DOI Page / Citation link:
https://doi.org/10.11588/diglit.1398#0170
PLATE 155.
A CABINET IN THE MEDIEVAL STYLE,
BY MESSES. HAELAND & FISHES, LONDON.
T) EM ARK ABLE progress was evinced in the adaptation of the Mediaeval style to the wants
n
of the present day, by the contributions which formed the Mediaeval section of Class 30
(Furniture). Among them were particularly noticeable the cabinets executed by Messrs. Harland
& Fisher, from the designs of Mr. W. Burges, architect; and painted by Messrs. Poynter,
Westlake, Rosetti, and other rising artists.
The particular work we have illustrated is an escritoire in the Eai'ly English style, designed
by Mr. Burges and painted by Mr. E. Poynter. It was about seven feet in height, constructed
of pine-wood framework with mahogany panels, and painted in oil with the following subjects
illustrative of the story of Cadmus. On the panels to the left are seen—1st. Cadmus preparing
to attack the dragon who guarded the sacred water; 2nd. the dragon's teeth sown by Cadmus in the
earth spring up as armed men ; 3rd. Mercury and Apollo, Minerva and Ceres, attending on the
espousal of Cadmus with Hermione, daughter of Mars and Venus; 4th. Cadmus and the Thebans.
Below these are medallions containing heads of Pericles and Anaxagoras the philosopher; the former
having the inscription, "0 Anaxagoras! I am sorry to see thee starving;" to which the latter
replies, " They who want light should give oil to the lamp." In the centre Dante is seen
composing his "Divina Commedia:" an Assyrian sculptor and a printer; with a border beneath
of Porcupines " regardant." This portion of the escritoire opens, and inside are pigeon-holes
for papers, ranged above the writing-table. The dormers of the roof also open as drawers,
with the days of the week on one side, and of the month on the other. The gable-ends are
also painted with allegorical figures of history and poetry respectively; an illustration of the
story of Europa, the sister of Cadmus, being placed beneath the former; whilst Cadmus and
Hermione, changed into serpents, are placed beneath the latter: the remaining portion of the
escritoire is covered with fiat painted decoration; the inside is lined with crimson velvet,
studded with brass-headed nails, and on the sides are these words, " Herbert Geo. Tetman caused
me to be made in the year of our Lord 1858."
Mr. Burges was awarded a medal by the International Jury of Class 30 for painted and
decorative furniture, and other important works executed from his designs; one of the best in
decorative furniture being a buffet, painted in oil, with the combat of Sir Bacchus and the
redoubtable Sir John Barleycorn, by Mr. Poynter. Some of the emblematic heads on this piece—
Pale Ale, Sherry, Port, &c.—were marked by much individuality, and the entire effect was very
rich and harmonious. It has been purchased for the South Kensington Museum. Mr. Burges
was also the designer of a fine stone chimney-piece, the frieze of which was carved by Mr. Philp,
with subjects from the legend of St. Neot. This, and an inlaid wood table, representing the
wheel of Fortune, executed by Mr. J. G. Crace, was made for Colonel Cocks's mansion in Cornwall.
The finest composition to our mind was, however, one intended for the reredos of Waltham
Abbey, lately restored by Mr. Burges, representing the Angel appearing to the Shepherds, and the
Adoration of the Magi, excellently carved by Mr. T. Nicholls.
In following up this peculiar style of painted furniture, Mr. Burges has apparently been guided,
in a great measure, by the early examples which have lately attracted the notice of Mediaeval
architects and of archaeologists, and which have been illustrated by M. Viollet-le-Duc in his
" Dictionnaire raisonne du Mobilier Franeais ; " M. Csesar Daly, in the " Revue de 1'Architecture; "
and M. Didron, in the "Annales Archeologiques." We allude especially to the cabinet of the
13th century preserved in the cathedral of Bayeux, and that of Noyon, of somewhat later date,
composed, like the one we have illustrated, in the form of a building, and covered externally and
internally with paintings on canvas of saintly legends and single figures. This fashion appears
to have died out during the next century, and was succeeded, to a great extent, by carved
work; nor do we think, except in peculiar cases, that it is a fashion which will ever be revived
to any extent; since to be good it must be costly; and if good, it is more liable to injury than
is consistent with its value.
11
A CABINET IN THE MEDIEVAL STYLE,
BY MESSES. HAELAND & FISHES, LONDON.
T) EM ARK ABLE progress was evinced in the adaptation of the Mediaeval style to the wants
n
of the present day, by the contributions which formed the Mediaeval section of Class 30
(Furniture). Among them were particularly noticeable the cabinets executed by Messrs. Harland
& Fisher, from the designs of Mr. W. Burges, architect; and painted by Messrs. Poynter,
Westlake, Rosetti, and other rising artists.
The particular work we have illustrated is an escritoire in the Eai'ly English style, designed
by Mr. Burges and painted by Mr. E. Poynter. It was about seven feet in height, constructed
of pine-wood framework with mahogany panels, and painted in oil with the following subjects
illustrative of the story of Cadmus. On the panels to the left are seen—1st. Cadmus preparing
to attack the dragon who guarded the sacred water; 2nd. the dragon's teeth sown by Cadmus in the
earth spring up as armed men ; 3rd. Mercury and Apollo, Minerva and Ceres, attending on the
espousal of Cadmus with Hermione, daughter of Mars and Venus; 4th. Cadmus and the Thebans.
Below these are medallions containing heads of Pericles and Anaxagoras the philosopher; the former
having the inscription, "0 Anaxagoras! I am sorry to see thee starving;" to which the latter
replies, " They who want light should give oil to the lamp." In the centre Dante is seen
composing his "Divina Commedia:" an Assyrian sculptor and a printer; with a border beneath
of Porcupines " regardant." This portion of the escritoire opens, and inside are pigeon-holes
for papers, ranged above the writing-table. The dormers of the roof also open as drawers,
with the days of the week on one side, and of the month on the other. The gable-ends are
also painted with allegorical figures of history and poetry respectively; an illustration of the
story of Europa, the sister of Cadmus, being placed beneath the former; whilst Cadmus and
Hermione, changed into serpents, are placed beneath the latter: the remaining portion of the
escritoire is covered with fiat painted decoration; the inside is lined with crimson velvet,
studded with brass-headed nails, and on the sides are these words, " Herbert Geo. Tetman caused
me to be made in the year of our Lord 1858."
Mr. Burges was awarded a medal by the International Jury of Class 30 for painted and
decorative furniture, and other important works executed from his designs; one of the best in
decorative furniture being a buffet, painted in oil, with the combat of Sir Bacchus and the
redoubtable Sir John Barleycorn, by Mr. Poynter. Some of the emblematic heads on this piece—
Pale Ale, Sherry, Port, &c.—were marked by much individuality, and the entire effect was very
rich and harmonious. It has been purchased for the South Kensington Museum. Mr. Burges
was also the designer of a fine stone chimney-piece, the frieze of which was carved by Mr. Philp,
with subjects from the legend of St. Neot. This, and an inlaid wood table, representing the
wheel of Fortune, executed by Mr. J. G. Crace, was made for Colonel Cocks's mansion in Cornwall.
The finest composition to our mind was, however, one intended for the reredos of Waltham
Abbey, lately restored by Mr. Burges, representing the Angel appearing to the Shepherds, and the
Adoration of the Magi, excellently carved by Mr. T. Nicholls.
In following up this peculiar style of painted furniture, Mr. Burges has apparently been guided,
in a great measure, by the early examples which have lately attracted the notice of Mediaeval
architects and of archaeologists, and which have been illustrated by M. Viollet-le-Duc in his
" Dictionnaire raisonne du Mobilier Franeais ; " M. Csesar Daly, in the " Revue de 1'Architecture; "
and M. Didron, in the "Annales Archeologiques." We allude especially to the cabinet of the
13th century preserved in the cathedral of Bayeux, and that of Noyon, of somewhat later date,
composed, like the one we have illustrated, in the form of a building, and covered externally and
internally with paintings on canvas of saintly legends and single figures. This fashion appears
to have died out during the next century, and was succeeded, to a great extent, by carved
work; nor do we think, except in peculiar cases, that it is a fashion which will ever be revived
to any extent; since to be good it must be costly; and if good, it is more liable to injury than
is consistent with its value.
11