. The book of decorative furniture, its form, colour and history . nders, though they practised their craft inFrance; whilst the very name of the Verbruggens, who are associatedwith Venetian work, betrays their Netherlands ancestry. Dutch furniture from the entry of the style of William the Thirdsgreat antagonist Louis Quatorze shows less independence in a decor-ative sense: a love of convex curves and rotundity is discernible—endorsing the cynic theory that aesthetic predilections are influencedby tlie looking-glass. Many Bombe piecescertainly have quite a burgomaster air. It seems conclusive
. The book of decorative furniture, its form, colour and history . nders, though they practised their craft inFrance; whilst the very name of the Verbruggens, who are associatedwith Venetian work, betrays their Netherlands ancestry. Dutch furniture from the entry of the style of William the Thirdsgreat antagonist Louis Quatorze shows less independence in a decor-ative sense: a love of convex curves and rotundity is discernible—endorsing the cynic theory that aesthetic predilections are influencedby tlie looking-glass. Many Bombe piecescertainly have quite a burgomaster air. It seems conclusive to the writerthat Flanders and Holland followedclosely behind Venice, and precededFrance, in the making of the sombreinlaid ebony work which we have notedas characteristic of the Italian mobiliarystyles and the Gallic modes of HenriQuatre and Louis Treize. Towards theend of the latter reign the Dutchappear to have made metal and redshell marqueterie, in crude anticipationof Boulles methods. Holland and the more Celtic andCatholic Flanders — whose boundaries. WALNUT INLAID BUREAU. FLEMISH. LATESEVENTEENTH CENTURY. 300 DECORATI^^E FURNITURE were practically identical with those of Belgium of the present dayuntil the advent of Louis xiv.—had been the equals or leaders ofFrance in the evolution of mobiliary modes. Both became imitators of the contemporary styles of Louis xiv.,XV., and xvi. In Holland the indi-viduality of the people still impresseditself upon their styles ; but in Flanders,owing perhaps in part to greater affinity,and in part to political causes, moreliteral methods prevailed. The pre-eminence of the Netherlandsin oil painting, due in large measureto the Van Eycks introduction of themodern method, was utilised by its greatpainters to depict scenes of home life. Indeed, no nation has beenmore fortunate in this respect; the canvases of Teniers, Maes, Metsu,Jan Steen, Gerard Terburg, and others being trustworthy chronicles ofcontemporary home equipments. Our na
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Keywords: ., bookcentury1900, bookdecade191, booksubjectdecorationandornament
