File:The book of decorative furniture, its form, colour and history (1910) (14770635922).jpg

Identifier: bookofdecorative01fole (find matches)
Title: The book of decorative furniture, its form, colour and history
Year: 1910 (1910s)
Authors: Foley, Edwin
Subjects: Furniture Decoration and ornament
Publisher: London : T.C. and E.C. Jack
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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resenting herson to Charles i. These panels, apart from their artistic interest enableone to approximately fix the date. The cabinet inside is fitted on each side with six drawers carvedon their faces with figure subjects,—and also veneered inside withgeometrical designs. Below, in further veneers, are backgammonand chess boards. Between the drawers the central recess relievesthe sombre colouring by tortoiseshell and gilt columns, when notcovered by the two carved doors inlaid in ivory upon their innersides, but now concealed by drawings in gouache of ancient Roman 275 276 DECORATIVE FURNITURE architecture signed Cleriseau fecit Rome, 176S,—being the work ofChambers teacher and the friend of the brothers Adam. It will be remembered that the waved mouldings so plentifully-used upon this, in common with most ebony work of the period,are stated to have been invented by Schwandhardt. The tapestry is similar to an example at Fontainebleau,—ofLouis the Thirteenth period approximately.
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LATE AND ZOPF RENAISSANCE INGERMANY FROM 1603 DURING the period of the Stuarts and Commonwealth in GreatBritain, Germany, absorbed in political complications such asher Thirty Years War under the rival banners of the ProtestantUnion and Catholic League, could have had but little real zest fordeveloping the decorative aesthetics of herfurniture. Reference has been made in our previouschapter on the earlier phases of the GermanRenaissance to the comparative failure ofthe Germans in welding the Renaissancemovement into a coherent or characteristicnational style, and it has been suggestedthat this failure was in a large measuie dueto a lack of affinity in the Teutonic tempera-ment. Another reason was, however, largehoperative, namely, that the new movementreached Germany from largely differing sources :France, Italy, and the Netherlands all taking-part in its introduction. Nevertheless, with her usual painstaking,Germany essayed to play her part in the evolution of woodwork design.Her dec

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