have fitted them up from the material provided in these pages; and their presence in our memories cannot but enhance the interest of our study of their silent companions. Is it surprising that, in the midst of so notable a revival of culture and refinement in almost every walk of life, domestic furnishings should throw off much of the clumsiness that had characterised them for so long, and take to themselves forms in greater harmony with the higher tastes of the time ?
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
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