Furnishing the Home of Good Taste | Page 7

and refinement gained a firm
foothold.

Gothic architecture and decoration declined from the perfection of the
thirteenth and fourteenth centuries to the over-decorated, flamboyant
Gothic of the fifteenth century, and it was in the latter period that the
transition began between the Gothic and the Renaissance epochs.
The Renaissance was at its height in Italy in the fifteenth century, and
its influence began to make itself felt a little in France at that time.
When the French under Louis XII seized Milan, the magnificence of
the court of Ludovico Sforza, the great duke of Milan, made such an
impression on them that they could not rest content with the old order,
and took home many beautiful things. Italian artisans were also
imported, and as France was ready for the change, their lessons were
learned and the French Renaissance came slowly into existence. This
transition is well shown by the Chateau de Gaillon, built by Cardinal
d'Amboise. Gothic and Renaissance decoration were placed side by
side in panels and furniture, and we also find some pure Gothic
decoration as late as the early part of the sixteenth century, but they
were in parts of France where tradition changed slowly. Styles overlap
in every transition period, so it is often difficult to place the exact date
on a piece of furniture; but the old dies out at last and gives way to the
new.
With the accession of Frances I in 1515 the Renaissance came into its
own in France. He was a great patron of art and letters, and under his
fostering care the people knew new luxuries, new beauties, and new
comforts. He invited Andrea del Sarto and Leonardo da Vinci to come
to France. The word Renaissance means simply revival and it is not
correctly used when we mean a distinct style led or inspired by one
person. It was a great epoch, with individuality as its leading spirit, led
by the inspiration of the Italian artists brought from Italy and molded
by the genius of France. This renewal of classic feeling came at the
psychological moment, for the true spirit of the great Gothic period had
died. The Renaissance movements in Italy, France, England and
Germany all drew their inspiration from the same source, but in each
case the national characteristics entered into the treatment. The Italians
and Germans both used the grotesque a great deal, but the Germans

used it in a coarser and heavier way than the Italians, who used it
esthetically. The French used more especially conventional and
beautiful floral forms, and the inborn French sense of the fitness of
things gave the treatment a wonderful charm and beauty. If one studies
the French chateaux one will feel the true beauty and spirit of the
times--Blois with its history of many centuries, and then some of the
purely Renaissance chateaux, like Chambord. Although great numbers
of Italian artists came to France, one must not think they did all the
beautiful work of the time. The French learned quickly and adapted
what they learned to their own needs, so that the delicate and graceful
decorations brought from Italy became more and more individualized
until in the reign of Henry II the Renaissance reached its high-water
mark.
The furniture of the time did not show much change or become more
varied or comfortable. It was large and solid and the chairs had the
satisfactory effect of good proportion, while the general squareness of
outline added to the feeling of solidity. Oak was used, and later walnut.
The chair legs were straight, and often elaborately turned, and usually
had strainers or under framing. Cushions were simply tied on at first,
but the knowledge of upholstering was gaining ground, and by the time
of Louis XIII was well understood. Cabinets had an architectural effect
in their design. The style of the decorative motive changed, but it is
chiefly in architecture and the decorative treatment of it that one sees
the true spirit of the Renaissance. Two men who had great influence on
the style of furniture of the time were Androuet du Cerceau and Hugues
Sambin. They published books of plates that were eagerly copied in all
parts of France. Sambin's influence can be traced in the later style of
Louis XIV.
[Illustration: Louis XIII chair now in the Cluny Museum showing the
Flemish influence.]
[Illustration: A typical Louis XIII chair, many of which were covered
with velvet or tapestry.]
[Illustration: By courtesy of the Metropolitan Museum of Art

This Gothic chair of the 16th century shows the beautiful linen-fold
design in the carving on the lower panels, and also the keyhole which
made the chest safe when traveling.]
The marriage of Henry II and Catherine de Medici naturally continued
the strong Italian influence. The portion of the Renaissance called after
Henry