As I have already remarked, however, for indications of the very first appearance of the "Queen-Anne," we must look back to a period considerably prior to that which saw the termination of the sway of the House of Stuart, if we are to see how, and with what measure of success, the English cabinet maker and chair maker adjusted himself to the new conditions which were brought into play, and prepared to answer the demand for all things Dutch.

I have said that the change was revolutionary, and so, indeed, it was; a fact that will be readily appreciated if we study the matter carefully from all points of view. The reader must remember that, up to the time of this artistic invasion, rectangular forms, and the straight line generally, had largely predominated in the construction of English furniture; foliations, scrolls, or curves, of any sort or kind whatsoever, were seldom indulged in at all, except by the carver or marquetry cutter, or save in the case of chair arms or backs. Table and chair legs had always remained either "square" or turned, but generally straight; "carcase work" had been entirely innocent of shaping, save in very exceptional instances; the pediment was practically unknown to the cabinet maker in his craft; and, indeed, everything in the least approaching the curvilinear in construction was studiously avoided.

But what a change came over the scene with the advent of William and Mary! Stern and unrelenting severity of form was forced to give way before graceful shaping and sinuous curves. The chair, which in the old days any number of cushions could hardly render comfortable, so rigid and severe was it, began to be shaped so that, in some measure, it would accord with the lines of the body, and not only became really graceful but was also transformed into a delightfully comfortable asylum for the tired frame which needed repose. And every other article for the furnishing and adornment of the home was conceived and carried out with a close regard for the same considerations. Proportions and "quantities" were lightened in every way, and a spirit of elegance came upon the scene, which was entirely novel to our insular and old, familiar traditions.

"Queen-Anne." IV.Plate 25

Reference In Text

We shall presently see in what forms this spirit found expression in British workmanship; but, before doing so, it will be well for us first to glance at one or two really Dutch models of the description from which our inspiration came. It may be taken that the "Queen-Anne" types which we shall consider are such as were in more or less general use here from the commencement of the eighteenth century until about 1760; indeed, until the influence of Chippendale and his contemporary workers really and seriously commenced to make itself felt. The examples chosen for illustration were all produced during that period. Fig. 4, Plate VII., is a Dutch cupboard; Figs. 2 and 7 tables of the same character and period; and Figs. 1, 3, 5, and 6 are typical chairs. With these before us, our study of their English descendants will be rendered all the more interesting.

It will serve our purpose very well to master first the line of the "Queen-Anne" chair, sofa, and seat generally, before proceeding to the consideration of other articles; and these alone call for somewhat lengthy comment. Prior to going into greater detail we will deal with general constructional form; and though the chair to which I shall now invite attention is, to a great extent, a hybrid production, and really cannot be described as pure "Queen-Anne," it reveals strongly the growing influence of the "Dutch," and so may be accepted as a good starting-point for our study of individual examples of the style.