Decorative Processes

The usual decorative processes in the William and Mary period were turning, carving, painting, gilding, veneering, marqueterie and lacquering or Japanning, as it was frequently styled.

Turning. The practise of turning appreciably increased during this period, while that of carving on flat surfaces declined.

Carving. Carving in the round was considerably practised and, though Grinling Gibbon carved no furniture other than mirror frames, his school of followers executed much admirable and elaborate work.

Painting. Paint, in conjunction with gilding, was chiefly used on the legs and stretchers of chairs, settees and stools, either to match or contrast with the vivid colours of the upholstery. Framework was often painted black and parcel gilt to harmonise with lacquered furniture. A few examples occur of simple painted floral decoration.

Gilding. Ornate carvings in the round, such as console tables and stands for lacquered cabinets, were often wholly gilt, while painted legs and stretchers and sometimes whole chairs were parcel gilt.

Veneer. veneer of walnut, either plain or oystered, and sometimes of other woods, was commonly set on a ground of oak or deal.

Marqueterie. One of the most popular decorative processes of this period was marqueterie, at times almost rivalling the fabrics in richness of effect. The marqueterie of the William and Mary period was cut out of thin layers with a saw and set in a surrounding surface of veneer of the same thickness, both veneer and marqueterie patterns being glued to the ground work or backing. This process showed an advance in dexterity over the marqueterie methods of the Stuart period, when the pieces forming the design were set in cavities gouged out of the surface to be decorated, a performance very much like filling teeth. In order to secure flat surfaces for marqueterie embellishment the contour of furniture was held in far greater restraint than formerly.

Lacquer. In the last fifteen years of the seventeenth century the passion for lacquer ware was so general that it was made not only by regular craftsmen but by amateurs as a pleasant diversion. The English lacquer has not the smooth, brilliant adamantine surface of the Oriental lacquer, nor has the English gold the same metallic lustre.

Types Of Decoration

William and Mary types of decoration were much less complex than those of the Stuart period, though quite as effective.

Turning displayed the open twist or spiral, baluster and spindle forms, the details shown in Figure 4, and variations of them. Bun feet of several varieties must not be forgotten.

Carving in relief of this period contains a great many examples of the favourite Dutch cockle or escallop shell and occasionally specimens of acanthus, pendent husks and similar motifs are met with. Flemish scrolls and Spanish scroll feet are frequent. In the round carving we find flowers, fruit, terminal figures, heads and laurel swags. These, of course, occur on highly ornate and gilded stands and consoles.

Marqueterie patterns were mainly floral, although birds, animals, and even human figures sometimes occurred. During this period the acanthus pattern gradually superseded the flowers and towards the latter part gave way itself to the intricate seaweed design, which often occurred on the drawer fronts of chests and cabinets in two oblong panels with curved ends.

Lacquer evidenced an unmistakable western touch in the imitations of Oriental drawing. Conventional borders and diapers were also used. The ordinary ground colours were black, red, green and blue. The figures of course were in gold.

Aprons or plain stretcher underframings were shaped on the lower edge with the oft-recurring ogee or modifications of its curves.