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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che in the centre ofthe base, informs us that this masterpiece of inlaid woodworkwas made at Massevaux by Jean Conrad Tornier; Arquebusmounter in 1630. It is therefore of French origin in a strictlygeographical sense ;—the little town of Massevaux being close toBelfort, Haut Rhin, on the German border. Its details are, however,typical of the delicate German ornamentation in ivory such as maybe seen upon arquebus stocks of the period, in the same collection.In the early days of firearms, ere sternly militant utilitarianismgoverned their construction, the arquebus mounter was an art-craftsman deservedly held in high esteem. Each panel is decorated upon a structure of scrolls, with some-what formally - arranged groups of fruit, flowers, birds, dolphinsand cornucopicR. The inlays are of engraved and stained greenstags horns and mother-o-pearL The corners of the panel framingare further enriched with brass scrollwork. The marqueterie uponthe panelled top is of equally delicate detail 309
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THE LOUIS XrV. PERIOD 311 BERNINI The Percy Anecdotes relate an instance of the favour whichLouis xrv., autocrat and despot though he was, showed towards thoseeminent in the arts. When Louis xiv. invited Bernini to Francehe was received with public honours, the Papal Nuncio meeting himto conduct him to a royal palace ; during his stay of eight monthshe received eight louis dor per day, and at his departure a presentof fifty thousand crowns. Yet though expressly sent for to assist inbuilding the Louvre, when Louis showed him Perraults design hehad the liberality to remark that France needed no foreign aid whenshe possessed so much genius in herself COLBERT Colbert selected the architects, designers, and other artists forthe furniture at Fontainebleau, the Tuileries, and the Louvre. Heappears to have made it a canon in his political economy to encouragethe artists thesis that everything in common use could and shouldbe made beautiful. It was also part of his policy to protect the arts,t

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