Old Country Life

But to this arrangement followed another, more practical and convenient, that of having a grand corridor up-stairs, out of which opened the doors of the bedrooms; or, where there was a glazed-in quadrangle with staircase and landings around it, there the doors of the bedrooms opened from these landings. The corridor was used as a room for dancing, or for music, or for games; it was the recreation place of the house on a rainy day. Being up-stairs, and away from library and parlours, the young people might skip, and play blind-man's buff, dance, and disturb no one; nor was there much furniture in these corridors to stand in the way and get knocked over.

This corridor is a feature of an old house so very dear to young folks, and so very advantageous to their health, that it is a pity in our modern houses we have got rid of it.

A word on the furniture of our old country houses must not be omitted. Unfortunately there set in at the beginning of this century a most detestable fashion in furniture, absolutely void of taste; and to make room for the villainous articles then imported into our old country houses, much beautiful old work was turned out, very often was given to servants when they married. The consequence is, that much of it passed into cottages, where it soon got destroyed. It was not only old carved oak that was cast forth, for much of that had been got rid of in the Georgian epoch, but even the beautiful polished wood cabinets, chests of drawers, and Chippendale chairs of a more recent period.

Of early furniture, I mean mediæval, little remains in our houses, for one reason, because there was in them very little. The era of furniture was begun with the Tudor monarchs; it was all of oak, and the carving was influenced much by Holbein, who inspired artists with admiration for German Renaissance. Cabinets with architectural façades and heavy oak furniture continued in the Elizabethan and Stuart periods. The date of a chair can be told approximately by the position of the rail binding together the legs. The primary object of this brace was, to hold the legs firmly, but it was also found to possess the not less important advantage of providing a person sitting in the chair with the means of keeping his feet from the cold stone-slabbed pavement. When boarded floors came into fashion, it became no longer necessary to have the front brace of the chair placed so near the floor, and to give more freedom to the feet it was gradually heightened. Some time after this the side braces were raised to the same level as the front brace, and later still, as the first necessity for their use was gradually lost sight of, they were dispensed with altogether. This was the first step towards the bad system of construction now almost universally practised, of leaving the legs of chairs without any support at their lower extremities. At the beginning of this century a still further deviation from right principles ensued. The legs of chairs were made to curve, and often to curve in such a manner as to make them unserviceable for supporting the weight reposed upon them.

"Let us examine an old oak chair, and see how it was constructed. In the first place, we shall find that the whole of the work is executed in solid oak, the uprights forming the back, and the back legs being made of one continuous piece; this at once gives strength and backbone to the whole structure. The framework holding the seat is next securely tenoned, and pinned with oaken pegs into the four legs, thus binding the whole of the parts firmly together. Even at this stage we have a far more strongly constructed piece of work than the modern chair when quite completed; the old workman, however, not content with this, next turned his attention to the weakest part of all – the feet of the chair – and securely fastened them together about three or four inches from the floor with four strong braces, tenoning each brace at both ends into the legs of the chair, and securing it, as before, with oaken pegs. This last addition made the whole a perfectly strong and almost indestructible piece of framing, and constitutes one of the most essential differences in the construction of ancient and modern furniture. The legs of most modern chairs are made to depend entirely for strength on their hold, at one end, to the framing of the seat of the chair, into which they are generally only glued. The legs of the ancient chair, on the other hand, are secured at both ends; and the four braces connecting them together act as struts as well as ties; they form an admirable protection against any blow the chair may receive at its lower extremities. Many of the old chairs constructed on these excellent principles are now in good condition, after nearly two hundred years of daily use."[2]

In mediæval times there were trestles and boards for a dining-table; but in Chaucer's time fixed tables were coming into use. He tells how that in the rich and luxurious Franklin's house there were —

"Alle deyntees that men cowde thynke,* * * * * *His table dormant in his halle alwayStood redy covered al the longe day."

The "table dormant" was used only by very rich people; it was a new fashion at the close of the fourteenth century, and was expensive. It took its name from the fact that it was slept upon at night; it served as a bed for one of the men who lay in the hall. This table consisted of a single long trestle with a plank on it. It had but two legs, one at each end, and a beam between supported by struts. But at the same time that these tables came into fashion, another variety was in use, supported by a pair of short trestles at each end. The top of this table was also formed of planks, but they were hinged together so as to be easily folded up and removed, when additional space was required. A table of this kind is referred to by Shakespeare in Romeo and Juliet, when, as Capulet enters the hall with his guests, he exclaims —

"Come, musicians, play.A hall! a hall! give room, and foot it, girls.More light, you knaves; and turn the tables up."

A remarkably cleverly constructed table of the reign of Elizabeth exists at Slade in South Devon. It is based on the plan of the table dormant, but is convertible into a settle when no longer required as a table; the planking rests on the settle arms when serving for a board, and slides back and assumes an erect position when required as a settle back.

A "drawing-table" was a third variety. It was one that was square framed, but could be drawn out at both ends, so as to nearly double its normal length.

In a paper on 'Our Household Furniture,' contributed to the Art Journal by Mr. G. T. Robinson, an illustration of one of these tables is given; and in speaking of the ingenuity displayed in the construction of the sliding leaves, he says, "The whole mechanism is admirably considered for the purpose it has to fulfil. Indeed its adaptation for its purpose was so good that the principle was long retained; and Sheraton, so late as the commencement of the present century, advocates its use for many writing or other tables, and gives the rule for finding the exact rake of the slides, and the technical details of all the other parts."

It is difficult to understand why so admirable and simple an arrangement was abandoned, for anything more clumsy and unsatisfactory than the method adopted in our modern dining-room tables for accomplishing a similar result can hardly be imagined.[3] The only modern examples I have seen are some manufactured by a firm in Brussels (Wattier, Steenpoort).

I confess that I look back with regret to the old highly polished mahogany table for dessert. The modern system of covering the table with white, and strips of coloured silk, and setting it with sprigs of ferns and flowers is very pretty, but then for the sake of this prettiness we are letting the polish of our tables go down. Hardly anywhere now does the butler care to keep up the polish of the table; he used to take a pride in it, now he knows that it is never seen. Yet I know of two or three old country houses into which the Russian fashion has not penetrated, and where even to this day the mahogany is shown, and shines like a mirror.

"Hail, good comrades, every one,Round the polished table;Pass the bottle with the sun,Drink, sirs! whilst ye're able.Life is but a little span,Full of painful thinking;Let us live as fits a man,No good liquors blinking!"

So sang our grandfathers; but the song has gone out with the polished table, and with the polished table the quiet enjoyable drinking of good port and sherry after the retirement of the ladies. The cigarette is lighted – and who can enjoy port with the air full of its perfumes? – and no sooner is the wine begun to be appreciated, than the tray of coffee is presented, dug into the side, as a reminder that now-a-days the pleasant hour with good wine and agreeable male companions is cut down to a quarter of an hour – has gone out of fashion, along with the polished table, and we must away into the drawing-room to talk empty nothingnesses, and listen to bad music.

But we must not spend too much time over tables and chairs. Marquetry became the fashion under William and Mary, when upright clocks, bureaux, and chairs were thus decorated. Under Louis XIV. a new style of decoration was introduced by one André Charles Buhl, who gave his name to it. He was chief upholsterer to the king, and his rich and brilliant marquetry of tortoise-shell and brass, so combined as to form figures and subjects, was extensively used in the furnishing of the new palace at Versailles.

The fashion extended to England, and where tortoise-shell was not employed, the ground was gilt, then painted over with black, leaving a pattern in gold uncovered, and the whole was washed over with a reddish-brown lacquer, which gave the effect of tortoise-shell. Spaces thus treated were relieved by raised work in wood carved and gilt in relief, in representation of Buhl's brass work. We find this chiefly in mirror and picture-frames.

Then followed the reign of Louis XV., the age of rococo, of shell-shaped curves set against each other back to back. It may have been barbarous, but it was rich and beautiful. Then walls were painted white and picked out with gold, the clearest, most brilliant, turquoise-blues and rose-carmines came in. Painters devoted themselves to the decoration of panels in the walls of rooms and to ceilings, the dessus-de-portes

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Footnote_1_1

Foster, Baronetage, 1880. See Chaos, p. 653.

Footnote_2_2

Examples of Carved Oak Woodwork, by W. Bliss Sanders. London: 1883.

Footnote_3_3

Mr. Bliss Saunders gives details of one of these in the work above referred to.