Part 5 (1/2)
With arms of Thomas Wentworth, first Earl of Strafford (1593-1641).
(_Victoria and Albert Museum._)]
In Early Stuart days the influence of Inigo Jones, the Surveyor of Works to Charles I., made itself felt in woodwork and interior decorations. He was possessed with a great love and reverence for the cla.s.sicism of Italy, and introduced into his banqueting hall at Whitehall (now the United Service Museum), and St. Paul's, Covent Garden, a chaster style, which was taken up by the designers of furniture, who began to abandon the misguided use of ornament of later Elizabethan days. In the Victoria and Albert Museum is an oak chair with the arms of Thomas Wentworth, first Earl of Strafford, which, in addition to its historic interest, is a fine example of the chair of the period of Charles I.
(ill.u.s.trated p. 93).
[Ill.u.s.tration: ITALIAN CHAIR, ABOUT 1620.
Thence introduced into England.
(_Victoria and Albert Museum._)]
It is certain that the best specimens of Jacobean furniture of this period, with their refined lines and well-balanced proportions, are suggestive of the stately diction of Clarendon or the well-turned lyrics of Herrick.
[Ill.u.s.tration: _By permission of Messrs. Hampton & Son_
HIGH-BACK OAK CHAIR. EARLY JACOBEAN.
Elaborately carved with sh.e.l.l and scroll foliage.
(Formerly in the Stuart MacDonald family, and originally in the possession of King Charles I.)]
In the ill.u.s.tration of a sixteenth-century chair in common use in Italy, it will be seen to what source the Jacobean woodworkers looked for inspiration. The fine, high-backed oak Stuart chair, elaborately carved with bold sh.e.l.l and scroll foliage, having carved supports, stuffed upholstered seats, and loose cus.h.i.+on covered in old Spanish silk damask, is a highly interesting example. It was long in the possession of the Stuart MacDonald family, and is believed to have belonged to Charles I.
The gate-leg table, sometimes spoken of as Cromwellian, belongs to this Middle Jacobean style. It cannot be said with any degree of accuracy that in the Commonwealth days a special style of furniture was developed. From all evidence it would seem that the manufacture of domestic furniture went on in much the same manner under Cromwell as under Charles. Iconoclasts as were the Puritans, it is doubtful whether they extended their work of destruction to articles in general use. The bigot had ”no starch in his linen, no gay furniture in his house.”
Obviously the Civil War very largely interfered with the encouragement and growth of the fine arts, but when furniture had to be made there is no doubt the Roundhead cabinetmaker and the Anabaptist carpenter produced as good joinery and turning as they did before Charles made his historic descent upon the House in his attempt to arrest the five members.
There is a style of chair, probably imported from Holland, with leather back and leather seat which is termed ”Cromwellian,” probably on account of its severe lines, but there is no direct evidence that this style was peculiarly of Commonwealth usage. The ill.u.s.tration (p. 97) gives the type of chair, but the covering is modern.
That Cromwell himself had no dislike for the fine arts is proved by his care of the Raphael cartoons, and we are enabled to reproduce an ill.u.s.tration of a fine old ebony cabinet with moulded front, fitted with numerous drawers, which was formerly the property of Oliver Cromwell. It was at Olivers Stanway, once the residence of the Eldred family. The stand is carved with sh.e.l.ls and scrolls, and the scroll-shaped legs are enriched with carved female figures, the entire stand being gilded. This piece is most probably of Italian workmans.h.i.+p, and was of course made long before the Protector's day, showing marked characteristics of Renaissance style.
[Ill.u.s.tration: JACOBEAN CHAIR, CANE BACK CROMWELLIAN CHAIR.
ARMCHAIR. DATED 1623. ARMCHAIR. WITH INLAID BACK.
JACOBEAN CHAIRS.
(_By permission of T. E. Price Stretche, Esq._)]
The carved oak cradle (p. 107), with the letters ”G. B. M. B.” on one side, and ”October, 14 dai,” on the other, and bearing the date 1641, shows the type of piece in common use. It is interesting to the collector to make a note of the turned k.n.o.b of wood so often found on doors and as drawer handles on untouched old specimens of this period, but very frequently removed by dealers and replaced by metal handles of varying styles, all of which may be procured by the dozen in Tottenham Court Road, coa.r.s.e replicas of old designs. Another point worthy of attention is the wooden peg in the joinery, securing the tenon into the mortice, which is visible in old pieces. It will be noticed in several places in this cradle. In modern imitations, unless very thoughtfully reproduced, these oaken pegs are not visible.
[Ill.u.s.tration: _By permission of Messrs. Hampton & Sons._
EBONY CABINET.
On stand gilded and richly carved.
FORMERLY THE PROPERTY OF OLIVER CROMWELL.
(From Olivers Stanway, at one time the seat of the Eldred family.)]