Furniture, in the early days, took its tone entirely from contemporary architecture. Until the time of the Renaissance there was very little furniture of importance that was not distinctly architectural in feeling, and much of it was actually built in place, so that it is difficult to say whether it is to be reckoned as part of the furnishing of an apartment or as an architectural adjunct. In this furniture we find the same principles and lines of structure and the same motifs of decoration as in the architecture, and it was therefore the most natural thing in the world to add all the embellishment of colour for which there was such abundant architectural precedent.

With the Renaissance, regard for form became supreme and the taste for varied and vivid colour fell into abeyance among those that attended the behests of fashion - and be it remembered that the mutability of fashion is nearly as apparent in matters of furniture as in types of wearing apparel. However, notwithstanding the defection of the devotees of ruling styles, the fondness for painted ornamentation lived on in many quarters, ready to flourish forth sturdily again at the least encouragement. Especially among the Dutch and Bavarian peasantry (see Frontispiece) was the tradition of furniture painting kept alive, and, though both style and execution are at times extremely crude, we find virile spontaneity and originality of conception to claim our respectful attention if not always our admiration.

With a persistence of mediaeval traditions into Tudor times, we find some of the old cupboards vividly painted vermilion and green. Panels of chests were embellished with polychrome treatment and the lids of ecclesiastical chests or coffers were often adorned with paintings of scriptural subjects. Heraldic devices lent themselves too well to such chromatic treatment to be overlooked. When the application of pigment was not resorted to, excellent colour effects were often achieved by employing a variety of different-hued woods.

This volume, however, does not concern itself with furniture prior to the Jacobean period, and the preceding paragraphs will serve sufficiently to indicate the general development of tendencies up to that time.

In the Jacobean period proper, that is to say, from the accession of James I to the setting up of the Commonwealth, the effect of carved ornament was frequently enhanced by the addition of colour. Some of the carved oak overmantels were given a rich polychrome treatment and the heraldic devices carved on bedheads, the coffered panelling of testers and the panels of chests, were similarly enlivened. Marqueterie also was employed to gain variety of colour.

The Cromwellian period was distinguished by severity of form and lack of colour, so that painted decoration was not popular during that sorry time.

With the Carolean period, and the cheerful interest then manifested in all the pleasant things of life, we naturally expect to find a revival of interest in colour and are not disappointed. Marqueterie was becoming increasingly popular, while the admiration for lacquer became a positive passion. A free use of gilt and gorgeous fabrics likewise ministered to the national colour sense.

When William and Mary came to the throne, the fondness for lacquer (Plate XLVII, p. 324) continued unabated. Marqueterie and inlay, too, played no small part in the cabinet-maker's art, while many articles of furniture, especially chairs, stools and settees, were partially or wholly painted and parcel gilt. This fashion of painted and parcel gilt furniture continued during the reign of Queen Anne as did also the predilection for brilliant-coloured lacquer (Plate XLVII, p. 324). Some of the settees and chair frames of this epoch, embracing the last years of William and Mary and the early years of Anne, are wholly covered with agreeable dull blues, reds, greens, and other colours relieved by gilding. In Queen Anne's time, too, the love of colour and sumptuous appointments also often led people to have the woodwork of their bedsteads wholly covered with bright-hued fabrics, which were pasted or glued on, so that all the refinement of shape and line in panelling and moulding might be plainly visible beneath the "strained" texture.

Paint and gilt as well as lacquer continued more or less in use on furniture during the first half of the eighteenth century, but when the influence of Thomas Chippendale became dominant these modes of decoration greatly abated, for Chippendale was before all else a carver and relied wholly on carving for the embellishment of his work. It was not until the styles introduced by the Brothers Adam supplanted Chippendale's modes that painted furniture again came into high favour.

In the meanwhile, however, while the habit of painting furniture was somewhat falling into abeyance in England during the second quarter of the eighteenth century, the vogue for coloured furniture was rapidly increasing in France under the influence of one Martin, a coach painter of the early part of the century, whose business theretofore had been to decorate coach doors with heraldic blazonings and flower borders. His varnish was a fine transparent lac-polish susceptible of taking on a beautiful surface. The work associated 21 with his name is usually found on furniture such as tables or bookcases, as well as on small articles like needle-cases and snuff -boxes. Though his lacquer formula is said to have died with him, his imitators and pupils painted and enamelled furniture of various kinds after his manner. Sometimes in the vernis-Martin work the excellent solid colour - frequently a beautiful green - of the table or cabinet or chair is unbroken by any ornamentation save the gold mountings.

The Brothers Adam allowed themselves great latitude in having their furniture painted in colours. When the piece was to be wholly coloured it was usual to select some neutral hue such as white, slate, grey or dull green, pick out the less important features of the design in lines of colour, "very much as a carriage builder is wont to relieve his wheels," and then garnish the main portion of the design by such painted details as the decorator saw fit (Plate XXII, p. 190). Classic medallions and plaques, wreaths, festoons and urns were the subjects generally employed for embellishment. Very often only portions of the furniture were painted, leaving the natural wood exposed to view for the most part. This was particularly the case where satinwood was used, which was beautiful in itself and at the same time afforded an unusually delicate background for painted decoration. Many of the plaques, cameos and panels of this painted and satinwood furniture were executed by such artists as Angelica Kauff-mann (Plate XXII, p. 190) and Cipriani and are exquisite in colour and finish.