shown by any furnishing establishment of repute at the commencement of the twentieth century, the careful and well-informed observer will easily classify them in his own mind under three heads. First :—there are those that are either absolute copies of, or the designs of which are based upon, historic models which we have already considered. Second:—there are those that have obviously been made merely to serve certain utilitarian purposes—goods in whose production economy of time, labour, and material has been the only really serious consideration ; the manufacturer entertaining the idea that, so long as he provided what would look " a lot for the money/' style, as such, was a matter of little or no importance. Third:—tasteful creations which are certainly refined, and often beautiful, but which cannot be classified with any of the styles with which we have dealt in the foregoing pages ; and it is of these last-named that I must have something to say.
During the past twenty or thirty years, and particularly during the last decade, certain designers and manufacturers have cultivated form and decoration of a notably simple, and often severe, type, and—fortunately for all concerned—these have steadily increased in favour in the eyes of purchasers of the more intelligent class, until they have become quite " the fashion." When these first commenced to make their appearance, some difficulty was experienced in finding a name for them, and they were variously described as being in the "Liberty," the "Morris," or the " Arts-and-Crafts " style; but later those titles were abandoned—or nearly so—one by one, and some inventive mind hit upon " The Quaint Style " as a more fitting substitute. As that description seemed to take the popular fancy, it has come into current use.
In the furniture trade itself, other names are often used to describe such goods—the names of wholesale manufacturers who have assiduously cultivated this particular style, and who have, as a matter of fact, done quite as much as, or even x
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