. The book of decorative furniture, its form, colour and history . r pearls of irregular shape), wood was little inevidence, save as a framework for the setting of mosaicor pietra dura. Almost as typical of the Italian work of this period, as of theprevious century, are the carved walnut wood chairs of the typeshown on page 121, practically formed of four pieces of solid was in these chairs that the barocco made its decadent appearancefirst, as they were entirely dependent upon the carver, whose work,unrestrained by the cabinetmakers straight lines, grew more andmore florid and riotous
. The book of decorative furniture, its form, colour and history . r pearls of irregular shape), wood was little inevidence, save as a framework for the setting of mosaicor pietra dura. Almost as typical of the Italian work of this period, as of theprevious century, are the carved walnut wood chairs of the typeshown on page 121, practically formed of four pieces of solid was in these chairs that the barocco made its decadent appearancefirst, as they were entirely dependent upon the carver, whose work,unrestrained by the cabinetmakers straight lines, grew more andmore florid and riotous. The large carved and gilt lanterns, whetherused upon the gondola, in the house, or the church, are peculiarlyVenetian features. Much as one would like to dwell upon later phases of the historyof beautiful woodw^ork in Italy, one cannot disregard the fact thatItaly—from the middle of the sixteeenth century at latest—no longerheld undisputed supremacy in the arts of decorative furnishing. ToFrance henceforth, if precedence be allotted, must it be given : the. ITALIAN CHAIR. OLDCOLNE PRIORY. 20-2 DECORATIVE FURNITURE story of beautiful woodwork upon the Continent has therefore mainly-been continued in our surveys of French mobiliary work from thedays of Henri Quatre and Louis Treize.
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Keywords: ., bookcentury1900, bookdecade191, booksubjectdecorationandornament
