Jacobean

The painting of this period was almost invariably employed on carved surfaces. Where such features as overmantels were coloured the figures, human, animal or mythological, were painted with distemper colours of vigorous hues and the adornment of gilding was often lavishly added. The same methods were applied to blazoning heraldic devices and in all cases the colours were strong, simple and few in number. We should not be far wrong in saying that the palette was confined to the heraldic tinctures.

William And Mary And Queen Anne

The painted furniture of both these periods was practically the same. Dull colours, chiefly blues, greens and reds, were applied, occasionally to walnut and oak but more usually to some of the baser woods. The hues were chosen to harmonise with the upholstery stuffs used on the articles. Chairs, settees and stools were the pieces usually so decorated. Oil colours were used and have remained much fresher than the distemper colours of the Jacobean period. A goodly quantity of heavy gilding was generally lavished as a relief on the painted articles. Lacquered furniture (treated in the earlier chapters) was so popular and ministered so amply to the love of colour that too much emphasis cannot be laid on its importance when speaking of chromatic resources. In this connexion it should be remembered that apple green, red, scarlet,' blue, yellow, silver and brown were extensively used as grounds, as well as the standard black, and contributed greatly to the colourful resources of the period (Plate XLVII, p. 324).

Chippendale Period

There was so little painted furniture during the Chippendale period that it is almost useless to make a special heading for it. While Chippendale occasionally used gilding to embellish parts of his finer carved furniture, the only instances in which he used paint were commissions that he was executing for the order of some other designer in a purely commercial way.

The Brothers Adam

In strong contrast to the tenor of Chippendale designs we find the Brothers Adam lavishly employing paint for the embellishment of the furniture called by their name. To them England owes its most brilliant period of furniture painting. It will be remembered that Angelica Kauffmann, Pergolesi, and Cipriani lavished their most elaborate efforts in the painting of panels and arabesques on the beautiful pieces designed for the handsome drawing-rooms of the latter part of the eighteenth century (Plate XXII, p. 190).

Hepplewhite And Sheraton

Both Hepplewhite and Sheraton, following the lead of the Brothers Adam, made free use of painting as a valuable means of furniture adornment. In this connexion the preference of Hepplewhite for painting over inlay and the preference of Sheraton for inlay rather than painting will be remembered. In addition to the finer work of Kauffmann, Cipriani, Pergolesi and others, attention should be directed to the Japanned or painted furniture which was further adorned by gilding. This furniture was employed extensively in the designs of both Hepplewhite and Sheraton, tables, chairs and other pieces being painted in whites, greens or greys, relieved by linings in another colour and shade or gilding. Attention must also be directed to the bamboo turned furniture designed by Sheraton which was Japanned and then gilt with small so-called Chinese patterns.