The mirror, at the present time, is so generally an accepted necessary
of life, and so indispensable in many of its situations, that it may
seem remarkable that not until the sixteenth century was it in anything
like general use in England. The pleasure and interest of reflection
must have been felt from the time when "the reindeer roared where Paris
roars to-night." Still water must have been the first mirror of the
first man and woman in which they discovered their astonished faces, and
where it is possible that, like Narcissus, they fell in love with their
own reflections. Thus we find Eve saying in "Paradise Lost":
I thither went
And with unexperienced thought, and laid me down
On the green bank; to look into the clear
Smooth lake, that to me seem'd a second sky.
As I bent down to look, just opposite,
A shape within the wat'ry gleam appear'd,
Bending to look on me.
No doubt a reflecting surface was one of the first things that human
ingenuity concerned itself about. Brass mirrors were used by the
Hebrews, and mirrors of bronze by the Egyptians, Greeks, and Romans;
surviving specimens may be seen in the museums. Silver mirrors were also
used in very early times. Glass mirrors are also of ancient origin.
Sauzay, in his work on "Glass-making," quotes from Aristotle as follows:
"If metals and stones are to be polished to serve as mirrors, glass and
crystal have to be lined with a sheet of metal to give back the image
presented to them." And here we have the foreshadowing of the
mercury-backed sheet of glass of modern times.
In England mirrors of polished metal were well known in Anglo-Saxon
times, and from the twelfth to the fifteenth centuries the ladies
carried mirrors at their girdles or in their pockets. Venice has always
been the home of glass-work, and it was there, in the early fourteenth
century, that the immediate prototypes of our modern glass mirrors were
made. For something like a century and a half the Venetians had the
monopoly of the making of the best mirrors. Their secrets were carefully
guarded, and any workman emigrating had his nearest relative imprisoned.
It is interesting to note in passing that in Jan van Eyck's picture in
the National Gallery, London, painted in 1434, there is a framed convex
wall mirror which has an astonishingly modern look. It is difficult to
say whether or not this is made of glass, but it shows, of course, that
mirrors were used for wall decoration at that time. This picture, by the
way, is very interesting, as providing undeniable evidence as to the
nature of the Dutch furniture of the early fifteenth century.
As regards the early history of the mirror in Britain, there is a glass
mirror in Holyrood Palace in the apartments used by Queen Mary the First
and said to have belonged to her. At Hampton Court there are mirrors
belonging to the period of William III. and later, some of which have
bevelled edges and borders of blue glass in the form of rosettes. Glass
mirrors were made in England by Italian workmen early in the seventeenth
century, but not extensively until about 1670, when the Duke of
Buckingham established works in Lambeth, where mirrors were made. The
edges were bevelled in Venetian fashion. We find Evelyn writing in his
diary under date of September 19, 1676:
"To Lambeth to that rare magazine of marble, to take order for chimney
pieces, &c, for Mr. Godolphin's house. The owner of the workes had built
for himselfe a pretty dwelling house; this Dutchman had contracted with
the Genoese for all their marble. We also saw the Duke of Buckingham's
Glass Worke, where they made high vases of metal as cleare, ponderous
and thick as chrystal; also looking-glasses far larger and better than
any that come from Venice."
As will be seen at Hampton Court, the glass in each of the large mirrors
of this time is in two pieces, for the reason that, by the methods then
in use, it was not possible to make larger sheets. This method of making
mirrors in two pieces is followed even in the present day in modern
copies of old mirrors. It was, no doubt, a cause of regret to the old
makers that they could not turn out a large glass in one sheet, and they
would no doubt have been astonished to think that succeeding ages would
deliberately copy their defect. A collector will not, probably, come
across a mirror earlier than William and Mary, and he should have little
difficulty in finding genuine mirrors of the next reign--Queen
Anne--which are at once interesting and inexpensive. Mr. Clouston thinks
that "the wall mirrors of the Queen Anne period may very well rank with
the best furniture of their time. They are simple yet satisfying, and
rich without extravagance."
A mirror is not a mere looking-glass, although in this connection it has
always been greatly appreciated. Mirrors bring a sense of space to a
small room, and make a larger room appear more spacious. In the King's
writing-closet at Hampton Court there is a mirror over the chimney-piece
which provides a vista of all the rooms on the south side of the state
apartments. Great furniture-designers from the time of Grinling Gibbon
to that of Chippendale have appreciated the opportunities offered by
mirrors for the purposes of decoration.
Fig. 10 is a mirror-frame of carved limewood by Grinling Gibbon to be
seen in the Victoria and Albert Museum. It is a rich and wonderful
example of chisel play, but, like his work in general, does not satisfy
a taste which inclines to less resplendent decoration. Such a mirror is
probably not within the reach of any collector, great or small; and it
is even probable--at least as regards the small collector--that, if by a
stroke of fortune such a piece descended to him, he would find that it
would scarcely harmonise with any ordinary scheme of decoration. Its
presence would be as embarrassing as the entertainment of Royalty in a
suburban home.
The ordinary types--and they are many--of Queen Anne mirrors can with
perfect propriety find places in almost any room in any house of taste,
and on the walls of hall or staircase they are at once interesting and
decorative. Particularly are they in harmony with the surroundings of a
"Queen Anne" bedroom. In this connection, however, a word of warning is
in place regarding the old glass. This is very well on the wall mirrors,
but in the mirror for the toilet-table it should be replaced by new
glass. Nothing lasts for ever, and it is rare that the old glasses fully
retain their reflecting powers. Old mirrors are bad to shave by, and
are, moreover, extremely unpopular with ladies. The art of furnishing
consists of a tactful combination of whatever is best in the old and the
new.
Figs. 11 and 12 are simple mirrors of the Queen Anne period. Fig. 11 is
a wall glass with a pleasing scroll outline, and Fig. 12 is a
toilet-table glass characteristic of the period, the gilt inner moulding
or "embroidery" being an interesting feature. We find similar decorative
devices to the above on many of the mirrors of this time, and such
examples should be purchasable at about two guineas each.
Figs. 13 and 14 are more elaborate and expensive mirrors, the broken
pediments in each case suggesting the influence of Sir Christopher Wren.
Although the architectural inspiration, which was absolute in the Gothic
periods and strong in the Elizabethan, was very much less marked in the
time of Queen Anne, still the classical influence of Wren's Renaissance
style is shown in many ways, and particularly in the many varieties of
the broken pediment which are favourite forms of decoration for the tops
of mirror frames. Fig. 13, in addition to the broken pediment, is
decorated on the frame with egg-and-tongue mouldings, and on the base
with a bust of a cherub in high relief. Fig. 14 is surmounted by a
boldly carved figure of an eagle enclosed by the broken pediment. On
either side are carved festoons of fruit and flowers, possibly suggested
by the work of Grinling Gibbon. These important mirrors, interesting and
effective as they are, require large rooms to set them off.
Simple mirrors, as in Figs. 11 and 12, present no difficulties regarding
their disposal. The more elaborate ones, however, apart from their
expensiveness, should not be purchased unless there is a suitable place
in which to hang them. This suggests a maxim which applies to the
collection of any sort of furniture, viz. not to purchase any piece
until you have decided what to do with it. Adherence to this rule may
involve the occasional loss of a bargain, but it avoids confusion and
possible domestic complications. We knew an enthusiastic collector who
resisted the purchase of old examples with the greatest difficulty. His
wife, on the other hand, whilst appreciating possibly as keenly as her
husband the attractions of the antique, was also fastidious regarding
the prompt settlement of tradesmen's bills. The climax was reached one
day when the husband, instead of settling certain pressing accounts,
attended a sale and purchased an enormous Dutch wardrobe which was found
to be at least eighteen inches too tall for any room in the house.
Another form of decoration applied to mirror-frames of the Queen Anne
period was that known as "Gesso" work, whereby a design was built into
relief with layers of size and plaster applied with a brush. It gives
scope for delicate line work, and is often softer than carving. Figs. 15
and 16 are mirrors decorated with Gesso ornament, to which, however,
little justice can be done in a photograph.
Fig. 17 is a fine mirror of pinewood with Gesso ornamentation, in which
the broken pediment form has taken a somewhat fanciful shape.
In Fig. 18 the broken pediment appears in a more strictly architectural
form. This mirror, which is of painted pine, was formerly in the "Flask"
Tavern, Ebury Square, Pimlico. Although its date would be about 1700, it
is clearly in its mouldings reminiscent of the Jacobean period, which
style no doubt continued in popularity amongst the poorer classes. This
mirror is an interesting instance of the merging of the two styles.
Marquetry was also used on the mirror-frames of this period, an example
in a broad frame inlaid with a floral pattern being shown in Fig. 19.
This mirror was sold for seventeen guineas.
Fig. 20 is an example of a toilet mirror of the Queen Anne period, the
front of which lets down with a flap, after the manner of a bureau,
revealing a nest of drawers. This form of mirror is not often met with,
and an opportunity of acquiring one at a reasonable price should not be
neglected. Fig. 21 is of similar construction mounted on a stand, an
architectural touch being given by the pilasters on either side of the
mirror. This pattern is singularly simple and charming.
* * * * *
Stools of the period under review are generally difficult and somewhat
expensive to acquire, but these are not reasons for giving up hope. A
type of the William and Mary stool is shown in Fig. 22. The scrolled
feet and X-shaped stretcher are characteristic. Stools were very popular
articles of furniture at this time. We find them in numbers in
contemporary prints, and they continued to be used as seats at
meal-times, as no doubt (providing the table were low enough) they were
more comfortable than the stiff-backed chairs of the time. In the face
of decided evidence of their prevalence in the Queen Anne period, their
scarcity to-day is somewhat remarkable.
In the coloured frontispiece is shown a simple stool of the time of the
early Queen Anne period covered with Petit-point needlework, with which
the ladies of that period delighted to occupy themselves. This
needlework--which, in addition to being used as a covering for
furniture, was also framed to hang on the walls--is often patterned with
quaint trees, people, goats, dogs, and a sprinkling of lovers and birds.
A stool such as is shown in the frontispiece makes an admirable seat for
a knee-hole writing-table.
Fig. 23 is a large stool of the Queen Anne period with escallop-shell
decoration, cabriole legs and an early form of the claw-and-ball feet.
It is covered with contemporary needlework.
* * * * *
A Queen Anne bedroom conjures up the possibility of composing a charming
scheme of interior decoration. First it is necessary to face the
inevitable and accept the position that a modern bedstead is essential.
This should be made of walnut-wood, and the ends shaped after the
manner of the solid splats in the simple chairs of the period. Such
bedsteads are made by several of the good modern furniture firms. They
are not, of course, literal reproductions of the bedsteads of the
period, which were of the four-poster order, but they will be found to
be in good taste. Upon this bed should lie a reproduction of the
bed-covers of the period in a pattern boldly coloured and Oriental in
design. The floor should be covered by antique Persian rugs (or modern
reproductions). A walnut toilet-table should stand in the window (_see_
Fig. 64). Upon it should rest a toilet-glass (_see_ Fig. 12), and in
front of it, if possible, a stool covered with the needlework of the
period (_see_ Frontispiece). This stool will, however, be difficult to
obtain, and its place could be taken by a simple chair of the period
(_see_ Figs. 32 and 34). Two other simple chairs should find places
around the room, upon one side of which should be placed a walnut
tallboy (_see_ Fig. 56) surmounted by a piece of Chinese blue-and-white.
We cannot too strongly emphasise the desirability of associating old
Chinese blue-and-white pottery with eighteenth-century furniture. The
washstand of the period (too small to be efficient) should be replaced
by an unobtrusive wooden table painted white, the top of which should be
covered with tiles in a shade which does not disagree with a
reproduction of an old "Spode" or "Mason's Ironstone" toilet set.
Toilet sets, as we understand the term to-day, were unknown in the days
of Queen Anne. Common earthenware pitchers and basins, or at best
English and Dutch Delft, did duty until the rise of the great
Staffordshire factories late in the eighteenth century. Orignal "Spode"
or "Mason" ware would not be of earlier dates than 1770 and 1804
respectively, and so quite out of the Queen Anne period. We merely
mention these two styles of so-called "Indian" decorations as being most
suitable for the purpose in hand. We might, indeed, happen upon an
eighteenth-century blue-and-white service; but all these early ewers and
basins, like the early washstands, are altogether too diminutive for
modern requirements. The reproductions, whilst retaining the old
decoration, are built in more generous proportions.
For wall covering a plain white-or champagne-coloured paper might be
adopted, and for wall decoration one or two old mirrors (_see_ Figs. 11
and 15) and some reproductions of Dutch interiors by the old masters,
framed in broad black frames, would be in harmony with the surroundings.
A difficulty in composing a Queen Anne bedroom is to find a suitable
hanging wardrobe. The marquetry hanging-press or wardrobe of the
period, with its bombé-shaped lower section, is somewhat heavy in
appearance, except in a large room, and is, moreover, expensive to
acquire. Failing a hanging cupboard in the wall, a simple plain cupboard
should be built and painted white. Such a cupboard at least strikes no
false note, and is greatly to be preferred to a modern wardrobe or one
of another period.
In this connection a schedule of the cost to the authors of furnishing a
similar bedroom may be of interest.
£ s. d.
Walnut tallboy 10 10 0
3 simple Queen Anne chairs 9 0 0
1 " " toilet-table 5 0 0
1 " " toilet mirror 2 2 0
1 " " wall mirror 2 2 0
-------------
£28 14 0
The cost of such details as carpets, curtains, bed-covering, china, &c,
is not included.
To this, therefore, must be added the various modern reproductions,
including the bedstead: the total cost of the room would be about fifty
pounds. The result is, of course, a combination of the old and the
new--the best points of each being preserved--and the effect will be
found harmonious.