FURNITURE OF THE EIGHTEENTH AND NINETEENTH CENTURIES
Lacquer—Oriental Methods—European Importations and Limitations—Prices—
An Ambassador’s Report—_Singerie_, _Chinoiserie_ and _Rocaille_—
The Dutch Decadence—Interiors of Cornelis Troost—Mirrors—Wealth
and Luxury of Dutch Merchants—Court Contrast—Tapestry—Brussels as
a Centre of Art and Luxury—Eighteenth Century Furniture—The Empire
Style in the Low Countries—Dutch Homes of the Nineteenth Century—
The Maarken House and Furniture—Typical Farmhouse and Furniture—
Country Seats and Town Houses—Hindeloopen Houses and Furniture—A
Friesland House—Canal Boat Furniture—Dutch Love of Symmetry—
Collectors and Collections.
So far little attention has been paid in these pages to lacquer, though
important articles of household furniture that owed their beauty and
value to this species of ornamentation have appeared in inventories and
diaries under the designation of “vernish,” “japan” or “japanned.”
Sometimes this work was referred to as “black” merely, as in the case of
John Hervey’s “dear wife’s” boudoir.
The Oriental method of lacquering requires a vast amount of patience and
skill. After the wood has been smoothly planed, it is covered with a
thin sheet of paper or silk gauze. Over this is spread a thick coating
of buffalo’s gall and powdered red sandstone. When dry, this is rubbed
with wax and polished, or washed over with gum and chalk. The varnish is
laid on with a flat brush. The article is now thoroughly dried, and
again moistened and polished with a piece of soft slate, or the stalks
of a special grass. The workman then repeats the process, giving it a
second coating of lacquer, and again dries and polishes it. Sometimes as
many as eighteen or twenty coatings are applied, but never less than
three.
The lacquer used by the Chinese and Japanese is derived from the juice
of the “varnish tree.” This juice, a natural secretion, is acrid, and
soon hardens into a black resin. To obtain it, pieces of bamboo are
inserted into the bark and allowed to remain all night, for the juice
flows more freely at night than during the day. This is boiled with
equal parts of oil obtained from the fruit of the _mimusops elengi_. The
chief trees that yield this gum are the black varnish tree
(_melanorrhoea usitata_) and the Japan varnish tree (_rhus
vernicifera_).
There are grades in lacquer. Lacquer on a gold ground is the most highly
prized; and the first examples of this kind that reached Europe were
gifts to Dutch officials from Japanese princes. This sort of lacquer is
seldom found on furniture, with the exception of delicate little boxes
and occasionally plaques that were inserted into furniture.
Lacquered wares were brought into Holland, England and France in large
quantities all through the seventeenth century, as the bills of lading
(see page 292) show. We have seen that the European merchants sent out
designs for forms and decorations of Oriental porcelain; and they did
the same for carved ebony, teak and ivory, and especially lacquer. Many
of the screens, clocks, bedsteads, cabinets, panels, tables, etc., of
the period show unmistakable signs of Oriental attempts to supply
European demands. In textiles also, especially in screen-fillings, and
other textiles used in upholstery for couches, chairs and hangings, we
frequently find views of Dutch towns and social life, indoors and
outdoors.
The framework of large pieces of furniture was sometimes both carved on
the edges, and the flat surfaces were lacquered. Sometimes the frames of
screens were of carved rosewood (home-made), and the apertures were
filled with genuine Eastern textiles. Tables of inlaid ivory and
mother-of-pearl were also in general vogue.
Lacquered furniture was highly prized and very costly during the days of
William of Orange, our “Dutch William.” “A grand Japan cabinet”
(probably a wardrobe) in the bedroom of a Countess in 1675 was valued at
£200 in present money. In 1698 an “Indian trunk” is listed at £35 in
money of that date. In valuations that might be perhaps multiplied
fivefold to-day in actual cash, apart from appreciation in art or
sentimental value, we find also: a pair of India cut Japan screens, £60;
a black bureau, £6; a Japan scrutoire, £60; a Japan cabinet, £35; and
India-cut Japan frame and glasses, £10 10_s._
We have seen from the complaint of the japanners in England that strong
attempts had been made to imitate the home demands; and considerable
success had rewarded the efforts of the artists and cabinetmakers. The
trouble was that they could not obtain the proper lacquer or “vernish”
in England, France or Holland for many years. The Dutch, holding such a
dominant position in the East Indies, practically throughout the
seventeenth century, naturally had the best chance to discover the
secret of the constitution and manufacture of the far-famed varnish.
They tried to reproduce the Oriental product of lacquer just as
persistently as they did the porcelain with delft. Good as their
imitations were, however, they could not produce a lacquer that could
compete with the Japanese any more than the English could. They used
native varnishes, therefore, and produced beautiful work which, alas!
was not destined to last. The surface soon cracked, scaled off and left
the framework decrepit and friendless,—relegated to the attic, kitchen
or wood pile.
As Dutch enterprise led the way in imitations of Oriental wares, of
porcelain in delft, so also imitations of lacquer first found fame in
the Netherlands. A Dutchman named Huygens was famous for his japanned
work early in the eighteenth century. He was called to France, and was
probably largely instrumental in the invention or perfection of the
celebrated _Vernis Martin_. This was a species of lacquer that
beautifies many sumptuous examples of Louis Quinze furniture, and is
highly prized by collectors.
The character of lacquered and other Oriental wares obtainable early in
the eighteenth century may be gathered from the report of an ambassador
to Pekin in 1721. Among other things he says:
[Illustration:
PLATE LIV.—_Interior, by Cornelis Troost._
RIJKS MUSEUM, AMSTERDAM.
]
“The most valuable furniture of lackered ware, viz., cabinets, chairs,
tables, baskets, and other things of that sort, as also the richest
porcelain ware, come from Japan. For when the Emperor sends any person
to Japan in a public character, most of the princes and great men of the
court seldom fail to engage him to bring them some of those things at
his return....
“After the lackered ware of Japan, that of the province of Fokien, is
looked upon as the best; but none of it comes to Pekin because the great
lords of China oppress the merchants to a great degree and take their
goods from them upon many frivolous pretences, without leaving them the
least hopes of ever obtaining any payment.
“They have at Pekin a people dexterous enough at lackering, but their
works fall short of those of Japan and Fokien, which may be attributed
to the difference of climate; and it is for this reason that the
lackered work made at Pekin is always much cheaper than the other.
Nevertheless, the lackered work made at Pekin infinitely exceeds any
work of that kind made in Europe.... The European merchants carry away
from Canton raw silk; damasks wrought according to draughts furnished to
them; wrought silks; lackered ware; tea, green and bohea; badians, a
seed having a taste like aniseed; canes and china-ware, made according
to models given them.
“For the rest they carry to China from Europe, and bring back from
China, a very great variety of toys and different sorts of curiosities,
upon which they make a very considerable profit; but these are so
numerous that it is not possible to furnish a complete specification of
them.”
During the eighteenth century Dutch and Belgian furniture, in common
with English and German, humbly submitted to the dictates of the great
French designers. The _Singerie_, _Chinoiserie_ and _Rocaille_ work of
Watteau, Boucher, Meissonnier, Oppenord, Cressent, Huet, Gillot and
others were welcomed and adapted to local tastes in the Low Countries.
Many of the most beautiful cabinets and china-closets of the _Régence_
and _Louis Quinze_ period that are preserved in Continental museums owe
their origin to the skilled workmen of Belgium, especially of the School
of Lille. Many fine specimens of the decorative work of this period may
be seen in the Lille Museum. A typical example from Liège appears in
Fig. 46. This shows the use as an ornamental feature of the broken
curve, the auricle, a more sober descendant of the _style auriculaire_.
The use of this ornament encountered rabid opposition in Regency days in
France, England and the Low Countries, but it forced its way into favour
shoulder to shoulder with the _Chinoiserie_, _Singerie_ and _Rocaille_
ornamentation. This double-bodied cabinet is made for the preservation
and display of delft and porcelain. Ledges at the top are also provided
for urns and jars as decorative accessories.
It may be interesting to see what a typical china-cabinet contained at
the beginning of the eighteenth century. In 1700, we note one of carved
walnut with four doors. In the lower compartment there were twenty vases
of red India ware, a porcelain vinaigrette, a cup of enamelled glass, a
little horn cup and a multitude of miscellaneous curios. Another cabinet
having two lower doors, a middle drawer and one glass door above,
contained fine delft vases, two cups and saucers, a big faïence jug and
two little ones, six big rare sea-shells and other Oriental curios.
[Illustration:
Fig. 46.—_Cabinet from Liège._ Fig. 47.—_Dutch Mirror Frame._
]
Dutch art was now in its decadence; it had lost its pre-eminence. The
French artists set the fashion. The painter who is commonly held
responsible for the decadence is Gérard de Lairesse (Liège, 1641–1711).
He shows all the technique of the old school, and arranges his
compositions in accordance with the laws of Italian taste, but he is
decidedly artificial. His contemporaries and successors are feeble
imitators of the Great and Little masters, and those who have the
greatest reputations are miniaturists and still-life painters.
For Dutch interiors we now have to go to the pastels of Cornelis Troost
(Amsterdam, 1697–1750), whose compositions gained for him the name of
the “Dutch Hogarth.” Two reproductions of interiors by this artist are
shown in Plates LIV and LV. The chairs, tables, sideboards,
candlestands, chandeliers, buffets and chimney-pieces in these pictures
in nowise differ from those used in England during the early Georgian
era.
Dutch taste ran to heaviness and over-loading in ornamentation. During
the _Louis Quinze_ period, Schubler was more in favour in wealthy Dutch
houses, as he was in Germany, than were the French designers of a
lighter touch.
A handsome example of Dutch carving of the early eighteenth century is
shown in the mirror frame in Fig. 47. This is of carved and gilded wood,
representing scrolls, leaves, flowers, a mascaron and a female figure
issuing from one of the scrolls. “This kind of mirror, made to be hung
upon the woodwork or tapestries of the rooms, is often of a rather heavy
and inelegant execution,” writes a critic, who referring to this special
example continues, “but in this specimen where the outlines are so
accentuated the effect is quite happy. The hooks intended for the metal
sconces in the lower part of the frame should be noticed.”
Holland was profiting so much by her mercantile ventures and, perhaps,
unscrupulous trade dealings as to arouse bitter envy, jealousy and
animosity. The famous despatch of Canning:
“In matters of business the fault of the Dutch
Lies in giving too little and asking too much,”
would have been investigated a century earlier by both English and
French merchants if they could have forced their Governments’ hands.
Thus in _The Trade and Navigation of Great Britain Considered_ the
following occurs:
“Trade with Holland: the balance paid us is thrice as much as we receive
from either Portugal or Spain. But when we consider the great number of
smuggling ships that are employed between this country and Holland, and
the supply we have from them of pepper and all other sorts of India
spice, with callicoes, muslins, India silks and romals, and other
manufactures of India, coffee, tea, China-ware, and very great
quantities of Hollands and fine lace, etc., it is apt to furnish the
thinking part of mankind with other notions.”
[Illustration:
PLATE LV.—_Interior, by Cornelis Troost._
RIJKS MUSEUM, AMSTERDAM.
]
The Dutch merchants were able to indulge all their artistic and
luxurious tastes in furnishing their houses. Some of them were wildly
lavish and ostentatious in interior decoration and furniture years
before the frenzied finance of the Mississippi Scheme and South Sea
Bubble, when valets became millionaires while they slept and senselessly
squandered their gains in a month. As early as 1709, in Shaw’s _Travels
Through Holland_, we read: “Glorious monuments of the excessive wealth
acquired in trade are to be seen at Mr. Tripp’s and Pinto, the rich
Jew’s houses; in this last is a room pav’d with ducatoons, or
crown-pieces, and these laid edgewise. But, indeed, the whole new Heer
Graff is fronted with houses like the palaces of princes, where
glittering guildings, exquisite paintings, rich china, screens, gold,
pearls, diamonds enchant you, and rival the apartments of monarchs in
haughty magnificence.”
It is no exaggeration to say that the establishments of opulent
merchants of the Low Countries at this period could match and sometimes
even outshine those of princely courts. Life was very dull in Belgium at
the court of the Austrian princess who ruled the Netherlands when George
II came to the throne. Marie Elizabeth was forty-five when her brother
gave her the rule of the Low Countries in 1725. She was very pious, and
eschewed all gaiety. The only description of a festival given during her
reign is that of the _Fête de l’oiseau_ given in Brussels, October 10,
1729, on the occasion of the birth of Monseigneur le Dauphin (born
September 4, 1729), and was written by the minister from France,
Chaillon de Joinville, who arranged it, to the Marquis de Chauvelin.
After the ball they went to supper at half-past ten, and we learn that
“In the ‘_grande gallerie_’ there was a long table of ninety covers with
two large buffets at the two ends, and in the balcony of the
‘_gallerie_’ there were four trumpeters and a drummer, who played all
through supper; and there were eighteen instrumental players for the
ball.”
The Flemish tapestries of the eighteenth century are of slight
importance, for the great workshops of the Low Countries have now fallen
into evil days. At the beginning of this century, Brussels has only
eight manufacturers, fifty-three looms and about a hundred and fifty
workmen, and by 1768 only one manufacturer is left—Jacques van der
Borcht. The last loom perishes at his death in 1794. The Oudenarde looms
are stilled for ever in 1772, and those of Ghent about the same time.
Flemish workmen are, however, still employed at Beauvais, of which Oudry
becomes director in 1726; and their services are valued throughout
Europe. Adrian Neusse of Oudenarde, a former workman at Beauvais,
establishes a workshop at Gisors in 1703, and Jean Baert and his son one
at Cambrai in 1724. Until 1738, when Boucher takes charge of them,
Lille’s workshops are directed by Wernier of Brussels. When the first
high-warp loom was established at Madrid in 1720, the first director was
Jacques van der Goten, a tapestry-weaver of Antwerp, who aided in
founding that of Seville in the same year; and the tapestry manufactory,
founded by Peter the Great in St. Petersburg, employed workmen from
Brussels in 1777–8.
During the eighteenth century, tapestry is put to a new use, which makes
it especially important in connexion with the study of furniture. In the
Middle Ages, we found it was a custom for the rich to throw over their
carved chairs and benches, sumptuous pieces of tapestry and other
handsome textiles; in this age we now find the weavers making covers for
the backs and seats of chairs, sofas and screens, the patterns or
pictures for which are specially designed. Throughout Europe, the
drawing-rooms are furnished with these beautiful sets of tapestry
furniture, always consisting of two sofas, armchairs and chairs. This
new fashion practically made the fortune of the Beauvais manufactory.
The most delicate pictures, artistically framed, were woven: landscapes,
scenes from _Æsop’s Fables_, pastorals, emblems, mythological stories,
baskets of fruit, baskets of flowers, garlands of flowers, bird cages,
shepherds and shepherdesses, monkeys, swings, children playing, animals,
birds, etc., etc.
The majestic style of Le Brun gives place to the airy charm of Watteau,
Boucher and Van Loo. _The Hunts of Louis XV_, _The Adventures of Don
Quixote_, _The Gardens of Armida_, _Aurora and Cephalus_, _Venus on the
Waters_, _Venus at the Forge of Vulcan_, _Cupid and Psyche_, _Children
Playing_, _The Swing_, _Genii of the Arts_, _Endymion_, _Rustic
Festivals_, _Fortune Tellers_, _Fishing_, _Rural Amusements_, scenes
from Molière’s comedies, Indian hangings, Chinese hangings and scenes in
which monkeys appear in grotesque attitudes and costumes, supplant
heroic triumphs and religious pictures as subjects for wall decorations.
Some of the last historical pieces that were made in Brussels were _The
Campaigns of the Duke of Marlborough_, _The History of the Duchy of
Brabant_ and _Victories of Prince Eugene_.
The Flemings of the early eighteenth century still maintained their
ancient eminence in Decorative Art. Their weavers were still sought
after, and their craftsmen produced many pieces of carved furniture of
the _Régence_ and _Louis Quinze_ periods that are still preserved and
admired. The schools of Liège, Brussels and Lille (the latter just
across the border in France, being practically still in Belgium, as
originally it was) were famous for the high excellence of workmanship
produced. Jacques Verberckt, who was born in Antwerp and died in Paris
in 1771, was accepted at the Academy of Painting and Sculpture, and
executed or planned the greatest number of decorative sculpture made
during the reign of Louis XV at Versailles. He was also employed by the
Marquise de Pompadour to decorate her _château_ of Bellevue. Verberckt
worked with a delicate touch in marble, wood, or metal.
Brussels was an important centre of industry and art throughout the
century. Its citizens included many men of wealth who took interest in
art, science and literature.
In his _Journey in the Year 1793 through Flanders, Brabant and Germany_,
the Rev. C. Este says: “The town is tolerably well built as to the walls
of the houses; but their windows and doors are after the manner of the
French. The lower windows are also deformed with iron bars, offensive
even beyond the eye, as implying something wrong in the place, either
from real danger, or from false fear.
“The buildings at Bruxelles compare in one point advantageously with
Paris. For the houses having fewer floors, but three or four, generally
have but one family under one roof.... The places for a traveller to
see, if he has time, are the Archduke’s Château de Schoemburg (in the
village of Lack), and the villa of M. Walkiers the banker. They are not
half an hour’s drive from Bruxelles and close to one another; besides
the way is through the _Allée Verte_, those beautiful vistas of elms and
limes, where the canal goes to join the Scheldt....
“The Archduke’s _château_ is a modern building, Ionic without,
Corinthian within, with two fronts of 260 feet, the depth 150, with a
central portico at the entrance and a bow in the centre behind. The
effect of the building at a distance is gay and imposing enough; when
close to it the effect is maimed by bad figures at the top of the
building, and the pediment of the portico being filled by a clock, which
seems fit only where the character of the building is appropriate, as at
Inigo’s church at Covent Garden, to simplicity and use. The gate of
approach, loaded with bad ornaments, cupids and what not, is at once
lofty and trifling, elaborate and dull.
“In the internal distribution the best rooms are forty feet square—a
dining-room 52 by 40—a chapel 27 by 22—and the state room a circle 54
feet in diameter; the dome is the ceiling of the room, and midway
between the bottom and the top there is a small gallery on twelve
Corinthian pillars. The floors in the other rooms are inlaid mixture,
angular shapes of oak, mahogany and petrified cedar. In the circular
room the floor is shewy, formed of various marbles. There are five
windows, which should have five looking-glasses opposite—there are but
two, with three glass doors, but not looking-glass. The looking-glasses
are the manufacture of Venice. And these, eight feet by six, are among
the largest ever blown there. For that is the Venetian process; not by
the mould as in France and England.
“There are few objects of art. The only pictures are four large ones by
De Lance of Antwerp. They are mythological subjects; of course, the
worst in the world. Le Roi of Namur supplied the five feet full length
of the Virgin in the chapel. It is not bad statuary, for it has, which
is very rare, thought and emotion.
“The architect was Montoyer. He built also the Vauxhall in the park at
Bruxelles. The house was begun in 1782—it was finished in 1788. A small
temple and the pagoda, the only buildings in the garden, are also by
him.’ The pagoda has eleven floors. And there, as in Kew, it may be
considered as a well-placed trifle....
“The grounds the Archbishop keeps in his hands are between two and three
hundred acres. There is an artificial water, fifty _toises_ across and a
quarter of a league long—the lawn sloping down to it from the house,
with the uplands on the other side, and the fine woody hill form the
prettiest scene.
“The adjoining villa of M. Walkiers, the banker, is another more pretty
building by Montoyer, amidst the same little fertile scenery. The
architecture is Ionic. With a _loggio_ throughout the middle floor of
one front, like an Italian villa, the ground plan of the house is about
150 feet by 50. There is a small grass plot before and behind with side
walks, through very small trees, in half a dozen strait alleys: not one
of the trees are worth five shillings. There is no gravel for the feet,
no water for the eye, and the inclosure is a flimsy two-feet hedge which
a child may either pass through or step over.”
[Illustration:
PLATE LVI.—_Room in the Stedelijk Museum._
]
The new style of ornamentation of the _Régence_ and _Louis Quinze_
periods, with its broken curves, auricles, rococo and _rocaille_ work,
was carried to greater extremes in Germany and Holland than in France.
The school of Borromini, Oppenord and Meissonier carried everything
before it, in spite of great opposition on the part of those who clung
stubbornly to the traditions of Renaissance art. Carved panelling
adorned the walls of rooms, and ceilings, picture and mirror frames,
chairs, beds, tables, etc., all submitted to the new designs for
chisel-work. A room with furniture of the early eighteenth century is
illustrated in Plate LVI. This is in the Stedelijk Museum in Amsterdam,
and the woodwork and painted ceiling come from an old Dutch _château_.
The chairs, with their carved frames and stretchers, were in vogue in
the last years of Louis XIV and under the Regency. The cabinet with its
graded top for the accommodation of porcelain vases is characteristic of
the period. The frames of the mirror and picture and the mantelpiece are
also fine examples of Decorative Art of the days immediately after
British soldiers used such bad language in the Low Countries. In passing
it may be noticed that Marlborough’s campaigns in the Netherlands had
considerable influence on English taste of the day and forming the
“Queen Anne” style, by familiarizing British officers with the
Decorative Arts of the United Provinces. The Peace of Utrecht (1713)
left the Netherlands free to pursue the arts of peace, which they did,
so far as internal decoration is concerned, in the wake of the foe they
had so bitterly combated. We may note here that the richly carved table
on which the Peace of Utrecht is said to have been signed is preserved
in the Antiquarian Museum of Utrecht.
The course of Dutch and Flemish furniture during the rest of the
eighteenth century tamely follows the channels of French design.
At the beginning of the nineteenth century, the Empire style was in
vogue in Holland, as it was throughout Europe. When the Town Hall on the
Dam in Amsterdam was presented by the city to the King of Holland, Louis
Napoleon, in 1808, the Royal apartments were fitted up in the Empire
style, and these hangings and furniture may be seen to-day. A great deal
of Empire furniture is scattered through the museums of Belgium and
Holland, as well as in the castles and mansions of the nobles and
merchants who followed the fashions. A trace of the Empire style is
found in the following description of the palace of Laeken, the
residence of the royal family, near Brussels, by Robert Hill (_Sketches
in Flanders and Holland_, 1816):
“The apartments had very little of royal magnificence about them: there
were no pictures. A few pieces of indifferent tapestry, pier glasses
economically put up in three pieces each, and tables, chairs, etc.,
which might only be called handsome, made up all that I recollect of
their furniture. This palace has undergone strange vicissitudes. It was
built for an Austrian archduchess; in one of the rooms a sky blue
canopied bed was shown, which had belonged to the late Empress
Josephine, had next been occupied by Maria Louisa, and, shortly before
my visit, had been slept in by the Queen of the Netherlands.”
Mr. Hill was not greatly impressed with the Dutch house of the middle
class. He says:
“I saw few things about their furniture and household arrangements worth
noticing. The lower parts of their houses were commonly lined with
glazed Dutch tiles, and stoves made of the same kind of clay were as
commonly used to warm their apartments....
“There are two singularities about the houses of the Dutch which must
not be forgotten. The first is that every country seat from the
merchant’s domain to the little peddling tradesman’s smoking-box, though
surrounded perhaps by nothing but marshes, damps and duckweed, is almost
sure to bear on its front or over its entrance the words _Land Lust_
(Country Delight), or _Land Zight_ (Country Prospect), _Belle Vue_, or
some other title expressive of the beauties of the situation, or the
comforts and ornaments which are to be found within. The other is that
the windows of these _Land Lusts_ and _Zights_, as well as those of
houses in the midst of towns, are generally furnished with little
looking-glasses, which, projecting from their sides, command every
passing object. These are by no means to be considered as ornamental,
but they are so placed (sometimes two or three on each side) that they
indulge the curiosity of their owners without putting them to the
expense of showing themselves in return.”
He also notes the peculiar custom of breakfasting and dining in
bedrooms. “At the country box of one of the most respectable tradesmen
in Holland,” he writes, “I dined with his family in the principal room,
which had beds concealed behind parts of its wainscoting.” This was in
Rotterdam. He says: “At the end of this garden stood a pretty little
summer residence, among whose lower apartments was a kitchen with
furniture that displayed all the brightness and neatness for which the
culinary arrangements of the Dutch have been celebrated, and above which
was a large bay windowed room in which we dined. A natural inquiry
respecting bed-chambers was here answered by opening parts of the
wainscot, behind which were concealed canopies of the master, mistress
and their children.”
The homes of Holland changed little during the century, and the
cottages, farmhouses and homes of the peasants may be said to have
changed not at all. Take, for instance, the fishing village of Maarken,
in the Zuyder Zee, of which Esquiros writes:
[Illustration:
PLATE LVII.—_In Bruitlaen, by Artz._
]
“Most frequently the same room serves at once as bedroom, kitchen and
storehouse for the fishing utensils. Some houses, however, have a second
and separate room, called here the saloon, in which furniture and
clothes are kept, but that is almost aristocratic luxury. The rooms
which are flush with the ground have no ceiling, and communicate with
the garret, over which the tile or thatch roof rises at right angles.
The houses are equally deficient in chimneys as a rule, but before the
principal window there is a large flat stone surrounded by a row of
bricks. A piece of iron is fastened at the back of this stone, against
which the fire is kindled. An opening in the roof allows exit to the
smoke, which, before emerging, spreads through the loft, where the nets
are dried. Only thirty houses are remarkable for possessing chimneys.
Several times a year the interior is cleaned and whitewashed. A table
surrounded by very low chairs, an old _escritoire_ loaded with pretty
china, an eight-day clock, milk tubs whose copper rings shine like gold,
produce in the houses of the island an alliance of facts rarely found
among other races, namely, of cleanliness with poverty. This taste for
china, old glass, curtains and flowered counterpanes is a delicate
feature in the Batavian character. Art sits down by the side of Misery
at the fireside, which it enlivens with a consolatory beam.”
Plate LVII, entitled _In Bruitlaen_, by Artz, in the Rijks Museum, shows
the modern artist’s conception of a peasant room and furniture. First we
notice a large _kas_ or _armoire_, with heavy ball feet and pieces of
china arranged on the top. More china adorns the chimney-shelf, and the
chimney-piece with its valance is characteristic. The heavy carved
beams, the windows with small leaded panes decorated with coats-of-arms,
the tiled floor spread with a carpet, give an air of comfort to the
room. The chairs are of the four-backed variety, the table is square,
the stool has turned legs and stretchers, and there is a Bible on a
stand and a Friesland clock on the wall.
The old farmhouse of which the modern traveller sees so many examples,
with its red-tiled or thatched roof visible beneath its sentinel
poplars, usually consists of a large living-room, a kitchen, a
cheese-room, a dairy, two small bedrooms in the garret, a big cow-stable
at the back, and an outside kitchen called the “baking-house.”
A native writer says:
“The ‘baking-house’ is often used as a living-room in summer, which is
more cheerful than the solemn apartment into which the visitor is
invariably ushered. A wide chimney lined with tiles stretches nearly
across one side of this room; but the open fire on the hearth has long
ago disappeared and given place to an ugly stove. Quaint brass
fire-irons hang behind it, and on either side is an armchair, differing
from its humbler brethren only in the possession of wooden arms. If
there is a baby in the family, it is likely to be reposing in a cradle
with green baize curtains as near as possible to the fireplace, in
defiance of all laws of health. Two or three large cupboards, sometimes
handsomely carved, always kept well polished, stand against the
whitewashed walls. One of them generally has glass doors in the upper
part; and on its shelves the family china—often of great value—is
exposed to view. Unfortunately, these heirlooms in old families have
been largely bought up by enterprising Jews. Sometimes, however,
sentiment has proved stronger than the love of money, and the farmer has
not parted with his family possessions. In a corner of the room a chintz
curtain, or sometimes a double door, shows where the big press-bed is—an
institution of pre-hygienic times which, to the peasant mind, has no
inconveniences whatever. In the middle of the room a table stands on a
carpet; and, as people take off their shoes at the door and go about in
their thick woollen stockings, neither it nor the painted floor ever
shows signs of mud. Another table stands near one of the windows, of
which there are two or three. The linen blinds so closely meet the
spotless muslin curtains, which are drawn stiffly across the lower panes
on two horizontal sticks, that a stray sunbeam can hardly make its way
into the room, even if it has been able to struggle through the thick
branches of the clipt lime-trees that adorn the front of the house. On
one of the tables a tray stands, with a hospitable array of cups and
saucers, teapot, etc., and is protected from the dust by a crochet or
muslin cover. The huge family Bible, with its huge brass clasps, has an
honourable place, often on a stand by itself. Rough woodcuts or cheap
prints, and a group of family photographs, which do not flatter the
originals, are hung on the walls. The framed and glazed sampler, worked
in wools by the farmer’s wife in her young days, usually makes a _dessus
de porte_. The alphabet is the principal part of this extraordinary work
of art; but it bears various other figures, which, on patient
investigation, appears to have some resemblance to certain birds and
flowers.”
The country home of wealth is usually built of small, hard,
reddish-brown bricks resembling those used in the Elizabethan houses in
England. The front entrance is often embellished with a handsome
pediment and a stone _loggia_ and steps. Flower beds, canals and woods
surround the house, which has a dignified and attractive air. It is no
less so within, for many Dutch houses, both in the country and city, are
beautifully finished. The woodwork, whether of oak or mahogany, is often
exquisitely carved and highly polished, and consists of broad staircases
with ornate banisters, doors, panelled walls, mantelpieces and mirror
frames. Many of the doors and windows are decorated with carvings of
garlands of fruits, flowers and other devices, according to the period
in which the house was built. In some of the old houses the walls are
still hung with the old gilt leather of the sixteenth and seventeenth
centuries.
Suburban houses as well as country seats bear fanciful names; and on the
outskirts of The Hague, Rotterdam, Amsterdam and other large cities you
may read _Lust en Rust_ (Pleasure and Repose), _Buiten Zorg_ (Without
Care), _Myn Rust_ (My Repose), _Mon Bijou_ (My Jewel), _Rosen Lust_
(Rose Pleasure), _Honigbij_ (Honey Bee), _Mijn Lust en Leven_ (My
Pleasure and Life), _Vriendschap en Gezelschap_ (Friendship and
Sociability), and other such names. These retreats are often covered
with creepers, and are situated in the centre of a lawn made gay with
flower beds, arbours and sometimes strange ornaments of painted clay—
gnomes trundling wheelbarrows, curious vases, windmills, etc., etc.
The town houses and such country houses as are built on reclaimed land
are constructed on piles. They begin to build in Holland by digging to
the depth of two or three feet. This excavation soon fills with water.
Piles are then driven into the ground, and the ends are cut off evenly;
and on this level surface beams of oak are laid. The back and front of
the house are not added until long after the roof is laid on, so that
the air may pass through and dry the walls thoroughly. The houses are
lightly constructed of brick, iron or wood, with outer casings of stone
or marble, intended for show and not for solidity. At the back of the
house there is usually a little garden, to which it is necessary to
bring every year earth and gravel to replace the soil that the water has
carried away.
Frequently the Dutch town house consists of two apartments; for land is
dear, and so are house rents in the cities. The lower apartment is
called _benedenhuis_, which comprises a cellar and the ground floor;
while the second apartment, called _bovenwoning_, is composed of the
first and second floors and a garret. Each apartment has its separate
entrance.
The houses are deeper than they are wide, and the ordinary arrangement
consists of a drawing-room in the front, a dining-room in the back, and
a dark room in the middle. The latter is the family sitting-room,
particularly in winter evenings, for its complete isolation from the
outside protects the inhabitants from the cold air. Of late years this
middle room has become less popular, and every room in recently built
dwellings contains one or two windows. The houses are comfortable, and
are heated throughout.
The outsides of the houses, with their cheerful white cornices on
windows and doors, ornamental roofs and large windows with Flemish
shades and adorned with blooming plants and boxes of flowers, give an
impression of comfort and prosperity.
These homes are comfortably or luxuriously furnished, according to the
purses and tastes of the dwellers, with the ordinary modern furniture;
but every prosperous family possesses a few inherited pieces of
furniture. Nearly every home contains one _kas_, if not more, and a
small collection of porcelain, earthenware and silver. Oriental goods
from the Dutch colonies are not rare.
One peculiarity of the Dutch home is the arrangement for storing and
washing household linen. From the moment of a little girl’s birth her
female relatives begin to collect the household linen she will have as a
portion of her dowry; and the large cupboards and presses of every
well-to-do home are stored with linen and damask. As the family washing
is done but four times a year, great hampers are used as receptacles for
the soiled linen. These are lowered by ropes from the cranes at the top
of the house, placed in the canal boats, and carried to the meadows,
where they are washed in the canals and laid on the grass. There they
are sprinkled by means of curiously shaped wooden spoons with long
handles that are dipped in the canal. The clothes, again packed in the
hampers, are carried to the house, where they are mangled. The mangle
and the napkin-press are found in every house, and the press is not
unfrequently a decorative piece of furniture.
One of the most interesting provinces in Holland is Friesland—as yet
unspoiled by tourists and rich in old buildings, quaint villas and
picturesquely costumed inhabitants. Workum and Hindeloopen (celebrated
for its gaily-painted houses) both contain some good buildings of the
seventeenth century; while at Leeuwarden, the residence of the governors
of Friesland (of the Nassau-Dietz family, and ancestors of the reigning
house of Holland), the Frisian Museum, with its fine collection of
antiquities and porcelain, repays more than a brief visit. Here are two
rooms from Hindeloopen, correctly furnished; and many houses with
similar rooms still exist in that town. The walls of the smaller room
are encased with blue and white Dutch tiles, ornamented with Scriptural
or other subjects. The floor is laid with red and brown tiles. A cabinet
containing articles of porcelain and curious little silver ornaments
hangs upon the wall; and, hidden behind the painted woodwork, is a bed,
like a bunk in a steamer, to which access is gained by means of a small
and gaily painted ladder. The tables, chairs and other furniture are of
simple form, and are painted with bright flowers on a cream or white
background. The other room is similarly furnished, and has a number of
wax figures of men, women and children dressed in the Hindeloopen
costume.
The Rijks Museum also contains a Hindeloopen room with characteristic
furniture.
We may, perhaps, be permitted to quote an extract from _On Dutch
Waterways_, by G. Christopher Davies, as a vivid picture of the modern
Frisian home.
“We crossed a tiny little bridge, over a tiny moat, passed through a
tiny and spotlessly clean yard to the back door. The front door of a
Dutch house in the country is for ornament only, and not for use, and is
rarely opened save to be cleaned and painted afresh. This house was the
most minutely clean and unique any of us had ever seen, and was a
perfect and rich museum of the wealthier side of Frisian life. In the
passage by the house door was a well, and the polish on its mahogany
cover was only exceeded by the glisten on the copper bucket, with brass
bands, and the shining brass chain which took the place of the ordinary
rope. The floor of the hall as well as the doors leading from it looked
as if they had only been painted yesterday.
“The kitchen, the living-room on the ground floor, the hall, a passage
and a staircase were lined with Dutch tiles, those in the passage and
dark staircase and corridors being white, or with a pattern or figure of
an animal painted on them. At the foot of the stairs were hung several
wooden bowls, painted with cupids and flowers in many colours. Climbing
up the narrow staircase, we were ushered into the sacred front room,
which would rarely be used for any purpose but show. It was the museum
of the house, where a collection of antique treasures were preserved in
a place which was worthy of them.
“The room was so jealously guarded from daylight by drawn inner and
outer blinds that we could see nothing distinctly until one shutter was
opened, and as we crept about cautiously over the highly polished oaken
floor we had an uneasy feeling that we ought to have taken our shoes
off, and, in fact, did debate in whispers whether we should do so or
not.
“Three sides of the room were completely lined with tiles. Up to the
height of six feet or so the tiles were adorned with various Biblical
subjects, the Dutch conception of which was, in many instances,
extremely comical. Above this dado the tiles were plain white, except
that a blue bordering went round the oaken beams which supported the
roof. On the fourth side was a range of magnificent oak cabinets, with
lattice or fretwork doors, through the interstices of which the contents
were visible. These consisted of rare old china and antique silver
articles of every kind, spoons, teapots, pins, brooches, and even a
silver birdcage.
“Many of the things were so curious that we could assign neither use nor
ornament to them, and much of the interest of the collection was lost to
us for want of some one to explain the uses of what we saw. Probably the
following paragraph, which I have just seen in a weekly newspaper, may
give the true explanation of the small size of some of the objects: The
rich Dutch burghers of old believed very much in teaching children by
means of their playthings, and used to give them elaborate dolls’ houses
furnished with utensils in solid silver that worked perfectly, and were
exact models of those in daily use in the family. There were silver
lamps and coffee pots, dishes, spice boxes and everything in miniature.
Thus the little Dutch girls were housewives from their babyhood.
“Along the top of this rare old piece of furniture was suspended a row
of porcelain plates. About the room were curiously carved and designed
chairs and tables, some of the latter finely inlaid; and on the wall I
particularly noticed mirrors with tortoiseshell frames. The waning light
left us too little time to examine the contents of the room in detail,
but we all thought it the choicest thing of the kind we had ever seen in
public or private.”
In a study of Dutch furniture the canal boat should not be overlooked.
More than two centuries ago an English traveller asked if there were not
more people living on the water in Holland than on the land. In that
country canals lead from town to town and village to village, and boats
perform transport service. Vegetables, fruits, flowers and dairy
produce, flour and all kinds of merchandise are transported in boats;
furniture is moved from house to house by means of the canal boats, and
passengers are also carried.
Many families know no other home than the _trekschuyt_: cradled on the
drowsy waters the inmates grow to manhood and womanhood, and die in
these floating homes.
The traveller in Holland never fails to be interested in the canal boats
that are constantly arriving and departing in the _grachten_ of the
large cities; but he rarely sees their interiors. The following
description by Alphonse Esquiros shows how these canal homes are
furnished, and gives us an idea of the life spent there:
“Along nearly the whole length, which is about thirty feet, runs a box
or wooden house, frequently painted green; the roof, on which the
sailors walk to perform sundry operations, being covered with a layer of
pounded cockle shells. This house is divided into two compartments or
cabins; the larger one, situated near the prow, is common to passengers
and luggage. Here, during the winter, the worthy people, shut up as in a
box, swim along in a cloak of tobacco smoke, which relieves the tedium
of the voyage. In summer the wooden shutters are removed, and the hatch
is raised from the orifice by which the travellers descend. The second
compartment is the cabinet, called in Dutch the _roef_, which is entered
through folding doors. The second cabin is small, but fitted up with
some degree of taste. The windows, four or six in number, are glazed and
have red or white curtains, according to the season. In the centre is a
table with a copper vessel containing fire, and another smaller one to
receive cigar ash, both cleaned and polished in a manner only found in
Holland. Add to this, to complete the furniture, a mat, a looking-glass,
and, in winter for the ladies, a foot-warmer, called the _stoef_,
containing a small earthenware vessel with two or three lumps of lighted
peat in it. Along two sides of this cabin run cushioned benches, on
which the travellers sit down opposite to each other. Sometimes there
are on a shelf a few volumes belonging to the boat and forming a
floating library at the service of the studious passengers. The whole
national character is revealed in this simple and minute attention to
comfort. At the bows, the space not occupied by the cabinet is filled
with merchandise, bales, and barrels; while the poop is left to
travellers who wish to take the fresh air, and the helmsman, who steers
and smokes the while with the regularity of a steamer....
“On the _trekschuyten_ floats old Holland, with its language, manners
and conscientious and powerful originality. There are some
_trekschuyten_ in which you pass the night; at about six in the evening,
in the event of the master being polite (and we never met any who were
not so), he invites you to take tea. You then see a little cabinet
produced, containing cups, sugar-basin, and teapot of black earthenware,
which is not inelegant. The kettle is placed on a species of stove
covered with Chinese designs, and containing a vessel filled with
burning peat. At night the _roef_ is divided into two parts—a saloon and
a small sleeping-room, of which the curtains are raised. A common bed,
occupying the entire width of the cabin, and on which men and women
sleep honestly side by side, invites you to take your share of the
universal calm and rest of nature. This bed is composed of a mattress
and counterpane, and you lie down on it full dressed. During this period
the boat continues its noiseless voyage through the waters, which divide
in a silver furrow on either side the prow.”
The Dutchman has always been famous for his clinging to cleanliness,
order and symmetry. Cleanliness in the house and order in the garden,
with its clipped trees and hedges of formal designs and stiff flower
beds, still persist. The Dutch house of the present day is described by
the Rev. J. Ballingal _In the North Holland Polders_ as follows: “Their
houses are as often furnished in very modern style, though the furniture
is sure to be solid and good. They have the utmost contempt for anything
sham and flimsy. In their jewellery, of which a great deal is worn, they
would never think of buying false diamonds or imitation coral. Their
houses are models of neatness and cleanliness, but there is no trace of
aesthetic feeling. Symmetry is admired above everything. Trees planted
round the house at equal distances, trimmed to an exact height, and
whitewashed to a certain height of the trunk, windows and doors to
correspond, gates freshly painted, and gravel walks without a
foot-print—that is the country ideal. There is a story of a Boer who
fancied a piano would be a handsome addition to his best room, and
having bought one and got it placed, he returned a few weeks after to
the piano warehouse. ‘Did the instrument give satisfaction?’ the dealer
anxiously inquired. Oh, yes! yes! I’ve no complaint to make, for nobody
has even touched it. What annoys us is we don’t like the look of it in
the room. It is not _symmetrisch_, so I’ve come to buy another, exactly
the same, to stand in the opposite corner.’ Such a story is credible
enough when one sees the exactly similar way in which, through a large
district, houses are built, and trees planted round them, as if every
detail were compulsory. The love of cleanliness, too, has its
extravagances, as, for instance, in the neighbourhood we speak of we
once enjoyed the comic spectacle of a man sitting astride on the ridge
of his house, with a pail slung round his neck, scrubbing away at the
tiles.”
Holland has not escaped the present taste for the collection of
antiquities; but in that country where there is so deep a love of home,
and where the peasants guard their possessions with the same tenacity
and affection as the rich do their heirlooms, the collector is only
rewarded after long years of patient search. However, many of the
wealthy merchants and travellers, who are spending the well-earned
afternoon and evening of their lives in their country seats near Arnhem,
Amsterdam, Rotterdam, Utrecht, Leyden, Dordrecht, Middelburg, Maestricht
and other large cities and small towns, are able to show rare and
interesting relics of the past. A house of a rich traveller will reflect
naturally enough the wanderings as well as the taste of its owner. The
spoils of Java, Dutch Guiana, the West Indies and other colonies, not to
mention those of Egypt, Spain and Italy, adorn his rooms and render his
cabinets highly interesting.
As a rule his study and the boudoirs of his wife and daughters, his
drawing-room with its adjoining conservatory, his library and his
bedrooms are furnished in the latest French taste. The dining-room is
frequently painted in pale green, and here are displayed in the
cupboards _vitrines_, cabinets, and on the hanging shelves his family
treasures, consisting of curious and beautifully engraved glass, silver,
and choice sets and individual pieces of porcelain. If, however, as is
often the case, the owner is the collector, then he takes especial
delight in the “antique-room,” which he has fitted up in the style of a
cabinet of the seventeenth century. The general impression of this
apartment is brown, derived not only from the panelled ceiling, high
wainscot and carved chimney-piece, but from the wall hangings of leather
with its raised patterns of faded gold and the high-backed carved
furniture.
Brightness is contributed by the array of brass, porcelain, delft, rugs,
cushions and tiled fireplace, with its fine brass andirons, bellows and
other equipments. On the ledge of the wainscot handsome jars and vases
and other specimens of porcelain and delft are symmetrically arranged,
and on the wall hang plaques and brass sconces. The room receives
additional light from old brass chandeliers. A cabinet full of curios, a
large _kas_, a Bible on a stand, a spinning-wheel, foot-warmers, pipes
and old kitchen utensils are sure to be found here; and to these
articles we may add a carved napkin-press, a mangle, an old carved board
and rolling-pin for doing up fine linen, and an ancient carved, gilded
and painted sled.
Collecting is not confined to the individual; for the study of old
furniture and other antiquities that contribute so great an aid to the
historian in constructing the social life of the past and so great an
aid to the artist, architect and decorator, is widespread in Holland.
The great museums of the large cities contain many superb and valuable
specimens, and display them with great taste. In some cases whole rooms
have been removed from some old palace or _stadhouder’s_ house with
their original ceilings, chimney-pieces, hangings and furniture; and,
again, entire rooms have been fitted up in the characteristic style of
some province whose individual manners and customs are fast
disappearing. Many of the small towns have a collection of local
antiquities, which are, as a rule, attractively displayed; for the
members of the numerous Dutch antiquarian societies take great pride in
the history of their country. Sometimes, as in the case of the “Museum
van Kunstnyverheid” in Haarlem, the collection embraces the artistic
industries of ancient and modern times. This museum contains a
particularly fine collection of kitchen utensils and other articles and
furniture familiar to us in the pictures of Jan Steen, Maes and other
Dutch masters.
The museums of Belgium are equally rich in old furniture, tapestries and
other treasures.
THE END
INDEX
Abbaye de Montréal, 50;
—— d’ Oignies, 25
Abbey of Charlieu, 50;
—— of Citeaux, 50;
—— of Clairvaux, 50;
—— of Cluny, 50;
—— of Saint Maximin, 39;
—— of Vézélay, 50
Abbeys of Burgundy, 50
Aelst, Peter van, 75
_Æsop’s Fables_, 305
Agnes Sorel, 22
_Aiguière_, _Aiguières_, 10, 150, 151, 166
Alart du Hameel, 62
Albert, Archduke, 135, 137;
—— and Isabella, Court of, 132
Aliénor of Poitiers, quoted, 43–5, 46–7
Alost, looms, 58
Amsterdam, 136, 203, 208, 215, 239, 249, 270;
——, stores in, 237;
——, Leonard van, 221
Amber, 72
Andirons, 129
Anil, 225
Antwerp, 23, 73, 203, 135–6;
——, artists of, 101–3;
——, cabinets of, 114;
——, clavecin-makers of, 124–8;
——, wealth of, 101
Arabesques, 65–6, 93
_Arche_, 13
Architecture, Early Renaissance, 177–8
Ards, W., 51
Armchairs, 7
_Armoire_, _Armoires_, 11, 12, 13, 113–4, 204, 261
Arphe, Juan de, 52
Arras, 20, 21, 53;
—— looms, 35–6
Artisans, 1–3, 28, 47–8, 52, 53, 101–3
Artists, 28, 67–8, 95–6, 103, 106–7, 118–20
Artz, picture by, 313
Aspruck, Franz, 165
Asselijn, quoted, 182
Auricular style, 111, 166–7, 300.
_See_ _Genre auriculaire_
Avignon, 58
Avont, Peter van den, 165
Babou, Philibert, 74
Baby’s outfit, 199–200
Baert, Jean, 304
Baerze, Jacques de, 48
_Bahut_, _Bahuts_, 12, 13, 66, 116, 140
Baldwin, Count of Flanders, 19
Ballingal, J., quoted, 324–5
Banbosa, D. 212
_Banc_, _Bancs_, 13–14, 140–1
Banderole, 94
_Banquiers_, 47
Barbé, J. B., 165
Bass viol, 129
Bataille, Colin. _See_ Bataille, Nicholas;
——, Nicholas, 20, 37
Battle of Nancy, 39;
—— of Nicopolis, 36;
—— of Pavia, 79
Beaugrant, Guyot de, 52, 78
Beaumetz, John de, 48, 50
Beauneveu, André, 50
Beauvais, tapestry of, 155–6, 304–5
Becius, Joh., quoted, 259
Bed, Beds, 43, 44, 70, 108–11, 147, 150, 151, 198, 266, 312;
—— chest, 12;
——, folding, 70;
——, Josephine’s, 311;
——, Mary of Burgundy’s, 56;
——, Queen Anne’s, 274, 275, 276;
——, panelled, 191
——, from Rijks Museum, 110;
—— tapestry, 56;
——, William’s, 274
Bedroom, 9, 43–4,104–5. 190–1, 197–8;
——, Marot’s, 275–6;
——, Mary’s, 274, 275, 276
Bedsteads, 266
Beef-wood, 268
Béhagle, Philippe, 156
Bein, Heinrich van, 166
Belgium, buildings in, 145–6;
——, museums of, 327
Benches, 7
Bérain, 164
Berent, 62
Berenberge, Pierre van, 51
Bernagie, quoted, 194
Bernard, Michel, 21
Bernard, Pierre, quoted, 99–100
Berruguete, 52
Beughem, Louis van, 68
Beveren, Cornelius van, 256
Blommaert, Georges, 156
Blondeel, Lancelot, 53, 79–80
Blyenborgh, Adrian, 257;
——, Vrouwe van, 257–9, 259–60
Board and trestles, 6, 15, 141
Boegarden, Henry van, 51
Bol, F., 170
Bolsward, Church of, 5
Bonaffé, quoted, 158–9
Bonte, C. de, 61
Borromini, 131, 309
Borcht, Jacques van der, 304
Bos, Cornelius, 95, 107
Bosse, Abraham, 142, 147
Boteram, Rinaldo, 59
Bouche, P. P., 166
Boucher, 300, 304, 305
Boulle, A. C., 115, 271;
——, Pierre, 115
Bouts, Derick, 15
Bouttats, Gaspard, 166
Brackets, 278, 279
Brassware, 129
Breda, Church of, 5
Breughel, Pierre, the Elder, 88;
——, Peter, 175
Bride’s basket, 200;
—— crown, 200;
—— house-furnishing, 255;
—— throne, 200
Broederlam, M., 48
Broederkerk. _See_ Bolsward
Broec, L. van den, 51
Bronchorst, J. G., 170
Bronzino, 73
Bruges, 25, 32, 40;
——, looms of, 58;
——, Palais de Justice, 79;
——, St. Anne, 139;
——, St. Walburge (pulpit), 138
Brulh, Van der, 52
Brussels, 20, 21, 23, 25, 32, 306;
—— looms, 57, 304;
—— museum, 198, 254;
—— school of, 306;
—— tapestries, 73, 304
Bruyn, Charles de, 51
Bry, Theodore de, 94
Buffet, 14–5,43;
à deux corps, 140
Bulteel, John, 51
Burgundian etiquette, 98;
—— style, the, 85–7
Burgundy, Dukes of, 16, 31–2, 272;
——, House of, 31–2
Buten, Martin van, 165
Buytenweg, William, 165
Cabinet, Cabinets, 11, 62, 89–90, 107, 114–5, 116, 204, 211, 226,
238–9, 244, 245, 246, 262, 284, 300
Cabinet-makers, 7, 8, 13, 159, 297
Calin, 211
Cambrai, Peace of, 79
Cameryck, C. van, 122
Campen, J. van. _See_ Kampen
Canal-boats, furniture of, 321–4
Candlesticks, 44–5, 60, 129
Canning, quoted, 302
Cape of Good Hope, 208
Carest, Josse, 125
Caron, 73
Carpenter, 8
Carpets, 19, 70, 243;
——, table, 263
Carracks, 208–9
Cartoons, tapestry, 58, 59, 73, 137, 156, 157
Cartouche, 94
Carvers, 2, 5, 50–3, 122
Carving, Carvings, 2–6, 7, 80–3, 115, 171, 138–40, 279, 282, 301–2
Caryatid, 94
Cathedral of Antwerp, 27;
—— of Dietz, 27;
—— of Tournay, 27
Catherine of Braganza, 284
Cats, 269;
—— head, 190
Cavalli, M., 101
Cecil, 214
Cedar, 268
Ceilings from the Binnenhof, 171, 172
Cellini, 91, 92
Ceramics, 107, 116–7, 284
Chair, Chairs, 15, 16, 112–3, 142, 160–4, 266–7, 276–7
Chambre, 17;
—— de parade, 45
Champeaux, 86
Chandelier, Chandeliers, 10, 60, 129, 166, 283
Charles I. (England), 136;
—— II.(England), 201, 280, 284;
—— —— chair, 163;
—— V. (France), 20, 22, 26–7;
—— V. (Emperor of Germany), 65, 75, 76, 79, 87, 97, 98, 198;
—— VI. (France), 20, 22;
—— VIII.(France), 65, 68;
—— the Bold, 27, 40, 39–43, 54, 60, 61
Chastelain, Georges, quoted, 35–6, 38
Château de Schoemburg, 307
Chest, chests, 6, 12–13, 15, 116, 139, 256, 257;
—— bed, 12;
—— -upon-chest, 12
Chimney-pieces, 49, 53, 78–9, 88, 122, 170, 171, 181, 278
China, 216, 299;
—— mania, 281;
—— -cabinets, 285, 300;
—— -ware, 225, 239, 240, 245, 246, 247, 261, 281, 283. _See_
Porcelain
Chinese boudoir, 172;
—— style, 127, 305. _See_ _Chinoiserie_
_Chinoiserie_, 273, 300
Chippendale, 278
Choir-stalls, 3–6, 77–8, 80–3, 122, 139
Chronicle of St. Trond, 57
Claas, Alaert, 95, 96
Claire, Godefroid de, 6
Classic architecture in furniture, 140;
—— orders, 91;
—— style, 65
Clavecin, 124;
—— makers, 124–8
Clavichord, 124
Clays, Pierre, 88
Cleaning-utensils, 187
Clerc, G. de, 24
Clocks, 267, 278
Cluny Museum, 13, 15, 48, 66, 160, 162, 163, 261, 267
Coach-bed, 266
Cock, Jerome, 94, 102, 103
Cockatoo, 270
Cocques, 153, 250
Coeck of Alost, Peter, 87–8, 94, 103
Coffers, 66, 257
Colars, N., 5
Colima, John van, 285
Collaert, Adrian, 103, 121;
—— Hans, 103
Collan, J., 165
Collection of porcelain, 206–7
Collectors of tapestry, 20–2
Cologne, 28
Comans, Marc, 155
Communes, The, 1, 2
_Compartiment_, 93, 94
Comptoir, 179, 188
Constant, quoted, 225–6
Constantinople, fall of, 64
Cooking-utensils, 11, 151, 196, 268–9
Coral, 72, 174
Cordova, 23, 99
Cosmo I., 77
Cotgrave, 12
Court-cupboard, 140
_Court pointerie_, 17
Coxie, Michel, 73
Cradles, 198
Credence, 12, 14–15, 140
Cressent, 300
Crispin de Passe, the Elder. _See_ Passe, Crispin van de
Croissy, Fouquet de, 270
Crusade, the First, 18
Crusades, 1, 7
Crusaders, 23
_Cubiculum_, 141
_Cuirs_, 93, 94, 103, 104, 114
Cupboards, 62, 256, 257–8, 260
Curios, 69, 71–2, 89, 114–5, 143, 204–5, 300–1
Curtains, 17–8
Cushions, 6, 13, 16, 69, 70, 71, 141
Custode, Dominic, 107;
——, Raphael, 165
_Daïs_, 4
Dale, Lucas van, 221
Dam, The, 145, 169
Damme, 19
Dangeau, quoted, 249
Daret, Jehan, 39
Davies, G. C., quoted, 319–21
Decadence, The, 107, 131, 158–9, 165;
—— of Dutch Art, 301;
——, Flemish, 203
Decorations, 29, 200
Decorative designers, 103, 106–7, 165–6
D’Erembert, 25
Defoe, quoted, 281
Delft, looms, 77;
—— ware, 204, 216, 220–2, 300;
—— ware, Closett, 285;
—— ware, Mary’s, 281
De Parival, quoted, 185
Develstein, Castle of, 228, 256, 260–1, 262
De Vries. _See_ Vries, Hans V. de
Dextras, The, 221
Dijon, 32, 47;
—— Museum, 48, 49, 51, 112;
—— Palais de Justice, 85–6;
—— St. Michel’s, 85
Dinant, 10, 16, 32
_Dinanderie_, 10–1, 129
_Dinantairs_, 11
Dixmuiden, St. Nicholas, 83
Dogs, 269
Dolls, 173, 176–7;
—— houses, 172–6
Don Juan of Austria, 100
Dordin, Jacques. _See_ Dourdain
Dordrecht, 256;
——, Groote Kerk, 80
Dou, 250, 254
Douay, looms, 58
Dourdain, Jacques, 20
_Dragée_, 45–6
_Drageoir_, 45, 46–7
_Dragonnades_, The, 272
Drawing-table, The, 111–2, 141–2
Dressing-cloth, 262;
—— table, 262–3
_Dressoir_, 9, 12, 14–5, 34, 37, 38, 40, 44, 45, 53, 105, 261, 278
Du Cerceau, 104;
——, “the Dutch,” _See_ Vries, H. V. de
Duke of Alva, 157;
—— of Anjou, 20;
—— of Berry, 20, 22, 50;
—— of Orleans, 20, 22
Dukes of Burgundy. _See_ Burgundy
Dulcken, Peter van, 122
Dürer, Albrecht, 76, 82, 93
Dussen, Mrs. Lidia van der, 197–8
Dutch, The, 203–4;
—— Art, Decadence of, 301;
—— artisans in London, 284;
—— artists, 165, 166;
—— beds, 312;
—— carving, 301–2;
—— collectors, 325–7;
—— country houses, 315–6;
—— in the East, 215–6, 237–8;
—— farmhouses,313–5;
—— furniture, 255, 317–8;
—— homes and houses, 177–98, 188–91, 197–8, 311–2, 316–7;
—— love of home, 172–3, 182–3;
—— love of marquetry, 160;
—— love of porcelain, 238–9;
—— love of symmetry, 324–5;
—— luxury, 249, 255–6, 302–3;
—— mania for cleaning, 183–7, 194–5, 324;
—— and English marriages, 279–80;
—— navigators, 214–6;
—— ships, 215, 226;
—— taste, 204, 279, 280, 282, 284–5, 287
Duysbourg, H. van, 51
Ear, as decorative motive, 166. _See_ Auricular style
Earl of Pembroke, 57;
—— of Warwick, 57
East India Company, 270;
—— of England, 237, 284, 290
East, trade with the, 64
_Ébéniste_, 159
Ebn’ Abd el Noûr el Hamîri et Toûnsi, 23
Ebony, 7, 115, 268
Ecclesiastical Art, 1–6, 7;
—— hangings, 18–9
Edrisi, 205
Eeckhout, G. van der, 166
Eenhoorn, L., 221
Egmont, Counts of, 100
Elizabeth, Queen, 117, 125, 214;
—— Queen of Bohemia, 279
Embroiderers, 56
Embroideries, 17, 56, 69, 70, 71
Empire Style, The, 310
_Encoinçons_, 93, 104
Engravers, 165
England and Holland, relations of, 241
English workmen, complaints of, 288;
—— and Dutch pirates, 238
Entrecolles, Father d’, quoted, 223–5
_Escarbeau_, 16, 47, 266
_Escritorios de la Chine_, 211
Esquiros, Alphonse, quoted, 312–3, 322–4
Este, C., quoted, 306–9
Etiquette, 14, 33, 46–7, 98
European patterns sent to the East, 223–5, 287, 288, 290, 296–7
Evelyn, 249, 282, 284
Eycken, John van der, 62
_Faerie Queen, The_, quoted, 21
Faïence, 91, 206, 301
Faldstools, 7, 16
Falkema, J. S., 166
Faydherbe, L., 136
Feast of the Pheasant, 33–4
Feltham, Owen, 183, 185, 264
Ferdinand of Aragon, 79
Ferrara, 59
_Fête de l’oiseau_, 303–4
Fictoor, Lowys, 221
Fire-basket, 199
Fireplace, 62
Flanders, 79, 203
Flemings, artistic character of the, 84–5
Flemish artisans, 306;
—— artisans abroad, 52, 58–9, 74–5, 85, 117–8, 155, 156, 304;
—— carvers, 50–3;
—— glass-workers, 26–7;
—— teachers, 24;
—— looms, 58, 71, 74, 76–7, 304–5
“Flemish Raphael,” The, 88
Floreins, John, 52
Florence, 28
Floris, Cornelius, 102;
——, Francis, 88;
——, James, 102;
—— Style, the, 102–3
Flowers, 200, 201
Folding-beds, 111;
—— tables, 112
Fontainebleau, 74;
—— School of, 92
Foot-stove, 263–4
Forbin, Count de, quoted, 249
Forms, 7
Fouquet, 154
Francis I., 74, 97
François de la Planche, 155
Francouart, 94
Franquart, Jacques, 137
French influence in Low Countries, 299–300
Friar Hugo, 25
Friesland, 318
Frytom, F. van, 221
Furnes, St. Walburge, 139
Furnishing, house, 255
Furnishings of Banquet Hall, 40–3
Furniture, 141–2, 244–5;
——, canal boat, 322–4;
——, Duchess of Burgundy’s, 43–5;
——, Dutch painted, 319;
——, Fourteenth and Fifteenth Century, 61–2;
—— at Hampton Court, 282–4;
——, inlaid, 90, 107, 158–60;
——, Italian, 90–92;
——, Japanned, 297;
——, lacquered, 297, 298–9;
——, Margaret of Austria’s, 69–72;
——, mediaeval, 2, 6–7, 7–8, 11;
—— mounts, 159;
——, Renaissance, 83–4, 92–5, 105, 107, 108–17, 139–42;
——, Seventeenth century, 146–52, 158–64;
—— tapestry, 304–5. _See_ Cluny, Marquetry, Rijks
Gaîne, 94
Galle, Theodore, 107
Galles, Phillip, 107
Gance, J. van den, 51
Gardens, Dutch, 279, 282
Gazoni, quoted, 99
_Genre auriculaire_, 111, 166–7, 300
Geraerts, M., 106, 107
Gerard, Marc, 93
Gerbier, B., 127
Ghent, 25, 32, 98;
—— tapestry, 304
Gheyn, Jacques de, 165
Giacomo d’Angelo, 59
Gibbons, Grinling, 279, 282
Gilbert, Sir John, 214
Gillot, 300
Giovanna, Francesca, 59
Giovanni da Udine, 73
Glass, 26, 117–8, 207, 246;
—— blowers, 117–8;
—— makers, 101;
——, painted, 159;
——, painting on, 118;
—— windows, 27
Glosencamp, L., 53
Glusomack, Henry, 48
Goa, 209, 210, 214, 216
Gobelins, 76, 154, 155, 157, 158, 272
Godewijck, Margaretha, quoted, 174–5;
——, P. van, quoted, 172–3, 182–3
Golden Age of Tapestry, 53
Golden Fleece, Knights of the, 38;
——, Order of the, 16, 39, 41, 61, 89
Goldsmiths, 5, 6, 61, 65;
——, Corporation of, 25
Goldsmiths’ work, 24–6, 35, 37, 39, 44, 60
Goler, Pierre, 115
Goltius, Hubert, 88, 89
Goten, Jacques van der, 304
Gothic Art, 7, 67, 77–8;
—— ornamentation, 3–5, 12;
—— style, the, 62, 65, 77–8, 82–3, 105, 108, 133
Granvelle, Bishop of Arras, 100, 106
Gruuthuuse, pew, 53
Guadameciles, 23
Guicciardini, quoted, 73, 87, 101, 118–20, 123, 187
Guilds of St. Luke, 28, 88, 120, 124, 125, 126, 128, 220–1
Guionet, 26
Haarlem, Groote Kerk, 82
Hague, The, 170, 201, 265
Hall, 192–3;
——, furniture of, 15–6
Halles (Brussels), 51
Hameidan, M. van der, 156
Hampton Court Palace, 157, 274, 278, 280, 282–4
Handel, clavecin of, 128
Hangings, 7
Harpsichords, 124, 267
Harrewyn, J. J., 166
Hee, Gilles de la, 88
Hecker, A., 165
Heemskerck, M. van, 96
Héliot, B., 48
Helt-Stocade, N. de, 170
Hendricks, L., 165
Henri II., style, 83;
—— IV., 115, 154
Henry le Backer, 61;
—— VIII., 97
Hervey, John, 285–7, 295
Hervormde Kerk. _See_ Breda
Heylbrouck, M., 166
Hessels, Gerrit (Gerritz), 94, 165
_Het Loo_, 170
Hicks, Robert, 77
Hill, Robert, quoted, 310–2
Hindeloopen, 318, 319
Hoevens, The van der, 221
“Hogarth, The Dutch,” 301
Holland, buildings, 145–6;
——, jealousy of, 302. _See_ Dutch Holme, Lacy, 279
Holsteyn, C., 170
_Hoogerhuis_, room from the, 172
Hooghe, R. de, 165
Hoogstraten, S. van, 250
Hosemant, J., 58
Houbraken, A., 165
Hour-glasses, 268
House-in-the-Wood, 170
Houses, miniature, 173–6;
Seventeenth century, 145–6
Houtman, C., 215
Howard, Admiral, 157
_Huche_, _Huches_, 13, 66, 166
_Huchiers_, 8, 13, 38–9, 53;
—— _menuisiers_, 17
Huet, 300
Huguenot emigrants, 272, 284
_Huis ten Bosch_, 170
Hulst, John, 48
Huygens, 298
Hynart, Louis, 155
Ibn Batuta, 205
Importations, 226, 289, 292
India, 205, 209, 216;
—— -houses, 281, 285
Inlaid furniture, 7, 90, 107, 158–160
Interiors of the Great and Little Masters, 250–5
Inventories, Dutch, 146–52, 191–2, 231–5, 241–6, 246–8, 257–61, 269
Isabella of Bourbon, 43;
—— of Castile, 79;
—— of Portugal, 37
_Isle des hermaphrodites, L’_, quoted, 159
Italian furniture, 90–2
Ivory, 7
Jackenon of Nivelles, 5
Jane of Burgundy, 17
Janz, House of A. H., 188–91
James II., 249, 280
Japan, 209, 210, 226
Japanned furniture, 297;
—— goods, 289, 295
Japanners, complaint of, 289, 297
Jaspar, 6
Java mahogany, 268
Jehan de Bruges, 16, 59;
—— de Dinant, 11
Jewel-boxes, 263
Jewelry, 242, 243, 262
John of Brussels, 68
John III., Count of Hainault, 25
Johnson, Gerreit, 285
Joiners, 8;
—— Company, petition of, 288–9
Joinville, C. de, quoted, 303–4
Joanna the Mad, 65, 78
_Jouées_, 3, 4
Kampen, Jacob van, 145, 165, 169, 170, 172
Kampen, Town-hall, 122
Kams, The, 221
Kamyn, Erasmus, 166
Karcher, John, 77;
——, Nicholas, 77
Karel de Moor, 171
_Kas_, _Kasten_, 204, 244, 247, 256, 257, 260, 261
Keizer, Albrecht de, 221;
——, Cornelis de, 221
Keldermans, M., 62;
——, R., 78
Key, William, 88
Keyser, Hendrik de, 165, 169, 171
King-wood, 260, 268
Kitchen, 151, 189–90, 196, 268–9;
——, Rembrandt’s, 144;
—— utensils, 11, 96, 151, 268–9
Koedyck, 250, 251
Kooge, Abraham de, 221
Lacquer, 127, 211, 295–9;
—— imitation of, 298
Lacquered furniture, 297, 298–9
Laeken, Palace of, 310–1
Lairesse, G. de, 172, 301
Lame, Jahn de, 101
Landenspelder, John, 103
Lange, Jacob de, home of, 246–8
Launoy, 79
Laval, P. de, quoted, 208–11
Layens, M. de, 62
Leather hangings, 71, 153–4, 171, 172;
——, paintings on, 3;
——, Spanish, 267
Leathers, gilded. 99, 102, 133, 134, 135, 149, 150
Le Brun, 154, 305
Leeuwarden, 318
Le Fèvre de Saint-Remy, 37
Le Maître à la Navette, 62
Leo X., 75
Leonardo da Vinci, 58
Lepautre, 272–3
Lerambert, 73
Leyden, Lucas van, 9, 93, 95, 96
Liefrinck, Hans, 103
Liège, 23, 24, 25;
——, School of, 306;
——, tapestry-weavers of, 57
Lievens, Jan, 170, 171
Lignum vitæ, 256
Lille, 23, 33, 156, 304;
—— looms, 58;
—— Museum, 300;
——, School of, 300, 306
Linen, 192, 256, 257, 258, 318;
——, paintings on, 13;
——, printed, 6
Linen-fold pattern, 12, 93, 105
Linkerk, Peter, 48
Linschoten, J. H. van, quoted, 226
Lisbon, 99, 117, 208, 214, 215
_Lit en housse_, 147
Living-room, 189
Lochon, M. van, 165
Lodeweycke, H. 165
Lombard, Lambert, 88–9
Looms, Flemish, 16, 19
Louis XII., 65, 68;
—— XIII., 142;
—— Napoleon, 170, 310;
—— Quatorze Period, 270–3;
—— Quinze Period, 270, 300, 301, 306, 309
Louvain, St. Michael’s, 139;
——, Town-hall, 62
Louvre, 115, 154, 271
Lower, Sir John, quoted, 201–2
Loyet, Gérard, 61
Lucidel, Nicholas, 88
_Luifel_, 177, 179
Lute, 129
Lutma, John, 166
Luxury, 32–43, 100–1, 259, 302–3
Maarken, 312
Macé, Jean, 115
_Mademoiselle, La Grande_, quoted, 287–8
Madrid, looms, 304
Maes, 327
Maestricht, 25
Majolica factory, 101
Malaca, 209
Maldives, 210
Mantua, 59
Mantegna, Andrea, 58, 59
Mantel-piece, 283
Maps, Tapestry, 77
Marchaut, Countess of Artois, 21
Margaret of Austria, 47, 67–72, 78, 79, 87, 89, 97, 99;
—— of York, 40
Marguerite of Valois, 99–101
Marie Elizabeth, 303–4;
—— de Medici, 137
Marot, Daniel, 164, 272, 273–8, 280, 282, 287;
—— style, 267
Marquetry, 91, 108, 111, 112, 158–60
Marville, John de, 48, 49
Mary of Burgundy, 45, 56, 67, 79;
—— of Hungary, 97–8;
—— of Orange, 279;
——, Queen of England, 171, 280–2, 283, 284, 285
Mascarons, 277, 278
Masters, The Great, 301;
——, the Little, 250, 255, 301
Matsys, C., 103
Matteo del Nassaro, 73
Mauritshuis, The, 170, 201
Maurice of Nassau, Count John, 170
Maussel, Guillaume, 38
Maximilian, 79
Mazarin, Cardinal, 113, 115, 270, 287
Mechlin, 23, 78;
——, house in, 146–52
Mediaeval room, 9
Meissonnier, 300, 309
Melter, J. de, 156
Memling, 9, 54, 58
Mendelslo, quoted, 225, 227
Mendoza, 211–2
Mercurius, 264
Metal chairs, 16;
——, wrought, 13
Methwold, quoted, 226
Metsu, 250, 253, 254
Meyt, Conrad, 68–9
Michael Angelo, 85, 131, 132
Micker, James, 165
Middelburg, looms, 58, 77
Mierevelt, Gertrude van, 191–2
Milan, 59
Mindanao, Queen of, 205–6
Miniatures of MSS., importance of, 8
Mirrors, 260, 264–5, 268, 277, 283
_Miséricorde_, The, 3
Moelenere, Thierry de, House of, 88
Molensleyer, Godefroy den, 51;
——, Henry den, 51
Monet, 11–2
Monkeys, 128, 135, 269–70;
—— in decoration, 128, 305. _See_ _Singerie_
Montagu, Lady Mary, quoted, 281
Montoyer, 308
Moonen, quoted, 238
Morales, A., quoted, 99
Moretus, 101, 137
Mortlake tapestry, 154, 156–7
Mosquito net, 71
Mostaert, Jean, 87
Mosyn, M., 166
Moucheron, 166, 173
Mounts, Furniture, 159
Muntink, A., 165
_Museaux_, 3
Museum van Kunstnyverheid, 327
Music, love of, 122–3
Musical instruments, 123–9
Musicians, list of, 123
_Nachtbouquet_, 262
Nancy, looms, 156
Napkin basket, 199
Napolitanus, C., quoted, 178, 186–7
Natalis, M., 165
Needlework, 281. _See_ Embroiderers
Netherland East India Company, 216
Netherlands, Luxury in the, 100–1
Neusse, A., 304
New Amsterdam, 241
New Year’s Gifts to Queen Elizabeth, 214
_Niello_, 25–6
Nieucasteel, Nicholas de, 88
Nispen, Van, 256–7
Nivelles, Church of, 5
Nolpe, Peter, 166
Northampton, Earl of, 240–1
Noye, Jacques van, 106;
—— Sebastian van, 106
Numismatics, 88, 89
Nutwood, 238, 247, 248, 260, 268
Oak, 7, 268
Oesterham, Pieter, 221
_Old Brechtje_, quoted, 199
Olive-wood, 268
Olivier de la Marche, quoted, 32, 42–3
Oost, Peter van, 51
Oppenord, G. M., 272, 300, 309
Oppenordt, C. J., 271
_Or bazané_, 99
_Orfèvres._ _See_ Goldsmiths
_Orfèvrerie_, 24–6
Oriental goods, 7, 209, 240, 242, 243, 244, 246, 285, 286–7
Orley, Bernard van, 73, 75, 76, 87
Ornamentation, Renaissance, 92–6
Ornaments, decorative, 165–6
Ort, A. van, 101
Oudenarde, 78;
——, Hôtel de Ville, 122;
——, looms, 58, 304
Paintings, 69
_Palissandre_, 268
Palissy, 117
Panellings, 11, 12, 93, 105, 171, 172
Panelled-bed, 191
Pand, Le, 73
Pannemaker, André, 156;
——, François, 156;
——, William de, 76
_Paraclose_, The, 3, 4
Paris, 20, 21
Parrots, 269, 270
Passe, Crispin de, or van de, 94, 106, 107, 120–1, 142, 162, 171, 203
Passo, P., 101
Paston, John, quoted, 40
Pauli, André, 165
Patin, Charles, quoted, 249–50
Peacocks, 269
Pekin, 299
Penon, J. H., 38
Pentin, J., 61
Peter the Great, 304;
—— of Campana, 73
Pets, 134, 135, 269–70
Perréal, John, 67–8
Pewter, 191, 261
Pheasants, 269
Philibert of Savoy, 67, 68
Philip de Comines, 32;
—— the Bold, 20, 31, 47, 49–50, 55;
—— the Good, 33–8, 55–6;
—— (of Spain), 79;
—— II., 88, 89, 98, 100, 116, 215;
—— III., 137;
—— IV., 137
Pictures, 245, 247–8
Pietersz, Gerrit, 221;
—— Hermann, 220
Pietra-dura, 159
Pigapheta, A., 205–6, 207
Pilaster, 93
Pillow, 12
Pirates, 238
Pitsembourg, The, 146–52
Plantin, Christopher, 101
Plantin-Moretus house, 101–2
Pointed Style, The, 3
_Pommes_, 275, 276, 277
Porcelain, 116, 117, 177, 181–90, 191,196, 204, 205–8, 210–4, 216–20,
222–8, 231–5, 237, 238–9, 260, 261, 285, 286–7;
——, marks on, 228;
——, Marot’s use of, 278;
——, prices of, 239;
—— room, verse on, 278–9
Pordenone, 73
Portugal, trade with, 208–13
Portuguese navigators, 205, 208
Post, Pieter, 170
Pourbus, Peter, 80
Primaticcio, 73
_Prince Butler’s Tale_, 290–2
Princess Amalia of Solms, 170
Prindale, J. M. H. van, 48, 51
Printing, 64;
—— presses, 101–2
Pynackers, The, 221
Quarré, Jean, 117
Queen Anne’s bed, 274, 275, 276
Queen Anne Style, 274, 276, 309
Quellin, Artus, 137–8, 165, 169, 170
Quillyn, Artus. _See_ Quellin
Rabel, Daniel, 167
Raephorst, B. van, 51
Rambouillet, Mme. de, 240
Raphael, 59, 91, 73, 74, 75, 91, 161
Rasch, A., 53
_Reasons, The_, quoted, 290
_Régence_ period, 270, 300, 306, 309
Regency style, 267
_Relai_, 11–2
Rembrandt, 143–4, 250;
——, house, furniture and porcelain, 143–4
Renaissance, Dawn of the, 63–7;
—— in Flanders, 84;
—— furniture, 92–5, 101, 108–17, 139–42;
—— ornaments, 92–96
_Retables_, 48
Revocation of the Edict of Nantes, 272
Reygensbergh, A., 221
Rheims, 17, 35
Rijks Museum, 61, 62, 110, 124, 129, 147, 154, 160, 162, 164, 171, 172,
175, 250, 252, 261, 267, 313, 319
Richard II., 57
Robbia, Luca della, 91
Robert, Duke of Albany, 57;
—— of Sicily, 18
_Rocaille_, 276, 300, 309
Roelants, John, 62
_Roman_, The, 19
Romano, Giulio, 59, 73
Rooms, 134–5, 171, 172
Root-wood, 261, 262
Roovere, Sara de, 257
Rost, John, 77
Rozmital, Leo van, 33
Rubens, 131, 132–3, 135–7, 157–8, 203;
——, house of, 132–4;
—— pupils of, 136, 137;
—— School of, 94
Ruckers, Andreas, 127–8;
——, Andreas the Younger, 128;
——, Christofel, 128;
——, Hans, 125–6;
——, Jean, 126–7
Rugs, 7
Sablière, Marchioness de, 230
Sacerdan. _See_ Sacredaan
Sacredaan-wood, 143, 189, 197, 198, 229, 255, 256, 257, 266, 268
Sadeler, Ægidius, 106, 107
Saffron-pots, 228
Saint-Florent of Saumur, Monastery of, 19;
—— Gertrude, Louvain, 77–8;
—— Waltrude in Herentals, altar-piece, 5
_Salutation angélique_, The, 9–10
Salviati, 73
Sambin, Hughes, 85–6
Samedo, quoted, 218–9
Sandom, 53
Sarto, A. del, 73
Schelden, Paul van, 78;
——, Peter van, 78
Scheldein, Jean van der, 122
Schentz, P., 166
School of Fontainebleau, 92;
—— of Liège, 306;
—— of Lille, 300, 306;
—— of Rhine, 25;
—— of Rubens, 94
Scent-boxes, 263
Schubler, 301
Serlio, Sebastian, 74, 87, 92
_Serviettes_, 72
Settle. _See_ _Banc_
Shah Rukh, 205
Sheldon, William, 77
Ships, Portuguese, 208–9
Show-rooms, 194, 195–6
Sideboards, 12, 14–5, 201
Sidney, Henry, 239
Silk manufactory, Palermo, 18
Silver, 35, 39–40, 41, 45, 60, 150, 199, 201, 242, 243, 260–1, 269
_Singerie_, 270, 300. _See_ Monkeys
Shaw’s _Travels Through Holland_, quoted, 303
Sluter, Nicholas, 47, 49, 50
Smet, Roger de, 53
Smout, Williken, 48
Smuggling, 302
Sopha, The, 273
South Kensington Museum, 24
Soutman, Peter, 165
Spanish Armada tapestry, 157;
—— chair, 160–1;
—— influence in the Netherlands, 98–9
Spenser, 21
Spierinck, Franz, 77, 157
Spinets, 124, 267
Staete, P. de, 51
Stavelot, 25
Steen, Jon, 250, 252, 253, 254, 327
Steen Museum, The, 88
Steenberch, Adam, 51
Stedelijk Museum, 309
_Stoef._ _See_ Foot-stove
Stool, 16, 47
Stradan, J., beds by, 109
Stuarts as art connoisseurs, 249, 280
Style, Auricular, 111, 166–7, 300;
——, Chinese, 127, 305 (_see_ _Chinoiserie_);
——, Classic, 65;
——, Empire, 310;
——, Floris, 102–3;
——, Gothic, 62, 65, 77–8, 82–3, 105, 108, 133;
——, Henri II., 83;
——, —— Louis Quatorze, 270 272;
—— Louis Quinze, 270, 300, 301, 306, 309;
——, Marot, 267;
——, Pointed, 3;
——, Queen Anne, 224, 276, 309;
—— Refugié, 272–3, 284;
——, Regency or Régence, 267;
—— Rubens, 132, 136, 142, 165;
——, William and Mary, 274
Sultan Bajazet, 36–7
Sumptuary Laws, 288
Sybrandszoon, Diderik, 83
Table in Utrecht Museum, 310
Tables, 7, 15, 111–2, 141–2, 266, 277–8;
Table-bell, 268;
—— -carpet, 263;
—— -cover, 263;
—— and trestles, 53
Taillebert, V., 122
Tapestry, Tapestries, 6, 17–8. 19–22, 36–7, 39, 44, 53–9, 69–70, 72–7,
100–1, 154–8, 304–5. _See_ Leather.
—— weavers, 19–21, 57–9, 156–7, 304
_Tapisserie._ _See_ Tapestry
Tea, 204, 226, 230;
——, afternoon, 229–30;
—— buffet, 228;
——, Dutch poet on, 230;
—— pots, 228;
—— room, 227–9;
—— sets, 228;
—— table, 228
_Tenières_, 156
Teniers, 156, 250, 254
Terburg, 250, 253
Terme, 94
Tetzel, quoted, 33
Textiles, 18, 292–3
Theophilus, 23
Theorbo, 129
Thornhill, Sir James, 276
Thuys, J., 166
Tiles, 179, 180
Titian, 73, 161
Toilet-table, 262–3
Tournay, 20, 21, 25, 32
Toys, 173–4, 176, 242, 244, 321
Trade with the East, 64, 207, 208, 213, 214–20, 226, 237–8, 287,
288–92, 299;
—— _and Navigation of Great Britain Considered_, 302, 303
Travellers, 205;
—— in Holland, quoted, 183–7
_Trekschuyt_, The, 322
Trestles, 7, 53
Trèves, 39
Troost, Cornelis, 301
Trundle-bed, 266
Trunk, 12
Tulips, 204
Turquet, Pierre, 53
Turkey-work, 243
Tverff, J. van der, 165
Unteutsch, F. 166
Upholstery, 234, 274
Utrecht Museum, 173, 310;
——, Peace of, 310
Valance, 245
Valenciennes, looms, 58
Valentin d’Arras, 59
Van Dyck, 157
Van Eycks, The, 54, 55, 58
Van Varick, Mrs., possessions, 241–6, 260;
——, toys of, 176
Van Loo, 305
Varnish-tree, 296
Vasari, quoted, 75–6
Vases, 278
Velasquez, 161
Venice, 23, 27, 64, 208
Venetian glass, 117, 264, 265
Verberckt, Jacques, 306
Verbrugghen, Peter, 138
_Verdures_, 156
Verhagen, 221
Vermay, Jan, 76
_Vernis Martin_, 298
Veronese, Paul, 73
Verrio, 282
Versailles, 272, 306
Vestibule, 179
Vigarny, P., 52
Villain, Jehan, 61
Vilvorde Church, 139
Vinckboons, Philip, 169, 171
_Viol da gamba_, 129
Violet-wood, 268
Virginals, 126, 127
Vischer, G., 166;
Visscher, Roemer, quoted, 264
Vlaenders, Jan, 51
Voeren, G. van der, 62
_Voorhuis_, The, 179, 194, 227, 257
_Voyeuse_, 113
Vriendt, Cornelius de, 102;
——, Floris de, 102
Vries, Hans Vredemann de, 94, 95, 103–6, 109, 141, 142, 165, 203;
——, Paul de, 104, 120
Vrij, De, 255
Vroom, H. C. de, 157
Waydere, M. de, 78
Wall-cabinets, 115
Walnut, 84, 158, 268
Wars of the Roses, 64
Washing of linen, 318
Watches, 267
Watervliet, Van, 89
Watteau, 300, 305
Waulsort, 25
Waydere, M. de, 78
Weenix, 250, 254
Wernier, 304
Werve, Nicholas van de, 47, 50
Westerhem, J. de, 39
Westerhen, Roger, 48
Weyden Roger, van der, 55
Wilhelmina, 170
William III. of England, 231, 273, 279, 297;
—— and Mary Style, 274
Willow Plate, 287
Windebank, Sir F., 127
Window-seats, 11
Windows, glass, 118;
——, painted, 181
Winter, Antony, 166
Wood-carvers, 50–3, 62;
—— -carving, 2, 6, 7, 49, 78, 122, 138, 146;
—— -work, 8, 11–2.
_See_ Panelling
Woods, 257, 268;
——, exotic, 158
Work-boxes, 263
Workmen, 8, 28
Workum, 318
Wren, Sir Christopher, 280, 282
Ypres, 32;
——, looms, 58;
——, St. Martin’s, 122
_Butler and Tanner, The Selwood Printing Works, Frome, and London_
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Did not change the word ‘jouées’ as it was used consistently. The
word ‘joues’ might be more appropriate.
2. "In Bruitlaen" might be an English-pseudo-phonetic transcription of
"In Bruikleen" (On Loan). Did not change.
3. Jehan/Jan/Jean Maluel/Malouel and Hennequin/Hannequin van/of/de
Prindale/Prindael are likely two separate individuals. They are
considered sometimes as the same person and sometimes as different
persons. Did not change.
4. Did not attempt to correct any English translation errors from the
Dutch.
5. Did not change ‘daïs’ as it is an old spelling of ‘dais’.
6. Changed ‘Itedelijk’ to ‘Stedelijk’ on p. vii.
7. Changed ‘Aubri de Bourguinon’ to ‘Aubri de Bourguignon’ on p. 37.
8. Changed ‘maestra di panni de razza’ to ‘maestra di panni de arazzi’
on p. 59.
9. Changed ‘Turween’ to ‘Terween’ on p. 82.
10. Changed ‘Judocus Hondius’ to ‘Jodocus Hondius’ on p. 107.
11. Added ‘in’ before ‘1589’ on p. 116.
12. Changed ‘tart pannen’ to ‘taart pannen’ on p. 151.
13. Did not change the dates (1689–98) provided for Heinrich van Bein on
p. 166. Could not determine the actual lifespan.
14. Changed ‘studied with Diamonds’ to ‘studded with Diamonds’ on p.
185.
15. Changed ‘They left the Texel’ to ‘They left Texel’ on p. 215.
16. Changed ‘household gods’ to ‘household goods’ on p. 242.
17. Silently corrected typographical errors.
18. Retained anachronistic and non-standard spellings as printed.
19. Enclosed italics font in _underscores_.
20. Superscripts are denoted by a carat before a single superscript
character or a series of superscripted characters enclosed in
curly braces, e.g. M^r. or M^{ister}.
End of Project Gutenberg's Dutch and Flemish Furniture, by Esther Singleton