DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1311#0237
202 . THE GREAT EXHIBITION
architecture, but of placing it in a position in which, it has never yet stood; but there are
particluar circumstances in connexion-with manufactured art which should be guarded
against, although not precisely in the manner urged by those who deny the value of
multiplication of copies. As for the collection of grates, ironmongery, furniture, and all
those objects which afford interest to the architect, they could not be viewed without
advantage—since the greatest difficulty is often felt in obtaining knowledge of the exist-
ence of particular inventions and contrivances. As a complete collection of these things,
the Exhibition was, of course, not to be regarded. It is from the uses of the Exhibition, *
on which we have dwelt above, that its chief value will be felt.
CHAPTER XXVIII.
DECOEATIVE FURNITURE AND UPHOLSTERY, PAPER-HANGING, ETC.—Juries' Meports.
CABINET FURNITURE, EARLY ACCOUNT OF—ITALIAN, FRENCH, GERMAN, AND ENGLISH WORK—
FIRST INTRODUCTION OF MAHOGANY—MiBQUETERIE INLAY—TARSIA-WORK—BUHL INLAY----
MOSAIC INLAY—PARQUETERIE—PORCELAIN INLAY----MECHANICAL ACTION IN CABINET WORK----
BILLIARD-TABLES—DECORATIONS----IMITATIONS OE WOODS AND MARBLES----PAINTED BLINDS----
WAX-CLOTH HANGINGS—PAPER-HANGINGS, YABIOUS KINDS----MODE OE MANUFACTURE----MODE
OF PRINTING—BEAUTIFUL SPECIMENS OF LANDSCAPE PAPERS, "ETC.
It is important, both for strength and good effect of furniture, that the principles of
sound construction be well carried out; that the construction be evident, and that, if
carving or other ornament be introduced, it should be by decorating that construction
itself, not by overlaying it and disguising it. It is not necessary that an object be
covered with ornament, or be extravagant in form, to obtain the element of beauty:
articles of furniture are too often crowded with unnecessary embellishment, which, besides
adding to their cost, interferes with their use, purpose, and convenience. The perfection
of art manufacture consists in combining, with the greatest possible effect, the useful with
the pleasing; and the execution of this can generally be most successfully carried out
by adopting the simplest process.
The jury, though fully sensible of the great beauty of many of the ornamental works
in furniture collected at the Exhibition, yet regret that there have not been more
specimens of ordinary furniture for general use; works whose merits consist in correct
proportion, simple but well-considered design, beauty of material, and perfect workman-
ship. Few have the means of purchasing such beautiful works as the sideboard of
M. Fourdinois, or the cabinets of M. Ringuet-Leprince, which come almost under the
head of fine art, rather than of manufacture; and it is much to be desired that attention
be directed towards improving the taste of those more ordinary objects that come into
daily use by the many.
Cabinet furniture first became an article of general luxury about the beginning of the
sixteenth century. At this period inlaid, as well as richly-carved furniture, was manu-
factured in Italy, and exported to various parts of Europe. Among the works exhibited
by Italy, some were distinguished by great excellence, particularly in the carved examples.
M. A. Barbetti, from Florence, exhibited a casket of great merit, most elaborately carved,
introducing bas-reliefs of figures, ornaments, chimeras, &c. A large cheval-screen frame,
\)j Luigi Marchetti, of Sienna, was very beautifully wrought with delicate ornaments, of
architecture, but of placing it in a position in which, it has never yet stood; but there are
particluar circumstances in connexion-with manufactured art which should be guarded
against, although not precisely in the manner urged by those who deny the value of
multiplication of copies. As for the collection of grates, ironmongery, furniture, and all
those objects which afford interest to the architect, they could not be viewed without
advantage—since the greatest difficulty is often felt in obtaining knowledge of the exist-
ence of particular inventions and contrivances. As a complete collection of these things,
the Exhibition was, of course, not to be regarded. It is from the uses of the Exhibition, *
on which we have dwelt above, that its chief value will be felt.
CHAPTER XXVIII.
DECOEATIVE FURNITURE AND UPHOLSTERY, PAPER-HANGING, ETC.—Juries' Meports.
CABINET FURNITURE, EARLY ACCOUNT OF—ITALIAN, FRENCH, GERMAN, AND ENGLISH WORK—
FIRST INTRODUCTION OF MAHOGANY—MiBQUETERIE INLAY—TARSIA-WORK—BUHL INLAY----
MOSAIC INLAY—PARQUETERIE—PORCELAIN INLAY----MECHANICAL ACTION IN CABINET WORK----
BILLIARD-TABLES—DECORATIONS----IMITATIONS OE WOODS AND MARBLES----PAINTED BLINDS----
WAX-CLOTH HANGINGS—PAPER-HANGINGS, YABIOUS KINDS----MODE OE MANUFACTURE----MODE
OF PRINTING—BEAUTIFUL SPECIMENS OF LANDSCAPE PAPERS, "ETC.
It is important, both for strength and good effect of furniture, that the principles of
sound construction be well carried out; that the construction be evident, and that, if
carving or other ornament be introduced, it should be by decorating that construction
itself, not by overlaying it and disguising it. It is not necessary that an object be
covered with ornament, or be extravagant in form, to obtain the element of beauty:
articles of furniture are too often crowded with unnecessary embellishment, which, besides
adding to their cost, interferes with their use, purpose, and convenience. The perfection
of art manufacture consists in combining, with the greatest possible effect, the useful with
the pleasing; and the execution of this can generally be most successfully carried out
by adopting the simplest process.
The jury, though fully sensible of the great beauty of many of the ornamental works
in furniture collected at the Exhibition, yet regret that there have not been more
specimens of ordinary furniture for general use; works whose merits consist in correct
proportion, simple but well-considered design, beauty of material, and perfect workman-
ship. Few have the means of purchasing such beautiful works as the sideboard of
M. Fourdinois, or the cabinets of M. Ringuet-Leprince, which come almost under the
head of fine art, rather than of manufacture; and it is much to be desired that attention
be directed towards improving the taste of those more ordinary objects that come into
daily use by the many.
Cabinet furniture first became an article of general luxury about the beginning of the
sixteenth century. At this period inlaid, as well as richly-carved furniture, was manu-
factured in Italy, and exported to various parts of Europe. Among the works exhibited
by Italy, some were distinguished by great excellence, particularly in the carved examples.
M. A. Barbetti, from Florence, exhibited a casket of great merit, most elaborately carved,
introducing bas-reliefs of figures, ornaments, chimeras, &c. A large cheval-screen frame,
\)j Luigi Marchetti, of Sienna, was very beautifully wrought with delicate ornaments, of