File:The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods (1914) (14592427580).jpg

Identifier: practicalbookofp00eber (find matches)
Title: The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods
Year: 1914 (1910s)
Authors: Eberlein, Harold Donaldson McClure, Abbot, 1879-
Subjects: Furniture
Publisher: Philadelphia, London, J.B. Lippincott Company
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library

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Text Appearing Before Image:
IATERIALS The materials used during the Louis Quinze periodcovered a wide range in variety. Walnut, mahogany,oak and satinwood were, of course, employed but, inaddition to these, every other precious or ornamentalwood known to cabinet-makers seems to have beenrequisitioned for the enrichment of the exquisite fur-niture produced in this heyday of Gallic mobiliarydesign. DECORATIVE PROCESSES Corresponding with the variety of materials usedwas the variety of decorative processes the cabinet-makers availed themselves of. Scarcely one processcould be named that was not employed by them in oneform or another, and it would be of no avail merelyto enumerate a list without entering into a detailed DO < ° K — tr CSJ T. ; H « X -x o o ^ X ? ° £ ED g o o ^ 3 > £ 2! ? <
Text Appearing After Image:
LOUIS SEIZE 233 consideration of the subject that would alone requirealmost a volume. In the matter of upholstery, the mostexquisite Aubusson, Beauvais and Gobelin tapestrieswere freely used, as were also the most elaborate bro-cades and other stuffs. TYPES OF DECORATION The types of decoration confound one by their be-wildering multiplicity and fairly defy complete tabula-tion in brief compass. It must suffice, therefore, forour present purpose if attention be directed to a fewof the more conspicuous and characteristic motifs madeuse of. In the carving in both high and low relief, inpainting and lacquer, in inlay and marqueterie and,in fact, in every process of embellishment we see con-stantly recurring floral wreaths and ribbons, basketsof flowers, acanthus, celery, pastoral and musical em-blems, laurel, acorns and oak leaves, guilloche patternsand rosettes, chequering and diaper-work, thistles,arabesques, myrtle, lyres, pendent husks, vases, urnsand sundry other classic details. Eo

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