International studio . ISSANCE, IN THEMETROPOLITAN MUSEUM OFARTBY STELLA RUBINSTEIN Second Article* It is probably through the stalls that we canbest obtain an idea of the workmanship of thefurniture makers or huchiers of the Gothic-period. As these stalls were placed around thechoirs in the cathedrals it was naturally fitting *For first article, see the May issue. that they should harmonize with their surround-ings. The furniture makers displayed, therefore,their best talent in the construction of these arti-cles of furniture and consequently the choir stallsreflected to some extent the beaut
International studio . ISSANCE, IN THEMETROPOLITAN MUSEUM OFARTBY STELLA RUBINSTEIN Second Article* It is probably through the stalls that we canbest obtain an idea of the workmanship of thefurniture makers or huchiers of the Gothic-period. As these stalls were placed around thechoirs in the cathedrals it was naturally fitting *For first article, see the May issue. that they should harmonize with their surround-ings. The furniture makers displayed, therefore,their best talent in the construction of these arti-cles of furniture and consequently the choir stallsreflected to some extent the beauty of the won-derful cathedrals themselves. All the stalls that are to be found in France aremade of wood. This is different from the customin Italy and Sicily, where the climate is warmer,of constructing them of stone. In France theoldest stalls which come down to us are from thethirteenth century, but there is every reason tobelieve that they were in use long before thatdate. Among the stalls of the thirteenth century. French Furniture. Gothic and Renaissance are those of Notre Dame de la Roche and others.*The ones in the Metropolitan Museum, except forthe remnants of the- choir stalls of the Notre Damein Paris described in the first article, all belong tothe fifteenth century and with bu1 few exceptionscome from the Hoentschel Collection and form apart of the generous gift of J. Pierpont most important example consists of two ranksof oak stalls in which there are in all fourteenseat-. This represents a complete ensemble ofhigh and low stalls in the oldest method of ar-rangement. The stalls are elevated on a base andare surmounted by as many canopies as there are all low and formed of three separate parts, onepart showing three stalls, the other two and thethird one. They are all elevated on a base whichrests on two planks, one at each end. The archi-tectural composition of these stalls is still in thesame style as those designed by Villard de Honne-court in the thi
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
