III Stuart or Jacobean. Seventeenth Century
James I. 1603-1625.
Charles I. 1625-1649.
The Commonwealth. 1649-1660.
1619. Tapestry factory established at Mortlake, under Sir Francis Crane.
—— Banqueting Hall added to Whitehall by Inigo Jones.
1632. Vandyck settled in London on invitation of Charles I.
1651. Navigation Act passed; aimed blow (1572-1652) at Dutch carrying trade. All goods to be imported in English ships or in ships of country producing goods.
With the advent of the House of Stuart the England under James I. saw new fashions introduced in furniture. It has already been mentioned that the greater number of old houses which are now termed Tudor or Elizabethan were erected in the days of James I. At the beginning of a new monarchy fashion in art rarely changes suddenly, so that the early pieces of Jacobean furniture differ very little from Elizabethan in character. Consequently the Court cupboard, dated 1603, and mirror of the same year (illustrated on p. 70), though bearing the date of the first year of the reign of James, more properly belong to Tudor days.
In the Bodleian Library at Oxford there is preserved a chair of fine workmanship and of historic memory. It was made from the oak timbers of the Golden Hind, the ship in which Sir Francis Drake made his adventurous voyage of discovery round the world. In spite of many secret enemies “deaming him the master thiefe of the unknowne world,” Queen Elizabeth came to Deptford and came aboard the Golden Hind and “there she did make Captain Drake knight, in the same ship, for reward of his services; his armes were given him, a ship on the world, which ship, by Her Majestie’s commandment, is lodged in a dock at Deptford, for a monument to all posterity.”
It remained for many years at Deptford dockyard, and became the resort of holiday folk, who made merry in the cabin, which was converted into a miniature banqueting hall; but when it was too far decayed to be repaired it was broken up, and a sufficient quantity of sound wood was selected from it and made into a chair, which was presented to the University of Oxford. This was in the time of Charles II., and the poet Cowley has written some lines on it, in which he says that Drake and his Golden Hind could not have wished a more blessed fate, since to “this Pythagorean ship”
“... a seat of endless rest is given
To her in Oxford, and to him in heaven—”
which, though quite unintentional on the part of the poet, is curiously satiric.
The piece is highly instructive as showing the prevailing design for a sumptuous chair in the late seventeenth century. The middle arch in the back of the chair is disfigured by a tablet with an inscription, which has been placed there.
Of the early days of James I. is a finely carved oak table, dated 1616. This table is heavily moulded and carved with garlands between cherubs’ heads, and shields bearing the arms of Thomas Sutton, the founder of the Charterhouse Hospital. The upper part of the table is supported on thirteen columns, with quasi-Corinthian columns and enriched shafts, standing on a moulded H-shaped base. It will be seen that the designers had not yet thrown off the trammels of architecture which dominated much of the Renaissance woodwork. The garlands are not the garlands of Grinling Gibbons, and although falling within the Jacobean period, it lacks the charm which belong to typical Jacobean pieces.
At Knole, in the possession of Lord Sackville, there are some fine specimens of early Jacobean furniture, illustrations of which are included in this volume. The chair used by King James I. when sitting to the painter Mytens is of peculiar interest. The cushion, worn and threadbare with age, is in all probability the same cushion used by James. The upper part of the chair is trimmed with a band of gold thread. The upholstering is red velvet, and the frame, which is of oak, bears traces of gilding upon it, and is studded with copper nails. The chair in design, with the half circular supports, follows old Venetian patterns. The smaller chair is of the same date, and equally interesting as a fine specimen; the old embroidery, discoloured and worn though it be, is of striking design and must have been brilliant and distinctive three hundred years ago. The date of these pieces is about 1620, the year when the “Pilgrim Fathers” landed in America.
From the wealth of Jacobean furniture at Knole it is difficult to make a representative selection, but the stool we reproduce (p. 90) is interesting, inasmuch as it was a piece of furniture in common use. The chairs evidently were State chairs, but the footstool was used in all likelihood by those who sat below the salt, and were of less significance. The stuffed settee which finds a place in the billiard-room at Knole and the sumptuous sofa in the Long Gallery, with its mechanical arrangement for altering the angle at the head, are objects of furniture difficult to equal. The silk and gold thread coverings are faded, and the knotted fringe and gold braid have tarnished under the hand of Time, but their structural design is so effective that the modern craftsman has made luxurious furniture after these models.
Carved oak chests were not largely made in Jacobean days—not, at any rate, for the same purpose as they were in Tudor or earlier times. As church coffers they doubtless continued to be required, but for articles of domestic furniture other than as linen chests their multifarious uses had vanished. Early Jacobean coffers clearly show the departure from Elizabethan models. They become more distinctly English in feeling, though the interlaced ribbon decoration, so frequently used, is an adaptation from French work, which pattern was now becoming acclimatised. The French carved oak coffer of the second half of the sixteenth century (illustrated p. 61) shows from what source some of the English designs were derived.
In the portion of the French door which we give as an illustration (on p. 91), it will be seen with what grace and artistic excellence of design and with what restraint the French woodcarvers utilised the running ribbon. The ribbon pattern has been variously used by designers of furniture; it appears in Chippendale’s chair-backs, where it almost exceeds the limitations of the technique of woodcarving.
Art in the early days of Charles I. was undimmed. The tapestry factory at Mortlake, established by James I., was further encouraged by the “White King.” He took a great and a personal interest in all matters relating to art. Under his auspices the cartoons of Raphael were brought to England to foster the manufacture of tapestry. He gave his patronage to foreign artists and to foreign craftsmen, and in every way attempted to bring English art workers into line with their contemporaries on the Continent. Vandyck came over to become “Principal painter of Their Majesties at St. James’s,” keeping open table at Blackfriars and living in almost regal style. His grace and distinction and the happy circumstance of his particular style being coincident with the most picturesque period in English costume, have won him a place among the world’s great painters. Fine portraits, at Windsor and at Madrid, at Dresden and at the Pitti Palace, at the Louvre and in the Hermitage at Petersburg, testify to the European fame of the painter’s brilliant gallery representing the finest flower of the English aristocracy, prelates, statesmen, courtiers and beautiful women that were gathered together at the Court of Charles I. and his Queen Henrietta Maria.
In Early Stuart days the influence of Inigo Jones, the Surveyor of Works to Charles I., made itself felt in woodwork and interior decorations. He was possessed with a great love and reverence for the classicism of Italy, and introduced into his banqueting hall at Whitehall (now the United Service Museum), and St. Paul’s, Covent Garden, a chaster style, which was taken up by the designers of furniture, who began to abandon the misguided use of ornament of later Elizabethan days. In the Victoria and Albert Museum is an oak chair with the arms of Thomas Wentworth, first Earl of Strafford, which, in addition to its historic interest, is a fine example of the chair of the period of Charles I. (illustrated p. 93).
It is certain that the best specimens of Jacobean furniture of this period, with their refined lines and well-balanced proportions, are suggestive of the stately diction of Clarendon or the well-turned lyrics of Herrick.
In the illustration of a sixteenth-century chair in common use in Italy, it will be seen to what source the Jacobean woodworkers looked for inspiration. The fine, high-backed oak Stuart chair, elaborately carved with bold shell and scroll foliage, having carved supports, stuffed upholstered seats, and loose cushion covered in old Spanish silk damask, is a highly interesting example. It was long in the possession of the Stuart MacDonald family, and is believed to have belonged to Charles I.
The gate-leg table, sometimes spoken of as Cromwellian, belongs to this Middle Jacobean style. It cannot be said with any degree of accuracy that in the Commonwealth days a special style of furniture was developed. From all evidence it would seem that the manufacture of domestic furniture went on in much the same manner under Cromwell as under Charles. Iconoclasts as were the Puritans, it is doubtful whether they extended their work of destruction to articles in general use. The bigot had “no starch in his linen, no gay furniture in his house.” Obviously the Civil War very largely interfered with the encouragement and growth of the fine arts, but when furniture had to be made there is no doubt the Roundhead cabinetmaker and the Anabaptist carpenter produced as good joinery and turning as they did before Charles made his historic descent upon the House in his attempt to arrest the five members.
There is a style of chair, probably imported from Holland, with leather back and leather seat which is termed “Cromwellian,” probably on account of its severe lines, but there is no direct evidence that this style was peculiarly of Commonwealth usage. The illustration (p. 97) gives the type of chair, but the covering is modern.
That Cromwell himself had no dislike for the fine arts is proved by his care of the Raphael cartoons, and we are enabled to reproduce an illustration of a fine old ebony cabinet with moulded front, fitted with numerous drawers, which was formerly the property of Oliver Cromwell. It was at Olivers Stanway, once the residence of the Eldred family. The stand is carved with shells and scrolls, and the scroll-shaped legs are enriched with carved female figures, the entire stand being gilded. This piece is most probably of Italian workmanship, and was of course made long before the Protector’s day, showing marked characteristics of Renaissance style.
The carved oak cradle (p. 107), with the letters “G. B. M. B.” on one side, and “October, 14 dai,” on the other, and bearing the date 1641, shows the type of piece in common use. It is interesting to the collector to make a note of the turned knob of wood so often found on doors and as drawer handles on untouched old specimens of this period, but very frequently removed by dealers and replaced by metal handles of varying styles, all of which may be procured by the dozen in Tottenham Court Road, coarse replicas of old designs. Another point worthy of attention is the wooden peg in the joinery, securing the tenon into the mortice, which is visible in old pieces. It will be noticed in several places in this cradle. In modern imitations, unless very thoughtfully reproduced, these oaken pegs are not visible.
In the page of Jacobean chairs showing the various styles, the more severe piece, dated 1623, is Early Jacobean, and the fine unrestored armchair of slightly later date shows in the stretcher the wear given by the feet of the sitters. It is an interesting piece; the stiles in the back are inlaid with pearwood and ebony. The other armchair with its cane panels in back is of later Stuart days. It shows the transitional stage between the scrolled-arm type of chair, wholly of wood, and the more elaborate type (illustrated p. 123) of the James II. period.
In addition to the finer pieces of seventeenth-century furniture to be found in the seats of the nobility, such as at Penshurst, or in the manor houses and homes of the squires and smaller landowners, there was much furniture of a particularly good design in use at farmsteads from one end of the country to the other, in days when a prosperous class of yeoman followed the tastes of their richer neighbours. This farmhouse furniture is nowadays much sought after. It was of local manufacture, and is distinctly English in its character. Oak dressers either plain or carved, were made not only in Wales—“Welsh Dressers” having become almost a trade term—but in various parts of England, in Yorkshire, in Derbyshire, in Sussex, and in Suffolk. They are usually fitted with two or three open shelves, and sometimes with cupboards on each side. The better preserved specimens have still their old drop-handles and hinges of brass. It is not easy to procure fine examples nowadays, as it became fashionable two or three years ago to collect these, and in addition to oak dressers from the farmhouses of Normandy, equally old and quaint, which were imported to supply a popular demand, a great number of modern imitations were made up from old wood—church pews largely forming the framework of the dressers, which were not difficult to imitate successfully.
The particular form of chair known as the “Yorkshire chair” is of the same period. Certain localities seem to have produced peculiar types of chairs which local makers made in great numbers. It will be noticed that even in these conditions, with a continuous manufacture going on, the patterns were not exact duplicates of each other, as are the machine-made chairs turned out of a modern factory, where the maker has no opportunity to introduce any personal touches, but has to obey the iron law of his machine.
As a passing hint to collectors of old oak furniture, it may be observed that it very rarely happens that two chairs can be found together of the same design. There may be a great similarity of ornament and a particularly striking resemblance, but the chair with its twin companion beside it suggests that one, if not both, are spurious. The same peculiarity is exhibited in old brass candlesticks, and especially the old Dutch brass with circular platform in middle of candlestick. One may handle fifty without finding two that are turned with precisely the same form of ornament.
The usual feature of the chair which is termed “Yorkshire” is that it has an open back in the form of an arcade, or a back formed with two crescent-shaped cross-rails, the decorations of the back usually bearing acorn-shaped knobs either at the top of the rail or as pendants. This type is not confined to Yorkshire, as they have frequently been found in Derbyshire, in Oxfordshire, and in Worcestershire, and a similar variety may be found in old farmhouses in East Anglia.
In the illustration of the two oak chairs (p. 105), the one with arms is of the Charles I. period, the other is later and belongs to the latter half of the seventeenth century.
The Jacobean oak cupboard (illustrated p. 101) is in date about 1620. At the side there are perforations to admit air, which shows that it was used as a butter cupboard. The doors have an incised decoration of conventional design. The lower part is carved in style unmistakably Jacobean in nature. The pattern on the two uprights at the top is repeatedly found in pieces evidently designed locally for use in farmhouses.
It is not too much to hope that enough has been said concerning Jacobean furniture of the early and middle seventeenth century to show that it possesses a peculiar charm and simplicity in the lines of its construction, which make it a very pleasing study to the earnest collector who wishes to procure a few genuine specimens of old furniture, which, while being excellent in artistic feeling, are not unprocurable by reason of their rarity and excessive cost. It should be within the power of the careful collector, after following the hints in this volume, and after examining well-selected examples in such a collection as that at the Victoria and Albert Museum, to obtain, without unreasonable expenditure, after patient search, one or two Jacobean pieces of undoubted authenticity.