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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RNITURE proportions. An old chronicle describes one used, half a centurybefore the period of the over-leaf example, at the wedding ofPhilip the Good of Burgundy to Isabella of Portugal. It is statedto have been Twenty feet long, on a platform two feet high, andwell enclosed by barriers three feet high, on one side of which wasa little gate for entrance and exit. . . . The three upper tiers werecovered and loaded with vessels of fine gold, and the two lowerones with many great vessels of silver gilt. Dressoirs throughout both the fourteenth and fifteenth centuriesproclaim their origin, by frankly presenting the appearance of chestsraised on legs. The contemporary tapestry is also from that fascinating treasurehouse of French mediaeval and Renaissance art — the Hotel Cluny.Would that London possessed some noble mansion, forming assympathetic architectural environment for our Tudor forefathersfurniture and household gods as is afforded by both the Cluny andCarnavalet Museimis of Paris.
Text Appearing After Image:
DECORATIVE FURNITURE IN BRITAIN PRIOR TO 1475 37 OUR COLOUR - LOVING ANCESTORS Judging from contemporary writings, and from the colour usuallyshown upon the furniture in manuscript drawings of the fourteenthand fifteenth centuries, the English were so passionately attached tocolour, and cared so little for the naturalwood, as to give ground for the state-ment, that they painted everything theycould afford, and whitewashed the rest.Indeed, one of the main objections of thecitizens of London to the introduction ofcoal was that its smoke impau*ed thewhiteness of their houses. Traces stillexist upon some few old examples, suchas the Faversham Coffer (Plate II.), show-ing that the work was usually painted, andthat gilding was also resorted to at times,as in the case of the Coronation Chair. Until nearly the close of the Gothic period the woodwork branchesof the applied arts were so subject to ecclesiasticism that it is littleexaggeration to regard them as by the Church, of the Church, andf

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