Illustrated History of Furniture, fifth ed.: From the Earliest to the Present TimeLitchfield, Frederick
History
Illustrated History of Furniture, fifth ed.: From the Earliest to the Present Time
Litchfield, Frederick
Furniture -- History
Mr. Benjamin--who, it will be noticed, is somewhat too enthusiastic over
this kind of mechanical decoration--also observes that, while the details
will stand the test of a magnifying glass, there is a general breadth in
the design which renders it harmonious and pleasing if looked at from a
distance.
In the South Kensington Museum there are several specimens of Persian
lacquer work, which have very much the appearance of those papier maché
articles that used to be so common in England some forty years ago, save
that the decoration is, of course, of Eastern character.
Of seventeenth century work, there is also a fine coffer, richly inlaid
with ivory, of the best description of Persian design and workmanship of
this period, which was about the zenith of Persian Art during the reign
of Shah Abbas. The numerous small articles of what is termed Persian
marqueterie, are inlaid with tin wire and stained ivory, on a ground of
cedar wood, very similar to the same kind of ornamental work already
described in the Indian section of this chapter. These were purchased at
the Paris Exhibition in 1867.
Persian Art of the present day may be said to be in a state of transition,
owing to the introduction and assimilation of European ideas.
SARACENIC WOODWORK FROM CAIRO AND DAMASCUS.
The changes of fashion in Western, as contrasted with Eastern, countries
are comparatively rapid. In the former, the record of two or three
centuries presents a history of great and well-defined alterations
in manners, customs, and, therefore, in furniture: while the more
conservative Oriental has been content to reproduce, from generation to
generation, the traditions of his forefathers; and we find that, from the
time of the Moorish conquest and spread of Arabesque design, no radical
change in Saracenic Art occurred until French and English energy and
enterprise forced European fashions into Egypt. As a consequence, the
original quaintness and orientalism natural to the country, are being
gradually replaced by buildings, decoration, and furniture of European
fashion.
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