English Baroque furniture is seen in the following illustrations: Plates 109, in, 112, 114, 115.

Plate 114 is a beautiful example of formal treatment combined with comfort, and of richness contrasted with simplicity. The walls are plain, with coat of arms and just sufficient ornament on fireplace and ceiling for charm, while the furniture is handsome and the upholstery and draperies sumptuous. The spiral turning of legs became a favourite mode in Stuart times, about 1665: the double-arch settee is of the period of William and Mary. The mantel ornaments are admirably adapted to this interior and properly arranged.

A William and Mary hall-suite is shown in Plate III, and an attractive love-seat with appropriate covering in Plate 112.

Marqueteric and lacquered pieces were frequent: some of the latter are made in commercial furniture.

Two strongly marked varieties of furniture existed in the few years comprising the reign of William of Orange and Queen Mary - the very ornamental type, which was a heritage from the previous Stuart times, and the simple type represented by the highboy in Plate 115, which was the result of the homelike Dutch influence brought in by the stadtholder. The legs might be of the inverted-cup shape, or trumpet-turned as in this instance, spiral, octagonal, or spindle. No furniture, probably, is a greater favourite with manufacturers than this simple William and Mary style. It is perfectly easy to turn the legs in correct fashion and such furniture is to be had, but a great deal of that upon the market is very faulty, and anyone considering the purchase of William and Mary furniture would do well to consult all the authentic pieces shown in "The Practical Book of Period Furniture". This was a very colourful period when rich fabrics and needlework (Plate 113) were much used. Handsome printed linens were frequently employed as draperies for bedrooms.

PLATE 112. WILLIAM AND MARY LOVE SEAT IN WALNUT, WITH DOWN CUSHION.

Height 34 in., Length 43 in.

PROVENCE ARM CHAIR, EPOQUE LOUIS QUATORZE, WALNUT.

Height 30 in., W idth 23 in.

QUEEN ANNE WING CHAIR IN MAHOGANY, REPRODUCTION.

Height 40 in., Width 29 in.

Manufactured by Century Furniture Co., Grand Rapids, Mich.

PLATE 113. LATE SEVENTEENTH CENTURY BEDROOM WITH EMBROIDERED DRAPERIES OF THE PERIOD.

In the Brooklyn Museum.

French furniture of the Baroque influence is very ornate, and little of it is suitable for small premises. In some of the pieces of Louis Quatorze style, however, adornment was pared to the minimum, as in the excellent chairs shown in Plates 110 and 112, and this furniture is very attractive used for relief in connexion with English or Italian pieces of similar qualities.

Some William and Mary furniture closely resembled certain Louis Quatorze forms, as the influence of French fashions was strong in England and many French workmen emigrated to that country upon the revocation of the Edict of Nantes. These forms are not shown here as, again, they are ornate and they are not reproduced in American commercial furniture. They are, however, mentioned as another instance of the powerful effect of one country upon another. Influences from both Spain and Portugal were also common in William and Mary and Queen Anne English furniture.

In the next English period - the Queen Anne-Early Georgian - the furniture still remained Baroque, but, as it was a very different manifestation of the influence, it is treated in the following chapter on the early Eighteenth century, so that chronology may not be disturbed. It will be necessary to say but a few words upon the subject of the walls of Baroque influence, but they bring us to a matter of moment in our modern procedure.

As has been mentioned, the permanent background is of as great importance as the remaining features. But, in furnishing small premises to-day, what shall we do when, as so frequently happens, such backgrounds were ornate and costly? No modern designer has succeeded in equalling the beauty of period furniture: shall we deprive ourselves of its use because conditions forbid our enduing it with its historic background?

What is the exact situation, and what is the sensible point of view under existing conditions?

In the first place, such wall-surfaces were usually designed for large and imposing rooms and would for the most part be inappropriate for modest modern homes. Then, many such homes are nowadays rented, and permanency of tenancy cannot be certain; even when property is owned by the occupant such backgrounds may be too costly for his means. These latter obstacles are inherent in our modern life, and if Period furnishing is to live it must prove adaptable to the conditions of the age in which it is being practised. We are able in all other respects than that of background to carry out such furnishing - the proper furniture, textiles and accessories are at hand. It is extremely probable that in all times homes of modest scope existed in which the wall-surfaces were simple or plain. The sensible procedure would therefore seem to be to retain the spirit of the particular epoch chosen and give to our furnishing a background which, however simple, shall still be appropriate. Where circumstances permit the aid of architect or decorator, simpler versions of ornate backgrounds readily may be designed: if the walls must be plain, let them at least be suitable. And this applies to subsequent periods as well as to that now under discussion. We may not be able to do all that we wish, but we must not misuse furniture: it would, for instance, be absurd, or criminal, to employ as a background for heavy Renaissance pieces the white-panelled walls of a small American Colonial house.

PLATE 114. A LIVING-ROOM WITH STUART AND WILLIAM AND MARY FURNITURE.

The treatment of walls, ceiling, mantel and its ornaments is especially commendable.

Alfred Hopkins, Architect.

PLATE 115. SIMPLE PERIOD FURNISHING.

William and Mary highboy with Italian painted wall-plaques above.

The few necessary words upon Baroque walls may now be said. In Italy these permanent backgrounds were of the greatest magnificence: mantels were richly carved, often every inch of wall and ceiling was covered with gorgeous frescoes and gilding; coloured marbles and polychrome enrichments were in constant use; even doors, shutters, and beamed ceilings were frequently painted, and especially if, as still also sometimes occurred, the walls remained plain. In elaborate interiors the floors were of marble or mosaic. Such backgrounds are naturally out of place in all but "palatial residences" to-day, but effective simplifications may be, and are, used in houses and apartments of moderate size, where the occupants have the desire for historic surroundings and the means to accomplish their wish. In most cases plaster walls - sand-finished or plain - or roughly-surfaced paper of light buff or warm grey will be sufficient and appropriate.

In France during the earlier years of the Baroque influence, walls were panelled either wholly or in part (small panels usually being used) or stone-faced, or plastered. From the time of Henri II to the end of the epoch divers methods were employed, but all were magnificent and, being ill-suited to modest properties, no further details are necessary here.

In England during this influence, two types of walls existed. The earlier, small panelled wall (Plate 99) with few changes, still remained in use; and, owing to the agency of Inigo Jones, Wren and others, a new style came into being. Other woods were employed as well as oak, panelling grew larger, decorative carving by Grinling Gibbons and his followers was characteristic, and, especially toward the end of the century, the painting of the woodwork in white, grey, blue-green and the like became common, and gilding was sometimes applied to mouldings and carvings. Such walls can only be carried out by the aid of architect or decorator.

In their place, in modest modern homes, smooth plaster walls or paper not so rough as formerly, will give an appropriate surface. These may be in such tints as the above. A colourful effect will be given through the use of textiles, such as those already shown in interiors of the period. The patterns of printed linens resembled that of the needlework draperies shown in Plate 113 but were frequently smaller in design.