DOI Page / Citation link:
https://doi.org/10.11588/diglit.68374#0011
THE SIXTEENTH CENTURY.
5
exaggerated, they lose all sense of quaintness, and are used in the place of columns. Mouldings
are heavy and too much ornamented, and as the century draws to a close, a gradual decadence
may be observed. None of the Plates illustrate this period, which the student should avoid.
Examples may be seen in the South Kensington Museum ; Cabinets Nos. 2787-56 and 8453-63,
Table 7215-60.
It must, however, be borne in mind that although some of the characteristics of the three
periods have been enumerated, the Francis I. style ran on through Henry II., as did that of
the latter into the succeeding reigns, and so forth. It is only certain innovations, which
become noticeable in each period, that enable one to make any distinction. This is only
natural when we consider that an artist like Bachelier of Toulouse was born in the reign of
Louis XII., and died only two years before the accession of Henry III., his life covering a
period of eighty-seven years.
We will now begin to consider the Plates in detail.
Plate XIX. consists of two fragments carved in walnut-wood. The top panel is the
front of a box or drawer. The carving is a quarter of an inch in relief. The modelling is
crude, but the simplicity of the treatment is excellent. This style of carving is very noticeable
in the early part of the sixteenth century, when the cuts of the tool were simple, and no over-
elaboration of the surface either by serrations or ribs was attempted. Compare this and
Plates XVII. to XX. with Plate XXXVII. (Third Series). The lower Panel on Plate XIX.
is probably the front of a small chest. It is carved all over with very delicate floral scroll-
work about one-eighth of an inch in relief. Notice, again, the simplicity of the foliage, which,
however, is modelled with more feeling than in the other example. The spiral lines are also
admirably treated, the middle of the spiral being flat, with a delicate groove on either side.
The student of wood carving should make a special study of the treatment of spiral
lines, which in the hands of the unskilled are apt to look hard and stringy, instead of being
graceful lines giving strength and continuity to the design. The most satisfactory treatment
is to outline the spiral with a fluter or veiner, using the sides of the tool to cant the edges.
The spiral then seems to blend with the background, and has not that detached look which
is so often noticeable when the edges are cut down vertically.
Plate XX. The panel at the top is carved in walnut-wood, and is seven-sixteenths of
an inch in relief. It is another good example of the simple sharp cutting of the work of the
early part of the sixteenth century. The long iron hinge bands are pierced with Gothic foliage.
The panel at the bottom is from a niche composed of four fluted columns with composite
capitals. The carving of the panel is from a quarter to one-sixteenth of an inch in relief.
The little column on the left is very typical of the style of carving introduced during
the reign of Henry II. The shell-like ornament above the flutes is produced by gouge cuts,
as are the leaves under the volutes.
Plate XXL contains four panels. The example at the top is part of a Frieze carved
in oak, and is typical of the carving of the time of Francis I. Compare it with Plate XVIII.
The relief of the carving is about half an inch. The two lower panels, with shields, are carved
in oak, and are good examples of the mouldings and cartouche work of the same period.
The relief of the carving is about one inch and one-eighth, and the outer moulding projects
about an eighth of an inch beyond this. Traces of colour are to be seen on the shieid. The
small centre panel is somewhat later, and belongs to the style of work largely associated with
IL C
5
exaggerated, they lose all sense of quaintness, and are used in the place of columns. Mouldings
are heavy and too much ornamented, and as the century draws to a close, a gradual decadence
may be observed. None of the Plates illustrate this period, which the student should avoid.
Examples may be seen in the South Kensington Museum ; Cabinets Nos. 2787-56 and 8453-63,
Table 7215-60.
It must, however, be borne in mind that although some of the characteristics of the three
periods have been enumerated, the Francis I. style ran on through Henry II., as did that of
the latter into the succeeding reigns, and so forth. It is only certain innovations, which
become noticeable in each period, that enable one to make any distinction. This is only
natural when we consider that an artist like Bachelier of Toulouse was born in the reign of
Louis XII., and died only two years before the accession of Henry III., his life covering a
period of eighty-seven years.
We will now begin to consider the Plates in detail.
Plate XIX. consists of two fragments carved in walnut-wood. The top panel is the
front of a box or drawer. The carving is a quarter of an inch in relief. The modelling is
crude, but the simplicity of the treatment is excellent. This style of carving is very noticeable
in the early part of the sixteenth century, when the cuts of the tool were simple, and no over-
elaboration of the surface either by serrations or ribs was attempted. Compare this and
Plates XVII. to XX. with Plate XXXVII. (Third Series). The lower Panel on Plate XIX.
is probably the front of a small chest. It is carved all over with very delicate floral scroll-
work about one-eighth of an inch in relief. Notice, again, the simplicity of the foliage, which,
however, is modelled with more feeling than in the other example. The spiral lines are also
admirably treated, the middle of the spiral being flat, with a delicate groove on either side.
The student of wood carving should make a special study of the treatment of spiral
lines, which in the hands of the unskilled are apt to look hard and stringy, instead of being
graceful lines giving strength and continuity to the design. The most satisfactory treatment
is to outline the spiral with a fluter or veiner, using the sides of the tool to cant the edges.
The spiral then seems to blend with the background, and has not that detached look which
is so often noticeable when the edges are cut down vertically.
Plate XX. The panel at the top is carved in walnut-wood, and is seven-sixteenths of
an inch in relief. It is another good example of the simple sharp cutting of the work of the
early part of the sixteenth century. The long iron hinge bands are pierced with Gothic foliage.
The panel at the bottom is from a niche composed of four fluted columns with composite
capitals. The carving of the panel is from a quarter to one-sixteenth of an inch in relief.
The little column on the left is very typical of the style of carving introduced during
the reign of Henry II. The shell-like ornament above the flutes is produced by gouge cuts,
as are the leaves under the volutes.
Plate XXL contains four panels. The example at the top is part of a Frieze carved
in oak, and is typical of the carving of the time of Francis I. Compare it with Plate XVIII.
The relief of the carving is about half an inch. The two lower panels, with shields, are carved
in oak, and are good examples of the mouldings and cartouche work of the same period.
The relief of the carving is about one inch and one-eighth, and the outer moulding projects
about an eighth of an inch beyond this. Traces of colour are to be seen on the shieid. The
small centre panel is somewhat later, and belongs to the style of work largely associated with
IL C