File:The practical cabinet maker and furniture designer's assistant, with essays on history of furniture, taste in design, color and materials, with full explanation of the canons of good taste in (14802904843).jpg

Identifier: practicalcabinet00hodg (find matches)
Title: The practical cabinet maker and furniture designer's assistant, with essays on history of furniture, taste in design, color and materials, with full explanation of the canons of good taste in furniture ..
Year: 1910 (1910s)
Authors: Hodgson, Frederick Thomas, 1836-1919
Subjects: Cabinetwork Furniture making
Publisher: Chicago, F. J. Drake & Co
Contributing Library: The Library of Congress
Digitizing Sponsor: Sloan Foundation

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e. Car-riages, tables, cabinets, and especially smaller articleslike snuff-boxes and needle-cases, were painted anddecorated in Vernis-Martin. Some of the smallerobjects were beautifully mounted in chased gold. It was quite a common practice to cover or to panelfurniture with plaques of Japanese lacquer, and tomount them in chased metal or ormoulu decorations.A unique commode is illustrated at Fig. 47, made frompanels of very old Japanese lacquer and highly dec-orated with ormoulu mounts by Caffieri, a skilled chaserof the Louis-Quinze period. In the latter half of the eighteenth century an im-provement in the design of furniture and of ornamentgenerally crept in, owing to the study of the orna-mentation and design of the classic objects that hadbeen found in the buried cities of Herculaneum andPompeii. These cities had been discovered in 1713, andabout forty or fifty years later books were publishedillustrating the buried remains, which helped to change 78 THE PRACTICAL CABINET MAKER
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THE PRACTICAL CABINET MAKER 79 the public taste, and by degrees a demand arose fordesigns of a more severe and classic kind. The prevailing taste was then apparently gratified bythe mixture or grafting of a certain quality of classicforms with the former frivolous style of the LouisQuinze. The style in furniture and in ornament now de-veloped into what is known as the Louis Seize*(Louis XVI.), and consisted in its ornament of a com-position of then scrolls, garlands, bows and quivers ofarrows, ribbons and knots, medallions with classiccameo-cut subjects. Mouldings were fine and delicatelyornamented and of straight line variety; in fact, thestraight line now reasserted itself in architecture andfurniture design (see Figs. 48, 49), in refreshing andhealthy contrast to the tottering and riotous curves ofLouis XV. and the Du Barry period. Some of the most beautiful furniture expressive ofthe utmost elegance was made by Riesner and David,and was decorated with ormoulu mounts by Gouthierefo

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