DOI issue:
No. 64 (July, 1898)
DOI article:Scott, Mackay H. Baillie: Some furniture for the New Palace, Darmstadt
DOI Page / Citation link:https://doi.org/10.11588/diglit.21969#0114
Furniture for the New Palace, Darmstadt
to exalt its native brightness. The chair on page 91
is chiefly noticeable for the treatment of the seat,
which consists of a piece of leather slung as it
were in the wooden frame and left to take its own-
natural curve. Here the woodwork is in oak
stained green; the leather back and seat are also-
green picked out with red and pink, and relieved
by the silvery brightness of the studs. One may
note how the leather of the back is left to take its-
natural line between the studs on the edges, and
how much this little detail of manufacture adds to-
the character of the chair.
The third chair illustrated shows a modification,
of a design by Mr. Ashbee which formed such a.
notable feature at a recent Arts and Crafts exhibi-
tion. Here again woodwork and back are stained
green—the leather picked out with ruby, and the-
cushions of a green and blue shot Morris damask.
The octagonal table on page 92 is in a lighter-
shade of green than the
other furniture, the relief
for the brighter colouring,
of the decoration being,
produced by a dark back-
ground of a circular form-
on each of its panels.
Here the ivory lilies-
are in toned white on a
black ground, slightly-
modelled in relief and-
tipped with orange. The
top of this table is inlaid-
in tones of green with a.
pattern of hearts.
The kettle on a stand
is carried out in wrought-
iron and copper, and,
apart from its obvious-
usefulness in its position-
on the wide hearth, it
holds and reflects the-
brightness of the fire,
and gives that peculiar-
air of domestic comfort
which is always associated-
with a kettle.
The secretaire presents-
the same severity and
simplicity of outline as-
the music cabinet, with a
somewhat similar colour
scheme of green-stained
oak with ivory and inlaidi
DESIGNED BY M. H. BAILLIE SCOTT WOods.
are of ivory, which is inlaid and slightly modelled
in low relief. The metal work is in bright steel
pierced, and repousske, and is fixed on purple leather,
which gives a note of colour behind the pierced
metal work.
The form of the small semicircular writing-chair
on page 92 was suggested by a tapestry panel by
Sir Edward Burne-Jones, which was illustrated in a
previous number of The Studio. It is peculiarly
adapted for a position in a room where the back
view of a chair is of perhaps more importance than
the front view. Its vertical bars are adorned with
inlaid wood of counterchanging shades of dark and
light green, culminating in a rose-coloured flower
head; and between these bars one catches glimpses
of bright colour in the cushion. Here one may
note in passing the value which is given to colour
seen in this way between bars of a deeper tone, and
how such interpositions, instead of marring, serve but
93
to exalt its native brightness. The chair on page 91
is chiefly noticeable for the treatment of the seat,
which consists of a piece of leather slung as it
were in the wooden frame and left to take its own-
natural curve. Here the woodwork is in oak
stained green; the leather back and seat are also-
green picked out with red and pink, and relieved
by the silvery brightness of the studs. One may
note how the leather of the back is left to take its-
natural line between the studs on the edges, and
how much this little detail of manufacture adds to-
the character of the chair.
The third chair illustrated shows a modification,
of a design by Mr. Ashbee which formed such a.
notable feature at a recent Arts and Crafts exhibi-
tion. Here again woodwork and back are stained
green—the leather picked out with ruby, and the-
cushions of a green and blue shot Morris damask.
The octagonal table on page 92 is in a lighter-
shade of green than the
other furniture, the relief
for the brighter colouring,
of the decoration being,
produced by a dark back-
ground of a circular form-
on each of its panels.
Here the ivory lilies-
are in toned white on a
black ground, slightly-
modelled in relief and-
tipped with orange. The
top of this table is inlaid-
in tones of green with a.
pattern of hearts.
The kettle on a stand
is carried out in wrought-
iron and copper, and,
apart from its obvious-
usefulness in its position-
on the wide hearth, it
holds and reflects the-
brightness of the fire,
and gives that peculiar-
air of domestic comfort
which is always associated-
with a kettle.
The secretaire presents-
the same severity and
simplicity of outline as-
the music cabinet, with a
somewhat similar colour
scheme of green-stained
oak with ivory and inlaidi
DESIGNED BY M. H. BAILLIE SCOTT WOods.
are of ivory, which is inlaid and slightly modelled
in low relief. The metal work is in bright steel
pierced, and repousske, and is fixed on purple leather,
which gives a note of colour behind the pierced
metal work.
The form of the small semicircular writing-chair
on page 92 was suggested by a tapestry panel by
Sir Edward Burne-Jones, which was illustrated in a
previous number of The Studio. It is peculiarly
adapted for a position in a room where the back
view of a chair is of perhaps more importance than
the front view. Its vertical bars are adorned with
inlaid wood of counterchanging shades of dark and
light green, culminating in a rose-coloured flower
head; and between these bars one catches glimpses
of bright colour in the cushion. Here one may
note in passing the value which is given to colour
seen in this way between bars of a deeper tone, and
how such interpositions, instead of marring, serve but
93