Page 40 - The Studio First Edition - April 1893

A History of Furniture

influences, help to extend a demand for average
HISTORY OF FURNITURE.*
ather than unique work. Yet we have no right to
A CENTURY ago the author of such a quarrel with an author for choosing his own point
work as this would probably have en- of view, and while awaiting a book that shall present
A titled it "Contributions towards a —if it be possible to do so—the common furniture
History of Furniture," or in some way expressed of every period, it is pleasant to find gathered to-
the limits which Mr. Litchfield in a notably day so many typical examples of the more ornate
modest preface has recognised. For the subject is products of many ages. The first impression of
too vast for any one volume to exhaust ; yet as to such a book is apt to be—that the taste of past
do it full justice would require many thousands of times is greatly overrated but that may be owing
illustrations, we can in part to the fact that
but be grateful for this isolated examples are
hand-book, which is apt to assume a certain
valuable as a standard arrogant importance
work of reference, and that would not be ap-
by no means inade- parent if we saw them
quate as a rapid survey with the surroundings
of the huge period it of their own period.
covers. It is even possible that
The illustra-
tions are obviously such a monstrous ob-
chosen froth all sorts ject as the State chair
of sources, and have a from the 1851 Exhibi-
tendency, as in most tion (page 235), might
of their class, to re- be comparatively un-
present not so much obtrusive with the
the common average hangings and carpets
of any period, as those that were no doubt
special pieces which part of its original
may be called " mu- environment.
seum" specimens. To Whatever the short-
one deeply interested comings of 1893, it is
in the domestic arts, with a shudder of relief
the common articles that one thinks of Tot-
used in ordinary house- tenham Court Road at
holds are far more at- its worst, beside the
tractive than gorgeous decorative orgies of
master-pieces made for 1851. Not that all the
special purposes. Yet work of that vicious
one must not too period — vicious be-
hastily assume that cause it professed an
some of the most elaborate specimens were com- earnest desire for art, and produced mere extrava-
missioned for palaces or mansions. The pride of gance—was either poor design or bad craft. But
the craftsman in his art, has before now led him most of its important pieces, even those included
to expend his most prolonged labour on articles in this volume, are examples of everything to avoid,
for his own home. When furniture was handed and so far as personal experience goes, the average
down as an heirloom, and the tenants succeeded furniture of the dwelling was distinctly feeble. Even
each other under the same roof—a special chest, the plainer pieces, which because they have less bad
or armoire, was held worthy the expenditure decoration are therefore so much better, show little
of much skill. Now our migratory habits, the appreciation of beautiful proportions, of fit and
separate household which each newly-married pair straightforward joinery, or of elegant line; but are
deem the first essential, and a thousand other bent on displaying their cost, and using as much
polish and ornament as the price will allow, rather
* - Illustrated History of Furniture." By FREDERICK
LITCHFIELD. Second Edition. London : Truslove and than aiming for utility first, and then for as much
Shirley.
beauty as can be preserved without sacrificing
3c)