How to know period styles in furniture

Most books published on furniture are too voluminous for any one except the professional designer. Many of them are in a foreign language and they are invariably high in price.

It is the object of this book to arrange in a clear, practical way, a brief history of furniture, illustrating same with typical examples of each period and a brief description of each, so as to produce a handy reference for all who may wish to understand "Period Styles in Furniture."

A knowledge of period styles in furniture is as necessary to those who would properly furnish a home as a knowledge of grammar is to those who would speak correctly. All period styles have a history and an exceedingly interesting one. The historical styles in furniture are those that have stood the test of time; they were not created in a day, but were gradually developed to fit the needs of civilization and society; a change in government or religion has always been reflected in the character of the furniture. No new style has ever been created without a knowledge of some older one and probably never will be. The student of furniture may delve into the mysteries of design as deeply as he may desire and always find something interesting and instructive, but the busy man or woman, the clerk in the furniture store or the salesman on the road must have the information necessary for them to understand the general arrangement and characteristics of period styles placed before them in as brief and compact a manner as possible. It is believed that the following pages will accomplish this purpose in a better manner than any other book now published.

The history of furniture in those countries where it can be traced, closely follows the character, customs and environments of the people and corresponds in growth to the development of their civilization and refinement, the skill of their workmen and the use of improved tools, etc., etc.

In order to give a brief outline of its history from the oldest civilization to the present time, we will begin with Egypt.

There are very few original pieces of furniture of the early ages in existence and most of the information of this period is gathered from illustrations. However, owing to climatic and other conditions, a number of genuine specimens of Egyptian furniture have come down to us and we have a more complete record of the work of this country than many of the later nations.

The Assyrians, Babylonians and Jews, who were next in order, did not develop anything distinct in style, and have left very few specimens that can be attributed to them.

Next come the Greeks, whose work in classic art shows such an exquisite sense of beauty and form that their influence on succeeding styles has been very great. Roman art was greatly influenced by them but they added to it and developed certain characteristics of their own. One distinct feature of their work which differed from the Greeks, was their use of the round arch. The work of the Greeks and Romans form what is known as the Classic in architecture and furniture designing.

After the Roman came a style called Byzantine. Then the Moslem power arose and with it came the Islam style of ornament which was confined chiefly to floral and geometrical motives. The Moslem religion prohibited them from using human or animal forms in their designs. They also developed a peculiar style of pointed arch. Meanwhile classic art had begun to decay and a style arose called Gothic.

It spread all over Europe and was supreme for several centuries. Its distinguishing features were geometrical forms and the high pointed arch. It was distinctly an ecclesiastical style and was far more suited to architecture than furniture. During this period classic art was at a very low ebb, but a new movement began to be felt in every branch of industry and to this great revival the name of Renaissance had been given. It started in Italy the latter part of the fifteenth century and spread all over Europe continuing about one hundred years. At this time great progress had been made in architecture and furniture designing. Under the reign of different monarchs various types were gradually developed until they were recognized as period styles. These styles were usually given the name of the sovereign under whose reign they were developed, although in some cases they were named after the designer, as in the case of Chippendale, Sheraton and others.

In the early days, furniture followed closely the architecture of the period. Chests, cabinets, etc., were often given facades that were simply buildings in miniature, seats were stiff and cumbersome, chair posts often resembled small church spires, but with the' advent of period styles, furniture designing became a separate profession, and we find a great variety of furniture constructed for both comfort and utility and entirely free from the architectural plan of the building although there was always a connecting link in detail or ornament which kept the two in harmony. It must be remembered there was no distinct line drawn between the different styles but rather a gradual change or development from one to the other. Much of the furniture made during these transitory periods is extremely difficult to classify, it oft-times being impossible for even experts to determine positively to which period a particular piece should belong.

So the object of this book is to show fully developed examples only of each style as they are recognized today.

As the greatest number of styles were developed in France and England, a chronological table has been arranged showing the order of their development in these and adjoining countries.

All illustrations shown in this book are reproduced from pieces actually made or designed during the time the particular period they represent was in vogue.

Stone was the principal building material of the Egyptians but wood and metal were used for the lighter articles. All three materials were employed in making furniture.

The principal woods were the sycamore, cedar and some varieties of palm.

Carving and inlaying were used, but painting was the predominating method of decoration. The motifs used in decorations were the lily, lotus flower, date palm and reed.

The following illustrations show the character of their furniture and ornamentation.

The furniture and ornamental work of these countries was very similar to that of Egypt, but each country had certain characteristics of its own.

A few illustrations of their work are interesting and form a necessary link in our history.

Grecian art reached the height of its glory from three to four centuries B. C. Their work constitutes what is known today as Classic Art.

The characteristics of their art were very different from those of Egypt and other oriental countries. They established the three orders of columns, Doric, Ionic, and Corinthian, and showed great taste and refinement in ornament and proportion.

Their most famous work was on their temples and buildings, but they designed a great variety of furniture which was made of bronze, wood, and stone.

Characteristic detail: The Anthemion, Antefix, frets, egg and dart and dentil mouldings.


ROMAN

The Roman National Art was developed largely under the guidance of Greek teachers and, consequently, has many similar features, but their work in the Classic Art was much more highly ornamented than the Greek style.

They established the round arch and brought architecture to a high state of development. They adopted the Greek orders, Doric, Ionic, and Corinthian, and added one of their own, Called Composite.

Many specimens of Roman Classic Art were found when the buried cities of Pompeii and Herculaneum were discovered in 1748.


BYZANTINE

During most of the early periods, religion was one of the chief motives for a change in style, and when Christianity became predominant during the Byzantine Empire, ancient classic art was put aside. The old heathen temple and its decorations did not satisfy these early Christians, so they developed a style which is known as Byzantine. One of its chief characteristics was the ornamentation. The peculiar sharp pointed acanthus leaf being used extensively, mosiacs and rich decorative effects were also prominent features. Very little furniture was produced. Probably the most interesting piece left is the chair of "St. Peter" in Rome. It was inlaid with ivory and gold, and is one of the oldest pieces of wooden furniture in existence.


ISLAM OR MOORISH

When the Moslem power spread abroad, a new style followed, known as Islam or Moorish. The Moslem religion prohibited the use of human or animal forms in paintings or decorations, so their art was confined to geometric and vegetable ornament. They were very skillful in artistic interlacing and interweaving of arabesque and geometrical ornament and the use of rich and vivid coloring. Their use of the horseshoe and ogee arch was another characteristic feature of the period. Their work was confined chiefly to mosques and buildings, and not much furniture was produced.


GOTHIC

Gothic first put in an appearance about the year 1200, and quickly spread all over Europe. It was chiefly an architectural style, but its influence is clearly seen in the furniture, which at this period was closely allied to architecture.

The. high pointed arch and geometrical forms were characteristic of the style. The trefoil and quatrefoil were the chief motifs used in carving.

Cupboards, chests, tables, beds, and cabinets were the principal pieces of furniture made during this period. The chairs, with the exception of folding stools, were massive and uncomfortable.

Gothic was predominant for several centuries.


RENAISSANCE IN ITALY

The Renaissance style originated in Italy about 1443 to 1564 and reached a degree of excellence that has never been equalled elsewhere. It was a revolt from the stiff, formal arrangement of the Gothic and the return of classic principles.

Great artists worked during the Renaissance period in Italy; such men as Titan, Raphael, Palladio and Michael Angelo being identified with the movement. Workman from Italy went to France, England and other countries, and the style spread all over Europe with such changes as the conditions in different countries naturally brought about.

Italian Renaissance was a rich, elegant style, principally for the palace. Very few pieces of middle class furniture have come down to us.

Carving was the principal ornamentation used on furniture and was applied with lavish expense, as was the use of stamped leather and rich velvets.

Characteristic features are the acanthus leaf, arabesque scroll, ribbons and flowers, swags of fruit, grotesque human and animal forms.