Meyer Franz. A Handbook of Ornament

Подождите немного. Документ загружается.

The

Table.

441

decoration to be

properly seen.

Where the

top

decorated, the

orna-

mentation is

flat, consisting

of intarsia-work,

incising, painting, &c.

The

size of the table varies

according to

the

purpose

for

which

it is

intended; its

height, on the

contrary,

subject to

little

varia-

tion,

and

about 2

ft.

4^2

ins. for

ordinary

tables. Tables,

with

legs which

could

adjusted

varying

heights, were

in use in

the

Antique

period, being

required by the

social life of

that time; a

similar

arrangement may

also

be seen

on some

modern artists'

tables,

which can not

only

adjusted to

different heights,

but also

allow

the

top to be

slanted.

The

following remarks are from the

point of

view

'history

and

style.

The Egyptian, Assyrian,

and Persian

tables,

chiefly

known

to us

from the representations of

altars, have legs

terminating

claws.

This motive

was also popular

among the Greeks

and

Romans,

with

the

difference

that the latter nations

permit

the claws to

rest

directly

the ground,

while

the

former support

the claws

upon

small

circular

plinths. The legs of Antique

Tables are

frequently

of bronze

;

they

have a similar

form with those of the

Tripod;

and

like them

are adjustible, as

already observed" (fig.

1).

The

table-tops

are

often

stone or

wood.

Large rectangular tables with stone

supports of

rich

workmanship,

and round

tables

with three legs

marble, a

considerable

number of which are given on Plates 143

and

144,

are

well known to us

from the excavations at Pompeii.

They

were

not

Dining-tables but

State-tables which stood in the

tablinum

and

atrium

Roman

houses.

Dining-tables

of the

modern form

were

imknown

to the Antique; even

in the Early Greek

period,

while it was

still

the custom

sit

at dinner, each diner

had his own

separate

table;

and

the same

custom

continued

the

later

period

when

meals

were taken in a

recumbent posture. These

little tables

were

lower

than

ours.

also

find

them in similar forms

among

the Romans

(fig.

3),

along

with larger

Banqueting -tables,

around three

sides

which the

Sofas were ranged as shown

The

Late

Roman period

was one of

lavish luxury;

are told, for example,

tables

with

legs

silver

and ivory, and with Table-tops of rare

woods, &c.

In-

credible

prices, up to

14,000,

were paid

for a

single choice

top.

The

Tables of the Middle

Ages were

generally

rectangular

semicircular, rested on

posts

trestles,

were

plain, and

rather

cumbrous.

It is

said of Charlemagne, however,

that he

possessed

three of silver,

and

one

golden

(?)

table. Beautiful

and

richly-designed

Tables of very

different

kinds have

been

preserved

from the

time

the Renascence. Of particularly

frequent occurrence, are richly-carved

side -trusses (fig.

7),

simpler forms

of which

were already

use in

the Gothic period

(fig.

5).

the Barocco

and Rococo

periods,

the

legs are curved, and

the tops are

of bold,

arbitrary design

(fig.

8).

The Console-table is an

invention of this period. It was also at

this

442

FURNITURE.

Plate

251.

The

Table.

The

Table.

—

The Writing-Table. 443

time that

the Dumb-Waiter, came

into

general

use.

As far as

art i3

concerned,

our

modern

Tables are mostly

copies of

old

models.

Plate

251 gives a

small selection

from the copious material.

Plate

251. The Table.

1. Antique,

bronze, Museum, Naples, (Eaguenet).

Antique,

bronze, (M6nard

et Sauvageot).

Roman,

(Kantharos of Ptolemy).

Mediaeval,

Chronicle

of Louis XI, (Viollet-le-Duc).

5. Late

Gothic,

Municipal Collection of Antiquities,

Freiburg, (Schau-

insland).

Renascence,

with turned legs,

French, Castle of Bussy

Eabutin,

(C6te d'or).

7. Renascence,

with carved

side-trusses, FrencTi, (Ducerceau).

8. French,

th century,

Crarde-meuble, Paris, (Raguenet),

9. Modern,

Renascence style.

10.

Modern.

11.

Modern,

French,

Paris, (Raguenet).

The

Writing-Table.

(Plate

252.)

The peculiar

construction

the Writing-table removes

it from

the category

of ordinary

Tables.

In a certain

sense it .forms the

transition

the

Cabinets,

in the

form in

which it is now manu-

factured.

The

Writing-table

a product of modem civilisation.

earlier

times,

when

writing

was the privilege

of the

select few,

the

common

table

evidently

served

the

purpose. It is also true that the

old

caligraphers,

used

special writing

apparatus,

either desks which

could

rested

on the

knees (fig.

1),

small

tables, an example of

which

given in

fig.

2. But

it was

reserved for our much-writing

Modern

time

invent

special

furniture for

business and private use.

The

Writing-table

must not only

serve

for writing,

but also as

receptacle

for

stationery,

correspondence, writing-materials,

&c.

Hence

furnished

with

cupboards,

drawers,

pigeon-holes, and shelves.

often

furnished

with

side -cupboards below

the table-top having

space

between

them for

the legs of the writer.

Where

the

table

has

upper

part,

which

admits

variety

constructions, as

may

seen from

the

few examples

of the

Plate, it

is usually of

lesser

depth

than

the

surface

of the table

leave

the

ne-

cessary

room

for writing.

The same

end is attained

leaving a

space

equal

the

whole

depth free between

'and

the table -top,

shown

by fig.

The

table-top is often covered

with

some textile

material

or with

leather,

to afford a

soft

surface for writing

-upon

444

FURNITURE.

Plate

252.

The

Writing-Table.

The

Writing-Table.

—

The Cabinet.

445

Special varieties

are foi'med by

the Double -writing

-table for office

use, the

Cylinder-desk, which can be

closed after

use by letting down

a cylindrical flap, the

Secretaire, in

which

the table-top

may

lifted

locked, the

Lady's-wi-iting-table,

&c.

Plate

252. The

Writing-table.

Mediaeval,

(scriptionale)

with

inkhorn, intended

to be

placed on

the

knee,

11th centui-y,

portal of the church,

Vezelay, (Viollet-

le-Duc).

Mediaeval, with double top,

for raising,

15th century,

Abbey of

Saint-Michel-en-Mer,

(Viollet-le-Duc).

Modern, with eight legs

and side

drawers,

(Max

Schulz).

Modern.

Modern, by

W. Hanau,

(Gewerbehalle).

Cabinets.

The

Cabinet.

(Plate

203.)

Cabinets

were

evidently

rare

phenomenon

in Antiquity. The

Egyptians

and the

Greeks were

probably not

acquainted with them

all; the

Romans seem to

have

possessed

simple Cabinets

with two

doors,

may

judge from

occasional

paintings; in any

case,

however,

they

were

of no

artistic

importance.

Chests, of

which

stall

speak

later on,

were no

doubt more

frequent, and took

the

place

cabinets.

was

the same

in the

early

Middle Ages,

which wo

certainly

find

Cabinets

churches

and

monasteries, but

seldom

private

houses.

Where

they do

occur,

they

show the

hand of the

carpenter

rather than

that

of the

skilled

cabinet-maker.

"The car-

dinal

feature of

Romanesque

furniture is

practicability;

that the slow

moving,

serious

spirit

of that

time

paid but

little

regard to

elegance

was

only

natural:

men had

their

virtues and

their vices,

but they

were free

from

affections

of the

nerves"

(Georg

Hirth). Cabinets be-

came

common

the Gothic

period; and

although

the

matched-

board

-work

and the

simple carving

generally

give

the products

this

time a

certain

rude

appearance;

still

the

architectural

disposition

the

members,

and

the

bands and

mounts,

are

effective.

Later

Gothic

led to

all

kinds of

extravagances,

one

which is

the

lavish use

geometrical

tracery,

called

"flamboyant" from

its

flame-like character.

The

revolutionary

process,

which marks the

transition

from

Gothic

Renascence,

finds

striking

expression

in the

group of

Cabinets. Georg

446

FURNITURE.

Plate

253.

The

Cabinet.

The

Cabinet.

447

Hirth,

whom

we quoted

above,

describes

the

revival of

decoration

in the transition period,

the

following

words:

"In

their

(wood

carvers', cabinet-makers',

and others')

hands the

prismatic

bead

was

transformed into the

living

vine,

the stone

leaf- work of

the

minster

was metamorphosed

into

lifelike flowers

and rich

sweeping

branches,

wrested with astounding

skill

from an

immense variety

materials.

contrast to the

lofty

and

imaginative but

severe

creations

of the

Gothic masons this

developement

art in the

sphere

ornament

seems to me like a

picturesque

revolution, like

the song

the

German lark in the rosy

dawn of a

new day of

humanity.

The

chimes of

spring

rang

from the

Lower Rhine

to our

snow

capped

giant peaks,

loud cry

for the All

-mother

Nature, for

freedom of

heart

and

imagination. And then

what

childlike naivete,

what devout,

blissful hopefulness in

these modest

menl In

truth,

the more

strive in vain to imitate them,

the more

we ought to

love

them, to

draw inspiration from their

works and to

bless their

memory."

Astounding and

of high

importance, are

the

achievements

of the

Renascence in Cabinets

and Shrines.

They are

of all

imaginable sizes,

from small Caskets to

large Cabinets occupying

whole

wall. They

are devoted to the most

different objects:

linen, clothes, books,

jewels,

&c.

A rich wealth of form is evolved;

architectural

systems of

columns

and pilasters

mark the

divisions

the

ever-

alternating doors, drawers,

and opens

spaces. Add to

this the

charming play

the

coloured

woods, grainings,

wood-mosaics,

and

intarsia-work, set-off by

the use

all kinds of mounts. The

place of the

prismatic and

bevelled

posts is taken

richly -profiled

and twisted

columns and

terminal-

figures;

instead

matchboard -work we

find

mortised frame -work,

and

panels decorated with figures and

ornaments.

The revolution

produced a happy and lasting effect. We

do well

when

build

further on

this

tradition, and construct our

modem Cabinets

on the

good models

of this epoch.

Unhappily

the

few examples of our

Plates can only

give a faint

idea of this

group.

Plate 253.

The Cabinet.

1. Late Gothic, end

the

th century, oak,

with tinned iron mounts,

Germanisches Museum, Nuremberg,

(Kunsthandwerk).

Renascence, variegated woods.

South German 16

th century

(Formenschatz).

3. Renascence, side-view, German, (Formenschatz).

Modem, by Prof. Schick,

Carlsruhe.

'5.

Modem,

black

wood

with

copper intarsia,

Balcke,

Modem, in

two

woods.

448

FURNITURE.

¥^

The

Sideboard

—

Tho Hanging-Cabinet.

449

The

Sideboard.

(Plate

254.)

Sideboards

are a

separate division.

They are

intended for the

reception

of articles

used in the

service of

the table. Vases and

ornaments

may also be

placed upon them; and in many

cases

they

are

themselves decorative objects.

the Middle Ages

they are

com-

paratively

plain, and of invariable form; the ground -plan

being

oblong

semi-octagon;

they stand on legs, and have

an open

space beneath,

over which

are the

cupboards,

with a flat

top,

(figs.

and

8).

During the Renascence, this traditional plan gave

way

richer

and

complicated constructions; the lower recess was

fre-

quently

retained;

instead of it

or along with

it,

further recesses

were added

at the middle

height

still higher; the

top

is con-

structed

independent member, often of smaller

dimensions and

recessed;

and

terraces of shelves

with balaustered galleries for

glasses

and

plates,

form the conclusion of the

whole.

Here,

too,

our Modern times follow the old

models.

Special

requirements

have given

birth

special forms, such

as the Buffets

hotels,

and waiting-rooms,

which frequently form an

integral part

the wainscot

architecture of the

wall.

Plate

254. The Sideboard.

1. Eenascence, German,

with

reminiscences of

Gothic,

Bavarian Na-

tional Museum, Munich.

Renascence,

side-view, St. Lo,

Normandy,

1580,

South Ken-

sington Museum,

(Musterornameute).

—

Modern, front and side-view,

designed in

the School of In-

dustrial

Art, Carlsruhe.

—

6. Ditto.

Modern,

Ph.

Niederhofer, Frankfort.

Mediaeval, (Viollet-le-Duc).

The

Hanging-Cabinet. (Plate 255.)

Hanging-

cabinets also form

a special

subdivision.

They

differ

from other Cabinets in being

more modest

dimensions,

being,

for practical purposes,

of less

depth, and, as

they are

intended for

suspension,

terminating in a

consule instead

of in legs

and base.

For the rest, what

has

already been said of

Cabinets

in general,

will

hold

good of Hanging

-cabinets also.

These are

adapted

hoM books, tobacco,'

&c.,

medicine,

keys,

correspondence, &c.

iieyer. Handbook

Omanient.

^"^

450

FURNITURE.

Plate

255.

The

Hanging-Cabinet.