There is in the same part of the Museum a cast of the oak door of the
Council Chamber of the Hotel de Ville at Audenarde, of a much less
elaborate character. Plain mullions divide sixteen panels carved in the
orthodox Renaissance style, with cupids bearing tablets, from which are
depending floral scrolls, and at the sides the supports are columns, with
the lower parts carved and standing on square pedestals. The date of this
work is 1534, somewhat later than the Bruges carving, and is a
representative specimen of the Flemish work of this period.
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The clever Flemish artist so thoroughly copied the models of his different
masters that it has become exceedingly difficult to speak positively as to
the identity of much of the woodwork, and to distinguish it from German,
English, or Italian, although as regards the latter we have seen that
walnut wood was employed very generally, whereas in Flanders, oak was
nearly always used for figure work.
After the period of the purer forms of the first Renaissance, the best
time for carved woodwork and decorative furniture in the Netherlands was
probably the seventeenth century, when the Flemish designers and craftsmen
had ceased to copy the Italian patterns, and had established the style we
recognise as "Flemish Renaissance."
Lucas Faydherbe, architect and sculptor (1617-1694)--whose boxwood group
of the death of John the Baptist is in the South Kensington Museum--both
the Verbruggens, and Albert Bruhl, who carved the choir work of St.
Giorgio Maggiore in Venice, are amongst the most celebrated Flemish wood
carvers of this time. Vriedman de Vriesse and Crispin de Passe, although
they worked in France, belong to Flanders and to the century. Some of the
most famous painters--Francis Hals, Jordaens, Rembrandt, Metsu, Van
Mieris--all belong to this time, and in some of the fine interiors
represented by these Old Masters, in which embroidered curtains and rich
coverings relieve the sombre colors of the dark carved oak furniture,
there is a richness of effect which the artist could scarcely have
imagined, but which he must have observed in the houses of the rich
burghers of prosperous Flanders.
[Illustration: A Barber's Shop. From a Wood Engraving by J. Amman. 16th
Century. Shewing a Chair of the time.]
In the chapter on Jacobean furniture, we shall see the influence and
assistance which England derived from Flemish woodworkers; and the
similarity of the treatment in both countries will be noticed in some of
the South Kensington Museum specimens of English marqueterie, made at the
end of the seventeenth century. The figure work in Holland has always been
of a high order, and though as the seventeenth century advanced, this
perhaps became less refined, the proportions have always been well
preserved, and the attitudes are free and unconstrained.
A very characteristic article of seventeenth century Dutch furniture is
the large and massive wardrobe, with the doors handsomely carved, not
infrequently having three columns, one in the centre and one at each side,
and these generally form part of the doors, which are also enriched with
square panels, carved in the centre and finished with mouldings. There are
specimens in the South Kensington Museum, of these and also of earlier
Flemish work when the Renaissance was purer in style and, as has been
observed, of less national character.
The marqueterie of this period is extremely rich, the designs are less
severe, but the colouring of the woods is varied, and the effect
heightened by the addition of small pieces of mother of pearl and ivory.
Later, this marqueterie became florid, badly finished, and the colouring
of the veneers crude and gaudy. Old pieces of plain mahogany furniture
were decorated with a thin layer of highly coloured veneering, a
meretricious ornamentation altogether lacking refinement.
