became
form survived, as
ornate, in
all styles to
feet,
more
or less
harvard chair.
TRIGLYPH. Ornament
England
among
Ages.
after the
TRIVET.
[232, 239.]
for a frieze,
spaced at regular
and 19th
centuries.
TRIO TARLES.
TRIPOD TARLE.
swinging
legs.
Pedestal table
with three
out-
TRIPTYCH.
oratively;
Inc.
Dolvu Brothers,
TRIPOD Sr&MDS
TUDOR ROSE
444
TRUMPET TURNING,
LEG. Turned
trumpet turned upward. Typical of English work, Restoration period and later, and similar
American furniture. See also turning. [14, 736, 816,
profile of a
1196.]
rolling
frame
fitted as a
bed,
TRUSS.
tables
easy chair
large
TUCKAWAY TARLE.
cross-legs
to
which
Compact
with wide
TUDOR.
English rulers:
1553-1558
Elizabeth,
1558-1603
1296A
TRUMEAU,
carved, and
gilt
TROPHIES.
Late Louis
moldings.
XIV
or
Regence.
in
ture
is
Painted,
Louis
XIV
TRUCKLE RED.
style
TRUMEAU.
commode
or chest, console
TRUNDLE RED
1297
pulls out
stead. American, 18th century.
from
Sack
[458, 1199.]
TUDOR ARCH.
TUDOR ROSE.
Trundle bed.
last
Tudor
Conventionalized
style.
rose
used
as
TUFFT
TURNING
445
is
known on
lowboy of
TUFTING.
holstered surface
by means
The arrangement
the upholstery.
down
of an up-
sewed through
buttons and the
of a button
of
treating
wood
rungs, stretchers,
flat
538, 992.]
Almost every
conventionalized flower pattern suggesting
It
TULIP. A
etc.,
style
may be
its
proportioned
TULIPWOOD. Heavy
tan
wood with
red markings,
in Louis
XV
furniture.
TUPELO. Gumwood,
medium
came
furniture.
in the classical
to imitate
1297A
TURKEY.
to
fillets, etc.,
Furniture (1895).
Furniture of Turkey
based on a different
domestic organization and has little parallel in Westis
Derails{*^iTcfe?jof
Turnings
whence the
beds,
etc., in
and other
overstuffed,
simply allusions to the softly cushioned effect associated with Turkish rooms. Turkish
woodwork
is
primi-
in
outline,
decorative effect.
It is
TURKEYWORK.
list
pieces so covered.
TURKISH ROCKER.
TURNING.
of rftV
working processes,
is
wood
is
The device
cut-
for rotat-
is
the
spring lathe
depended on the
elasticity of
wood
I^porhon
choir leg
N<xi4
of
A portion
of
toole lee.
N.45
agister of
choir:
N-8
a
Scale
fc=
=fc
jeg
of
choir|U porhoh of
I choir leg
No.
B.
19
}
'
N07
inches
lejof Joblei
No-
44
TWIST
446
XVI
style.
1298
Museum
TURNER'S CRAFT,
of Art, Gift of
highly
J.
advanced;
Flemish,
17th
century.
M(
1 1
\<
It
decoration.
or half-turned
similar
also
Amerfound
of twisted, column,
surfaces,
peared
and
prevalent in
in
fluted
Early Jacobean
work,
TUSCAN.
Simplest order of
of
bamboo
in
"summer bed"
of
summer
TWIST.
the Chinese taste, and a definite imitation called "bamboo turning" appeared in English and American furniture.
CEAt>-
ft L
Co.. I860
architecture. See
also ORDERS.
reap-
Roman
KNOB
VA/f
UPHOLSTERY
447
rubberized
piaterials to
fabric,
make
resilient
cording,
and other
is
placed hair or
then a
felt,
may be
UMBRELLA STANDS,
1299-1299A
and wood.
c. 1880
English Victorian, in iron
UMBRELLA STAND.
to a
molding
than
shell,
tions of
UNDERRR \CI.\G.
chairs, tables,
The arrangement
loose
new
new
to various styles.
liness
See AMERICA.
is
UPHOLSTERY.
framework
[107].
was made
still
depth of cushions,
now
thick,
of
came
1300
UPHOLSTERER'S CARD,
English,
c.
1770.
Needham's Antiques,
Inc.
0t
m.
'
W
Arthur
1301
S.
SHERATON EASyThYiR
80a
Vernay, Inc.
1302
Frame
stripped to
show
c.
1770.
construction.
1303
WASHINGTON IRVING*
style
of
the
Drawer under
1850-1880
Publii
French
seat.
Restorat.on,
CHAIR,
c.
UPHOLSTERY
449
and
His
eries
work
beds.
age of
lively indolence.
seatings.
1308, 1309
French
interest in the
period of Louis-Philippe
1830
to a craze for
and
in the
GERMANY
c.
holstery.
1309
Turkish
fabrics,
but
Deep
the
fillings
in
many new
shape
types:
design are infinite and too complex for any but the
expert to judge.
it
may be
mere heap of
more
The
leading,
of values.
mums
to the
is
often mis-
amateur judge
in
no
visible framing.
Upholstery
changed
created
Some
techniques
little
new
commercial
in
springing,
new
The
practice
rise of synthetics
cushioning,
new
covers.
URN. Vase-shaped
Greco-Roman carving and borrowed in the Renaissance and subsequent styles based on classic styles.
In French work it is sometimes referred to as soupiere.
It is used free standing as finials, and at the intersec-
tion
Adam and
of these
more adaptable
to
list
of laboratory products,
of crossed
Louis
stretchers,
XVI
etc.,
particularly
in
the
styles.
to the old
handicraft of upholstery.
The
in
and
[585.]
VENEER
450
VALANCE
VASE. Ornamental
ery arrangement.
VALANCE. The
is
often the
ing
mon
VARGLENO.
is
used as
finials
or decorative accents.
VASE SPLAT.
it
fall
in
front,
in
Chairback suggesting vase form commost Renaissance types; most highly developed
Queen Anne
chairs.
VASE TURNING.
found
Windsor
Commonly
chairs.
1146.]
VEILLELSE. French
of Louis
XV.
VELOLR.
VELVET.
or rayon: velveteen
VENEER. The
is
of cotton.
woods decoratively
and markings appears in earliest hisSimultaneously it was realized that such
art of utilizing fine
tory [26].
use
is
The
wood to
advantages.
orative
1309A
ally in
diamond-matched pattern
laid
up diagon-
in screen of Louis
Symons
VA RGueNO
SPANISH' f6 T CCWf
VARNISH.
in linseed
oil,
spray, to protect
surfaces. It ap-
known
secret
was
lost to
rope since the 17th century. At first, varnishes presented a sticky, overglossy look, but rubbing and im-
XV
style.
Galleries, Inc.
VENICE
Rome.
It virtually
reappearing as inlaying,
intarsia,
the
in
etc.,
16th
Not
was veneering
of
whole
saw permitted
When
VICTORIAN
451
slicing the
wood
VENICE.
commerce came
VERNIS MARTIN.
large
new methods
enough
It is
wood
the only
way
2.
It
bad
to utilize the
4.
as
burls
and
wood
of
It
of
wood many
weakness of wood.
Shaped work, such as curved sections, when cut
out of the solid are apt to split owing to uneven
offsets the cross-grain
built
up
of veneers these
Modern veneering,
utilizing
specific
and
glues,
testing of
with
wood,
and
joints, yields a
proved to be
less
it.
durable than
See France.
VICTORIAN.
furniture,
and
Second Empire; sporadic waves of nostalgia for Elizabethan and Jacobean. Currently there was also much
copying of Georgian and pre-Georgian. Late Victorian,
1880-1905, takes in the neo-Renaissance and some re-
[94, 124,
The name
equipment
It
or value.
when
patterns
internal stresses;
brilliancy
make
5.
had great
may include the Late Sheraton-EmpireRegency, the end of classicism; the neo-Gothic, more
many
It
1830-1850,
3.
beauty of the
It
some-
XIV.
no special beauty
is
veneer-
in repeated surfaces or to
by matching the
The whole
and ap-
theatrical in outline.
wood
many
and
Venetian
living.
highly ornamental,
of cutting
fancifully painted,
is
plying veneers, and later by the study of better adhesives, but not
social
fabricated product
used even more sweepingly in reference to the United States, although the
inspiration was more often from France than from
England. The designer or artisan-designer lost identi"Victorian"
is
The
great
in-
was
freely
VICTORIAN
1314
REST
BED,
ROCKING
EASY CHAIR.
manner.
1317
duchesse
type.
CHAIR.
1315
FOUR-PIECE AS-
1310
in
memory
of
(Vis-a-Vis).
1312 Iron or
in
brass,
Gothic detail
VICTORIAN
454
XV
basis,
work was
simpler,
some
in
quaint good
taste,
like
some
common
were more
than round.
rectilinear shapes
and
tal
Gothic,
some
of
BREAKFRONT CABINET,
1322
1860-1880.
finish of the
universally
signer
1323
of
BUFFET CABINET
c.
1880. Metal
Berain design.
1324 CHAIR.
1325
WASHSTAND,
1326
TOWEL
1327
CHEST OF DRAWERS.
DESK OR DRESSING TABLE
1328
marble
top.
HORSE.
mounts, suggestion
utility.
455
VIGNOLA
In the 1890's
came waves
style.
VIGNOLA, GIACOMA DA, 1507-1573. Italian architect who classified the orders of architecture after the
standardized proportions of Vitruvius.
VINE MOriF
(gotwic)
VINE MOTIVE.
Roman
VIOLETWOOD. Amaranth
vases.
[349.]
or purpleheart.
Needham's Antiques,
1330 VITRINE,
English
Regency,
Inc.
Black-and-gold
1810.
c.
lacquer.
1865-1880.
1331
WAGON
SEAT, Pennsylvania,
c.
1780.
Poplar,
splint
seat.
Metropolitan
and
and display
of
[181, 1330.]
series of scrolls in
"running dog."
VITRUVIUS. Roman
Museum
W. de
Forest,
1933
456
VOLUTE
VOLUTE.
form is in the capital of the Greek Ionic order, after which it is found
extensively in Roman work and all later classic styles.
A Gothic form is based on plant life, naturalistic
Spiral scroll. Its earliest
WAGON
on a
Some had
wood.
[25, 1331.]
WAINSCOT.
way
all
the
to the ceiling.
WAUVSCOT CHAIR.
1332
WALL
SHELF, American,
maple.
veloped from the detachment of a piece of wall paneling with a seat-board attached.
WALL FURNITURE.
The
[8,
bookcases, hanging
Since
ancient
times walnut,
the
genus
ished, as well as
As
variety
solid
of
in Vic-
torian America.
The
characteristic
American walnut
is
the black
cabinets, etc.
WALNUT.
colors,
it
many
in-
figures;
there
are
or Queensland wal-
nuts are not true walnuts, the latter being of the laurel
family.
produce
1334
interesting patterns.
DANISH,
1952.
designed by Finn
Juhl.
1334
Frederick Lunning
WARDROBE
457
1333
HANGING CUPBOARD,
Georgian, satinwood.
Wall Shelves
SHELVES FOR DISPLAY AND UTILITY APPEAR IN EARLIEST WORK, AND THEY BE
COME ORNAMENTAL IN EVERY PERIOD.
GOTHIC AND RENAISSANCE RELICS SHOW
VARIED USES AND TREATMENT. THEIR
HIGHEST DECORATIVE DEVELOPMENT AP
PEARED IN 18TH-CENTURY ENGLAND.
MODERN WORK UTILIZES SHELVES AND
WALL FURNITURE FOR SPACE ECONOMY
AND ENRICHMENT OF WALL SURFACE.
SPRING TENSION POLES ARE USED AS SUPPORTS, AS ARE CANTILEVER BRACKETS
CARRIED ON METAL STRIPS.
1335
ENGLAND
ROBE
c.
1860.
MAHOGANY WARD-
Public Library
Germany with
all
manner
WARDROBE.
clothes. In
monly provided
They
[804, 1335.]
1337
1338
1337
ENGLISH
c.
c.
1840.
1790.
Metropolitan
Museum
1339 Anderson
of Art
Galleries
SHERATON,
1340
Washstands
WARP.
Twisting or bulging of
wood boards
result-
wood
evenly restrained
or
off
moisture, but
improperly protected
it
if
un-
may
curve or twist as the moisture causes the uneven swelling or drying of the
WATER
GILDING. Thin
fibers.
WAVE
SCROLL. Continuous
spiral
band
decoration,
WASHSTAND.
for
many forms by
all
designers in
WAX
INLAYING. Wax
filled into
cutout patterns in
wood.
WEBRING.
WATER BENCH.
American, 19th-century rustic, usufound on the back porch for the ablutions of farmhands; usually homemade of available materials, sometimes with a zinc basin, a lower cupboard for pitchers,
an upper shelf. See also rustic furniture.
ally
WERFOOT.
WATER LEAF.
gated laurel
Ornamental
leaf. Its
Grooved or carved
suggesting the
webbed
WEDGWOOD.
ture.
feet of animals.
tex-
many
of
Adam. They
serts in the
W&TEE &ENCH
AMERICAN
19 CCNTUey
also
made plaques
same manner
as
WEISWEILER, ADAM.
18th century, of
Cabinetmaker,
latter
part
Arthur
1342
1341, 1341A
open shelves
VICTORIAN WHATNOTS,
board. [1111.]
1860-1875.
c.
S.
Vernay, Inc.
ENGLISH ETAGERE
1780.
WHITEWOOD.
lar,
Woodworker's name for yellow popalthough the name sometimes includes basswood
WELTING. Narrow
round
finish
and accent.
WHATNOT.
WHORL.
section
sewed
into the
French etagere. Tier of shelves supported by turned posts, used for the display of curios,
etc. English 18th century and later. See also etagere.
[124, 1341.]
WHEAT-EAR.
WICKER.
General term for furniture woven of various natural or synthetic materials, such as willow,
reed,
rattan,
used
in
Particularly
furniture.
WIG STAND.
WHEEL-BACK. Round
ating spindles
18th century.
fitted
or bars
18th-century
English
WILLARD.
tive
1743-1848.
in
Grafton, Mass., about 1765; Simon, working in Roxbury, invented the banjo clock about
worked
1800.
Aaron
WINDOW SEAT
WINDOW
460
ends, as arms, or
embrasure of a
window. Fine types in 18th-century English work;
also found in French and Italian styles after 1750.
The deep reveal of early buildings provided an ina small backless settee used in the
viting place to
sit;
small;
1343
ENGLISH, "French
1346 By
taste," c. 1775.
LANNUIER
c.
Needham's Antiques,
Inc.
1344
ENGLISH REGENCY
1345
REGENCY MAHOGANY
c.
Symons
Galleries, Inc.
Symons
Galleries, Inc.
c.
1805.
WINDSOR
WINDSOR.
WINDSOR
461
of
Style
chair
bentwood back
using
made by wheelwrights
by cabinetmakers.
It is likely
or
that
its
The
manufacture.
first
dominant chairs
for
infinite variations of
backs,
made
in
common
comb
use.
They appeared
in
and bow
Needham's Antiques,
of soft birch.
stretcher.
1349,
1349A
in
1770(?)
arms.
1347
ENGLISH,
shaping significant.
Arthur
S.
Vernay, Inc.
AMERICAN VINDSoe
TUENIWGS
18th
AMERICAN
century.
c.
back
and
upholstery
over
seat.
Collection of Mrs.
[1349.]
late
One-piece
Detail:
unshaped
Inc.
ENGLISH,
1348
Bent
Samuel Schwartz
1350
WINDSOR SETTEE,
Rhode
Island,
1750-1800.
The
seat
ica
basic
WINE COOLER.
particularly,
two front
legs
so
1351
Metropolitan
1352
WINE COOLER,
English,
Museum
Adam
style,
Mahogany.
1351
NEW YORK
Museum
of the City of
c.
1820.
New York
Mahogany wine
cooler.
1924
1770-1780.
Museum
WINE SIDEBOARD.
for
imminent
Cabinet
fitted to
hold wines
1354
of Art,
Rhode
WINE SIDEBOARD,
French,
c.
1760. Crotch
mahogany
WINE TABLE.
Horseshoe-shaped table for the serving of wine. English after 1750. See also hunt table.
[1239.]
WING.
WING BOOKCASE.
Breakfront,
WING CHAIR.
the
receding side
wing form.
ENGLISH
c.
S.
Vernay, Inc.
existed
France as the "confessional," but the usual implication is the type evolved in England and America
WINGED CLAW.
Heavy couch
WINTHROP.
1353
flBOR^*
in
sofas
BOARDS,
pieces.
foot used in
Empire
[542.]
Governor Winthrop
secretaries, for
no good reason.
WINGED CLAW
poor-
AMEE.ICAN C IS30
~n.
WOOD
WOOD
464
Selection
offer a
and
wood
to
alone.
The disadvantages
its
of
wood
organic nature.
1.
The
fibers of
losing
wood
the surrounding
ing and
air.
shrinking,
cracking.
ing or surface
The remedy
lies
in:
fabrication of
2.
It
is
wood
treated to resist
It
is
into
plywood
Wood
inflammable.
can
(see
plywood).
be
chemically
fire,
(d)
is
costly
rarely.
subject to attack
by worms and
insects.
protection.
WOOD. Wood
furniture;
Its
it
preeminence
1.
the result of
is
among
and stronger
It
offers
4.
wherever
living.
for
its
structural
in
many ways:
It is
its
it
The
feels good.
temperature
Being
is
less
It
produces
less noise
It
8.
It
9.
It
is
may be
easily repaired
in
many ways
and
when broken
pattern;
to exploit
it
wood
is
or injured.
can be worked
and enhance
this
of Qubarea
beauty.
fibers,
the ar-
rangement of
distinctive in
every wood, as well as in different logs of the same
wood, and different parts of the same tree. Thus,
different
The
method
from which it
typical structure of
according
appearances
of color, texture,
grain of
sections in various
woods present
6raiis1
nailed,
BOARDS
different
3.
virtues:
available
human
many
rival.
is
cut.
wood consists
to:
of long fibers,
WOOD
There are
of the tree.
also radial
The combinations
and arrangement of the fibers, are infinitely complex and variable, but assume definite character in
the different woods, by which the woods are identi-
size
fied.
as to
be known
as
wood
the
WOOD
465
grains are
ures are
silky
is
common
known
bird's-eye,
blister,
more specialized
etc.;
are
Color
swirls, etc.
is
bees-
figure.
burl
is
When
sawed
the log
is
first
the concentric
rings,
called
"quarter
it
is
its
distinct grain,
sawed."
with separate
figures.
the quarter.
by
the log
grain and
flat
are literally
were favored
odd designs
readily classified.
the
wood
is
is
fibers
wood
to
maple,
break
phenomenon
in
which more or
The
and
blister figures.
selection of
woods
knowledge as
between softwood
a matter of expert
is
well as of choice.
The
and hardwood
is
distinction
many
fir,
gumwood,
cherry,
fir,
in
The
in
Knots
is
or
known
of concentric
finely pitted
as
The
these
which shows a
circles
"oystering";
tree,
and tropical walnuts, holly, ebony, sycamore, satinwood, eucalyptus, pear, teak, tulip, zebra, amaranth,
koa, vermilion. Almost exclusively used as veneers
are amboyna, snakewood, yew, thuja, olive, kingwood,
unrolled from
The
decorative uses
sawed."
V-shaped
curls, etc.
sapwood, as in birch; it may also be arranged contrastingly in the annual rings, causing a strong stripe
figure, as in zebrawood. Pigment may also be deposited irregularly by stains from decay or injury
There are several ways of cutting the log that produce various figures. A board cut through the middle
of the whole log will show straight comb stripes on
the outer sides while the midsection will appear as
a more irregular figure. Such a board is called "plain
figure,
spreads hori-
also a slightly
eye,
back,
cut
stump
may be
be evenly distributed, as in mahogany,
strikingly contrasting between the heartwood and the
when
it
where on the
may
through.
is
butt or
where
is
stripes
The
figure, often
likewise a
or
The
etc.
is
plum pud-
fire,
of the crotch-block,
is
cut
being straight-
guise a familiar
name,
etc.
wood with
its
botanical or literary
CHARACTERISTIC
WOOD
GRAINS
KNOTTY CEDAR.
1359
1361
CUBAN MAHOGANY,
plum-pudding
figure.
1362
MAHOGANY,
1363
MAHOGANY,
broken
fiddleback figure.
stripe.
1360
1364
MAPLE,
MAHOGANY,
bird's-eye figure.
1365
MAHOGANY,
mottle figure.
rope figure.
at*
"
asm
*-.;*<
:tf.
Fm
1366
CHERRY,
curly figure.
1367
WALNUT,
1368
sliced.
to
as in oak.
1369
1372
1370
WHITE OAK,
1371
WALNUT,
flake figure.
1370
WALNUT,
crotch swirl.
1373
WALNUT,
1373A
feather crotch.
WALNUT,
stumpwood
(butt).
//X
x*H
468
Writing Tables
ALMOST ANY TABLE CAN FUNCTION AS A
DESK OR WRITING TABLE. IT BECOMES
SPECIALIZED BY THE ADDITION OF
DRAWERS OR RACKS. THE FRENCH BUREAU PLAT AND ENGLISH LIBRARY TABLE
TEND TO BE LARGE ENOUGH TO USE FOR
LARGE FOLIOS, PRINTS, AND ENGRAVINGS.
1375
FRENCH,
Victoria
Boulle.
1376
"BUREAU PLAT,"
Doha
Brothers, Inc.
1377
LOUIS XV.
Dalva Brothers,
1378
Louis
"BUREAU PLAT"
Inc.
with cartonniere;
XIV Regence.
Metropolitan
Museum
of Art, Gift of
J.
Pierpont
Morgan
1906
1379
LOUIS XVI.
Frick Collection
}>
V,
f
From. "Chinese Household Furniture" by George N. Kates
courtesy Dover Publications
1381 Top
wood.
1383
Brunovan, Inc.
1380 Top
left.
Italian Directoire
c.
1800.
Drop
front
writing drawer.
Writing Tables
1382
1790.
English,
1780-
right.
CHINESE,
brass
c.
1780.
Needham's Antiques,
Inc.
471
1384 Top
left.
1385 Top
Needham's Antiques,
c. 1790.
right.
c.
1770.
Needham's Antiques,
1387
Needham's Antiques,
OVAL DESK
Label, "Wright
&
Inc.
Inc.
Inc.
WRITING TABLES
472
1388
c.
1770.
Metropolitan
.
to
Museum
of Art
_^
1390
CHIPPENDALE SCHOOL
c.
Museum
of Art, Rogers
Fund, 1924
WRITING TABLES
1392
REGENCY,
wood
inlav,
leaf.
1391 ENGLISH c.
1780.
Kidneyshaped kneehole writing table.
Symons
1393
NEW
YORK,
Sheraton
style.
first
Congress of
New-York
n_f
Historical Society,
New
York City
Galleries, Inc.
WROUGHT IRON
474
WORKTABLES
WRITING ARM.
suit-
61EDEKMMG
WORKTABLES
17th century.
Whole
under
this
tinct,
so that
and
all
in various
needlework, painting,
etc., late in
heading.
the
The
etc.,
came
characteristics
up or down,
SEWING TABLE;
TABLE.
Flattop desk
WREATH. A
and
all
Roman, which
revivals of
later
were
they grew
[319, 1374.]
WROUGHT
IRON. Forged
iron in furniture
iron bindings
English
manner
of Palladio.
He
While he
is
directed
WROUGHT IRON
was pre-
eminent.
&ED SPANI54J
BENCH ITALIAN
TABLE
bent,
hot, as differ-
the reconstruction of
Fire.
when
is
ITALIAN
X-CHAIR
ZUCCHI
475
eCOENCt * ctbktcu
CANADA
YEW.
Middle Ages.
YORKSHIRE CHAIR.
is
It
stems from
invariably of oak
YoecsmeE
CMAIP
ROMAN
X- 'STOOL
X- STRETCHER
X-STOOL. The
in
^ Thomas
hope
solid, often
and
is
STRETCHER.
seats. Renais-
particularly characteristic of
mem-
Romans,
the Empire style.
of the
YORKSHIRE DRESSER.
with a low back.
It
originates in Yorkshire,
and
is
YCRA. Tasmanian
and regular
curly figure.
ZERRAWOOD. Hard
Guiana;
named
for
its
decorative
wood from
Rritish
-jTRtTCHEC
modern work.
AMERICA^
X-STRETCHER.
tables, etc.
Crossed
stretchers
on
chairs
or
BIBLIOGRAPHY
AMERICAN
Andrews, E. D., and Andrews, F., Shaker Furniture ( 1962
Bjerkoe, E. H., and Arthur, B. J., The Cabinetmakers of Amer)
ica (1957).
Brazer, E.
1940).
S.,
Springfield, Mass.,
(1949).
ANCIENT
Downs,
J.,
dale Periods in
Drepperd, C. W.,
1896).
French, L., Colonial Interiors (1923).
Halsey, R. T. H., and Cornelius, C. O., Handbook of the
American Wing of the Metropolitan Museum ( 1928 )
Halsey, R. T. H., and Tower, E., The Homes of Our Ancestors
(1936).
Hamlin, T., Greek Revival Architecture in America ( London,
1944).
Hipkiss, E. J., Eighteenth Century American Arts ( Boston,
1941).
Holloway, E. S., American Furniture and Decoration, Colonial
and Federal (1928).
Hornor, W. M., The Blue Book of Philadelphia Furniture,
William Perm to George Washington (Philadelphia, 1935).
Kelemen, P., Baroque and Rococo in Latin America (1951).
Kettell, R. H., ed., Early American Rooms (Portland, Me.,
1936).
The Pine Furniture of Early New England ( 1929).
Lea, Z. R., ed., The Ornamented Chair: Its Development in
America (Rutland, Vt, 1960).
Lewis, E., The White House (1937).
Lockwood, L. V., Colonial Furniture in America (1902).
Luther, C. F., The Hadley Chest (Hartford, Conn., 1935).
Lyon, J. W., Colonial Furniture of New England ( Boston,
1891).
McClelland, N., Duncan Phyfe and the English Regency
(1939).
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American Antiques (1959).
Melcher, M., The Shaker Adventure (1960).
Metropolitan Museum of Art, The Greek Revival in the United
States (1943).
Millar, D., Colonial Furniture (1925).
Miller, E. C, American Antique Furniture (Baltimore, 1937).
Moore, M. R., "Hitchcock Chairs" (pamphlet, 1933).
Newark Museum, Classical America, 1815-1845 (Newark,
1963).
Nutting, W., Furniture of the Pilgrim Century (1921).
Furniture Treasury, 3 vols. (1928-1933).
A Windsor Handbook (1917).
Nye, A., Colonial Furniture (1895).
Ormsbee, T. H., Collecting Antiques in America (c. 1940).
Early American Furniture Makers ( 1930).
Field Guide to American Victorian Furniture ( Boston, 1964).
The Story of American Furniture (1934).
,
EASTERN EUROPEAN
Czarnecka, I., Folk Art in Poland (Warsaw, 1957).
Lukomski, G. K., L 'Art Decoratif Russe (Paris, 1928).
Mobilier et Decoration des Anciens Palais Imperiaux Russes (Paris, 1928).
Zarskoje Sselo (Berlin, 1924).
Roche, D., Le Mobilier Francois en Russie ( 1902).
,
Adam,
BIBLIOGRAPHY
BIBLIOGBAPHY
477
FRENCH
Adams,
XVI.
Dumonthier, E., Le Mobilier Louis XVI (Paris, 1922).
Les Sieges de Georges Jacob (Paris, 1922).
Les Sieges de Jacob Freres (Paris, 1921).
,
BIBLIOGRAPHY
Les
Ledoux-Lebard,
Furniture
and
Its
Surroundings
(1610-1815) (1925).
Molinier, E.,
,
(Paris, 1902).
Siecles
Mottheau,
Empire
(Paris,
(Paris, 1952).
et Louis
(Paris,
J.,
et
1952).
1,
,
XV
1952).
Museum
siers Parisiens
Home
(London, 1954).
ration (1887-1890).
Hoffman, H., ed., Sitzmobel aus Sechs Jahrhunderten (Stuttgart, 1938).
Hunter, G. L., Decorative Furniture (Grand Rapids, Mich.,
1923).
Kahle, K. M., An Outline of Period Furniture (1929).
Kimball, S. F., The Creation of the Rococo (Philadelphia,
1943).
Lessing, J., Gotische Mobel (Berlin, 1889).
Lichten, F., Decorative Art of Victoria's Era (1950).
Litchfield, F., Illustrated History of Furniture (1922).
Lock, M., Original Designs for Furniture, 1740-1765 (1863).
and Copeland, H., A New Book of Ornaments
,
(1768).
Lynes, R., The Tastemakers (1954).
McBride R. M., A Treasury of Antiques (1946).
Mould, R. G., Refinishing and Decorating Furniture and Other
Home Accessories ( 1953 )
"Nicholson, P., and Angelo, M., The Practical Cabinetmaker,
Upholsterer and Complete Decorator (London, 1826).
"Pugin, A., Designs for Gothic Furniture (Neo-Gothic) (London, 1835).
Peeves, D., Furniture, an Explanatory History (1947).
Roche, S., Mirrors (1957).
Salomonsky, V. C, Masterpieces of Furniture Design ( Grand
Rapids, Mich., 1931).
Masterpieces of Furniture in Photographs and
,
Measured Drawings (1953).
Schmitz, H., The Encyclopedia of Furniture (1926).
Sigworth, O., The Four Styles of a Decade (1960).
Truman, N., Historic Furnishing (1950).
Vandan, C, Great Styles of Furniture ( English, Italian,
French, Dutch, Spanish) (1963).
Whiton, S., Elements of Interior Design and Decoration.
(1960).
Winchester, A., ed., The Antiques Treasury (1959).
.
Vacquier,
1921).
An
J.,
Historical
Guide
French Interiors
to
Woodwork
London,
1907
1913-
in the
Wallace Collection
(1956).
,
Louis
XVI
Furniture (1950).
GENERAL
American
BIBLIOGRAPHY
478
Decoration:
Design and
Bibliography (1961).
Aronson, J., Book of Furniture and Decoration: Period and
Modern (1952).
Bajot, E.,, Encyclopedic du Meuble (1900).
Bayard, E., L'Art de Reconnoitre les Styles (Paris, 1913;
1925).
Boger, L. A., The Complete Guide to Furniture Styles ( 1959 )
Clark, K., The Gothic Revival (1950).
Clifford, C. R., Period Furnishings ( 1949).
The Connoisseur, ed. The Concise Encyclopedia of Antiques,
3 vols. (London, 1954-1957).
Cotchett, L. E., The Evolution of Furniture (1939).
Arens,
des Deutschen
1920).
Singleton, E.,
Klassizismus
und
Biedermeier
Berlin,
BIBLIOGRAPHY
BIBLIOGBAPHY
479
Wien
ORIENTAL
Cescinsky, H., Chinese Furniture (London, 1922).
Dupont, M., Les Meubles de la Chine (1926).
Ecke, G., Chinese Domestic Furniture (Butland, Vt., 1962).
Guerin, J., La Chinoiserie en. Europe au XVIIT Slide (1911).
Ishimoto, K. E. T., The Japanese House, Interior and Exterior
(1964).
Kates, G. N., Chinese Household Furniture (1962).
Lancaster, C., The Japanese Influence in America (1963).
Nakamura,
SCANDINAVIAN
Fischer, E., Svenska Mobler i Bild, 2 vols. (Stockholm, 1950).
Hellner, B., Svenska Mobler (Stockholm, 1947).
Hopstock, C., Norwegian Design, Viking Age to Industrial
Revolution (Norway, 1961).
Lagerquist, M., Rokokomobler (Stockholm, 1949).
Plath, J., The Decorative Arts of Sweden (1948).
Wettergren, E., Modern Decorative Arts of Sweden (1926).
Wollin, N., Modern and Swedish Decorative Art (1931).
MODERN
Aloi, B.,
UArredamento
,
Esempi
di
Moderno
(Italy,
1934).
li
Mondo
(Milan, 1950).
Dieckmann
E.,
Mobelbau
in Holz,
of
Furnishing
and
Stuttgart,
1931).
N., and Ditzel, J., Danske Stols Danish Chairs
(Copenhagen, 1954).
Dorp. E. van, Moderne Eenvoudige Meubels (Amsterdam)
Ditzel,
(1928).
Fabbro, M. dal, Furniture for Modern Interiors ( 1954 )
Modern Furniture (1949).
Greber, J., Paris Exposition, 1937. Decoration Interieure
,
(Paris, 1937).
Aalto, Alvar,
Barry,
"Adam
Thomas, Philadelphia,
active 1819-1859.
Bradburn, John, England, 18th century.
Ulrich,
Pa.
Italy,
Directoire
Belli,
He
tween 1809-1813.
*Allison, Michael,
Belli,
Giovanni,
Italy,
16th
16th century.
Italy,
'Belter,
New York
Andrea Alessandro,
century.
ap-
City.
Died 1865.
City. Ac-
Jr.,
Connecticut,
active 1785-1800.
century.
Ancellet, Denis-Louis, France.
JME
1785.
Ash, Thomas, New York City. Died
1813.
Asinelis, Antonio, Italy, 16th cen-
century.
William,
Philadelphia,
d',
Claude,
'Berain,
France,
17th and
18th centuries.
:
tury.
18th century.
Aubiche, Jacques
XVI.
Pa.,
France, 18th
ican designer.
century.
Bertolina, B.
J.,
Italy,
16th century.
tury.
Axton, William,
Jr.,
Charleston, S.C.
tury.
Died 1800.
Bachelier of Toulouse, France, 16th
Bolte,
England,
Pa., late
18th century.
M.
H., Scotland.
1865. Architect.
16th cen-
Andre-Charles,
1642-1732.
Boulle,
France,
Born
Pupil
of
Sulpice,
1735?-
France,
17th
century.
Bulfinch,
New
England,
1763-1844. Architect.
Burnham, Benjamin, Philadelphia,
18th century.
Burroughs, John, England. Fl. 16621690.
*Caffieri, Jacques, France, 16781755.
Calder, Alexander, Charleston, S.C,
active 1796-1807.
Callow, Stephen, New York City,
18th century.
Campbell and Sons, England, 18th
Boulton,
Canabas, Joseph
(Gegenbach),
Matthew,
England,
JME
1766.
1785.
Carpenter, Thomas, England, 18th
Carlin, Martin, France. Died
century.
Carter, John, England, 18th century.
17th cen-
tury.
:
Architect.
William Kent.
France, 1715?-1797.
century.
Adrian,
tury.
century.
18th
century.
Beman, Reuben,
1699-1769.
tury.
Bell, Philip,
18th
century.
Architect.
Challen,
William,
18th century.
Flourished.
JME=Maitre
*=See Text.
Germany, 17th
century.
Atlee,
Philadelphia, circa
1810.
Century.
in
England,
century.
Died 1763.
Albertolli, Giocono,
pears
B.,
Baumgartner,
1739-1822.
Fl.=
Joseph
Barry,
"Affleck,
19th
Charles,
Sir
century. Architect.
Ebeniste.
480
New
York
City,
GLOSSARY
'"Chambers, Sir William, England,
1726-1796. Architect, published
Designs of Chinese Buildings,
Furniture, etc.
in
Connecticut
1635.
Delorme, Francois, 1691-1768.
1735. Chinoiserie.
Galletti,
17th
Dennis,
Chippendale, Thomas,
1718-1779.
Chippendale, Thomas,
1749-1822.
tury.
England,
Jr.,
England,
De
Vries.
Boston,
Wil-
See
Vries,
Mass.,
1774.
American
designer
L.
tury. Decorator.
1770-1826.
Copeland, H., England,
18th cen-
tury.
France, 1887-1965.
New Hampshire
Du Quesnoy,
century.
Philadelphia,
about 1762.
Pa., active
New
*Cox, Joseph,
York
18th
City,
Cramer, M.
*Cressent,
1768.
G.,
T.,
England,
F. H.,
and
J.,
Flanders,
Charles, contemporary
American designer.
Eastlake, Charles Locke, 1833-1906.
Egerton, Matthew, Brunswick, N.J.,
1739-1802.
Elfe, Thomas, Charleston, S.C., active 1747-1776.
tury.
France,
1685-
18th centuries.
1785.
Criard,
Andre
(1689-
Oeben.
Crunden, John, England,
last
half
of 18th century.
Domenico
century.
France,
17th century.
Daley, John, Baltimore, Md.
tury.
"David (David
1743-1807.
Pierre-Francois,
France,
American
designer.
Died 1958.
Frothingham,
Benjamin, Charles1756-1809.
about
S.C.,
Matthias, Germany, 17th
century.
Roentgen),
France,
circa
1744-1795.
makers
England.
Coffer-
tury.
tury.
Gabler,
century.
Grene,
Artist.
Flotner, Peter,
ton,
tury.
Frankl,
(Italian),
Golle,
Fontaine,
Gillow,
tury.
1826.
Charles,
or
century.
1648-
of
tury.
England,
1720. Carver.
Elliott,
Cotte,
Courtnay,
century.
"Gibbons, Grinling,
Eames,
Elliott,
Ger-
Architect.
member
17th century.
tury.
Paulus,
tury.
and
century.
Gottlieb,
de.
writer.
active 1769-1782.
JME
Vredeman
or
1852.
century.
Collman,
Gettich
in
Cucci,
century.
Sr.,
John,
18th century.
England,
Robert,
*Cipriani,
Criaerd
17th century.
Derignee,
18th cen-
Mass.,
Italy,
1741-1807.
Cheney, Silas E., Litchfield, Conn.,
active 1799-1821.
Chippendale, John, England, 18th
Thomas,
Giovanni,
tury.
Philibertde.
Cogswell,
century.
JME
1780's.
century.
::
GLOSSARY
481
1724-1743.
Griffiths,
Edward,
England,
18th
century.
Haig,
tury. Partner of
Chippendale.
GLOSSARY
18th century. Architects, authors
of New Designs for Chinese Tem-
::
England,
-Kauffmann, Angelica,
1741-1807. Painter.
ples (1750).
Hallet,
GLOSSARY
482
William,
England,
17th
or
Keller,
Johann
Heinrich,
Switzer-
18th century.
:=
late-19th century.
rary.
tury.
16th
Heinhofer,
Philip,
Germany,
1864.
German
Kraft, J.
Signed R.V.L.C.
Ladetto, Francesco,
Richard de,
Lalonde,
18th cen-
France,
late
'
land,
Henry,
England,
17461806. Architect.
Holmes, W., England, 19th-century
Langley,
century.
Holland,
Cabinetmaker
designer.
in
manner
the
of
Boulle.
Holthausen, H.
J.,
::
tury.
New York
1805-1819.
Lardant, Jacques, France, 16th cenLannier, Charles-Honore,
City. Active
tury.
Laszlo,
Lawton, Robert,
Mayhew
published The
=Le
Furniture.
Charles,
France,
1619-
J. B.,
Pa., late
18th century.
Swedish architect.
Jennens and Bettridge, England.
Manufacturers of papier-mache
R.I.
Jacobsen.Arne, contemporary
Brun,
1690.
Le Roux,
Al-
Architect.
Newport,
Jr.,
contemporary Amer-
Working 1794.
Jacob-Desmalter (Georges
Paul,
ican.
panion.
Italy,
tury.
(Wiener Werkstatte).
Holbein, Hans, England, early 16th
Ince and
architect.
tury.
tury.
lished
A New Book
of
century.
Juste-Aurele,
France,
1693-1750.
Mills and Deming, New York City,
active around 1790.
Molitor, Bernard, France under
Louis XVI. JME 1787.
Montigny, Philippe Claude, France,
1734-1800. JME 1766.
Moore, James, England. Died 1726.
Cabinetmaker to the Crown.
Moore, James, the Younger, England. Died 1734.
"Morris, William, England, 18341896.
Moser, Koloman, Austria, Sezession.
1672-1742.
Oudry, Jean-Baptiste, France, 18th
Ornaments
(1768).
Loos, Adolph, Austria, late 19th century. Sezession.
L'Orme, Philibert de, France, 16th
ac-
Boulle.
*Meissonnier,
::
century. Artist.
'Palladio, Andrea,
Italy,
1518-1580.
Architect.
Panturmo,
J. di,
Italy,
1492-1556.
GLOSSARY
Parran,
Rohde,
York
City,
Italy, 1700-1777.
Jean Baptiste, France,
1713-1789.
Pillon, Germain, France, late 16th
Piffetti, A. Pietro,
Pillement,
Stickley,
chairmarker to Charles
before 1686.
II.
16th
American,
Philadelphia,
Karl
Friedrich,
tury.
1818.
Terry,
Phila-
::
Benjamin, Philadelphia,
1762-1792.
Rennie, James, England. Partner of
Thomas Chippendale. Died 1766.
Revitt, N., England, 18th century.
Jean
1685-1766.
JME
Cologne,
Ger-
Sebastian,
France,
France,
ner of Seddon.
Shaw, John, Annapolis, Md., active
1773-1794.
1888
:
(DeStijI).
ac-
Shearer,
signs (1788).
France,
England, 19th
1764-1836.
Francesco Marie, Italian architect. Died 1859.
Town and Emmanuel, England, 19th
Tosi,
century.
::
18th century.
Riesener, Jean-Henri, France, 17341806.
Baptiste,
16th
century. Designer.
France,
century.
1769.
Serlius,
after 1600.
Phillippe,
Architect.
18th
19th
Pa., circa
Henri-Francois,
England,
City,
1772-1852. Connecticut
Tilliard,
1727-
century.
Randolph,
Melchior,
Thomas,
Seddon,
York
1801.
Anthony Gabriel,
delphia, Pa. Active 1820?
Quervelle,
Eli,
clockmaker.
*Thomire, Pierre
1751-1843.
ican, architect-designer.
England,
New
century.
ican.
George,
Baltimore,
Pa.,
Berlin,
Clemens,
England, 1824-1881.
Swan, Abraham, England, 18th cen-
Taylor, John,
1781-1841. Architect.
Schmieg, Carl, contemporary Amer-
*Seddon,
and
1911-
Schinkel,
Empire period.
20th.
Contem-
Stitcher
Eero,
Italy,
Mich.,
*Savery, William,
and
Died
Guiseppi,
tury. Architect.
Augsburg,
maker
Died 1933.
Rukers, Thomas,
contemporary, Italian.
Bernardino di, Italy, 16th
Riesener,
ration (1808).
tury. Designer.
century.
many,
Soli,
Austria,
1961.
"Sambin, Hugues, France, 16th cen-
1740.
Saarinen,
Ponti, Gio,
Cabinet-
early-20th-
Alfred,
porary.
circa
England.
century Sezession.
Rossi, Properzia de, Italy, 15th and
16th centuries.
Rheydt,
maker
architect.
century. Designer.
George,
Smith,
century.
:;
Roller,
century.
tury.
tury. Designer.
American
Phill,
American designer.
Gilbert,
Died 1944.
tury.
Porfirio,
Skillin,
tury. Designer.
New
18th
England,
Benjamin,
1728.
*Phyfe, Duncan,
1768-1854.
GLOSSARY
483
Townsend
family,
Rhode
Island, for
1544.
*Tufft,
Thomas,
Philadelphia,
late
18th century.
Turing, William, England, early 18th
century.
in
the 1720's.
GLOSSARY
Ugliengo, Carlo,
Italy,
1726. Architect.
Venasco, Giovanni Paolo,
Italy,
tive
(the
Architect.
Theodore,
younger),
Gothic
architect of
Wright,
Wedgwood,
Re-
A.,
Vries,
en'e.
Danish contem-
J.,
Weisweiler,
Adam
(German), France,
century.
18th century.
Wenman,
Richard,
New
York
City,
18th century.
1869-1959,
ican.
porary.
:s
Lloyd,
architect.
Wegner, Hans
Frank
American
1795.
C.
Wormley,
Edward,
contemporary
American.
Wren, Sir Christopher, England,
1632-1723. Architect and designer.
century.
vival.
Voysey,
English
Eugene Emmanuel,
1814-1879.
Philip,
::
Flanders,
18th century.
England. Died 1767.
France,
century.
Webb,
Vile, William,
Viollet-Le-Duc,
Pa., ac-
1785.
18th
Flanders, 1660-1724.
Verhaeghen,
White,
1799-1833.
century.
Peter
18th century.
Verbruggen,
GLOSSARY
484
tury.
:!
Zucchi,
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