File:The book of decorative furniture, its form, colour and history (1910) (14584380148).jpg

Identifier: bookofdecorative01fole (find matches)
Title: The book of decorative furniture, its form, colour and history
Year: 1910 (1910s)
Authors: Foley, Edwin
Subjects: Furniture Decoration and ornament
Publisher: London : T.C. and E.C. Jack
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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egancies, especially Indian, that in thehall are contrivances of Japan screens instead of wainscot. . . . Thelandscapes of the screens represent the manner of living and countryof the Chinese. Though English and continental lacquer did not attain either thesmoothness or the brilliancy of the Oriental, European pieces suchas Lady Wolseleys double chest are interesting both on account oftheir quaint Western interpretation of the Eastern arts, and becausethey afford scope for conjecture, whether Holland or England wastheir land of birth. The first manufacture of lacquered work in England was towardsthe end of the seventeenth century. Until about 1760 the designs for lacquer work upon Europeandecorative furniture were Eastern in character, consisting chiefly ofpagodas. Oriental figures, bu-ds and fishes, trees, flowers, and fruitarranged in imitation of Oriental concepts, but little likely to deceivethose possessed of even the most elementary acquaintance with theapplied arts of the East.
Text Appearing After Image:
MODES OF ORNAMENT 401 To Milan is usually attributed the inception of the ivory and ebonyfurniture in which Flanders and Italy were pre-eminent, and of theseventeenth century walnut pieces. The latter were inlaid with theminute geometrical patterns of bone and ivory, known as CERTOSINA, from its first European workers being Carthusian monks. They,probably, were indebted to the more ancient Eastern pique for theirmethod. The old chessboards — those marvels of minute patiencewhereon thousands of almost microscopic cubes are patiently piecedtogether — are among the most remarkable specimens of this type ofwork. In Tonbridge ware the English derivative of c&rtosina axidi piqueinlaying, the ornament is obtained by sawing ofi thin lamince fromsticks formed of glued-together rods, disposed in a pattern, usually ofgeometrical character. Damascening derives its name from Damascus, and concerns itselfwith the producing of ornaments upon metal surfaces, either by etchingor by filling up

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