Renaissance design outside of italy
123
Renaissance Design Outside of Italy
-
Upload
plimanysid -
Category
Documents
-
view
1.012 -
download
0
Transcript of Renaissance design outside of italy
Renaissance Design Outside of Italy
Renaissance Design in Spain
Examples of Plateresque Style, Gothic and Renaissance
Presenter
Presentation Notes
he Colegio de San Gregorio is a historical building in Valladolid, Spain, currently housing the National Museum of Sculpture. It is one of the best examples of architecture in the period of the Catholic Monarchs in Spain (late 15th-early 16th centuries), and was founded as a Theology College for the Dominican order. History
Goya
Colegio Mayor de San Ildefonso, Alcalá de Heares, Spain, Early 16th c.
Presenter
Presentation Notes
Colegio Mayor de San Ildefonso From Wikipedia, the free encyclopedia Colegio Mayor de San Ildefonso Native name Spanish: Colegio Mayor de San Ildefonso LocationAlcalá de Henares, Spain Coordinates40.482855°N 3.363075°WCoordinates: 40.482855°N 3.363075°W Spanish Property of Cultural Interest Official name: Colegio Mayor de San Ildefonso TypeNon-movable CriteriaMonument Designated1914[1] Reference No.RI-51-0000132 Location of Colegio Mayor de San Ildefonso in Spain Wikimedia Commons has media related to: Colegio Mayor de San Ildefonso, University of Alcalá de Henares The Colegio Mayor de San Ildefonso (Spanish: Colegio Mayor de San Ildefonso) is a building located in Alcalá de Henares, Spain. It was declared Bien de Interés Cultural in 1914.[1] It was built by Cardinal Cisneros who commissioned architect Pedro de Gumiel to design. The foundation stone was laid in 1499, the Saint Ildefonsus` Chapel was completed in 1510; in 1516 began construction of the Paraninfo (Auditorium) and in 1537 Rodrigo Gil de Hontañón designed the main façade. Although most of the work had been carried out by 1617 when Juan Gómez de Mora redesigned the courtyard (Thomas of Villanova´s courtyard), the construction was not finished until the second half of the 17th century.
Interior, Colegio Mayor de San Ildefonso
Palace of Charles V, Granada, Spain, 1527-68
Presenter
Presentation Notes
Palace of Charles V Pedro and Luis Machuca 1527-68 South front of the square palace The elder Machuca (Pedro), who had been trained in Italy by Michelangelo, died in 1550, when his son took over the building of the palace. It was left unfinished, however, and was never a place of residence for the Emperor Carlos the Fifth who commissioned it. It is situated along side the earlier Muslim Nasrid palaces of the Alhambra; perhaps the symbolism of a palace in the heart of a Muslim stronghold was irresistible to the Christian warrior Emperor. Certainly, a dramatic clash of styles is obvious. The Moorish palaces are decorated on the interiors with intricate designs whereas this Renaissance palace, inspired by classical architecture, presents a bold facade with the use of simple and clear classical elements. Rigid symmetries and massive rustication Like many Renaissance palaces, this has a clear horizontal divisions. Bays are repeated across the front with a strong focus on the central bay. Like the Farnese Palace in Rome, the piano nobile has massive windows (aedicules) with alternating pediments.
Interior Court, Palace of Charles V
El Escorial, Madrid, Spain, 1563-1584
Library in El Escorial
Church of the Monastery of San Lorenzo at Escorial, Spain
Interiors and Furnishings
Presenter
Presentation Notes
Ceiling Date: 1450–1500 Geography: Made in Castile, Spain Culture: Spanish Medium: Tempera on pine Dimensions: Overall: 36 x 288 x 284 in. (91.4 x 731.5 x 721.4 cm) 24' x 23' 8" Classification: Woodwork Credit Line: Rogers Fund, 1929 Accession Number: 29.69 This artwork is currently on display in Gallery 019 Share Add to MyMet Description Entirely painted, this ceiling is among the finest of its kind. The beams are adorned with floral and heraldic motifs, while the frieze bears vignettes with animals and hunting scenes, a reference to the favored past time of the aristocracy.
Philip II’s Apartments, El Escorial
Presenter
Presentation Notes
rtist [show]Alonso Sánchez Coello (1532–1588) TitleKing Philip II of Spain banqueting with his family and courtiers (The Royal feast). Date1596
Frailero or Arm Chair
Presenter
Presentation Notes
Folding armchair Date: 16th century Culture: Spanish Medium: Walnut, leather Dimensions: 48-3/4 x 24-1/4 in. (123.8 x 61.6 cm) Classification: Woodwork Credit Line: Gift of George Blumenthal, 1941 Accession Number: 41.100.32
Presenter
Presentation Notes
Cassone Place of origin: Barcelona (city), Spain (possibly, made) Date: 1550-1650 (made) Artist/Maker: unknown (production) Materials and Techniques: Walnut, and rosewood, inlaid with bone and coloured woods Museum number: 7224-1860 Gallery location: In Storage Download image SummaryMore informationMapDownload PDF version The practice of decorating wooden furniture wood with contrasting inlays was used by the craftsmen of Ancient Egypt. It continued to flourish during the Medieval period in Islamic cities such as Cairo and Damascus, where dense patterns were created using tiny inlaid pieces of bone or ivory and various woods. The technique seems to have been adopted in both Spain and Italy, particularly Venice from about 1450, and used particularly on boxes and chests like this one. References in Italian 16th-century inventories to chests alla veneziana (in the Venetian style) may refer to this style of decoration. During the 19th-century it came to be known as alla certosina work, because it was thought that Carthusian monks specialised in the technique, though there is no good evidence of it. This chest once belonged to Jules Soulages (d. 1856) who created a notable collection of Renaissance artworks from about 1825, which he kept at his home in Paris, (and later in Toulouse). This chest was restored in Toulouse during his ownership. His collection was considered so important that it was exhibited in London (1857), and then purchased for the South Kensington Museum (which later became the Victoria and Albert Museum).
Papalera
Vergueno, or Chest on Stand
Faience or Majolica
Presenter
Presentation Notes
Apparel Place of origin: Spain (probably, made) Date: ca. 1540 (made) Artist/Maker: unknown (production) Materials and Techniques: Silk satin, embroidered with coloured silks, gold and silver thread Museum number: 119-1880 Gallery location: In Storage Download image SummaryMore informationMapDownload PDF version This panel is made of crimson silk satin and decorated with embroidery and an edge of metallic braid. The embroidery comprises applied (appliqué) motifs in gold, silver and coloured silk threads, the metallic threads being sewn on to the backing with silk threads. Other elements of the pattern are created in coloured silk in satin, long and short stitch. The motifs are outlined with gold cord. The pattern is a symmetrical arrangement in the grotesque style, which derived from paintings excavated in Rome. The imagery is not overtly religious, although the eagle was the Old Testament symbol for triumph over death and the dragon or serpent represents evil in Christianity. Its shape and construction suggest that it may at one time have been attached to a dalmatic, the tunic-like garment worn by deacons of the Catholic Church. However, the pattern of holes down the side of the piece suggests it may have been used as upholstery, either in the period in which it was made or afterwards in the 19th century. Spanish chairs of the 16th century had backs and seats of a similar size to this panel and in the late 19th century such styles were revived.
Renaissance Design in France
Parliament of Normandy, in Rouen, ca. 1500
Presenter
Presentation Notes
Frontage of the Parliament of Normandy in Rouen The Parliament of Normandy (parlement de Normandie), also known as the Parliament of Rouen (parlement de Rouen) after the place where it sat (the provincial capital of Normandy), was a provincial ancient régime parlement of the Kingdom of France. It replaced the ancient court of the exchequer of Normandy, set up by Rollo, first duke of Normandy. The parlement was built in a mixing of French Gothic and Renaissance architecture by Roger Ango and Roulland le Roux, between 1499 and 1508, during the reign of the king Louis XII of France. Today, the building is the seat of the courthouse of the city of Rouen. Contents [hide]
Chateau de Chambord, reconstructed under Francoise I, 1519-47
Presenter
Presentation Notes
Château de Chambord Aerial view of the château de Chambord The royal Château de Chambord at Chambord, Loir-et-Cher, France, is one of the most recognizable châteaux in the world because of its very distinct French Renaissance architecture which blends traditional French medieval forms with classical Renaissance structures.[nb 1] The building, which was never completed, was constructed by King François I. Chambord is the largest château in the Loire Valley ; it was built to serve as a hunting lodge for François I, who maintained his royal residences at Château de Blois and Château d'Amboise. The original design of the Château de Chambord is attributed, though with several doubts, to Domenico da Cortona. Some authors claim that the French Renaissance architect Philibert Delorme had a considerable role in the château's design,[2] and others have suggested that Leonardo da Vinci may have designed it. Chambord was altered considerably during the twenty-eight years of its construction (1519–1547) during which it was overseen on-site by Pierre Nepveu. With the château nearing completion, François showed off his enormous symbol of wealth and power by hosting his old archnemesis, Emperor Charles V at Chambord.
Interior of Chateau de Chambord
Chateau de Blois, with sections built c. 1500, 1515-24 and c.1650.
Presenter
Presentation Notes
(13-17C) Louis XII Wing at the right, c. 1515, central portion Francis I, first half of the 16th c., the section on the left is by Francois Mansart, 17th c.
Chateau de Bloise, Francois I wing, 1515-24
Presenter
Presentation Notes
CreatorMaster-mason Jacques Sourdeau CultureRenaissance TitleChateau de Blois Work TypeArchitecture Date1515-1524 LocationFrance Blois DescriptionFrancois I wing
King’s bedroom, Chateau de Blois
Presenter
Presentation Notes
Henry II (r. 1547-59) married to Catherine de Medici, their son Henry III(r. 1574-1589), assisnates his rivals here, and Henri IV (r. 1589-1610), a Bourbon takes the throne
Catherine De Medici’s Cabinet, Chateau de Blois
Presenter
Presentation Notes
The So Called ''Chamber of Secrets'', Catherine De' Medici's Cabinet
Palace of Fontainebleau – (16-18C) Francois I to Napoleon
Galerie Francois I, Fontainebleau
Presenter
Presentation Notes
Designed along Classical lines, the series of painted frescoes on the stuccoed interior form a rich and original decorative scheme, the themes of which remain mysterious and have invited a wide variety of interpretations. It dates from 1536 onwards, and was the work of Rosso and Primaticcio. The wood panelling with the king’s monogram and heraldic symbol of the salamander were the work of Scibec de Carpi.
Primaticcio, ca. 1536
Chateau de Chenonceau, 1513 – ca.1600
Presenter
Presentation Notes
For the historical background, the “Château des Dames” was built in 1513 by Katherine Briçonnet, and successively embellished by Diane de Poitiers then Catherine de Medici. Chenonceau was protected from the hardship of the revolution by Madame Dupin.
Fireplace, Château de Chenanceau, designed by the architect Jean Goujon,
Presenter
Presentation Notes
Portrait of Catherine de' Medici by Sauvage. The initials H and C are for Henri II and Catherine. Fireplace by Jean Goujon.
Catherine de’ Medici’s Bedchamber
Presenter
Presentation Notes
Catherine de' Medici's bedroom. Renaissance bed and Flanders tapestries.
King Henri II’s Chamber
Presenter
Presentation Notes
Henri’s rooms
Interiors and Furnishings
Marquetry panels, chapel of the chateau, La Bastie, mid 16th c.
Presenter
Presentation Notes
Fra Damiano da Bergamo (Italian, d. 1549). Panels from the Chapel of Ch?teau de La Bastie, Saint-?tienne. Various woods, each panel average height 2o7s in. (53 cm). Gift of the chil dren of Mrs. Harry Payne Whitney, in accordance with the wishes of their mother, 1942 (42.57.4.1?.108) One final example of patronage reminds us of the resources of the nobility in commissioning works of art from foreign artists. The d'Urf? family long dominated the region of Forez in the heart of France. Claude d'Urf?, like Louis Pr?vost de Sansac (p. 3), was one of the genera tion that distinguished itself accompanying the king in Italian wars and returning to rebuild their homes with artistic programs learned abroad. Subsequently, Claude was appointed ambassador to the Council of Trent in 1546; during his six 24 4&. years in Italy, he conceived the idea of commis sioning the marquetry specialist Fra Damiano da Bergamo to create a complete set of wall panels for the chapel of his ch?teau, La Bastie, not far from Lyon, now reconstructed in the Metropoli tan Museum (p. 26). The lower register consists of painted-and-carved scrollwork patterns fea turing flaming altars, cherubim, and emblems that recall the carved panels (lambris) by Scribec de Carpi in the Gallery of Francis I at Fontaine bleau. The upper register is filled with marquetry scenes of landscapes and still lifes of geometrical devices. The Italian Sicciolante da Sermoneta supplied paintings to fill the walls above the mar quetry; the Rouen ceramicist Mass?ot Abaquesne tiled the floors; and unknown masters pebbled and laid mosaic over the grotto through which one entered the chapel. Overt religious subjects and symbolic philosophical emblems joined in a program that was sophisticated in its unity and ambitious in scope. Nowhere in France was there as extensive and as accomplished a set of mar quetry as this one, which marked the heights at which noble artistic patronage aimed.
French Renaissance chairs
Prelate’s Chair, Hall Chair or Throne stall, both mid 16th c.
Presenter
Presentation Notes
Creator Artist Unknown, 16th century, period of Francis I (r. 1515-1547) Culture French Title Prelate's Chair Work Type furniture Date 16th century, period of Francis I (r. 1515 - 1547) Material walnut Measurements 74.5 x 28 inches Description A prelate's chair (also known as a hall chair or throne stall) was often used for someone of high rank in the church, such as a bishop, but the same style of chair was also used by laypeople. Probably made under the reign of Francis I in France, this chair has the old-fashioned Gothic boxlike form, but embraces the new Renaissance style, with its carved ornament of rinceaux (foliage), flattened columns with stylized Corinthian capitals, and arms terminating in scrolls. The hinged seat could also be used for storage. Excerpt from Magnificence and Awe: Renaissance and Baroque Art in the Viola E. Bray Gallery at the Flint Institute of Arts (2011), with catalogue entries by Charissa Bremer-David and Tracee J. Glab. Repository Flint Institute of Arts Armchair Date: about 1580 (made) Place: France Artist/maker: Unknow
Caquetoire, 1560-80
Presenter
Presentation Notes
Caquetoire Walnut France, c 1560 – 1580 Size: 114 cm height x 63 cm width x 35 cm depth The caquetoire, or conversation or gossip chair, is among the most well-known of French renaissance furniture. Derived from the term 'caqueter', meaning 'to chat', caquetoire referenced women sitting and talking. Built with a splayed seat base and U-shaped arms to accommodate comfortably the full layered skirts and petticoats worn in the 16th century, caquetoire were wide in the front and narrowed at the rear making a triangular shape. The back was high and paneled and usually, as with our example, the chairs were made of walnut to allow for elaborate decoration with carving and medallions and joined via mortise and tenon rather than nailed and glued. Surviving French Renaissance examples, especially those in original unrestored condition, are exceedingly rare.
Pair of Armchairs, Louis XIII, first half of the 17th c.
Draw-top Table, 16th c.
Draw-top Table, 1550-70
Presenter
Presentation Notes
French. Draw- Top Table, ca. 1550?70. Walnut, w. 58 in. (147.3 cm). The Friedsam Collection, Bequest of Michael Friedsam, 1931 Allegories of the cycles of nature and floral motifs increased in popularity as decorative themes. At either end of this draw-top table of about 1550?70 personifications of spring and summer recline in landscapes carved into rectan gular panels. These are flanked by dense, sculp tural scrolls of tendrils, supported by balusters inscribed with leaf patterns that rest, in turn, on bases ornamented by classical motifs of rosettes and palmettes. Such massive, richly carved wood typifies furniture of the French Renaissance
Jacques Androuet du Cerceau, mid 16th c.
Presenter
Presentation Notes
Creator Jacques Androuet Ducerceau Title Plate 9 of Livre De Grotesques Date 1566 Material etching Measurements Overall: 6 1/2 x 9 1/16 in. (16.5 x 23 cm) Repository Ackland Art Museum, University of North Carolina at Chapel Hill. Ackland Fund Accession Number 63.41.27 ARTstor Collection Ackland Art Museum (University of North Carolina, Chapel Hill) http://www.ackland.org/Collections/index.htm
Hugues Sambin, 1554
Two French Dressoirs or Cupboards, c. 1500
Presenter
Presentation Notes
Cupboard Date: late 15th or early 16th century Culture: French or South Netherlandish Medium: Oak Dimensions: Overall: 68 1/2 x 68 1/2 x 27 in. (174 x 174 x 68.6 cm) Classification: Woodwork Credit Line: Bequest of Susan Vanderpoel Clark, 1967 Accession Number: 67.155.9 This artwork is currently on display Dressers first appeared in Europe during the fifteenth century, and were used for arranging and displaying tableware: pewter, copper and earthenware in more modest households, gold and silver in wealthier homes, where the furniture was also more elaborately carved. The dresser retained its original form throughout the first half of the sixteenth century while at the same time beginning to incorporate new designs emerging from Italy, as seen here. A design inherited from the fifteenth century The dresser comprises upper and lower sections with a flat front and truncated corners. The structure is punctuated by small columns encrusted with shell. The upper section of the dresser is divided horizontally into two parts: at the top are two doors decorated with ornamental hinges, while the lower part has a single, centrally-placed door, also with ornamental hinges, flanked by carved panels. The hinges are highlighted against a setting of oak with reddish highlights. The lower section of the dresser is open, and features three arches with simple moldings, for the display of choice pieces of tableware or other decorative items. This two-part structure originated in the fifteenth century and remained in use during the early sixteenth century. A dresser of the same design, with Gothic ornamentation and bearing the arms of Louis XII and Anne de Bretagne, is preserved in the Dobrée Museum in Nantes, in western France. Traditional and innovative decoration The doors on the upper section of the dresser are carved in slight relief with elaborate foliate scrolls; in the center of these are oval medallions framing two female profiles. The lower door is carved with scrolls of leaves and the head of an angel; the adjoining panels and truncated corners are exquisitely ornamented with Italianate grotesques of a type common to both furniture and ceramics. However, the sides of the dresser feature linenfold decoration, characteristic of the fifteenth century. The piece features an interesting mix of typical late fifteenth-century decoration (hinges, colonnettes, linenfolds) and newer syles (grotesques, medallions with profiles). Another, similar dresser, bearing the date 1524 and preserved in the French Musée Nationale de la Renaissance at Écouen, confirms this gradual assimilation of Italianate decorative styles.
French Dressoir, 1560-80
Presenter
Presentation Notes
French. High Chest, ca. 1560-80. Walnut, h. 57 in. (144.8 cm). Robert Lehman Collection, 1975 (1975.1.2034) – Designing for the Decorative Arts The sheer profusion of motifs, piling one on the other, and the interweaving of these often dis parate forms into a plausible whole were much admired characteristics of French Renaissance design. Rosso's cartouches for the Gallery of Francis I inspired artists to devise ever more complex assemblages. Antonio Fantuzzi's etched Ornament, for instance, takes elements of the gallery, like terms with spiral legs, a mask with cornucopia growing out of the mouth, strap work, swags of fruit, and the king's emblematic salamanders and compresses them into a claus trophobia-inducing wall panel. The license to combine disparate elements spread from wall design through print sources to furniture. The horror vacui principle, leaving no inch of this walnut high chest uncarved, responds to prints such as Fantuzzi's and like the etching assembles individual motifs in unlikely ways. The bizarre terms, seen in sheets such as Fantuzzi's, become the principal elements of the upper regis ter, while elaborate masks, such as that at the bot tom of Fantuzzi's etching, are the centers of the two doors. The cabinetmaker may well have con sulted more specialized furniture books, such as the forty-odd plates that designer and printmaker Jacques Androuet Ducerceau produced at mid century, for ideas of overall form. But for indi vidual motifs, he probably plundered numerous prints that circulated throughout France.
French Dressoir, late 16th c.
Presenter
Presentation Notes
Related to a Dressoir in the Frick collection, 1580, Dressoir with Harpy Supports, Terms and Strapwork Reliefs
Armoire au deux corps, 16th c. Armoire, 16th c., Influenced by Sambin
Presenter
Presentation Notes
*The decorations on this highly architectural piece of furniture include bas-reliefs, scupture in the round, and painted panels. It has often been compared to the work of the architect and ornamentalist Hugues Sambin (circa 1520-1601). Although some features do seem to be inspired by his architectural style, other sources, in particular those of Fontainebleau, have contributed to the creation of this armoire, which is very representative of sixteenth-century furniture. A sixteenth-century armoire This armoire was originally in two pieces, as was usually the case in the sixteenth century. It was altered at some unknown date and now forms a single piece, but marks showing the way it was formerly put together can still be found. Three terminal figures are placed at key points to emphasize the structure of the front. The one in the center is a half-figure of a woman whose plinth is ornamented with a chute of flowers and fruit while to either side of her are two male figures on cylindrical plinths carved with scrolls of formalized leaves and flowers. The three terminal figures are topped by capitals in the form of baskets of flowers. They serve to separate the two doors of the upper section in which niches have been carved containing Hercules on the left, and Venus and Cupid on the right. Two scenes have been painted on the doors of the lower half: The Creation of Man and The Murder of Abel by Cain. The very compartmentalized structure of this piece, with carvings highlighting the differences in relief and the painted panels contributing a variety of color tones, makes it characteristic of late sixteenth- century furniture and of Renaissance furniture in general. Comparison with the work of Hugues Sambin This armoire has been compared to the work of the famous Dijon architect and ornamentalist, Hugues Sambin (circa 1520-1601). Sambin was also a master cabinetmaker and published a collection entitled The Diversity of Terminal Figures used in Architecture (Lyon, 1572). The three terminal figures on this piece are very similar to the engravings in his collection and to the decorations carried out by Sambin for the Palais de Justice in Dijon (1582-1583). Despite these similarities, we cannot with certainty attribute the Louvre armoire to this artist. Furthermore, the painted panels were the work of a Dijon glass painter, Évrard Bredin, who worked with Hugues Sambin. It has been possible to attribute these by comparing them with two signed panels in the Musée des Beaux-Arts in Dijon and a series of paintings decorating a dresser dated 1581, which is preserved in the Musée du Palais de Granvelle at Besançon. The Fontainebleau influence Another influence is detectable in this armoire: that of the first school of Fontainebleau, where Sambin stayed in 1544. The figure of Hercules, set in a niche on the left-hand door, derives from the Vulcan of the Gods in Niches series, after the painter Rosso Fiorentino. This was engraved by Caraglio in 1526, reproduced in 1530 by Bink, and again by Androuet du Cerceau after 1540. These illustrations were much used in the decorative arts, particularly during the last third of the sixteenth century.
Parisian Ebony Cabinet, first half of the 17th c.
Presenter
Presentation Notes
Parisian 'cabinetmakers working in ebony' in the first half of the seventeenth century developed a piece of furniture which was based on Flemish and German cabinets. Their method was quite different, but the element of surprise remained unchanged: as in the theater, the cabinet concealed a sumptuous scene behind a sober exterior. In the same way, cabinets veneered with ebony on the outside opened up to reveal creations of precious materials on the inside. The Parisian ebony cabinet Always large in scale, cabinets of this kind stand on an independent but matching support of eight legs. In the Louvre example, the pilasters which form the back legs and the columns of the front ones rest on a wide base supported by flattened boule feet. This base supports a top which has a band of drawers. The upper part has two leaves with slightly raised carvings surmounted by a projecting ledge. The ebony cabinet is a highly architectural piece of furniture resulting from a combination of German and French Renaissance influences. An abundant bas-relief decoration can be seen in the ebony. The use of this wood gave its name to the corporation of 'cabinetmakers working in ebony' which, in the early eighteenth century, gave rise to the French term "ébénistes". Its black color gives the furniture quite a sober look, but this conceals a whole set of drawers on the inside which also have an ebony veneer as well as miniature trompe-l'oeil decorations. Cabinets were to be found in the room of the same name, at the end of a series of linked apartments into which only close friends or relatives or honored guests were admitted. The ornamentation The bas-reliefs illustrate the virtues and scenes from Roman history and mythology. The two leaves are surrounded by a carved frame and wavy moldings and represent, on the left, Horatius Cocles defending the Sublician Bridge in Rome against the army of the Etruscan king, Lars Porsena; and, on the right, the companions of Horatius Cocles cutting down the bridge. At the corners of these two scenes are, on the left, Faith, Hope, Temperance, and Justice; and, on the right, Charity, Prudence, Fortitude, and Innocence. On either side is a niche with statuettes of Mars and Minerva. Underneath these scenes, at the level of the frieze, are five bas-reliefs illustrating episodes from military campaigns. The backs of the large leaves are carved with landscapes surrounded by flowers and moldings. Inside, on the surfaces of the twenty drawers, are displayed two scenes from the story of Apollo and some children playing with marine creatures. Also inside is a landscape of artificial rocks dotted with shells and small houses made of paper. A group of cabinets The cabinet belongs to a set which probably came from the same workshop and is characterized by the quality of its carvings, the way the styles of decoration on the exterior are broken up by columns and pilasters, and the presence of ronde-bosse statuettes (carved in the round rather than in relief). The nine other cabinets in the group are scattered between Fontainebleau, Serrant and Écouen (France), New York and San Francisco (USA), Windsor (UK), Amsterdam (Netherlands), St. Petersburg (Russia), and one private collection. The Louvre cabinet is probably the oldest of the group. It is likely that this furniture was made in the workshop of the cabinetmakers Adriaan Garbrand and his son-in-law Pierre Gole, who were of Dutch extraction but established in the Faubourg Saint-Germain.
Embroidered panel, 1560-70
Presenter
Presentation Notes
French. Panel with Grotesque Decoration, ca. 1560-70. Embroidered silk on silk, 78 x 14% in. (198.1 x 37.5 cm). Rogers Fund, 1956 (1956 The Taste of Catherine de' Medici Catherine de ' Medici's life was extraordinary even for her chaotic era. She was born in Florence in 1519 to Madeleine de la Tour d'Auvergne, a descendant of the French Bourbon family. Her mother died in childbirth, and her father, Lorenzo de' Medici, a nephew of Pope Leo X, expired a few days later. The orphan was raised in con vents until at fourteen she was married to Henry, duke of Orl?ans, second son of Francis I. Her first decade in France was shadowed by her inability to have children and by the ascendancy of the king's mistress Diane de Poitiers. But beginning in 1544 she bore eleven children, seven of whom survived birth, three becoming kings of France: Francis II, Henry III, and Charles IX. After her husband's death in a joust in 1559, Catherine wielded enormous power, first as regent and then as queen mother. Although her reputation was forever black ened by her role in the Saint Bartholomew's Day Massacre of Protestants in 1572, it is clear that she was an adroit politician. She was also an ambi tious and adventurous patron of the arts. Foemina superbi luxus or "woman of superb luxury," the sixteenth-century historian Christophe de Thou called her. She advanced the state of French archi tecture with the Tuileries Palace and of sculpture with the unfinished Valois Chapel memorial to her husband. Besides the previously noted exam ples of her collecting of portraits and ceramics, her taste had a profound effect on two other areas of the decorative arts: textiles and jewelry. In her H?tel de la Reine in Paris, a series of twelve tapestries of the life of Hannibal hung in the entryway. Another series known as the Valois Tapestries, the most famous commission of the day, was ordered by or for her and taken by her granddaughter Christine de Lorraine to Flor ence. Even more than tapestries she adored embroideries and linens; staggering quantities of bed valences and table covers filled the pages of the inventory of her possessions at her death in 1589. The Venetian embroiderer Frederic de Vinciolo apparently came to France to work for her, and he dedicated to the queen mother his Les singuliers et nouveaux pourtrits [sic] ...de toutes sortes de lingeries in 1587. An example of the kind of work she appreciated is the Museum's panel of yellow satin embroidered with silk threads. One of a set of three (the others are in the Mus?e His torique des Tissus, Lyon), it hung as a valence around the top of a four-poster bed. Various print sources were culled for the airy design of grotesques, while its five vignettes derived from Ovid's Metamorphoses?based on the myths of Europa, Actaeon, Semele, Pyramus, and Salmacis?are adapted from woodcut illustra tions published by Bernard Salomon in Lyon in 1557. Its brilliant colors, exquisite design, and sumptuous material would have suited the queen's taste perfectly.
Bed a la Francaise, with original tapestry,
17th c.
Presenter
Presentation Notes
his canopy bed belongs to a set also comprising six fauteuils, which came from the Château d'Effiat near Aigueperre in the Puy de Dôme. Built in the early 17th century for Antoine Coëffier de Ruzé (1581-1632), Marquis d'Effiat, Marshal of France and father of the Marquis de Cinq-Mars, the château kept all its furniture up until 1856, the year it was auctioned off. The bed, which still has its original tapestry, is thus one of the rare surviving examples of 17th century bedchamber furnishings. A bed à la française The bed from Effiat is composed of four bedposts with square profiles holding up a canopy whose angles are adorned with finials, fabric vases and braids. When the curtains are drawn, it has the aspect of a cube entirely covered with Genoa velvet. The bed à la française, often represented in the engravings and paintings of Abraham Bosse, became widespread in the 17th century. Its bedposts may be simple, as in the case of the piece in the Louvre, or of turned wood, and the canopy decorated either with plumes or finials. There is another very similar model at the Château d'Amboise. The luxurious aspect of these beds was entirely a factor of the tapestry decoration.
The Drowning of Britomartis, French Tapestry, 1547-59
Presenter
Presentation Notes
Probably designed by Jean Cousin the Elder (ca. 1500-ca. 1560); probably woven by Pierre II Blasse and Jacques Langlois (both French, act. 1540?60). The Drowning of Britomartis, 1547-59. Wool and silk tap estry, 183 x 114 in. (464.8 x 289.6 cm). Gift of the chil dren of Mrs. Harry Payne Whitney, in accordance with the wishes of their mother, 1942 (42.57.1) One of the most fascinating figures and influential patrons of her time was Diane de Poitiers, who mesmerized Henry of Angoul?me when he was dauphin and continued to be his mistress after he became king. She employed the brilliant architect Philibert de l'Orme to build her ch?teau at Anet and enlisted other talented artists to create decorations for it. Perhaps the most famous sculpture of the French Renaissance, Diana and the Stag, crowned a fountain in its courtyard, while Benvenuto Cellini's Nymph of Fontainebleau, a bronze relief, was diverted from its intended location at Fontainebleau to preside over Diane de Poitiers's entry portal at Anet. It appears, too, that she engaged Cousin to create a series of tapestries for her that was even more important than those devoted to Saint Mammas. Most of the tapestries illustrate well-known episodes of the myth of Diana, such as the death of Orion, the death of Meleager, and the Lycian peasants changed into frogs. One of the most successful compositions, however, is also among the most obscure episodes: the death of Britomartis (opposite). Identified by a hunting bow and a crescent moon, Diana retrieves the body of Brit omartis from the sea by inventing the net to haul him out of the water. She then buries him in a temple, seen above in the background. Inscrip tions and ancillary scenes fill the borders. Diane de Poitiers's principal emblem, the arrow that always finds its mark (her prime target, as every one knew, was the king) shoots along the side borders to her coat of arms at top. Tapestries were among the most costly and labor-intensive of all the arts; Diane de Poitiers's ability to com mand such a sumptuous set testifies to her wealth and taste. One final example of patronage reminds us of
Saint-Porchaire Ewer, ca. 1530-50
Presenter
Presentation Notes
Saint-Porchaire Ewer, ca. 1530–50 French White earthenware with inlaid clay decoration under a lead glaze H. 10 5/16 in. (26.1 cm) Gift of J. Pierpont Morgan, 1917 (17.190.1740) ON VIEW: GALLERY 544 Last Updated June 18, 2013 For many years the origin of the distinctive, elaborate pottery, now called Saint-Porchaire, was unknown. In the first half of the nineteenth century, it was called only "Henri Deux ware." In 1864 it was thought to come from Oiron in France. It was not until 1888 that its source was attributed to the village of Saint-Porchaire near Bressuive. Saint-Porchaire pieces, such as this ewer, required much careful hand preparation after the basic shapes had been achieved. The plastic decoration, such as the festoons, spout, saints in niches, and lion masks of this piece, were made in molds and then applied. The geometric ornamentation was made by pressing metal dies into the unfired surface and then filling the depressions with brown clay. The surface was then covered with a transparent lead glaze. The lightly fired white body is very fragile. For this reason it is most probable that Saint-Porchaire ware was always meant to be decorative rather than functional. The devices or armorial bearings of royalty, the nobility, and religious institutions that mark many of the examples testify to the elevated circles in which it found patrons. Only seventy examples of Saint-Porchaire ware survive, and it is probable that even in its own time it was a relatively restricted product.
School of Bernard Palissy, ca. 1510-1589
Presenter
Presentation Notes
Platter, last quarter of 16th century School of Bernard Palissy (French, 1510–1589) Made in France Lead-glazed earthenware H. 20 1/2 in. (52.1 cm), W. 15 1/2 in. (39.4 cm), D. 2 13/16 in. (7.1 cm) Gift of Julia A. Berwind, 1953 (53.225.52) ON VIEW: GALLERY 544 Last Updated June 18, 2013 The sixteenth century was marked by a scientific interest in natural phenomena. New worlds had been discovered, occupied by animals and human beings never before seen in Europe. Museums of curiosities abounded, and self-styled naturalists, such as Cosimo de' Medici, gilded armadillos from the Americas and placed them on pillars in their palaces. Native Indians of the Americas were toured round the courts of Europe, and the taste for the exotic flourished. It was in this atmosphere that the talented French potter Bernard Palissy began practicing his trade, using a white clay body with delicately nuanced colored glazes. An enthusiastic natural scientist, Palissy used local fish, plants, and reptiles—making casts of actual specimens for use in his modeling—to develop what he called "rustic pottery." He produced his rustic ware in abundance, and made a grotto (now destroyed) in the garden of the Tuileries palace for the queen, Catherine de' Médicis. This oval dish, in the manner of Palissy, is in the shape of a pond surrounded by plant life. Perched on the plate are fish, frogs, a twisting snake, a lizard, a water beetle, crayfish, and a variety of shellfish.
Enamel portrait by Leonard Limosin,
1556, Limoges, France
Presenter
Presentation Notes
This masterly portrait by the royal enameler Léonard Limosin was the first enamel painting designated for the new Louvre museum during the Revolutionary seizures. High Constable Anne de Montmorency (1493-1567), for whom the castle at Ecouen was built, was a confidant of the monarchs François I (1494-1547) and Henri II (1519-59). The original frame, with painted enamel plaques, has survived intact. This is one of the finest examples of Limoges enamelwork dating from the French Renaissance. The portrait Dated 1556, the portrait shows Anne de Montmorency at the relatively advanced age of sixty-three; his hair, moustache and beard are white in places, his forehead is wrinkled, his features worn and thin. Limosin has rendered his lively blue eyes with remarkable skill. The High Constable's black beret is adorned with a gold badge, and he wears the pendant of the French Order of St Michael over a black jerkin adorned with tiny buttons and gray moresque embroidery. A black, ermine-lined cloak covers his shoulders. He is standing behind a green balustrade topped by a white railing. His first name was that of his godmother, Anne de Bretagne. A noted soldier and courtier, he was a leading Catholic figure during the French Wars of Religion, and a renowned patron of the arts (the builder of the celebrated castles at Ecouen and Chantilly). Inventories drawn up in 1556 and 1568 reveal his interest in painted enamel items from Limoges, such as the altarpiece now in the Musée National de la Renaissance, at Ecouen. The frame The frame is composed of six plaques painted with monochrome or gold enamel on a black ground, and two repoussé copper heads coated with colored enamel. Hemispheric medallions in each of the four corners feature an arm holding a perpendicular sword. Entwined around the blades are scrolls inscribed with the high constable's motto, "Aplanos" ("without wandering or varying"). The wearing of an unsheathed sword in the king's presence was a privilege enjoyed by the high constable, the head of his army. Left and right of the portrait, the male and female satyrs supporting urns, accompanied by infant satyrs, are copied directly from stucco figures in the Galerie François I in the royal palace at Fontainebleau. Limosin may have sketched them himself in situ, rather than working from an engraved print, which would have inverted the figures. Historical context This portrait was seized in 1794 (on 22 Ventôse, year 2 of the French Revolutionary calendar) from the home of the Duke of Montmorency-Laval. Despite the similarity of their names, the latter was not descended from the High Constable, but from a chamberlain of Charles VIII. How this portrait came to be in his mansion remains an enigma. In 1804, the work went on display at the Louvre (Galerie d'Apollon) and served as a model for the frames of large oval portraits of court personalities.
Renaissance England
House of Tudor, England Henry VIII
Elizabeth I
Hampton Court Palace, 1514-1737
Presenter
Presentation Notes
t was originally built for Cardinal Thomas Wolsey, a favourite of King Henry VIII, circa 1514; in 1529, as Wolsey fell from favour, the palace was passed to the King, who enlarged it. The following century, King William III's massive rebuilding and expansion project intended to rival Versailles was begun.[1] Work halted in 1694, leaving the palace in two distinct contrasting architectural styles, domestic Tudor and Baroque. While the palace's styles are an accident of fate, a unity exists due to the use of pink bricks and a symmetrical, albeit vague, balancing of successive low wings.[2] Along with St. James's Palace, it is one of only two surviving palaces out of the many owned by King Henry VIII.
Presenter
Presentation Notes
The additions are designed by Sir Christopher Wren, 1689, based on Versailles.
Hampton Court – Great Hall
Presenter
Presentation Notes
Between 1532 and 1535 Henry added the Great Hall (the last medieval great hall built for the English monarchy) and the Royal Tennis Court.[14] The Great Hall features a carved hammer-beam roof. During Tudor times, this was the most important room of the palace; here, the King would dine in state seated at a table upon a raised dais.[15] The hall took five years to complete, so impatient was the King for completion that the masons were compelled to work throughout the night by candlelight.[5]
Kings Staircase, Late 17th c.
Presenter
Presentation Notes
Frescos by Antonio Verrio, end of the 17th c.
The King’s Bedchamber, Late 17th c.
Queen’s Gallery, Hampton Court
Presenter
Presentation Notes
The Queen's Gallery or Ballroom, occupying the southern end of the Queen's State Apartment of Hampton Court Palace, was begun to the designs of Christopher Wren in 1689 for Queen Mary II. After the Queen's sudden death in 1694, when the fitting-out of her new rooms was only partially finished, all work was suspended. Six years later, in 1700, William III decided to take over the Queen's Gallery for his own use and by the middle of the following year the room was substantially complete. The elaborately carved overmantel by John Nost in the centre of the west wall was removed from the King's Great Bedchamber and new furnishings were ordered from Jean Pelletier, including a pair of pier tables and two pairs of torchères. In George I's reign the Queen's Apartment was taken over by the Prince and Princess of Wales (the future George II and Queen Caroline) and it was probably in this period, c.1715-16, that the fine set of early eighteenth-century Brussels tapestries depicting the History of Alexander was set up. Over the last two decades these tapestries have been washed and conserved at the Textile Conservation Studio at Hampton Court Palace.
Hardwick Hall, for Bess of Hardwick, 1590-97
.
Presenter
Presentation Notes
Hardwick Hall (grid reference SK463637), in Derbyshire, is an architecturally significant Elizabethan country house in England. Built between 1590–1597 for the formidable Bess of Hardwick, it was designed by the architect Robert Smythson, an exponent of the Renaissance style of architecture. Hardwick Hall is one of the earliest examples of the English interpretation of the style, which came into fashion having slowly spread from Florence. Its arrival in Britain fortuitously coincided with the period when it was no longer necessary or legal to fortify a domestic dwelling. Ownership of the house was transferred to the National Trust in 1959. Today, it is fully open to the public.
Long Hall at Hardwick Hall
Hatfield House, begun 1497, with major renovations 1608
Presenter
Presentation Notes
Hatfield House is a country house set in a large park, the Great Park, on the eastern side of the town of Hatfield, Hertfordshire, England. The present Jacobean house was built in 1611 by Robert Cecil, First Earl of Salisbury and Chief Minister to King James I and has been the home of the Cecil family ever since. It is a prime example of Jacobean architecture and is currently the home of Robert Gascoyne-Cecil, 7th Marquess of Salisbury. The house is open to the public.
Great Hall
Great Hall , Hatfield House
Elizabeth I -Rainbow Portrait
Presenter
Presentation Notes
The Rainbow Portrait[edit] The Rainbow Portrait, c. 1600–02, attrib. Isaac Oliver Attributed to Isaac Oliver, perhaps the most heavily symbolic portrait of the queen is the Rainbow Portrait. It was painted around 1600–1602, when the queen was in her sixties. In this painting an ageless Elizabeth appears dressed as if for a masque, in a linen bodice embroidered with spring flowers and a mantle draped over one shoulder, her hair loose beneath a fantastical headdress.[61] She wears symbols out of the popular emblem books: the cloak with eyes and ears, the serpent of wisdom, the celestial armillary sphere, and carries a rainbow with the motto non sine sol iris ("no rainbow without the sun"). Strong suggests that the complex "programme" for this image may be the work of the poet John Davies, whose Hymns to Astraea honouring the queen use much of the same imagery, and suggests it was commissioned by Robert Cecil as part of the decor for Elizabeth's visit in 1602, when a "shrine to Astraea" featured in the entertainments of what would prove to be the "last great festival of the reign".[61][62]
Knole House, begun 1456 with major additions through the early 17th c.
Presenter
Presentation Notes
The house was built by Thomas Bourchier, Archbishop of Canterbury, between 1456 and 1486, on the site of an earlier house belonging to James Fiennes, the Lord Say and Sele who was executed after the victory of Jack Cade's rebels at the Battle of Solefields. On Bourchier's death, the house was bequeathed to the See of Canterbury — Sir Thomas More appeared in revels there at the court of John Morton — and in subsequent years it continued to be enlarged, with the addition of a new large courtyard, now known as Green Court, and a new entrance tower. In 1538 the house was taken from Archbishop Thomas Cranmer by King Henry VIII along with Otford Palace. In 1566, during the reign of Queen Elizabeth I, it came into the possession of her cousin Thomas Sackville whose descendants the Earls and Dukes of Dorset and Barons Sackville have lived there since 1603.
Stair Hall, after 1603
Great Room or Ballroom, Knole House
Long Hall, Knole House
Knole Sofa (1610-20) and Upholstered Armchair (ca. 1650)
Presenter
Presentation Notes
The original Knole sofa, or settee, ca. 1610-1620 Above, James II (1633-1701)'s Restoration-era baroque armchair and stool from Knole House in Kent, the ancestral home upon which Virginia Woolf based her novel OrlandoFigure 39. Example of the X Pattern Chair Period of Oak Furniture Early 17th Century This is a type of chair that became popular during James I reign. At Knole Park, Kent, large numbers of these chairs still exist. They were made specially in honour of a visit paid James I.
Queen’s House, Inigo Jones, 1619-1635
Presenter
Presentation Notes
he Queen's House, Greenwich, is a former royal residence built between 1616–1619 in Greenwich, then a few miles downriver from London, and now a district of the city. Its architect was Inigo Jones, for whom it was a crucial early commission, for Anne of Denmark, the queen of King James I of England. It was altered and completed by Jones, in a second campaign about 1635 for Henrietta Maria, queen of King Charles I.[1] The Queen's House is one of the most important buildings in British architectural history, being the first consciously classical building to have been constructed in Britain. It was Jones's first major commission after returning from his 1613–1615 grand tour[2] of Roman, Renaissance and Palladian architecture in Italy.
Tulip Stairs, Queens House, Inigo Jones
Presenter
Presentation Notes
The Tulip Stairs and lantern from below; the first centrally unsupported helical stairs constructed in England. The stairs are supported by a combination of support by cantilever from the walls and each tread resting on the one below.
Covent Garden Market, 1737, B. Nebot
Presenter
Presentation Notes
Artist [show]Balthazar Nebot Link back to Creator infobox template TitleCovent Garden Market Description Covent Garden piazza and market in 1737, looking west towards St Paul's Church Date1737 Mediumoil on canvas DimensionsHeight: 648 mm (25.51 in). Width: 1,228 mm (48.35 in). Current locationTate Gallery Accession numberN01453 Object historyThe painting was first in the possession of Lord Dover, whose executors sold it to the National Gallery on 25 May 1895. It was transferred to the Tate Gallery in 1955. Inscriptions"B.Nebot. F. 1737" along the edge of the market-woman's stool on the left of the rails
Inigo Jones – St. Paul’s, Covent Garden Square, London
Presenter
Presentation Notes
(after Vitruvius – 1st classical church in England) burned and restored 18C
Inigo Jones, Banqueting House, 1619, London
Presenter
Presentation Notes
The Banqueting House, Whitehall, London, is the grandest and best known survivor of the architectural genre of banqueting house, and the only remaining component of the Palace of Whitehall. The building is important in the history of English architecture as the first building to be completed in the neo-classical style which was to transform English architecture.[1] Begun in 1619, and designed by Inigo Jones in a style influenced by Palladio,[2] the Banqueting House was completed in 1622 at a cost of £15,618, 27 years before King Charles I of England was executed on a scaffold in front of it in January 1649. The building was controversially re-faced in Portland stone in the 19th century, though the details of the original façade were faithfully preserved.[3] Today, the Banqueting House is a national monument, open to the public and preserved as a Grade I listed building.[4] It is cared for by an independent charity, Historic Royal Palaces, which receives no funding from the Government or the Crown.[5]
Double-Cube Room, Ceiling by Rubens
Presenter
Presentation Notes
nterior[edit] The Banqueting Hall The term Banqueting House was something of a misnomer. The hall within the house was in fact used not only for banqueting but royal receptions, ceremonies, and the performance of masques.[12] The entertainments given here would have been among the finest in Europe, for during this period England was considered the leading musical country of Europe. On January 5, 1617 Pochahontas and Tomocomo were brought before the King at the old Banqueting House in Whitehall Palace at a performance of Ben Jonson's masque The Vision of Delight. According to John Smith, King James was so unprepossessing neither of the natives realized whom they had met until it was explained to them afterward. Such masques were later augmented with French musicians whom Queen Henrietta Maria, the wife of Charles I, brought to the court.[13] The masques began a slow decline, however, after the death in 1625 of Orlando Gibbons, who ironically died on a trip to meet the newly married Henrietta Maria and her musicians. Inside the building is a single two-storey double-cube room. The double cube room is another Palladianism, where all proportions are mathematically related. Thus the length of the room is twice its equal width and height.[14] At second-floor level the room is surrounded by what is sometimes mistakenly referred to as a minstrels' gallery. While musicians may have played from this vantage point, its true purpose was to admit an audience, for at the time of the Banqueting House's construction Kings still lived in "splendour and state", or publicly. The less exalted and the general public would be permitted to crowd the gallery in order to watch the King dine. The lower status of those in the gallery was emphasised by the lack of an internal staircase, the gallery only being accessible by an external staircase. The building was, however, later extended to accommodate an internal staircase. The ceiling by Peter Paul Rubens James I, for whom the Banqueting House was created, died in 1625 and was succeeded by his son, Charles I. The accession of Charles I heralded a new era in the cultural history of England. The new King was a great patron of the arts—he added to the Royal Collection and encouraged the great painters of Europe to come to England. In 1623 he visited Spain where he was impressed by Titian, Rubens, and Velázquez.[15] It became his ambition to find a comparable painter for his own court. Rubens was lured to England with the offer of a knighthood, and the Banqueting House ceiling was then painted in 1635. The subject, commissioned by the King, was the glorification of his father, titled The Apotheosis of James I, and was an allegory of his own birth.[16] To the King's chagrin Rubens took his knighthood and decamped back to Antwerp, leaving Anthony van Dyck, lured not only with a knighthood but also a pension and a house, to remain in England as the court painter.[16] The panels for the ceiling were all painted in Rubens atelier in Antwerp and send to London by ship. Inigo Jones later designed another double-cube room at Wilton House, to display Van Dyck's portraits of the aristocratic Pembroke family. Given the attention and effort which were lavished by Charles I on the Banqueting House, his end was not without irony. On the afternoon of 30 January 1649 it was probably from the Banqueting House's central window that he stepped out onto the scaffold which had been erected outside for the purpose of his execution.[17]
Furniture and Furnishings
Oak Cabinet
Presenter
Presentation Notes
Cabinet
Presenter
Presentation Notes
able Date: early 17th century Culture: British Medium: Oak Dimensions: H. 30-1/2 x W. 114-1/4 x D. 32 in. (77.5 x 290.2 x 81.3 cm) Classification: Woodwork Credit Line: Gift of William Randolph Hearst Foundation and The He
The Seadog Table, French Renaissance
Presenter
Presentation Notes
Folding table Date: ca. 1620 Culture: British Medium: Oak Dimensions: 30-3/4 x 45-3/8 x 21-3/4 in. (78.1 x 115.3 x 55.2 cm) Classification: Woodwork Credit Line: Bequest of Irwin Untermyer, 1973 Accession Number: 1974.28.32 This artwork is not on display
Three Stools
ca. 1525 ca. 1550 ca. 1660
Presenter
Presentation Notes
Joined stool Date: first half 16th century Culture: British Medium: Oak Dimensions: 22-1/4 x 18 x 10-1/2 in. (56.5 x 45.7 x 26.7 cm) Classification: Woodwork Credit Line: Rogers Fund, 1921 Accession Number: 21.95.3 Stool Date: 16th century Culture: British Medium: Inlaid wood Dimensions: 23-3/8 x 18-11/16 x 11-5/16 in. (59.4 x 47.5 x 28.7 cm) Classification: Woodwork Credit Line: Bequest of Irwin Untermyer, 1973 Accession Number: 1974.28.17 Stool Date: ca. 1660 Culture: British Medium: Oak Dimensions: 18-1/2 x 19-7/8 x 16-1/2 in. (47.0 x 50.5 x 41.9 cm) Classification: Woodwork Credit Line: Bequest of Irwin Untermyer, 1973 Accession Number: 1974.28.70
Joined chair Turned chair, early 17th c.
Three Armchairs
ca. 1640 ca. 1650 ca. 1680
Presenter
Presentation Notes
Armchair Date: ca. 1640 Culture: British Medium: Oak Dimensions: No dimensions recorded. Classification: Woodwork Credit Line: Bequest of Irwin Untermyer, 1973 Accession Number: 1974.28.73 This artwork is currently on display in Gallery 512 Share Add to MyMet Description The form of this chair, with its narrow back and outward curving arms, is based on a French model called a caquetoire.Armchair Armchair: Date: 17th century Culture: British Medium: Oak Dimensions: H. 45-3/4 x W. 28-3/4 x D. 21 in. (116.2 x 73.0 x 53.3 cm) Classification: Woodwork Armchair Date: ca. 1660–85 Culture: British Medium: Walnut Dimensions: 45-1/2 x 23-1/2 x 21 in. (115.6 x 59.7 x 53.3 cm) Classification: Woodwork Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.792
Farthingale Chair
Court Cuboards ca.1600-1650
Presenter
Presentation Notes
Court cupboard Date: 17th century Culture: British Medium: Oak Dimensions: H. 46 1/2 x W. 49 x D. 16in. (118.1 x 124.5 x 40.6cm) Classification: Woodwork Credit Line: Court cupboard Date: ca. 1585 Culture: British Medium: Oak and walnut, inlaid with sycamore and holly Dimensions: H. 48-1/2" (123.2 cm.); W. 54" (137.2 cm.); D. 19" (48.3 cm.) Classification: Woodwork Credit Line: Gift of Irwin Untermyer, 1964 Accession Number: 64.101.1134Gift of Irwin Untermyer, 1964 Accession Number: 64.101.113
Presenter
Presentation Notes
Court cupboard Date: first quarter 17th century Culture: British Medium: Carved oak Dimensions: 50 x 47 x 17-3/4 in. (127.0 x 119.4 x 45.1 cm) Classification: Woodwork Credit Line: Bequest of Irwin Untermyer, 1973 Accession Number: 1974.28.30
Great Bed of Ware, 1590’s
The Great Bed of Ware with Curtains
Presenter
Presentation Notes
his bed is in the typical style of carved wooden beds of the 1590s but it is remarkable for its large size. It is over 326 centimetres wide. The height was slightly reduced in the 19th century. The human figures carved on the headboard would originally have been brightly painted. Places The bed was probably made as a curiosity to attract customers to one of the inns at Ware, Hertfordshire. Ware is 22 miles from London, then a day's journey on horseback or by coach. The town had many inns in the 1590s. Historical Associations The bed has been famous since it was made. William Shakespeare mentioned it in his play Twelfth Night, first performed in 1601. The contemporary playwright Ben Jonson called it 'the great bed at Ware' in a play in 1609. Visitors often carved their initials on the bed or applied red wax seals, which are still visible on the bedposts and headboard today.
