In Volume I., dealing with the oak period, we traced the evolution of
the chest of drawers from the simple chest or coffer, first by the
addition of an under-drawer to the coffer; then, the main body of the
chest being subdivided into convenient drawers (with the consequent
disappearance of the lid), we had the primitive form of the chest of
drawers, the term "chest" still clinging--apparently for all time--to
the structure.
The earlier chests of drawers, dating from about the middle of the
seventeenth century, were comparatively small, usually with raised
panels or mouldings; occasionally we find them with decorations of
simple carved scroll-work and guilloche banding. The prolongation of the
stiles to form feet, as in the simple chest, had disappeared in favour
of bracketed corners or ball feet, as in Figs. 50 and 51.
Fig. 50 represents an interesting chest of drawers, simple in outline
but elaborately decorated. The top is inlaid _en parterre_ with four
corner scroll designs and a centre design of birds, flowers, and fruit,
in ebony and laburnum wood on a ground of holly. A delicately cut
laurel-leaf band of inlay (shaded with hot sand) frames the top, sides,
and drawer fronts. It belongs approximately to about 1680. The
dimensions are fairly typical for the period, being 36 in. high, 39 in.
wide, and 23 in. deep.
Fig. 51 is of rather unusual form, having three large drawers in the
upper portion and one long drawer under, which is capped by a bold
moulding. The oblong panel decorations consist of marquetry designs of
conventional flowers in ebony, holly, rose, and laburnum woods. This
also belongs to the year 1680; 41 in. high, 40 in. wide, and 23 in.
deep. It has a value of about eighteen guineas.
Marquetry began to come into favour in this country about 1675-1680. We
quote Mr. Pollen, who says: "At first the chief motives in design appear
to have been acanthus leaves, figures, and arabesques, under Italian and
French influence: a little later, designs of flowers and birds, treated
in a more realistic fashion, were introduced by the Dutch. Finally,
about 1700, these two styles passed into an English style of very
delicate leaf-work of conventional form, often intricately mingled with
scrolls and strap-work; and geometrical designs were used." Mr.
Macquoid remarks that "investigation proves that, compared with the
English manufacture, Dutch marquetrie is always duller in colour and
more disconnected in design."
Late in the seventeenth and early in the eighteenth centuries we find
the chests of drawers raised on twisted or turned legs, which are fixed
to a shallow plinth or joined near the ground by shaped stretchers. For
the first-named type we refer readers to Fig. 52, a specimen at the
Victoria and Albert Museum. It is built of pinewood overlaid with lignum
vitæ, sycamore and walnut, in small roundish pieces cut across the
grain. The top is further decorated with sycamore bands arranged in two
concentric circles in the centre, surrounded by intersecting segments.
In the corners are quadrants. Each side has a large circle of similar
materials. The structure is 3 ft. 8 in. high and 3 ft. 4 in. wide. It
cost the museum £10 in 1898.
Fig. 53, another dwarf chest of drawers of the same period, also at the
museum, is of oak and pine veneered with various woods. This is an
excellent example illustrating the amount of labour expended by the
craftsmen of the day on the early examples of veneering. On the face of
the top drawer alone there are no less than twenty large and
thirty-three small pieces of veneer, exclusive of the bordering. The
feet are very unusual, having a curiously booted appearance, with the
soles clearly indicated. This and the previous example bear the brass
drop handles and fretted escutcheons of the period. Great variety is
displayed in these brass fitments. The handles more often are of
elongated pear shape, but occasionally resemble a flattened flower-bud.
The ring handles appeared somewhat later.
As types of the chests of drawers on legs we give two illustrations.
Fig. 54, from a photograph supplied by Messrs. Hampton and Sons Ltd.,
Pall Mall, represents a fine specimen of veneered work of the William
and Mary period. The figuring in the walnut veneer is very good and
finely matched. The stand is tall, with but one long shallow drawer. The
turned legs are particularly graceful in outline. It will be noticed
that the inverted cup detail is repeated in the china cabinet (Fig. 69),
amongst the illustrations of lacquered furniture.
Fig. 55 possesses twisted legs, a survival of the Stuart period proper.
During the reign of William and Mary and that of Anne, we are, strictly,
still in the Stuart period--the two queens being wholly and William half
Stuart. With the abdication of James II. there was a change in the
temper of the people and a comparatively abrupt change in the furniture.
In the chest under discussion the upper portion is severely plain,
whilst the lower half or stand is of particularly graceful outline. We
see how the stand is gradually being brought into requisition, not only
as a stand, but to hold extra drawers--quite small drawers at first. The
lifting of the central arch and consequent shallowing of the
corresponding small drawer give a pleasing diversity of line. This
structure is scarcely a "tallboy," being rather a chest of drawers on a
stand; and the stand, more than anything (as in the previous
illustration), points to the reign of William and Mary. This piece is in
the possession of Mr. F. W. Phillips, of the Manor House, Hitchin. The
owner values it at ten guineas.
Something more nearly approaching the genuine "tallboy" is shown in the
coloured frontispiece. Here we have the stand growing deeper and
containing five small drawers. The angular-kneed cabriole legs denote
the period--about 1710, the middle of Queen Anne's reign. The veneer is
of richly figured walnut banded with herring-bone inlay. It is furnished
with brass handles and engraved escutcheons.
We begin to see how increasing wealth in clothes called for more
commodious furniture. This piece has six drawers in the upper carcase in
addition to the five small ones in the stand: altogether a very
considerable storage capacity as compared with the dumpy chests of
drawers of earlier make.
By easy stages we arrive at the tallboy pure and simple, sometimes
called "double chest" or "chest on chest." The term "tall" is obvious,
but "boy" is not so clear.
The tallboy was purely the outcome of a demand for something more
commodious than the early form. It was made in two sections, mainly for
convenience in moving, and partly, by breaking up the lines, to lighten
the appearance of what would otherwise be a somewhat ungainly structure.
There is scarcely room for much variation in form, and the tallboys of
the Queen Anne and early Georgian period are very much of one family.
Fig. 56 is of walnut-wood bordered with a herring-bone banding of
yew-wood. A lightness is given to the upper portion by the corners being
canted and fluted. The oval ring plates are a pleasing feature. This
double chest of nine drawers stands 69 in. high. A well-preserved
specimen of this calibre would have a value of from ten to fifteen
guineas.
Fig. 57 is a less pretentious tallboy chest of six drawers, valued at
ten guineas, in the possession of Mr. J. H. Springett, of High Street,
Rochester. Like the majority of these old veneered walnut chests, the
drawer fronts and sides of the main structure are veneered on pine,
whilst the bodies of the drawers are of oak. The fretted escutcheons and
cusped handles (unfortunately not quite uniform) are exceptionally good.
There is interesting documentary evidence connected with this old piece
of furniture. Pasted on the back of the bottom drawer is the maker's
label, yellow with age. At the top of the label are engraved designs of
an elaborate cabinet and four coffins; underneath is printed the
following legend:
"John Knowles Cabinet Maker and Sworn Appraiser, at the Cabinet and four
Coffins in Tooley Street Southwark maketh and selleth all sorts of
Cabinets and joiners goods, Viz Cabinets scruetores, desk and book
cases, bewrowes, chests of draws and all sorts of tables as wallnut tree
mehogny, wainscot and Japan'd. All sorts of corner Cubbords looking
glasses and sconces and all other joiner's goods made and sold both
wholesale and retail at reasonable rates. Likewise funerals decently
furnished."
We have not been able to unearth any other record of John Knowles. His
name does not appear in the first edition of the London Directory, a
very small volume published in 1731, nor in any subsequent edition up to
1771. The style of printing and archaic spelling, however, would point
to a date fairly early in the eighteenth century, probably during the
reign of George I. The mention of "mehogny" practically precludes an
earlier date than 1715-20.
In the earlier days--away back in the thirteenth and fourteenth
centuries--the wardrobe was a special room, fitted with closets set
apart for the storage of clothes. All through Tudor times the coffer was
in use, and was all-sufficient to hold the clothes and household linen.
We find in Jacobean times the coffer growing into the chest of drawers,
and, in addition, tall hanging-cupboards were coming into use. But it is
not till the reign of Queen Anne--the walnut period--that we find the
prototype of the present-day wardrobe, with its roomy drawers,
hanging-cupboards, and numerous shelves.
The inspiration of this eminently useful article came from Holland. It
is made usually of oak and pine veneered with walnut and, as often as
not, inlaid with marquetry. The upper storey consists of small drawers
and shelves enclosed by two doors and surmounted by a curved cornice,
the lower portion being a chest of three or four long drawers.
Even the admittedly English-made specimens are so extremely Dutch in
appearance, that it is probable the majority were designed and made by
the Dutchmen who came over in the train of William III. We give an
example in Fig. 58 of an inlaid hanging-press or wardrobe, showing
decidedly Dutch influence in the lower portion, particularly noticeable
in the protruding knees set at an angle of forty-five degrees. The
marquetry designs of vases and flowers are also of Dutch type. It is of
average size, being 91 in. high, 66 in. wide, and 22 in. deep. As with
the other furniture of the walnut period, the early wardrobes were
extremely solid and dignified in appearance. The modern maker has made
improvements as to interior fittings, but on general principles the old
pieces leave little or nothing to be desired. The old-time craftsman was
conscientious in his work. We do not find the doors flying open unasked;
the drawers have no nasty habits of refusing to open or close. The Queen
Anne or early Georgian wardrobe, which is sound to-day, bids fair to
outlive our great-grandchildren, and should be cheap at its average
selling-price--say, twenty to thirty pounds.
The china cabinet came in with the craze for Oriental porcelain. We
shall have more to say upon this subject in the chapter on lacquer.
Fulham stoneware, Bristol and Lambeth "Delft" and other early English
"Clome" had no claim on cabinet space. The more pretentious pieces, when
not in actual use, adorned the court cupboard and sideboard cheek by
jowl with the family silver or pewter. In the main, all pottery was for
use rather than ornament until the blue-and-white and _famille verte_
arrived from China, and we shall scarcely find a glazed china cabinet
earlier than the Orange accession. Many of the William and Anne bureaux
were surmounted by cabinets, the doors glazed with panes of glass set in
designs consisting of small squares or oblongs with larger sexagonals or
octagonals. This form was used either as a bookcase or a china cabinet.
Unglazed corner cupboards, often bow-fronted and lacquered, made to hang
in the angle of the wall, were for storage, rather than display, of
china. Another variety of corner cupboard made to stand on the floor has
a glazed upper storey. These belong to the varieties of furniture used
by the middle classes, whilst the cabinet of the china collector would
be an imposing structure of more elegant design surmounted on legs
joined by shaped stretchers. We give an example in the chapter on
lacquer.
Fig. 59 is an example of a china cabinet in marquetry work, with
scrolled cornice, two glazed doors, two cupboards, bracketed base, and
shaped under-framing. This piece has a value of about £30.
The walnut period is rich in cabinets, which were used for the storage
of papers and valuables--structures quite distinct from the
writing-desks of the period. Some types will be found in the
illustrations to the chapter on lacquered furniture. It must be borne in
mind that the lacquering was often but an afterthought decoration.
Scrape away the pseudo-Chinese decoration and we shall probably find the
beautiful old walnut veneer.