ill!! »ALE UNIVERSITY LIBBAH1 3 9002 04480 2883 ¦I- ri ¦ ¦l!{i*lui I o wmW www ¦ -,; , ¦ . . . torf S" THE . COLLECTORS "lifilil! m y mm ilfiiin M 111 -S-^ YALE UNIVERSITY LIBRARY THE COLLECTOR'S MANUAL BY N. HUDSON MOORE AUTHOR OF "THE OLD CHINA BOOK," "THE OLD FURNITURE BOOK,' "OLD PEWTER, BRASS, COPPER, AND SHEFFIELD PLATE," "THE LACE BOOK," "FLOWER FABLES AND FANCIES," ETC. WITH 336 ENGRAVINGS AND WITH BORDERS BY AMY RICHARDS "/ love everything that s old ; old friends, old times, old manners, old books, old wine." — Goldsmith. NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS *m» CONTENTS Page I. Tables and Sideboards 3 II. English Pottery and Porcelain . . 20 III. Chairs and Sofas -45 IV. Antique Glassware 76 V. Chests and Cupboards 102 VI. Brass and Copper Utensils . . . . 125 VII. Oi.d-Fashioned Bedsteads 159 VIII. Lustre Ware 186 IX. Old-Fashioned Timepieces .... 209 X. Desks and Secretaries 234 XL Old Pewter 259 XII. Bureaus 288 XIII. Cottage Ornaments 309 Index 323 ILLUSTRATIONS \=>' & A Dining-Room in Lynn, Mass Frontispiece CHAPTER I no. PASB 1 Oak Table and Joint Stool 6 2 Cavalier Table 6 3 Baluster Table 6 4 Side-Table with Drawers 7 5 " Hundred-Leg " Table 7 6 Serving-Table with Leaves 10 7 " Extending Dining-Table " 10 8 Chippendale Sideboard Table 11 9 Hepplewhite Sideboard 11 10 General Washington's Knife-Boxes 12 11 Knives and Forks, XVIII Century 12 12 Sideboard, Knife-Boxes, and Wine-Cooler 13 13 Sideboard with Tambour Work 13 14 Sheraton Sideboard 14 15 Sideboard " Sheraton Style " 14 16 Corner Sideboard 15 17 Corner Sideboard 15 18 A Sideboard with Serving-Leaves 16 19 Empire Sideboard 16 20 Sideboard with Curved Front 17 21 Dining-Table with Carved Feet 17 22 Card-Tables 18 23 Work-Table 18 24 " Pie-crust " Table 18 25 Table with Bag 19 26 Empire Table 19 27 Papier-mache" Table 19 CHAPTER II Salt Glaze Plate 29 " Near Fishkill " 24 30 Catskill Plate 24 vii 636465 66676869 ILLUSTRATIONS PAGE " Fleurs " and " Blenheim " 25 Adams' Jasper Ware 25 Adams' Parian Figures 26 " York Minster " 26 View of Southampton 27 " Maryland Arms " 27 " Maryland Arms " 27 " Woman of Samaria " 28 Wesley Cup and Saucer 28 ML Vernon Jug 28 Wilkie Plate 29 " Dr. Syntax " Tureen 29 Black-print Ware 29 Cabinet of Printed Ware 30 Castleford Ware 31 Spode Plate 31 " St. Peter's," Spode 31 " Bristol Delft" 31 Bristol Plate 32 Plymouth Vase 32 Crown-Derby Platter 32 Crown-Derby Cups and Saucers 33 Old Worcester Cup and Saucer 33 Worcester Teapot 33 Worcester Transfer Work 36 Chamberlain's Worcester 36 Worcester Mugs and Cup 36 Helmet Jugs 37 Queen's Ware 37 " Russian " Plate 4.2 Medallion 42 Old Jasper Ware 4.2 CHAPTER III Coronation Chair 46 Oak Joint Stool 4.6 Italian Chair 47 English Oak Chair 47 Flemish Chair 47 Oak Stall 50 Oak Stall 50 ILLUSTRATIONS »IO. PAGE 70 Wainscot Chair 50 7 1 A Rush-Bottom 50 72 American Chairs 51 73 Walnut Chair 50 74 Rush-bottomed Chairs 51 75 Comb-Back Chair 56 76 Silver Chair 56 77 Rush-bottomed Chair 56 78 Wing-Cheek Chair 56 79 Spoon-Back Mahogany Chairs 57 80 Mahogany Ladder-Back Chairs 57 81 Chippendale Mahogany Chairs 60 82 Adam Chair 60 83 Shield-Back Chair 60 84 Hepplewhite Chair 61 85 Sheraton Chair 61 86 Sheraton Chair 61 87 Maple Windsor Chairs 66 88 Washington's Chair and Table 66 89 Nathaniel Hawthorne's Chair 67 90 Daniel Webster's Chair 67 91 Napoleon's Chair 67 92 Oak Settee 70 93 Adam Brothers' Settee 70 94 Hogarth " Settee " 70 95 Tapestry Settee 71 96 Settee, Mahogany Frame 71 97 Italian Sofa 72 98 Empire Sofa 72 99 Carved Empire Sofa 73 100 Sofa Veneered and Carved 73 101 Carved Empire Sofa 73 102 Carved Empire Sofa 74 103 Carved Sofa with " Squabs " 74 CHAPTER IV 104 Liquor Case and Glasses 80 105 Venetian Glass . . . 80 106 German Glass 81 107 English Glass 81 ix » ILLUSTRATIONS PIG. PAGE 108 Engraved Glass 80 109 Engraved Beakers 82 110 Beakers or Flip Glasses 82 111 Pitcher 83 112 Decanters 83 113 Cut Glass Decanters and Glasses 83 114 Cut Glass Sugar-Bowl 84 115 Green Glass Sugar-Bowl 84 116 Cut Glass Vase 84 117 English Glass 85 118 English Glass, Flint, and Opal 85 119 Wine-Glasses 86 120 Washington's Glassware 86 121 Flip Glass and Loggerhead 87 122 English Gold Decorated Glass 87 123 Ground Tumblers with Cut Bases 87 124 Three Engraved Goblets 90 125 Bohemian Glass Tazza 90 126 Crystal Globe 91 127 Log-cabin Pitcher 91 128 Group of Glassware, American 91 129 Patent Medicine Bottles 92 130 Patent Medicine Bottles 92 131 Old Schnaps Bottle 93 132 Patent Medicine Bottles 93 133 Glass Portraits 94 134 Opal and Flint Glass 94 135 Girandoles 95 136 Candlesticks and Lamp 95 137 Bevel-edge Mirror 98 V138 Broken-arch Mirror 98 139 Bilboa Mirror 98 140 Hepplewhite Mirror 99 141 Empire Mirror 99 142 Cheval Glass 99 ¦ 144 Treasure Chests 104 145 Standing Coffer 105 at PAGE "Guilloche" 105 Carved Italian Chest 105 Venetian Coffer 108 Chest of English Oak 108 " Linen-Fold " Pattern 109 Chest with Moulding Panels 109 Dutch Kas 110 Chest with One Drawer Ill Oak Chest with Drawers Ill Chest Inlaid with Bone 114 Two-Drawer Chest 114 " Connecticut Chest " 114 " Hadley Chest " 115 Chest on Legs 115 Chest-on-Chest 120 Table of Chest or High-boy 120 Chest-on-Chest 120 Court Cupboard 121 Cupboard with Pierced Door 121 Carved Cupboard 122 Cupboard or Cabinet 122 CHAPTER VI Brasier 130 Brasier 130 Spanish Brasero and Bowls 130 Brass Kettles 130 Fire Set 131 Fireplace 131 Brass Smoothing Iron, etc 131 Warming-Pan and Kettles 138 Copper Kettles 138 Copper Teakettles 138 Brass Mortars 139 Brass Swinging-Kettle 139 Dutch Milk Can and Utensils 140 Copper Vessels 140 Copper Cooking Vessels 140 Russian Copper Kettles 141 Samovar 141 xi r» 5 ILLUSTRATIONS FIG. PAGE 184 Samovar 141 185 Russian Samovar, etc 142 186 Pitcher and Sugar Bowl, Brass 142 187 Russian Brasses 143 188 Brass Kettle and Pitcher 143 189 Tinder Boxes 150 190 Early Lamps 150 191 Brass Candlesticks 150 192 Sliding Stick 151 193 Russian Candlesticks 151 194 English Sticks 151 195 General Washington's Candlesticks 154 196 Brass Snuffers and Tray . . 154 197 Brass Sconces 155 198 Brass Lamps 155 199 Governor Pierce's Lamp 155 200 Brass Lamps with Drops 155 201 Brass Lamps 156 202 Watchman's Lantern 156 203 Lantern 156 CHAPTER VII 204 Tudor Bedstead, Oak 170 205 " Stump " Bedstead 170 206 General Washington's Bed 171 207 Joseph Bulkley's Stretcher 171 208 Bed with Ball-and-Claw Feet 176 209 Dutch Bed Chair 177 210 Marquetry Bed 178 211 Carved Mahogany Bed 179 212 Mahogany Bed 180 213 Field Bed 181 214 Low-Post Bed 181 215 Low-Post Bed 184 216 French or Empire Bed 184 CHAPTER VIII 217 Plain Copper Lustre Jugs 190 218 Group of Copper Lustre Jugs 190 219 Copper Lustre Pitchers 190 xii ILLUSTRATIONS FIG. PAGE 220 Silver Lustre Jug 191 221 Teapots, Silver Lustre 191 222 Tea-Set, Silver Lustre 194 223 Tea-Set, Silver Lustre 194 224 Teapots, Silver Lustre 195 225 Cup, Saucer, and Candlestick 195 226 Silver Lustre " Resist " 198 227 Silver Lustre " Resist " 198 228 Gray Pottery and Silver Lustre 199 229 Wedgwood, Silver Lustre 199 230a Collection of Silver Lustre 200 2306 Collection of Silver Lustre 201 231 Rose or Gold Lustre Jug 204 232 Sunderland Jugs 204 233 Wear Bridge and Lustre Jugs 204 234 Another Wear Bridge Jug 205 235 Monument Jug 205 236 Collection of Jugs 206 237 Castleford Jug 207 238 " New Hall " Ware 207 239 Jugs with Lustre Decoration 207 CHAPTER IX 240 Old Clock at Rouen 214 241 Clock by Lepaute 215 242 " Bird-Cage " Clock 215 243 Bracket Clock 218 244 Another Bracket Clock 218 245 Spandrels 218 246 John Hancock's Clock 219 247 George Washington's Clock 219 248 English Clock 226 249 American Clock 226 250 American Clock 226 251 Dwarf Clock 227 252 Clock with Wooden Works 227 253 Mantel Clock 230 254 Mantel Clock 230 255 Banjo Clock 231 256 " Willard " Clock 231 257 Lyre Clock 231 xiii ILLUSTRATIONS FIG. PAGE 258 Empire Clock 232 259 Forestville Clock 232 260 Swiss Clock 233 261 Bonaparte's Clock 233 262 Empire Clock 233 CHAPTER X 263 Flat-top Bible Box 236 264 Slant-top Bible Box 236 265 Slant-top Desk 237 266 Slant-top Desk, Walnut 237 267 General Putnam's Desk 242 268 Desk on Legs, Closed 243 269 Desk on Legs, Open 243 270 Ladies' Writing-Table 244 271a Washington AUston's Desk 245 2716 Slant-top Desk, with Serpentine Front 245 272 Bookcase and Desk 246 273 Bookcase and Desk 246 274 Desk with Glass Doors 246 275 Sheraton Desk 247 276 Sheraton Desk 247 277 Bureau-Desk 252 278 Sideboard-Desk 252 279 Writing Cabinet 253 280 Secretary ... 253 281 Bookcase-Desk 253 282 ' ' Massachusetts " Desk 254 283 Empire Desks 254 CHAPTER XI 284 Pewter Pot-lid 266 285 Pewter Collection .... 266 286 Engraved Pewter, German 267 287 Jewish Pewter Lamp 267 288 Holy-water Cups 268 Ornamental Charger 268 290 Lead Garden Vase 269 291 Mantel with Pewter Decoration .... 269 xiv ILLUSTRATIONS FIG. PAGE 292 Ewer and Basin ... 272 293 Collection of Pewter . 272 294 Emerson Coffee Urn 273 295 " Tappit-hens " 273 296 Pewter Spoon 273 297a Mudge's Inhaler 276 2976 Base of Inhaler 276 298 Group of Pewter 277 299 Bowls and Boxes 277 300 Salts and Jug 280 301 Candle Moulds 280 302 Snuffers, Tray, and Sticks 281 303 Pewter Lamps 281 304 Pewter Lamps 284 305 Pewter Lamps 284 306 Tureen 285 307 Plates and Platters 285 CHAPTER XII 308 Commode, Louis XV Style 290 309 Bureau Dressing-Table 290 310 Bureau Cabinet . 291 311 Walnut Bureaus 296 312 Bureau 296 313 Cherry Bureau 296 314 Maple Bureau, Hepplewhite 297 315 Mahogany Bureau, Hepplewhite 297 316 Bureau 306 317 Carved Bureau 306 318 Bureau ¦ 306 319 Bureau-Desk 307 320 Mahogany Bureau . 307 CHAPTER XIII 321 Dairyman and Milkmaid 312 322 Admiral Napier 312 323 Group of Staffordshire Figures 313 324 Crown-Derby and Staffordshire 316 325 " Cottage Ornaments " 316 XV THE COLLECTOR'S MANUAL I — TABLES AXD SIDEBOARDS AT the first glance it would not seem that there / m was very cl°se connection between these two / % objects, but the sideboard is the direct out growth from the side table. When some enthusiastic furniture collector tells you that he has a sideboard three hundred years old, do not believe him, for there were no sideboards then, no, nor a hundred and fifty years ago, either. The earliest ones are not more than one hundred and twenty-five to thirty years of age, and such antiques as these are few and far between. None of them are to be " picked up." In order to get a clear idea of the matter, I am going to begin as far back as those days which seem so remote to us, before the Mayflower had begun her perilous voyage across the sea. The very earliest form of table was a board on trestles. This was used for eating from, and since the small number of dishes and trenchers could be placed on it at once, there was no necessity of any side table. Conveniences increased, elegancies crept in, and the time arrived when it was necessary to have an extra table to place the table furniture upon, and on which to display the plate and cups when not in use. The trestle-table, !» COLLECTOR'S MANUAL with its bench or form, was early in use in England. It was mentioned in inventories by 1530, and the seats were placed on one side only, the other being unoccupied, so that those at table could be conveniently served. These trestles and boards are still preserved in some of the old English dwellings, particularly in those which have been held in one family for several centuries. In Berkeley Castle, near the Welsh border, are antiquities of all kinds, for the castle has been in the possession of the Berkeley family since about 1260, with the exception of a few years when it was confiscated by the crown. In the vast dining-room, which is really a hall in size and lofty grandeur, the modern dining-table looks lonely enough. But, when the castle was a feudal stronghold, hundreds have no doubt sat down to meals there, and there are standing against the Avails boards and trestles which have come down with the castle, and which are black with age. These are used now when a large company banquets there, for the family pride themselves on their adherence to old-time customs. Matthew Parker, Archbishop of Canterbury, was born at Norwich, England, in 1504. He was appointed chaplain to Anne Boleyn, that unfortunate wife of Henry VIII, and later held high state at Canterbury, to which bishopric he was appointed in 1559. To give some idea of how these princes of the church lived, I quote the following from " Strype's Life of Parker ": " In their daily eating this was the custom. The steward, with the servants that were gentlemen of the better rank, sate down at the tables in the hall at the right hand, and the 2 -*. • TABLES AND SIDEBOARDS almoner, with the clergy and other servants, sat on the other side. Where there was plenty of all sorts of wholesome food, both for eating and drinking. The daily fragments thereof did suffice to fill the bellies of a great number of poor hungry people, that waited at the gate. And so constant and unfail ing was this great supply at my lord's table, that whosoever came in either at dinner or supper, being not above the degree of a knight, might here be entertained worthy of his quality, either at the steward's or at the almoner's table. And more over it was the Archbishop's command to his servants, that all strangers should be received and treated with all manner of civility and respect, and that their places at the table should be assigned to them according to their dignity and quality, which redounded much to the praise and commendation of the Archbishop. The discourse and conversation at meals was void of all brawling and loud talking ; and for the most part con sisted in framing men's manners to religion, or in some such honest and seeming subject. There was a monitor of the hall. And if it happened that any spoke too loud, or concerning things less decent, it was presently hushed by one that cried silence." " Holinshed's Chronicles" (about 1570), which are great sources of information about life at that period in England, Scotland, and Ireland, has this about breakfast : " Heretofore there has been much more time spent in eating and drinking than commonly is in these days ; for whereas of old we had breakfasts in the forenoon, beverages or nuntions after dinner, and thereto rear suppers generally when it was time to go to bed, — now these odd repasts, thanked be God, are very well left, and each one in manner (except here and there some young hungry stomach that cannot fast till dinner time) contenteth himself with dinner and supper only." fv;./*- ^# THE COLLECTOR'S MANUAL There is also an ancient manuscript of the Percy family which relates to the family during the sixteenth century, and which gives in detail the bill of fare of the family, throughout the whole year, and shows what appeared on the table-boards of the nobility at that time. It gives not only the meals for the Earl and Countess, but for the children of the family as well. " Breakfast for my Lord and Lady, during Lent. First, a loaf of bread in trenchers, 2 manchets, a quart of beer, a quart of wine, 2 pieces of salt fish, 6 baconn'd herring, 4 white herring, or a dish of sprats. Breakfast for my Lord Percy and Master Thomas Percy. Item, half a loaf of household bread, a manchet, a bottle of beer, a dish of butter, and a piece of salt fish, a dish of spratts, or three white herring. Breakfast for the nursery, for my Lady Margaret and Master Ingeram. Item a manchet, a quart of beer, a dish of butter, a piece of salt fish, a dish of sprats, or three white herring." And except for the season of Lent and fish-days, the ordinary allowance for the family was as follows: " Breakfasts of flesh days daily throughout the year. For my Lord and Lady. First a loaf of breade in trenchers, 2 manchets, a quart of beer, a quart of wine, half a chine of mutton, or else a chine of beef boiled. TABLES AND SIDEBOARDS Breakfasts for my Lord Percy and Master Thomas Percy. Item, half a loaf of household bread, a manchet, 1 bottle of beer, a cheeking, or else three mutton bones boiled. Breakfasts for the nursery. Item, a manchet, 1 quart of beer, and three mutton bones boiled." Nothing very dainty, truly, for the nursery or the great hall! "A manchet" was a loaf of fine white bread, which seems something choicer than what is denominated " household bread." There was nothing known at this period but the trestle-board, and few of them are left even in Eng land, while in our own land, where so few things are kept, except in some conservative old families in New England and the South, the trestle-board was chopped up long ago, and I know of but two really old ones which are still preserved, even though they have been banished to the attic. Robert White, of Essex, England, had a very long inventory attached to his will, which was filed in 1617. He gives to his son, John White, " the ioyned stand- inge bedstead w'ch is in the parlour, with the feather bed, flockbed, bolster covering, with other furniture thereunto belonginge. Alsoe the presse cupboard, the cupboard table and my newest chest, all which are in ye parlour, to be delivered him after the death of my said wife Bridgett White, or instead thereof the sum of 20 marks of like lawful moneye." In a will executed in Devonshire, England, dated 5 Wm ¦mm THE COLLECTOR'S MANUAL July, 1617, is this item: " To my sonne William my tableboard in ye hall. To my daughter Susan my Cribbone in ye hall." I have never yet been able to discover what the latter article was. Among the un expected kinds of tables which I find inventoried is, " 1 old Billyard table, £3," which Francis Hulin, of New York, bequeaths in 1704, showing that these tables had been in use earlier than this, since he classes his as old. In Figures 1 and 2 are given the second step in table growth, both of these dating to about 1600, the smaller table being the style which was used in private houses, with the joint stool to sit on. The larger one, generally called a " cavalier " table, was in use at the inns, and one can almost see the cavalier himself coming in and throwing down his feathered hat, and crying, " A cup of wine, landlord," just as they do in the play. It would not seem to offer much inducement to finger long over the meal, for a more uncomfortable object than that stool it would be hard to imagine. The baluster table in Figure 3 was in use about fifty years later, that is, by 1650, and is, like the two preced ing ones, of oak. The legs of all three are turned, and the carved decoration is of the familiar patterns which we have found on chests of the same period. The baluster table is ten feet long, and the ends may be dropped if a shorter table is desired. This seems to be the first type of distinctively serving-tables, Figure 1, and Figure 2 as well, being properly dining-tables. 6 mm l\*»o#. •*. t Fig. 1 Oak Table and Joint Stool Fig. 2 Cavalier Table Fig. 3 Balustkk Table Fig. -i Side-Table with Draweks Fig. 5 "Hundred-Leg" Table TABLES AND SIDEBOARDS The one given in Figure 4 is a very early type, and shows that the idea of having a place in which to keep the table linen and other table furniture was taking hold, and that the familiar chest was no longer all- sufficient. The panelling of the drawers of this table, the bail handles, which were fastened in with twisted wire instead of screws, and the turned legs, — all place it in the last of the seventeenth or early in the eigh teenth century. The wood is oak, and there are two panels to each drawer, and three styles of ornament are used in these panels. These drawers were used for plate or linen and, as you see, could be locked. With time and wear the wood has grown very black and almost as solid as iron. Occasionally in an English inventory prior to 1700 reference is found to a " sideboard table," which was like this, no doubt, and I find them mentioned here as well. In the early days of this country, and in Eng land too, the inn was the most important house in the village, and the innkeepers, many of them, were more than comfortably off, and for the convenience of their patrons had many things not to be found in middle-class homes. Some of the famous old inns, which have been carefully restored, have still enough of their old-time comfort clinging to them to justif y this conclusion, and if you should visit, for example, the Wayside Inn at South Sudbury, Massachusetts, or the Red Lion at Stockbridge, in the same State, you would find choice pieces of old furniture in mahogany, and the delight ful old china for which so many of us are eagerly 7 THE COLLECTOR'S MANUAL striving. But these inns belong to the eighteenth century. Before me lies the inventory of the estate of William Trask, who kept the famous Black Horse Tavern, in Salem, Massachusetts, and whose will was filed March 28, 1691. The whole estate was valued at £413, — a round sum for those times, and one rather wonders where he stowed away those travellers who wished to remain all night, for there must have been some such, even taking into consideration the poor roads and the dangers of going far from settlements at that time. A portion of the will is as follows: Imprimis. Parlour. d. 110 00 00 6 00 00 4 00 00 12 00 1 10 00 8 05 00 A dwelling house, one barn, one orchard, and ye upland and marsh adjoining 1 standinge bedstead, and feather bed and beding 1 trundle bedstead, featherbed and beding 1 longtable and forme 1 cupboard, 8 chairs, 1 wainscot chist, 1 box, 1 warming pan Weareing app'l, 1 pr, Irons and tongs, 12 glass bottles, 1 psl flax and yarn . Goods in Kitchen. Brass and Pewter, 2 Iron Potts, 1 pr. Iron doggs, 2 hakes, 1 pr. tongs, 1 Grid Iron, fryeing pan and spitt There Avas, besides, one " old " feather bed and bed ding, and this was the entire furnishing. Of course, the chief room in the house was the taproom, and all the furnishings that he had in any great number were bottles; and it is specified with some particularity that they were of glass, for leather bottles were also in 8 oo use; and in Heyward's "Philocothonista" I find the TABLES AND SIDEBOARDS " Other bottles we have of leather, but they are most used amongst the shepherds and harvest people of the country. Small jacks we have in many ale-houses of the cities and suburbs, tipt with silver, besides the great black jacks and bombards at the court, which when the Frenchmen first saw they reported, at their return into their countrey, that the Englishmen used to drinke out of their bootes." Fifty years later saw a great difference in the fur nishings which Avere OAAmed by a successful Boniface. In 1730 Abel Chapin died in the little town of Chico- pee, Massachusetts, and he had groAArn rich in keeping an inn. The imrentory of his estate contains six hun dred items, among them being thirty-six linen sheets and six tablecloths. In the pmTate home it was long before the separate room was used for dining. If the Avarm and comfort able kitchen AA** 3&J&M :*'$23&& us THE COLLECTOR'S MANUAL a sideboard, and was often of mahogany. (Figures 20 and 21.) In addition to these tables, which were distinctly for dining-room service, there were others, AA'hich could be found in different parts of the house, and were used for A'arious purposes. I have no doubt that those most in use AA'ere the numberless little AA'ork-tables (see Figures 23, 25, 26) at which our grandmothers sat, laboring often far into the night to complete the many garments which had to pass through their hands, AA'hen neither seAving-machines nor " ready-to-AA'ear " clothes Avere to be obtained. I haATe heard an old lady aa'Iio had a family of ten children, seven of them girls, say that she made thousands of buttonholes every year, until each girl greAv big enough to be taught to make her OAA'n. But if they used the Avork-tables pretty steadily during the day, some evenings in the Aveek were de voted to a game of cards, and many handsome tables Avere sent here from England, like those in Figure 22. HeppleAvhite and Sheraton made delicate and elegant ones, still to be found in many homes. Most of these tables are ornamented with inlay, the familiar " husk pattern " running do\A'n the legs, which so often tap ered to a spade-foot, or had a piece of AA'hitewood let in a few inches from the floor. These tables generally closed OA'er on the top, so that they could be set against the Avail when not in use. Rosewood card-tables were made in this country, elegantly carved and coA'ered Avith baize on the top, but the Hepplewhite and Sheraton tables have usually plain wood tops. 18 Fig 22 Card-Tables Fig. 23 Work-Table Fig. 24 "Pie-crust" Table ft, S3 > 1 HBM ¦¦¦ i :i Jp 'JP 'sf l l:« it* . TABLES AND SIDEBOARDS The little work-table sIioavh in Figure 23 is inter esting because there is one exactly like it at Mount Vernon, standing in the room in which General Wash ington died. The " Dutch foot," a name which is given to this style of turned-out foot, is by no means common on tables, though it was often to be found on chairs. This table, like the one at Mount Vernon, is of ma hogany, like the so-called " pie-crust " table also given in Figure 24. The old pie-crust tables always sIioav the marks of the carving tool along the edges of the crust, while the modern ones, and there are many of these latter, are sandpapered down so as to be perfectly smooth. The most modern of all these tables are to be seen in the last three illustrations. The one with the Avooden bag (Figure 25) is not at all pretty, but it is quaint, and I know of only tAvo or three such. This is made on what Avould be called Sheraton style, and from a fine piece of mahogany. The Empire table with brass-tipped feet (Figure 26) is a choice specimen of its type, and in fine condition, Avhile the papier-mache table (Figure 27), in addition to the painting in the centre, has a border of inlay. chiefly of mother-of-pearl. II — ENGLISH POTTERY AND PORCELAIN THAT the interest in old china is not subsiding is A'ery evident from the inquiries of many correspondents who ask about pieces which they oavii. Recently I have had letters re ferring to an article published in 1901, the writers haAring had their questions in mind all that time, but " just getting round to it." Indeed, the true collector, when once embarked on his career, is seldom content to keep in one narrow path, but strays out in many directions, and finds pleasure in them all. In support of this theory I am tempted to quote a letter from an unknown correspondent, aa'Iio finds much under her own roof, and is not only in terested herself, but has managed to interest others. The letter begins, " Dear Friend," and after some kind and complimentary remarks, goes on as folloAA's: " I have made a fine collection of quaint old things from ' up garret ' and elsewhere at home. Father's ancestors were among the earliest settlers of Ipswich, Mass., and my father is now hVing at the age of ninety years. My mother's family had a grant of three thousand acres in Orange County, N. Y., from Queen Anne, where they were all born, lived, and died, from that time ; even my mother was born there. From these Huguenots I have little else than a ' Bull's Eye ' watch, but 20 ENGLISH POTTERY AND PORCELAIN from a generation later have linen coverlets, bullet-mould, powder-horn, etc., and shoe-buckles of General Washington's time. Now I sigh thinking of lovely, old things sold to the ' Junk man.' Every time I read anything you have written, I go ' a-rummaging ' ! The family all laugh at me, and call me ' Old Antique,' but they were interested enough, I notice, when I found an original ' led-pencil ' and showed them the evolution of the Pen. First a quill, from a desk of 1755, the feather part all moth-eaten, then steel pens dedicated to Washington, Webster, Croton Water-works celebration in 1845, Free Mason, etc., down to our OAvn Fountain pen. Such queer handles as there were among them ! I send this sketch of Pewter Shaving-box and soap-box with queer cake of soap, old and dried. Not the one stolen in 1777, I hope ! " (This latter remark refers to an adA'ertisement men tioned in the article on Pewter.) To the majority of us china exerts a fascination which Ave cannot resist, and from the very nature of the field, since this country was so largely settled by emigrants from England, English china is what most naturally comes our way. Nor is there no possibility of collecting choicer Avares also of English make, and in this chapter a number of specimens of porcelains, collected in this country, are giATen. " Hoav shall I know pottery from porcelain? " This question is asked me many, many times. They may be distinguished by the folloAving A'ery simple test: If you hold your piece up to the light and can see light through it, that is, if it is translucent, it is porcelain. Pottery is opaque, and is not so hard and white as porcelain. The main differences in the manufacture 21 THE COLLECTOR'S MANUAL of stoneAvare, earthemvare, and porcelain are due to the ingredients used, to the way they are mixed, and to the degree of heat to which they are subjected in firing. Most of the old English wares found in this country are pottery or semi-china, although the term china is commonly applied to them all. The potteries in Staffordshire, covering an area ten miles long, Avere the most important in England, in A'ieAV of the fact that besides Hanley, Cobridge, Fenton, Longport, Shelton, Tunstall, Lane End, and Stoke-on- Trent they included Burslem and Etruria, made famous by being the seats, first at Burslem and then at Etruria, of WedgAvood's potteries. I haA'e spoken before of the small price at AA'hich these pottery Avares Avere sold Avhen they Avere first made, and Iioav the price has risen little by little until it has become quite preposterous. It must be distinctly borne in mind, hoAvever, that it is the historic crockery only Avhich is so valuable, decorated with scenes relating to our oaati early history or to our heroes, and, with but a feAV ex ceptions, made in rich, dark blue. One of the earliest Staffordshire products Avas what AA'as knoAA'n as " saltglaze " Avare, — a certain coarse pottery Avhich Avas glazed by putting salt in the kiln in AA'hich the objects were being fired. This Avare Avas formed in moulds, and in the case of plates the borders were often exceedingly pretty and intricate, like that sliOAA'n in Figure 28. Occasionally the borders Avere opemvork, and the surface of the AA'are is always pitted like orange peel. 22 ENGLISH POTTERY AND PORCELAIN This formation is caused by the Avay the salt forms on the surface of the Avare while in the kiln. Many of the moulds used Avere those of metal cast aside by silversmiths. Complete dinner and tea sets were made, as Avell as small figures. Very rarely flat Avare is found painted in color upon the glaze. There is a class of pieces made a little later than the dark blue and less interesting. They are printed in various colours, and haA'e the merit of being decorative and comparatively cheap. Figure 29 sIioavs such a piece; it is part of a set called "Picturesque Views," made by CleAvs, and this particular A'ieAV is called " Near Fishkill." You AA'ill find them in black, red, green, purple, broAATi, and a medium shade of blue. An artist named Wall, from Dublin, Ireland, made the original sketches of these scenes, and there were about twenty- five in all. You can always tell them by their border, which is of floAvers and scrolls, with tAvo birds placed at intervals among the scrolls. Besides the views of Hudson River scenery, the " Picturesque VieAvs " con tain tAvo views of Pittsburg, AA-ith boats in the fore ground, and one of " Fairmount Water Works, Philadelphia." You AA'ill find these pictures on flat Avare, i.e., plates and platters, on vegetable dishes, and pitchers. Plates in good condition, ten-inch size, like the one shown, are worth, at the very highest, fiA'e dol lars; smaller sizes, less. Platters, fifteen-inch size, Avell printed and clear, will perhaps fetch ten dollars. There are A'ieAvs by other makers, like Adams or Jackson, AA'hich are harder to find and more desirable. 23 *#v THE COLLECTOR'S MANUAL In Figure 30 is shown such a plate made by Adams, and called " Catskill Mountain House." The Adams pottery is always good, and there are over a dozen different views taken in various parts of the Eastern States. They range in price from tAA-o to tAvo and a half dollars higher, size for size, than the CleAvs pieces. Jackson's pottery, of AA'hich there are over thirty A'ieAvs, A-aries much in price, the " Hancock House " plate commanding tAA-enty dollars, AA'hile " The President's House, Washington," is worth but half that sum. In the deep blue Staffordshire I sIioav in Figure 31 tAvo English A'ieAA'S, and there are doubtless many pieces belonging to these and other series tucked aAA'ay in odd places and half forgotten. The beautiful fourteen- inch platter at the top is by Adams, and sIioavs the " Castle of Fleurs, Roxburghshire," on one of the finest estates in Scotland. The castle was built in 1718, and belongs to the Duke of Roxburghe, aa'Iio recently married an American girl, Miss May Goelet, so that the interest in this piece may well increase till it be comes as popular as the A'ieAvs beloAV it, which are of " Blenheim," the seat of the Duke of Marlborough, Avho married Miss Vanderbilt. Both of the loAA'er A'ieAvs are of Blenheim, the one on the right being by Adams, and much the rarer and finer of the tAvo. The other one is by an unknoAvn maker. The Adams piece has long been esteemed by collectors for the beauty of its colouring and printing, and the international complication has just given it an 24 Fig. 28 Salt Glaze Plate Fig. 29 "Near Fishkill" Fig. 30 Catskill Plate Fig. 31 "Flkurs" and "Blenheim' Fig. 32 Adams' Jasper Ware ENGLISH POTTERY AND PORCELAIN added touch of interest. Both the Fleurs platter and the Blenheim plate belong to the same series, as will be seen by examining the border. It cannot be too often mentioned what a A'ery important part the border takes in these old plates. By its means the maker of a piece can usually be identified, for, al though the old potters " borroAved " the central views from each other Avith the greatest freedom, they Avere A'ery scrupulous with reference to duplicating borders. Only in a feAV instances, where potteries and the blocks on hand passed to other OAA'ners, Avas there con fusion. These instances are quite Avell knoAvn, as, for example, the similar patterns used by A. and R. Stevenson, and the famous bluebell border used by both Adams and CleAvs. Adams Avas, hoAvever, gen erally quite particular to sign his name, and it appears in the scroll with floAvers which is on the back of the plate. Indeed, there is hardly anything ceramic which bears the name of Adams which is not worthy of the collec tor's interest. There are those who confine themselves to articles made by the Adamses only, and they pos sess varied and beautiful objects. The Adamses came of a race of potters, and William Adams, the friend and pupil of Wedgwood, was one of the feAV who used the splendid jasper body invented by WedgAvood with almost the skill and taste of that master himself. The years AA'hen Adams worked, from 1787 to 1805, Avas the time when the classical figures of Flaxman had such a vogue. In Figure 32 is shoAA'n a group of the 25 JLM ) THE COLLECTOR'S MANUAL jasper pottery made by Adams, and the grace and elegance of the figures speak for themselves. It is often said that Adams " copied " WedgAA'ood, but AA'hile it is true that he Avorked in the same manner and material, there are details which are all his OAvn, and his use of colour and form was quite original Avith him. It is also true that of all the potters Avorking at that time, his Avork, in its finish, came the nearest to the perfection of WedgAvood's, and after the death of the latter, in 1795, many pieces of Adams' jasper had his name erased from them by unscrupulous dealers and Avere sold as WedgAvood. After the death of William Adams his son carried on the business, and in 1849 and 1850 made some of the earliest Parian figures put on the market. The earliest use of this material Avas by the firm of Cope- land and Garrett, aa'Iio succeeded Spode. They potted at Stoke-on-Trent and had used Parian in 1848. But the Adams figures far excelled all others, and hoAV charming they Avere can be seen from the small group shoAvn in Figure 33. Still another field for the collector who delights to specialise is in collecting one branch of the splendid English A'ieAA's, like the cathedrals. In Figure 34 are sIioaati three A'ieAvs of York Minster, — the upper one by Stevenson, the loAver one with the steamboat a rare piece by an unknoAvn maker, and the other one by John Geddes, also uncommon. VieAvs of cities like the one of Southampton (Figure 35) are ahvays attractive and ornamental, and you do 26 Fig. 35 View of Southampton Fig. 36 "Maryland Arms ENGLISH POTTERY AND PORCELAIN not realise the beauty of colour and the immense variety of shades used by these Staffordshire potters till you have a dozen or more pieces by different potters on your Avails. The coats of arms of the different states is an in teresting if limited field, and although a number of these pieces were made by T. Mayer, at Burslem, England, for the American market, in the popular dark blue, about 1829 and later, they are not easily found. Taato even less common renderings of the arms of Maryland are giA'en in the next two figures (36 and 37), and though these are highly coloured, they are Staffordshire ware, the one with the designs on the rim haA'ing the impressed mark " Ironstone," while the other has no mark. Religious scenes are represented by The Woman of Samaria (Figure 38), by Wood, which is a hand some dark blue plate, and there are other designs by such makers as Adams and the RidgAvays, Avho also put out religious subjects. There are patterns on cups and saucers Avhich interest collectors, and though they are not so easy to display as flat Avare, still they do not take so much room as jugs. Wesley appears not only on cups and saucers, like the one shoAvn (Figure 39 which, although modern, being printed in 1891, is al ready quite rare, but in Staffordshire busts, some of them nine inches high. Such are to be picked up occasionally, and I saAV one the other day at auction go for twenty dollars. Washington china, that is, scenes and pictures of 27 SI £>S? THE COLLECTOR'S MANUAL Washington himself, command the attention of col lectors Avho do not mind paying fancy prices for the old blue. Everything connected with Mount Vernon has an interest for all of us, and though we may not all buy such fine jugs as the one given in Figure 40, Ave Avould like to. Other patterns of Staffordshire ware which are immensely popular among the collectors aa'Iio do not mind giving large prices for their hobbies are the Dr. Syntax and Wilkie designs and those referring to Don Quixote. Just why the last-named series does not command the same high prices as even the Wilkie set cannot be explained. It is by Clews, is well printed as a rule, has a s-ood border, and is not half so gross as the Wilkie set, one of winch is given in Figure 41, and AA'hich is called " Playing at Draughts." There are many reasons AA'hy the Syntax designs have such a great popularity, one of them being that love for the grotesque which is latent in almost every one of us, another being the interesting facts in connection Avith the production of these drawings and the accom panying verses, and third, the beauty of the printing of the pieces, which were made by the CleAvs in their A'ery best style. The drawings by RoAA'landson Avere made about 1810, and the A-erses Avere reeled off, to accompany them, by William Comb, a most prolific writer of all kinds of matter, which nevertheless was not profitable enough to enable him to pay his debts, since he AA'as an inmate of the King's Bench debtors' prison for twenty-three 28 Fig. 39 AVesley Cup and Sauoi Fig. 38 "Woman of Samaria1 Fig. 40 Mr. A'ernon Jug Fig. 42 "Dr. Syntax" Tureen Fig. 41 Wilkie Plate Fig. 43 Black-print Ware ENGLISH POTTERY AND PORCELAIN years, and it AA'as in that far from cheerful spot that he AA'rote the lines for the three tours of Dr. Syntax, the first one, " Tour in Search of the Picturesque," being folloAved by " Tour in Search of Consolation," and the third, " In Search of a Wife." The designs Avere made on china betAveen 1820 and 1830, and the prices realised for this printed pottery seem marvellous. TAventy to forty dollars for plates, one to three and four hundred dollars for platters, seem too high figures to be maintained, but so feAV of tliese pieces remain to be picked up that it is thought that the prices may go higher still. The dishes sliOAA'n in Figure 42 have scenes on them from all three Tours, the one showing so plainly on the side of the tureen being " Dr. Syntax and the Gypsies "; the A'erse AA'hich accompanies it is as folloAvs: " Patrick, unwilling to be idle, As he held Phillis by the bridle, With half a score black eyes around him, Darting their glances to confound him, Thought, while his master chose to trace The history of the Gypsy race, It would be ungallant, nay wrong, Thus to stand still and hold his tongue . . . Well then, these brown ones did not wait For him to open the debate . . . They jabber'd forth that they were willing To tell his fate for half a shilling. Pat smiled consent, his sixpence paid, And thus the witch commenced her trade." And so it goes on. One of the designs which com mands the highest price is called " Pat in the Pond," 29 THE COLLECTOR'S MANUAL to Avhich retreat he had betaken himself to rid him self of " Bugs or fleas, whate'er they be, Their stings have played Old Nick with me." As might have been expected, Avhen it Avas found that this china brought such large prices, counterfeiters set to AA'ork and made spurious copies of " Dr. Syntax telling the Bees," " Dr. Syntax painting a Portrait," " Dr. Syntax taking a Gentleman's House for an Inn." This has, of course, made collectors A'ery chary of buying any of these patterns, since it has lessened even the price of the genuine ones. At Liverpool there have been potteries since 1600, and the first Avares Avere, of course, excessively crude, and A\'ere blue and white, in imitation of the Dutch, Avho in their turn copied from the Chinese. Very little of the " Liverpool Delft," as it is called, can be found here, and it is chiefly in the form of tiles. There is, hoAvever, much other Liverpool pottery, com monly knoAvn as " black-printed ware." It is very decorative, of small cost, and good to have in a col lection or for ornament merely. Printing on china was a Liverpool invention, perfected about 1752 by a man named John Sadler. By this process the production of decorated china was materially lessened in cost, since, previously, all the decoration had been done by hand. The body of Liverpool pottery, that is, the paste itself, is a fine cream colour, A'ery even in tone and very light in weight. Figure 43 shoAvs an exceedingly popular pattern, and I have found these plates all 30 Fig. 44 Cabinet of Printed AVare Fig. 45 Castleford Ware Fig. 48 " Bristol Delft " Fig. 46 Spode Plate Fig. 47 " St. Peter's," Spode ENGLISH POTTERY AND PORCELAIN over the country, sometimes eA'en set up in museums Avith high-sounding names applied to them. Although they are nice and interesting, they are not worth more than one dollar and a quarter. But Avhile such a piece as this is reasonable, you may spend almost a fortune on printed wares, particularly if you get together such a collection as that shown in Figure 44. Each one of these pieces is a treasure, and many A'arieties of English Avare are here sIioavii. During the last quarter of the eighteenth century there Avas started in the toAvn of Castleford, near Leeds, England, a pottery from which Avas sent out much basaltes (black ware), Queen's AA'are (cream coloured), and a AA'hite pottery known as Castleford ware. These works Avere closed in 1820, and the white ware for which they were chiefly noted was no longer made. A quantity of this Avare Avas sent to this country, and the pieces AA'hich seem to haA-e survived are the teapots. They were made not only with the lifting lid, like the one in Figure 45, but with the lid fastened with metal pins. As can be seen, the ware was extremely pretty, with a wreath of graceful or nament, and this specimen is unusual in haA'ing a panel decorated in colours. Even less common AA'ere the pieces decorated with portraits of Washington and Franklin, which were in medallions, either in plain Avhite relief or on a blue background. I heard from the OAvner of a pitcher AA'ith such medallions only a few days since. Sometimes the surface of this Castleford AA-are is pitted much like saltglaze ware, but this Avas caused by hav- THE COLLECTOR'S MANUAL ing the inside of the mould thickly set AA'ith small points, AA'hich left corresponding depressions on the surface of the object. The name Spode alAA'ays stands for AA'hat is good and adA'isable to haA-e. In 1770 Josiah Spode, then about forty years of age, began working as a potter. All the ware which he made is called " Old Spode," to distinguish it from the later product of the factory, and it is extremely A'aluable. His son succeeded to the factory at the death of his father, in 1797, and about 1800 commenced to manufacture stone china, and a little later to make porcelain. William Copeland be came a partner in the firm in 1797, and it is his descendants aa-Iio manufacture pottery and porcelain at the present time. Old Spode is marked " Spode," in printed letters, impressed. This mark is prior to 1797. From 1800 to 1827 the mark is impressed or painted on in red, blue, or purple. Occasionally " Stone China " or " Feldspar Porcelain " is added. Jasper Avare, black ware, and the decorated Avare, in blue, red, and gold, and made by Josiah Spode himself, are A'aluable. After 1827, AA'hen the younger Spode died, the firm name AA'as entirely changed, and if Spode Avas used at all it Avas put " Late Spode." I give tAvo examples of the second Spode, — one a plate, with decoration in medium blue, and the other a A'ery beau tiful one of " St. Peter's and the Castle of San Angelo, Rome" (Figures 46 and 47). The toAA-n of Bristol, England, was one of the first to take advantage of the growing popularity of pot- 32 !* Fig. 49 Bristol Pl Fig. 50 Plymouth Vase ft o ^ IT ¦9-»,^4-- raw U-* "SSI © 'Pf^V . \ & C£ 9 9 Fig. 51 Crown-Derby Platt Fig. 52 Crown-Derby Cups and Saucers Fig. 53 Old Worcester Cup and Saucer Fig. 54 Worcester Teapot ENGLISH POTTERY AND PORCELAIN tery ware, " Bristol Delft " it Avas called, and there are records of potters' work at that toAA'n as early as 1706. The drug or medicine jars were one of the early products, and in the specimen given (Figure 48) the earthenware body is covered by a stanniferous glaze, and the decoration is in a gray blue. It Avas not long before the Avare Avas greatly improved, and they were making such pieces as the plate shoAvn in Figure 49. Bristol porcelain and that made at Ply mouth, the manufacture of which ceased at both places before 1800, has such a value and is so rarely to be found in America that Ave will not linger on it. In Figure 50 is given a vase of Plymouth porcelain, Avhich Avas formed in a mould, and is of that brilliant milky white which Avas such a marked feature of this porcelain. More easily to be obtained, though just why one cannot say, are specimens like that shoAA'n in Figure 51. This is a tAvelve-inch platter of Crown-Derby porce lain, marked with the croAA'n and " D " in vermillion, Avhich places its time of manufacture at about 1788, what is knoAvn as the second Duesbury period. In the limited space of a single chapter it is impossible to tell, even in the most concise manner, the various changes and the different hands into AA'hich these old potteries passed. It is enough to say that any of these early specimens are choice, and it is A'ery seldom that they come under the head of " bargains," like the little platter shown. It is painted in the familiar reds and blues, with sparing touches of green, and some 3 33 THE COLLECTOR'S MANUAL gold, and it and another tAvo inches larger were recently bought in Rochester, NeAv York, for five dollars each. I can hardly bear to think of these platters, for as I hesitated a moment the one shown Avas bought, not by a collector, but by one who liked the " pretty colour ing." The owner herself put the price upon them, but they are worth many times this sum, and Avould be eagerly bought if the present OAA'ners could be induced to part with them. Some CroAvn-Derby cups and saucers are also shoAA'n (Figure 52), rather less ornamental in pattern than the little platter, but still bearing the old croAvn mark. In the following illustration (Figure 53) is shown a cup, saucer, and plate of Old Worcester porcelain, AA'hich must not be confused Avith " Royal Worcester," — a modern Avare AA'hich has flooded this country for years and has many imitators, both professional and amateur. The Worcester Old Works were started in 1751, and remained in operation till 1847, though they passed through many different hands. Blue in a cobalt or turquoise shade, and also enamel blue, made the Worcester porcelain A'ery much in demand, and a A'ery high-class transfer printing was made here also, the designs for which were made by tAvo artists, Richard Holdship and Robert Hancock. Both these men had a way of signing their draAA'ings " R. H." in a mono gram, thereby producing endless confusion and much AATathy discussion among china collectors of the pres- 34 ENGLISH POTTERY AND PORCELAIN ent day. Figure 54 sIioavs a teapot decorated with one of the Avell-knoAvn designs of Robert Hancock. I have heard it called " General and Mrs. Washington having tea at Mount Vernon," the presence of a small black boy near at hand helping out the idea. It is an English scene, hoAveA'er, and it was the fashion of those days to have pages, either black or Avhite, con stantly at hand to do the bidding of my lord or lady. This teapot is one of a collection which is creeping up to two thousand, the majority of which were ob tained in this country. The cup, plate, and saucer are museum specimens, and are at Boston. They are painted, not printed, the decoration on the plate being that shade of gray blue known to the Oriental as " sky seen through clouds after rain." The history of the Worcester potteries since they were first started by Dr. Wall, in 1751, is a long and interesting one. At one time and another there have been, besides the " Old Works," Chamberlain's Works and Grainger's Works. In 1902 all the companies Avhich were still in existence were taken over by the " Worcester Royal Porcelain Co. Limited," and it is through the courtesy of that company that I am able to sIioav specimens of Worcester transfer printing, which was made about 1756, when this style of work AA'as first done at that place. Its clearness and beauty is plainly to be seen from the photograph (Figure 55) . Specimens of Chamberlain's porcelain, and some mugs, and a cup of the early Worcester are also shoAvn (Figures 56 and 57). THE COLLECTOR'S MANUAL Within the last year, at CooperstoAvn, New York, a quantity of old porcelain has come to light. A farmer was ploughing, Avhen suddenly the plough struck some hard substance, and a moment later there Avas a crash as of broken crockery. Investigation proved that he had struck a Avooden chest, filled Avith china articles. There Avere eighty pieces in all, and fifty Avere saA'ed in a perfect condition. As for the chest, it had crumbled to bits on exposure to the air, only the rough iron lock and hinges surviving. The history of these specimens is knoAvn. They were buried one hundred and twenty-five years ago by Percifer Carr, Avho Avas employed by Colonel Edmeston, an officer in the French and Indian Wars. The Colonel received for his ser- Adces a grant of one thousand acres, and Carr had a comfortable home on this land. Indian troubles caused him to leaA'e for a time, and he buried his china. Among the pieces are some A'ery choice Old Worcester, AA'ith both Hancock's and Holdship's designs, very similar to the teapot shoAA-n. Other pieces are in plain blue, and in broAvn and pink. The farmer aa'Iio ploughed up these treasures, for they are almost as A'aluable as gold, has not been alloAved to retain them, as he only rented the farm. The OAvner of the property stepped in and claimed them, and after they had reposed in a bank under the care of a sheriff for some months, the court upheld his claim. Collectors from all over the country have been interested to have them come on the market. In Figure 58 is given one of those lovely graceful 36 W Fig. 55 Worcester Transfer Work V^^l **)&% B^^^ **^^^ Fig. 64 Oak Joint Stool Fig. 65 Italian Chair Fig. 66 English Oak Chair Fig. 67 Flemish Chair CHAIRS AND SOFAS country and in England, you AA'ill find frequent men tion of " joint stools." I could give many extracts from old Avills which specify these stools, and I sIioav one in Figure 64. The cradle does not properly be long in this article, but when I reflected Iioav often a weary mother had sat on that same joint stool and rocked that cradle, I let it stay. It must have been in pretty constant operation in some of those pioneer families, where twelve children were an ordinary num ber, and tAventy not A'ery unusual! Such a cradle and such a stool, no doubt, found their Avay OA'er in many of the earliest lots of household gear, since, though these patterns were found by 1560, they Avere made till a century later, and when once part of the house hold goods of a family, descended till they fairly gaA'e out from excessiA'e wear. Stools Avere in common use at table till Avell into the seventeenth century. In an old play called " The Roaring Girl" (1617), AA'hen chairs, stools, and cush ions are called for, a chair is called a back-friend, and Sir Adam, Avho is faAxmred AA'ith one, says, " I thank thee for it, back friends are sometimes good." Holinshed, aaIio AATOte his famous " Chronicles " be fore 1580, has much to say about the increase of luxury both in dress and household furnishings in all classes, and mentions AA'hat may be found in even the farmers' homes. He says: " The furniture of our houses also exceedeth, and is grown in manner even to delicacy ; and herein I do not speak of the nobility and gentry only, but likewise of the lowest sort in 47 t 4. THE COLLECTOR'S MANUAL most places of our south country, that haA'e anything at all to take to. Certes in noblemen's houses it is not rare to see abundance of arras, rich hangings of tapestry, silver vessels, and so much other plate as may furnish sundry cupboards, to the sum oftentimes of a thousand or two pounds at the least ; whereby the value of this and the rest of their stuff doth grow to be almost inestimable. Likewise in the houses of knights, gentlemen, merchantmen, and some other wealthy citizens, it is not geson to behold generally their great provision of tap estry, Turkey work, pewter, brass, fine linen, and thereto costly cupboard of plate, worth fiVe, six, or a thousand pounds, to be deemed by estimation. But as herein all these sorts do far exceed their elders and predecessors, and in neatness and curi osity the merchant all other ; so in time past, the costly furni ture stayed there ; whereas noAV it is descended yet lower, even unto the inferior artificers, and many farmers, who by virtue of their old and not of their new leases have for the most part learned to garnish their cupboards with plate, their joined beds with tapestry and silk hangings, and their tables with carpets and fine napcry." Burton, in his "Anatomy of Melancholy" (1621), speaking of luxurious selfishness, says that the great man " sits at table in a soft chair at ease, but he doth not remember in the mean time that a tired waiter stands behind him." Some of the luxurious chairs of this period are shown in the next three Figures (65, 66, and 67), and are of Italian, Flemish, and English make, and all rejoice in rich carving, the one in Figure 65 being exception ally beautiful. This type of chair is more common in this country than one AA'Ould deem possible, unless it is knoAvn how many of them Avere brought here. There 48 is hardly an inventory among the Avell-to-do who ar rived here from 1650 and omvards that does not men tion among the commoner chests, stools, and forms at least one chair of this style. In the inventory of John Oort, one of the husbands of Sarah Bradley, aa-Iio finally married the notorious Captain Kidd, is the mention of a dozen turkey-Avork chairs; and Theophilus Eaton, GoATernor of NeAv Haven Colony, aa'Iio died in 1657, had in his hall " two high chairs Avith sett work 20s. 4>d. each." These chairs A'aried in many Avays. Sometimes the seat was leather, and the back also. The back might be of carved Avood, like the one shoAA'n, or leather, cane-work, or set-Avork, or embroidery. They Avere made in Spanish, as Avell as Flemish, English, and Italian style. The stall seats, " dAvarf stalls " they are generally called, are relics from the cathedrals. They are found here sometimes, and are noAV used as hall chairs. The two shoAA'n in Figures 68 and 69 are, as are all the other objects so far shoAvn in this chapter, made of oak. They date to the seventeenth century, and are French in their origin. The posts supporting the arms as Avell as the legs in the chair in Figure 68 are enriched AA'ith fine carA'ing, and the open back giA'es it a lightness not possessed by the preA'ious one. The chair shown (Figure 70) is another early speci men, and though it looks decidedly uncomfortable, it was not an uncommon type of chair about the middle of the seA'enteenth century. The name " wainscot " was often applied to such chairs, since the panelled 4 49 ? ~ t J M®m mm THE COLLECTOR'S MANUAL back was carved in the same patterns that the wain scots Avere. Many of them are more heavily carved than the one shown here, and, like this one, they are almost always oak. In connection AA'ith such chairs as these it is easy to be seen Iioav very important cushions were. The best AA-orkers in tapestries at an early date Avere the Flemish, and in Carte's " Life of Ormonde " he mentions that "Piers, Earl of Ormonde (died 1539), brought out of Flanders and the neighbouring proA-inces sundry artificers and manufacturers, whom he employed at Kilkenny in working tapestry, drapery, Turkey car pets, cushions, and seats." The Turkey carpets re ferred to were not floor coA-erings, but table covers. The only things used on floors at this early date were rushes. In early colonial times houses were small, often not having more than four rooms, and in most of them the hall was the liA'ing-room, as well as the place where the best furniture Avas gathered. The widow Frances Kilburn had in her hall when she died, in 1650, at Hartford, Connecticut, " tables, formes, chairs, stools, benches," all valued at £l. Governor John Haynes, also of Hartford, Connecti cut, died in 1653, and in his hall AA'ere many articles, among them " 5 leather and 4 flag bottom'd chairs, 1 table and 3 join'd stools." His parlour had " velvet chairs, turkey-wrought chairs and a green cloth car pet," this latter being a table, not a floor, covering. There were various other styles of chairs which came 50 r ¦ i, ¦, 1 ' ¦»•¦''# | A i Fig. 68 Oak Stall Fig. 69 Oak Stall Fig. 71 A Rush Bottom Fig. 70 AVainscot Chair Fig. 73 AValnut Chair Fig. 72 American Chairs Fig. 74 Rush-bottomed Chairs into use about the eighteenth century that had certain marked characteristics. A very nice one, with a rush bottom, is given in Figure 71. There are a num ber of noticeable points about this chair which it is Avell to study. In the first place it is made of turned Avood, except the feet, which are carved. Compare it Avith the previous figures and you will see the differ ence. Its front legs are finished in what is knoAvn as the " Spanish foot," Avhich ahvays turns out and is ornamented with grooved lines. The back is of the shape so generally called " Queen Anne," but Avhich is, properly speaking, Dutch, and the splat, or centre of the back, is Avithout decoration, which shows its early origin. This form of back grew and was varied in many ways, as will be shown later. Figure 72 shows chairs with exactly similar backs, but varying legs, one having the ball-and-claw and the other the Dutch foot. These chairs were made in Massachusetts about 1768, and were part of a bride's outfit. They are made of Spanish mahogany, which can always be told by its weight, making such large chairs very clumsy to carry about, but enabling them to resist the wear and tear of more than a century. An armchair of the same period, with very richly carved legs in low relief, and with the original cover of needleAA'ork, is shown in Figure 73. These chairs were the housekeeper's pride and joy. They were carefully preserved in the " best room," and no child was permitted to spraAvl on them; and I am afraid that the goodman, even if he had digged that 51 *wL 'lit' aim * •*• * ¦f\.'.s>- THE COLLECTOR'S MANUAL day and delved, had to rest himself on something less choice. He could smoke his pipe and take his ease in some chair like the one shown in Figure 74, which is ex- cies a straight-backed chair sitting in grandmothers tremely comfortable even to-day, that is if one fan- No doubt it Avas constant such chairs as these Avhich enabled our to accomplish their endless household tasks. There AA'as no inducement to lolling; your backbone AA-as called on to fulfil its AA'hole duty! The comb-back chair (Figure 75) AA'as not much of an improvement on the straight-backed one, but it had a finer appearance. The style of chair on AA'hich the comb is placed is known as the " roundabout," and is not particularly comfortable except for men. This is a fine stout example, Avas made between 1770 and 1775, and has long done duty in a Salem mansion. Among the ballads by William Thackeray is one entitled " The Cane-bottom' d Chair," which is so little known that I give a portion of it here: "In tattered old slippers that toast at the bars, And a ragged old jacket perfumed with cigars Away from the world and its toils and its cares, I 've a snug little kingdom up four pair of stairs. To mount to this realm is a toil, to be sure, But the fire there is bright and the air rather pure ; And the view I behold on a sunshiny day Is grand through the chimney-pots over the way This snug little chamber is cramm'd in all nooks With worthless old knick-knacks and silly old books, And foolish old odds and foolish old ends, Crack'd bargains from brokers and keepsakes from friends. 52 lit 1 "f" » *h % CHAIRS AND SOFAS Old armor, prints, pictures, pipes, china, (all crack'd), Old rickety tables, and chairs broken-backed ; A two-penny treasury, wondrous to see ; What matter ? 't is pleasant to you, friend, and me. But of all the cheap treasures that garnish my nest, There 's one that I love and I cherish the best : For the finest of couches that 's padded with hair I never would change thee, my cane-bottom'd chair. 'Tis a bandy-legg'd, high-shoulder' d, worm-eaten seat. With a creaking old back, and twist'd old feet : But since the fair morning- when Fanny sat there I bless thee and love thee, old cane-bottom'd chair ! " While the chairs shoAvn so far, with perhaps but three exceptions, can Avell be classed as " simple," there AA'as furniture of such magnificence, made even before the Middle Ages, that one must pause a moment to consider it. Immense prices were paid by the Romans for single pieces of furniture. Cicero did not hesitate to pay a million sesterces ($45,000) for a table, and there is a record of one being carried into Spain in the fifth century by the Goths, which was surrounded by three toavs of fine pearls. It must have been of great size, for the record states that it was supported on 365 feet, these feet being of " massy gold." Coming to more modern times, there Avas, during the reign of King James (1603-1625), a great fancy for furniture made from solid silver, and this took the style of the period Avhich was knoAA'n as " Jacobean." Some of this choice furniture is still preserved in the castles for which it was made, and at Knole, the seat of Lord Sackville, may be found some of the most 53 -t\is± THE COLLECTOR'S MANUAL elegant. It Avould hardly seem of use to show within the limits of a book intended for the practical collector such rich articles as these Avere it not that some pieces are on sale in this country, and have been exhibited by Tiffany and Co. in New York. A silver chair once in the possession of the late Prince Waldeck is shown in Figure 76. As the French always excelled the English in the magnificence of their interior furnishings, silver fur niture was by no means rare in that country. Louise de Querouaille, Avho Avas created Duchess of Ports mouth by Charles II, brought with her from France a taste for tliese costly bibelots. She Avas in favour Avith the English king for fifteen years, till his death in 1685, and her dressing-room, as described by John EA'elyn, Avas truly regal. He says with reference to his visit to the palace: " But that which engag'd my curiosity was the rich and splendid furniture of this woman's apartment, now twice or thrice pull'd down and rebuilt to satisfie her prodigal and ex pensive pleasures, while her Majesty's dos not exceede some gentleman's ladies in furniture and accommodation. . . . Then for Japan cabinets, screens, pendule clocks, greate vases of wrought plate, tables, stands, chimney furniture, sconces, branches, braseras, etc., all of massive silver and out of num ber, besides some of her Majesty's best paintings." It is supposed that some of the silver furniture now at Windsor Castle was from this very apartment de scribed by Evelyn. He tells of another dressing-room, this time in one of the great country houses where 54 CHAIRS AND SOFAS court fashions were followed as nearly as possible. This extract is dated April 17, 1673, and runs as f oIIoavs : " The Countess of Arlington carried us up into her new dressing-room at Goring House, where there was a bed, two glasses, silver jars and vases, cabinets, and other so riche furniture as I had seldom seene ; to this excesse of superfluity were we now arrived, and that not onely at Court, but almost universally, even to wantonesse and profusion." That Louis XIV possessed much silver furniture is most probable, and that much of it sought the melting- pot is also likely, AA'hen his exchequer became depleted from one cause or another. As late as 1691 De Launay, who was silversmith to the king, was turning out silver furniture, and some of it found its way to England, although the Edict of Nantes in 1685 had AA'ithout doubt sent over skilled Huguenot silver Avorkers among the refugees. It can be noticed in the example given that the ornamentation is carried to the highest extreme, and all the pieces now remaining are of the same florid style. Cherubs' heads, coats-of-arms, floral forms, and floAving designs were all used, and it is a matter for speculation to the mind of a housekeeper Iioav all this elaboration was kept clean. In order to make the chairs and stools comfortable many splendid AATOught cushions were used, and the effect must haA'e been very rich and beautiful, if not very comfortable. From the silver luxuriance of the chair just shoAvn to the simple homeliness of the one in the next illus- 55 tration (Figure 77) is a far cry. In the kitchen, even Avhen silver Avas in the draAving-room, were to be found chairs, straight-backed and rush-bottomed, which were much esteemed, and made comfortable and serviceable seats. When the slats of the back were set in perpen dicularly they were known as " banister backs," and there were many of them made in this country, as there was always somebody in each town who could reseat them. It may interest readers to know that this chair was recently sold for fifteen dollars. I should like to say to OAATiers of like chairs that their value is decreased by being " done over," and it is best to leave them ex actly as they are, no matter hoAV bare of paint. Their age is a patent of nobility, and to coA'er it up is in bad taste. With elegance in the parlour and ease in the kitchen there came also a desire for something more comfort able in the bedrooms. This Avant was supplied by a style of chair knoAvn as the " Aving-cheek," which must haA'e been much in demand in those cold and draughty houses of a century and more ago. With your face to the fire and your back and sides protected by one of these well-stuffed chairs, you might get Avhat com fort you could in those " good old times " Ave love to talk about Avith affection, and yet Avould hate to have return. The chair in Figure 78 is one of these easy- chairs AA'ith ball-and-claAV feet and an underbrace. mm mm When the feet Avere less ornamental a large ruffle Avas put on the edge of the chair and hung nearly to the floor. I have mentioned how the splat, or centrepiece, of 56 Fig. 75 Comb-Back Chair Fig. 77 Rush-bottomed Chair Fig. 76 Silver Chair Fig. 7S AVing-Cheek Chair Fig. 79 Spoon-Back Mahogany Chairs Fig. 80 Mahogany Ladder-Back Chairs CHAIRS AND SOFAS the back of chairs gradually took on a great degree of ornament. The two rich mahogany chairs given in Figure 79 sIioav the early steps, when carving was be ginning to be applied to this portion of the chair as Avell as to the legs and back. Such chairs as these found their Avay to many a home in this country — to the Avealthy Dutch settled in and around NeAv York, up the Hudson, and in Albany and Schenectady, as Avell as to the homes of the English settlers. The Dutch in ventories, AA'hich Avere very particular, mention first in many cases the " feder bed," or the family Bible, and then the chairs. " Armed cheares " and chairs Avith silver lace, easy-chairs, Russia-leather chairs, and chairs with bull-hide seats figure many times, and sIioav that, Avhile " ye barbarous enemy " may have proAvled out- of-doors, there were necessities and luxuries, too, Avithin doors. By 1750 England led the Avorld in the beauty and worth Avhich she put in her furniture, though in the preA'ious century France had produced furniture of such elegance and beauty that it AA'ill never be excelled. Most of it was too fragile and costly for eA'eryday use, and royalty only could afford to oaati it. The French patterns and designs were copied freely in England, as AA-ell as in other countries, till a great man, Thomas Chippendale, arose and, after feeling his way through copied Avork, founded a style of his OAvn, which we look upon noAV as the epitome of Avhat is best and most serA'iceable in fine furniture. His earliest heaAw chairs had the " bandy " or cabriole 57 THE COLLECTOR'S MANUAL leg, as it was called, which has been shoAvn in the chairs in several illustrations. He then began to use the straight leg, and put much A'ariety into the backs, carving and piercing them, and having them " ladder backs" (Figure 80), or splats with ornamentation (Figure 81). These are only simple forms of this great man's Avork, but they sIioav his style admirably. It was Chippendale Avho first used mahogany to any great extent, and one cause which led to this was that he Avas primarily a woodcarver, and this close-grained Avood gave beautiful effects. The old method of treatment of AA'Ood, Avhich Avas known as " oil and elbow-grease," had by Chippen dale's time become obsolete at least to the trade, and " French Polish," the composition of AA'hich was kept a close secret for years, Avas in use among cabinet makers. It is rather wonderful to note hoAV far the cabinet-makers of the eighteenth century advanced Avhen it is taken into consideration that they had no encouragement from royalty. The three Georges neither cared nor kneAv anything about art or design, and Chippendale, a merchant always, took Avhat he found and catered largely to the tastes of his times. He rather prided himself upon appealing to the tastes of all classes, and among the patrons and sub scribers for his book is William Frank, bricklayer, as well as the Duke of Northumberland. He never used inlay in any form, and if this fact is borne in mind there will be feAver mistakes in as signing to him furniture ornamented in this Avay. To 58 JL . JL. make up for his restrictions in this line he carved the backs of his most costly chairs Avith a wealth of orna ment, introducing " ribbon-work," as it was called, in the most elaborate patterns and fanciful designs. As soon as such pieces became the fashion, of course others copied them, and there are hundreds of pieces in this country as Avell as in England which are called Chippendale, but which never saw the hand of that master or England. The fact that none of the fur niture AA'as signed in any way is a sad bar to giving it an authentic history. Pieces which have long been in English families, and where, as in some cases, the bills of sale are still preserved, bring perfectly fabulous sums. During the past feAV months at the auction sales at Christie's, the best known auction house in London, some pieces of Chippendale's furniture sold for the folloAving prices: A pair of Chippendale armchairs, ball-and-claw feet, £47 ($235.00). Set of six Chippendale horn-backed chairs, £93 ($465.00). A Chippendale four-legged stool, £10 6s. ($51.50). A large Chippendale easy-chair, £14 ($70.00). I haA'e given these prices to sIioav the estimation in which furniture by this maker is held in England. Chippendale began to be Avell knoAvn by 1752, and worked steadily along, but rivals arose in this field, the most Avorthy of them all being Sheraton. Before his day came the tAvo Adam brothers, Robert and James, who, originally architects, soon began to design fur- 59 THE COLLECTOR'S MANUAL niture for the houses they built, which furniture Avas made under their direction. Their work was all on classic lines, and so careful and painstaking were they that they eA'en designed the covers for the chairs and sofas, or any other small detail that they considered necessary to carry out the perfection of their scheme. They are not very well known over in America, yet, as there is more or less furniture designed by them, and it is pretty in shape and of a style that appeals to feminine taste, it has been extensively copied and put on the market. Furniture houses that claim to deal only in the antique have great stocks of this class of goods, and I have found it AAT.tb.in the last year in half-a-dozen cities, and in every case had its antiquity guaranteed. This was in the face of the fact that I could see the glue still fresh upon it, and symptoms of warping and cracking in every direction. The style of Adam furniture to which I particularly refer are the lovely satinAvood sets, the originals of Avhich Avere made about the last quarter of the eighteenth century, and which are painted with medallions and exquisite groups of figures, by such artists as Angelica Kauffmann and Pergolese, and still further beautified by the most deli cate classical ornaments on legs, arms, and rails. In Figure 82 is given an Adam chair, showing a shape often used, but in this example the beautifully carved Avoodwork is gilded. After the Adam brothers came Hepplewhite, whose fame largely rests upon his chairs, settees, and window seats. These latter have arms at the ends daintily 60 *#@P* Fig. 81 Chippendale Mahogany Chairs Fig. 82 Adam Chair Fig. 83 Shield-Back Chair Fig. 84 Hepplewhite Chair Fig. 85 Sheraton Chair Fig. 86 Sheraton Chair CHAIRS AND SOFAS caiwed, and the seats are upholstered. This cabinet maker had one peculiarity by which his work may be generally recognised; he had a decided preference for a shield-shaped back to his chairs. The necessity for structural excellence never interfered with his plans for having his furniture pleasing to the eye. A good example of his style is shown in Figure 83, and it has its original covering in the striped material Avhich was so often chosen by HeppleAA'hite for his coverings. He seldom carried the backs of his chairs doAvn to the chair seat, and so, although the chairs are graceful and ele gant, they are not strong, the break coming in the tAvo posts that support the shield. When you observe the style and fine appearance of these chairs you are will ing to pardon some defects. Within the last f eAV months many interesting details Avith reference to the HeppleAvhites have been brought to light through the researches of an English woman, — Miss Constance Simon. The " A. Hepplewhite " aaIio Avrote the " Guide," or at least was responsible for it, turns out to be Alice Hepplewhite, the AvidoAV of George Hepplewhite, Avho died in 1786. It is sup posed that before his death George Hepplewhite pre pared many of the designs for the book, which AA'as sufficiently popular to reach a third edition. HeppleAA'hite used frequently for the design of his chair backs three feathers, as a compliment to royalty. Wheat ears was another favourite pattern, but they are not particularly pretty or graceful. For many years there had been a fancy for things 61 IK **• * THE COLLECTOR'S MANUAL in "Chinese taste"; mandarins with umbrellas and pigtails were carved here, there, and eA'eryAvhere. They sat or stood on mirror frames, on door and AvindoAV casings, they grinned at you from china cabinets and mantel shelves. What Avas called " fretwork " Avas also immensely popular, and hundreds of designs AA'ere made for chair backs, railings, to set glass in, and for any other purpose to which it could be applied. Fashions in dress haA'e more to do AA'ith shapes in fur niture than one AA'Ould deem possible. Immense hoop- skirts could not be comfortably placed in an armchair, so chairs Avithout arms became the mode. Chairs with large seats must have large legs to support them, and large legs must haA'e underbraces, so there Ave have a reason for many of the styles of the late eighteenth century. By the time HeppleAA'hite had come on the scene clothes had shrunk in proportions, and the taste was more for what Avas elegant and light in decoration. The fashion for satimvood furniture continued, and eA'en mantelpieces Avere made of it to carry out the scheme of the room. Beside the shield-shaped back which Ave associate Avith Hepplewhite — although his book gives designs for eighteen chairs with banister backs — the legs of his furniture had peculiarities also. The chair shoAvn in Figure 84 shows Avhat is known as the " spade-foot," — a curious device for giving an appearance of solidity to an unduly slender leg. It is the little block-like foot in Avhich the leg terminates. He had also the fancy for using dozens of brass- 62 0 CHAIRS AND SOFAS headed nails to tack down furniture covering, or to fasten on fringe, or to put on in a pattern for ornament. He specifies in his OAvn book of designs for furni ture that the proper dimensions for chairs are: " Width in front, 20 inches; depth of seat, 17 inches; height of seat frame, 17 inches; total height, 37 inches." Haircloth, plain, striped, and checkered, was fashionable noAV, but the best taste demanded that the curtains should match the furniture coA'ering. HeppleAA'hite laid doAA-n many arbitrary rules for what was " proper," and though some of them are absurd, his furniture AA'as deservedly popular. Not only was much imported to America, but our cabinet-makers copied it, and there are numerous chairs which Ave may safely call " HeppleAA'hite style," if not HeppleAvhite. The next maker to claim attention is Sheraton, whose work is ahvays admirable. He combined elegance Avith strength, and much of his fine furniture, or at least that made from his designs, is in use to-day, and has been ever since it AA'as made, over a hundred years ago. I knoAv of one set of Sheraton chairs brought to this country by the ancestors of their present owner about 1780. In these chairs, AA'hen they stood in a famous old manor-house near Albany, have sat Washington, Lafayette, Alexander Hamilton, and many of the Dutch patroons, those " Lords of the Manor " of Avhich we read in old records. The table that goes with them still holds its oaati, but the original set of forty-eight chairs has been broken by the division of 63 mm* THE COLLECTOR'S MANUAL inheritance, and though both side and armchairs are left Avith the table, their number is much reduced. These chairs have neA'er needed repair, except to have the leather coA'er reneAved. In Figure 85 are giA'en one arm and one side chair of Avhat AA-as a A'ery faA'ourite pattern AA'ith Sheraton. One Avill find it diversified in many ways, inlaid AA'ith coloured AA'oods, or AA'ith slender bands of brass, or AA'ith carA'ing, as in the figure, but always agreeable. Other familiar patterns are shoAA'n in Figure 86, and they are, as are all the designs of this maker, admi rable. He combined strength AA'ith an appearance of lightness, and although some of his ornament is rather florid, it is generally pleasing to look on. In the lovely and historic old church of St. Michaels, at Charleston, South Carolina, is a large peAv called the " GoA'ernor's Pew," and instead of haA'ing the regular seats, it is furnished with a set of Sheraton chairs. General Washington sat in one of these chairs, Sunday afternoon, May 8, 1791. Lafayette used it later, and since that time many other celebrities have sat there as well. Another style to which Sheraton was much addicted was painted furniture, in which the background was black and the pattern applied in gold. The seats of such chairs were rush-bottoms. Quite recently I was shoAvn an arm and a side chair of exquisite curly maple, the wood left its natural colour, and a design painted on it in a charming style. The lady who had bought them considered she had 64 mm CHAIRS AND SOFAS mm perfect treasures, as indeed she had, and they Avere Avorth many times more than the sixteen dollars she paid for them. It Avas some time after she bought them before they came home, and she talked a great deal about them. Finally they arrived, and she set them out before her husband and said in triumph, ' Well, Avhat do you think of my chairs? " He looked at them for some moments and then replied, " I think they look like thirty cents!" Which goes to prove that Avhen you select a hobby it is Avell to have the other members of the family share your enthusiasm. A pair of Avhat Avere knoAvn as Windsor chairs is shoAA'n in Figure 87. They are sturdy old things, and they Avere A'ery popular during the last quarter of the nineteenth century. You will find them advertised for sale in all the old neAvspapers of the country, a typical notice being the folloAving: " Windsor chairs made and sold by William Gautier. High- backed, Low-backed, Sack-backed, and settees, also dining and low chairs." The Windsor rockers are not so common as the side chairs, and of these latter those are most esteemed Avhich haA'e a little candng on the arms — " five fingers," it is called — but it is A'ery crude Avork. In the next Figure (88) is shoAvn a Windsor chair and a Pembroke table, which are of more than usual interest. They belonged to George Washington, and Avere in use at Mount Vernon. In the year 1774 there AA'as a sale of the furniture at " Belvoir," the Virginia seat of the Fairfax family, Avhere they had hVed with 5 65 THE COLLECTOR'S MANUAL almost feudal magnificence. George Fairfax and his wife Avent to England to attend to the estate in that country, and neA'er returned to Virginia, so the next year they instructed that their dwelling and its con tents be sold. George Washington, Colonel Washington he was at that time, seems to have giA'en more attention to ac quiring household possessions than did Madam. There are constant records of his purchases, and he was a large buyer at the " A'endue " Avhich took place at Belvoir. He bought mahogany, brass, and copper ware, a toasting-fork, pillows and feather-beds, peAA'ter plates and pickle-pots, china ware, Persian carpets and curtains. From Colonel Fairfax' oaa'ii room he chose a shaving-table and a desk, and also a mahogany Pembroke table, for Avhich he paid £l 12s. Could it have been this same table? There is no record of Windsor chairs in this sale, AA'hich seems to include every other article of household furniture. Although Windsor chairs made their appearance over here about 1725 or a feAV years later, and were made at Philadelphia, it was not until about twenty years later that they became common. The usual colours in Avhich they Avere painted Avere black or dark green, and in these colours Ave are most familiar with them. Beside the regular makers of furniture many " handy men " Avho could use tools eked out a narrow income by making chairs for sale, or made them for use at home. I have such a one, of maple, AA'ithout any paint on it, and now groAvn a beautiful broAvn. It has not 66 mm 4. • 5>.® Fig. 87 Maple Windsor Chairs Fig. 88 AA'ashington's Chair and Table Fig. 89 Nathaniel Hawthorne's Chair Fig. 90 Uamel Webster's Chair Fig. 91 Napoleon's Chair CHAIRS AND SOFAS a nail in it, the parts being fastened together with AA'ooden pegs. It is someAA'hat on the Windsor pat tern, but has tAvo flat ornaments let in the back. One day, in looking over it carefully, I found on the under side, scratched in, " Made by Jarret, 1795." It came from the far South, and I like to think that Jarret made it for a spinning-chair for Mrs. Jarret! Besides such humble chairs as the one just described may be found others AA'hich belonged to those Avhose names haA'e become household AA'ords. In the group of three in Figure 89 is one which belonged to Nathaniel HaAA'thorne. It is the large leather one at the right, and it does not look particularly comfortable. It is of a nondescript style, with legs at the front of turned wood, and a heaA'y object to lift. Of about the same degree of comfort is the next chair, shoAATi in Figure 90, which also belonged to one of our distinguished men. This chair is of mahogany, with a sparing use of good carving, and belonged to Daniel Webster. It is of the familiar pattern which was in A-ogue from 1820-1850. Both of these chairs are preserved in Salem, Massachusetts. An even more distinguished relic than either of these chairs already mentioned is one AA'hich has been recently sold at auction at Sotheby's in London. This is a chair which belonged to Napoleon, and in Avhich the great emperor passed his last days at St. Helena. The chair is a simple affair (Figure 91), not much to look at, somewhat on the Sheraton pattern, AA'ith a cane It is said that it was on this 67 seat and fight frame. *w* THE COLLECTOR'S MANUAL throne that the emperor sat AA'hen he dictated his memoirs to Las Cases. It seems as if the chair had been made for the emperor, to fit agreeably his short and someAA'hat rotund figure. The dimensions are someAA'hat unusual for a chair of this style, the cane seat being nineteen by sixteen inches broad, Avhile the legs are but seven teen inches high. This relic is apparently Avell authen ticated, for underneath the seat is this inscription: " This chair was used by Napoleon Bonaparte, and purchased at the sale of his effects at Longwood, by Andrew Darling, St. Helena, 1821." After buying the chair, Mr. Darling had a brass plate put upon it, which seems rather conclusive evi dence that the chair Avas the one actually used by Napoleon at St. Helena. The belongings of this great man are sadly dispersed, and it is a pity that they can not be placed in some National Museum. It makes one almost shiver to see his camp bedstead at a place like Madame Tussaud's. Following along in someAA'hat similar lines to the chairs Avere the forms, settles, and settees, AA'hich even tually deA'eloped into the sofa. The rude board settle, examples of AA'hich can even yet be found in some conservative old kitchens, Avas followed by something not much more comfortable, it is true, but a trifle more ornate. They were often rudely carA'ed in Gothic style, or they had Avainscot trimmings, and cushions Avere used to render their un compromising angles less sharp. 68 CHAIRS AND SOFAS One of these settees is given in Figure 92 and has a simple bandy leg, a panelled back, and is made of oak. Like the old oak wainscoting, it is quite free from polish or finish of any kind, the wood being almost black from age and use. Forms frequently did not haA'e any backs to them, and must have been not very conducive to lingering at table, even when the seats were cushioned. All during the seventeenth cen tury quantities of settees Avere made of varying pat terns and woods, some caned like the chair seats, and AA'ith openwork Avooden backs, and some with rush seats, or stuffed and covered. I do not find many of these in this country, and can hardly account for their disappearance, since they were here Avith the chairs Avhich matched them. In many old inventories there is mention of settees or couches, though in the latter case it is generally specified that they are covered. In the inventory of Theophilus Eaton (1657), Gov ernor of the New Haven Colony, may be found the following list of cushions Avhich he had in his " Hall," Avhich Avas really one of the most important rooms in his house. I have mentioned this inventory before, since it shoAvs Avhat a man high in office considered ample plenishing for his family. The furniture was: " A drawing Table and a round Table A Cubberd & 2 longe formes A Cubberd cloth & Cushions 4 Setwork Cushions 6 greene Cushions & a greate Chaire with Needleworke." 69 o*5» ^5*\* *\is* %# THE COLLECTOR'S MANUAL There Avere many other chairs and stools, and all of them Avere covered with set or needleAvork, and there were the ten cushions in addition. A A'ery choice example of a settee in Adam brothers style is shown in Figure 93; it has still the remains of its old covering, and the exquisite carving is in good condition. This style of settee Avas in A'Ogue long before the Adam brothers' day; they only took what they found and improA^ed upon the decoration. This represents three chairs set together, and we find these settees with tAvo, three, or four chair backs, and rarely Avith five. The carving in the OATal at the back is in what Avas called " honeysuckle " pattern, and was used by all the makers in the late eighteenth century. It Avas a favourite with HeppleAA'hite, who used it in inlay as well as in carA'ing. A tAvo chair-back settee is shoAvn in the next figure, and Avhile it is much in the Chippendale style, I should place it a little earlier than that maker, since it has the " Dutch foot," AA'hich Avas so much used during the first half of the eighteenth century. Hogarth, the great painter of London life, Avho fearlessly held the mirror up to nature AA'hen he showed its follies and sins in such sets of draAvings as the " Rake's Progress," used such settees in his pictures as this one in Figure 94. Chairs on this style are often called " Hogarth chairs," which is much more appropriate than to call them Chippen dale. This settee is of AA'alnut, and the splat shoAvs more ornamentation than is common in this pattern and in this Avood. Fig. 92 Oak Settee & flsfe-i.i-r m^mM asi's^M&i ^PL _ ii. a 8 V Fig. 93 Adam Brothers' Settee Fig. 94 Hogarth "Settee" Fig. 95 Tapestry' Settee Fig. 96 Settee, Mahogany Frame ®ot£® •*• ' %# CHAIRS AND SOFAS The next tAvo Figures (95 and 96) might have been made by either HeppleAA'hite or Sheraton, and it is safest to say that they belong to the last quarter of the eighteenth century than to assign them to any indi- A'idual maker. They both shoAv decidedly the French influence and are charming pieces of furniture, the delicate fluting on legs and arms being about their only decoration. Their appearance is still further improved by the ap propriate covering, which, though modern, is strictly in keeping with the style of the pieces. An unusual and beautiful sofa, for which it is hard to assign an exact date, is next shoAvn (Figure 97), This sofa, of splendid Italian Avorkmanship, is part of a gift by Mr. and Mrs. Bloomfield Moore, and may be found in Memorial Hall, Philadelphia. It is of oak, the carving on the arms and back being in bold relief. I do not think that there are many sofas in this country of this pattern, yet I know of another very much like this, Avhich has been in a house in Salem, Massachusetts, for many generations. But then Salem, with her fleet of ships touching at every port, had at her command about everything that the world afforded. Although oak was a common wood and one easily worked, it was not so much used in the eighteenth century as it had been previously. Experts on furni ture are used to place an approximate date on pieces by noting the Avood of which it is made, and first came the oak period, then Avalnut, then mahogany. Walnut was not an easily Avorked wood, and the great caiwers, 71 §W> IMS THE COLLECTOR'S MANUAL mm like Grinling Gibbons, used something softer, Gib bons himself preferring limewood. This resembles satinwood in colour, but it has not the beautiful gloss and sheen which is one of the great attractions of satin AA'Ood. Chippendale chose a close-set pine for many of his carvings AA'hen gilt Avas to be used, and some less hard wood than either mahogany or oak was adopted by the Adam brothers for the furniture they designed. The rest of the sofas giA'en cover a period of per haps forty years. They are all of mahogany and may be called variations on the Empire style. The earliest one is given in Figure 98, and is curious from the fact that the ends are of solid and slatted Avood, while the upholstery is confined to the back and seat. It is of a choice dark mahogany, Avith carved panels at the tops of the legs. This same style of frame is folloAved in the sofa in Figure 99, except that more carA'ing Avas used. This sofa still retains its ancient horsehair covering. These hard uncomfortable articles of furniture Avere all too common in the first years of the nineteenth century. They Avere kept in the best room, — that damp, dark, musty room, which Avas opened and aired only on Sundays and holidays. I said that these Avere common in the opening years of the nine teenth century, and indeed in some parts of the country they have held their oaati for a hundred years and more. Within the last five years I haA'e sat in more than one room AA'ith a haircloth sofa, slippery and chill, and tried to keep warm near an air-tight stove, which keeps your 72 Fig. 97 Italian Sofa m fck. ^y$ \ Hj J AlLW l . <4HHHHUHB5S9BHE35SBEBBBn §* 'm fiSHMflK'ttHHI 9 Fig. 98 Empire Sofa Fig. 99 Carved Empire Sofa Fig. 100 Sofa Veneered and Carved Fig. 101 Carved Empire Sofa CHAIRS AND SOFAS mm back at the freezing-point while your face is broiling. NeAV England, as conservative as the country for which she was named, preserves her antiques and the customs Avhich go Avith them more than any other section of the country. Uncomfortable as some of these be, it is pleasant to meet with those Avho will not sell their birthright for a mess of pottage, and to whom the venerable sofa is a throne of their ancestors. The pieces shoAvn in Figures 100 and 101 are partly A'eneered, and both have carving. The tAvo others, in Figures 102 and 103, are solid, also with rich carving. The round cushions AA'hich often accompany these sofas are called " squabs," and in two of the sofas you may see that they are stationary; while in Figure 101 the places are left for them, but they are Avanting. Ma hogany AA'as originally brought from Jamaica, and though first knoAvn in 1595, its use Avas so slow and gradual that not till 1700 was it used with even the least degree of freedom. By the middle of the cen tury it was A'ery popular, and in the hands of Chip pendale acquired an immense vogue. In 1753 more than five hundred thousand feet were sent to London from that island, according to Mr. Frederick Robinson, in his book on " English Furniture," and we know that it AA'as on sale here in the form of planks and logs. This wood is divided in the trade into Spanish ma hogany and Honduras mahogany, or bayAvood. It is the Spanish Avood which is the solid, heaAw, and splen didly coloured kind Avhich Ave all so ardently admire, susceptible of a high polish, and often shoAving a 73 THE COLLECTOR'S MANUAL beautiful waving curl in the grain, which enhances the value of the Avood to such an extent that it is used only in the form of A'eneers. According to Mr. Robinson: " The finest curl and figuring of the grain of Avoods is found in nearly all cases at that part of the tree where the division of the branches from the trunk commences. The best curl is found at the branching of two arms only, away from the trunk, this being less confused than that caused by the diver gence of seA-eral arms. A saw-cut made A'ertically across the tops of the two branching limbs down into the main trunk would exhibit that parting of the ways of the grain which is so valuable for the making of A'eneers." The difference of Aveight betAveen the finest Spanish mahogany and the inferior kinds is A'ery great, a Chippendale-pattern chair in the fine AA-ood being all a AA'oman AA'ill care to lift. Tulip and satinwoods Avere the favourites for the old cabinet-makers to employ in inlaying, and the latter Avood comes from a tree Avhich may be found in India, Ceylon, and the West Indies. TulipAvood has the disadA'antage of coming only in small pieces, and, besides, is often of such a reddish tone that it has not sufficient contrast to make it shoAAy enough for A'eneer on mahogany. LanceAA'Ood is a modern substitute for satimvood, and the shafts of old A-ehicles, like the " One Hoss Shay," are eagerly sought for cutting into strips. With satin, tulip, lance, and " hareAA-ood," AA'hich is sycamore stained, ebony AA'as in great demand. The strips of this latter AA-ood are often only one thirty- 74 Fig. 102 Carved Entire Sofa Fig. 103 Carved Sofa with " Squabs " CHAIRS AND SOFAS second of an inch in thickness, and serve to mark the strip of light AA'ood AA'ith better effect than if omitted. Besides being used as an inlay, AA'hole articles of ebony Avere A'ery much in demand, and Avere often splendidly carved. The Dutch excelled in the use of this Avood, and ebony boxes and cabinets Avere not un common, though quite costly. Horace Walpole, a collector of rare and A'aluable objects of whatever na ture, seems to have had a fancy for this rare Avood. In his letters is the folloAving paragraph, dated May 30, 1763. " I believe I am the first man that ever went sixty miles to an auction. As I came for ebony, I have been up to my chin in ebony ; there is literally nothing in the house but ebony ; all the other goods (if there were any, and I trust my Lady Conyers did not sleep upon ebony matrasses) are taken away. There are two tables and eighteen chairs, all made by the Hallet of two hundred years ago. These I intend to have. There are more plebian chairs of the same materials, but I have left commission for only this true black blood." He speaks Avith the ring of the true enthusiast, and though he may have been the first man to travel sixty miles to an auction, he is not the last, for men, and women too, cross an ocean uoav to get a rare and desired bargain. -*£• r -|» T ANTIQUE GLASSWARE ^HE making of glass is an art so old and is so dignified by its antiquity that to learn about its earliest history would take us back at least fifteen hundred years before the Christian Era. There is a glass bead still preserved, covered Avith Egyptian hieroglyphics which have been deciphered, showing that it belonged to Queen Hatasou, wife of Thothmes II, who reigned at Thebes 1500 b. c. The Egyptian Avorkmen not only made beads, but attained great proficiency in the art of glass-making, and could produce bottles, cups, amulets, and images. Less pleasant things Avere coffins of glass in Avhich rich and poAverful persons Avere sometimes interred. About the Christian Era the price of a drinking glass AA'as half an as, the A'alue of an as being about one cent, which shows that enough glass was made to alloAV of its being sold at a small price. Cicero (about 80 B.C.) mentions glass, linen, and paper as common articles of Egyptian merchandise. From that day to the present the manufacture of glass has been of immense commercial importance, and besides contributing to the comfort and healthfulness 76 ANTIQUE GLASSWARE of our dwellings, has played a large part in giving us luxuries. The cleA'cr Venetians early led the world in the manufacture of glass of exquisite beauty, and they still preserve their pre-eminence in this field of art. The whole history of Venetian glass-making, the laAvs which govern it, the almost royal privileges which belong to the makers, and the gathering together in the thirteenth century, upon the island of Murano, all this class of workers is too long a subject to be dealt Avith here. It is most interestingly told in Mr. Crawford's novel, " Marietta, A Maid of Venice." Turn where you Avill in old records and inventories toward the end of the Middle Ages and you Avill gen erally find some mention made of Venetian glasses. Tliese workers sent looking-glasses to England by the end of the thirteenth century, and their ornamental cups and beakers, holding within the glass itself par ticles of gold, were eagerly sought by those wealthy enough to buy them. In that most interesting old book, Holin shed's " Chronicle," of AA'hich the most valuable part, " The Descriptions of Britaine and England," Avere written by William Harrison, Ave find this account of the use of glass in the year 1577, and for the immediately preceding years. After speaking of the different foods which may be found at a nobleman's table, " whose cooks," he adds, " are for the most part musical-headed French- 77 THE COLLECTOR'S MANUAL men and strangers," he describes the rich plate on Avhich they are served, and then goes on: "As for drink, it is usually filled in pots, goblets, jugs, bowls of silver, in noblemen's houses ; also in fine Venice glasses of all forms ; and for want of these elsewhere, in pots of sundry colours and moulds, Avhereof many are garnished with silver, or at the leastwise with pewter, all which notwithstand ing are seldom set on the table, but each one as necessity urgeth, calleth for a cup of such drink as him listeth to have, so that, when he has tasted of it, he delivered the cup again to some one of the standers by, who, making it clean by pouring out the drink which remaineth, restoreth it to the cupboard from whence he fetched the same. By this device much idle tippling is furthermore cut off. ... It is a world to see in these our days, wherein gold and silver most aboundeth, how our gentility, as loathing those metals (because of the plenty) do now generally choose rather the Venice glasses, both for our wine and beer, than any of those metals or stone Avherein before time we have been accustomed to drink ; and such is the estimation of this stuff that many become rich Avith only their new trade unto Murana (a town near to Venice, situate on the Adriatic Sea), from whence the very best are daily to be had, and such as for beauty do well near match the crystal or the ancient murrhina vasa whereof now no man hath knoAvlcdge. And as this is seen in the gentility, so in the wealthy com- munality the like desire of glass is not neglected, whereby the gain gotten by their purchase is yet much more increased to the benefit of the merchant. The poorest also will have glass if they may ; but sith the Venetian is somewhat dear for them, they content themselves with such as are made at home of fern and burned stone; but in fine all go one way — that is, to shards at last, so that our great expense in glasses (besides that they breed much strife toward such as have charge of them) are worst of all bestowed in mine opinion, because their pieces do turn to no profit." 78 ANTIQUE GLASSWARE The use of glass for AvindoAvs Avas one of the greatest improvements of mediaeval times, and in Whitaker's " Loidis et Elmete " he says: " The earliest stained glass which Ave read of, at least in the north of England, was in the possession of the Monks of Rivaulx, about 1140. At this precise period the narrow lights began to expand, and as the use of it grew more and more general, the surfaces of windoAvs became by degrees more diversified and wider." Hamerton, in " Paris in its Old and Present Times," describes the Louvre as it was in 1368. He says that the rooms were Ioav, panelled Avith wood, with narrow barred AA'indoAvs, on the glass of which were painted the arms of the person to whom the room belonged. In the " Comptes du vieux Louvre" it says: "The King's cabinet or study Avas lighted by one large AvindoAv Avith painted glass, and four smaller ones, and it was hung with black drap de Caen." This Avas also in 1368. In England the manufacture of glass Avas either unknoAvn or neglected during the Middle Ages, and it was not till Queen Elizabeth invited Cornelius de Lannoy to settle in London that works in glass were first produced. Glass objects AA'ere much esteemed, of whateA'er form, and James HoAA'ell, in his " Familiar Letters," Avrites to his uncle from London in 1625 as follows : " The curious sea-chest of glasses you are pleased to bestow on me, I shall be very chary to keep as a monument of your love." 79 THE COLLECTOR'S MANUAL The gossipy Pepys writes in his diary for 1661 that a Captain Lambert Avho had recently returned from Portugal says " that there are no glass Avindows, nor will they haA'e any." His easy Avay of speaking of glass AvindoAvs shoAvs that they were in common use in England at that time, and in fact Harrison, already quoted, says: " Of old time, our country houses, instead of glass did use much lattice, and that made either of Avicker or fine rifts of oak in checkerAvise. But as now lattices of horn are quite laid down in every place, other lattices are grown less used, because it is come to be so plentiful, and within a little so good cheap, if not better than the other." This Avas nearly a hundred years earlier than when Pepys Avrote. An interesting case of glasses, AA'hile of a later period than those of AA'hich HoAvell AATote, is shown in Figure 104. It Avas made to hold not only various kinds of Avine, but glasses for drinking and a tray to set them on as well. Of the old Venetian glasses from which they drank vernage, catepument, raspis, muscadell, romnie, bastard lire, osy caprie, clary, and malmesey, as Avell as some liquors of greater " strength and valour," few remain. FeAV also of the bottles or decanters have escaped the midden, but in Figure 105 are a pair of decanters such as the Venetians made three hundred years ago, and which no doubt were seen on the tables of all Avho could afford such luxuries. In fact bottles of one form or another, either with or Avithout a wicker- 80 Fig. 101 Liquor Case and Glasses Mr m m ^| 1 w ''''Jiiii 1./ «,»'» I ' ¦>¦ v., |kf-aj| ^» ^_^^^B jSrI Fig. 105 A'enetian Glass Fig. 108 Engraved Glass Fig. 106 German Glass '^JH^I Ik ^^^^ P m P'I H 1 ^'¦Jk ™--- . ¦ 1 Bfc-'g -U Fig. 107 English Glass ANTIQUE GLASSWARE Avork covering, have been in use uninterruptedly from the earliest times. After bottles, goblets and drinking-glasses claimed attention, and a Avhole world of care has been giA'en to their form and decoration. The glass found in this country, and which Avas in use among the colonists, came usually from England, whence most of our luxu ries AA'ere imported, and Avas often of the style knoAvn as " cut glass," — that is, flint glass polished and ground till it receives a sparkle and brilliancy that render it extremely beautiful. During the eighteenth century much of this rich glass Avas sent to this country, and being quite strong, it has in many cases surA'ived hard usage. Less often we find drinking-mugs and glasses of German manufacture, Avhich are generally classed, not always correctly, under the head of " Bohemian." It is true that the region forming the boundaries of Bohemia on the one side, and Saxony, Bavaria, and Silesia on the other, saAV the rise and growth of the glass industry in Germany. The forests on the moun tain sides, and the abundant supply of clean quartz sand Avhich is so indispensable in glass-making, AA'ere all found here, and though there is not much liter ature concerning the development of the industry, tAvo authorities remain which do much to clear up its history. Whether the art of painting on glass came to Ger many through Venice, which had long had intercourse Avith the East, or Avhether the painted glass AvindoAvs 6 81 / THE COLLECTOR'S MANUAL had inspired some clever German to try the like on drinking-vessels, AA'ill never be knoAA'n. It is prob able, though, that the knoAvledge came from Venice. Georg Agricola, who Avas born at Glauchau, in March, 1490, AA'ent to Venice and studied the AA'orking of glass kilns both there and at Murano. In 1556 he published at Basle a AA'ork called " De re Metallica," Avhich Avas of great benefit to the groAA'ing industry. The second authority is Johann Matthesius, aaIio published a book on glass-making in 1562, in which he mentions that the drinking of liquor from glass AA'as not much practised beyond his OAvn district of Bohemia and Silesia, al though we knoAv that glass drinking-vessels had long been imported from Venice. Tavo specimens of the glass work of Bohemia are given in the next Figure (106), the stein shoAving the splendid ruby engraved glass with which we are even yet familiar, and the tall pitcher decorated with enam elled paintings. This style of work is commonly called " Fichtel Glass," since it first originated at the kilns in the Fichtel Mountains, in the northeast of Bavaria. They still retain this name, no matter where their place of manufacture. The decoration on the jug is an ermine cloak, in front of Avhich is a shield surmounted Avith a croAA'n, — a favourite form of decoration in the eighteenth century. While the Germans ran to a great extent to the use of colour in their glass, the English glass is distinguished by cutting and engraA'ing, the crystal of the glass being left its natural tint. Just AA'hich art Avas the earlier in 82 Fig. 109 Engraved Beakers Sl^a m Mm Ifes' . ¦ m ill ^^K ' * ¦ *. « K 1 1 fln' ) 1 11 Is3l..v ^^H S^ ¦ Fig. 110 Beakers or Flip Glasses Fig. Ill Pitcher Fig. 112 Decanters Fig. 113 Cut Glass Decanters and Glasses ANTIQUE GLASSWARE use it is hard to say, and both styles of decoration were brought to a great degree of perfection. Pepys mentions in February, 1668, that he went to " the Glasshouse, and there shewed my cozens the mak ing of glass, and had several things made Avith great content; and among others, I had one or two singing- glasses made, AA'hich make an echo to the voice, the first that I eA'er saw; but so thin, that the very breath broke one or two of them." He speaks a year or two later of having his name engraved on some decanters, Avhich gaA'e him " great content " also. Figures 107 and 108 shoAv engraved decanters of great beauty, and 109 and 110, engraved beakers, one of them AA'ith cover. Such shaped glasses were in use from the seventeenth century, and the one with the tulip in its basket is undoubtedly of Dutch origin. They used one more " g " in spelling grog in the eighteenth century than Ave do now, and it must haA'e been a steady head AA'hich has carried home safely the contents of more than one glass of such a size as this. Two pretty pieces, also engraved, are shoAvn in the next Figure (111), and belong to the Water's Collec tion, at Salem, Massachusetts. There is a certain elegance about cut glass AA'hich engraA'ed glass neA'er has, a brilliancy and a sparkle Avhich always makes it pleasing. Figures 112 and 113 shoAv some good old pieces, still bearing their weight of years sturdily. Conceive what elegance a tall sugar-boAvl like the one in Figure 114 added to a table on which the other 83 THE COLLECTOR'S MANUAL furniture Avas porcelain, or some fine English Avare, or even peAvter polished to the brightness of silver. Such pieces as this are treasured relics in many old families, and some years ago could be picked up for very small sums. I bought a pair, of AA'hich this is one, in New York City, for three dollars. They are very hard to find noAV. In the next Figure (115) is found quite a singular piece; it is even taller than the one in Figure 114, and is a beautiful dark Even rarer still are such objects as the cut-glass A'ase, of the old " hob-nail " pattern, shoAvn in Figure 116, which I saAV one day in an " antique shop " and took a snapshot at. Going there a feAV days later to get a better picture of it, I found that it had been picked up by some kwer of fine glass and taken out West. In Figure 117 is shoAvn a collection of English glass. The tAA'O covered dishes were used for SAveet- meats, and the wine-glass at the end is tiny enough to be what Avas knoAA'n as the " minister's glass," AA'hich was always two or three sizes smaller than those of his congregation. This glass is also interesting, since it is among the earliest I am able to sIioav coming under the head of "bell-shaped," AA'hich form was copied directly from the Venetian pattern, and it dates to early in the eighteenth century. The glass in Figure 118 is known as the " draAAOi-boAA'l " shape. They are called " drawn " glasses because they seem to have been draAvn from a single piece of glass, both boAA'l and stem haA'ing been formed by drawing out with a single spiral movement. They come in many 84 Fig. 114 Cut Glass Sugar-Bowl Fig. 115 Green Glass Sugar-Bowl Fig. 116 Cut Glass Vase & i it 11 mm. - 1 A -' n A. *tS^ r ^% jSjj ¦a& * X Fig. 117 English Glass Fig. 118 English Glass, Flint, and Opal ANTIQUE GLASSWARE sizes, and on tall or short stems, and are nearly as early as the " Avaisted " ones, some fine examples of which are shoAvn in the next Figure (119). The draAA'n-boAA'l glasses never are " knopped " in the centre, like the first and third glasses in Figure 119, but they are frequently decorated with a tAvisted ribbon of white glass, or a twisted tear of air, Avhile those for taA'ern use frequently had a bead of air introduced at the top of the stem. These choice varieties of glass were made for Avealthy patrons, aa'Iio used them to drink Avine from. Even in America many AA'ere in use, and in the Figure 120 can be noted many examples Avhich did duty at Mount Vernon, AA'hen President and Madam Washington had guests to dinner. In fact all the elegant articles shoAvn in this picture belonged to them, and it is Avell to note the fine glass candelabra on the top shelf, Avhich must have been very orna mental Avhen lighted up AA'ith candles. The very choicest of all the glasses Avere engraved, most often AA'ith floral forms, sometimes Avith AATeaths of grapes and leaves. A point to be noted in the toav of glasses in Figure 118 is the extreme solidity of the stems and bases, AA'hich are very different from the slender stems of the modern AA-ine-glasses. These old glasses Avere made so that they could not upset easily, ¦ — a A'ery necessary qualification in days AA'hen tem perance AA'as far less considered than it is at the present time, and when squire, and parson too, were frequently taken from under the table, so potent had been the contents of these seemly glasses. I should 85 THE COLLECTOR'S MANUAL call all these glasses spirit glasses, since the beer and AA'ine-glasses all held more copious draughts. Some of the liquors and cordials which Avere drunk from these small glasses were imported. Among such AA'ere Clove or Caraway Waters, Oil of Venus, Oil of Hazel nuts, Parfait Amour, Essence of Tea or Coffee, Free Masons' Cordial, and many others. Patriots aaIio chose only home-breAved " cordial AA'aters " might, in 1766, go to Richard Deane, aaIio, at his distillery on Long Island, could supply them AA'ith Aniseed, Orange, and Clove Waters, All Fours, or the Cordial of Cordials, Golden Cordial, Cordial of Health, Royal Water, Royal Usquebaugh, Red Ratifie, Cinnamon, Cardamun, and Angelica Waters, Ros Solis, Stoughton's Elixir, Whiskey, Brandy, Rectified Spirits of Wine, as well as Aqua Mirabilis or Wonderful Water, and Aqua Coelestis, or Heavenly Water! It must have been after the perusal of this list that Benjamin Franklin wrote his "Drinker's Dictionary," consisting of many strange and curious AA'ords Avhich signify intoxication. But though he deprecated get ting "tann'd, jagg'd, glaz'd, or crack'd," he Avrote the folloAving pretty recipe for punch: M Boy, bring a bowl of china here, Fill it with water cool and clear • Decanter with Jamaica ripe, And spoon of silver, clean and bright, Sugar twice-fin'd in pieces cut, Knife, sieve and glass in order put, Bring forth the fragrant fruit, and then We 're happy till the clock strikes ten. Fig. 119 AVine-Glasses Fig. 120 AVashington's Glassware Fig. 121 Flip Glass and Loggerhead Fig. 122 English Gold Decorated Glass Fig. 123 Ground Tumhlers with Cut Bases ANTIQUE GLASSWARE For the drinking of punch in England, and the more popular flip in this country, came a glass of generous size, which was capable of holding nearly a quart. Cider mugs were often made of pottery, though no doubt it was often partaken of from flip glasses, par ticularly if it was " royal mulled " or " damasked." Molasses, spruce, and persimmon beer were some of the temperance drinks of the day, while tiff, Sampson, and botch potch are but a feAV of the mixed condi ments. Israel Acrelius, in his " History of NeAV Sweden," 1758, mentions half a hundred beverages iioav no longer recognised by name or taste. A large flip glass is sIioavii in Figure 121. beauti fully engraved, and beside it on the table lie the other necessaries for a " eonviYial eA'ening," as our great grandfathers Avould haA'e said. The iron implement lying in front of the boAvl is a loggerhead, AA'hich Avas heated red-hot and then plunged into the flip, causing it to mantle high, and imparting to it the burnt taste which AA'as so much esteemed. The way our ancestors lived, the things they ate, Iioav they were clothed, what they read, and Iioav they amused themselves, are sub jects of unfailing interest. But AA'hen Ave come to what they drank, Ave stand aghast! It was no doubt the fact that they had to work unceasingly and largely out of doors which was their salvation. There Avas much glass of a finer quality AA'hich found its way over here, like the two tall goblets sIioaaii in Figure 122. They are of English glass, not decorated Avith engraA-ing, but Avith a pretty floral pattern in 87 THE COLLECTOR'S MANUAL gold, and also with gold rims. One of these glasses is filled Avith cotton to sIioav the pattern. These goblets are about a hundred years old, and are from a set of five, which are still in good condition, out of the original dozen. The gold is not impressed in the glass as in the modern gold-decorated glass, but is on the surface, and much more likely to wear off. The tAvo goblets shown in Figure 123 are also quite unusual, and of about equal age. They are made of ground glass, after the fashion of the lamp-shade in Figure 118. On the base are cut very deeply seA'eral rays, and the glasses are enormously heavy, so that they are inconvenient to use AA'hen filled with Avater. These are also of English origin. Three glasses, very beautiful in both execution and design, are given in Figure 124, the one on the left being particularly noticeable, since on one side it has the American eagle and shield, and on the other a coat- of-arms Avith the three princes' feathers. It seems incredible that glasses of such beauty as these, and those for wine which have been given, should haA'e been wantonly destroyed; yet Madame de Sevigne AArites in 1675 that it AA'as customary after drinking the King's health to break the glass, and " roystering blades," both in this country and Europe, during the last ten years of the eighteenth century, had a fashion of biting out a piece of the AA'ine-glass and grinding it with the teeth, and swalloAving it, the pleasure to the company being to see Iioav a neAA'Comer stood it. Mortimer, the artist, did it, so Southey says, and never recovered from it. 88 ANTIQUE GLASSWARE WedgAvood, the great potter, set the fashion of making shallow boAvls or cups, mounted on stems, AA'hich he called " tazzi." Sometimes these had handles. Tazzi AA'ere also made in glass, and Figure 125 is one in Bohemian glass, very prettily decorated with a raised all-OA'er pattern and lines of gilt. That the glass from Italy, Bohemia, and England AA'as to be found in America very early in our his tory is shoAvn by both inventories and advertisements. Colonel William Smith, of St. George's Manor, Suf folk County, in 1705, was Avorth £2,589 40s. He died a feAV years later, and in his inventory is mentioned, " 1 case Venice glasses, £3. Flint glasses, £3.14.0." Cap tain Giles Shelly, New York, 1718, had an enormous amount of household gear, and as many as " 45 beer glasses." GoA'ernor Montgomery, at Fort George, New York, had among other fine things a complete set of cut- glass cruets, as well as Avater and champagne glasses. In the " Boston News Letter " for August 24, 1719, there Avere adA'ertised: " Fine glass Lamps and Lanthorns well gilt and painted both convex and plain. Both suitable for Halls, Staircases, or other Passageways, at the Glass Shop in Queen's Street." Thomas Lepper, in 1754, had on sale " all sorts of bottles, from one quart to three gallons, and upward, as Avell as a A'ariety of other glassware." There Avere " cream-jugs, syllabub, and sweetmeat glasses, cruet stands, flowered wine and water glasses, glass salvers, 89 THE COLLECTOR'S MANUAL small enamelled, shank Avine-glasses, floAvered, scalloped, and plain decanters, jugs and mugs, salver and pyra mids, glasses for silver, salts and SAveatmeats, poles Avith spires and glasses, smelling bottles, sconces, tulip and floAver glasses of the neAA'est patterns, finger bowls and tumblers of all sorts," adA'ertised for sale in New York before 1760. You could buy in New York in 1773, " Very rich Cut Glass Candlesticks, Cut glass Sugar Boxes and Cream Potts, Avine, wine-and-Avater glasses, and Beer glasses with cut shanks, Jelly and Syllabub Glasses, Glass Salvers, also Cyder Glasses, Orange and Top Glasses, Glass Cans, Glass Cream Buckets and Crewits, Royal Arch Mason Glasses, Glass Pyramids with Jelly Glasses, Globe and Barrel Lamps, etc." A most unusual article, at least in this country, is shoAA'n in Figure 126 standing on a beautiful Sheraton candlestand. This is a glass globe filled AA'ith water, AA'hich AA'as used to concentrate the light of the candles, and throw it upon a particular spot. A less choice arrangement of this order, glass bottles of A'ery thin glass filled AA'ith Avater, was used in both England and Holland during the eighteenth century, and doubtless earlier, by the lacemakers to throAv a shaft of light on their Avork. Sometimes a single candle on a stand was surrounded by bottles, and the workers draAATi in a circle, on chairs and stools of varying heights, had only this to make the most delicate and eye-destroying of all fabrics. In our oaati country the first glass factory Avas started 90 Fig. 124 Three Engraved Goblets Fig. 125 Bohemian Glass Tazza Fig. 126 Crystal Globe Fig. 127 Log-cabin Pitcher Fig. 128 Group of Glassware, American ANTIQUE GLASSWARE in 1607 near the ill-fated JamestoAvn, in Virginia, and, like the Egyptians of old, we made beads. We used them for barter Avith the Indians. It is said that oc casionally beads are found near Jamestown, striped green and Avhite like gooseberries, and it is thought they may have been made here. After the various settlements Avere a little more secure, the necessity for glass bottles stimulated the colonists to pay bounties to men of this calling Avho Avould come and settle here. Salem, Massachusetts, a most progressive town in its early days, had a brick kiln in operation in 1629, and a glass-house in 1639. Win- doAv glass was brought over here easily as ballast, but round or IioIIoav glass was more perishable; and to en courage home production, many enactments Avere passed in Massachusetts, Virginia, Pennsylvania, and New- York. None of these early ventures Avere particularly successful, but by the eighteenth century many bottle factories Avere started, most of Avhich haA'e passed out of the hands of the original owners. The factory at Glassboro, NeAV Jersey, Avas started in 1775, and the one at Kensington, Pennsylvania, a feAV years earlier. These tAvo establishments are still in operation to-day, and are the oldest ones in America AA'hich still exist. The first glass bottles were coarse and of a dark green glass, although blue and broAvn colouring was produced by using oxide of cobalt and manganese. The making of eA'en the roughest bottle takes more skilled labour than one would think at first glance, and Avhen it comes to a fine object, graceful THE COLLECTOR'S MANUAL in shape and elegantly ornamented, the Avork becomes an art. About 1810, and until the last quarter of the century, glass bottles were made here in various shapes and Avith different devices. Among the earliest were those bear ing portraits of Washington and Lafayette, those AA'ith eagle and shield, and some with a car drawn by a horse, and also one shoAving an early locomotive; but, of course, these AA'ere later still. About 1840 AA'ere made the log-cabin devices, of which there were seA'eral on bottles, in pitchers, like the one I sIioav in Figure 127, and in small square panels, which were mounted for breastpins, one at least of these being treasured in California, since a dravraig of it was sent to me only the other day. The log cabin Avas so favourite a deA'ice that it AA'as seized upon for use as a whiskey bottle, and is marked on the back, " G. Booz's Old Cabinet Whiskey." Still later than this the same shape AA'as used for " Holtzermann's Stomach Bitters." This AA'as a patent medicine, and such a bottle is shown in another figure. A fine group of old glassAvare is giA'en in Figure 128, the most attractiVe pieces being the toav of cup plates with historic scenes and portraits, Avhich form the front 1-oav. Beginning at the right, the first cup plate shows the log cabin, the design being very plain, even in so small a space. This design was made about 1840, and it is not yet knoAvn AA'hether these pieces AA'ere made in this country or, like the historic china, in England. Next comes "Henry Clay," date 1844; then the " Ben- 92 Fig. 129 Patent Medicine Bottles Fig. 130 Patent Medicine Bottles Fig. 131 Old Schnaps Bottle Fig. 132 Patent Medicine Bottles ANTIQUE glassware jamin Franklin Steamboat"; then "Fort Meigs"; next " Eagle and Shield," followed by one of the rarest, showing the Bunker Hill Monument and hav ing these inscriptions: "Bunker Hill Battle, Fought June 17, 1775." "From the Fair to the Brave." " Corner Stone laid by Lafayette, June 17, 1825, Finished by the Ladies, 1841." The last plate on the row is another portrait of Henry Clay, and there is also a portrait of President Harrison, although it is not given here. That there are many of these cup plates tucked aAvay out of sight I am quite sure. I am also sure that they AA'ill be rummaged out directly, and that my corre spondents Avill Avant to knoAV their value. Of course, they do not begin to be so valuable as the old blue china cup plates, AA'hich bring exorbitant sums, but one Avith a portrait or scene on it, in good condition, is worth one dollar. I have knoAvn of seA'en being bought for tAventy-fiA'e cents for the lot. The era of patent medicines set in about 1850, and distinctive forms for bottles Avere eagerly sought. There Avas no limit to the ingenuity displayed in the choice of shapes, and a collection of these bottles is cer tainly quite ornamental, if not particularly interesting. In Figure 129 the fish is marked under the eye, " Dr. Fish Bitters. W. H. Ware. Patented 1866." The Indian in rich broAvn glass is marked on the side, " BroAA'n's Celebrated Indian Herb Bitters. Patented 1867." The cannon does not tell what it contained, but is merely labelled, " A. M. Bininger and Co., 19 Broad 93 THE COLLECTOR'S MANUAL street, New York." The graceful jug is nothing but a whiskey bottle, and is marked, " Wharton's Whiskey. 1850. Chestnut GroA'e." This probably came from the City of Brotherly LoA*e. " Van Dunck's GeneA^a, Trade-Mark," is found on the bottom of the toby in Figure 130, and the nice old squatty bottle of rich green glass betrays its Dutch origin, since it is a Schnapps bottle, but is probably not so old as the one shown in the next Figure (131), AA-hieli has an earlier type of neck. The man's figure in mottled ware (Figure 132) is marked " Monk, 1849." This bottle is not glass, but one of those rare specimens of Bennington Avare, which came from the Vermont pottery AA'hich Avas started in 1847, and Avhose brief career lasted about ten years. Beside it is the most modern piece of all, which Avas brought out in the Cleveland campaign. I wish to refer to tAvo very unusual glass portraits, called " Jefferson " and " Madison," which are mounted in strong gilt frames, and which are marked " Desprez, Rue de Recolets, No. 2, a Paris." I am able only to give draAA-ings of these, but it Avould be interesting to know if any more such portraits are to be found here (Figure 133). In Figures 118 and 134 are giA'en several articles of opal glass, candlesticks, cups, and some small plates and lamps. About 1820 this glass was quite fashionable, and was used also for rosettes to loop back curtains, and upon AA'hich mirrors were stood. There is a cheap quality of glass made to-daAT which is milk white in Fig. 133 Glass Portraits Mil mmW ¦nn^HVrli B™* ^mOB m\' •' M\ B| |& ^%ffB | -,m i 1 ¦ ^8- ' W+ ¦ ¦ Mm* .5 ''---; Fig. 134 Opal and Flint Glass Fig. 135 Girandoles Ik ^i ' "f : -V "U/ I ii f "*a;..y Y.I. ':4 ' i ¦ * ! ¦* . 'i"£ ' ¦*" » fi \\ jfcm - ^ B - 1 * ¦bHBHHHP -- - Fig. 136 Candlesticks and Lamp ANTIQUE GLASSWARE colour, and AA'hich should never be confused with this charming old opal glass, which has playing over its surface the fleeting shades of blue and rose, which make it resemble the gem for which it is named. Some exceptionally fine girandoles are shoAA'n in the following Figure (135), Avith beautiful glass prisms, and in Figure 136 some candlesticks AA'ith extra holders for the candles, and coloured glass bases. Before closing this brief chapter on glass, mention must be made of one of its most familiar uses, — that of mirrors. The early ones came from Venice, and great must haATe been the delight of the fair sex AA'hen such objects replaced those made of polished metal, Avhich up to that time had been the only ones in use. The Duke of Buckingham is given the credit for estab lishing in 1673 the first factory for the manufacture of looking-glasses in England, the term " mirror " often referring to a eom'ex glass, AA'hich might or might not haATe sconces for candles on each side of the frame. The early Venetian glasses in richly carA'ed frames Avere A-ery beautiful, and f eAv enough, if any, found their way OA*er here. Indeed, looking-glasses AA'ere taxed as un necessary luxuries by the Pilgrim Fathers, AA'hen they sought to raise money for the expense of the Indian wars. In England they became popular at once, and both men and Avomen AA-ore them, a small bit serA'ing to loop up a gallant's hat, and one of similar size Avas mounted on my lady's fan or hung at her side. In Massinger's play of "The City Madam," he says, " Enter Lady 95 %ssU'. THE COLLECTOR'S MANUAL Frugal, Anne Mary, and Milliscent, in several postures, AA'ith looking-glasses at their girdles." In " Cynthia's Revels," the same author says: " Where is your page ? Call for your casting bottle, And place your mirror in your hat as I told you." The branch of glass-making Avhich had the greatest success in France during the seventeenth century Avas the manufacture of mirrors. In 1665 eighteen Avork- men from Venice were established at a factory in the Faubourg St. Antoine, at Paris, and very soon after another factory Avas started at Tour-la- Ville, near Cherbourg. Both of these prospered, and Avere finally united. The plates of glass Avhich are in the famous Salle des Glaces at the palace of Versailles were made at Tour-la- Ville. The process of casting plates of glass was reA'ived in 1688 (for the art had been prac tically lost since Roman times), and it became possible to make larger sheets of glass than when the plates were produced by bloAving. But though the manufacture was extensive, the prices of mirrors Avere high. Only those who were possessed of means AA'ere enabled to have such luxuries. There is a little anecdote told by St. Simon AA'hich proA'es that looking-glasses Avere not cheap in France comparatively late as 1699. The Countess of Fiesque, a friend of Mademoiselle de Montpensier, purchased an extremely fine mirror. " Well, Countess," said one of her friends, " AA'here did you get that? " 96 ANTIQUE GLASSWARE " I had," replied she, " a troublesome estate, Avhich produced only corn. I have sold it, and bought this mirror Avith what it brought me. Have I not done well?" This glass, costly as it was, Avas exceeded by at least one other, Avhich, in 1791, was valued at thirty thousand dollars in gold. This famous mirror, surrounded by a frame of jeAvels and gold, belonged to Queen Marie de Medici, and hangs in the Louvre at Paris, showing still to the world that the extravagance and luxury of the present day was far outdone by the lavish magnifi cence of the Renaissance. Tliese early mirrors had a bevelled glass, the bevelled edge being about an inch Avide and f olloAving the shape of the frame. An interesting one in a simple frame is giA'en in Figure 137, and sIioavs not only the bevelled edge, but also the small sizes in which the pieces of glass Avere made. Very often in the upper sections some ornament was used, either in the quicksilver, or of painting. Rarely you find one in a Japanned frame, in which case the glass AA'ill be very small, and there is another early style, AA'hich has a frame of bits of looking-glass AA'ith strips of gilded Avood. Handsome glasses like that shoAvn in Figure 138 were commonly called pier glasses, and Avere hung over a table. They Avere carved and gilt, or carved from the natural Avood and not gilded, or the tAvo were com bined, as in our example, AA'hich shows a bird, which, if it had a longer bill, might well belong to the style which Chippendale used on his glasses. All the fur- i 97 ta THE COLLECTOR'S MANUAL niture makers made mirror frames, many of them of great beauty, and some of them so overloaded with ornament that to the present idea they seem absolutely grotesque. It takes a Chippendale to put on such a frame, waterfalls and Chinese pagodas, Mandarins and umbrellas, and then to croAvn the Avhole with such a bird as neA'er Avas seen, and have the thing look charming ! There Avere some men from the middle of the eigh teenth century who published their designs for these articles of ornament, and of these probably the most famous were Ince and MayheAv. HeppleAA'hite made some fine designs, many of Avhich had frames enriched Avith inlay, and in the days AA'hen the so-called Empire styles prevailed the glasses folloAA'ed the fashion of the other articles. Very much desired by those Avho Avanted something uncommon Avas a kind of glass AA'hich Avas knoAvn as " Bilboa." One is giA'en in Figure 139. The greater number of such glasses as these are to be found in Massachusetts, and haA'e marble columns, generally pale yelloAV, at the sides. The frames them selves vary A'ery much, some being of gilt and marble, some combining these tAvo with natural Avood ; and there are others with fine Italian metal Avork at the top, sIioav- ing vases and scrolls. The one shown here is a solid affair of gilt and mahogany, and looks as if it had neA'er seen Bilboa, from which port it is stated these mirrors Avere brought home by the Massachusetts sailors. No matter where they came from, they are beautiful 98 Fig. 137 Bevel-edge Mirror Fig. 138 Broken-arch Mirror Fig. 139 Bilboa Mirror Fig. 140 Hepplewhite Mirror Fig. 141 Empire Mirror Fig. 142 Ciieval Glass ANTIQUE GLASSWARE objects, and the one which is giA'en here belongs to Mrs. Nathan Osgood, of Salem, Massachusetts. In the next Figure (140) will be found a Hepple AA'hite pattern, all gilt, and supported upon two Bat- tersea enamel knobs. It is in fine condition, and forms a beautiful adjunct to any room, though par ticularly appropriate in a fine old house, where it has hung many years. It might be well to say a Avord of AA'arning to enthusiasts avIio, regardless of their sur roundings, are deA'oted to antiques. A certain pro priety, Avhich is often neglected, should be observed AA'ith reference to the placing of such things. Of course, if your old mahogany and china are heirlooms, there is nothing to say. Put them where you please and enjoy them. But if you live in a modern frame house, Avith Ioav ceilings and modern arrangements, you need to be A'ery careful how you install antiques AA'hich were made for other conditions. Also be care ful Iioav you mix ancient and modern objects together; the result is sometimes mirth-provoking, and one is obliged to face the owner Avith a solemn face, Avhen one Avould like very much to laugh at the incongruities which are grouped there, and AA'hich their eager pos sessor expects you to praise with unction. The three-light mantel mirror Ave are all familiar Avith, and Avith the small bedroom mirror with its paint ing on glass at the top. SomeAA'hat on this fashion, but yet what Ave might Avell call " Empire," is the mahogany one given in Figure 141. It has choicely carved side-pillars, and a water-gilt mount at the top. fik THE COLLECTOR'S MANUAL It is AA'hat is called a two-light mirror, and dates from about 1800. Still later is the cheval glass (Figure 142) , which is of veneered mahogany, with turned posts and top rail. The glass Avas considered a generous size when it Avas made, and measures tAvo feet by three. Glasses like this in standards which A'aried but a little could be obtained till what Avas knoAvn as " the black Avalnut age " set in, during the fifties. They did not have much to commend them, and look as clumsy now as do their cousins, the great sofas with similar legs and heavy A'eneered arms. Many people think that because a thing is old it needs no further recommenda tion, and never look for grace of line, beauty of con struction, or choiceness of material. I am frequently asked if there is any Avay of de tecting the counterfeit hollow glasses Avith which the markets are so heavily stocked. There is no infal lible AA'ay, but before purchasing a glass it is adA'isable to flick it sharply Avith the finger. If it is an old one, it Avill respond Avith a sharp, metallic ring, which is entirely absent from the modern reproductions. The bases of the glasses are much larger in the old than in the spurious ones, and the modern glass is always brightened or " buffed " by machinery, which can be easily detected. In the middle of the base there is a rough, sharp place, as if the extra glass had been broken off, AA'hich is another mark of the antique pieces AA'hich is wanting in the modern, and frequently the foot is " folded," — that is, has an extra piece added in the form of a rim, Avhich gave it extra strength and firm- 100 ANTIQUE GLASSWARE ness. Glasses with this folded foot are extremely rare and consequently desirable. It is seldom found on specimens later than the seventeenth century. In reference to the old German beer-glasses, the plain ones are the most common. They should have the appearance of having been bloAvn from one piece of glass. The grog-glasses, or " Rummers," as they are some times called, are always of ample proportions, and many of the old ones have a peculiarity Avhich would easily escape notice. This is that the upper half of the glass is thicker than the loAver half, magnifying the amount of liquor put in it, and at the same time reducing its quantity. Many of the nice old glasses dating from the last of the eighteenth century are decorated AA'ith grapes and A'ine leaATes. Others are fluted, and some have a lattice work, all of which ornamentation is engraved. In these it AA'ill be noted that the foot is much flatter than the earlier ones, and not quite so large. The collector of glasses has an exciting career before him, for there is great difficulty in deciding on AA'hat is genuine and AA-hat is not. The most rare and desirable glasses are the old square-based goblets, sometimes engraved with the OAvner's name, and sometimes AA'ith stars or other deAaces. £ V — CHESTS AND CUPBOARDS DURING the Middle Ages and through sev eral succeeding centuries, the chest ranked next to the bed as the most important piece of household furniture. Of course, this statement does not apply to the courts, AA'here more or less luxury Avas always to be found, but to the people composing the middle rank in life, — the bone and sineAv of eA'ery country. Beginning in Italy, AA'here elegance and beauty flour ished long before they reached the ruder peoples of northern Europe, we find the chest Avas a necessity in eA'ery household, particularly the stout one of iron to hold the treasure of the family. There were no banks, and each man stored his ducats as safely as might be, some of them, like Shylock, finding them fly AA'ith a AA'ayAvard daughter. From the sixth century the Jewish merchants Avere noted for their Avealth. They were the money-lenders of the Avorld, and to them is due credit for establishing the system of bills of exchange. About 1183 orders to pay money to a particular person Avere in use among the merchants of Lombardy and the South of France. General letters of credit were common in the Levant by 1200, while bills of exchange regularly 102 CHESTS AND CUPBOARDS mm &M3 negotiable AA'ere mentioned as early as 1364; and by 1400 they were draAvn in sets and Avorded exactly as they are now. The earliest bank of deposit instituted for the ac commodation of private merchants Avas at Barcelona in 1401 ; so it can be readily seen what an important article a chest was. In Figures 143 and 144 are given some of these iron treasure-chests with their ponderous locks and great handles, showing what heavy weights they Avere expected to sustain. They have both seen service, and belong to the sixteenth and seventeenth centuries, bringing up in this very new country after a world of voyaging. General Washington's household chest, which may noAV be seen at the National Museum at Washington, is nearly identical Avith the chest shoAvn in Figure 143 on the left, the one on the right being more like one of the coffers used in churches. A A-ery interesting work by Mr. Frederick Roe., called " Ancient Coffers and Cupboards," goes into the matter of the old chests exhaustively, and he divides them into four classes, passing over those which are entirely of iron, and beginning with those which for their strength and ornament depend largely on iron work. The second class contains those Avhich have painting as well as ironAA'ork for decoration, while the third class are those AA'hich have fronts composed of upright slabs of wood, carved with ecclesiastical forms, like the smaller chest in Figure 144, AA'hich has a pat tern of pillars and arches. Then, fourth, more secular 103 -f\.iS>. # mm THE COLLECTOR'S MANUAL chests, having on them knights and ladies, animals, etc., these subjects being incised or burnt in. Throughout the fourteenth century there Avas a continued improvement all over Europe of what we denominate luxury and elegance, though Italy still presented the fairest picture of domestic life. The use of chimneys and glass in house-building are the tAvo most important improvements in this century, and if the houses Avere so crude, it may be guessed how simple AA-ere their fittings. Indeed, eA'erything tending tOAvards luxury crept among the people sloAA'ly, and in the very matter of chimneys they Avere feAV and far betAveen, the masons connected with the abbeys being the only ones Avho could build them, so that in the farmhouses they Avere not introduced till about the middle of the seventeenth century. King, Avriting in 1656 in " Vale Royal," says: " In building and furniture of their houses, till of late years they used the old manner of the Saxons ; for they had their fire in the midst of the house, against a hob of clay, and their oxen under the same roof; but within these forty years they haA'e builded chimneys." It does not exactly appear what Avas kept in the church coffers, already mentioned, unless it was the treasures, — i. e., votive offerings and plate, and in most churches at this early period there was little enough of these. In Kennett's " Parochial Antiqui ties " he says : " Ela, Countess of Warwick, who died very aged, in the year 1300, was so great a friend to Oxford University, that she 104 Fig. 143 Wrought-iron Chest Fig. 144 Treasure Chests Fig. 145 Standing Coffer Fig, 146 lt Guilloche ' Fig. 147 Carved Italian Chest CHESTS AND CUPBOARDS + ¦• caused a common chest to be made, and did put into it two hundred and twenty marks ; out of which such as were poor scholars might upon security at any time borrow something gratis for their wants ; in consideration whereof, the University were obliged to celebrate certain masses every year in Saint Mary's Church. Which chest was in being in Edward IVth's time, and called by the name of Warwick chest." Very feAV of these ancient church coffers are still in existence, and even those are housed in museums. Domestic chests have fared better, though feAV can be obtained prior to the Elizabethan period. In 1572 Skipton Castle, the ancestral home of the Earls of Cumberland, and one of the most splendid mansions of the North of England, had but seven or eight beds, and in none of the chambers were there either chairs, carpets, or looking-glasses. The inven tory of the entire contents of this castle is given in Strutt's " View of Manners," and sIioavs not how much they had, but how much they had not. But to go back a little. In 1450, and from that date until 1478, Dame Margaret Paston wrote a series of letters from the town of NorAvich, England, AA'here she was living, to her husband in London, which give many interesting details as to the dress, manners, and fur niture of that time. She writes him in 1454 that she is about to send up to London his " trussing coffer," or clothes-chest, and says further, that " his meny rob his chamber and rifle his hutches "; "hutch " coming from " huche," a French coffer or chest standing upon legs. A hutch, or coffer on legs, is shown in the next 105 lr»$& THE COLLECTOR'S MANUAL Figure (145), though of a later period than that of Avhich Madam Paston Avrites. A panelled oak cupboard goes with it, still retaining the original ironAvork hinges. In these hinges may be seen a pattern knoAA-n as the S-curA'e, Avhich was used in furniture decoration at an early period. It appeared in flat carving, at the tops and sides of chairs (see Figure 146), and AA'as eA'en used in architecture, the tops of the toAA'ers of Hard- wick Hall, England, built in 1590, shoAving it in per fection. On the tAA'O side panels of the hutch is a rosette, Avhich frequently forms the central ornament in a design called the " guilloche," Avhich is a pattern formed of a continuous line of circles, each enclosing a carA'ed rosette. Frequently the larger circles have smaller ones alternating with them, or they may be compressed so that there is no room for the central ornament. Common though this form of ornament is on English furniture, the fact remains that it is of Italian origin, — that is, the use of it during the Renaissance period, for the Italians took it from the Byzantine ornaments and used it to great effect on the beautiful carved cassoni of the times. A good free rendering of the guilloche is found in the panel top of Figure 146; a Avainscot chair, and the S-curve already mentioned can be seen at the sides. Besides trussing coffers or chests, AA'hich took the place of trunks, and AA'hich were generally of stout oak planks iron-bound, there AA'ere others of more or less ornate character. The most important of these, at least in the eyes of the gentler sex, Avere those known as 106 fir Vtf ™* #m -i. i CHESTS AND CUPBOARDS " marriage chests," generally bought Avhile the daugh ters of the house Avere still children, and filled by de grees AA'ith linen and woollen cloth, Avoven under the careful eye of the mother. In Figure 147 is one of these chests of Italian origin, Avhich belonged to some noble and Avealthy family. It is not hard to conjure up the store of fine linens, lace trimmed; the pieces of rich silk damask and cloth of gold ; the Venice points and the lengths of velvet which Avere laid away year after year to sAvell the marriage portion of the daughter. Sometimes suitors avIio be trayed a tendency to lag could be made to shoAv a more coming-on spirit by a vieAv of the chests and their contents, which Avere the lady's doAver. Like almost eA'erything else of Italian origin, the carved chests Avere extremely beautiful, whether of the Gothic period or of the more sumptuous Renaissance and later. The chest shown in Figure 147 is of carA'ed oak. They Avere made of other Avoods as Avell, painted and gilded, inlaid sometimes with ivory, ebony, tortoise- shell, lapis lazuli, or anything Avhich the mind of the maker conceived Avould add to its beauty. On some of these old cassoni were painted figures and scenes by the famous artists of the times, sometimes portraying eA'ents in the life of the owner, but oftener, if for a bride, groups of flowers and cupidons, making these chests to-day as A'aluable as if wrought in gold. Our old carA'ed chest is sixty-six inches long by twenty-four in height, and has preserved its beauty almost unimpaired. No better example of the period 107 "££??& n THE COLLECTOR'S MANUAL which preceded the elaborate carving could be giA'en than by the glimpse Ave get of the old Gothic chest on which it stands, the panels shoAving designs similar to those found in the stone-work of the church-windows of the same period. The Venetian or Florentine bride not only had her rich clothes and linens, but her jewels Avere dealt out with a laA'ish hand. In the inventory of the trousseau of a fifteenth century bride of noble but not royal blood, the rich stuffs are calculated by the pound weight and the " great pearls " by the gross. In such a little chest or coffer as that shoAvn in Figure 148 would these be kept, together with her girdles of gold and silver, her enamelled and jeAvelled garlands and buttons. There are still traces of gold and colours on this chest which could tell so much if it Avould, and there is a ponderous lock so that thieA'es should not break through and steal. There is a little of everything carved upon it, comic and tragic masks, cupids, scimitars, dragons, and gar lands, yet done with so much skill that the result is in finitely pleasing, as is almost everything of the florid period knoAA'n as Renaissance. But while these chests are interesting in every Avay, and are to be bought in this country, since it is known ' that Ave are becoming the collectors of the world, it is with homelier and less ornate articles of this class that our interest chiefly centres. When the Pilgrim Fathers and Mothers packed their scanty belongings and stoAved them away in the hold of the Mayflower, their goods were mostly contained in chests, stout ones no doubt, 108 #&& t «^» % Fig. 148 A'enetian Coffer Fig. 149 Chest of English Oak Fig. 150 "Linen-Fold" Pattern Fig. 151 Chest with Moulding Panels CHESTS AND CUPBOARDS and, I think AA'e can say, entirely guiltless of carving. These chests for use in travelling Avere called " ship chests" or "standards," and were simple, box-like affairs Avith locks and no legs, and often with handles. There Avere, even in those early days, some chests brought over AA'hich stood upon legs. The legs were formed by continuing the " stiles," as those boards Avhich hold the sides, back, and front are called. You can see them very plainly in Figure 149. The boards at top and bottom of the panels, in the top one of AA'hich is the keyhole, are called " rails." These are often carved, the stiles generally being left plain, or ornamented only with a slight moulding. There are many chests like Figure 149 scattered over the country. This one is a " pick-up " near Rochester, NeAv York, Avithin a couple of years. It is of oak, — old English oak at that, — dark, solid, and heavy, so that the boards Avhich make the bottom seem almost like It is a joined chest. The nails which you see on iron.the stiles were put there recently to prevent the chest from positively dropping apart from age. The date of this piece is between 1675-1700. Another pattern of carving which was often used early in the seventeenth century Avas the design called " linen fold." It can be seen on the chest in Figure 150. This pattern was in use as early as 1480, and Mr. Robinson, in his work on " English Furniture," asserts that it was brought from France. It was at first very angular in treatment, but it became more and more flowing, and had, in the later years of its use, gouged 109 4. » THE COLLECTOR'S MANUAL work in addition. The pattern, although in vogue till the middle of the seventeenth century, Avas seen at its best only during a period of about eighty or a hun dred years after its introduction. This chest has also a panelled top, as Avell as panelled sides, the panels being set in Avith a moulding instead of a bevelled edge, shoAving that this chest belongs to the first half of the seventeenth century. It is a fact that no two of these old hand-made chests resemble each other. They have slight differences as to dimensions, and marked ones as to decoration. It is all the more pleasing to be obliged to study closely before we can date our specimen, and it is usually safer to assign it to a century than to a more precise date. While oak and pine Avere the woods ordinarily used for chests, olive-wood Avas rarely chosen, and sometimes cedar and cypress. The English-made chest AA'as com monly of oak throughout, like this one, but AA'hen we came to build them — and we started cabinet-making1 as early as 1622 — we used pine for the parts that did not shoAv, like back, sides, bottom, and often lid. In Flanders many fronts of chests were elaborately carved and then sent to England to be fitted Avith the other parts. When the burghers were comfortably settled here and growing rich in the fur trade, they sent home for chests in AA'hich to store their goods, and many a rich " Kas " came in their low-lying, broad- hulked A'essels. The fronts of these Flanders chests Avere often carved in high relief AA'ith figures, heads, animals, or even 110 /F Vtf " LCV14L + Fig. 152 Dutch Kas Fig. 153 Chest with one Drawer Fig. 154 Oak Chest with Drawers CHESTS AND CUPBOARDS lettering woven into a pattern, and were very hand some. They are by no means so rare in this country as might be supposed ; and in many cases the carved fronts have been removed from the chests and used for other purposes, as, for instance, setting in a mantel front, or in a panel, Avhere they show to better advantage than in a chest. Besides those that were carved there were others on Avhich the ornamentation was of mouldings broadly splayed and bold in design, to which were added the turned drops of stained pear-AArood, or of ebony, Avhich were such favourites Avith the Dutch. Figure 151 shows a fine example of such a chest, and in addition to the tAvo splayed panels, has a round arch for ornament in the centre. Could anything be finer than the Dutch Kas shoAvn in Figure 152? The date of this chest is approximately the same as that shoAvn in Figure 149, but it is a very elegant article of its kind. There is a long draAA'er at the bottom; both sets of cupboards open, and there are shelves Avithin. It must have taken the good atouw and her daughter many years to groAV the flax, hatchel, bleach, and spin the thread, and then weave it into linen cloth that must be bleached again many times before it came to the required AA'hiteness which eA'ery good Dutch housewife considered necessary in her " Hollands." The ball feet seen on this Kas Avere a Dutch design, copied both by the English and by us. Many plain chests are found in America Avith these ball feet like the 111 I* ' t -*. THE COLLECTOR'S MANUAL one in Figure 153. This piece shows the first step in the evolution of the chest, for a draAver is added. Dr. Lyon says, in his book on "Colonial Furniture," that the first mention made of a one-draAver chest is in the inventory of the goods of the Rev. Nathaniel Rogers, of Ipswich, Massachusetts, dated August, 1655. The value was given as sixteen shillings. Sometimes this single drawer Avas divided, and in the earliest specimens the runners on which the draAver moved were on the sides of the chest, — not on the bottom, as came later. The sides of the drawer had a deep groove in them, and a stout runner Avas on the side of the chest. With the appearance of drawers, mouldings, such as were popular for wainscots on walls, Avere more freely used, and such chests were called " wainscot-chests." There were other methods of ornamentation which gradually came in fashion as the chests mounted up ward by the addition of drawers. Among these Avere what are called " nail-head " bosses, and for these, as well as for a fretAvork which was seldom more than an eighth or a quarter of an inch in thickness and Avas applied to the draAvers, Ave are indebted to the Dutch. Such bosses can be seen on the chest of draAvers given in Figure 154, Avhere they are used in connection with both round and pear-shaped ornaments. These nail- heads are in this case distinctly for use, since they are but the tops of Avooden pegs which answer the pur pose of locking the draAvers by turning a bolt. Few are so useful as these, however. 112 CHESTS AND CUPBOARDS mm In Figure 155 is another style of chest, also of oak, but AA'ith splayed panels inlaid with bone and mother- of-pearl. Although this piece is dated 1541, it is probable that it Avas made someAvhat later, since this style of ornament was made till as late as 1650. The handles point to the latter date also, and the chest does not need the added century to make it both interesting and beautiful. There is always a tendency to call such pieces as this Italian, but there is nothing about it which could not have been done in England, and it is knovra that inlaid furniture was made there at about this period. The proportions of the early chests without drawers Avere about sixty inches long by twenty-four high. As the chests rose in height they decreased in length, so that they should not become too bulky. The chests Avere almost always fitted Avith tills, either one or tAvo, so that small articles could be conveniently stoAved aAvay. The old inventories filed Avith Avills are mines of in formation regarding the belongings of our ancestors. I have read scores of them, and there is always a pathetic side to these musty old yelloAv papers, the OAA'ners usually had so few possessions. Leather breeches "half wore out," appears many times; "old quilts "; feather-beds, "not neAV," is another item, and in the earlier documents things are sometimes described as " damnified." Colonel Epes's inventory, dated October 1, 1678, fv;./*- THE COLLECTOR'S MANUAL mm Avhich show him to have been a man of wealth and importance. Among them are these chests : " one old middle-sized chest, AA'ith lock and key; one small old chest, Avith lock and key; two other old chests Avithout keys, and one AA'ithout hinges." Sarah Oort, a rich and many-times-married AvidoAV, had at the time of her third marriage many elegant goods. Among them AA'ere three " chests of draAvers," as chests with draAvers began to be called. This Avas at New Amsterdam in 1691. "One fine chest of draAvers, of maple" (1703), is an item in another inventory, probably made of native wood by one of our own cabinet-makers. By 1724 walnut, cherry, maple, poplar, hickory, pine, and ash were all being used, and in the larger centres comfort was by no means lacking. The pioneer, how ever, still clung to his " Kist," since he could use it both by day and night, and hide Avithin it his few valuables. In a number of inventories in the early years of the nineteenth century I find mention of chests, shoAving how long they continued to be used. Lieutenant Ozias Cone, of Canandaigua, New York, had tAvo in 1805. He valued them at a dollar each. Dr. Samuel Dungan, of the same place, Avhose in ventory Avas filed May 14, 1818, had many posses sions; among them was " one large pine chest," valued at twenty-five cents. He also specifies " a lot of bones, five dollars " ! Could this have been the family skeleton? Of course, our cabinet-makers made just such furni- 114 *$»* Fig. 155 Chest Inlaid with Bone Fig. 156 Two-Drawer Chest Fig. 157 "Connecticut Chest' Fig. 158 "Hadley Chest' / Fig. 159 Chest on Legs CHESTS AND CUPBOARDS ture as they had been accustomed to make " in the old country." It Avas only in occasional instances that one branched out for himself. Figure 156 sIioavs such an example, for though it is apparently a small bureau, it is in reality a two-draAver chest. What appears to be tAvo small upper draAvers and the long one beloAV them are but mouldings fas tened on the front of the chest, which takes up the whole upper half of the piece. This is a very old piece; the handles are of an early variety of the AvilloAv pattern, and fastened in with wires. It is the only piece of the kind I have ever seen, and is interesting in eA'ery way. There are other chests, made by one man and his assistants, it is most probable, which occupy a place quite by themselves; and it is well to describe these chests before Ave pass on to the final steps in the groAA-th of the chest. In Figure 157 is given what is knoAATi to collectors as the " Connecticut chest," from the fact that so many of this pattern have been found in that State, — about fifty in all. It is a two-drawer chest of elaborate de sign, the turned ornaments being stained black, and the patterns on the panels carved in Ioav relief, the two end ones shoAving conventionalised tulips and the centre a sunflower. Many of these chests are built on the American plan, with pine tops, bottoms, and backs; but this chest, which is in Memorial Hall, Deerfield, Massachusetts, has a top of oak like the front and sides. It is forty 115 THE COLLECTOR'S MANUAL inches high, forty-eight inches long, and twenty-two inches in breadth. The same style of decoration has been found on chests Avith but one draAver, which prob ably emanated from the same workshop. The date assigned to this chest is from 1675-1690, the shape of the mouldings and turned ornaments dating from about that period. The oAvner of this chest is Dr. A. M. Kenney, of Boston, Massachusetts. His father has Avritten to me concerning it, and starts a new theory regarding it. He says: " This chest was brought to Greenfield, Mass., by my great grandmother, and had belonged to her mother and probably another generation preceding. I am in receipt of a letter from a lady in Cleveland, Ohio, who owns one like it, who de sires to know Avhere they were made, saying also that tradi tion makes it to have been made in Scotland, and brought to America about 1700. My father in 1843 was a warrant officer in the U. S. Navy, and while stationed in Rio de Janeiro, Brazil, visited a disused convent in that city, in each cell of which was an oak chest, nearly if not quite like this one." No doubt the American maker copied a chest which he had brought from England, or perhaps made his own plans from memory of what he had made in the old country, so that there was a strong resemblance between those of domestic and those of foreign make. There is still another style of chest belonging to a special locality, quite different from the one already shoAvn. In Figure 158 you may see the " Hadley chest," so called because they are found in. and near 116 /F Vt "¦»*» CHESTS AND CUPBOARDS the toAvn of Hadley. While made of oak, these chests are still further ornamented by being gaily painted or stained. As they Avere Ioioaati as " doAver chests," no doubt an effort Avas made to have them unusually hand some on the bride's account. Like the Connecticut chests, the Hadley ones are ahvays of exactly the same pattern, the middle panel being carved with the initials of the OAA-ner. The " S. H." seen in Figure 158 stood for Sarah HaAA'ks, aaIio AA'as married in 1726. The Ioav relief carA'ing extends OATer the Avhole chest, the caiwed part being stained red, and the natural colour of the oak forming a background. The front only is carved, the sides being panelled. Looking on this old chest, AA'hich is also at Deerfield, one can imagine how proud the bride must haA'e been who OAvned one. Hoav she must haA'e toiled to fill one eA-er so scantily AA'ith linen and Avoollen cloth, and some bits of " 500-muslin," — AA'hich was the desire of eA'ery Avoman, — to be made in caps and kerchiefs! Not far aAvay from this chest is the door of one of the early Deerfield homes, driven full of huge spikes to repel the attacks of " ye barbarous enemy," aaIio, eA'en so, managed to cleave the door with their mur derous tomahawks. The owner of this chest has mouldered into dust years and years ago, yet you may lay your hand on her " dower chest " and conjure up before your mind her satisfaction in it, her hopes and fears as she filled it and carried it with her into her neAv home. After the three-drawer chests, of AA'hich this is such 117 THE COLLECTOR'S MANUAL an interesting example, the next step in the upAvard flight of the chest Avas a marked one. They began noAV to be mounted on legs of turned Avood, ber, four in front and tAvo behind, connected by curA'ed stretchers. The one shown in Figure 159 is an early specimen, made probably about 1700-1710, of Avalnut veneered Avith Avalnut and having the early drop-handles. Taa'o A-ery good indications of the age of a piece of furniture are the handles and mouldings, AA'hile the feet, as a general rule, point more to its nationality. The drop-handles on this chest are solid, but the drops also come holloAved out at the back and indicate an earlier period. These are fastened into the drawer by a piece of AA'ire AA'hich is tAvisted together on the inside. The plate through AA'hich the handle passes may be round, or diamond-shaped, or in curves, and AA'hile sometimes cut, it is more often stamped out. This is an early style of handle. The first mouldings used to surround the draAA'ers are quite plain ; they became double after a little while, and sometimes, Avhen used to form the top or cornice, quite heavy. The very earliest specimens of these chests on frames had but one drawer, instead of three, at the bot tom, and the lower edge was in a single curve instead of a triple one. Little by little numerous changes Avere wrought in these chests on frames, and the straight turned leg dis appeared. Then presently two legs were dropped, and then the curved stretchers. The places of the two missing legs in many standing 118 CHESTS AND CUPBOARDS IMS chests, as they are sometimes called, is to be seen sup plied by a drop ornament of a more or less ornamental character. Occasionally the place is finished off square Avith a little moulding. The cabriole, or bandy-leg, became popular, and Avas finished either with the plain Dutch foot or with the ball and claAv. An example of the early bandy-legged high-boy of Flemish make is giA'en in Figure 160. Although it has not very graceful proportions, it is rendered most or namental by its beautiful floral marquetry, shoAving tulips, carnations, and passion-floAvers in different col oured AA'oods in a mahogany ground. By 1700 the im portations of foreign Avoods had giA'en an impetus to AA'hat AA'as called " smooth-faced " furniture, — that is, what AA'as inlaid, A'eneered, or enriched AA'ith marquetry, — in distinction to furniture where the decoration pro truded from the surface, as in carA'ed or panelled Avork. What veneering is we all knoAV, — the coA'ering of an inferior Avood with thin strips of a choicer kind, so that the AA'hole base is concealed. Inlay is an enriching AA'ith Avood of another colour, or AA'ith metals, stones, bone, ivory, mother-of-pearl, tortoise-shell, or anything that could be utilised by the skilful Avorker. The line of demarkation between marquetry and inlay is not A'ery sharply draAATi, but marquetry is apt to coA'er entirely the baser wood, the decorative ar rangement being used in what is called " reserves." In few pieces is the marquetry so large and the ground so small as in our example in Figure 160. As 119 THE COLLECTOR'S MANUAL may be noted, the ground forms just a frame for the marquetry on the draAvers, while the usual rule was to have, say, tAvo reserves on a drawer, each of them OA'al or round in shape, and alloAving a large portion of the ground wood to sIioav. Where you find a tulip enter ing into the decoration of a piece of furniture, you may generally ascribe it to the Dutch, particularly if the ornamentation is conceived in a free and floAving pattern. As will be seen from the examples, nearly all these later pieces Avhich Ave call " high-boys " Avere really chest-on-chest of draAA'ers, or chest on tables. Some times these tAA'O pieces of furniture became separated, and the loAver part, if in table form, Avas called a dressing-table, and used for that purpose. derelict is shown in Figure 161, and must have been a part of a very stately piece of furniture. The ages of these chests and high-boys can be roughly guessed by the draAvers. First came those Avhich had heavy splayed mouldings, with applied ornaments of turned drops and bead- ings. The frameAvork around the draAvers Avas beaded or moulded. Second were the oak or Avalnut pieces, veneered or not, Avith plain draAA'ers and double beaded frame. Third came the moulded draAvers Avith plain frames ; and last Avere the drawers which were moulded but not projecting, the edge of the drawer lapping over the frame so that the opening did not show. At first the tops of the high-boys were flat, finished with a small, plain moulding. By degrees this mould- 120 Fig. 160 Chest-on-Chest Fig. 162 Chest-on-Chest Fig. 161 Table of Chest or High-boy CHESTS AND CUPBOARDS ing greAV heavier, and was sometimes Avide enough to carry a long draAver; then it rose into a curA'e, and the " broken arch " top AA'as put on choice pieces made of mahogany or cherry. At the ends of the cornice and in the middle Avere placed ornaments of either brass or turned wood, urns, flames, or points, according to the taste of the maker; and now the simple " trussing- coff er " of the fourteenth century reached its highest expression in the " chest-on-chest " of the eighteenth century. Figure 162 gives a very beautiful example of a mahogany chest-on-chest, which is a highly prized or nament of a Vermont home. It has its original brasses and top ornaments, the handle brasses being beautifully engraA'ed. This chest-on-chest has a line of inlay about the draAvers, and the shell carved in the lower drawer is done in a piece of solid wood and is very handsome. Our cabinet-makers seldom indulged in very much inlaid work; a line of AvhiteAvood, holly, or satin Avood usually contented them; or in some cases a double line of whitewood and ebony was sparingly used. They did use carving more freely, and these old pieces have a look of solidity and a certain irregularity Avhich is often found in handAvork Avhen the maker did not give any too great attention to accuracy of measurement. There is an old oak cupboard of the seventeenth century in the rooms of the Antiquarian Society at Concord, which is infinitely pleasing in form. This has been copied within recent years by first-class cabinet-makers, aa'Iio used the greatest care in their work, and the reproduc- 121 THE COLLECTOR'S MANUAL tions, Avhile folloAA'ing in shape and colour the hardy old original, have lost the very thing Avhich gives it half its charm. The cupboard at Concord is very similar to the one in Figure 163, and is really that piece of furniture of which we often read and seldom see, called a " court cupboard." The old-time mentions of it always refer to it as being set out with the store of plate, beakers, tankards, etc., which its OAATier possessed. In Harri son's " Description of England," which has been quoted before, the mention is made of the farmer haA'ing peAA'ter " on his cupboard." In many inventories references are made to cupboards of various styles, — such as Avainscot, hVery, court, joined, press, and what is A'ari- ously known as a butter cupboard, or a trencher-bread cupboard. Such a one is given in Figure 164, AA'hich is in shape a court cupboard, but has the holes bored in one of the divisions so that the air may enter and keep the food within pure and SAveet. Trencher bread AA-as a A'ery important article in the household in Eliza bethan times and Avas generally called " manchet." It Avas made of AA'heat, and Harrison, in his " Description of England," says: " Of bread of wheat we have sundry sorts daily brought to the table, whereof the first and most excellent is the manchet, which we commonly call white bread, in Latin, primarius panis; and our good workmen deliver commonly such proportion that of the flour of one bushel with another they make forty cast of manchet, of which every loaf weigheth eight ounces into the oven, and six ounces out." 122 *£tM * f\;./* CHESTS AND CUPBOARDS It was to keep the trencher bread dry that the cup board Avas pierced. This cupboard is a fine one, — of oak, Avith some good carving upon it, and the original hinges. Upon the shelf in front of the upper doors Avas room for a toav of plate or pewter, and even on the top beakers and jugs which Avere not in common use could be displayed. The livery cupboard Avas really a set of shelves with out doors. Mr. Litchfield, in his " History of Furni ture," quotes from a record in the British Museum for some joiners' Avork Avhich was done at Hengrave about 1518, in AA'hich " livery cupboards " are specified. " Ye cobards they be made ye facyon of livery y is Avthout doors." Tavo other very splendid cupboards are given in Figures 165 and 166, the former coA'ered Avith a beautiful fretAA'ork. This piece dates to about 1630 and has still the ornate hinges and clumsy handles AA'ith AA'hich it started. It is of oak, and the handles and hinges are of iron, as they should be. The last cupboard or cabinet (it can be called by either name) is handsome of its kind, but be longs to the seventeenth century. It is of oak, and belongs to the Water's collection of Salem, Massachusetts. The built-in cupboards are often charming, but are generally the work of the carpenter rather than the cabinet-maker. They were made either Avith doors or without, and the choicest Avhich can be found in this country are those Avhich have a great shell forming 123 mm JJr W T? + •" Ws^'*- THE COLLECTOR'S MANUAL a concave top. In many of the old houses cupboards such as these still can be found, often incorporated Avith the Avainscot, and I haA'e seen particularly choice ones in Deerfield, Massachusetts, as Avell as in Concord, and at Salem in the same State. mm more nearly resembled bronze. Brass is an alloy of copper and zinc. " English brass," as it is called, contains about seventy per cent. copper and tliirty per cent. zinc. While brass is of comparatively modern origin, copper, on the other hand, has been in use from the most remote times, and Avhen alloyed with tin in the form of bronze, Avas the first metallic compound used by mankind. Indeed, so general was its use at one distant period, AA'hen arms, implements, and ornaments were made of it, that Ave call that time the " Bronze Age." In museums and historical collections the world OA-er are found metal objects belonging to this time, and wonderfully beau tiful many of them are. It was the Romans who spread the art of working these metals over Europe, and the first traces of yellow brass which we find in England is in the form of monumental brasses, which took the place over tombs of carA'ed effigies and figures made of stone. These brasses are made of sheets of the metal and set into the y£s THE COLLECTOR'S MANUAL pavement. Although they began to be used as early as 1230, the most famous one I knoAV of is in the church at Stratford-on-Avon, where it was placed in 1616 over the grave of William Shakespeare. This is Avhat it ¦" " Good frend for jesus' sake forbeare to digg the dust encloased heare ; Bleste be ye man yt spares tiles stones and curst be he yt moves my bones." Shakespeare himself says in the " Taming of the Shrew," when Gremio is describing all his wealth: " First, as you know, my house within the city Is richly furnished with plate and gold ; Basins and ewers to lave her dainty hands; My hangings all of Tyrian tapestry ; In ivory coffers have I stuff d my crowns ; In cypress chests my arras counterpoints, Costly apparel, tents and canopies, Fine linen, Turkey cushions boss'd with pearl, Valance of Venice gold in needlework, Pewter and brass and all things that belong To house or housekeeping." Truly the young man seems to have been AA'ell fitted out. The most important domestic uses to which brass was put AA'as in utensils, if I may so use the word, for heat ing and lighting. In the most interesting history of " Isabeau de BaA'iere," by Vallet de Viriville, he gives extracts from the records of her household expenses AA'hich are still preserved in the French Archives. This Queen Avas the Avife of Charles VI, called "the Well-Beloved," 126 ? ><> CD K/1 tJR BRASS AND COPPER UTENSILS <> 1 and she lived from 1371 to 1435. She had more idea of comfort than many of her predecessors, and in her rooms Avere chairs covered Avith red Cordova leather, and baths of oak. She used " suspended carriages " and had one chariot on purpose for thunderstorms, " pour le tonnere" but just how it was arranged the records do not state. Queen Isabeau had also to warm her rooms caloriferes, like little iron chariots filled Avith red-hot ashes which could be wheeled about, and also IioIIoav balls of gold and silver full of hot cinders to hold in the hand, which comforts Avere hitherto unknoAA'n. From this time on, articles for holding hot coals have been in use for heating, and still are largely employed in Spain and Japan and China, where the metals used are brass and bronze. The usual name given to these inadequate heaters is brasier. One form is shoAvn in Figure 167. Another kind is given in Figure 168, and these were carried about from room to room. There are peculiari ties about this heater Avhich make it unusual. It is of English manufacture: the bottom part is of copper Avith figures of brass, and the top is of brass AA'ith figures of copper. It stands on brass feet and has a brass handle. Although the lower part is not in one piece, it is entirely hand made, and the bottom of it is curi ously bent up on the sides. That this Avas not an or dinary article is plainly to be seen by its decoration, and, though it has found its way over here, I am sure it served its turn in some old manor or castle, Avhich, 127 THE COLLECTOR'S MANUAL < though high-sounding places of residence, were none too comfortable. Still another brasier is shoAvn in Figure 169. This is made of brass, very solid a'nd heavy, as may be seen, Avith tAvo handles to carry it about conveniently. It is of Spanish Avorkmanship, but the shape Avas approximately the same in all countries. The old English records of about Queen Elizabeth's time shoAv hoAV highly considered all metal objects Avere, and display some curious facts as well. John Fuller, of Rednall, Norfolk, England, had his AA'ill probated in 1598. He giA^es to his wife Ann " all the household stuff she brought me, such as brasse, pewter, foAA'les, etc., at her death to go to Thomas Fuller the younger." This was only one of several cases AA'here I have found that there were tAvo children in one family given the same name. The confusion in the Fuller family must haA'e been something dreadful, since there Avas " oulde William " and " young William," " Thomas the elder," and " Thomas the younger." The father says in his AA'ill, " to young William my sonne, the lesser brass bason and the platter on the cupboard," and to " the children of oulde William my sonne, the cupboard and the long table in the hall. To Thomas the elder a milch cow and to daughter Batriss a great bason and a peAvter dish." Amid the belongings of those Avho first sought the shores of this country AA'hen the MayfloAver took her troublous way hither from DelfshaA'en, there Avere cop per kettles, no doubt, carefully packed Avithin the iron 128 hr\ ¦/"»- j**\f ¦/%« BRASS AND COPPER UTENSILS pot, Avhich Avas the most necessary article of household gear Avhich they brought Avith them. The records seem to point that they Avere better off for such utensils than one poor village in County CraA-en, England, in Cromwellian times. The story goes that the A'illage had been so completely gutted by the soldiers of the Commonwealth that not a single kettle remained, and that an old helmet travelled from house to house and Avas used to boil the broth and pottage in. But to return to our own early settlements. I find in the inventory of the WidoAv Coytemore, dated 1647, when she married Governor Winthrop, " one copp. furnace." This AA'as, I am inclined to be lieve, a small, box-like affair on legs, into Avhich live coals Avere put to keep the kettle warm on the hearth. There is such a one at the Antiquarian Rooms at Con cord, Massachusetts. John Stevens, of Guilford, Connecticut, died in 1670, but he Avas one of the old settlers of the place, since the toAA'n records state that in 1645 he Avas fined for neglecting to do his share of the fencing. To his son, Thomas, he bequeaths " the mare I usually ride on and my biggest brass kettle, my best sute and my cloak and my bed and one payre of sheets and all my other bedding." Such a kettle as the one he mentions is shoAA'n in Figure 170. These great kettles bear on their sides not only the scars of time but the marks of the mal let as well. Brass utensils have been made in this country for a century or more, but the first one is not a matter of record, as is the first iron pot, the story of 129 r )< I CD SW8 THE COLLECTOR'S MANUAL which, though not quite within the proAdnce of this article, I shall tell here. In 1630 Thomas Hudson came to this country and settled in Lynn, Massachusetts. He took up land on the Saugus River, near the ford, and found in the nearby marsh bog-iron ore. This find led to the estab lishment of the first iron works in this country, and in 1642 the first casting, an iron pot, Avas made. This pot remained in the possession of the descendants of Thomas Hudson till 1892, and in that year it was pre sented to the city of Lynn, where it may noAV be seen. Another iron works AA-as set up at Braintree, Massa chusetts, in 1646, and here " pots, mortars, stoA'es and skillets " Avere made, but the AA'orks did not continue long in operation, as the good people of Braintree Avere afraid that the necessity for charcoal Avould consume too much Avood, and so did not alloAV the works to remain operative long. Besides they had religious differences Avith Dr. Child, the owner, and made it very unhappy for him. " Open kettles," as they Avere called to distinguish them from tea-kettles, were made here at an early date, and Avere hammered out of sheet brass and copper which was brought here chiefly from Wales. We knoAV that Captain Myles Standish had three brass kettles, four iron pots, a skillet, and a warming-pan. It is also set doAA'n in Colonial records by GoA'ernor Bradford that the second contingent that arrived at Plymouth, in Fig. 167 Brasier Fig. 168 Brasier Fig. 169 Spanish Brasero and Bowls Fig. 170 Brass Kettles •0«JM a Fig. 172 Fireplace Fig. 171 Fire Set Fig. 173 Brass Smoothing Iron, etc. BRASS AND COPTER UTENSILS Perhaps Captain Standish loaned them some of his seAren. Large brass kettles were put to other uses besides cooking. Michaud's " Early Western Travels " has this to say about a brass furnace : " About two miles from West Liberty Town I passed by Probes' Furnace, a foundry established by a Frenchman from Alsace, who manufactures all kinds of vessels in copper and brass, the largest containing about 200 pints, which are sent to Kentucky and Tennessee, where they use them in the prep aration of salt by evaporation. The smaller ones are for domestic uses." This was in the southwestern part of Pennsylvania in 1802. A little later on in his narrative he says: " At Springfield or near it is Mays-lick where there is a salt mine. For evaporation they make use of brazen pots, con taining 200 pints, and similar in form to those used in France for making lye. They put ten or twelve of them in a row in a pit 4 ft. deep, and at the ends throw in billets of wood and kindle a fire. These sort of kilns consume great quantities of wood." I have neA'er found any of these kettles marked or stamped in any AA'ay. They are not difficult to find, and, brightly polished, are always ornamental. Among the lists of goods belonging to the pioneers aa'Iio came to this country are often to be found objects of " Prince's metal," as it AA'as called. This Avas a com position of brass, arsenicum, and copper. " Latten ware," Avas used also, and this Avas largely composed of brass as Avell. THE COLLECTOR'S MANUAL By 1700 the records show a great A'ariety of house hold articles, and make interesting reading. Cornelius Jacobs in this year had seA'eral pairs of brass andirons, and two pairs of iron " dogs," though just Avhat the distinction Avas it is hard to tell. Captain Giles Shelly, of NeAV York, had in 1718 a fine lot of household goods, including seA'enty chairs, Avhich Avould seem an ample allowance to most of us, even in these days of machine-made furniture. He had as well a pair of brass candlesticks AA'ith snuffers, a brass hearth with hooks for shoA'el and tongs, a brass lantern, tAvo warming-pans, a chafing-dish of brass and tAvo of silver. In fact it Avas a great sur prise to find Iioav general was the use of chafing-dishes. Although brass ones are frequently mentioned, I haA'e neA'er seen one, but copper ones are not unusual, and there is a fine one, made by Paul Revere, at the Rooms of the Antiquarian Society at Concord, Massachu setts, AA'hich AA'as presented to the Society by his grandson. In 1720 Judith, the daughter of Judge Samuel Sewall, AA-as to be married, and as the bridegroom was well-to-do, the Judge proposed that his daughter's outfit should be of unusual elegance for that time. They sent to England for it, and I shall give a list of the metal objects only AA'hich AA'ere included in it: «(! One bell-metal Skillet of two quarts, one little one ditto. One good large warming-pan, bottom and cover fit for an iron handle. 4 pair of strong Iron Dogs with brass heads, about 5 or 6 shillings a pair. 132 BRASS AND COPPER UTENSILS A Brass Hearth for a chamber with Dogs, Shovel, Tongs and Fender of the newest Fashion (the Fire is to ly upon Iron). A strong Brass Mortar that will hold about a Quart with a Pestle. 2 pair of large Brass sliding Candlesticks about 4 shillings a pair. 2 pair of large Brass candlesticks, not sliding, of the Newest Fashion, about 5 or 6 shillings a pair. 4 Brass snuffers with trays. 6 small strong Brass Chafing-dishes about 4 shillings apiece. 1 Brass basting ladle ; 1 larger Brass Ladle. 1 Pair chamber Bellows with Brass Noses. 1 small hair Broom suitable to the Bellows. 1 Duzen of large hard metal Pewter Plates new Fashion, weighing about 14 pounds. 1 Duzen hard-metal Pewter Porringers." Perhaps in Judith SeAvaU's outfit, to go Avith her brass hearth and " Fender of the newest Fashion," was included a handsome stand like the one sIioavii in Figure 171. This is of brass, and has places for two candles at the top. The lattice-Avork shovel was for scooping up the live coals and letting the ashes drop through. Of course she did not haA'e such a splendid coat of arms for decoration, but some ornament Avas usually put in this place. There is a stand similar to this, but of brass and steel, at Van Courtland Manor, New York. It belonged to Colonel John Chester, of Wethersfield, Connecticut, Avho was born in 1748. The candle-holder in this latter case was moA'able. Governor Montgomery's effects Avere sold at Fort George, New York, early in the eighteenth century, and among the unusual things specified were the fol lowing: "A large fixt copper boyling pot. A large iron fireplace, an iron bar and doors for a copper." 133 THE COLLECTOR'S MANUAL A very charming fireplace, dating from about the middle of the last half of the eighteenth century, is to be seen in Figure 172. The brass mountings are patriotic, since, besides our familiar eagle, there are medallions of Washington and Franklin. This fire place is fitted AA'ith a crane, and has a delicate pair of firedogs also. One may grieA'e to see such a generous old fireplace Availed up, but if it must be, it is fortunate that so agreeable an object has been found to take its place. Sea coal Avas advertised for sale in 1744, and about this time Philadelphia fireplaces came into use. This Avas shortly before Franklin had invented his grate. Steel hearths and stove grates came into use by 1751, and iron stoves with brass feet were adA'ertised for sale. Copper was sometimes used for making grates, and copper furnaces Avere plenty, — that is, little affairs standing on legs and holding a few coals to keep a kettle Avarm on the hearth. Among the pieces of brass s1ioaati in Figure 173 is a smoothing iron AA'ith a draAver that pulls out to re- ceiA'e hot coals, and the thing that looks like a clumsy spoon is a spoon mould, also of brass. Into this mould AA'as poured the spooning peAAdjer, and then al- loAved to form in shape. The Colonial village Avhich OAATied one of these moulds considered itself rich, and it AA'as passed around among families as they needed it. The spoon at the back with the long handle Avas for basting, the handle being necessary to prevent the The little candlesticks were for 134 *m BRASS AND COPPER UTENSILS talloAV dips, and the tall one stood in the best room. The noggin was for a nightcap of peach brandy, schnapps, or that beverage Avhich is put doAvn in so many old account books as " W. I. Rum." There lies before me as I write the diary of a New England judge, a man of high standing and dignity in the community in AA'hich he lived. The diary covers that eventful period in our history Avhich was included be tAveen 1754 and 1788, and presents a wonderful picture of the life in a NeAv England town. The noggin brought to my mind Avhat hard drinkers our ancestors were, and I turned at random to this diary to see what the judge had to say on the subject. The page AA'here I haA'e opened is dated August, 1772, and I find the folloAving entry for the first day of the month: " I went to MacGregores and got the bushell of salt that I paid him for last fish time in shad, and a bottle of snuff, and a pair of brass sleeve buttons for which I paid him 44/ Hampr old Tenor." On the 3d he and his son went out to mow, and after moAA'ing " the path to the meadoAv, I borroAved a flask full of Rum from Wm. Caldwells wife." On the 4th (next day), " I AA'ent and got tAA'O Quarts of Rum at Hugh Campbell's on credit." On the 13th, " I sent DaA'id to Means to get l/2 Gallon of Rum and Y2 pound of tea," and on the 24th he got two quarts more of " Rum on credit from Campbells." Such little utensils as are sIioaati in Figure 174 Avere used in the preparation of the drinks which were often compounded 135 THE COLLECTOR'S MANUAL ,/ _ I, <> O of the rum, which our good judge ahvays spelled AA'ith a capital letter. This drink Avas used universally in all homes from that of the parson doAvn. It was cheap. In another place the judge says he pays a pistareen for tAvo quarts; this Avas about tAventy cents. The liquor Avas pure, and their lives Avere so filled with hard work out of doors that they seem someliOAV to have lived through their excessive drinking. Tea was more expensive than intoxicating liquors, — about four shillings a pound, though the value of money varied so, " old tenor," " lawful tenor," pista- reens, and Spanish silver, all being in use. Such a little kettle as is shoAA'n in Figure 174 had many uses. I do not doubt that the houseAvife boiled her tea in it, and that it heated Avater for many a glass of toddy. Every family had a warming-pan, and most necessary they were in the cold, damp houses which Avere seldom warm from autumn to spring. They Avere commonly of brass, but this one is of copper, as is also the ladle. The large kettle is of the ordinary type and is of wrought copper, as were most of them. It is exactly like a kettle Avhich belongs to a collector Avho has a number of beautiful and valuable objects, — old china, glass, peAvter, and brass. I asked her once what thing among all her treasures she liked the best, and she said, without a moment's hesitation: " That battered little old kettle, for it took me nearly tAvo years to get it, and in all that time it Avas scarcely out of my mind." She had seen it in a tumble-doAvn old cottage where lived an old man Avith his daughter. They were neither 136 BRASS AND COPPER UTENSILS of them ornaments to society, and were scarcely ever at home at the same time, since their love for the flow ing boAA'l caused them to spend much time in retirement — at the toAA'n's expense. Her first offer was the modest one of fifty cents, as the kettle was in very bad condition, — battered and rusty. This sum proved no object to them, and during the time she Avas in pursuit of it she rose little by little till she finally paid five dollars for it, — a preposterous price, truly, but she had become so Avedded to the idea of OAvning it that she could not giA'e it up. In Figure 175 is given a group of utensils of vari ous kinds of copper, with a kettle of different shape. It Avas such a kettle as this which met a curious fate at the time of the famous Boston " Tea Party." It be longed to the family of Benjamin Fish, of Portsmouth, Rhode Island. Noav, although a Friend, Mr. Fish was a loyal American besides, and shoAved his devotion to the Federal cause by jamming and battering, and then throwing away the copper kettle because his daughters persisted in breAA'ing tea in it. The Avomen, hoAveA'er, kept an eye on it, and when the Revolution Avas over they brought it out, and Artemus, one of the sons, hammered it into shape again, and it once more took its old place on the family hearthstone. They all be came much attached to it, and AA'hen one of the daugh ters, Peace by name, Avent to live at Rensselaerville, NeAv York, she took the old kettle AA'ith her. One can hardly realise Avhat a change in many ways the banishment of tea from the usual dietary caused. 137 THE COLLECTOR'S MANUAL Even the Southern States were up in arms Avith New England, and June 1, 1774, was appointed a day of fasting in Virginia. Tea Avas sealed up and destroyed. Money and provisions were obtained by canvassing the counties, and Avere dispatched to Boston. But there Avere some royalist hearts which beat in Virginia, and one owner of such an one, she who had been the lovely Kate SpotsAvood, but avIio had married Bernard Moore, has had her name come doAvn to us as continuing to sip her tea in the privacy of her closet after it was banished from every table. Indeed, "tea" was no longer a popular meal; its place was taken by " coffee." Philip Fithian, a tutor in a Virginia family, left a very full diary of what was done among the families Avith Avhich he came in contact at this time. He enters in his diary Hall" the following: Nomini " Something very merry happened in our palace this Even ing. Mrs. Carter made a dish of Tea ! At Coffee she sent me a dish — and I and the Colonel both ignorant. He smelt, sipt, look'd! At last with great gravity he asks, 'What's this?' 'Do you ask Sir?' 'Poh!' and out he throws it, splash, a sacrifice to Vulcan." Colonel Carter was ahvays a patriot, you see! Three other kettles, two of them of unusual shape, are given in Figure 176. I am very sure that, if Ave could find their histories engraved on their sides, they Avould prove interesting reading. They belong in Ipswich, Massachusetts, a town settled as early as 1633 by John Winthrop and his twelve companions. 138 Fig. 174 AVarming-Pan and Kettles Fig. 175 Copper Kettles Fig. 176 Copper Teakettles HI me ^1 B'i - Fig. 177 Brass Mortars Fig. 178 Brass Swinging-Kettle BRASS AND COPPER UTENSILS <> Though these hardy spirits suffered from Indian raids and all the hardships incident to a pioneer settlement, the town greAv, and soon numbered among its residents Deputy-Governor Symonds and his Avife. Madam Symonds Avas a very fine lad}', and sent to London for all her clothes, Avore red Spanish-leather shoes, and kept herself cool with a fan of feathers mounted on tortoise-shell sticks, even Avhen she Avas turned sixty years of age, and included in her orders such trifles as needles and pins, spices and figs. The tall vessel looks more like a coffee-pot than a tea-kettle, but no doubt serA'ed its turn in many Avays. Among the articles mentioned in Judith Sewall's AA'edding outfit is " A strong Brass Mortar that Avill hold about a Quart AA'ith a Pestle." Tavo such mortars are shoAA'n in Figure 177. They are handsome and must have been an ornament to the kitchen dresser AA'hen brightly polished and set on the shelf. The SAA'inging-kettle of brass is not so modern as Ave are apt to think, and a fine specimen is shown in Figure 178, AA'ith handles on the base to carry it about. There is a lamp of some kind AA'ith places for three AAicks, and this kettle is much later than the old coffee urns, which were made to have a piece of hot iron placed in the centre to keep the coffee Avarm. The Dutch settlers aaIio brought so many comforts and luxuries to this country did not forget to haA'e their fine brasses come from the old country in many a ship. Among' such utensils were many milk cans ^frl THE COLLECTOR'S MANUAL seiwice, but it is handsome yet, and made of a won derfully fine quality of brass. The little stand on three legs Avas often placed among the ashes to warni something, — a mug or cup, — and it, too, is " far in years," as they say in New England, and more or less damaged. Figures 180 and 181 show other copper A'essels, the great two-handled pot in Figure 180 being made from a single sheet of copper. To what use the vase like piece Avas put it is hard to conceive, unless it was for ornament only. Of the pieces in Figure 181 the covered dish and the battered pot were used for cooking. The two-handled cup is a sada, or Jewish utensil, their ritual forbidding them to grasp the cup from which they drink Avith an unwashed hand. The flight of Russian Jews to this country has brought here much beautiful old copper and brass, in quaint and curious forms. While nearly every country has been despoiled by the collector for the enrichment of his shelves, Russia was one of the last to be invaded. In the Russian kitchen are to be found stores of beautiful shapes in brilliantly polished metal, for the marriage portion of most daughters is a stock of kitchen utensils, and these are of such ad mirable Avorkmanship that they last a lifetime. Indeed, in the poorer families they descend from one genera tion to another; and it is heirlooms like these that the collector wants for his own. It Avas not to be expected that when the demand arose it should not be supplied, and to-day, in the streets of 140 Fig. 17H Dutch Milk Can and Utensils Fig. 180 Copper Vessels Fig. 181 Copper Cooking Vessels Fig. 182 Russian Copper Kettles v rill fl Ui'lil ¥ WmW"^m\mWm\m\ Fig. 183 Samovar Fig. 184 Samovar brass and copper utensils NeAv York AA'hich are in the great Russian quarter, you may find copper and brass utensils to satisfy the most grasping collector. You may hear, too, the tap-tap of the worker, aaIio in back shops and cellars is making these objects, and battering and denting them to suit the taste of the most rabid gatherer of " antiques." Of course tliese articles are hand-made, being fashioned from great sheets of copper and brass, which are first heated in rude furnaces to make them malleable, and then hammered into the same shapes which the Russian peasants haA'e used for years. There are merchants aaIio haA'e the old articles, and many of them are honest enough to tell you which they are. One progressive Russian, Avho has become imbued with the American spirit of hustling, for seA'eral years has made an annual visit to his native country and bought up many of these articles and brought them OA'er here. There is a fierce spirit of rivalry among these merchants of the Ghetto, and they AA'ill cry doAvn one another's Avares with the greatest A'igour. The true collector with " the gift of tongues " AA'ill be able to make many a bargain, and, after all, the bargaining is almost as dear to his heart as possession. Some beautiful Russian pieces are shoAvn in Figure 182. The middle one is much like the Turkish shape for coffee-pots, and the genuineness of these articles is assured, since they Avere obtained from the Russian peasants on landing. The samoA'ar, a peculiarly Rus sian utensil, had also come in for its share of popular favour, and tAvo very fine antique ones are shown in 141 's&k "V THE COLLECTOR'S MANUAL Figures 183 and 184. They belong in one of the most noted collections in NeAv York City. Figure 185 has, besides the brass samoA'ar AA'hich stands on an antique tray of beaten brass, an incense burner, used on festival days for sprinkling the guests AA'hen seated at table with incense. The strange old A'ase Avith Arabic characters upon it is made from a single piece of brass, and the candlestick betrays its nationality so plainly that it is hardly necessary to say it is Chinese. These pieces make quite a polyglot company. The only sugar-bowl which I ever found in brass is giA'en in Figure 186, and Avith it, but not like it, is AA'hat might be called by courtesy a creamer. The pitcher is much the more A'enerable of the tAvo, for the boAvl has handles of cast brass. Both pieces are either of English or American manufacture. In Figure 187 are some other Russian brasses, — a coffee-pot and tAvo boAvls, the boAvl which stands flat on the table being of extremely crude Avorkmanship and very old. The other is in two pieces, and they are riveted together. Figure 188 shows the metal work of three nations. The kettle to the right is a handsome piece of brass repousse Avork, Avith a fine coat of arms for decoration. Once upon a time it had a piece of wood upon the iron bar which holds the tAvo ends of the handle together, but this AA'as burned off long ago, and eA-en the iron is much corroded. This came from En or- land. The brass tea-kettle in the centre is home-made, and furnished to cold and tired traA'ellers hot Avater in plenty for their toddy. The brass pitcher Avith upturned 142 Fig. 185 Russian Samovar, etc. *3bb lShIl !1 w )I JfKJ Fig. 186 Pitcher and Sugar-Bowl, Brass Fig. 187 Russian Brasses Fig. 188 Brass Kettle and Pitcher BRASS AND COPPER UTENSILS lip is Dutch, and seems as if it might have borne com pany Avith the old brass shaving-boAvls of a century or more ago. Travellers from Holland bring home much brass these days, — dust-pans, snuff-boxes, and various small kettles, and once in a while one of the huge old milk- cans Avhich are such a picturesque feature of the coun try. These, while pleasing, are generally quite modern, and will not keep company with the pots and pans shoAA'n here, all of which belong to the old regime. HaA'ing all too briefly considered the brass and copper utensils used for heating and cooking, it is next in order to consider their use in holding a light. Before Ave can properly speak of the Avay our ancestors lighted their homes and buildings, Ave must glance at the scanty means which they had at command for getting that started. There Avere, of course, no friction matches, their invention taking place about 1827. The earliest friction matches Avhich Avere used in this coun try were imported from France, and there is a story concerning their early manufacture in America which goes to prove hoAV seldom the inA'entor profits by his inA'ention. In 1836, nearly ten years from their first use, friction matches imported from France were clumsy phosphoric ones. They Avere made by dipping the match-stick first into sulphur and then into a paste composed of chloride of potash, red lead, and loaf sugar. Each box of matches AA'as accompanied by a bottle of sulphuric acid, into AA'hich every match had to be dipped in order to light it. 143 THE COLLECTOR'S MANUAL The attention of a young man living in Springfield, Massachusetts, L. C. Allen by name, Avas attracted to this subject, and he set to Avork to invent a match AA'hich could be lighted by drawing it across a rough surface. He succeeded, and was urged to take out a patent. This he neglected to do, and Avhen at last he took steps in the matter he found that a patent had already been obtained by a pedlar from Chicopee, Massachusetts, who had picked up in some Avay the results of Mr. Allen's labours. The end of the matter Avas that Phillips, the pedlar, gave Allen leaA'e to make matches under his patent, in consideration of Allen's Avaiving his claim and not instigating any litigation. So the inA'entor of friction matches became a manufacturer of matches under another man's patent. Before the use of matches all lights had to be pro duced by hot coals which Avere kept gloAA'ing by being coA'ered AA'ith ashes, or by flint and steel. The practice of carrying coals from one house to another AA'hen a fight Avas needed became so common that the danger of fire to the settlements was much increased. Stringent laAvs Avere framed in many toAATis, ordering that " fire shall ahvays be kept covered AA'hen carried from house to house." Among the early laws of New Amsterdam Avere those regulating the moA'ing of hot coals, and several Dutch atouws Avere brought to court for break ing them. The danger of fire was a constant menace, and eA'ery house was provided with fire-buckets, Avhich Avere hung in some hand}' spot. As late as 1742 an inventory of the belongings of 144 BRASS AND COPPER UTENSILS Peter Faneuil, Esq., of Boston, Avas filed. He Avas a Avealthy man, with a large house and rich furnishings, yet in the " great centre hall " hung " one large entry lantern, twelve baggs and bucketts and some books." Apparently the bags AA'ere to carry out the goods if it were necessary. The method of using flint and steel is unknoAvn to most people of this generation, but it Avas a process which is said to haA'e caused more strong language from our ancestors than anything else with AA'hich they had to deal. The flint was a bit of stone, as the name implies, AA'hich was roughly shaped, oblong, square, or round, about two mches in diameter Avith a sharp edge, which Avas smartly struck against the steel. This latter object Avas hung over the the fingers of the left hand and the handle of it firmly grasped; the flint Avas held betAveen the finger and thumb of the right hand, and the steel struck quickly AA'ith the flint from above doAA'mvard. This caused the sparks to fall upon the tinder in the box, the tiny spark was bloAvn into a flame, a match coA'ered at the end with sulphur Avas soon burning, and Avas quickly applied to either fire or candle. At the very best this process took from one to three minutes, and if the materials were damp, if the striker's hands Avere chilled, or if in the dark the steel Avas not successfully struck, it might take as long as thirty minutes to perform the operation. Many were the bleeding knuckles Avhich Avere the portion of the unskilful. No Avonder that the friction match Avas THE COLLECTOR'S MANUAL fore friction matches were made something far more Avonderful could be seen in NeAv York City. That Avas the house at No. 7 Cherry Street, which was lighted throughout by a marvellous and dangerous material known as Gas. This Avas in 1824, and the house be longed to Mr. Samuel Leggett, President of the New York Gas Light Company, aaIio took this method of shoAA'ing how little danger there was in the neAV illu- minant. The method of lighting it was by the sulphur match, Avhich Avas lighted in its turn by the tinder-box, if no hot coals AA'ere at hand. Figure 189 sIioavs two styles of tinder-boxes. The round one on the left is closed, and the little tube on top held the candle. When the cover Avas removed the candle-holder came too, and within Avere the flint and steel, and a round bit of tin AA'ith a handle called a " damper," and used to put out the sparks in the scorched linen AA'hen no longer needed. The other box, someAA'hat like a wheelbarroAv in shape, has Avithin it yet the old sulphur matches and the flint. The steel forms the AA'heel. In all cases it Avas necessary to keep the boxes carefully covered, so that the contents should not get damp, for this added to the difficulty of getting a spark started. We can see why " early to bed " be came a household Avord! Wood, in his " NeAv England Prospects," says: " Out of the Pines is gotten Candlewood that is so much spoke of which may serve as a shift among poore folks, but I cannot commend it for Singular good because it is something sluttish dropping a kind of pitchy substance where it stands." 146 BRASS AND COPPER UTENSILS o Higginson, writing about this same early period, says : " Our pine-trees that are the most plentiful of all wood, doth allow us plenty of candles Avhich are very useful in a house. And they are such candles as the Indians commonly use, having no other, and they are nothing else but the Avood of the pine- tree cloven in two little slices, something thin, which is so full of the moisture of turpentine and pitch that they burn as clear as a torch." We do not seem to have made much use in this coun try of the " light of antiquity," as the rush-light may Avell be called, and I have neA'er come across a rush light holder, nor seen one exposed for sale in this country. Rush-lights were easy to make, and in Walter Harris's translation of " Ware's Antiquities of Ire land " there is the f olloAving : " They made use of lights made of the pith of rushes, which they stripped bare of the skin, and left only a small ridge at the back to keep the tender pith from falling asunder. When these were thoroughly dried they dipped them slightly in grease or other unctuous matter, and then had no further trouble in the preparation. This sort of light is to this day made use of among the meaner sort of Irish, and people of condition (be fore the use of the tallow candle which was introduced into Ireland from England) twisted a great number of these rush lights together, sometimes to the bulk of a man's arm. Nay, we have instances in the Irish annals that even within these 200 years they made them the size of a man's middle." Rush-lights Avere in use among the cottage folk of o here, AA'hich Avas better than candleAvood or rush-lights, and less precious than candles made of grease, eA'en THE COLLECTOR'S MANUAL though the talloAV came from deer suet or bear grease. One of the earliest and poorest styles of light-givers AA-as called a betty lamp. It Avas little more than a metal tray with upturned edges, so that the grease Avould not drop out. The light Avas proA'ided by a bit of tAvisted rag Avhich burned in the pointed nose. It had to be constantly attended to in order to give the faintest light. Lamps similar in principle had been in use cen turies before the Christian era and were made of pot tery, with a spout for a Avick and a hole in the top into which the oil Avas poured. The form our ancestors used AA'as something like the one in Figure 190, except this one could carry four Avicks, one at each corner. The tall lamp at the right is also a crude form for a round wick and oil, and known as a " baker's lamp." When the early colonists looked about for other material than grease to use for lighting purposes they found it near at hand in the sea, Avhere there Avere abundant fish. Higginson, Avriting in 1630, says that though there is " no tallow to make candles of, yet by the abundance of fish thereof it (the colony) can afford oil for lamps." In another quaint old record, called Josselyn's " New England Rarities," which was written between 1663 and 1671, there is another reference to oil: " It was not long since a Sperma Ceti Whale or two were cast upon the shore not far from Boston in the Massachusetts Bay, which being cut into small pieces and boyled in Cauldrons, 148 BRASS AND COPPER UTENSILS yielded plenty of Oyl, the Oyl put up in hogsheads, and stow'd into cellars for some time, candies at the bottom, it may be one quarter ; then the Oyl is drawn off", and the candied stuff put into convenient A'essels is sold for Sperma Ceti, and is right Sperma Ceti." In 1686 GoA'ernor Andros of NeAv York asked for a commission for a voyage for " Sperma Coeti Whales," and in 1671 Nantucket, then knoAvn as Sherburne, began AA'haling operations, groAving to be knoAvn as the greatest whaling toAvn in the world. Oil for burning AA'as soon in demand in all parts of the colonies. But candlesticks of brass, copper, pewter, and later of silver and Sheffield plate, were not croAvded out by oil. They Avere considered more elegant than oil lamps and held the choicest Avax candles which the houseAA'ife could make. If possible she used bayberry-wax, Avhich Avas highly esteemed from New Orleans to Canada. Of so great importance was this vegetable wax that at Brook- haA'en the law forbade the gathering of the berries before September 15, under penalty of a fine of fif teen shillings. In Louisiana the bushes Avere planted on the borders of the bayous which formed the water- Avays and in some cases marked the boundaries of the plantations. In 1705 Robert Beverley described it as f oIIoavs : " A pale, brittle wax of a curious green color, which by refining becomes almost transparent. Of this they make candles which are never greasy to the touch, never melt with lying in the hottest weather ; neither does the snuff of them eA'er offend the smell like a tallow candle, but instead of being disagreeable if 149 THE COLLECTOR'S MANUAL an accident puts a candle out it yields a pleasant fragrancy to all that are in the room, insomuch that nice people often put them out on purpose to have the incense of the expiring snuff." In Figure 191 a toav of stout candlesticks of good Colonial types is shown. A " sliding candlestick," a pattern much used among the thrifty, is given in Fig ure 192. As the candle burned aAvay it could be moved up, so that there Avas no Avaste. There is also another early pattern of a stick Avith a grease tray, which caught the drippings as they fell from the burning candle. This Avas very necessary in the case of tallow dips, or any candles not made of Avax. The big candlestick in the centre is a Russian church stick. Other candlesticks of Russian and often Jewish origin are shown in Figure 193, and all Avere used for religious purposes. The JeAvs were noted long ago for their proficiency in metal work. In Bible days at Tyre and Sidon " they traded in vessels of brass in thy markets." The Chinese also Avorked in brass and other metals centuries ago, and embodied many of their strange artistic ideas in domestic articles. One of their temple sticks is also shoAvn; it is the one with the two birds on it. The two candlesticks Avith glass shades are of English make, one of Sheffield plate and one of ma hogany (see Figure 194). The smaller one was for bedroom use, and the shade prevented draughts from extinguishing the candle when it Avas carried about. These are reproduced to-day in brass as well as plated ware, and are quite as useful in country houses as they 150 .1! Fig. 189 Tinder Boxes Fig. 190 Early Lamps Fig. 191 Brass Candlesticks Fig. 192 Sliding Stick Fig. 194 English Stick Fig. 193 Russian Candlesticks BRASS AND COPPER UTENSILS were in the days when they were the latest thing out. The tall mahogany candlestick is one of a pair which are in as fine condition as they Avere the day they Avere made. For many a long year they graced the mantel shelf of a fine old house, being one of the chief orna ments of the best room, and lighted only Avhen company AA'as expected. On such occasions conversation or cards Avere the amusements, and such sticks never left their dignified retreat on the shelf. On the card-tables, many of which Avere provided with round, flat places for the candlesticks to stand, AA'Oiild be found tall candlesticks like those seen in Figure 195, AA'hich belonged to Gen- Washington and Avere Mount ernon. This pair are silver, but there Avere feAV per sons aaIio could afford that metal, and, proA'ided the stick Avas tall enough, it did not matter of what material it Avas made. I find in old records and inventories many references to candlesticks, and it is easy to see that they AA'ere important objects of domestic economy. As early as 1489 I find mention of a " bell candlestick," the AA'ord " bell " referring to the shape of the base, AA'hich Avas someAA'hat in the form of a bell and very solid and heaAW. In the next century the candlestick Avas still of enough importance to be an object of bequest, and a Mr. Thatcher of Pirton, England, gaA'e by Avill " to my grandson one falloAve coAA'e and best bed and one greate Brasse Candlesticke." To his youngest grandson he gaA'e " one falloAve heifer AA'ith bed and payer of sheets of the thirde sorte and one Brasse Candlesticke." The process of making the candles to go in these 151 *W8 THE COLLECTOR'S MANUAL sticks AA'as long and trying, but casting them in moulds Avas easier than dipping them. The moulds Avere made either of tin or pewter and would hold from tAvo to eight candles at a time. Not every family OAvned a set of moulds, but in those pleasant days of village life a mould Avas passed about from one family to another at need, just as they passed the spoon mould Avhen new peAA'ter spoons had to be run. Anyone who has travelled abroad, particularly on the Continent, knoAvs how important a part candles play among the charges on the bill even yet. Some thrifty souls take AA'ith them from place to place the candle ends for Avhich they are charged, and are enabled to get up quite an illumination at the end of a Aveek of traA'elling by lighting all the bits. I think that the penurious feeling which exists in the breast of nearly eA'ery Frenchman with regard to candles has come down for over a century or more and become ingrained in his nature. In the days of the greatest glory of France, during the reigns of Louis XIV and Louis XV and even in the lifetime of the unhappy Marie Antoinette, candles Avere one of the most valuable court perquisites. Dur ing the reign of Louis XV the ladies attached to the Queen's bedchamber Avere paid but one hundred and fifty liA'res a year, — that is, about thirty dollars, which seems a beggarly sum. This they Avere allowed to in crease by selling the candles which had been once lighted. These ends of candles Avould not seem to be a large item, yet it brought them an income of five 152 BRASS AND COPPER UTENSILS thousand livres — over one thousand dollars. The profit on candles Avas so great that it was shared among many of the courtiers. For instance, those candles which were not burned up when the play Avas over went to the members of the guard, Avhile those which remained after the king's meals Avere finished Avent to other retainers of the royal family. There Avas, and is, a certain elegance to wax candles; they give such a melloAV and becoming light. Consider Iioav handsome the dining-table at Mount Vernon must have looked when guests Avere bidden and the board Avas graced by the handsome candlesticks which may be seen on the upper shelf in Figure 195. All the arrangements of lighting at Mount Vernon were hand some, and the hall lantern, as Avell as some lamps of silver, can still be admired. They are in the National Museum at Washington. Almost as necessary as the candlesticks themselves were the snuffers and tray to go Avith them, and it Avas a much sought privilege of the children of the house to be alloAved to use them. Just how early they came into use it is difficult to say, but in the old play of " The Miser," 1733, one of the characters, Charles Bubbleboy, is made to say: " I haA'e brought you a pair of the neAv hrvented snuffers, madam, be pleased to look at them; they are my OAvn invention; the nicest lady in the Avorld may make use of them." A pair of nice, plain, old brass snuffers and tray is shown in the next figure (196), and they probably are AA'ell along in their second century, though their present 153 tJR THE COLLECTOR'S MANUAL OAA'ner cannot tell. They are OAA-ned in Salem, Massa chusetts, and are some of those things AA'hich the OAvner " always remembers." Those made of other metals than brass Avere sometimes quite ornamental, but the brass ones are generally plain. Brass sconces were also sent here from London and Paris, and a choice pair, rather florid in design, are shoAAn in Figure 197. I haA'e seen Dutch warming- pans made into sconces, the A'ery handsomely orna mented lids being used, and arms for the candles set on to them. The OAAmers had no idea Avhat was the original purpose of the slightly convex circle AA'hich formed the most important part of their sconces. The first invention to benefit the simple lamps which had been in use so long, as I haA'e said, Avas in 1783, Avhen Leger of Paris invented the flat wick and a burner to go with it. In the next year Ami Argand, also a Frenchman, im'ented a burner to AA'hich he gave his name, and which is still the parent of innumerable modifications. With all these means for illuminating at hand, it Avas certain that some choice lamps should find their Avay over here. And they did. I shoAv tAvo of these lamps AA'ith handsome globes (see Figure 198). Many such lamps have been resurrected AA-ithin the last feAV years, but something is AA'rong Avith them. We either do not knoAV how to manage them, or Ave expect too much, for they give a poor light unless refitted with modern burners. A friend of mine who is rather antique mad secured some time ago a lamp like one of these, but, alas! it had no shade. Being a lucky 154 tJR Fig. 195 General Washington's Candlesticks Fig. 196 Brass Snuffers and Tray Fig. 197 Brass Sconces Fig. 198 Brass Lamps Fig. 199 Governor Pierce's Lamp Fig. 20U Brass Lamps with Drops BRASS AND COPPER UTENSILS collector, he laid it aside for the moment, and shortly after, being on a visit to a neighbouring city, during his rummages in second-hand shops he found a shade. He bought it on the chance that it Avould fit, and car ried it home carefully in his hand. His luck stayed by him, and it did fit the lamp as if made for it. He fussed AA'ith Avicks and burners till at last he got a light, but a feeble one. He never tried it more than once or tAA'ice, and he is iioav content to let the lamp stand on a nice old table and look well. I asked his Avife Iioav it happened that she Avas so complacent with his collect ing so much miscellaneous stuff. Her reply AA'as a AA'ise one, and I have often thought of it: " He has no vices," she said; "he does not use liquor or tobacco in any form, so, as I think he ought to have a fad in some direction, I encourage his collecting." It is a strange thing, but judging from the hundreds of letters I receive, men compose the great body of collectors. They outnumber women tAvo to one, and, as a rule, are quite as vague in describing some treasure Avhich they AA'ant judged, as is the gentler sex! A fine lamp shown in Figure 199 once belonged to Governor Pierce, whose son AA'as President Franklin Pierce. In Figure 200 are seen lamps of a more usual form than those just sIioaati. They belong to about the same period and AA'ere for use on the mantels, the crystal drops making them very brilliant. The reservoir to hold the oil Avas in the centre of the lamp, and as these Avere made before the use of petroleum as an illumi nating fluid they must have burned paraffin oils. An- 155 THE COLLECTOR'S MANUAL 38 other pair similar to some used at Mount Vernon are shown in Figure 201. There AA'as not an abundance of petroleum to be had until after 1855, although it had been knoAA'n from most ancient times. In 1847 and during the next feAV years experiments were made in Manchester, England, AA'ith regard to using this oil for illuminating fluid. It Avas not till 1875 that one of the most productive oil fields ever knoAA'n Avas developed in this country, making the oil abundant and cheap. Petroleum Avas first noted in this country, in the State of Ohio, in 1814. It Avas frequently found Avhen digging Avells for brine, and in 1829 a brine-AA'ell in Cumberland County, Kentucky, yielded such an enormous quantity of petroleum that it AA'as regarded as a Avonderful natural phenomenon. There AA-ere so many thousands of barrels of it going to Avaste that at last some ingenious Yankee bottled some up and sold it as a " cure-all " under the title of American Oil. Public buildings Avere as badly off for lighting facili ties as private, and churches Avere dependent on candles and oil lamps. Some rich parishes, like that of St. Michaels in Charleston, South Carolina, imported from England chandeliers of brass, which Avere hung by a chain from the ceiling, so that they could be raised or loAvered. Some of these chandeliers held as many as forty-fh'e candles, and it required constant snuffing to keep them in order. This same old chandelier in Charleston still hangs in St. Michaels, but within recent years it has been fitted for gas. Under 156 Fig. 201 Brass Lamps Fig 202 Watchman's Lantern Fig. 203 Lantern BRASS AND COPPER UTENSILS Avorshipped both Washington and Lafayette, and it has seen pass beneath it A'ictims of Avar and pestilence and has Avithstood fire and earthquake. Amid many other interesting relics AA'hich the church contains, the old chandelier still braA'ely holds its oavii. So far all the lights shown did duty within doors. When one stepped abroad, so dark Avere the streets and so badly paved that, after cocking one's bonnet and throwing on a roquelo, a stout staff Avas a necessity. In Scott's Somers' Tracts, 1685, under the head of " England's Wants," is the following Avith reference to the lights: " There is wanting a law wherein, although not all England is concerned, yet a great part thereof is, that, in the capital city of England, not only all the streets and lanes should be kept clean, that all sorts of persons might walk as commodi- ously in winter as in summer, which is of late years brought to pass in that great and populous city of Paris, in France; but also, as is done in that city all the Avinter nights, in the middle of the streets there should be hanged out so many candles or lamps, as that all sorts of persons in this great trading city might walk about their business as conveniently and safely by night as by day." We did not suffer from highAvaymen in our country as they did in England, such gentry being seldom < met AA'ith here. To be sure, the " Avatch " had a lan tern, — you can see one in Figure 202, — and you Avere lucky if you were going his Avay. Even NeAv York in 1789 Avas a dirty city. Pigs Avere the only scaven gers, and as they did not do their duty very thoroughly 157 mmmm THE COLLECTOR'S MANUAL an appeal for relief Avas made to the High Constable of the city. It AA'as printed in the " Daily Advertiser " of December 19, 1789, and begins as folloAA's: " Awake, thou sleeper, let us haA'e clean streets in this our peaceful seat of the happiest empire in the universe." Street lamps had been introduced in 1762, but they Avere feAV and far betAveen, apt to go out, and often unlighted. In December, 1778, the firemen of the city formally complained that they had been greatly ham pered at a recent fire because most of the lamps had gone out. Things improved sloAvly, for in 1789 a citi zen prayed for relief because, as not a lamp Avas burn ing, he had AA'alked into a pump in Nassau Street, near the mayor's house. In the country districts the lantern AA'as a positiA-e necessity if one had to be abroad at night. Nor is it yet a thing of the past, as I A'ery Avell knoAV, since I have found my Avay about several New England A-illages lately by its kindly aid. The old lanterns Avere similar to the one pictured in Figure 203, and sometimes I find such as these hang ing comfortably on a wooden peg in barns where the ox-boAv is still in use. o VII — OLD-FASHIONED BEDSTEADS EVEN in the earliest times some attempts Avere made to have the resting-place soft and warm. The warrior, coming home from Avar or chase, threAV his Avearied frame on a simple couch laid upon the floor and covered himself Avith furs. Little by little the frame of the bed AA-as raised from the floor, coverings grew more elaborate, greater ease was required, and gradually the elaborate structure Ave require to-day Avas eA'olved. As late as the fourteenth century beds were objects of luxury in England. Many a castle had but one, in which the lord and his lady rested, the remainder of the household sleeping on settles, chests, tables, or on the floor. After Italy, France soonest had elegant and luxuri ous household belongings, and the palaces of royalty, as well as those of the great nobles, Avere rich in precious and costly things. Charles V and Jeanne de Bourbon were great collectors, and although the queen sold a set of plate of AA'hich she Avas A'ery proud to pay the troops of Du Guesclin in 1369, she soon began to collect and the king had a list made of their A'aluables again, AA'hich still is extant in the French archives. From it we learn that they had statuettes of ivory and gold, sets of gold plates, basins and candlesticks of the same 159 4. ' THE COLLECTOR'S MANUAL metal, drinking-cups, knives, and spoons, even if there were only three forks. There were sets of hangings for Avindows and beds, one being entirely of cloth of gold, another of green Avith stripes of gold, Avhile a tent to put over the queen's bath AA'as of white satin embroid ered Avith roses and fleur-de-lis. The beds in use at this time were enormous. If only six feet square they were called couchettes or little beds, and they had to be eight feet and a half to tAvelve feet by eleven before they Avere called couches or beds. These beds Avere mounted on AA'ide steps or dais, and hung with exquisite mate rials. The bedding mentioned in this same list seems to have been kept in chests in the bedrooms. A quan tity of Avhite silk sheets are spoken of as being in a coffer in the king's room, and in a gilded chest were toAvels, tablecloths, and sheets of toile de Reims, also richly embroidered pilloAvs, one of which had on it a knight, a lady, tAvo fountains, and tAvo lions. There Avere couvertoers, or Avarm coverings for winter, and couvertures or sheets of fine material to be throAvn over the beds by day. One of these is mentioned as being of ermine, fastened to an old sheet of marramas, from Avhich the king had caused a breadth to be cut to make a chasuble. There Avere bills from a Marie Lallemande for blue and white stuff for the window curtains of the royal bedroom, and for eighteen feather-beds Avith pilloAvs. In the midst of all this elegance it is amusing to find duly set doAvn : " Item, an old matrass all torn and a pilloAv the same AA'hich had belonged to King Jean." 160 4. • ^m OLD-FASHIONED BEDSTEADS There is also mention of two banners embroidered with fleur-de-lis and bordered with pearls which had been used to drive away the flies while the king Avas at table. The bedsteads which accompanied these rich belongings were of oak, carved, but there are none of them left iioav for us to gaze on AA'ith Avonder and amazement. The word " bed " in old deeds and records, in Eng land as Avell as in this country, generally covers the bedstead and furnishings. Some of tliese ancient ones were very grand affairs of carved oak, Avith mattress of feathers, sheets of linen, rugs and blankets of fine doAA'n, and with coverlets of tapestry, damask, or " cloth AA'OA'en of samite " and heaA'y AA'ith gold threads. Richard, Earl of Arundel, in 1392 left to Philippa, his second AAdfe, " a blue bed marked AA'ith my arms and the arms of my late wife." In 1434 Joanne, Lady Bergavenny, deA'ises " a bed of gold SAvans, Avith tapet- tar of green tapestry AA'ith branches of floAvers of divers colours, and two pairs of sheets of Raynes, a pair of fustian, six pairs of other sheets, six blankets, six mat tresses, six pilloAvs AA'ith cushions and bancoves that longen to the bed aforesaid." The famous " Great Bed of Ware " mentioned by Shakspere in " TAvelfth Night " is about tAvelve feet square. It is still preserved at Rye House, near to the Saracen's Head Inn, Avhere it formerly AA-as. The beds noAV in use in Hatfield House, the historic home of the Marquis of Salisbury, are built on the plan of the " Great Bed of Ware," and the sheets for them have to be specially Avoven in Germany. 161 THE COLLECTOR'S MANUAL The earliest beds which remain for the edification of the student are those which date from the Elizabethan period. These, like those of an earlier period, are of oak, and there are some in this country AA'hich haA'e been brought here from England, and in the great public collections in the latter country there are other fine examples to be studied. In Figure 204 is a choice specimen that claims attention on more than one ac count. It is of the Tudor period, Avith a canopy, and Avith four arched panels carA'ed and inlaid, and with carved and inlaid borders at the sides. The canopy is panelled as Avell as inlaid and carved, and the Ioav foot board is also carA'ed. This bed is but five feet two inches Avide and seven feet high. It is in perfect condition, and once belonged to the poet Lord Byron, who gave it to his housekeeper, Mrs. Broughton. Her daughter sold it to the late Mr. Wilson of Tuxford Hall, Nottinghamshire, England, and within a few months, at the sale of his effects, it Avas purchased by a firm aaIio deal in antiques. These beds, Avhile sump tuous to the eye, Avere not very soft to lie upon, as they Avere laced across with ropes. Many beds of feathers were necessary to give them comfort, and as early as 1509 regulations Avere drawn up Avith regard to the quality of feathers to be used, and I quote the ensuing Avords from the Lansdown MSS.: " Upholders forbidden to mix scalded feathers and flocks with dry pulled feathers and clear down, in beds, bolsters, and pillows ; and also to use horse-hair for down, neat' hair, deer's hair, and goat's hair, which is wrought in lime-fats, in quilts, 162 OLD-FASHIONED BEDSTEADS mattesses, and cushions, because by the heat of man's body the saA'our and taste is so abominable and contagious, that many of the King's subjects thereby become destroyed. They were to be stuffed with clear wool or clear flocks alone, one manner of stuff. For their own use however, and not for sale, persons might make, or do to be made, any of the aforesaid corrupt and unlawful wares." These regulations had been called out by the increas ing use of mixed materials in the beds. In the " Paston Letters," which are so interesting, is giA'en the furnish ing of the bedroom of Sir John Fastolf, in the year 1459. He was a rich man, and presumably could have had anything he wanted, yet, as will be seen, his mattresses were not both of pure feathers. "In primis. I fedderbedde. Item I donge of fyne blewe. Item I bolster. Item II blankettys of fustian. Item I payre of schetis. Item I purpeynt. Item I hangyd bedde of arras. Item I testour. Item I selour. Item I coveryng. Item III curtaynes of grene worsted. Item I bankeur of tapestre warke. Item IIII peces hangyng of grene worsted. Item I banker hangyng tapestre warke. Item I cobbord clothe. Item II staundyng aundyris. Item I feddefflok. Item I chafern (brasier) of latten. Item I payre of tongys. Item I litell paylet. Item blankettys. Item I payre schetys. Item coverlet. Item VI white cosschynes. Item II lytell bellys. Item I foldyng table. Item I long chayre. Item I grene chayre Item I hangyng candylstyk of laton.' Not quite one hundred years later Harrison, in " Description of England," discourses as folloAvs on 163 THE COLLECTOR'S MANUAL improvement in comfort in the houses. He considers the first improvement Avas the use of chimneys. " The second is the great (although not general) amendment of lodging ; for, said they, our fathers, yea and we ourselves also have lain full oft upon straw pallets, on rough mats cov ered only with a sheet, under coA'erlets made of dagswain or hopharlots (I use their own terms), and a good round log under their heads instead of a pillow or bolster. If it were so that our fathers or the goodman of the house had within seven years after his marriage purchased a mattress or flock bed, and thereunto a pillow of chaff to rest his head upon, he thought himself to be as well lodged as the lord of the town, that per- adventure lay seldom in a bed of down or whole feathers, so well content were they, and with such base kind of furniture ; which was also not very much amended yet in some parts of Bedfordshire, and elsewhere, further off from our southern parts. Pillows, (they said) were thought meet only for women in childbed. As for servants, if they had any sheet above them, it was well, for seldom had they any under their bodies to keep them from the pricking straws that ran oft through the canvass of the pallett and rased their hardened hides." I have given the Elizabethan era as the earliest one from which we can hope to find examples of bedroom furniture. There was a reason for this, which Mr. Robinson in his " English Furniture " points out. Not even the royal palaces were proof against the changes of fashion, and beds passed on in their doAvmward career from royal chamber to guard-room, and thence, one cannot tell where. Besides the question of perquisites came in, and in Sandford's " Coronation of James II " is the statement " that the Lord Great Chamberlain 164 OLD-FASHIONED BEDSTEADS claimed to carry the King's shirt and clothes to him on the morning of the coronation, and Avith the help of the Chamberlain of the Household to dress his Majesty. For this service he claimed the bed, bedding, and fur niture of the King's chamber, with forty yards of crimson velvet and other perquisites. The Court of Claims disalloAved the furniture, but conceded the velvet and other things claimed, and compromised for the rest for £200." Cardinal Wolsey, according to the records of Hamp ton Court, had tAvo hundred and eighty beds, most of them hung with silk. It Avas not until the fifteenth and sixteenth centuries that much attention was paid to the woodAvork of beds, since the hangings were the most important part, and concealed all else. In John EA'elyn's Diary are many notes on the manners and customs of his times. In November, 1644, he mentions having seen a bed at the villa of an Italian prince. " But AA'hat," he notes, " some look upon as exceeding all the rest is a very rich bedstead, inlaid with all sorts of precious stones and antiq heads, onyxs, acates, and cornelians, esteem'd to be Avorth 80 or 90,000 croAvns." In the next year he speaks of another gor geous Italian bed, all inlaid Avith " achats, chrystals, cornelians, lazuli, esteem'd worth 16,000 croAvns." He mentions another fact Avhich may have had something to do Avith the disappearance of some of these huge Avooden beds Avhich is not always taken into account. He says, " The bedsteads in Italy are of forged iron gilded, since it is impossible to keep the wooden ones 165 » J. I THE COLLECTOR'S MANUAL from the chimices." These are the same little pests with which the American housekeeper is called on to struggle occasionally, and which has rendered so popu lar in our day and generation these same forged beds of iron, or equally sanitary ones of brass. The furniture of a bedroom at about the middle of the seventeenth century may be judged by the inven tory of Mr. Sarjeant Newdigate, who left his goods to his son. The inventory is published by Lady Newdigate-Newdegate in her " Cavalier and Puritan." It runs as follows: " A very large bedstead with embroidered curtains and valence of broadcloth lined with carnation-coloured sarsenet, and seven plumes of feathers in the bedtester. Also two em broidered carpets, two armed chairs, four stools embroidered suitable to the bed, a looking-glass, six flower pots, two stands and a hanging shelf, all gilt; a pair of brass andirons, a picture over the chimney and carpets round the bed." The fashion of putting a bed and the other bedroom furniture in mourning was not at all uncommon. It had prevailed in France and Italy, as well as England, and Catherine de Medici, while not conforming to the rules of mourning considered seemly in her person, had her bed draped with black velvet embroidered with cres cents and pearls, and had all the room furniture to correspond. This bed is mentioned in her inventory at her death, in 1589. In the " Verney Memoirs " there is mention of a great, black bed with hangings of the same colour at Clayton, England, about 1640, and it was lent to different members of the family whenever 166 OLD-FASHIONED BEDSTEADS a death occurred. One Avould think that the sight of such a thing might induce suicide; and perhaps it was such a monument of Avoe which induced the Lord Treasurer Chfford to try and hang himself from the tester of a four-poster on August 18, 1673. Then there were the great, upholstered beds of about the time of Queen Anne. They Avere made after the French fashion, and completely covered Avith embroid ered silk or velvet. Their chief claim to our notice is their extraordinary height, some of them being sixteen or eighteen feet tall, to keep pace with the great height of the chambers in which they Avere placed. The best place to see a collection of these enormous structures is at Hampton Court, London, AA'here quite a number of beds belonging to royalty have been preserved. In loAver Avalks of life the bed continued to be an article of parlour furniture into the seventeenth cen tury, and the Avill of Robert White, of Messinge, Essex, England, a long and elaborate document, has in it this item: " Item. I give and bequeath unto my said son John White, the loyned standinge bedstead wch is in the parlour, with the featherbed, flockbed, bolster coueringe with other furneyture thereunto belonginge. Alsoe the presse cupbord, the cupborde table and my newest chest, all whch are in the said p'loure to be delivered him after the death of my said wife Bridgett White, or instead thereof the sum of twenty marks of like lawful money." This will is dated June 2, 1617. The " ioyned standinge bedstead " mentioned Avas not 167 mmmm THE COLLECTOR'S MANUAL probably as handsome a one as is shown in Figure 205, Avhich belongs to about this period, and which is of the type known as " stump " from the fact that it has no foot -board. This bedstead is of oak, carved, Avith pan elled head-board, and beside it is a joined table and stool. The peAvter bell-candlesticks are also of this period, and the room is furnished as closely as pos sible as it Avould have been in the first quarter of the seA'enteenth century. There are not many such beds as these already men tioned, and our interest centres on the beds Avhich found their Avay to this country, some of which still surviA'e, although the very earliest have gone the way of their owners. I find there were four styles of beds in use, say from 1660 to 1830, — the high four-post bed, the field bed, the low four-post bed, and the " French " bed. In addition are shown a settee bed, stretcher, or day couch, as it was called, and a Dutch bed-chair, because rare specimens of these are still occasionally to be met with. There Avas also the slawbank or built-in bed, Avhich was a feature in so many of the houses built by the early Dutch colonists Avho settled about New York, NeAV Jersey, up the Hudson in Albany, Schenectady, etc. I do not include these, because they were taken out of the houses Avhen the bed Avas relegated to a room of its own and no longer was part of the furniture in kitchen and best room. The early records, inventories of property filed with wills, sIioav us how our ancestors lived, and with what 168 '3 OLD-FASHIONED BEDSTEADS simple appliances many of them got along. The bed was generally the most costly possession, and comes first in the list. In 1640 William Southmead's house in Gloucester, Massachusetts, was valued at £8 ($40), and his feather bed, bedstead, and appurtenances at the same sum. Cornelis Barentsen, in 1656, sued Cristina Capoens for payment for a bed he sold her, payment to be made in fourteen days. The price was six beavers, and Cristina seemed unable to meet her obligations ; but payment was ordered by the court at New Amsterdam. In June, 1666, the administrators of the late Jan Reyerson of Albany, New York, sold some " beasts " (horses, calves, and hogs), as well as furniture, at public sale. The payment for the beasts, " also the bed, boulsters and pillows," was to be made in " whole mer chantable beavers, or otherwise in good strung seewant, beaver's price, at 24 guilders the beaver." (A guilder was worth about forty cents of our money.) Nicholas Van Rensselaer, of Albany, New York, who died in 1679, was a wealthy and important member of the colony. There is a list of his entire household fur nishings. There were two beds, two looking-glasses, two chests of draAvers, two tables, one of oak and one of nutwood, also a table of pine Avith six stools of the same, a sleeping-bank or built-in bed, twenty pictures, a desk, and many brushes and kitchen utensils. These goods were distributed through four rooms. In the South were found more luxuries than at the North. Captain Mathews, who died in 1690 at York, 169 «*• •¦¦'¦ THE COLLECTOR'S MANUAL Virginia, had in his parlour both a bedstead and a truckle-bed, that is, a small, low bed which could be pushed under the large bed when not in use. It was generally occupied by the children of the family. No matter where you turn, North or South, among English or Dutch, the " ff ether," " feder," or feather bed is always mentioned in the inventories. Sometimes they were not able to have the beds entirely of feathers, so flock beds were used, or, if not flock, the soft doAATi from the cattails Avhich grew so abundantly in the marshes. I have found lists where the bed was speci fied as part chicken feathers and part cattail. Till quite recently in our history the feather-bed has played a part, and in New York State where many comforts found their Avay, these were not lacking. At Canandaigua, Avhich was not settled till near the end of the eighteenth century, I find many records like these. Isaac Colvin estate, settled 1796, had three beds valued at £10 each, and they consisted of bed, under- bed, bolsters, and pillows. Israel Chap in, inventory filed 1800. Among other things were three pink blankets valued at £3, feather bed, bolsters, and pilloAvs, £5, 1 copper kettle, £l 16s., and brass kettles, £3. In 1809 was filed the inventory of Daniel Curtis. His " best bedstead and poorest underbed " were val ued at $1.50, while "one old featherbed" was set doAvn at $4, and one " turkey and hens featherbed " was Avorth $5. The inventory of W. H. Cuyler of the same place, 170 mm 0 /f VfW -*? • Fig. 204 Tudor Bedstead, Oak Fig. 205 "Stump" Bedstead Fig. 206 General AA'ashington's Bed Fig. 207 Joseph Bulkley's Stretcher OLD-FASHIONED BEDSTEADS filed in 1813, is interesting as it gives the value of so many household articles about a century ago. Among his wearing apparel Avas a plaid coat, and " Cherry val leys," Avhatever those were, valued at $2. His sword and belt Avere Avorth $25. Six pair of flannel sheets were $30, eight linen sheets, $30. One set of bed curtains, $7, one bed, bolster, pilloAvs, straw bed, and bedstead were put at $27. Another bed, Avith rope to lace it, two feather-beds, tAvo bolsters, and four pillows were valued at $42.37. One trundle bed and rope, also bolster, $8.50. One clock, $16, and one buffalo skin, $12. In a number of the inventories given, sheets of different kinds have been mentioned, and really, a chapter might be devoted to this part of the bed alone. Silk, fine and soft, linen of the choicest Holland make were none too good for sheets and " pillow-beres," as the cases used to be called. In the MSS. of the Countess of Pembroke there is this passage for the year 1676, in which she died. " I saw George Goodgeon paid for 249 yards of linen cloth that he bought for me at Penrith, designed for twenty pair of sheets and pillow-veres [this is her spelling] for the use of my house. And after dinner I gave away several old sheets which divided among my servants. And this afternoon did Margaret Montgomery, from Penrith, the sempstress, come hither, so I had her into my chamber, and kissed her, and talked with her; and she came to make up the twenty pairs of sheets and pillow-veres." Nor was it only customary to have the sheets and pillow-cases of fine materials. For centuries they were 171 THE COLLECTOR'S MANUAL richly trimmed, so that their cost was enormous. Lace, embroidery, even of gold thread, was not considered out of place, and the household accounts of royalty in France and England are full of the amounts spent for bed furniture. In the "Creevy Papers," which consist of the Diary and Correspondence of Thomas Creevy, M.P., and Avhich extends over the years from 1768 to 1838, he makes a mention of lace-trimmed sheets as late as 1827. This is the way it reads : " Lord Charles Somerset complains that he could not sleep either of the three nights at Wynyard, never before having slept in cambrick sheets, and that the Brussels lace with which they and the pillows were trimmed, tickled his face so that he had not a moments peace." Wynyard was the seat of Lord and Lady London derry, and the latter was fond of declaring that she could not use handkerchiefs which cost less than fifty guineas the dozen. The amount of linen which was to be found in this country at an early date is rather surprising, till Ave take into account that the splendid Dutch housewives Avho came here soon greAv flax and wove linen, not only the coarser kinds, but sheer and fine, suitable for their caps and kerchiefs. Holland furnished to the Avorld many kinds of linen fabrics which have strange and unfamiliar names, and Avere used for various purposes, bed curtains and coverlets, window curtains and cushions, for it was the mode for many years to have all these match. In fact, all the Avorld, or at least those ports at which trading 172 OLD-FASHIONED BEDSTEADS vessels touched, contributed their quota of goods, AA'hich were not only to be found in the cities, but at the country stores as well. These stores, particularly in the Southern States, Avere most important institutions. They Avere attached to a plantation, or in some cases the plantation greAv to be an attachment to the store. An iiiA'entory of the Hubbard store, in York County, Virginia, in 1667, shoAvs Avhat a vast stock of valuable goods could be found in one. There AA-ere, " lockrams, canvass, doAA'las, Scotch cloths, blue linen, osnaburg, cotton, Holland serge, Kersey, flannel in bales, full suits for adults and youths, bodices and bonnets, laces for Avomen, shoes, gloA'es, hose, cloaks, cravats, handkerchiefs, nails, hatchets, chisels, augers, locks, staples, sickles, belloAvs, froes, saws, axes, files, bed cords, dishes, knives, flesh-forks, porringers, sauce-pans, frying-pans, gridirons, tongs, shoATels, hoes, iron posts, beds, tables, physic, Avool-cards, gimlets, compasses, needles, stirrups, looking-glasses and candle sticks, candles, funnels, tAA'enty-five pounds of raisins, one hundred gallons of brandy, tAventy gallons of AAdne, and ten gallons of aqua vita?." These goods AA'ere valued at £614 sterling (equal to about $3,000 of our money). The earliest four-post bedsteads that were brought here Avere, no doubt, more or less carved, and made with valance and curtains. Often two sets of curtains Avere used, — an outer and an inner, the latter to be draAvn so that unpleasant draughts of Avind could be kept out. The materials of AA'hich these bed curtains were made might be perpetuana, kitterminster, serge, darnie, silk 173 * &&& * 4. ' ?\m»*~ *&& THE COLLECTOR'S MANUAL darnic, camblet, mohair, fustian, seersucker, camac, bancour, paly, printed calico, checked and striped linen, India and Patma chintz, corded dimities, harrateen, lute string, moreen, French and pompadour chintz, " fine lay lock and fancy callicoes," and muslins. A full-dress bed Avith " petticoat valance " and AvindoAv curtains to match, trimmed Avith fringes and tied back with cords, was costly and handsome. In addition to all these goods there Avere scores of others brought from the East Indies, with unfamiliar names and high prices. None of these materials were by any means cheap. Harrateen, a favourite stuff, cost, as late as 1750, four dollars a yard, and a set of cur tains all made Avas worth two hundred dollars. Camblet Avas another popular material, and as early as 1678 Colonel Francis Epes, of Henrico County, Vir ginia, inventoried " One large new feather-bed with camblett curtains and double A'allins lined with yellow silke, boulster, pilloAvs, counterpane, rodds and hooks, tops and stands, one curtaine and some ffringe dam nified — twenty- four pounds, five shillings." But such curtains lasted years, and were passed down Avith the bed from one generation to another. The Avell-knoAAm Peter Faneuil, of Boston, Massa chusetts, died in 1742. He never married, but lived with his sister in great comfort and luxury. The list of belongings in his house and stables shoAved that he looked well after his oaati ease, and letters of which he left copies prove that his sister's appearance was a matter of moment to him also, for he ordered all her 174 OLD-FASHIONED BEDSTEADS clothes from London, and Avas much annoyed because they sent six pairs of Avorsted stockings for her instead of " three prs. thread hose, one pair of Galons hose, and tAvo pr. of thread ditto." The Avorsted stockings went back to London by return ship. Mr. Faneuil was dark, no doubt, for he chose yellow as the colour of his room, and beside " small arms," bottles, and a " looking-glass tipt with silver," he had a " yellow mohair bed counter pane, feather bed, bolster, 2 false pillows, false cur tains, 6 chairs, 1 great chair, 2 stools, windoAV curtains, etc." Excluding the small arms, the furnishings of this room were valued at £245 (about $1,225 of our money) . Many a house is furnished nowadays very prettily for about half that amount. The four-post bed shoAvn in Figure 206 is at Mount Vernon. Upon it General Washington rested in his last illness, and it is supposed to stand in the spot where he had it during his life. Many of these old four-post beds are very narroAv, — about four feet wide. This was the standard Avidth in those days, and each extra inch of width was charged for. This size Avas the rule as late as 1795, when the second edition of the "Journeyman's Cabinet and Chair- maker's Philadelphia Book of Prices " was published. It says, " extra width or extra length shall be charged for at the rate of two pence per inch." This Washing ton bed is of mahogany, of unusual width, over five feet, and no doubt was purchased by the General him self, as he never missed an opportunity to add to the comfort and elegance of his home. 175 9 % THE COLLECTOR'S MANUAL mm 4fc In 1774 Belvoir, the home of the Fairfax family, one of the most splendid mansions on the Potomac, AA-as closed on account of the continued residence of the family in England, and its contents sold. General Washington (he. was Colonel then) bought goods valued at £200 sterling, and among them AA'as a " ma hogany settee bed with Saxon green covers for same, 13 pounds." This form of bed AA'ent by various names, — stretchers, day couches, or settee beds. The one I shoAv (Figure 207) is still in perfect condition, yet it belonged to Joseph Bulkeley, and is mentioned in his inven tory as a " stretcher." He died early in 1700, and brought this to this country in 1690, or thereabouts. As can be seen, this stretcher is a A'ery handsome piece of furniture. It is of oak, of Flemish Avork manship, AA'ith handsome carved underbraces and the curA'ed Flemish foot. The seat and back Avere orig inally of cane, and the back is yet perfect, but the seat has worn out AA'ith much serA'ice. Some of these single beds (for that is AA-hat they really Avere) had cords laced across and a mattress laid on them, and some had canvas seats also, with cushions or mattress. They AA'ere made as late as 1800, but not many of them haA'e surA'iA'ed. It is customary for people OAvning old furniture to alAA'ays call it mahogany, Avhich often is erroneous. Our natiA'e cabinet-makers (and Phineas Pratt of Wey mouth, Massachusetts, Avas at work before 1630) used cedar, ash, elm, pine, maple, cherry, poplar, walnut, 176 mm Fig 208 Bed with Ball-and-Claw Feet Fig. 209 Dutch Bed Chair mm ^8 OLD-FASHIONED BEDSTEADS and nutAAOod (Avhich was hickory), so they had many varieties to choose from. The legs and posts of these old beds varied greatly. Some were so high that when the feather-beds were added a pair of steps Avas required to mount into one Avith comfort. The width differed, as has been pointed out, and the decoration of the posts also shows much variety, some being plainly turned, others having the tAA'O foot-posts carved, the head-posts being plain, as they were concealed by drapery. Head-boards were often omitted, their place being filled with curtain stuff. Ball-and-claw feet are sometimes come across, though these were usually confined to desks, bureaus, chairs, etc. There is a bed with such legs in the rooms of the Concord Antiquarian Society. It was part of the wedding outfit of Martha Tufts, who was married in 1774. The quaint old curtains are dropping with age, and still display men ploughing, cows and other animals in dull shades of blue and green. A choice example with ball-and-claw feet is given in Figure 208. The posts are unusually slender, and ornamented with brass balls and eagles on the tops. Such beds had no springs, which were not invented till later, but Avere laced across Avith ropes, in many cases requiring the strength of the entire family to pull them tight enough. A mattress of straw was laid over the cords, and upon this Avas piled the feather-beds, — as many as the household could muster. The next Figure (209) shows a Dutch bed chair, 177 •>c\.;/* @®y2 THE COLLECTOR'S MANUAL A'ery rarely found, and of Avhich feAV were brought OA'er here. This one is of maple, very handsomely inlaid in a floral pattern AA'ith satinwood. The hinges on the front of the chair sIioav, and a piece comes from be neath the seat, the back lets doAvn, arms and legs come together for its support, and the result is a long, nar- roAV bed. They are occasionally mentioned in inven tories, but this is the only one I ever saw. It is in the museum connected with the School of Art at Cooper Institute, NeAV York City, and is in a state of perfect preservation. Another style of bed made chiefly by the Dutch is given in Figure 210. As can be seen, it is nearly cov ered with a beautiful pattern in marquetry, the darker Avood being maple, Avhich contrasts very prettily with the light, inlaid woods. This bed is six feet six inches Avide, but I have seen them in single Avidths also. One peculiarity of these beds, as well as many of French workmanship, is that the decoration is on one side only, the intention being that one side shall go next to the AA'all. Often the wood of the Avail side is different from the rest of the bed, and recently I saw an exquisite, carved roseAvood bedstead, with the wall side of deal, stained to match the colour of the rest. It seems a strange economy, and may be classed Avith making the lids of chests of pine, when the bodies of them AA'ere of oak. An unusually elegant four-post bedstead can be seen in Figure 211. It is of mahogany, richly carA'ed, AA'ith a decorated frieze and water-gilt mounts. It is plainly 178 4» » Iw5j»sW)tk4/^^>'' ¦u'^Jjf^BM^BK' J il Star - ¦ ^*^ I W/f^^^ Fig. 210 Marquetry Bed Fig. 211 Carved Mahogany Bed OLD-FASHIONED BEDSTEADS of French make, and belongs to the latter half of the eighteenth century. The head-board and two head- posts are plain, and it Avas intended that they should be coA'ered with drapery. Another four-post bed, very much simpler but pleas ing for its very simplicity, is given in Figure 212. I am inclined to believe this to be of American make, since the posts are all finished alike, and the fluted posts were favourites with our own makers. I have seen beds of the same pattern Avhich came from Charleston, South Carolina, during the first half of the nineteenth century, and AA'hich were made of very choice curly maple. They were foolishly cut up by their owner into hall chairs and goodness knows what other fripperies! Another style of four-post bedsteads Avas called " field beds," of AA'hich an example is given in Figure 213. They Avere in use early in the eighteenth century, for about 1730 Governor Montgomery had a sale of his effects " at the Fort " in New York City. Among the articles enumerated were " a fine yelloAv Camblet bed, lined with silk and trimmed Avith fine lace, AA'hich came from London. A fine field bedstead and curtains." These field bedsteads Avere popular for at least seventy-five years. Where they have all gone it would be hard to say. I knoAV of but two, — the one given in Figure 213, which is in the old house in Ipswich, Massachusetts, iioav called the Whipple House, and one at Washington's Headquarters, at Somerville, New Jersey. Since the above statement was first published, about 179 ' "t" w% mm 5S& THE COLLECTOR'S MANUAL a year ago, I have received letters from three people who own these field beds. In two cases the old curtains are with the beds, one set being netted and one of chintz, with a design of peacocks on it. None of them are of mahogany, and the owner of one specifies hers as being of maple. They were fashionable in England as well as here, for those great makers — Chippendale, Hepplewhite, and Sheraton — designed patterns for them, each mak ing the curve of the " sweep," as the frame which held the netting was called, a little different. There is no doubt that many such beds were im ported, and it was from these that our native makers copied. In the " Journeyman's Cabinet and Chair- maker's Philadelphia Book of Prices," 1795, Avhich has been before quoted, I find the cost of making " a field bedstead of poplar, the roof sloped each way, one pound. If of buttomvood, two shillings extra." " A field bed of mahogany, one pound, four shillings, six pence." As a matter of fact, the field beds cost a little more than the four-post mahogany, these latter being listed at one pound, four shillings, sixpence. Probably the extra Avork on the SAveeps was the cause of the extra price. The bed shoAvn in Figure 213 is of mahogany, with ornaments at the top of the gracefully turned posts. The ornamental brasses that covered the holes through Avhich the screws were put to hold the bed together are all in place, two on each foot-post, one on each head- post. They are in most cases of pressed brass, in a 180 * ' ? 4.1 #m Fig. 212 Mahogany Bed Fig. 213 Field Bed Fig. 214 Low-Post Bed %c\;«/>'- OLD-FASHIONED BEDSTEADS rosette pattern, and should be found on high and low four-post beds, and on field beds. In many cases, un fortunately, they are missing. This bed has a plain SAveep, and is covered with the netting Avork, which was so much prettier than cloth drapery. The coverlet is of the blue-and-white hand-woven material, which Avas a favourite Avith housekeepers on account of its durable character and neat appearance. The furniture in the room is all of appropriate age, and it is interesting to note the tiny size of basin and pitcher. This handsome old house was built probably betAveen 1640 and 1645, and the original oak beams and floor joists shoAv in every room. It is supposed these beams Avere saAved by hand in a pit, as they bear no signs of axe or adze, and there was no water saw-mill in Ipswich till 1649. The low four-post bed seen in the next Figure (214) is restored. It has had a stormy career, but has once more reneAved its youth. Hundreds of these beds were made and carved in this country, of choice ma hogany as well as of other woods. It is not generally known that mahogany was used here as early as 1700, and was quite freely on sale a few years later. These posts are richly carved with the acanthus leaf, which, after all, is much like our familiar dandelion, — a plant that lends itself readily to decoration, leaf, floAver, and bud all being beautiful. Each post is fin ished AA'ith a pineapple. These low four-posters date from about 1800 to 1835 or 1840. They may or may not have foot-boards, but always have head-boards. 181 V^JMJ^* 4» t THE COLLECTOR'S MANUAL This particular bed Avas found in Central NeAV York State, in a barn, where for many years it had furnished a more than usually handsome roost for chickens. I say the bed was found, but, to be quite correct, there were but the four posts, — the sides and head- and foot boards had long since passed out of sight, perhaps through the kitchen stove! The posts in their dilapi dated condition, though fortunately there Avas not even a nick in the carving, were bought for three dollars. The man who got them for that price turned quite a neat penny, for after holding them for a week he sold them for fifteen dollars. The last purchaser had the posts rubbed, scraped, and hand polished, the sides and head- and foot-boards made from patterns of similar beds, the brasses to cover the screAV holes reproduced, and the result is this A'ery hand some bed. The price, in the meantime, has mounted into the hundreds, since the cost of restoring was heavy. Many beds like this are tucked aAvay out of sight; some, alas, have been painted. I was shown one the other day that was painted a lively green. Carefully scraping it Avith a bit of broken glass, the original wood came into view. It Avas curly maple, grown a splendid golden-broAvn with age. If you wish such a piece done over, you should put it in the hands of a skilled work man. Sometimes this is not possible, and I have seen pieces Avhich looked extremely well treated as follows at home : Bits of broken glass, or a knife with a rounded blade, can be used to get off paint or varnish, care being taken to hold the glass or scraper so that it will not 182 OLD-FASHIONED BEDSTEADS scratch the AA-ood. If there is carving, the varnish must be got out with alcohol and a pointed stick, AA'hich will get into the crevices. After the varnish is all off you may feel that the worst of the job is over, and then rub carefully doAvn AA'ith fine sand or emery paper. If your piece is A'eneered, you must be particularly careful not to catch your scraping tool in the joints, and it is always safe to scrape with the grain of the Avood. When you have scraped and thoroughly dusted and Aviped your treasure, go over the entire surface with a coating of boiled linseed oil, applied Avith a bunch of Avaste or a flannel rag, — never Avith a brush, — and AA'hatever you do, apply no varnish ; it is an abomination. After the oil has soaked in for about twenty-four hours, begin to rub with more oil on Avaste or flannel. Then rub and rub and rub ; rest a Avhile and rub some more. The longer you rub the higher polish Avill come on your Avood, but just at the present time the fancy is for rather a dull finish. I knoAV of a pair of card- tables, beautifully inlaid and AA'ith tAvisted, carved legs, AA'hich haA'e been entirely done OArer, a little at a time, by the small OAvner, avIio is not A'ery strong either in her arms or back. Another loAA'-post bed is sIioaa'ii in Figure 215. This one is perfect, and has a roll-OA-er head- and foot-board. It is of mahogany, elegantly caiwed, and is as choice as one AA'ould expect, since it belongs in Salem, Massa chusetts. I give this bed for the benefit of those aaIio oaa'ii posts and AA'ish them to be refitted. Either this 183 &&fe 4. « mm THE COLLECTOR'S MANUAL style of head- and foot-board, or the one shown in the preA'ious figure, are appropriate. The last style of bed shown (Figure 216) is often called " French " bed. The more correct name is really Empire, for it was this style which prevailed in the early years of the nineteenth century, when France, having passed through the throes of the Revolution, emerged as an Empire under the great Napoleon. It Avas his Avish that styles of dress and furniture should be altered. All the exquisite furniture of the times of the three Louis' was banished, though much had been destroyed in the looting of the royal palaces. The Empire style sought its inspiration from classic models, though after it had passed through the hands of a French artist like David it could scarcely recognise itself. There Avas little carA'ing, but the chief orna mentations were " ormolu mounts," — that is, headings and decorations made of carA'ed or pressed brass applied to the surface of the veood. During the reign of Louis XV this style of work, under the hands of masters of their craft, had reached its greatest excellence and beauty. Under the Empire it became but overloaded ornament. After the Egyp tian campaign chairs and tables, stools and commodes blossomed out with carved sphinx heads, and Egyptian ornaments, and though the furniture is poor, artisti cally, it is interesting as the memorial of a man Avho impressed his personality on everything with which he came in contact. The bed illustrated is an excellent example of its 184 mm 8& ^tM* Fig. 215 Low-Post Bed Fig. 216 French or Empire Bed OLD-FASHIONED BEDSTEADS class. It Avas imported from France, and stood for many years in the bridal chamber or guest-room of the Van Rensselaer mansion at Albany, NeAV York. The mounts are carved from solid brass, each smallest piece being made with the beauty of goldsmiths' work. The figures of Fame, with her trumpet, repay the closest examination. Indeed, this bed has been reproduced several times for different members of the family, each reproduction costing a thousand dollars, owing to the Avork in copying the brasses. The carved dolphins' heads are also fine, the usual foot being a plain bracket or round foot, rarely carved. Empire style became very popular in England, where it was poorly carried out by the use of pressed instead of carved brass. Of course, Ave folloAved European styles, and our rendering of Empire is both handsome and solid. We did not use the brass ornament, but much Avood-carving, keeping only to the general lines of this style. I have seen Empire beds made in Mas sachusetts which were elegant and patriotic as well. The wood Avas solid mahogany, and the sides of foot- and head-boards ended in very spirited carvings of eagles' heads, — our OAvn national war eagle. These were the only ornaments, the bed relying otherAvise on the rich grain of the wood for its beauty. Much of the best furniture to be found here now is of the so-called Empire style. It is either in solid or veneered wood, in which latter process our native makers were very successful. 185 *$m t 4* VIII — LUSTRE WARE THERE is scarcely a china collector aaIio does not number among his or her possessions at least one piece of lustre, Avhich ware forms a group of its own in English pottery. All lustre ware may be divided into three classes — copper, silver, and gold — the first being the most com mon, least valuable, and least interesting. The process of making this Avare was simple enough, consisting in dissolving the metals employed by chemicals and form ing a solution AA'hich could either be applied by dipping or Avith a brush. Who first invented, or rather applied, this method of metallic coating to English pottery is not known. Admirers of WedgAvood claim that he first used gold as early as 1776 for lustring picture frames. Other authorities give the merit of the discovery to John Hancock while employed by Spode, to whom he was apprenticed in 1769. Still others credit the firm of Gardiner & Stennys Avith the introduction of lustred pottery. Be this as it may, by 1770 R. Frank was making copper lustre Avare at Brislington, near Bristol, England. Wilson, in Staffordshire, AA'as making it in 1785. Lustre Avare of all three varieties Avas made at the 186 LUSTRE WARE Market Street Works, Longton, and was frequently marked AA'ith a " B " impressed in the body. The works Avere in operation at the same time that Wedgwood was working at Etruria, and the firm Avas originally Cyples, then became Cyples & BarloAV, and then Avas conducted by Thomas BarloAV alone. Moore & Co. and Dixon & Co. Avere both at work in Sunderland by 1820, and produced much handsome ware. Lustre AA'as also made at Leeds before 1800, in Preston Pans, at Dillwyn, AA'here the famous SAvansea gold and silver lustre Avas manufactured, and at many other pot works all OA'er England. The body of lustre Avare is generally earthen, of a reddish colour and coarse texture, which sometimes de tracts from the elegance of the shape of the vessel, though when copper lustre Avas at its best, about 1801, there was little criticism to be passed upon either its colour or the shapes it coA'ered. Some of the best examples of copper lustre approach more nearly to those elegant Hispano-Mauro specimens of the fifteenth century than any of the other varieties, and has a depth of colour that forcibly reminds one of the splendid old Italian Avare. Since an article on lustre was published by me some years ago, I have received a number of letters from OAvners of pieces, Avritten in a most earnest spirit. One declared that the so-called " silver lustre " Avas but a mock, and that he possessed specimens of the true silver lustre Avhich was on glass, and another, a lady this time, gravely informs me that she OAvns a mug of copper lustre which came over in the 187 & THE COLLECTOR'S MANUAL ) Mayflower! When I suggested that perhaps she had dated her mug a little too far back, she replied that she had been told that in 1805 the mug Avas considered very, very old, that family tradition was enough for her, and that declared the MayfloAver as being the carrier which brought her piece to this country. If only Italian lustre was made as early, AA'hy then her mug was Italian. By the way, this mug, Avhich is described as light as aluminum, has surviA'ed all these years without so much as a chip! She speaks with some scorn of two marked pickle dishes by Wedgwood which belonged to her husband's family, but pins all her faith to this piece of copper lustre, and nothing will shake her. Family tradition is a power that cannot be gauged till you run counter to it in dating specimens. In the choicer porcelains and higher class wares it is possible to find characteristics by which they can be distinguished. It is not so in the more common or peasant productions. Highly coloured and more or less crude wares which we quickly assign to England may have been made in Sweden, Denmark, or Belgium, or may even be traced as far south as Italy. Many pieces of lustre are also made in Germany and look so much like the English wares that they deceive all but the most expert. One seldom takes into account that potters travelled from one country to another with the methods which they had learned, and were able to produce in Denmark examples of pottery exactly like those which they had made in Staffordshire. It is only necessary to trace the movements of a LUSTRE WARE famous man like Billingsley, Avho Avas noted for the roses AA'hich he painted on china, and Avhich during fifty years appeared on many celebrated English wares as he went from one factory to another. As with him so with less renoAvned potters, so that with unmarked pieces it is almost impossible to assign the place of manufacture. In an article on " Historic Pitchers," published in 1902, I shoAved the " Cornwallis jug," Avhich is the most valuable piece of copper lustre knoAvn. Such a jug in perfect condition is Avorth $45, on account of its his torical association, since in shape, size, and quality of ware it is in no Avise superior to hundreds of other copper lustre pitchers. I know of but a scant dozen of these jugs — in speaking of this Cornwallis pitcher the term " jug " seems more appropriate — and of these two are imperfect, one having a bad crack and the other having lost its " foot " — that is, the base on Avhich it stands. I haA'e been criticised for placing the value of these jugs so high, but, for those of large size and perfect it is Avhat the dealers ask. I have inquired in several shops where antiques are sold, and I find that this is the general figure in the large cities. No dealer will give such a sum, and you AA'ill do well if you can get half so much, for he too has his profit to make. Next in rarity and beauty come the perfectly plain copper jugs, fine and simple in form, and beautifully lustred inside and out. Some of these of different sizes are shown in Figure 217, and even in the photograph you can see their wonderful lustre. These old specimens have a deep-seated lustre, 189 THE COLLECTOR'S MANUAL if it may be so expressed, AA'hile the modern reproduc tions are more on the surface, and seem to haA'e a more metallic appearance than the old. In the Figure 218 are shoAA'n seven copper lustre pitchers, embracing all the familiar types, shoAving the different styles of handles and the ways these Avere applied, the pitchers having a thumb rest and large pointed lip being the oldest. The best pitcher in this group is the one at the end at the left side, on which are Avhite figures on a copper ground. This pitcher is similar in style to those made by Wedgwood, Wood & CaldAvell, and other well-known potters. The pitchers in Figure 219 show only their good shape and proportion in the photograph, for the broad band of decoration which passes about the upper part of the pitcher just beloAV the handle is a splendid and unusual shade of olive green which does not " take " Avell. These pitchers are unusually handsome, the shade of lustre being very deep and rich, and the harmony of that with the green very satisfying. They are of un doubted age, and are now at the Whipple House, Ips- Avich, Massachusetts, AA'here are gathered so many relics of that interesting old town. The pitchers belonged to Aaron Jewett, janitor of the Old Court House from 1820 to 1850, and AA'ere used as Avater pitchers by the judges of the court during that time. T do not doubt that this temperance beverage was an unfamiliar invader of these hospitable jugs until they came to do legal duty, for the usual liquid Avhich poured from their generous lips Avas cider. It Avas not only to 190 Fig. 217 Plain Copper Lustre Jugs Fig. 218 Group of Copper Lustre Jugs Fig. 219 Copper Lustre Pitchers Fig. 220 Silver Lustre Jug Fig. 221 Teapots, Silver Lustre LUSTRE WARE pewter vessels that the terms " gallonier, pottle pot, pot and little pot " Avere applied, but to pitchers Avhich held respectively one gallon, two quarts, one quart, and one pint. The idea of temperance seems to have been one of the last to enter the minds of our forefathers on either side of the Avater. These larger-sized pitchers were made for cider or beer, or some of the numerous decoctions which are compounded of these ingredients and several others, and then heated with a loggerhead. BoaaIs, tea-sets, pepper pots, mugs, goblets, and very rarely coffee pots are found in copper lustre, a very handsome specimen of the latter being similar to the helmet-shaped teapot in another illustration (Figure 224). Two correspondents, one in Mexico (AA'here, she writes me, there is much old china to be picked up) and one in Virginia, own large gallon pitchers of plain copper lustre, very similar in shape to the largest pitcher shoAvn. The second period of copper lustre was about 1830, AA'hen the glaze Avas inferior, being filled with bubbles and little holes, shoAving that the pieces Avere hastily dipped and stood on their bases, Avhere the glaze col lected in drops. Since this time copper lustre has been made in quite a number of potteries, and modern lustre can be found easily in Canada, I understand. There seems to be little in the United States, for I have sought in dozens of stores without coming across one pitcher. Whole tea-sets of a certain brilliant lustre, with a band 191 THE COLLECTOR'S MANUAL of bright blue, have been offered me as " antiques," every line and its hard, brassy colour showing in an unmistakable fashion its recent manufacture. There is a depth of colour, a smoothness of glaze, and a " feel " to old lustre that is not easily mistaken. You will find the bottom of the object worn smooth, the polish dulled by wear in places, and the crudeness of the modern Avare absent. The two pitchers in the centre of Figure 217 are of a more modern type than those on the ends with large curA'ed lip and familiar handle. Sometimes such jugs come Avith a cover also of the lustre, AA'hich fits into the neck of the pitcher, and has a square opening so that the liquid can be poured out Avithout removing the lid. Such pieces are very rare. It is a misfortune that such a small quantity of lustre ware of any description Avas marked. Its age can only be guessed at. While copper lustre never reached an advanced state in beauty and perfection, sih'er lustre, as it is familiarly called, deserves a front rank in English pottery. It is not so old a form of lustre as the copper, and prob ably dates from not earlier than 1785. The process of producing this lustre was by applying a deposit of metallic platinum to the surface of either pottery or porcelain. Platinum was first introduced into England from Spain about the year 1750, and its reductibility and the ease with which it could be deposited were early knoAvn to chemists. John Hancock, who was born in 1757 and died in 1847, claims for himself the first use on pottery of this 192 LUSTRE WARE substance. In 1846 he AA'rote to the " Staffordshire Mercury " a letter concerning this subject, of which a portion is quoted. He says: " In the notice of the death of Mr. John Booth, inserted in your last week's paper, it is stated that he was the inventor of lustre for earthenware. I beg to state that this is incorrect, as I was the original inventor of lustre, which is recorded in several works on Potting, and I first put it in practice at Mr. Spode's manufactory for Messrs. Daniel and Brown, and con tinued to make it long before Mr. Booth or any other person attempted to do so. . . . By inserting this you will oblige me, whose character, at the age of eighty-nine, is at stake." In ShaAv's " History of the Staffordshire Potteries," 1829, he states: " The first maker of sih'er lustre properly so called, was John Gardiner, when employed by the late Mr. Wolfe of Stoke. Next were Mr. G. Sparkes of Slack Lane, Hanley, Mr. Horobin of Tunstall, and a person named Mr. John Ainsley, who intro duced it at Lane End. Since 1804 it has been practised with varied success through the whole of the district." In 1810 Peter Warburton, of the New Hall Pottery of Lane End, took out a patent for " decorating china, porcelain, earthenAA'are, and glass AA'ith native, pure, or adulterated gold, sih'er, platina, or other metals fluxed or lowered with lead or any other substance, which in- A'ention or neAV method leaves the metals after being burned in, in their metallic state." Among the names which may be found on pieces of silver lustre are, " Warburton," Avith a heart impressed; " Wilson," " Bailey and Harvey," " Spode," " Wood," 13 193 THE COLLECTOR'S MANUAL "Minton," "J. E. Wileman," "Hariey," "Ralph Salt," — this was the same man that made Staffordshire fig ures, — "Wood and Caldwell," the Mayer star, and the letter " R," which is supposed to stand for RidgAvay. But by far the larger number are entirely unmarked. The process of making silver lustre was a simple one. The AA'are, Avhen glazed, Avas dipped into a bath contain ing platinic chloride and dilute spirits of tar. It AA'as alloAved to dry, and was then baked for eight to twelve hours in a kiln at 1,200 F., Avhen the organic matter burned aAvay, leaving a surface of metallic platinum, lustrous and fine. Sometimes the platinum Avas mixed AA'ith the materials of the glaze and applied directly, and those pieces which haA'e the lightest and most silvery appearance were coated with oxide of plati num produced AA'ith sal ammoniac, and fired at a Ioav heat. Various bodies Avere used. WedgAvood chose a dark red clay, others a dead white porcelain, and I have seen also a yelloAvish bod}', and common gray clay. Origi nally the pieces, particularly tea-sets, bowls, and mugs, Avere lustred inside as well as out, for silver lustre Avas made for those aaIio Avished to OAvn sih'er but could not afford it. In the course of time, Avhen electroplating cheapened metal ware, and the lustre ware no longer deceived, the interior of vessels was coated with a white slip or porcelain glaze and the lustre Avas confined to the outside. This had the merit, also, of reducing the cost. The pottery body is of coloured earthenware, red or yellow, made very thick in such pieces as tea or 194 Fig. 222 Tea-Set, Silver Lustre Fig. 223 Tea-Set, Silver Lustre Fig. 224 Teapots, Silver Lustre Fig. 225 Cup, Saucer, and Candlestick LUSTRE WARE coffee pots, to withstand the heat, Avhile other pieces are nearly as delicate as porcelain. The early patterns, besides being silvered within, are also quite plain in shape, the beautiful ornamentation with Avhich many pieces are enriched being a later de velopment. A choice specimen of plain silver lustre is shoAvn in the fluted jug in Figure 220. The tea-sets in Queen Anne patterns (see Figures 221, 222, and 223) and the two helmet teapots and the one with " pineapple " pattern shoAvn in Figure 224 are extremely beautiful. Many such sets were cast in old silverware moulds, or modelled in flutings and headings by hand, the numerous examples shown covering almost eA'ery ATariety of knoAvn pattern. In fact, they are al most handsomer than silver, since the lustre takes a deeper shade, and is broken up into higher lights than is possible with eA'en the most highly burnished silver. Not only AA'ere there tea-sets, but cups and saucers as well. The only one I ever saAV was a delicate bit with flutings on the cup, which Avas of an early type, since it had no handle. It was in perfect condition and sold for ten dollars. A perfectly plain cup and saucer this time, with a handle, can be seen in Figure 225. It is a beautiful and perfect piece, and Avith the other articles in the photograph belongs to a Mexican correspondent. The tAvo lovely candlesticks are of silver lustre also, " Cupid Bound," and are not marked in any way. They are, hoAvever, very choice, the modelling of the figure being exquisite, and they are quite perfect, except that the 195 0V «£ jc^x THE COLLECTOR'S MANUAL lustre is a little mottled. In design they are quite as choice as the Wedgwood pair shown in another figure. The largest piece of silver lustre which has come under my notice was an ewer and basin which I saAv in the summer of 1903 at Salem, Massachusetts. It AA'as of the diminuth'e size seen in the old blue toilet sets, — - tiny things, which seem to haA'e satisfied our Colonial ancestors in whose estimation cleanliness does not seem to have come next to godliness. Many people desire to have one or two pieces of silver lustre, but it is by no means easy to find, though many of the teapots shoAvn in this article belong to a fortu nate collector avIio has tAvo thousand other teapots of eA'ery variety of pottery and porcelain to keep them company. At the sale, in March, 1903, of the late Mr. Burritt's collection of pottery and porcelain Avhen such phe nomenal prices were obtained for " Old Blue," there were a feAV pieces of lustre sold also. The prices given for them seem large, but there were plenty of people willing and eager to take them at these figures. There Avere but two separate silver lustre teapots similar to the tall ones shoAvn in this article. One of them, fluted, sold for $20. The other, plain, brought $18. A tea- set in fluted pattern, consisting of teapot, sugarboAvl, and cream jug, brought $60. A silver lustre goblet sold for $11, a pepper box for $12, and a salt cellar, silver Avithout and copper lustre within, cost the pur chaser $14. It must be borne in mind that these prices are un- 196 £^QS^ LUSTRE WARE usual; no dealer Avill ever give them. Yet silver lustre seems to stand apart in value, for I have known a very choice teapot which had lost its spout to have the miss ing member replaced by one of plated silver and then sell for $15. So far we have dealt only Avith plain silver lustre, or that cast in moulds. There is another form of decoration for this variety of lustre Avhich is uncommon and very beautiful. An example is given in Figure 226. I call this the second period, since the plain ware was evidently the first ex pression of the potter's ability to use this metal. All the shapes in which lustre Avare Avas made — pepper pots, tea-sets, jugs, boAvls, two-handled cups, and cups and saucers — are to be found in this decorated AA'are, AA'hich is called " resist " from the method of manu facture. Birds and floAA'ers are the subjects oftenest chosen, the patterns often being exceedingly intricate and elaborate. The article to be decorated was first dipped into or covered with a Avhite or cream-coloured slip, and upon this the pattern Avas painted with an adhesive mixture Avhich " resisted " the silver lustre Avhen the pottery was dipped into it. All the surface not previously covered Avith this resistant mixture became covered AA'ith the lustre. The second firing (the first Avas to harden the covering of Avhite slip) burnt aAvay the resist mixture and fixed the silver lustre, and the pattern stands out in Avhite. Very rarely in this country, and not often in Eng- 197 THE COLLECTOR'S MANUAL land, is this silver " resist " decoration found in Avhich the pattern shoAvs canary-coloured instead of white. Such pieces command very high prices. At the Bur- ritt sale, previously quoted, a silver lustre pitcher Avith " resist " pattern in white brought $47.50, the pitcher being nine inches high. The one pictured in Figure 226 is six inches tall, and although part of a collection in this country, was found in England. What remains of a very beautiful tea-set of this resist ware is shovm in Figure 227. It was part of a bridal outfit in 1825. None of the pieces are marked, but the ornamentation on the top of the teapot and sugar-box and the beauty of the " honeysuckle pattern " on the body of the pieces, all show it came from some high grade pottery. It is on white china, too, and the bottom of the saucer is left plain. The plate is one of a pair and is an extremely choice one. This, as with so many other antique treasures, may be found in NeAv England, and, happily, is not for sale. The last stage of silver lustre is shown in Figure 228, Avhich gives a cake or fruit basket of gray pottery ornamented Avith a graceful pattern covered Avith the lustre. The combination of the gray and silver is very pretty, while the dancing figures modelled on the panels of the vases are graceful and full of motion. These pieces are probably betAveen fifty and sixty years old, although ware like this was made some years earlier also. A china merchant tells me that he used to sell pieces like this when he was first in business, about 1860. He 198 mv''f/ Am ""^^^B2r ^. I *4* Mr ¦.¦.;'.., W .at fat «f Jh fc\&J iB2'mwmS-MrSk ¦Wo .'>^^L->f,^i 4m\vlr¥ WW '¦"'! '-t*-' ' Fig. 226 Silver Lustre " Resist ' Fig. 227 Silver Lustre "Resist' Fig. 228 Gray Pottery and Silver Lustre Fig. 229 AVedgwood, Silver Lustre LUSTRE WARE had to work them off as best he could, since they Avere " old stock." The basket shoAA'n is nine inches high and eleven across the top. The lines showing dark on the base and the leaves and A'ines about the top are of the silver lustre, AA'hile the pendant bunches of grapes are covered Avith the broAA'n enamel. To-day the basket is valued at $15. The day it was new it could be bought for one-fifth of that sum. In Figure 229 is giA'en a pair of candlesticks by Wedgwood, representing figures of Tritons. Many groups, busts of children, griffins, and figures such as the candlesticks, came from WedgAVood's potteries, quite a large proportion of them being modelled by the hand of the master himself. There is a note among his records of a payment made to William Bacon, one of the artists in his employ, for modelling a pair of Tritons in " broun earth." These candlesticks are such a pair, and in common with many other objects from the WedgAvood Avorks Avere lustred. 1791 is given in Miss Metayard's " Life of Wedgwood " as the date Avhen silver lustre was first used in his potteries, and these Tritons are undoubtedly " Old WedgAvood," — i. e., made before 1795, AA'hen Josiah Wedgwood died. They are a portion of the fine collection of pottery and porcelain Avhich is on exhibition at the Boston Museum of Fine Arts. There is a material known as " lead glass " AA'hich bears a resemblance to sih'er lustre, and Avhich has been knoAvn to deceive the unwary. This lead glass is made to-day, and one of its uses is as a reflector behind 199 ft* THE COLLECTOR'S MANUAL bracket kerosene lamps. I have seen goblets of it, shaped like the old-fashioned communion cups, in sev eral NeAv England toAA'ns, and have never been able to trace their history, although their OAvners ahvays as sured me that they were at least one or two hundred years old! For about seventy years — that is, since about 1830 — no important examples, nor any large quantity of sih'er lustre Avas made. Within the last three or four years, since the demand for such pieces has become marked, dishonest dealers have been found to both make and sell such forged examples. Even the novice can scarcely be deceh'ed by these modern specimens. The colour of the lustre is dull and cloudy and darker than the bright white lustre of the old AA-are. Shapes are poor and no care is taken to render the specimens choice. Toby jugs, which are occasionally fitted with lids for teapots, large boAA'ls, and goblets, and a crude pepper box in the form of a man in a cocked hat are the chief modern pieces. It is impossible to tell AA'here this inferior modern stuff is made, but Belgium is said to be responsible for some of it. With a little care no one need be deceived by it. Since the above was written I have seen other speci mens of modern silver lustre Avhich are being made in England. Among these new pieces may be found gourd and melon shaped teapots, and tea-sets with AA'hite china body and AA'ith spiral fluting. W. W. Slee of Leeds, who has in his employ a potter who used to Avork at the Old Leeds Pottery, is successfully turning 200 Fig. 230 a Collection of Silver Lustre Fig. 230 b Collection of Silver Lustre LUSTRE WARE out tea-sets, candlesticks, tobacco jars, and small fig ures. Most of these are from the old Leeds models and can easily deceive the unwary. The Wedgwood firm is also experimenting in this Avare, and some of Mr. Slee's specimens in lightness surpass even the old Avare. Experience alone can guide the collector, and if the same shape in good condition is found in a number of shops, it would be best to avoid it, as pre sumably modern. A A'ery choice collection of silver lustre, chiefly tea and coffee pots, is shoAvn in Figure 230. They are only a portion of AA'hat this fortunate collector owns. The third and last metallic lustre to be considered has been made, so far as can be ascertained, in Eng land only. It is the gold lustre, more commonly known as " rose spotted," or " Sunderland lustre," and it is quite as rare and costly as the silver lustre. The effect is obtained by precipitating gold and then applying it to the pottery either in a pattern or in spots and blotches, AA-hich A'ary in one from a rose colour to a purplish tint, caused by the lustre being laid on thick or diluted. In Figure 231 is given a large gallon-sized rose- spotted jug, which relies on its good form and the delightful play of colour to make it pleasing. When I first saAv this jug Avhat a sad Avreck it was! It did not haA'e eAren the rudiments of a handle. The collector who owns it now discoA'ered it in Maine in a farmhouse, AA-here in its dilapidated condition it had been consigned to the top shelf in the buttery. 201 THE COLLECTOR'S MANUAL When it Avas brought doAvn the collector questioned what had become of the handle, and was ansAvered, " It AA-as thrown out." She spent an hour grubbing in dust and ashes trying to find it, but had to come away with the pitcher only. The present handle is a triumph of the restorer's art, and leads me to say that the despair of the collector of jugs is that person who insists on lifting these treasures by the handle. The person Avho " knows " always lifts a jug by placing one hand in the mouth of the jug and supporting the base AA'ith the other hand. This procedure sIioavs the collector that he has nothing to fear, and is almost as Avelcome a sign as the " grip " among Masons. The second jug in Figure 231 is copper lustre, about fifty years old, and of German make. Notice hoAV en tirely it differs in shape, in style of handle, and base from any of the English pieces shown. It is of a beautiful deep coppery colour, undecorated, relying on its fine glaze for ornament. Figure 232 sIioavs a group of Sunderland pieces, all but one in proof condition, — that is, absolutely per fect, — and all of them are interesting. The largest of the four is a gallon-size cider jug, Avith a view in colours of TAvymouth HaA'en on the side shoAvn. On the opposite side is a ship, flanked by a sailor and a female figure, AA'hile beloAV is the folloAving A'erse: " The sailor tossed on stormy seas, Though far his bark may roam, Still hears a voice in every breeze That wakens thoughts of home ; LUSTRE WARE He thinks upon his distant friends, His wife, his humble cot ; And from his inmost heart ascends The prayer : ' Forget me not ! ' " The other pitcher has a picture in colours called the " Sailor's FareAvell," Avith a verse Avhich runs: " Sweet, oh ! sweet, is that sensation, Where two hearts in union meet, But the pain of separation Mingles bitter with the sweet." I have found this sentimental verse on Sunderland ware only, but it does duty on punch-boAvls as well as pitchers. The little jug on feet is one of those specimens cast in a silverware mould and then lustred. It is made of coarse pottery, as a small chip on one foot shows. Sunderland and NeAvcastle are usually classed to gether, and the earliest pot works at these places Avere opened between 1730 and 1740. About 1755 Mr. Byers established works at New castle, and in 1762 Messrs. Christopher Thompson and John Maling erected potteries near Sunderland at North Hylton. In 1817 Messrs. DaAvson, and also Messrs. Phillips, opened factories at Hylton-on-Tyne, and at Sunder land and Southwick Messrs. Scott and Company built potteries in 1789, while the Moores built there in 1803. Early in the nineteenth century Dixon, Austin and Company had potteries in the neighbourhood of Sun derland. The pieces made at NeAvcastle often bear the 203 THE COLLECTOR'S MANUAL names of SeAvell and Donkin, or of Thomas Fell and Company. The Newcastle and Sunderland pottery someAA'hat resembles Staffordshire ware, but is coarser and not so carefully finished. It has a decidedly yelloAvish colour, and nearly all of the subjects used for decoration have a nautical flavour, showing that they Avere chiefly used by sailors. There is something breezy, if rather coarse, about the drinking vessels of this Avare, and we can imagine the sailors home from a cruise drinking from them and roaring out their choruses, and looking doAvn into the mugs, so many of which had in their interiors a very naturalistic frog. The most famous pattern eA'er made at these pot teries AA'as the great bridge over the Wear, begun in 1793 and finished in 1796. One of these jugs is shoAvn in Figure 233. The other jug shoAvn in this picture is the handsomest rose lustre jug I have eA'er seen. EA'en though the body of the pitcher is someAvhat dis coloured by hard usage, the picture of the ruin comes out in great beauty, the shades varying from a deep crimson to a pale pink, while over the Avhole plays that lustrous iridescence characteristic of gold lustre. On man}' jugs the patterns used Avere grotesque, crude colour, and badly draAvn. This design is quite m charming. Another arrangement of the Wear Bridge pattern is shoAvn in Figure 234. This has the Bridge under the lip also, but opposite to the usual A'erse is a mari ner's compass, flags, and nautical emblems. This is 204 Fig. 231 Rose or Gold Lustre Jug Fig. 232 Sunderland Jugs Fig. 233 AVear Bridge and Lustre Jugs Fig. 234 Another AVear Bridge Jug Fig. 235 Monument Jug LUSTRE WARE also a gallon pitcher, and has considerable lustre deco ration on it. There is another class of pitchers and punch-boAvls Avhich, AA'hile they hardly come under the designation Lustre, have more or less of this decoration on them. The chief claim to interest these articles have is that many of them are more or less historic, and sIioav scenes in our early history, or portraits of our heroes. The monument jug in Figure 235 is a sample of one style, and is a famous pitcher. It has a portrait of Wash ington, a design of Fame Aveeping beside his tomb, and seA'eral inscriptions on it. Lustre bands are at top and bottom, a pattern in lustre also surrounds the top, and even the handle has its band also. The pitchers AA'ith this design come in tAvelve and ten inch sizes, and are A'aluable specimens to own. Many variations were made of this theme; sometimes there was one portrait only, sometimes there were tAvo, but there was always some lustre decoration. Masonic deA'ices AA'ere also faA'ourite ones for jugs and mugs, some being dated as early as 1795, which, of course, adds to their value. A group of these much sought pieces is given in Figure 236, largely of Staf fordshire Avare, and the fine old punch-boAvl in the centre has the Avell-knoAvn face of Franklin, surmounted by his fur cap. The English potter did not hesitate to perpetuate disastrous defeats to the British army and naAW, proA'ided these articles met AA'ith a ready sale in America, Avhich was the best foreign market open to the potter. 205 && m. THE COLLECTOR'S MANUAL Even when no other symbol told of our proAvess the eagle screamed from many a piece, like the nice old Castleford pitcher, Avith pink lustre decoration, shown in Figure 237. I find many pieces with the eagle in various attitudes, sometimes grasping the thunderbolts, sometimes with the thirteen stars above or beloAV him, but this is the only example AA'hich I have met in AA'hich he is bearing the olive branch. On the front of this jug is a beautiful monogram, also in lustre of a fine pink shade, and, judging from its excellent condition, it Avas carefully used. It has the pitted surface Avhich AA'as always to be found in Castleford ware, and a raised border surrounds the top, composed of leaves and floAvers and star-like medallions. There are hunting and guild pitchers Avith lustre bands on them, and frequently with borders as well, more or less ornate. On them are also scenes and devices in black or broAvn print, and the makers seemed to rely on the lustre bands to brighten them up. There is much pottery and porcelain to be found here AA'hich is decorated Avith black or broAAm printed scenes, and set off Avith either bands of lustre or little leafy sprig decoration. Such ware is called " New Hall," and was made at Shelton, in Staffordshire, be fore 1825, when the AA'orks closed. Many OAvners of tea-sets like the cup and saucer in Figure 238 call them " New Hall " also, although the entire decoration is in lustre. Very pretty and graceful all such sets are — plain 206 Fig. 236 Collection of Jugs Fig. 237 Castleford Jug Fig. 238 "New Hall" Ware Fig. 239 Jugs with Lustre Decoration LUSTRE WARE lustred decoration or with the prints. A favourite design in the printed ware is a mother reclining on a sofa and playing battledore and shuttlecock Avith a little girl. This picture is shoAA'n in the article on pitchers previously mentioned. Figure 239 gives two more very handsome pitchers. The one on the left is called " Nautilus " pattern, and the design is painted on in rose lustre. The pitcher is marked " Wood," impressed. This Wood Avas one of the famous English potters avIio made so much of the " Old Blue," AA'hich is noAV eagerly sought. The name " Wood " alone Avas used as a mark between 1800 and 1818, when the sons Avere admitted to partner ship and the signature was "E. Wood & Sons," or " E. W. & S." The other pitcher has the main design about the body in colours, all the small details being rose lustre as Avell as the bands and vine designs about the top and base. Eleven of the jugs shown belong to one collection, the indefatigable OAvner of which spares not herself in searching both this country and Europe. The most ex pensive pitcher of the eleven was the large one shoAA'ing TAvymouth Haven, bought in Maine, for which $6 was paid. The cheapest was the little one on four legs shoAvn in the same picture. This was bought for a quarter. All the others came in between these two extremes, eA'en the beautiful silver lustre " resist " jug, with its graceful design of tulips and leaf pattern. 207 NSTRUMENTS OLD-FASHIONED marking? eluded under a feAV great heads: sun-dials, hour glasses, and clocks. The origin of the earliest time-keeping device is lost in antiquity, but among the first clocks composed of an assemblage of AA'heels, of which there is no doubt as to age, are the clock in St. Paul's Cathedral, London, AA'hich Avas put up in 1286 ; one at Canterbury Cathedral, 1292; one at Exeter, 1300; and one in the Palace yard, London, of about the same period. All these were in England, but Froisart speak of one at Courtrai, France, AA'hich AA'as taken to Dijon by Philip, Duke of Burgundy, in 1370. Viollet le Due remarks that from the tAvelfth to the fourteenth century no space Avas arranged in church toAvers for dial plates. Still there were clocks in many toAvers, but they Avere Avithout dials, and only struck the hours, the act of striking often being performed by a Avooden figure, several feet tall, which beat upon a metal bell. During the fourteenth century clocks AA'ith various mechanical devices became popular; puppets AA'ere ar ranged to perform little scenes at the hours, like " The Mystery of the Resurrection," " Death," etc. Nor was 209 THE COLLECTOR'S MANUAL skill in clock-making confined to England and France. Saladin, of Egypt, in 1232 presented to Frederick II of Germany a clock run by weights and wheels, showing figures which represented the sun, moon, and other planets and the twelve signs of the Zodiac. In 1358, in the palace of Abu Hammou, Sultan of Thencen, Avas a clock ornamented AA'ith figures carved from solid silver. The first of the celebrated Strasburg clocks, which were placed in the Cathedral there, Avas begun in 1350. From that time to the present there has been no interrup tion in the wonderful mechanical clocks which have been made in various countries. One of the strangest of all clocks is the " Resur rection " clock in India. It has no dial, a gong being suspended in its place. Beneath this gong lie scattered on the ground skulls and bones enough to form twelve complete skeletons. At one o'clock the number of bones needed to form one entire skeleton come together Avith a snap; the skeleton springs up, seizes a mallet, and strikes the gong one blow. This done, it returns to the pile and again falls to pieces. When it is two o'clock, tAvo skeletons strike two. At the hours of noon and midnight, the entire twelve spring up and strike, each one after the other, a blow on the gong, and then fall to pieces as before. In the charming, old, mediaeval city of Rouen in France, time seems to move more slowly than in many other places. Still, as long as one does not live there, it is sad to see the narrow streets without sidewalks, 210 OLD-FASHIONED TIMEPIECES traversed by a gutter in the centre, being replaced by the ordinary walks Avhich Avhile comfortable are far less picturesque, and necessitate the pulling doAvn of many curious old buildings, past which, no doubt, the lovely Agnes Sorel and poor Joan of Arc once passed. In this same city, in the cathedral, is buried the heart of Richard Coeur de Lion, and some of his companions lie near him. One of the most famous streets is called Rue de la Grosse Horloge, and it is still most picturesque. The clock Avhich gaA'e it its name is shown in Figure 240, and is placed in a round-arched gateway surmounted by a tower, which it is said Avas finished in 1527, and was not the first structure which held the clock. The clock was made by Jehan de Fealins in 1389. It has been carefully looked after, and with some slight modern modifications is still an excellent timekeeper. It sIioavs the hours, the days of the Aveek, and the phases of the moon. The handsome dial is about six feet square, and surrounded by a circle of fine ornament. It is still the chief clock of the city, nothing modern having been alloAved to usurp its place. EA'en uncivilised nations have ways of telling time, some of them quite elaborate, and in the floAA'ery islands of the South Pacific, they use means which Nature sets ready at their hands, and make a time-marker by taking the kernels from the nuts of the candle-tree and washing and stringing them on to the rib of a palm leaf. The first or top kernel is then lighted. All the kernels, being of the same size and substance, burn a certain number of minutes, and then set fire to the next one below. The 211 > THE COLLECTOR'S MANUAL rj£> natives tie pieces of bark cloth at regular intervals along the string to mark the division of time. More like the hour-glass is a device which is used by the natives of Singar, in the Malay Archipelago, who make use of a peculiar device; two bottles are placed neck and neck, and sand is put in one of them, which pours itself into the other every half hour, when the bottles are reversed. There is a line near, on which are hung tAvelve rods, marked Avith notches from one to twelve. A regularly appointed keeper attends to the bottles and rods, and sounds the hour upon a gong. Passing from these primitive constructions to some of the wonders of modern clock-making, one may marvel at the great clock at St. Petersburg, which has ninety- five faces. It indicates simultaneously the time of day at thirty places on the earth's surface, besides the move ment of the earth around the sun, the phases of the moon, the signs of the Zodiac, the passage OA'er the meridian of more than fifty stars of the northern hemi sphere, and the date, according to the Gregorian, Greek, Hebrew, and Mussulman calendars. It is said that it took OA'er two years to put the works together, and get them into running order. Notwithstanding their bulkiness there are more col lectors of clocks than one Avould at first imagine. It is probable, hoAvever, that King EdAvard has the great est number in any one collection, either public or pri vate, since at Windsor alone there are OA'er five hundred, and he has in all about tAvo thousand. The}7 are all carefully inventoried in many great volumes, AA'hich are 212 OLD-FASHIONED TIMEPIECES in the care of the Lord Chamberlain's department, and this department is also responsible for the care of the collection. The collecting of clocks seems to be a royal hobby, since Louis XIV, Louis XVI, Queen Victoria, and King EdAvard all have had it. Indeed King EdAvard's most valuable clocks came to him by inheritance from his mother, and, perhaps, of them all the one which has the greatest " human interest " attached to it is the one AA'hich belonged to the unfortunate Anne Boleyn. This clock, Avhich Avas given to her on her wedding day by Henry VIII, is a small affair, — four inches deep and ten inches high. It has passed through seA-eral hands since the beheading of poor Anne, the last to own it before Queen Victoria being that prince of collectors, Horace Walpole. It was bidden in at the sale of his effects for the queen, for about six hundred dollars. After four centuries it still goes, though she for whom it was made was permitted but four years in Avhich to enjoy it. The weights are beautifully engraved Avith "H. A." AA'ith a true-loA'er's knot on one, and the initials only on the other. Did the Bluebeard Henry ever call Anne to mind Avhen he heard it strike? Per haps it AA-as not a striking clock after all, AA'hich must haA'e been comfortable for him. It is of the style knoAvn as " bird-cage," and stands on an ornamental shelf. The greatest curiosity in the King's collection is at Buckingham Palace, and is a clock made by Lepine, a protege of Voltaire, and is made in the shape of a 213 THE COLLECTOR'S MANUAL o head. In this clock the hours are shown in one of the eyes of the negress and the minutes in the other. The figure is two feet and a half high, of ormolu, richly decorated. He has also several clocks by Lejiaute, a celebrated French clockmaker, born in 1709, and died in 1789. He improved the pin-wheel escapement by putting pins on both sides of the wheel, and he Avas also noted for his turret clocks, of which he erected five for the Louvre alone. They Avere AA'Ound by means of an air-current and a fan, a method Avhich has been recently revived. Many of his clocks Avere put into superb ormolu cases, and one of these is shoAA'n in Figure 241 and is dated 1760. It is seven feet twenty-six inches tall, and, be sides the rich inlay and metal mounts, has on the top a charming figure, and it may be seen that the clocks of that period assumed almost the colossal proportions of the beds. The clocks in Avhich Ave are chiefly interested are those for household use, and the earliest which Ave had came from England. By 1600 there Avere clocks made for a moderate price, and for the use of the average house holder. These clocks AA'ere known by the names " bird cage," "lantern," or "bed-post" clocks. They were put on sheh'es or brackets attached to the Avail, and were Avound by pulling down the opposite ends of ropes on Avhich the weights Avere hung. Some of these Avere striking clocks; others were furnished Avith an alarm, and none of them was expected to run for more than thirty hours. 214 Fig. 240 Old Clock at Rouen Fig. 241 Clock by Lepaute Fig. 242 "Bird-Cage" Clock OLD-FASHIONED TIMEPIECES Samuel Pepys mentions in his diary such a clock be longing to Catherine of Braganza in 1664. He says: " Mr. Pierce showed me the Queen's (the Portuguese Prin cess, wife of Charles II) bedchamber . . . and her holy water at her head as she sleeps, with a clock at her bedside, wherein a lamp bums that tells her the time of the night at any time." In fact small portable clocks were mentioned nearly two hundred years earlier than Pepys' note, and in the " Paston Letters," AA'hich are such valuable repositories, I take the following extract. The letter is from Sir John Paston, and is dated 1469: " I praye you speke wt Harcourt off the Abbeye ff or a lytell clokke whyche I sent him by James Gressham to amend and yt ye woll get it off him an it be redy, and send it me, and as ffor mony ffor his labour, he hath another clok of myn whiche St. Thorns Lyndes, God have hys soule, gave me. He maye kepe that tyll I paye him. This clok is my Lordys Archebysshopis but late hym not wote of it." The form was doubtless similar to the bird-cage clocks, though it is knoAvn that some of the early clocks had reA'olving dials. In the South Kensington Museum there is on an inlaid AA'ooden panel the representation of a clock Avith a revolving ring, on Avhich the tAventy- f our hours are marked, the current hour being indicated by a pointer. The date of the panel is certainly not later than 1500, and of course the date of the clock is older. In 1544 the Master Clockmakers of Paris Avere incorporated by statute, and, in 1627, a proposal to grant letters patent to allow French clockmakers to 215 _jT THE COLLECTOR'S MANUAL carry on their trade in London, caused such an agita tion in London, that a committee of clockmakers was formed, and a petition for a charter was presented to Charles I, which he granted on the 22d of August, 1631. The pendulum, Avhich was introduced about 1661, superseded the balance. The first form Avas known as the " bob pendulum," which by 1680 was followed by the " royal " or long pendulum. The clocks of the lantern or bird-cage variety were small, ranging in size from three and one-half inches to five inches square. One of unusual size was eight and one-half inches by sixteen inches high. The rounded top seen in Figure 242 is the bell upon AA'hich the hours are struck; and one peculiarity of these clocks is that the dial face often projects an inch or two beyond the sides of the frame. They are not uncommon in England yet, for they Avere made continuously till about 1825, and as the works are of brass and AA'ell made, they are excellent timekeepers. The little ornaments which stand up in front of the clock are known as " frets," and they are quite a sure indication of when the clock was made. The design of crossed dolphins came into use about 1650, and was a favourite pattern; and there were other frets, generally of geometric design, which also became well knoAA-n. Another style in use about this period was knoAvn as the " bracket " clock, and these clocks had either the handle on top, like that in Figure 243, or on the sides. Such clocks as these AA'ere luxuries, however, and cost Avhat would be equivalent to seven hundred dollars. 216 OLD-FASHIONED TIMEPIECES There are records showing that a popular clockmaker of the period, Henry Jones, of Inner Temple Gate, London, charged £150 for a similar clock which he furnished to Charles II in 1673. This style of clock continued in use for one hundred years and more, and with them the fret, which Avas noAV placed in the corners of the dial plate, became, as in the lantern clocks, in dicative of their age. A fine example of the bracket clock is shoAvn in Figure 244, and is OAvned in White Plains, NeAv York. It shows that it is a veteran, but it still goes, and it has beautiful spandrels and an engraved face. It has been in the pos session of the family for OA'er one hundred years, and in the upper circle has, in black enamel, William Buttock, Bradford. The spandrels or brass ornaments in the cor ners of the face point to the first half of the eighteenth century, as being the time Avhen it Avas made. The case is of mahogany and there are brass screens at the sides to permit the sound of the striking to be distinctly heard. This clock is ATery similar to one at Windsor Castle, made by Justin Vulliamy, avIio came from Switzerland and settled in London in 1730. He became noted for the beauty and accuracy of his timepieces, and was appointed clockmaker to the King during the reign of George II. The succeeding members of the family held this office in the different reigns till the death of Benjamin LeAA'is Vulliamy in 1854. Specimens of his AA'ork abound in the royal palaces, and many of the clocks of Queen Victoria that Avere in active seiwiee Avere by him. In the presence chamber Avas one of them set into THE COLLECTOR'S MANUAL a splendid piece of white marble sculpture by J. Bacon, R.A., Avhich was made in 1790. Under the clock on a marble shield is an inscription by CoAA'per: " Slow comes the hour, its passing speed how great ! Waiting to seize it — Vigilantly wait." The long-case or " grandfather " clocks were devel oped from the brass chamber clock AA'ith a Avooden hood, Avliich had to be entirely removed before the clock could be AA'ound. Cockscrew or tAA'isted pillars at each corner of the hood were characteristic of this period and that of Queen Anne, and frequently the cases Avere splendidly decorated with marquetry, which Avas the Avork of some of the numerous Dutch cabinet-makers at that time settled in England. Many of the early tall clocks were very narrow in the Avaist part, where the Aveights and pendulum hung, and the SAving of the pendulum Avas alloAved for by the addition of " AA'ings " or extra width in the case at the sides. There Avere many A'ariations of the hour circles on the dial. Before the minute hand came into use there were double circles AA'here the numerals AA'ere, dividing the hours into quarters, the half hours being indicated by an ornament of extra length, like an arroAV-head or fleur- de-lis. The engraving on clock faces and on the brass plates at the back Avas A'ery beautiful, and artists Avere frequently employed to make them. Borders, intricate rings about the AA-inding holes, birds and flowers, AA'ere all introduced into the decoration, and the spandrels or orna ments at the corners still further ornamented them. 218 Fig. 243 Bracket Clock Fig. 244 Another Bracket Clock Fig. 245 Spandrels Fig. 246 John Hancock's Clock Fig. 247 George Washington's Clock "V OLD-FASHIONED TIMEPIECES On many of the clocks of the seventeenth century the maker's name Avill be found engraved on the edge of the dial plate beloAV the circle with the numerals. Later it Avas engraved on the dial plate betAveen the figures V and VII. Sometimes tAA'o names are found, particularly in the earliest clocks, and in this case the name engraved in the centre of the dial surrounding the hands is the name of the maker, Avhile the name at the foot of the dial is the name of the seller of the clock. Some of the most famous English clockmakers were: BartholomeAv Newsam, who Avas established in London as early as 1568; Rainulph Bull, keeper of His Majesty's great clock in 1617; Ferdinando Garrett, a working clockmaker, in 1600; William North, in 1615; Thomas Alcock, in 1661; and Daniel Ramsay, in 1610. The Clockmaker's Company was chartered in 1631, and Avas a trade guild for protecting the trade in London, or within ten miles thereof. Edward East, one of the most noted of English makers, AA'as at work by 1620, and became watchmaker to Charles I. Henry Jones was at the height of his fame about 1673, and Samuel Betts about 1640. Thomas Tompion, knoAvn as the " Father of English watchmaking," had by 1658 attained much renoAvn. He Avas succeeded by Daniel Quare, aaIio had a shop at St. Martin's le Grand, London, in 1676. Then came George Graham, an apprentice of Tompion, and much beloved by him, and who succeeded to his business in 1713. As I have said, the spandrels or corner ornaments are important indications of the age of a clock. Very 219 7XS?V •v THE COLLECTOR'S MANUAL iTzzrv O <> early dials have a line of A'erse in the corners, like the f olloAving : " Behold this hand, Observe ye motion tip ; Man's precious hours Away like these do slip." The clock from Avhich this rhyme Avas taken is dated 1681, and was made by John Ogden, BoAA'brigg, Eng land. Then came the angels' heads, Avhich design AA'as later elaborated; then tAA'O cupids holding a crown, Avhich lasted through the reign of Queen Anne. After this came the Rococo during the eighteenth century, and then the period of George III, Avhere the design became degenerate, and the spandrels were cast, AA'ith- out even being retouched AA'ith a chasing tool. DraAA-ings of spandrels are shoAA'n in the next fig ure, number 245, and from them the approximate date of the clock can be told. Oak has ahvays been a favourite material for the cases, and walnut, both inlaid and plain, was particu larly faA'oured from about 1675 to 1725. Very elegant cases of Dutch marquetry Avere made as early as 1665, and specimens of Oriental lacquer Avere by no means unusual from 1740 omvard. From 1750, when Chip pendale began to AA'ork and design, mahogany, both solid and veneered, became popular, and has continued so ever since. The clock shoAA'n in Figure 246, besides being remark ably elegant in its case of Oriental lacquer, has an interesting history as well. It Avas imported from Lon- 220 OLD-FASHIONED TIMEPIECES don in 1738 by Thomas Hancock, and then descended by inheritance to John Hancock. It was made by Marmaduke Storr, foot of London Bridge, who was a famous maker in his day. The order reads that the clock was to be ten feet long, " the price 15 not to exceed 20 Guineas, and as it is for my OAvn use, I beg your particular care in buying of it at the Cheapest Rate. I am advised to apply to one Mr. Marmaduke Storr, at the foot of London Bridge." Another interesting timepiece is shown in the fol lowing Figure 247, as this clock belonged to George Washington. It Avas made by the Avell-knoAA'n French man, Lepine, and is a curious looking affair. It Avas wound at the back, for there are no keyholes on the face, and the keys may be seen lying on the stand. It Avas covered Avith a glass case, is made of brass, and has a handsome brass engraved Avreath about the dial. It is noAV in the National Museum at Washington. It must have been a good timekeeper for one of General Washington's characteristics Avas promptness. He gave aAvay more than one watch to his friends as keep sakes. One of these is now to be seen among the half- buried treasures at the NeAV York Historical Society. The watch is of gold, AA'ith a clearly marked dial, and on the back is this inscription: " Trenton, N. J., Dec. 10, 1777. Presented to my friend Colonel Thomas John son, of Md. as a memento of my great esteem. Geo. Washington." That Colonel Johnson and his descendants made good use of this gift is plainly A'isible from the scratched 221 ^ THE COLLECTOR'S MANUAL o condition of the dial around the keyhole; but the case is in good order, showing the inscription very plainly. Another famous man, Napoleon Bonaparte, was almost as punctual as General Washington. It has often been told that he had the poAver of going to sleep at any time when it Avas convenient, and that he could Avake at any given moment. Only recently has it been discovered that he depended on a little alarm clock. This Avas found among the effects of the Princess Mathilde, avIio died recently, and who Avas his niece. The clock Avas made by Abraham Breguet, a French man of rare attainments and inventive poAver, and the most famous clockmaker of his time. This clock, so eA'idence sIioaa'S, was carried by Napoleon on his cam paigns. The case is of gilded bronze, richly engraved. There are eight dials, indicating the true time, mean time, phases of the moon, seconds, minutes, hours, days and months, and date of the year. It strikes the hours and the quarters, and has a small metallic thermometer attached to it. Breguet also made for Napoleon a self-AA'inding Avatch on the prin ciple of the pedometer, but AA'hether on his OAvn inven tion or that of Recordon's patent is not established. But long before this there Avere many watches and clocks in this country, though I doubt if anything but sun-dials, portable or stationary, and perhaps a Avatch or two, found their Avay over here in the first ship loads. A post in the ground gave the noon-mark Avith sufficient accuracy, and as for the hours of the rest of the day, they could be guessed nearly enough. By 1628, how- 222 OLD-FASHIONED TIMEPIECES eA-er, one Joseph Stratton, of the Massachusetts Colony, had both a clock and a watch; and Henry Parks, of Hartford, who died in 1640, left by will to his church a clock. In inventories before 1677 I find many records of " striking clocks," " watches," and also " larums." These early clocks must haA'e been of the bird-cage or lantern variety, though some large clocks seem to have found their way over here. In October, 1688, " ye 4th year of the Reigne of our Sovereign Lord, King James the second," a commission AA-as appointed to examine into the condition of the Fort at NeAv York. The report is long and interesting. They discoA'er that the Fort and " Stockadoes " are in a ruinous condition and need many repairs. In a room over " ye Guard are cabbins and a standyn bed stead Avith two Albany beds." There is a " great old clock in ye Armourer's room." There are many other items of interest in this report, but they cannot be given here. Joseph West, of NeAv York, in an inventory dated May 6, 1691, leaves, among other items of A'alue, to his " loving kinsman EdAvard Hastings, of Ship- ton, in Oxfordshire, Gentleman, my Diamond AA'atch, one hundred pounds, and thirty French pistoles in gold." The AA'ord " clock " was not applied as Ave noAV use it till the time of James I, but horologue Avas what the clock Avas called. " Clock " referred only to the bell upon AA'hich the hour Avas struck. EA'en at the present day a church or other large public clock is called horo- 223 THE COLLECTOR'S MANUAL logue, and in remote parts of England the name clings to the ordinary household timepiece. The first pendulums in long-case clocks Avere thirty- nine inches long, and that style known as the " grid iron " is still used in many foreign regulators. This pendulum Avas invented by John Harrison, about 1728, and Avas composed of nine parallel rods, five of steel and four of brass, fastened together by frames, by Avhich the effects of heat and cold acting on the pen dulum AA'ere neutralised by the different expansion of the tAvo metals. After such elaborate timepieces began to find their Avay OA'er here repairs had to be made, and by 1712 there AA'ere clockmakers prepared to either make or keep in order any kind of clock or watch. In old neAvspapers like the " Boston News Letter " there are advertisements like this of a man aaIio " per formed all sorts of neAv Clocks and Watch AA'orks, viz.: 30 hour clocks, Aveek clocks, month clocks, Spring table clocks, chime clocks, quarter clocks, quarter chime clocks, Terret clocks, etc." A few years later, in 1716, there AA-ere adA'ertised " lately come from London, a Parcel of A'ery Fine Clocks. They go a week and repeat the hour Avhen Pull'd. In Japan cases or Wall Nutt." The long-case clocks of early manufacture had a square face to the dial. Then the top of the clock-case and the top of the dial rose in an arch; and above the dial AA'ere inserted the phases of the moon, figures such as ships in motion, Father Time, etc., the 224 -TV. OLD-FASHIONED TIMEPIECES moving figures being preferred by the Dutch makers, aaIio were very proficient in this style of work. Taa-o clocks are shoAA'n in Figures 248 and 249. The first is of English make, the second American, and both are of about the same age, being made about 1800. Figure 248 has brass works, and solid mahogany case decorated AA'ith lines of inlay. The phases of the moon and days of the month are shown aboA'e the painted face, and the clock is in fine condition and an excellent timekeeper. There is no name upon it anyAvhere, and its history is obscure; but some of the details are that the clock AA'as brought from England in 1810, Avas OAvned in Hingham, Massachusetts, then changed bands and was taken to Cambridge, Massachusetts, and iioav belongs to a collector in Montpelier, Vermont. Figure 249 has on its face the name Luther Smith, Keene, NeAv Hampshire. This is no indication that he made the clock, since it was the custom, if the owner desired it, to paint his name on the face of the clock. This face is very prettily painted with flowers and medallions, and the brass hands are beautifully pierced. Like its English mate it shows the phases of the moon and days of the month. Its case, too, is solid mahog any, Avithout inlay, hoAvever, but the brass mounts on the pillars of the case are unusually handsome, and the pillars themselves as well as those on the hood are fluted. Another American-made clock is shown in Figure 250. The top is unusual from its plainness, the only ornamentation being the slender turned pillars. This clock is marked, " OAven, Philadelphia." The face is 15 225 :§ L | CD I *M "V THE COLLECTOR'S MANUAL painted prettily, the case mahogany, some of it ve neered, and the phases of the moon are shoAvn above the dial. It is still a good timekeeper, and has a very agreeable striking tone for the hours, halves, and quarters. A variation from the grandfather's clock was the same shape in miniature. Such a clock is shown in Figure 251. It is not four feet tall, and such a specimen in a marquetry case is not often found. It was dis covered in an attic in Rhode Island, where it had lain undisturbed for forty years or more, waiting for a for tunate collector. It has a painted face and wooden works, and has no maker's name. I haA'e never seen more than six or eight of these little grandfather clocks, and it seems strange that more old clocks did not sur vive, since in " Historical Collections of Connecticut " it is stated that in 1836, at Bristol, Connecticut, there were sixteen clock factories at work, making one hun dred thousand clocks, AA'ith brass or wooden works, each year. In Figure 252 is a clock with a wooden face, painted Avith floAvers, and with wooden Avorks also. It is wound by pulling the Aveights, and is even yet an excellent timekeeper. It is supposed to have been made about 1800 or during the next ten years. The fine case is mahogany Avith satinAvood inlay, and the only blemish is that the ornaments for the top are missing. The clockmakers of the United States have con tributed many valuable inventions to the science of cloclanaking, the most important being steel springs 226 Figs. 248-250 English and American Clocks Fig. 251 Dwarf Clock Fig. 252 Clock with Wooden Works -/^m OLD-FASHIONED TIMEPIECES <> AA'hich could be produced at a low price, and thus enable the production of cheap clocks. Another invention Avas the pendulum covered with goldleaf, which is a necessary part of a regulator clock, and which was made by Silas B. Terry, a son of Eli Terry, of Windsor, Connecticut, Avho was one of the early makers of Ameri can clocks. James Harrison was another early maker, and the first clock he made Avas sold January 1, 1791, for £3 12*. 8d. This Avas at Waterbury, Connecticut, a toAvn Avhich still continues to be a centre for the watch and clockmaking business. In 1783 a patent was awarded to Benjamin Hanks, of Litchfield, Connecticut, to run fourteen years, for a self-winding clock. The Eli Terry preA'iously mentioned started at Plymouth, Con necticut, in 1793, and made his first clock with a brass dial, silver washed. His tall case clocks were very often sold without the cases, which were made by local cabinet makers or carpenters. East Windsor was another clockmaking town in Connecticut, and here Daniel Burnap carried on the manufacture of clocks with brass works. William Tenny also began at an early date to make clocks with brass Avorks, and he Avas established at Nine Corners, Dutchess County, New York. Eli Terry's earliest clocks Avere made with wooden works and long cases with royal pendulums. A clock was an expensive item in those days, the prices ranging from $18 to $48 and $70. The highest priced ones had brass faces and works, and a dial for the seconds, the moon's phases, and a fine 227 :« THE COLLECTOR'S MANUAL AA'ooden case. The distribution of clocks during these stage-coach days was intrusted to pedlars, who carried them into even remote regions. This was the reason why many of them Avere sold Avithout cases, as they Avere too bulky to carry great distances. Some of the best knoAATi clockmakers prior to 1800 were Daniel Burnap, James Harrison, Silas Merriam, Thomas Harland, and Timothy Peck. During the next fifteen years the number of clockmakers increased rapidly, and Seth Thomas, the Willards, Silas Hoadley, Herman Clark, and Asa Hopkins were Avell-known manufacturers. It Avas Terry Avho im'ented the mantel or " short shelf clock," as it was called, in 1814. The pendulum Avas shortened, the Aveights made smaller and run on each side, and the works placed in a more com pact form. At first the Avorks of these clocks Avere Avooden ; but AA'hen rolled brass was im'ented, and Avheels could be struck out Avith machinery and the teeth after- Avard cut, also by machine, it became less expensive to make the brass clocks than the Avooden ; but this was not till about 1837. In Figure 253 is shown a very handsome mantel clock, made Avith brass Avorks AA'hich run eight days, and in an unusually choice roseAA'Ood case. The two sets of doors Avith paintings on them is not a common feature, and AA'ith the side pillars of polished Avood with their large brass tops it makes a fine example of this style of clock. The pictures, although not named, seem to be a ATieAV of Mount Vernon and the " Constitution and Guerriere," both of them faA'Ourite subjects for patriotic 228 ,C3 OLD-FASHIONED TIMEPIECES Americans. One of the best known names among the clockmaking fraternity during the first half of the nineteenth century Avas Willard, and they manufac tured a style of clock which was generally called by their name, the term " banjo " being of comparatively recent origin. The Willards, for there were four of them at least, — Simon, Aaron, Benjamin, and Simon, junior, — Avere natives of New England, and Benjamin, Avho had workshops at Roxbury, Boston, and Grafton, took out patents for his inventions as early as 1802. Terry was a great rival of the Willards, and increased his business by using water-poAver, so that he flooded the market with clocks, and the price went down to $10. This was in the year 1807, Avhen Terry made five hundred clocks. In 1814 he introduced the short shelf clock or mantel clock, of which another variety is shown in Figure 254. In this example the wood is richly carved and has an eagle on the top, a fitting emblem to go with the portrait beloAV, which is a much finer painting on glass than is usually met with, and to which the photograph does not do justice. Inside the case of this clock is pasted a paper which reads as follows: PATENT CLOCKS. Patented by Eli Terry And made and sold by Seth Thomas, Rristol, Conn. Warranted if well used. :W8 THE COLLECTOR'S MANUAL «> take as Ave think who would like so much to knoAV just hoAV old our treasures are. Another style of paper runs like this: Patent clocks invented by Eli Terry, Plymouth, Conn. Warranted if well used. N. B. — The public may be assured that this kind of clock will run as long Avithout repairs and be as durable and accurate for keeping time as any kind of clock whatever. A Willard or " banjo " clock is shown in Figure 255. The case is mahogany with inlay of satinwood round the door. The ornaments on top and sides are brass, the face is covered Avith a convex glass, and there is but one keyhole, these clocks generally being made without a striking attachment. Another and very similar clock is shoAvn in the next illustration, Figure 256, and this one has on the lower part of the case the name Willard. It also has but one Avinding hole, and is part of the Waters collection at Salem, Massachusetts. There are many of these clocks to be had; and so well were they made that even yet they are admirable timekeepers. The very fine clock which is shoAvn in the next illus tration, Figure 257, seems a variation of the banjo design, and this case is also mahogany, handsomely carved. There is no name of the maker on the clock, but inside the door is a record of repairs. The first of these is dated 1808, showing that the clock must haA'e been made some years previously. It has a striking as well 230 Fig. 253 Mantel Clock Fig. 254 Mantel Clock Fig. 255 Banjo Clock Fig. 256 "Willard" Clock Fig. 257 Ly-re Clock OLD-FASHIONED TIMEPIECES J „— . I as a winding keyhole. It tends somewhat tOAvards the lyre shape which was so much affected by Sheraton in his chair backs, and may have been made about 1800. Another clock, probably of the same period, is shown in the next Figure, 258. It has a fine mahogany case Avith Empire decorations on it in gilt. The large dial is clearly marked, and there is but one winding hole. It has an uncommonly long pendulum for a clock of this style, but keeps excellent time. In Figure 259 is shoAvn an odd clock, made by the Forestville Manufacturing Company, of Bristol, Con necticut. It has a rosewood case, and is even more " banjo " than the banjo clocks of the Willards. It has a A'iew of the Merchants' Exchange, Philadelphia, which AA'as probably taken from one of Child's engrav ings, published in 1829. The dial is very clear, and there is handsome inlay on the upper part of the case. It has brass works, an eight-day movement, and the posts which support the case are tipped with a carved acorn, making in all a very handsome and unique clock. A quaint little clock in an inlaid case, Avhich is about a hundred years old, is shown in Figure 260. It is of SavIss manufacture, has brass Avorks, and keeps time perfectly. It strikes not only at the hour but at the quarter-hour divisions, all except the hours being given in tAvo tones. Like the older bracket clocks it has little screens at the sides to allow the sound to escape, and, as may be seen, it has quite ornate hour and minute hands. There are to be found, also, in various parts of the country, French clocks of elegant design and workman- 231 THE COLLECTOR'S MANUAL ship. Many of these are covered with glass shades to protect them from the dust, and most of them are inlaid or have elaborate carA'ed or alabaster pillars and fine gilt mounts. A very splendid example is given in Figure 261, and the clock has an interesting history. At first sight the eagle at the top Avould seem to indicate that the clock Avas for an American, but this is not a Republican but an Imperial eagle. The clock belonged to Jerome Bonaparte, and was brought by him to this country Avhen he came in 1803. After these many years the clock is to be found at the rooms of the Antiquarian Society in Concord, Massachusetts, AA'here it is sur rounded by other relics of equal age but more demo cratic extraction. The Empire clock shown in Figure 262 is almost a finer specimen than the one Avhich belonged to Jerome Bonaparte. It is certainly in better proportion. As you may see, this one is still filling its function, the cloud about the pendulum showing that it was in motion when the picture Avas being taken. The alabaster columns are very ornamental, and all the brass work is of the highest order. Sometimes the pendulums of these clocks AA'ere in the form of a many-pointed star, and in addition Avere finely engraA'ed. America, as I have said already, has done much for the improA'ement of timepieces. And one can but smile at our eagerness to excel as far as in us lies. We cannot have the oldest things in the Avorld, but we can have the biggest, and we do. For many years the clock Avith the largest faces in the Avorld Avas that in the Westminster 232 ¦\43L. ~«ak- -*4?U '**. E-"**^ 5*" '*«!$ _ Fig. 260 Swiss Clock Fig. 261 Bonaparte's Clock Fig. 262 Empire Clock X — DESKS AND SECRETARIES BEFORE the invention of printing (about the last half of the fourteenth century) books of eA'ery kind — school-books, medical and cook ing receipts, as well as all public and private documents — Avere Avritten by hand. The copyist was a man of importance, avIio had a lucrative employment. EA'en the monasteries had an office, called a " scrip torium," where missals, prayer-books, and other holy Avorks Avere copied and illuminated; and from these Avorks a substantial income was received, since no docu ment or volume was approved unless it had ornamented or decorative initials and capitals. This work was done upon tables or standing-desks attached to the wall, while in private houses there were few enough of even such conA-eniences. In 1459 Margaret Paston, of NorAvich, England, was haA'ing her husband's room rearranged during his absence, according to his directions. She writes to him about it, saying, " I have taken the measure in the drawte chamber there, as ye would your coffers and your cowsatevrery (desk) should be set for the while, and there is no space beside the bed for to sett both your board and coffers there, and have space to go and sit beside." 234 DESKS AND SECRETARIES mm This desk seems to have been in the nature of a table, but the conmion desk of an early period was a small box which locked and could be carried about when trav elling. We can imagine that the earliest comers to this country did not hamper themselves much by bringing even such simple affairs as these, though, in addition to their being used for AA'riting on, they were called on as strong boxes for papers and gold, and in many cases Avere furnished with a till. The greatest treasure they were used to protect was a copy of the Bible, and they were often called " Bible boxes " from this fact. One of these old boxes, made of native oak, carved in Ioav relief in a pattern of tulips, is shoAvn in Figure 263; the lid, AA'hich is of deal, has but a moderate slant, and the box contains a till. It is not dated, but belongs to a period betAveen 1650 and 1675. Another of these rare old Bible boxes is seen in Figure 264. This has a slanting lid, is made of oak, and has rude carving on the front and base. It is dated 1651, and has the initials of its OAA'ner, A. W., on the centre of the front. The old iron hinges sIioav on the top, and, in vieAV of its age, the box is in an excellent state of repair. This box is tAventy inches long and thirteen inches high. It once had a small shelf at the back. The term " desk " occurs with extreme rarity in the old inventories, and eA-en so refers to these box-like desks with either a flat or sloping top. By 1700 writing- tables were in use in Europe, and the French " scrutor," as it was most often called, began to be found OA'er here. 235 ®®/A THE COLLECTOR'S MANUAL The combination of draAvers AA'ith a desk top was one of the early forms taken by this useful piece of furni ture, and by as early as 1710 such desks Avere found here, both of domestic and foreign make. When Ave take into consideration the activity of every maker and designer of furniture to publish a book con taining his ideas, Ave are not surprised that so many pieces resembling English Avork are to be found here, and were the product of our natire cabinet-makers. As early as 1739 works more or less A'aluable AA-ere being constantly presented to the public, and perhaps Wil liam Jones, when he published his " Gentleman's or Builder's Companion," in 1739, could call liimself the pioneer in this line, in England. I am tempted to give the titles of some of the most valuable of these English books since I haA-e received inquiries Avhere such may be found. Not in this country, except in some cases as reprints, save in the cabinet of the collector of rare Avorks. Yet some may be stowed away, their value quite unappreciated. An undated but early volume was brought out by the Society of Upholsterers and Cabinetmakers, and they called it by the high sounding title of " One Hundred New and Genteel Designs, being all the most approved Patterns of Household Furniture in the present Taste." Then came William Kent, who not only laid out the gardens of the nobility, but published a book in 1744 in which be discussed furniture, and gave designs for tables, chairs, candlesticks, and mirror frames, and even for styles in dress. In 1750 William Halfpenny pub- . i Fig. 263 Flat-top Bible Box Fig. 264 Slant-top Bible Box Fig. 265 Slant-top Desk Fig. 266 Slant-top Desk, AValnut DESKS and secretaries lished his " NeAv Designs for Chinese Temples, etc.," Avhich meant summer-houses in Chinese taste, and Avhich book also gaA'e his ideas on furniture. Then appeared Chippendale's first edition of " The Gentleman and Cabinetmaker's Director, being a large Collection of the Most Elegant and Useful Designs of Household Furniture in the Gothic, Chinese, and Modern Taste." This edition Avas published in 1754, and there was an other edition in 1759, and a third in 1762. Thomas Johnson, a carver, came next AA'ith designs for picture frames, candelabra, ceilings, clock-cases, etc., which came out first in parts, and then was bound up. This Avas in 1758. In 1761 he published another book, called " One Hundred and Fifty New Designs," many of which were wildly rococo. Copeland and Lock brought out sets of plates and some small publications betAA'een 1752 and 1769. " A New Book of Pier Frames, Ovals, Girandoles, Tables," was brought out in 1769 by Matthias Lock, and has in it many of the long-billed birds Avhich Ave are so prone to call Chippendale. EdAvards and Darley made their contribution in 1754, and Robert MainAvaring, in 1765, published Avhat he AA-as pleased to call " The Cabinet and Chairmaker's Real Friend and Companion." Main- waring, although his name has no importance now, exerted quite an influence upon the cabinet-makers of his day, and his book had a large sale. While the charge is brought against him that he copied from Chippen dale, it might be more just to say that they both drew from the same sources, but that Chippendale impiwed 237 THE COLLECTOR'S MANUAL on his models, Avhile Mainwaring but accentuated their faults. Ince and Mayhew, about 1770, gave to the world " The Universal System of Household Furniture," Avhich was more florid than Chippendale's most fanciful designs. Their book contained three hundred designs. N. Wallis, 1772, published "The Complete Modern Joiner"; Thomas Crunden, 1765, "The Joyner and Cabinetmaker's Darling," 1770, " The Carpenter's Companion for Chinese Railings and Gates," 1776, " The Chimney-piece Maker's Daily Assistant." Hepplewhite and Thomas Shearer Avith some others brought out in 1788, " The Cabinetmaker's London Book of Prices," and Hepplewhite and, after him, his widow brought out, " The Cabinetmaker and Uphol sterer's Guide or Repository of Designs for every Article of Household Furniture." There were editions in 1788-1789 and 1794. Last of all came Thomas Sheraton, the most refined of all the great makers and designers. His books Avere called, " The Cabinetmaker and Upholsterer's DraAA'ing-book " published, 1791, 1793, 1794. The " Cabinet Dictionary " came out in 1803, and the " Cabinetmaker, Upholsterer, and Gen eral Artists' Encyclopaedia," from 1804 to 1807. Books dealing with the subject of cabinet-making and joinery were published late in the eighteenth century, by William Pain. Some of them were, " The British Pal- ladio," "The Carpenter's Pocket Dictionary," "The Carpenter's and Joiner's Repository." There Avere also several others. 238 &.*•>. * •£» DESKS AND SECRETARIES Robert and James Adam also belong to this period, and though their avoAved calling was that of Architec ture, the " Adam Style," as it was called, had a great influence on furniture makers of the time. For their OAvn houses and those that they remodelled, the Adams designed the furniture. This family was a great factor throughout the entire eighteenth century. The father, William Adam, designed and remodelled many Scottish mansions, for he was known by the high-sounding title of " Master Mason of Scotland." His four sons fol- loAved his profession, and of these the best known and most distinguished were Robert and James. Their most important books were " Works in Architecture by Robert and James Adam, Squires," Avhich came out in parts from 1773 till 1778. To them we are indebted for the introduction of satinwood as a material for furniture and inlaying, and for a certain classical style of orna ment which they rendered in a purer form than their contemporaries. They used in their ornaments octagons, ovals, hexagons, rounds, lozenge-shaped panels, husks, fans, sphinx, Greek and Roman vases, wreaths, honey suckle, medallions with figures, festoons, fauns, goats, cupids, eagle-headed figures, drapery, ribbon-work, caryatides, mythological subjects, rams' heads, lions' and eagles' chaws for feet, griffins, sea-horses, Greek and Roman pateraas, and draped figures. From this it Avill be seen how they drew on every kingdom for their purposes, and Iioav they used not only their OAvn finds, but adapted the finds of others. Michael Angelo Pergolesi produced a work on " Deco- 239 THE COLLECTOR'S MANUAL mm ration," which also shoAved many furniture designs, and he AA'as distinguished for the exquisite decorations which he painted on such furniture as the Adam brothers de signed. He dedicated his book in the folloAving high- sounding terms: " To the Memory of the Late Most High and Puissant Prince, Hugh Percy, Duke of Northumberland, avIio Avas a Patron of the Arts, and to whose Virtues this work is Dedicated by His Most Grateful and Humble Servant." The book contains over seventy large pages of the most exquisite and dainty designs for ceilings, Avails, chimney-pieces, furni ture, frames, etc., and is a mine for those in search of beautiful ornament. In France also many books on furniture and decora tion were produced. These AA'ere brought to England, and from them the English makers dreAV many choice designs AA'hich they copied bodily or adapted to suit their customers. After such a list as this, it does not seem strange that we made good work. Among the illustra tions in these books one is rather surprised to find, com- parath'ely, so few desks and secretaries. Many pieces of furniture for strictly bedroom use, like dressing-tables and stands, have in them a draAver which is called a " furniture draAver," in the description. In this drawer, which was cut up into many compartments, were spaces for pens, ink, writing paper, pins, wax, Avafers and all the things which went to make up the AA'riting parapher nalia, before the days of the fountain pen. So much furniture, other than Avhat it appeared to be, Avas made during the eighteenth century that in many of them 240 DESKS AND SECRETARIES could be tucked what Avas needful to indite a billet-doux, or receipt a due bill. The combination of drawers and a desk top, AA'hich I have referred to before, is shown in Figure 265, and there are few such desks which do not contain some where one or more secret draAvers or receptacles. With the advent of safe deposit companies, and strong boxes AA'hich may be rented, the necessity for places to hide aAvay valuables becomes less each year. The novelist delights in placing love letters in these old secret draAvers, but such inflammable material Avas seldom placed there except by romantic souls, to whom such tokens Avere invaluable. In making these desks, mahogany Avas sometimes used, cherry Avas more com mon, and occasionally Avalnut desks are to be met AA'ith, but these are rare. A very plain walnut one is given in Figure 266, and is A'ery solid and substantial. It Avas made about the middle of the eighteenth century, or perhaps a little earlier, and the chair beside it is of about the same age. Another of mahogany is given (Figure 267), an interesting fact about it being the carved ball-and-claw legs. There are also a number of secret draAvers, some of them being concealed behind the pigeon-holes, and some beloAV the loAver row of drawers. This desk has a further claim to our notice from the fact that it once belonged to General Israel Putnam, and is iioav the property of Mr. George Ropes, of Salem, Massachusetts. By the middle of the eighteenth century reading and writing became less of an accomplishment and more of a 16 241 THE COLLECTOR'S MANUAL necessity, and the number of desks rapidly increased. Writing appliances AArere also fitted in bureaus; some times one draAA-er opened out into a desk, sometimes only a section of it let down, forming a small shelf with draAvers behind. Many cabinet-makers indulged their oaati fancies in making desks. One of these odd shajies is shoAvn in Figure 268, AA'here the desk is shoAvn closed; the whole front above the long drawer is a solid piece of wood, with the tAvo borders at the side. When in use for writing, this top is supported by tAvo rests which draw out for that purpose. In Figure 269 the desk is shown open; all the draAvers are of curly maple, AA'hile several of them still retain the old brass knobs. The handles on the long draAver at the bottom are neAv and too modern in design. This draAA-er has a panel of the maple, and a band around it of the mahogany. The desk is at the Whipple House, at IpsAA-ich, Massachu setts, that valuable repository of so many Colonial relics. Very pretty little AA-riting-tables AA-ere made for ladies' use, AA-ith tops which folded up, or opened out and Avere supported on rests. They had tAvo draAvers beloAV, and looked much like the little Avork-tables that appeared about the same time. In fact the branch of cabinet-making which related to ladies' desks AA'as one of considerable interest. Shera ton made many of them, and in his books are designs for many more. A pretty and characteristic specimen of this maker is shovm in Figure 270, the Avoods composing it are maple and satimvood. Little draAA'ers are con- 242 4?m Fig. 267 General Putnam's Desk ' ' ~ \) w l 1 Fig. 268 Desk on Legs, Closed Fig. 269 Desk on Legs, Open DESKS AND SECRETARIES cealed behind the doors, and compartments in the lower draAvers are for the necessary implements. I haA'e spoken of the fact that much of the furniture of the late eighteenth century was other than what it appeared. Under this head I give a description taken from Sheraton's book, of a " Lady's Cabinet Dressing Table." This piece is not inappropriate here, as it has writing materials also in it: " This table contains every requisite for a lady to dress at. The style of finishing them is somewhat neat and elegant. With respect to the manufacturing part, and what it contains, these may be learned from the piece itself when open. When the washing-drawer is in, a slider which is above it may be drawn out to write on. The ink and stand are in the right-hand drawer under the centre dressing-glass. Behind the drapery, which is tacked to a rabbet, and fringed or gimped to cover the nails, is a shelf on which may stand any vessel to receive the dirty water. Above the drapery are tambour cupboards, one at each end and one in the middle. Above the tambour at each end are real drawers, Avhich are fitted up to hold every necessary article for dressing. The draAvers in the cabinet part are intended to hold all the ornaments of dress, as rings, drops, etc. Behind the centre glass is drapery ; it may be real to suit the portion below, or it may be painted to match. . . ." Such a little table as that giA'en in Figure 270 is recommended by Sheraton, as the lady AAriting may sit at it near the fire, from which the upper part screens her face. As may be seen the writing-shelf opens on hinges, and room for the knees is afforded by the por tion which is cut out. " Kidney Tables " for writing (" named on account of its resemblance to the intestine 243 JJr Vf v* THE COLLECTOR'S MANUAL parts of animals, so called," Sheraton says) were also made for writing at too, and so were some of the popular Pembroke tables, named from the lady who first de sired one of this pattern made for her. After the combination of table and desk, the next most desirable union of two articles in one, Avas that of desk and bookcase. All the pattern books show innu merable designs for these, from heaA'y and cumbrous pieces of furniture to such graceful and elegant pieces as that given in Figure 271 A. This piece belonged to Washington Allston, the Avell-knoAvn American painter, who died in 1843. It is a more than commonly hand some piece of furniture, decorated with both carving and inlay. The ball-and-claAv feet are carved on the knees, and there is a beautiful shell in the opening of the broken-arch cornice. The glassed door is in Gothic pattern, and many are the directions given for fluting or draping the silk which it Avas customary to put in these doors. All the pattern books give such directions down to the most minute point, for the benefit no doubt of country cabinet-makers, and such amateurs as cared to attempt it themselves. Sheraton used more veneer than Chippendale, since he used inlay Avhile Chippendale used carving, and his instructions regarding the use of it are very definite. He says, " If the A'eneer be A'ery cross and unpliable, as many curls of mahogany are, it is vain to attempt the hammer. It should be shrunk and tempered well Avith thin glue, not with water, and if necessary the caul, which is the surest and best method, should be used." 244 Fig. 270 Ladies' Writing-Taulk w* ¦3, W Wammm 11 H 'ig. 271a AVashington Allston's Desk Fig. 2716 Slant-top Desk, with Serpentine Front DESKS AND SECRETARIES By 1780 there Avere cabinet-makers all about the country, turning out numbers of not only useful but ornamental articles. In 1774 the following advertise ment appeared in the " New York Gazette and Weekly Mercury ": Mahogany Furniture. 3 elegant desks and bookcases. 1 chest upon chest of drawers. 1 lady's dressing-chest and bookcase. 3 desks and 1 pr. card tables. 2 setts chairs. 3 Dining-tables and 5 breakfast tables. 1 clock case furnished with a good plain 8-day clock. Sundry stands, etc. The above articles are well made, and most of them are of wood of the first quality, and will be sold as low as any furniture of equal value in the city, by WlLLET AND BeRASEY, Cabinet and chair makers, at the sign of the clothes press, nearly opposite the Oswego Market, at the end of Maiden Lane. There were made at this time, also, desks and bureaus with Avhat were called block and serpentine fronts. Fig ure 271 B shows a fine example of a slant-top desk with a serpentine front. The block-front furniture was finished off square on the swelling part instead of rounded, but both block and serpentine draAvers were cut from the solid block of wood. This fine piece of mahogany has the original brasses, only one handle being gone. It has the moulding in its simplest form about the drawers, and handsomely carved feet of the ball-and- claw pattern. It has a more quaint aspect in reality than is given by the photograph. This style of desk 245 9 THE COLLECTOR'S MANUAL seems to have been quite popular in NeAv England, and in the Antiquarian Rooms, at Concord, Massachusetts, is a similar desk, made by Joseph Hosmer about 1765. It is of cherry and is in an excellent state of preserva tion, but is less handsome in colour than the one I show, which is in the Whipple House, at IpsAvich. I have seen also some desks of this pattern richly inlaid in satinwood, with spread eagles, and sometimes Avith initials or a monogram. Floral forms are used too, and the Avork appears to haA'e been done here, or at any rate in England, and leaned rather to the Italian style than to the close-set Dutch patterns. In a feAV cases I have seen combined on the same piece both inlaid work and painting, but I considered the painting an after thought, and that it was not put on when the piece Avas made. Sometimes it may have been added by the daughter of the house, fresh home from a finishing school, Avhere " painting on tiles, in the SAveetest of styles," was one of the most popular branches of " female academies." After a time some of these desks AA'ere fitted with bookcase tops. Such a one is given in Figure 272, its unusual feature being that the doors are fitted Avith wooden panels instead of glass. Another one is shoAvn in the next figure, 273, the desk open to shoAv the fine Avorkmanship. This book case Avhich was made between 1730 and 1760, is eight feet six inches high, and must have been made for a house of consequence, OAving to its great size. The bookcases Avere not dwarfed by the beds and clocks shown in previous chapters. 246 Fig. 272 Bookcase and Desk Fig. 273 Bookcase and Desk Fig. 274 Desk with Glass Doors Fig. 275 Sheraton Desk Fig. 276 Sheraton Desk DESKS AND SECRETARIES A very elegant secretary, Avith glass doors in Gothic style, is sIioavii in Figure 274. It is made of solid mahog any, like its felloAVS already sIioavii, and in one of the secret draAvers is written the folloAving inscription: " This secretary originally belonged to a family named Wil cox, of Worcester, England, and was brought to this country by one of the family in 1810, and was then about seventy-five years old, having been made between the years 1732 and 1738." Pasted on another drawer is still a second record of ownership : " Presented to my wife as a token of respect on my birthday of seventy years, March 16, 1881. " J. N. Bates, M.D." By some strange vicissitude of fate, this old desk AA-ound up in Worcester, Massachusetts, nearly 150 years after it was made in Worcester, England. General Washington was always on the alert to buy comforts and luxuries to make Mount Vernon more attractive. In 1774 (he was only Colonel then) he bought many goods from the splendid home of the Fair fax family on the Potomac. Owing to the decision of the family to remain in England, all their household goods at " Belvoir " were to be sold at auction. The list of Avhat Colonel Washington bought is still preserved. There Avere many items, chiefly of mahogany, — beds, tables, sideboards, etc., — and among them Avas one mahogany desk for which he paid £16 16s., a very high price, indeed, for those days. It AA'as at this desk, no doubt, that he Avrote those long letters containing such minute directions to his factors in London, regarding the business they transacted for him, and the goods they 247 THE COLLECTOR'S MANUAL purchased for him, including his and Mrs. Washington's clothes. In Figure 275 is shown a Sheraton desk, the lid of which is folded back and supported by rests. The three little doors at the top open, disclosing pigeon-holes and drawers, Avith two or three compartments artfully con cealed. The foot used on this desk is of the type known as " French foot," the outward curve giving it a more graceful appearance than when it came down straight with the edge of the desk, in which case it is known by the term " bracket foot," and is seen on many different styles of pieces, such as desks, bureaus, bookcases, etc. The desk of Salmon P. Chase, a plain piece of fur niture made from mahogany, is in one of the rooms of the Treasury Department at Washington. It was at this desk that some of the details of his financial system were Avorked out, and here he planned his first great loan to carry on the Civil War. There are many of these old desks scattered about the country, their chief claim to interest being that once some well-known man leaned over them. Alexan der Hamilton's travelling desk, made of mahogany and measuring twelve by sixteen inches, and ten inches high, is an interesting object to all who are familiar with the history of this great man. Upon this desk was written much of his literary work, and the worn green baize with which it is lined attests to the use to which it was put. There is a draAA-er in one side, and several com partments for pens and ink, while upon the top is inlaid a silver plate with the name " General Alexander Ham- 248 DESKS AND SECRETARIES ilton " engraved upon it. Within the top is a strip of parchment AA'hich says, " Given by Mrs. General Schuyler to her daughter, Mrs. General A. Hamilton." No doubt the convenient size Avas Avhat recommended it to the General. Nathaniel Hawthorne's desk is presen-ed at the Cus tom House, Salem, Massachusetts. A desk at AA'hich he AA-rote some of his inimitable romances Avas just a board standing out from the Avail at an angle. This is still in the ToAver Room at " Wayside," his home at Concord, Massachusetts. Victor Hugo had in his Guernsey home a study built almost entirely of glass, and perched upon the roof. Like HaAA'thorne he, too, stood at his AA'riting, and his desk Avas a mere shelf fastened by hinges to the Avail. But these Avere mere appliances for the com-enienee of genius. EA-ery-day people demanded and had some thing better adapted to their needs, and there Avere many bookcases and desks combined AA'hich were large and handsome pieces of furniture. Many tales could be told by these desks of use, then of abandonment, and of final resuscitation. Here is one said to be true, but the ending is not as it should be. For many years Mr. Samuel Tilden had, in his office in Nassau Street, a fine old AA-alnut desk AA-ith innumerable pigeon-holes and some secret draAvers of Avhich he never Avould confide the AA-bereabouts, nor Avould he tell if he hunted in spare moments for others. There was nothing remarkable about the desk, except that it AA'as a good one, and that it Avas adding to its 249 THE COLLECTOR'S MANUAL years of service by groAving still older under the con stant use of a famous man. After Mr. Tilden's death the desk, Avith some other pieces of his office furniture, was put in the loft of the office building and forgotten. As time Avent by the room in the loft was demanded, and the furniture was put in the cellar. Moving about and lack of care had not improved the looks of the desk, and though it was still staunch and strong it did not seem to be of much value, for noAV the roll-top desks had come to the front. One day even the room in the cellar Avas needed for vaults, and the furniture in the cellar, of AA'hich the desk was a part, had to be disposed of. The janitor not knowing just what to do in the matter at last had the poor old desk broken up and fed to the furnace, watching its destruction as the old walnut flamed high in the furnace. Years passed by, and the time came when old-fashioned things and the relics of famous men were much in demand. Still another year Avent past, when one day a note arrived from the former private secretary of Mr. Tilden, aaIio Avrote in behalf of the family that they Avere anxious to secure the old AA'alnut high-topped desk which had been used so many years by Mr. Tilden in his office. Would the janitor, so the letter ran, kindly get out the desk and ship it to them, after haA'ing it carefully crated? The family would of course pay all expenses. For a few moments the janitor was nonplussed. Then he gathered his wits about him, and remembered that another tenant of the building had had a desk some- DESKS AND SECRETARIES what resembling that of Mr. Tilden, AA'hich in its turn had been abandoned also. This Avas promptly crated and sent to Mr. Tilden's relatives. It Avas returned within a Aveek, for, you see, they kneAV the difference. With it came a letter, saying that they would give $250 for Mr. Tilden's desk. For a Aveek that janitor dreamed of seeing $250 slowly burning up in the fur nace! Then he Avrote and told his tale. There Avas some consolation, hoAvever, for they AATote again, asking if he had anything that was Mr. Tilden's. And he sent them an old pair of boots AA'hich had really belonged to Mr. Tilden, and had in some way escaped destruction. The return mail brought the janitor $50 in exchange. Another and rather pretty style of Sheraton desk is shoAA'n in the next Figure, 276. This has but three draAvers in the lower part, though they are small ones, and pigeon-holes behind the little doors. This desk has the ivory escutcheons which always were put on the best class of furniture, and a set of rosette and ring handles. The doors and drawers are veneered, but the writing-shelf is solid mahogany. There was another combination that seemed to please our ancestors A'ery much, if we may judge from the different forms Ave find it in, and that Avas the bureau and desk. I give one in Figure 277. This one is made of mahogany, and is a very handsome and solid piece of furniture. When it is closed it looks like a bureau Avith seven draAvers; but the middle draAver of the second set opens out, as you see. I have found similar desks of English, Dutch, and American make, the one 251 THE COLLECTOR'S MANUAL shoAA'n being English. I knoAV a Dutch one that is very handsome, as it is carved and inlaid in their beautiful fashion, and it has a third use as Avell, for the two tall drawers are partitioned off for bottles, each one being capable of holding six. Surely one object could not be expected to fill more purposes than this, AA'here your clothes could be kept cosily, your literary AA'ork dis patched, and a cellaret at your very elboAv. This Dutch bureau has a date, a most unusual thing to find on fur niture. On the back of one of the bottle draAA'ers, and only A'isible when the drawer is taken out, is a bit of paper pasted, giving the name of the maker, the town in Holland where he lived, and the year he made the bureau, 1789. I should place the bureau in Figure 277 at least ten years later, but a fine and interesting piece. Within the year I have seen five bureau desks of similar style, all gathered in central New York State. They are not common in the antique shops, Avhich make them even more desirable. Speaking about these deep side-drawers in both side boards and bureaus, Sheraton says : " The drawer on the left is generally plain, but sometimes divided into two portions, the back division being lined with baize to hold plates, having a cover hinged to enclose the whole. The front division is lined Avith lead, so that it may hold water to wash glasses, which may be made to take out, or have a plug-hole to let out the dirty water. The left-hand drawer is, however, sometimes made very short, to give place to a pot- cupboard behind, which opens by a door in the end of the side- 252 \\ 1 'V 1 "" II ^H Fig. 279 Writing Cabinet Fig. 280 Secretary Fig. 281 Bookcase-Desk AND SECRETARIES mm board or desk. This door is made to hide itself in the end rail as much as possible, both for look and secrecy ; for which reason a turn-buckle is not used, but a thumb-spring, which catches at the bottom of the door, and has a communication through the rail, so that by touch of the finger the door flies open, owing to the resistance of a common spring fixed to a rabbet which the door falls against. This cupboard can only be placed in these pieces of furniture Avhich are square at the ends." Another desk, somewhat on the order of the bureau- desk, is given in Figure 278. This I should call a side board-desk, for the deep drawer lets doAvn with a brass arm, and discloses a desk within, with its proper com plement of drawers and letter-holes. The date of this piece is doubtless about 1800, for it is a composite style, and I doubt not that it was made here. It has some very choice inlaid work, both about the mirror and the deep draAver, which the photograph does not reveal. There is good solid carving, too, but for all that the piece is not attracth-e. It is interesting simply as a rather unique specimen. Hoav much superior in elegance the next piece appears (Figure 279). This is a AA'riting cabinet on a Sheraton model, the upper part being designed for books, and the lower containing a desk and drawers. Obseiwe the handsome curA-es in the glassed doors, and the purity of the ornamentation on the top. This book case-desk is of mahogany, and in eA'ery way an admir able example. In Figure 280 is given one of the choicest specimens of massive construction shown. I do not think it is as old as many of the serpentine- front 253 THE COLLECTOR'S MANUAL pieces are, from the style of the interior fittings of the upper part. It is, no doubt, a product of the eighteenth century, hoAvever, and in splendid condition, the whole piece being of dark and solid mahogany, making the desk immensely heavy. The carved flames or torches on the top, the shells on the front of the desk and in the inside are finely done; and it is such a desk as you Avould expect to belong to one of those maritime princes whose ships roved every sea, bringing home to their OAvners in Salem the richest cargoes to be found. See the shelves for the great ledgers, wherein were entered the accounts of all the argosies which had come safely home; and think hoAV many times the owner, bending over the writing-shelf, must have entered the long col umns of pounds, shillings, and pence on the side of profit. About 1800, and a little later, AA'hat was knoAvn as the Empire style became fashionable, and Avas copied by both English and American cabinet-makers from French models. An American treatment of this style, Avhich Avas originated under the fostering genius of Napoleon, is seen in Figure 281, which shoAvs a large and handsome mahogany desk Avith bookcase combined. The combination of bookcase and desk, as I have said, had long been a favourite one; and though this book case is quite generous in size, those many sizes smaller would often be quite large enough to contain the limited number of books which answered for a library in Colonial days. Even the ministers had but a few volumes, and they were considered the scholars of the community. I had 254 Fig. 282 "Massachusetts" Desk Hif "I Il !¦'"' V: i 1 l^ESS^ d^^^^B' '? ] 1X1X1 |||oM< i. t| 1 HPMMMM^^^BMI^^H pca| 5 9 9 Fig. 283 Empire Desks DESKS AND SECRETARIES occasion lately to look over a collection of books which were considered fit and proper reading for both young and old, particularly on the Sabbath days, when time hung heaA'y on then- hands, and a few of the titles will gh'e a fair idea of the character of the library, quite typical of the period. Increase Mather's " Angela- graphia " (1696); "The Loving Invitation of Christ to the Aged, Middle-Aged, Youth and Children, from the mouth of Elizabeth Osborn, only Three Years and Nine Months Old "; Owen's " IndAvelling Sin "; Bax ter's " Call to the Unconverted "; Crawford's " Dying Doddridge on " Regeneration," Shots dard's " Safety of Appearing in ye Righteousness of Christ " are some of the solemn titles. There Avas nothing that came under the head of " light literature." I have spoken in the chapter on Chests and Cup boards of furniture made in particular locations, or at least found there, and have shown both the Hadley and the Connecticut chest. In Figure 282 I gh'e a picture of what is called the " Massachusetts desk," of Avhich, recently, I have seen seA'eral examples. It does not seem a very com'enient piece of furniture with that leg in the middle, but its great length must have made it possible for tAA'o persons to sit comfortably at it. This one is of mahogany, with carved legs and gilt mounts, and four shalloAV but wide drawers. A desk somewhat resembling this is in the City Hall, New York, and there are quite a number in Boston and its vicinity. 255 Stod- THE COLLECTOR'S MANUAL To return to the bookcase-desk in Figure 281. It is about eight feet high, and the Gothic treatment of the doors makes them very ornamental. One of the marked peculiarities of this style of furniture Avas the use of metal mounts, made usually of handsome hand-worked or cast brass, and in finer pieces, of AA-ater gilt. Our cabinet-makers never let themselves be carried away by this florid style, and contented themselves in most cases AA'ith merely making the capitals at the tops of the pillars, ornaments, and sometimes the tips of the feet of brass. You will see them in this example. The lid of the desk folds back upon itself, and aboA-e it another lid SAAings out, reA-ealing pigeon-holes. The quiet simplicity of this desk is in marked con trast to the superb pieces shoAA'n in Figure 283. Every one of the splendid gilt ornaments on tliese desks is worth careful study. There Avas only one man in England, and none here, aaIio could have designed such desks as these, and that Avas Thomas Hope, AA-hose studies in Greek and Roman antiquities enabled him almost to vie AA-ith the ancients in the beauty and grace of his figures. His book, called " Costumes of the Ancients," brought him great fame; it was published about 1807, and remains to this day a source of inspiration to those AA-hose taste leads them to antique models. When he designed furniture it Avas always after classical forms, and decorated AA-ith his incomparable figures and ornaments. While many of his designs AA-ere not comfortable to sit or recline upon, they were certainly very beautiful to the eye. 256 *r W "* *#m* mm DESKS AND SECRETARIES There are feAV such desks as these in this country, or in fact to be found anywhere, and I give these merely as examples of Avhat splendid furniture did find its Avay OA'er here. There are other desks also, dainty affairs if for ladies' use, standing on tall, slender legs, with sliding or " tam bour " tops, as they Avere called, and a Avealth of little draAA-ers and cupboards, both revealed and secret. I know of one such which has recently been brought doAvn from many years' seclusion in the attic, furbished up, and become the proud possession of a brand-neAV bride. But it lacks the elegance of olden days, for the modern cabinet-maker could not repair the tambour, an arrange ment of slender bits of wood which Avere so fixed that they Avere flexible — something like the modern roller- top desk. These pieces were and always are the rare exceptions ; and though they are occasionally found, they cannot be considered really representative of the furniture of our forefathers any more than the superb pieces shown in the last illustration. It must forever remain a matter of regret that the best makers did not in some way mark their produc tions. Even had they done so, the study Avould not haA'e proA'ed of surprising ease, since there would always haA'e been the fanciful maker Avho indulged his caprices, to cope Avith. With what delight we seize upon a piece which is dated, like one of the Bible boxes given early in this chapter; and Avith what regret AA-e leaA'e the unnamed and undated pieces as to Avhose exact time 17 257 THE COLLECTOR'S MANUAL mm of construction hardly tAvo people agree. In the study of French furniture, after the middle of the eighteenth century, the task became far simpler, for among sump tuary and other useless laAvs time Avas found to make an enactment which bade, in 1751, the maitre ebeniste to stamp all his Avork. In the great museums of France, Avhere many of the art treasures are gathered, there are also examples of furniture stamped AA'ith the maker's name ; and among the choicest are writing-tables, desks, and cabinets, all of the greatest beauty and elegance. Nothing AA'as spared to enhance the beauty of these gems of art; lacquer, water-gilt, inlays of tortoise-shell and coloured stones, — every fancy Avhich the ebeniste could summon Avas brought to his aid. It Avas the age of polite letter-writing and of diaries, and the memoirs from Avhich Ave glean so much of history, and even more entertaining gossip, Avas set doAA'n Avith a quill pen at some of these very dainty and costly secretaires. They are to be bought here noAV, but A'ery feAV came here a hundred years ago; so feAV that it Avas impos sible to find one of which the history Avas authentic of its being here when the nineteenth century opened. So the work of Riesener and of Boulle, of Cressent and of Caffieri has been omitted as being too scarce to be of importance in a book which deals Avith those house hold articles which Avere made or sold here, and Avhich could be found in our homes in general. o XI — OLD PEWTER THE almost complete disappearance of peAvter from the field of household utensils for a space of fifty years or more, and then the attempt to revive it recently for use in country houses, forms an interesting page in the history of antiques. It brings to the front again a set of articles AA'hich Avere graceful in shape and delightful in colour; and Avhich, in addition, Avere not so valuable as to tempt the cupidity of the burglar. It is not possible, in the limited space here given to go very deeply into the ancient history of pewter. It Avas used by the Romans during their occupancy of England; and some of their old seals have been found within the past few years in certain places in England, and melted up by tinkers for solder, a desecration which it is marvellous no one attempted to stop. In fact the presence of mines of tin and of lead are held responsible for bringing to the shores of Britain the Phoenician trader, and had much to do with the Roman occu pation of this island. For use at home the Romans transported A'ast quantities of tin from Cornwall, and France got her share as Avell as Holland. China, Japan, Italy, Holland, Germany, France, and Eng land were all Avorkers in this metal, and the Oriental 259 THE COLLECTOR'S MANUAL treatment of it Avas extremely ornamental. In the " Old PeAvter Book " it has been possible to sIioav examples of these works, but in this chapter I shall confine myself chiefly to pieces made in England and a few made on the Continent. The composition of English peAvter contained differ ent proportions of tin and other metals, the use for which the object AA'as intended governing the amount of lead used. For instance, the highest quality of " Plate PeAA'ter " contained no lead at all, but 100 parts of tin, 8 of antimoiry, and 4 of copper. On the other hand, " Ley Metal," the cheapest and commonest kind, contained 80 % of tin and 20 % of lead. All the other qualities, and there AA'ere many, lay betAveen these tAvo extremes. Common peAA'ter, or " Trifle," from which small objects and toys AA'ere made, contained 82 % of tin and 18 % of antimony. The metal used for salts and ewers was composed of 90 % of tin and 10 % of lead. Tin alone is not so durable or ductile as lead; and Avhen the two metals are combined they will not shrink so greatly as either taken by itself. This shrinking is a quality which has to be considered Avhen the article to be made has to be cast in a mould. The fusibility of peAA'ter made it of great use to goldsmiths in taking the casts of medals or other small articles Avhich they desired their customers to approve before the final casting of the object in gold, silver, or bronze. The best quality of early pewter Avas made of tin, with as much brass as it could take up, the proportion 260 OLD PEWTER being about one to four. This quality, which was known as " fine," Avas used for many small and choice articles, as Avell as chargers and church vessels. A less fine quality, in which the proportion was also four to one, consisted of tin and lead; and in this were made candlesticks, boAA'ls, and pots. All public house vessels, such as mugs and tankards, had a still greater amount of lead in them, and Avere often called " black metal," since they tarnished so easily. The method of making pewter has ahvays been the same; and upon the nature of the object depended Avhether it Avas cast, hammered, or both, and then put upon a lathe and burnished. The first things that a AA'ould-be peAvterer had to acquire was a set of moulds; and these being made of gun-metal were very costly and out of the reach of many. So, very early, the peAvterers came together into guilds or companies; and they oAvned in common sets of moulds which were loaned to the members without charge, as was the cus tom in York, England, or Avere rented for a small charge, as Avas the usage in most of the English towns. Not only was gun-metal used for moulds, but plaster- of-paris, AA'ood, iron, and sand, even, were used. If possible the article AA'as cast in one piece; and this AA'as the case AA'ith such small articles as spoons, salts, porringers, and bleeding-dishes, tasters, etc. When tankards or large eAvers with bulging sides were made it became necessary to cast them in pieces, solder them together, and then finish them off; but in such pieces the joints are nearly ahvays visible. Handles of all 261 THE COLLECTOR'S MANUAL descriptions were generally soldered on. though in the case of small " eared " dishes, as the porringers were called, it AA-as forbidden by the rules of the guild to solder them on; and those aaIio Avere detected in this practice AA'ere fined and reprimanded. Not many tools Avere needed in this trade, and none of them Avere intricate or A'ery costly. After the moulds, in order of importance came the lathe, the motive poAver of Avhich Avas a boy or man knoAvn as a " turn-wheel," Avhile the parts of the lathe Avere a head-stock, tail- stock, and simple mandrel. " The Worshipful Com pany of PeAvterers " in England go back as far as 1348 in their records. The French had societies eA-en earlier, since in 1295 Lyons AA-as famous for the quality and character of her peAvter ware; and by 1300 there Avere many famous men at work in Paris avIio furnished royalty with their necessary kitchen equipment. In England there Avas less precious metal and more peAvter even among the high and mighty in the land. In both countries the peAA-ter Avorkmen Avere divided into classes AA'hich Avere known as " HolloAv-Avare " men, aaIio made pots and A-essels for liquids, " Sad-AA-are " men, aa-Iio made plates and chargers (large platters), and " Triflers," aa-Iio made the little objects like salts, medals, beggars' tokens, and toys. Plates and saucers, to be up to the regulations of the guild, AA-ere to be hammered, and you will find the mallet marks on the under side. The demand for peAvter vessels, Avhich croAvded out those of Avood and born, and AA'hich in their turn have been displaced by pottery and porcelain, greAv apace. 262 As early as 1474 the marking of pewter to sIioav it was up to the proper standard of purity began, and that which was tested and found beloAV this was marked with a broad, arrow, and consigned to the melting-pot, in which it had to be united with neAv metal and recast. All the great prelates had prodigious stores of pewter, jugs, basins, tankards, measures, candlesticks, mugs, and salts. The table peAA'ter came in what Avere knoAvn as " garnishes," and which consisted of " 12 platters, 12 dishes, 12 saucers; and fashion, or else Avith broad or narrow brims and bought by the pound, which is iioav valued at seA-enpence or peradventure at eigbtpence." This is AA-hat Harrison wrote in 1557, concerning what AA-as found on the tables of the middle classes. As may be inferred, peAA-ter uten sils Avere pretty Avell distributed OA-er the kingdom AA'here, a century before, they had been confined to the houses of the wealthy. Mam- regulations as to the exact size and weight of the vessels Avere also framed by the " Wor shipful Company," and those that offended Avere heavily fined, in some cases being debarred from the prh-ileges of the company. The " touch-mark," as it was called, Avas another method used to keep up the high quality of peAA'ter; and in 1564 the rose and crown bad become so AA'ell known and important a mark that the following rule AA'as framed regarding it. •' Also it is agreed that euery one of the saide felowship that makith any warre shall set his owne marke thereon. And that no man shall geue for his proper marck or touch, the Rose and crown wt lettrs or otherwise, but only to whome it is geuen by 263 THE COLLECTOR'S MANUAL the felowship. Nor that no man of the saide Craft shall geue one anothers marck nother wth lettrs nor otherwise, but euery one to geue a sondry marck such one as shalbe alowed by the maister and wardens for the tyme beinge vpon payne of for- faite and paye for euery tyme offendinge to the Crafte's box xiijs. iiijd." The peAvterers tried hard to keep all the business in their OAvn hands and preA'ent the sale of goods by haAA'kers. Any member who sold ware to pedlars or hawkers Avas to be fined five pounds, a large sum in those days; and in one or two cases Avhere a member of the guild was detected in this business his shop Avas closed, and he was not allowed to open it again. No other merchants were allowed to sell peAvter Avare in their shops, and eA'en the goldsmiths were enjoined from having it. When silver A'essels became more com mon the PeAvterers Company petitioned the king to prevent this, and to make all taverns and ordinaries, at least, use pewter vessels only. One great branch of the business Avas the putting of lids on pottery jugs; and in 1552 it Avas agreed that every Aveek the jugs so lidded should be brought in for inspection, and the mark of the pewterer should be put on the inside of the lid. Later this rule Avas altered, and it was set down that the maker's mark should be set on the outside of the lid, together with the guild mark. Apparently the maker did not have the privilege of marking his OAvn pots, for in 1553 it was ordered by the masters and Avardens of the company that John Curtys should have " ffor markyng of every dosyn of 264 OLD PEWTER stone potte Avhosesoever brought them to marck one ffarthing." A stoneAvare jug Avith a peAvter lid is shown in Figure 284; and although this one is of Delft pottery, the shape is similar to the English ones, and the tall, grace ful chalice beside it is of a later period, as is the bell, which Avas used in church ceremonial. Other pewter lids are shoAvn in the following Figure, 285, where, on an old mantelpiece is gathered a collection of objects suitable to their surroundings. Almost every household has tucked aAvay someAvhere, either " up-garret " or in the buttery, one or more pieces of old peAA'ter Avare — scarred A'eterans it is true, but none the less interesting on that account. It seems a long way to go back to that day Avhen Henry Hudson dropped the anchor of the Half Moon in lower NeAv York Bay in search of the first pewter brought to this country. Perhaps 1609 is a little early; yet I have no doubt that among the stores in that ship could have been found pewter plates, and peAvter tankards as Avell. It is a matter of history, hoAveA'er, that Director- General Wouter Van Twiller reached Manhattan Island in 1633; and one of his first acts, in order to make his people contented, Avas to erect a great breAvery, and " his colonists Avere neA'er so happy as AA'hen draining their huge peAvter tankards." So many other, though less durable, Avares have been made for our use and con venience that peAA'ter had rather lost caste. In Colonial days it Avas one of the most important household items. When the WidoAV Coytemore married John Winthrop in 265 T THE COLLECTOR'S MANUAL the Massachusetts Colony, she brought him " household stuff " valued at £640, her share of her first husband's estate. The inventory Avas long, and among its items is one of £135 Avorth of peAA'ter. When Governor Bradford died, also of the Plymouth Colony, he left, as specified in the inventory of his property, fourteen peAvter dishes, thirteen platters, three large and also three small plates, a candlestick, and a bottle. Peter Palfrey, of Salem, a man of substance in the town, gave in 1662 to his daughter Mary as a Avedding gift two pewter platters and an iron pot. Much peAvter was made in this country, and the inven tory of a Boston peAvterer who died in 1675 shows in his shop 2782 pounds of pewter. This with the dishes and " basons " already made was valued at £235 lis. 4>d. He had also for sale " alchemy spoons, spooning peAA'ter, tankards, milk-cans, warming-pans, kettles, skillets, frying-pans, cow-bells, and bellows." As late as 1750 a complete outfit of peAA'ter plates, dishes, and spoons Avas considered a lordly Avedding gift. Fortunate was the bride who possessed them. Most of the peAA'ter to be found in this country is extremely plain, gaining its charm from its solid sub stantial lines and charming gray colour. But some of the English and much of the Continental peAvter had decoration of one style or another, and one of the sim plest methods may be noted on the chalice in Figure 284. You Avill see that there are bands of incised lines in three places on the body of the chalice, and on the front a wreath of leaves surrounding a date and initials. 266 <> Fig. 284 Pewter Pot-lid Fig. 285 Pewter Collection Fig. 286 Engraved Pewter, German Fig. 287 Jewish Pewter Lamp OLD PEWTER J°g" This style of Avork Avas called " Avriggled " or gled " Avork, and was very common on the Continent. OAving to the nature of the alloy, engraved work wears off very quickly, since it has to be very lightly done, for deeply cut work weakens the Avare. The tool which is used to make patterns is in the nature of a chisel, the blades varying in length, the common size being about an inch wide. The tool is rocked or jogged along, forming a pat tern which is never of great delicacy ; and, although the Dutch and German peAA'terers seem to have the greatest fancy for it, you will find that it has been used in all countries. The Dutch used it on church vessels, long stories from the Bible and holy narrative being illus trated in it. For such purposes came special tools with blades as fine as a thirty-second of an inch; and the pattern was made out with dots in places where it AA'as not convenient to use the tool. Engraved work was also put on pewter, each stroke of the tool removing some of the alloy; and on some pieces both engraving and Avriggled Avork are combined. In Figure 286 some choice specimens of engraved work are shoAvn, and in the cases of the beaker and pitcher there is Avriggled work as Avell. These pieces are of German make, have elaborate coats of arms on them, and the boAvl is dated 1735. All three pieces have a rose and croAvn on them, Avhich emblems may be found on English, French, Dutch, German, and Scottish Avare, though it is customary to assign all ware so marked to THE COLLECTOR'S MANUAL and the punch or wriggling tool can be easily told. The latter is held in an upright position and then struck Avith a mallet. This raises a ridge on either side of the pat tern, while in engraA-ing the peAA'ter is remoA-ed. When modelled and finished AA'ith engraA-ing tools peAvter may be made A'ery rich and elegant, as may be seen from the beautiful old JeAvish lamp shown in Figure 287. This lamp has eight little buckets for holding oil set on a small shelf. There Avere tAA'o others, larger, one of AA'hich is missing, at the sides. Observe the beauty of the figures in Ioav relief on the top, and the form of the pomegranate floAver in engraA'ed and Avriggled work on the plain space. Tavo other pieces are shoAvn Avith figures in the next Figure, 288, and these AA-ere also for religious purposes, being Benitiers, or Holy-water cups. You may find cups hanging in Flemish churches now, perhaps of pevrter, more likely of china, but not many Avill be as charmingly modelled as these. Some times these cups hung at AA'ayside shrines; in the case of these shoAA'n the one object providing both cup and image, though some of them had a cross in place of the figures. Many elegant plates or chargers for use on cupboards were cast and then sharpened up with the engraA'ing tool. Such a charger is sIioaati in Figure 289. Har rison AATites, in his " Description of England," of the way the farmer set out his cupboard in imitation of the rich lord aaIio had his set AA-ith silver and Venice glass. The yeoman had to be content AA-ith less, and used peAA'ter 268 J I K- **5 ' ' *¥ K> k-Gft> ¦ Swill¦ \ fi IB' 1«1 Via 111 V 1 ' v T. \ - 1 ¦ 4 ¦ './ . :¦'¦ ; Fig. 288 Holy-water Cups Fig. 289 Ornamental Charger Fig. 290 Lead Garden Vase Fig. 291 Mantel with Pewter Decoration OLD PEWTER as rich as his purse Avould alloAV, polished to the bright ness of the costlier metal. Sometimes this raised Avork Avas punched out from the back and filled with lead so that it AA'ould not bend; sometimes it Avas cast solid. Saa-Iss Kaiserteller, as they Avere named, Avere A'ery ele gant pieces, shoAA'ing figures on horseback, knights and insignia, with rich and varied borders; but such pieces are generally museum specimens. Another use for pewter in its commoner form Avas for " garden ornaments," figures, vases, or urns, some of which Avere of very graceful and elegant shapes, and designed by such masters as the Adam Brothers, who put their skill to anything AA'hich could be made ornamental, not even the design for a reticule or a fan being too slight a thing for their notice. Many of the splendid old gardens in Italy and Eng land had these A'ases on pedestals, and one such, twenty- fh'e inches high, after Adam Brothers' design, is sIioaati in Figure 290. PeAvter Avas put to still another use by these same skilful men; and in the next Figure, 291, you may see Iioav rich a mantelpiece of AA'hite deal may look with a decoration of peAA'ter upon it. They used the classic shapes to which they AA-ere so Avedded, and the cold gray of the peAA-ter sIioavs out admirably against the Avood. I haA-e neA-er seen one of these mantels in this country, but many of them AA'ere taken out of houses about fifty years ago in England, and, luckily, some escaped the rubbish pile. As has been mentioned already, the composition of 269 MANUAL > peAA'ter varies greatly. The very finest pewter is simply tin hardened by the addition of copper and antimony. Ordinary pewter is tin alloyed with lead, which ingre dient is added on account of its cheapness, and is often, therefore, present in excessive amount. It Avas this lead Avhich made peAvter such a very valu able possession in Revolutionary days. All records of those hard-fought times haA'e frequent references to the scarcity of bullets. In 1777 Madam Smith, Avife of the minister at Sharon, Connecticut, invited all her friends and neighbours to come to spend the evening Avith her, and to bring eA'ery peAA'ter article with them which they could possibly spare. Before the evening had passed " several gallons of good bullets had been cheerfully run through bullet- moulds, the good ladies sacrificing Avithout a pang the much-prized pewter. This destruction of household utensils necessitated the making of others, so there were " trencher-bees " instituted, and held from house to house for many evenings. At these the young men of the village AA'hittled and shaped enough trenchers of maple and poplar wood to supply the houseAvives' needs. The women smoothed doAvn these rough Avooden ves sels with broken glass, and polished them Avitli a sand made of powdered limestone. Figure 292 shows Avhat AA'as called in old lists " a bason and ewer." Our wash-stand set, while evi dently much used in its day, is in a fine state of preser vation. It is a good-sized pitcher for those days, more than a gallon, even more than the blue 270 iJR U\m OLD PEWTER and Avhite Staffordshire pitchers, which were so highly esteemed a little later in the century. Writing about this ewer and basin some time ago, I mentioned the fact that it Avas the only one I had ever seen. I have since heard from the possessors of two others, one of them in the far West, who says that his AA'as brought there many years ago by Father Ravillac, a Jesuit priest. It was marked Thomas Boardman, London. Boardman was a well-known pewterer in the last half of the eighteenth century. Ewers this size — " guinea basons " Ave find them called in the pewterer's records — were a subject of much importance to the company. It was duly set doAvn just how much they should Aveigh, and AA-hat quality of peAvter should be used in them. But Avhile it Avas possible to hold the London craft up to the mark by means of " searches " (that is, sending the officers to look for unlaAvful pewter) and fines, it was impos sible to have the country members of the craft under control. For that reason they stinted the amount of tin, made the articles under AA-eight, and in 1726 a letter from Philadelphia Avas read complaining of the bad quality of the pewter sent to the Colonies from Bristol, England. Why there are not more of these " basons " and pitchers left it would be hard to say. Perhaps they were melted up, as AA'ere the utensils in Connecticut. It Avas not only the pewter in daily use which Avas put in the melting-pot, but every scrap which could be found. Sir John Johnson's house, Avhich is still standing in 271 J . I THE COLLECTOR'S MANUAL the Mohawk Valley, had in 1770 a roof of lead. This AA-as ripped off and found its Avay into bullets. So did the lead tablets set into monuments and gravestones. You will see some stones AA'ith the A'acant spaces left in the old graveyards in and near Boston. On July 9, 1776, the equestrian statue of George III, on BoAA'ling Green, NeAv York City, AA'as pulled down, sent to Con necticut and moulded, so the story runs, into forty-eight thousand bullets. Fortunately not all the peAvter was sacrificed to the god of Avar. Figure 293 shoAvs a kitchen dresser set out " Avith shining peAA'ter all aroAv." Such a complete set AA'as the end and aim of every good housekeeper. When the peAvter had been once gathered together the keeping of it bright was quite a serious matter. This duty fell to the children's share, and on Saturday morn ings they were sent bright and early to the meadoAvs for a supply of " horse-tail " or scouring-rush, stems of which polished the peAvter Avithout scratching it. The mothers kept an eye to the use of much " elbow- grease," and there AA'as no escaping for play till the task was Avell accomplished. There were more articles of peAA'ter than is ally supposed. Besides plates, platters, tankards, por ringers, spoons, pitchers, and basins there were buckles for shoe and knee, coffee-urns, hot-water dishes, lamps, and candlesticks. In Figure 294 is a variety of these articles. The coffee-urn is a solid old piece, and belonged to the grandfather of Ralph Waldo Emerson, Avho built 272 Fig. 292 Ewer and Basin J5L ioL Jf$i - ±__-. ... :._:...: '.' _. ^- ¦.. I ..,:...; Fig. 293 Collection of Pewtee Fig. 294 Emerson Coffee Urn Fig. 295 " Tappit-hens " Fig. 296 Pewter Spoon the " Old Manse " at Concord, Massachusetts, 1765. The owner of the coffee-urn AA-as a sturdy and loyal patriot, and Ave love to think he had a good strong cup of hot coffee before he went out on that historic 19th of April to encourage his parishioners to fight for their liberties and homes. The coffee-urn is a good piece in itself, for the lions' heads which hold the handles are clearly modelled. The tankard standing in the large trencher is what is known as a " tappit-hen." It is a Scotch piece, and they Avere generally sold three in a set. There is a very small one seen just in front of the urn. These " hens " are hard to find and rare. Recently I haA'e learned of two sets in this country. One of them, OAvned in Bangor, Maine, is shoAA-n in Figure 295. The smallest hen of all does not rightfully belong in the set, but probably from its size was used for hot milk or treacle. I Avas sorry to hear from the OAA'ner of this set that a portion of them had been buffed. It is a mistake to have your peAA-ter subjected to this process, as it takes off a portion of the surface, and removes those marks of time and Avear which no really antique peAA'ter should be Avithout. In fact, it is not pleasant to record that these sets of tappit-bens are being reproduced both in the country of their origin, Scotland, as Avell as in Belgium. They are being scratched and marred, and in some cases are buried for some months to obtain the proper degree of patina on them. Some are even eaten slightly with acids to give them a cor- 273 THE COLLECTOR'S MANUAL roded look. There is no limit makers of spurious goods. The Scotch pewterers generally marked their pieces, for all reputable makers belonged to the " Incorporation Hammermen," which included goldsmiths smiths, saddlers, cutlers, locksmiths, lorimers, armour ers, pewterers, and coppersmiths. This guild Avas incorporated as early as 1483, and in its records is the f ollowing : "December 24th, 1681. It is ordained by consent to ye hail brethren, that each member shall have one stamp of their owne and present ye same yor to ye house betwixt this and the 2d of February, to ye effect, everie one's work may be known, and that under ye pain of Three Pounds Scots per piece. Whereupon this act is made." The thistle is the distinguishing mark of Scotch pewter, which has in addition the smaller marks, like hall-marks, and sometimes the maker's name besides. NotAvithstanding the fine of " Three Pounds Scots," much peAvter is entirely unmarked, and one has to rely largely on its characteristic shape to identify it. The English tankard in the same Figure, 294, is the shape with which we are most familiar. The lid is cone-shaped, shoAA'ing that it Avas not one of the A'ery early pieces, in which case it Avould have been flat. The thick dish with handles is a nice piece. It is to be filled Avith hot Avater to keep a meal warm. A little slide in the top of the dish can be taken out, and slipped back when the under part is filled. A peAvter spoon lies beside it, and a gruel basin to the right. One of the 274 housekeeper's yearly duties Avas to mould a fresh supply of spoons. They were made of soft metal, and con sequently Avere easily broken or bent. Spoon moulds Avere metal affairs and not owned by every family. If one was possessed by a village the hardy pioneers thought it Avas ample. In a certain Massachusetts vil lage a family Avhose name began Avith L, to add a touch of elegance to their table furniture, had the spoon mould made with this initial in the die. It did very well for them, but the Avhole village also had their spoons marked " L," for they promptly borroAved the neAv mould the first time they needed to make " a running." Consider the confusion Avhich must haA'e ensued at every seAA'ing-bee or husking AA'hen individual possessions Avere to be sorted out! A peAA'ter spoon is given in Figure 296 and is a fine one. It is not home-made, nor very old, being made by Reed and Barton, a firm of NeAv York silversmiths, in 1823. FeAV old spoons are to be found, for they Avere so easily bent, at least the home-made ones, that they were among the first things cast into the melting-pot to be run OA'er. I haA-e some spoons, notably one of Belgian make, Avhich is remarkably stiff in the handle, but this is an unusually fine specimen. An amateur, av1io is a busy literary man, AA-rites me that he has been amusing himself with running peAvter spoons in an old mould Avhich somebody gave him. He has great diffi culty in arrh'ing at just the proper quality of metal to make them with any degree of stiffness, and some old spoons Avhich he sacrificed had in the handles a bit of 275 THE COLLECTOR'S MANUAL iron AA'hich gaA'e them the desired body. The formula for spooning pewter takes a large proportion of lead Avhich is the cause of the brittleness. I haA'e also an old home-made pewter spoon AA'hich came from Maine. I have neA'er been able to bring myself to use it, for I am quite sure that any strain on the handle Avould be fatal to it. A peAvter spoon does not seem a thing which Avould surA'ive centuries, even though buried in the mud of a rh'er bed. Yet within the last year one has been recovered from the Thames, at London, in a quite perfect condi tion. The handle of the spoon bears on the end the head of a Avoman Avith the head-dress AA'hich Avas Avorn in the time of Henry V, that is from 1413 to 1422. Three more spoons of this period are knoAAm; one is in the British Museum. The boAvl is what was called the " plover's egg " shape, larger at the end than at the place AA'here the handle joins the bowl. Nearly all peAA'ter spoons have what is called a rat-tail running up the back to ghe added strength, and the top of the handles A'aried as did the patterns of the silver spoons of cor responding periods. A unique piece of peAA'ter is shoAA'n in the next Figure, 297, and bears on the front the Avords " Mudge's In haler." It is in the nature of a trick mug, for the handle is IioIIoav Avith holes near the top, and if you do not put your finger over them, the liquid spills. The name of the maker is on the bottom, but inquiries at the number on Fleet Street haA-e failed to find the date of his being there, the tax rolls for the nineteenth century not bearing 276 Fig. 297 a Mudge's Inhaler Fig. 297 6 Base of Inhaler Fig. 298 Group of Pewter Fig- 299 Bowi.s and Boxes OLD PEWTER his name. It has had a strange history, this old mug, and at last Avas found on a rubbish pile by a collector aaIio adds to his gatherings all the things of interest which he meets Avith in his travels. It is a good piece, and a puzzle in more ways than one. Barnes is not a name to be found in the list of mas ters and Avardens given by Mr. Welch in his transcrip tion of the records of the PeAvterers Company, but there were many names of workers which did not appear therein. There are often names on old peAA'ter, and though in many cases it is nearly obliterated, there is often enough to enable one to piece it out. There Avas ToAvnsend and Compton, Avho Avere at Avork in 1750, and the Jacksons, father and son; Lucas Avas another familiar name, Fly and Thompson, 1740, John and William Fasson, Henry and John Appleton, Joseph and Samuel Barker, Bennett and Chapman, Thomas Board- man, 1746, and hundreds of others. These men, besides the rose and croAvn, added their own names and often a large X AA'hich denoted " best quality." Paris marks A-aried, sometimes an angel with the word " Paris " in a crown, more often a fleur-de-lis, and the inevitable croAvned rose all are to be found. The Brussels rose is six petalled, croAvned, and there is a fiffure of St. Michael and the Dragon in a beaded circle, and also a gothic B to be found too. Antwerp has the rose alone or croAA'ned, and an arm and hand. There is a large amount of Belgian peAA-ter to be found in this country, particularly near the early Dutch settlements. In Figure 298 AA-e show a Dutch tankard, dated 277 tJR THE COLLECTOR'S MANUAL 1747, and marked with the flying angel of Brussels. It is a handsome piece with an ornamental incised pattern, and a motto in Dutch on the front. An English hot- Avater kettle faces it, and between the tAvo is a small English creamer with a fine band of repousse work sur rounding the top. The little two-handled bowl is a rather unusual piece also, on account of the carved work in the bottom. The worn old plate at the top has a personal history of its OAvn which makes each scar and dent of extra value. It belonged to the Rev. Samuel Kirkland, who took up his residence about August 1, 1766, at Kanon- warohale, the chief village of the Oneida Indians, about twenty miles west of the MohaAvk River. Mr. Kirkland Avent as missionary to the Indians, and lived among and with them. He built a house for him self, " through constant and very hard labour," he Avrites, " digging the cellar, hewing and draAA'ing the timber with his own hands." He married Jerusha Bingham in September, 1769, and noAV deemed it expedient to enlarge his house, making it sixteen instead of ten feet square. By 1770 his salary had been raised to £130 a year, and he was able to buy a " sett " of pewter. Through all the Revo lutionary troubles he stayed among the Indians, endeav ouring to prevent their taking part in the war. During more than thirty years he laboured among them, his house being open to all the Indians who were constantly coming and going. It was no uncommon thing for him to feed sixty or seventy during a week, and his whole 278 o CD fJR OLD PEWTER salary was often devoured during a year in hospitality. Many a painted and feathered savage has eaten off this plate, AA'hich is greatly cherished by one of Mr. Kirk- land's descendants. The old neAvspapers of Colonial times furnish a good index of what were the manners and customs of the people at that time, and what Avere the articles in use. By 1777 NeAv York was filled AA'ith officers and soldiers, and apparently Avith a number of light-fingered gentry, as AA'ell. There are numberless adA'ertisements of lost articles, stolen goods, and many reAvards are offered and " no questions asked." This notice appears in several issues of the " NeAv York Mercury ": " Stolen out of a room, a small red leather trunk, with several small articles, two razors, a peAA'ter shaving-box with soap." I have recently heard from the OAAmers of two peAA'ter shaving mugs. In one case the mug has become a re ceptacle for buttons, Avhile in the other it is still intact in its red leather box Avith all the other fittings. In Figure 299 are two nice tasting boAvls (you rarely find these called porringers in any English list) and two covered boxes. For just AA'hat purpose the latter Avere used it would be hard to tell, unless it AA'as for soap. They are tAvisted, and so are the pieces in the next Figure (300), Avhich are old and interesting. This tAvisted effect was seen on very early pieces, particularly candlesticks, and was made about that period Avhich is called, Avith more or less inaccuracy, " Queen Anne." At any rate I haA'e seen candlesticks, made about 1700, 279 :» THE COLLECTOR'S MANUAL in this tAA'isted pattern, and, besides the twist, the objects themselves betray great age. The two salt cellars on either side of the jug are of the form and size common at that period, when a person's rank entitled him to sit above or below the salt. In the records of the PeAvterers Company are set down the prices for many different patterns of salts, from the " grete Staundyn Sault on BaAA'les " to those of smaller size and less weight. Besides all the A'aluable information concerning the methods of the pewterers in their work, these records tell much history, and give many glimpses into the ways of the times. For in stance, all the great guilds furnished service in time of war, did duty at all great city and civic festivals, and duly are set down in these books whatever was paid, even for such things as ribbons for the hats of the mem bers aaIio Avalked in procession, when Queen Anne Avent to church at St. Paul's to give thanks for the victory at Ramifies. Besides buckles and Avatch cases of peAA'ter, many buttons AA'ere made, and they had to frame a rule with regard to the quality of metal put into candle moulds. In 1703 Thomas Greener " appeared upon Sumons to this Court to give account of what metal he makes Candle Moulds. And declared he made them of a mix ture of Mettle something worse than pale, and that they may be better of fine. But that he has experienced that they cannot be made of Lay. Thereupon this court con sidering That the makeing of any neAv sort of Pewter Vessel or Ware of any sort of mettle than perfectly fine, 280 tm Fig. 300 Salts and Jug Fig. 301 Candle Moulds Fig. 302 Snuffers, Tray, and Sticks Fig. 303 Pewter Lamps -rv. OLD PEWTER or at the Assize of Lay maye be of a A'ery dangerous con sequence, and that there is great quantities of Candle Moulds noAv made of mettle worse than pale, though the same Moulds AA'ere made at first of fine PeAA'ter." In Figure 301 we shoAv some of these old moulds, for making two, four, or eight candles. The tubing part is made of peAA'ter, and A'ery rough and crude they are. Tavo candles made in similar moulds are shoAvn in Figure 302. The pewter sticks which hold them have seen long serA'ice. They were brought into this country by the Hite family, who were among the first settlers in the Valley of Virginia, about the year 1730. The snuffers and tray are of lighter and more orna mental make, and are probably of a later period. Some times these candlesticks are a straight column with a band of rude Avork around them. Queen Anne pattern has a straight stem, but it swells out into quite a bulge about the middle. People often inquire, " How shall I clean my old peAvter? " We cannot do better than recommend the good old method of scouring-rush and elboAV grease. If, hoAvever, the rushes are unobtainable, there are sub stitutes, but there is no Avay to get along Avithout abun dant rubbing. While some collectors prefer to alloAV their pieces to stay dull and discoloured, it was certainly not the way they looked when in use and proudly dis played in livery or court cupboard, or on a fine old Dutch Kas. Neglected peAvter AA-ill be found to be cor roded, or covered with a coat of oxidation. The removal 281 THE COLLECTOR'S MANUAL of this is sIoav, and must be accomplished by patient, hard scrubbing with a hard brush, and plenty of hot Avater and soap. The addition of soda, borax, or am monia Avill help someAA'hat, but hot soap and water Avill do, and is less hard on the hands. When this crust of dirt is somewhat loosened, AA-ith a Avoollen cloth, kerosene, and any good metal polish, rub and rub, and then rub some more. When your arms are rested begin and rub again, and gradually in spots and lines the silvery sur face AA'ill appear, s1oaa-1v broadening as you work on. Of course, specimens AA'hich have not been cleaned in years will be the only ones requiring such labour, and AA'hen once bright can easily be kept so. A final brilliant polish can be given by whitening and a woollen cloth. Dents and bends can sometimes be remoA'ed by means of a \A-ooden mallet and pad of leather, but one will be much more likely to damage a piece still further, for as it is a soft metal, peAA'ter is easily knocked out of shape. Small scratches and lines Avill often AA-ear away with frequent cleanings, and any Avay seem a hall-mark of antiquity and respectability. Quite a contrast to such elegance as these candlesticks in Figure 302 can be seen in the group of stout little peAvter lamps next shoAvn (Figure 303). They were made before 1763 Avithout doubt, for at that time the flat-Avicked lamp Avas invented, and Avas most popular since it gave such a superior light to the round-Avicked one. All of these you see have round Avicks. I do not doubt that the owner of the pair of tallest ones felt very well satisfied with them, and thought them most "gen- 282 OLD PEWTER o teel." The lamp to the left has a bull's-eye of glass which concentrated the light for seAving or reading. Cannot you see the eager circle AA'hich gathered about of an evening, while the latest neAvs of the war and of Gen eral Washington's movements AA'ere read from the broadsides which came so infrequently and Avere so badly printed? Another means of procuring light was by what were called " AA'hale-oil lamps," like the tAvo shoAvn in Figure 304. They AA-ere made of peAvter, and sometimes of glass, but the peAA'ter Avere more highly considered on account of their less perishable character. They Avere poor things at best, smoky and ill-smelling, and candles Avere used at all elegant entertainments, even if they did drip from chandelier or sconce and ruin the dresses and spot the coats of the dancers or diners. Whale oil Avas procurable as early as 1712, for by that date the Nan tucket Avhalers AA'ere A'oyaging to distant seas in pursuit of the sperm Avhale. The oil boiled at sea was a pale yellow, and quite odourless. It was also the highest priced on that account, and so Avas not as commonly used as an inferior grade. These lamps are doubtless American made, for they are not marked, but Avere found in Massachusetts in a family whose oldest member could not recollect Avhen they had not been called " old lamps." Other humble lamps are shoAA'n in the next illustra tion, Figure 305, of peAA'ter also; the swinging one was able to do duty as a hand-lamp Avhen not wanted on the wall. The little lamp in the foreground Avas for bedroom 283 ~\r\ CD THE COLLECTOR'S MANUAL use, and may haA-e been used to burn " camphine," as spirits of turpentine Avas called AA'hen used for lighting purposes ; this gave a very white light, though extremely volatile and inflammable. It is not so A'ery many decades since camphine was used in toAvns and villages ; for only the other day a man in middle fife told me that he remem bered AA-ell being sent by his mother to buy camphine AA'hen he was a small boy, and of her particular injunc tions not to spill it. He lived in Utica, NeAv York, which considered itself quite a town. The earliest use of camphine AA-as in 1834. It was rather fortunate that our ancestors generally folloAved the custom of " early to bed and early to rise," or their eyes must have suffered from such poor and insufficient light. HoAvever, they Avere not bothered AA'ith a multiplicity of books, nor a dozen daily neAA'spapers ; and a single candle was enough to spin by, or to sit at rest on the settee and watch the fire crackle on the hearth. Indeed, this same candle Avould gh'e light enough to compound a " night cap " of flip, to see AA'hen the logger head was red-hot, and that there were proper propor tions of sugar and spice, pumpkin chips and beer, or whatever other personal touches AA'ent to the mixing of this favourite brew. An unusually fine piece of pewter of German make appears at Figure 306. There has been a very large and very handsome mark on the bottom, but some parts of it have become quite obliterated. It is a soup tureen and tray, the tureen being capable of holding three or four quarts. The design on the cover, the knob, and 284 Fig. 304 Pewter Lamps Fig. 305 Pewter Lamps Fig. 306 Tureen Fig. 307 Plates and Platters ""V OLD PEWTER <> o the handles are not common in this material, except in such pieces as are of the very choicest quality of plate pewter. This is a very rare and extremely choice example, and one rarely comes across a piece like it that is not a museum specimen. In fact, this specimen comes under that heading, as it belongs to that small and choice museum of antiques which is being gathered by the Misses -HeAvitt at Cooper Union, NeAv York City. Most of the early churches in this country had for their first communion sets those made of peAvter, and it Avas generally all they could do to buy two tankards, a laver, and a round trencher. The cups were contri buted by such of the congregation as AA'ere able to afford it. There are the remains of such a service at the Con cord Antiquarian Society, and another at Deerfield, Massachusetts. As soon as possible the congregation obtained sih'er services, and the old peAvter ones Avere turned adrift. We have heard of portions of such ser- A-ices, marked, turning up in a pedlar's wagon, and being rescued from oblivion by a good churchwoman of another creed. It is rather safe to buy old peAvter, if the price is moderate, for it has not been made to any extent during the last seventy years. Even the very method of mixing the metal and handling it seems quite forgotten, and cheap china, earthenAvare and glass haA'e taken the place of a rich and silvery metal. In Figure 307 is shoAvn a set of platters and plates, the OA'al shape of platter to Avhich we are accustomed coming in AA'ith china Avar e. 285 THE COLLECTOR'S MANUAL The stew of meat and vegetables which composed the principal dish at the family dinner Avas put into one of the big trenchers, and all dipped in AA'ith their spoon or two-pronged fork (but these Avere a later fashion), and felt no Avorse for the community of interests. The parents sat at the table, but children stood, as Avas considered only respectful; or, if they were much cod dled, three-legged stools were proA'ided for their use. They grew up straight backed and sturdy in those days, and woe betide the child that complained of feeling sick ! A good dose of treacle and sulphur, catnip tea, or rhu barb, and an extra rub on the peAvter, Avere the remedies applied. Of the amount of peAA'ter made in this country it would be hard to make an estimate. We began at it early, too, and in 1754 the London PeAA'terers appointed a com mittee to see if the exportation of moulds, tools, and utensils into " fforeign Markets " could not be pre- A-ented, since " they Avould soon render it impracticable for A'ery little if any English PeAvter to be vended in fforeign Markets." Pewter Avas on sale in all the large cities here. About this same date Mr. Kirby, a well-known pewterer, ad vertises that he takes " bees-wax and old peAvter in exchange for neAv." Another merchant sells " Cork Rose butter, Albany planks, and pewter of the first quality." Peter Faneuil, who gave the historic old hall of that name to Boston, Massachusetts, died in 1742. His in ventory was so long and elaborate that it is classed under 286 OLD PEWTER one hundred and fifty-eight different heads. He had large quantities of brass, copper, and pewter goods, valued at over £200. PeAA'ter cisterns for holding water are also mentioned in these old inventories, but they are seldom met with. Boardman and Company made much pewter in NeAv York. Fifty years before this, in 1743, John Halden adA'ertised that he made and sold pewter ware of all kinds at Market Slip, NeAv York. There was Robert Boyle, 1745, William Bradford, Francis Bassett, Henry Will, and Malcolm McEwen, all to be found in New York, and all ready to make peAvter utensils to order or to sell you from their stock. By 1841 the last men who had retained this trade no longer advertised them selves as peAAi;erers, but Avere ready to shoAv Britannia ware of the newest patterns, and fresh from Birming ham or Sheffield. ¦f\.is± XII — BUREAUS IN the eighteenth century the term applied to this article of furniture Avhen it was not called a " chest of draAvers " Avas bureau-table or bureau-desk, or even commode-table, since commode was the name given to them in France; and in Chippendale's first edition are many illustrations of what he calls " French commode-tables," which are bureaus mounted on Ioav cabriole legs. All the celebrated French makers lavished their choicest materials and elegant designs on these com modes, and Avere not so anxious to make a piece of furniture look like something else than Avhat it really Avas as Avere their English contemporaries. Clothes press Avas another name Ave find applied to these bureaus on legs, and little by little the term bureau grew in use till it croAvded out all the other names. In the first Figure (308) may be seen a choice ex ample of the French commode, style Louis XVth, made of veneered Avoods AA'ith Avater-gilt ormolu mounts. In the time of the Grand Monarch, as Louis XIV loved to haA'e himself styled, the rooms of the palaces and residences of the nobility were so lofty and vast that it required enormous pieces of furniture to fill them. During the Regency of Philippe of Orleans, the nobility 288 01 BUREAUS depleted by the extravagance of the previous reign, and Avearied by the work of Le Brun and Boulle, which had become monotonous in the severity of its lines, demanded something neAv. Under the Regency the im mense galleries disappeared, and the f aA'Ourite room was the boudoir within Avhose modest dimensions the furni ture of the previous reign could not find a place, so the call for something lighter and daintier was immedi ately felt. From this period dates the form of commode AA'hich exists to-day as the bureau, and though the Re gency was really but a period of transition, many articles survive Avhich for beauty of form and graceful decoration cannot be excelled. The task of the decorative designer of this epoch was by no means an easy one. This was the period of the elegant and dainty in art as well as furniture, and Wat- teau, Lancret, and Pater set the fashion to which the ebeniste had to rise, and Avhere he had to struggle to asert his place. One of his first efforts was to break up the stiff and stolid lines of the furniture made by his predecessors, Avhich was necessitated by its size. The watchword was no longer massive grandeur, but grace and elegance. One of the first moves was to bend the stiff leg; and here we see the introduction into France of the cabriole leg, which appeared on chairs, sofas, and commodes. This use was not original with the Frenchman, for it had prevailed for many years in dif ferent forms in Holland, Flanders, and England. The place of the metal marquetry was supplied by that of Avood, Avhich was used of various kinds and contrasting 19 289 THE COLLECTOR'S MANUAL colours; and the opening of trade with China and Japan not only supplied the furniture workers with beautiful porcelain objects which could be inserted in the wood, but also vrith that exquisite Oriental prod uct known as lacquer. This was used in panels and medallions in commodes and corner cabinets, and the contrast with dark-toned woods like tulip and king- Avood was extremely rich. The metal mounts were made in long and sweeping lines, and set upon the furniture in such a way that they seemed an integral part of it, and did not interfere with its graceful fines and proportions. The French ebeniste did not hesitate to combine many kinds of wood in the same piece, selected not only on account of their beauty, but for the way one made an admirable foil for one another. Age has giA'en to these pieces a golden and melloAV sheen, to which the perfect proportion of the piece lends but another charm. Even the changeable climate of the United States has but little effect upon these admirably made articles, and they are as perfect to-day as when they were first made. Within the last month I have seen exposed for sale in Rochester a lacquer table, red and black with cabriole legs and water-gilt mounts, which must be Avell over one hundred and fifty years of age, and which, except for some damage to the top, is still as beautiful as when it was made. It shines out from the dingy window, Avhere it is placed, Avith a compelling lustre; and one feels almost compelled to buy it if only to give it a name, and recover it from association which must prove 290 mm Fig. 308 Commode, Louis XV Style Fig. 309 Bureau Dressing-Table Fig. 310 Bureau Cabinet BUREAUS most painful to an object Avhich once had its place among the exalted of France. The commode in Figure 308 has a top of marble, green and cream in colour, which seems to bring out the beautiful reddish colour of the Avoods. Ornate as this piece seems, it was but plain in comparison to those masterpieces of the middle and late eighteenth century in France. In England they contented themselves with copying and adapting the French models, and in Figure 309 is a pert little bureau-dressing table on HeppleAvhite's lines. It makes one almost smile, for the likeness is sufficient to make one recognise instantly the model from which he took his inspiration. The plain and elegant lines of the French piece are completely spoiled, and the knee-hole recess was a favourite at this time in many kinds of fancy tables. The next example, Figure 310, is a museum speci men and a very handsome piece of furniture. Yet Avhen you come to study it, even though both the lower bureau part and the upper glass fronted cabinet are inlaid Avith that floral design which was so common in the middle of the eighteenth century, you feel that this piece is made up of unrelated parts. The most obvious dis crepancy is the relative size of the two pieces. The bottom would carry easily a cabinet top of considerably larger size, and the top of the bureau part protrudes too much to be in proper proportion. There is a certain sharpness to the carving of the cornice of the bookcase portion, and the pattern of the moulding of the latter 291 THE COLLECTOR'S MANUAL mm does not match Avith that on the base of the piece. This putting together of tAvo parts in this very article of furniture is a favourite device Avith dealers, and is one of the places AA'here a quick observation will help you to detect the lack of symmetry which should exist between the two parts. In none of the old books by any of the English or French cabinet-makers do I find an example like this, the usage being that the sides of the top part shall come flush with the lower part, and not have that shelf -like projection Avhich is seen in this piece. I give this by Avay of an example of the many fake pieces which are bought in good faith, and then presented to the student as examples worthy of study. The lower part is a good marquetry kettle-shaped bureau of Dutch make, Avith good handles and massive feet. The sides are of plain Avalnut, and the back legs a simple bracket, as we usually find in furniture of Dutch or Flemish make. Just when the making of furniture of oak ceased and walnut was substituted it is hard to say. It is easier to put a definite date to the beginning of the mahogany period, which was about 1720. Roughly speaking, the oak period extended from the earliest times of which we have record to the later Stuart times. The Avalnut lasted from the later Stuart period, say 1670 to 1720. Of course there Avere many cases of overlap, and sometimes you will find a slant-top bureau desk, Avhich should belong entirely to the mahogany period, made either of oak or walnut. Oak bureaus are such an anachronism that they cannot be regarded as genuine antiques, 292 BUREAUS although their forerunner, placed on legs with turned stretchers, is by no means unknown. Walnut bureaus Avith slant-tops, particularly those made of burr walnut, exhibiting a curiously knotted grain, are plenty enough; and Ave occasionally meet Avith regular bureaus of wal nut also. Tavo are shown in Figure 311; one with a small Dutch foot and very elaborate handles, and the other Avith a block front. Neither of these are later probably than 1750, since the wood of which they are made and the style of handles are conclusive eA'idences of their age. The colour of old oak and old walnut, too, for that matter, depends largely on their treatment, and Avhether they have been subjected to the influence of smoke and dust. When the surface of a piece of old furniture comes to require Avhat is called " doing over," neA'er alloAV dark stains or varnish to be applied. Beeswax and turpentine with a wad of flannel are the proper articles for the amateur; and if the object on which you wish to expend your care is a table top, and if it is not excessively damaged, a few drops of linseed oil and a brick sewed up in several layers of flannel are your best materials. Drop a little of the oil on the table, then smear it OA'er the surface with a soft rag, and then begin to rub. It is in the latter process that success lies, and not in inundations of the oil. This same treatment is the best for the A'eneered walnut fur niture of what Ave call " Queen Anne " period. If your piece looks very badly, and has suffered from too fre quent applications of varnish, rub it lightly Avith fine sandpaper, which will remove the roughness, and then 293 il proceed with the linseed oil and polishing. This will eventually bring it to a better condition than the best French polishing, but it will not stand being stained AA-ith AA'ine nor much water. A curious instance of over-devotion to duty in this A'ery line was brought to my attention the other day. A walnut table which had been in daily use in a dining- room for over sixty years had now passed on, through inheritance, to a young housekeeper who called in assist ance to knoAV Avhat was the matter with it, and what could be done. It had been a good piece, built on plain and simple lines, but the top was worn in positive grooves, the softer part of the wood between the veins seeming to have been scooped out; otherAvise the table was in good condition, and seemed to have had the best of care. The son of the house, whose mother had owned the table, finally, under his young wife's questions, told how its condition came about. It seems that his mother had a servant, one of the old-fashioned kind who lived long in one family, and that this girl had been taught that eA'ery day this table had to be rubbed Avith a Avaxed brush. She came into the family at the age of sixteen, and had lived Avith them over forty years; and being stout and carefully trained, she had literally rubbed this table to pieces in her desire to keep it always in the highest state of polish! If a cloth had been used it might have pulled through, but the brush under her vigorous hand was too much for mere AA'ood. There was nothing for it but a new top, and now the rubbing has to begin all over, this time under less strenuous hands. 294 BUREAUS Too much beesAvax and turpentine AA'ill produce a glassy surface, which seems to take away the feel of the Avood. This is almost as much a mistake as too little polish. Potash and water -will remove the surplus of coating; but then the process has to be begun again, and it takes a long time to bring it to the state of abso lute perfection, that is, Avith neither too much nor too little polish. Old oak has sometimes been degraded by being painted white. When this is the case it must be cleaned by scraping and potash cleaning. In the grain of the Avood Avill probably remain some traces of the paint, ghing it a sih'er grain, which it is nearly impossible to reniOA'e. In fact, if it is not too marked it had better be left, since at any rate it is a mark of age, and to remove it further Avould be beyond the scope of almost any amateur. In trying to detect old furniture from spurious imitations, if the piece is carved, pay particular attention to the state of the carving. Any piece of domestic furniture which has been in use will have the lines of the carving much Avorn aAvay by the necessary dusting and the rubbing against it in passing it. There Avill be no hardness or sharpness, and the finer lines Avill be to a certain extent filled up Avith dirt, dust, and Avax. The dents and scars are not ahvays to be trusted, since " the foot of a master," as the French put it, could con- trh'e to administer such signs of Avear on an entirely new piece. In many old pieces of furniture, particularly bureaus, the presence of the worm or beetle AA'hich riddles them 295 THE COLLECTOR'S MANUAL is very unpleasant. In an old cherry bureau which I OAvn, and which has nothing to recommend it but its capacious size, the worms are most annoying, covering with a fine dust the contents of the drawers, and work ing Avith a speed that in a single night produces quite a little pile of dust. The holes are elliptical rather than round, and the creature seems to take pleasure in making two or three of these so close together that they will sometimes merge into one large hole. The commonest of these pests is the Anobium domes- ticum, and the larA'a or grub which works the greatest havoc is a trifle more than an eighth of an inch long. When the creature is in the beetle stage of its existence it is even smaller. Many times I have tried to gain a sight of these little fellows which are at work almost under my very hand; but though I sometimes hear the click of their jaAvs, which is called the " death-watch," I can see only the work, never the worker. They are seldom found in mahogany, seeming to prefer less dense wood, though they will occasionally be found even in that, if the article has in it an inferior piece of wood. A fine mahogany piece is shown in the next Figure, 312, having a serpentine front cut from the solid Avood, and carved ball-and-claw feet. The board top corre sponds in its curves with the lines of the front,while the shell Avhich is at the bottom is not commonly found in such a position. This bureau is made in two sections, the top part Avith the drawers fitting into the base Avith the legs. This Avas the AA'ay the upper part was set in the loAver part of high-boys, and I am inclined to think 296 1 ? ^ ? ._ . ' ? 1 * ~*^ i i V ----- * • mr ¦ m . ¦ ¦*!! PHHI | 1 $©•*$• -55% r BBiBi^^^Bfa^a _ Fig. 311 AA'alnut Bureaus Fig. 312 Bureau Fig. 313 Cherry Bureau Fig. 314 Maple Bureau, Hepplewhite Fig. 31.r> Mahogany Bureau, Hepplewhite BUREAUS mm that such pieces were made at about the time the high boys became less called for. Many of the small bureaus have handles on the side for lifting them about, and I have seen them on Avalnut as well as mahogany pieces. The draAvers of the bureau in Figure 312 have the nar- roAv little moulding on the bureau and not on the drawer itself. The AvilloAv brasses are of the style which was in use as early as the first half of the eighteenth century, and continued in use for many years. Unfortunately one of the handles on this piece is missing. A small bureau shown in Figure 313 has the over lapping edge on the draAver, and is in the style used during the latter part of the eighteenth century. It is a plain piece of cherry, and very much less ornamental than the bureau shoAvn in Figure 314. This is Hepple white with curly maple panels set into mahogany. There is a line of inlay of whiteAvood AA'here the maple and mahogany join, and around each draAA'er is a single narroAV moulding. The handles are of an unusual shape, and the escutcheons are of brass; and AA'hile the photograph gives the wood a stained appearance it is not so in the original, Avhich is both choice and in the best condition. In fact it is one of the favourite pieces of a collector living in Vermont, Avho has a great house full of fine antiques Avhich she has been many years in gathering. She apologised for the looks of the bureau, saying that the photograph did not tell the truth. Both HeppleAvhite and Shearer designed and made such bureaus as these, and they were successfully copied over here. They were substantial pieces of furniture, 297 THE COLLECTOR'S MANUAL depending on the beauty of the woods put into them, and the good proportions of their lines for any beauty they might have. Only once have I come across a tall bureau like the one in Figure 315. It is not a high-boy, yet it is six feet tall, and I think was made for a special order. It is of sofid mahogany except for a narrow veneered band about the draAvers, also mahogany, and this band is defined by a thread-like line of AvhiteAvood. On the frame of the bureau are other lines of the inlay, and it has the graceful French foot which we always associate with the name of Hepplewhite. The handles are round brass rosettes, very plain and solid, and altogether the piece is substantial and digni fied. Every time I see it it seems more Avorthy than it did the time before, and yet for several years it has been looking for a home among articles suited to its age and merit. On many of these bureaus were set little dressing- glasses, as they were called, set in a swinging frame, and with a few drawers below the glass to hold toilet articles. Madam Washington left, by will, to her son George, her " best dressing-glass," and at the sale of the furniture at Beh'oir in 1774 he bought several glasses in gilt frames as Avell as dressing-glasses. At Mount Vernon now there is one of these glasses in the General's bedroom similar to the one shoAvn in Figure 316. This glass was said to be made about 1770, while the bureau is about the year 1810. These dressing-glasses were of many styles, and not alone Avood, solid and veneered, was chosen to make them of, but Oriental 298 BUREAUS lacquer ones are sometimes to be found. There are others also, painted in gold or colours on a black ground, and some are covered Avith beautiful inlay and are carA'ed besides. For many years they were much used, and are mentioned, among glasses in " gold or choice mahogany frames," as on sale by. 1750. The bureau in Figure 316 is handsomely carved, Avith four pineapples at the tops of the posts and solid tAvisted pillars. The legs do not bear out the elegance of the rest of the piece, as they are but simple turned affairs, and rather detract from its appearance. The draAvers are solid mahogany with a simple mould ing about them, and the rosette handles are of brass. This bureau has long been in the family which noAV possesses it; but there are many persons who long for such treasures and will buy them rather than not have them, though they admit that family heirlooms are the best after all. I know of a bureau like this, which Avas recently bought by one who has taken the disease of collecting, and avIio went through what might be called " experiences " in getting hold of it. Little by little she had grown to be a collector, the first manifestations of the disease showing itself in the gathering of a feAV pieces of china, somewhat nonde script in character, and which came in diverse Avays, some by gift and some by purchase. But the fever did not stop here; and as she had in addition the true collector's spirit and the faculty of finding "things " she went on, one step after another, till she Avas the proud oAvner of tables and chairs, desks and tabourets, 299 THE COLLECTOR'S MANUAL lamps, girandoles, and other small articles too numerous to mention. She laboured under disadvantages, too, for she Avas surrounded by a family Avhose chief ambition AA-as to acquire neAv things, fresh of aspect and modern of form. The " antiques " AA'hich floAved into the house met Avith no appreciation, save from choice spirits like herself, Avho met and gloated over them, and Avished they, too, could secure like bargains. Then at last she had a house of her own to put them in, and those aaIio came to scoff remained to admire, and the charm of the old furniture in its harmonious and artistic setting impressed eA-en the Philistine AA-hose taste had hitherto led him to admire those abominations known as " mission furniture," or the crude patterns which are foisted on a long-suffering public, many of whom, it is true, know no better than to admire. Imagine the pleasure of our collector Avith all her possessions set out and Avell rubbed up; for after get ting one of these elderly treasures the first thing to do is to put it in prime condition, and then consider hoAV the thirst for more worlds to conquer must have devoured her. She did not depend only on her OAA-n unaided efforts to " locate finds," but had scouts from every rank of life out on her Avar path for her. " Butter and egg AA'omen " Avere questioned, the milkman Avas interrogated, and no chance cleAV Avas alloAved to go uninvestigated. So many pieces were hers at last, that the only thing she really " must haA'e " Avas a bureau, and the outlying 300 BUREAUS districts were laid under contribution to supply one. At last, after months of patient Avaiting, one Avas heard of through one of the scouts, — its carved feet and posts duly described, — and our collector felt that haA'e it she must, though she had not seen it. To tell the truth, it lay in the country, seven miles from her home, and as there were other " fiends " in the place AA'here she lived ready to snap up any trifles AA'hich became noised about, she concluded to go and get it. Upon due reflection it seemed best to go in some vehicle which would bring back the bureau; so in her enthusiasm she started for that drive of fourteen miles, seA-en out and seAren back, in a springless wagon, her only seat being a board set on the sides. The littlest of her dogs AA-as taken along for company and to keep him out of mis chief, and on a bright autumn morning she started. As they neared the house AA'here the treasure was the collector's heart rose in her mouth. " What 's this," she asked of the driver; " a funeral? " " No," said he; " don't think so." " Oh, can it be an auction? " she cried, acute despair in her mind as A'isions of the bureau being snapped up by some one else rose before her imagination. " No, don't seem to be that neither," draAvled the drh'er, who could not be expected to be so keen on the scent. When she got into the yard this is what resolved itself before her eyes: an old lady in her Sunday best sat in a large arm-chair. Near her was a cow with the milking- stool and a milk pail, a man holding up her head, while 301 THE COLLECTOR'S MANUAL at a little distance sat an artist painting the scene. The rest of the family, and such of the neighbours as could leave their chores, stood around in an adniiring circle. "Ain't it lovely?" asked one, as our collector drew near. " Ma is having her portrait painted with the cow. Her cow died about a week back, and it seems as though Ma could n't get along without some picture of her, so we borrowed a cow from one o' the neigh bours, and he 's a paintin' it just lovely! " At this moment, from the group gathered around the artist, rose sounds of eager discussion. " No," said one, " I tell ye that 's all wrong. She did n't have no spot there, it was lower on the flank." " You 're wrong yourself, Abram; 't was on the other side that spot was." And it was then explained to our collector that the defunct cow was a black and white spotted one, while the borrowed one, which was standing as model, was of the " plain-red " variety, and the artist was putting in the spots according to the memories of the family, which did not agree on the location of a single one of them. All this time our collector was on needles and pins to see the bureau, and at last diverted enough attention to herself to get one member of the family to detach herself to shoAv it to her. It was down in the cellar, and when she saw it her heart swelled. It was mahog any, sure enough, with carved posts, and carved feet too, though the latter had been unscrewed to allow it to be put in the cellar. She made an offer which was 302 BUREAUS accepted, and the heavy bureau was brought up and Avas being loaded into the Avagon when it caught the artist's eye. " What," he cried, " you will sell that for (naming the sum) ? Why, I 'd give you $ (naming a dollar more) for it." Consider what a moment of agony for our collector! She assisted as best she could, by pushing the drawers into the Avagon, seizing the dog and climbing in also, and bidding her Jehu in a hurried voice to start right away. She thought her prize was to be wrested from her, and did not feel easy until she was well out of sight of the farmhouse, the artist, and all the rest. What though the ride home was long and hot? What though the lack of springs became every moment more apparent to her tired frame, and that the dog was restive, and that she was sorry that she had started with out a hat? To banish all these miseries it was but necessary to glance at the prize before her, to stroke its satin sides, and to consider Avhere it Avould show to the best advantage when, rubbed and restored, it should rise in its old-time beauty. The village street which led to her home Avas long and straight; and as she rumbled down it in the bright afternoon she Avas espied by a party of her friends assembled to play bridge, and among them were seA'eral rival collectors who rushed out to see what she had secured. Do you think she was amply repaid for her pains when she displayed her treasure? If you don't, then you do not knoAV Avhat the pleasures of collecting are, and had better stick to your " parlour suites," and get 303 mm® THE COLLECTOR'S MANUAL your household goods by the half-dozen from the nearest factory. A rather unique piece, to which it is difficult to assign a period, is shown in Figure 317. It is of solid mahog any, richly carved with the full-length figures of two of the apostles. These figures seem to take the place of the usual carved pillars, but you Avill notice on the base of each figure a small pointed wooden knob. This pulls out, and when it is removed the figure on its base swings back, revealing two narrow but deep cupboards. The bureau is said to have come from a monastery, and the cupboards were used for holding the wine used on the altar. The carving is sharp and little worn, but the handles are of an early pattern, and the recessed Gothic panel in the upper drawer is unusual. In decid ing the age of a piece of furniture it is ahvays necessary to take into consideration for what purpose it has been used, and its situation. Churches and cathedrals, though feAV buildings have suffered more from the depreda tions of the ignorant and the profane as well as the innovators lacking taste, often contain other furniture besides the chests, chairs, and tables which Ave expect to find in them. Articles which have stood for many years in such places are much less worn and defaced than those of equal age which have been in domestic use, though, unfortunately, there are doubtful pieces in sacred edifices as Avell as everywhere else. You cannot base your deductions as to age upon the AA-ood used by cabinet-makers as the base to which they applied veneer, for a chest of draAvers mav be of walnut 304 BUREAUS A'eneered on oak, except the fronts of the draAvers, Avhich AA'Ould be probably on some lighter Avood. In old oak and early Avalnut furniture the parts will fit much less accurately than in furniture of a later period, when the cabinet-makers used mahogany and made from seasoned Avood the choice pieces Avhich are so admirable even to-day. Spanish mahogany is the choicest variety of this fine Avood, Honduras mahogany or baywood being distinctly inferior in colour and weight. The subject of handles has been gone into at some length in the " Old Furniture Book," and they AA'ill have to be mentioned here very briefly. Iron Avas the metal used for the oaken furniture, the locks and hinges often being elaborately wrought. When mahogany came on the field brass Avas used for handles and escutcheons. There are chests and cupboards dating to the fifteenth century still existing, and these show- handles of iron, in pattern a ring dropping from a flat wrought rosette or a round plate. Drop or bail handles, smaller at the top than at the bottom, are found on furniture of the next period, and these are also of iron. With the opening of the eighteenth century a solid pear- shaped drop takes the place of the bail handle of iron, and is most frequently of brass. As the century advances the bail handle becomes the ordinary one in use, the metal plate from which it hangs being first incised, with irregular outline, then pierced; AA'hile from the Chippendale period it Avas AATOught, or pierced with more or less elaboration, having regard to the piece 305 mm3HS 20 THE COLLECTOR'S MANUAL upon which it was to be placed. With the advent of Hepplewhite and Sheraton the plate from which the handle hung took a round or oval form with a bail handle. The plate Avas decorated AA'ith a beehive, stars, a lion, or various devices, and they also used the lion's head Avith a ring hanging from its mouth. Glass handles came in after the beginning of the nineteenth century, and to my taste are always a disfigurement to a rich piece of mahogany. Battersea enamel knobs with heads or scenes upon them were occasional, but are noAV feAV and far between, and it is hard to find enough to fit out a bureau. I do knoAV of six, all bearing por traits of American heroes, which are fitted on the three drawers of a charming little mahogany writing-table. A bureau of mahogany Avith a tall swinging glass is shoAvn in the next figure, 318. It is not a common pattern, and has fine carA'ed pillars and a cylinder front draAver. The front feet are carved to match the pillars, but the sides of the mirror and the posts which hold it are quite plain. It Avould seem that the mirror was a later addition, except for the fact that it is set in the top of the dressing drawers, and screwed in. In Figure 319 is a commodious bureau-desk with the central portion of what is usually the top drawer letting down on a brass quadrant, and forming a Avriting-desk. The two deep drawers at the side are fitted for Avine, and so wide is the top that this object Avould seem to be almost as suitable for a sideboard as a desk or a bureau. It is partly A'eneered, and shows a deep, rich, reddish-brown colour with those fine whirl- 306 Fif. 316 Bureau Fig. 317 Carved Bureau Fig. 318 Bureau Fig. 319 Bureau-Desk Fig. 320 JIahogany Bureau BUREAUS ing veins which are so popular. It was probably made about the time of the other Empire furniture, say from 1800 to 1820. Its history is not known, but it was res cued and restored, and sent up from the South, where so many fine pieces of furniture are still to be had. I am constantly receiving letters from all the Southern States, telling of antiques of one kind and another Avhich are OAvned there. Some of them are amusing, some are pathetic. One of the former was from a woman whose husband was evidently well-to-do, who wrote me and sent me photographs of some really splen did things. There were elegantly carved chairs in Chip pendale's ribbon-Avork pattern, carved four-poster beds, a table of solid mahogany Avith claw feet, and some " old blue " platters with those fine Cambridge views on them which would bring distraction to the ordinary collector. For years these things (which had belonged to her hus band's family) had sought an inglorious refuge in the attic, but had recently, owing to articles on the subject meeting her eye, been brought down, and set out in the parlour. No, she would not sell, though large prices were offered her. Fortunately she found out in time what her treasures Avere worth. One of the many pathetic letters Avas from an old lady of eighty, who asked my assistance in selling two linen sheets, tAA-o pilloAV-cases, and an old hair trunk! It is consoling when your readers have faith in your ability to serve them; but sometimes too much faith is almost as bad as too little The last bureau of all, 320, is also a derelict from 307 THE COLLECTOR'S MANUAL the South. It has carA'ed and incised work on it, and glass knobs. These are of the opalescent variety, which are even more staring than the plain white ones. This bureau Avas intended to have a little dressing-glass stand upon it, and was made in the opening years of the nineteenth century. It is in excellent condition, and is almost large enough to keep the belongings of a whole family safely. This and the one preceding it are some of the last utterances of what might be called the American mahogany period. Then came the black- walnut age, which had nothing to recommend it, and which was responsible for the Avholesale destruction of one of our finest native trees. Nobody displays black Avalnut furniture now who can get any thing else to take its place. Looking at the patterns in which this furniture was made, the unmeaning carvings with Avhich it Avas plastered, and the bad lines and proportions, one can be quite sure that there will be no reA-ival of it, as there has been of mahogany, and the best thing to do with it is to " pass it along." XIII — COTTAGE ORNAMENTS THERE are collectors, or perhaps I should say there are persons, who would be glad to be collectors if they could find some class of objects Avhich Avould not take too much space to house, nor too much money to buy. They would not mind if the acquisition of their treasures was slow and difficult if, when found, each object was a joy and a delight. " Cottage Ornaments," as they were called, fills such a want; and as many of them have histories, or were made in connection with some event of importance in England, there is much agreeable study connected with an intelligent grasp of the subject. Tliese small ornaments were made by the early potters to serve as mantel decorations; and while figures of great worth and beauty were put out by such famous potteries as Bow, Derby, Chelsea, Plymouth, and from the German, French, and Copenhagen factories as well, it is with the Staffordshire products chiefly that I pro pose to deal. These earthenware figures were made not alone in Staffordshire, but at Leeds, Bristol, Fulham, Liver pool, Newcastle, and Sunderland, SAvansea, Caughley,, and several other places ; but they are all classed under 309 THE COLLECTOR'S MANUAL the head of Staffordshire. As they are generally quaint in their old-fashioned style and strong colouring, they are interesting as giving pictures of the costume, man ners, and customs of the time AA'hen they Avere put out. Many of them deal with homely, every- day subjects; and when in pairs it was the fashion to have a man and a woman as may be seen in the pretty dairyman and milkmaid which are given in Figure 321. These are of the old creamy colour Avhich is so characteristic of bone paste, and, as is also common Avith this class of figures in a cheaper grade, there is a sparing use of colour in the figures themselves, although the bases are made to represent green grass and a brook Avhich runs blue water. The milkmaid has a pretty little pattern on the bottom of her rjetticoat, in that rich, dark shade of blue which is ever such a favourite Avith the potters, and the hair of both is brown. As you hold in your hands the satiny paste, note its extreme lightness, and feel hoAV smooth the bottom is worn with frequent movings when the shelf was dusted, you do not mind that there is not much colour, and thank your stars that you happened along in time to secure it, and that it was absolutely perfect. In ansAver to correspondents in both this country and England as to what is my special hobby, I will now admit that it is Staffordshire Ornaments, and when you have had the pleasure of gathering a dozen or two of these treasures you Avill admit that the hobby is one which is full of pleasurable surprises. The earliest of these figures, and a kind which it is 310 COTTAGE ORNAMENTS almost impossible to find in this country, Avere made of a coarse pottery and covered with slip and then deco rated. Indeed it is hard to secure such even in England, for while it is true that this branch of pottery has not attracted many private collectors till recently, it has been in demand by museums, and it is generally in repositories such as these that you run across these queer old pieces. To tell the truth many of them are too grotesque to be attractive, particularly the cats and oaat1s which Avere such favourites. The salt glaze are as rare as the slip figures, but there are many museum figures which may be studied. I have seen them with both single and double figures, a f aA-ourite type being tAvo lovers sitting under a tree and holding hands. These salt glaze figures haA'e no colour, and have the curiously pitted surface like an orange peel, AA-hich is a marked feature of this Avare. There are seA-eral collections of salt glaze figures in England, those of Mr. Willet and Dr. Sidebotham being pecul iarly full of interesting specimens. These figures are generally small, colourless as has been stated, except the eyes, AA'hich are represented by round bead-like dots of black or broAvn, giving a A'ery startling effect. Many of the salt glaze figures are charming, since they are usually modelled by hand, the prettiest which I have seen being the seated figure of a boy, draAA'ing a thorn from his foot. The figure is quite perfect, though tiny, as it is only three and seven-eighths inches high. Marbled figures, called " Astbury marbled figures," are quite as rare as the salt glaze, particularly in this 311 y r> THE COLLECTOR'S MANUAL country. They AA'ere produced frequently in tAvo-col- oured clays, AA'ith the same beady eyes as the salt glaze ones, but they have a softness of colouring and a smoothness of feel to the touch that is most attractive. These figures were first made in about 1743 by the elder Astbury, and then by his son Thomas, and prob ably by other potters as Avell. Thomas Wheildon, aaIio potted about 1750 and made mottled and agate Avare, also put out many different figures, busts, officers on horseback, a man and AA'oman on a horse, she seated on a pillion, and many dogs. If you find any of these figures in this country, set it straightway in the centre of your collection, let no pro fane hand dust it, and keep it as long as you can. I knoAV one such dog, seated on a fine green cushion, but alas he is not mine ; he Avas far too costly for my collec tion. Like the other styles mentioned, these mottled figures were made at other potteries, and their harmony of colouring, soft broAvns and yelloAvs, ahvays made them attractive. Busts of Milton, fourteen inches high, the " Market Girl," Alderman Beckford, and several groups are all fine and eagerly sought by collectors. In order to giA'e some idea of AA'hat prices the choicer figures from the celebrated old potteries are worth, I Avill give a feAV figures shoAving the prices which they have brought at auction sale within the last f ew months at London. " A Chelsea figure of Lord Cambden, £30. A pair of figures, Derby, shepherd and shepherdess, £63." In February, 1904, the collection of a Mr. Kidd, who had been collecting for fifty years, came under 312 Fig. 321 Dairyman and Milkmaid Fig. 322 Admiral Napier Fig. 323 Group of Staffordshire Figures cottage ornaments the hammer in London. Among many hundreds of examples I take the following: " Seated figure of a lady holding a basket in her lap, tAA-o lambs at her feet, richly decorated scroll, Chelsea, nine inches high, £21." " Pair of statuettes, shepherdess and shepherd, richly coloured, Chelsea, eleven inches high, £38 17*." The Staffordshire figures run much lower, of course, the range of prices within my oaa-h experience going from thirty-five cents for a tiny group of two children, to seA-enty-five dollars for a six inch bust of Shakes peare, one of the rare and fine ones by Wood, beauti fully modelled and coloured, and in perfect condition. The choicer china and porcelain figures are no more artistic and pretty than the pottery ones from Stafford shire. The mode of manufacture Avas the same, for Avhen the figure came from the mould in the fresh paste, it went into the hands of the " repairer " as he Avas called, the head Avas stuck on, as Avere the legs, arms, dogs, lambs, vases, and other accessories, the lines of the drapery Avere sharpened up, the colouring applied which coA-ered many defects, and then the object Avas glazed. This glazing destroyed many of the finer lines by filling them up. and in many of the examples which I have it can be seen that only certain colours Avere applied under glaze. — vivid orange, apple-green, pink, all of them favourite colours, being applied over glaze. Sir Charles Napier sIioavs plainly that he Avas cast in a mould, for the lines of the edges sIioav clearly (see Fig ure 322 ) . The oldest figures are hollow throughout and at the base; those that have a closed base 313 are open ^=*> THE COLLECTOR'S MANUAL ahvays have a hole in them somewhere. Sir Charles has it in the middle of his back. That collector of Staffordshire avIio aims to have his collection as choice as possible, will tell you that these figures are roughly divided into two periods, the Early and the Victorian. He speaks with much contempt of the latter. The Early pieces Avere made by such potters as the Woods, Ralph, Aaron and Enoch, Wood and Caldwell, Neal, Voyez, who at one time Avorked for WedgAvood, WedgAvood himself, Wheildon, Walton, Adams, Lakin and Poole, Wilson, Bott and Co., Turner, Edge and Grocott, Hall, Salt and I. Dale, and many others. Besides the pastoral groups which Avere made, there AA-ere many religious and classical as Avell as domestic subjects. The marked specimens are exceed ingly rare, since it seems to have been the general custom not to mark them. " The Flight into Egypt " was a great favourite. One example of it is given in Figure 323, top row at the right. Pray observe the rotundity of the figure of Joseph, and the abundant cut of his trousers! The English potter was nothing if not fanciful in his por trayals. Falstaff Avas another popular figure. He is in this same figure opposite " The Flight," and below him on the left is one of those classical figures so much in demand during the last years of the eighteenth and opening decades of the nineteenth centuries. The central group at the bottom of this picture is not Staf fordshire properly, but Bristol, and exceedingly charm ing and dainty it is. 314 COTTAGE ORNAMENTS High class figures Avere often copied in Stafford shire. Compare the Falstaff in Figure 324 with the one just seen. The latter is CroAvn-Derby, and worth in pounds what the other is in pence. This is but one of the many instances to be found. In this same pic ture the middle figure is a Avell-knoAvn old one, called ' The Hunter." It is one of a pair, is hollow and marked !< Walton," one of the eighteenth century makers, who Avas known for his excellent Avork. The third figure is also charming. " Andromache weeping OA-er the ashes of Hector." This subject was treated by the works at Leeds as Avell as by the Crown-Derby por celain works. All these three pieces are exceptionally fine as might be expected, for they belong in Salem, Massachusetts, that repository for so much that is rich and rare. In Figure 325 are a number of subjects, and tAvo of the portrait busts. The large figure in the centre AA-as for a bunch of floAvers or dried grasses, and there Avere many double figures or single ones for this purpose. I have a group of two seated in a bower with the vase part betAA'een them. They are not very choice since they lack colour, but a nice dog makes part of the group. A double figure group is shown in Figure 326, charm ing in colour, and it is too bad that his hat is chipped off, for otherwise the figures are perfect. In Figure 325 may be seen two figures with tree-like backgrounds. This class of specimen is called " boskies," from the French term bocage. Such backgrounds are more com mon among the porcelain and china figures from the 315 THE COLLECTOR'S MANUAL high class potteries than among the Staffordshire ones. FeAV figures AA-ith them can noAV be found in a perfect condition, for these tAA'igs and sprays are so fragile that thej' were easily broken, as AA'ere the swords and spears AA'ith AA-hich so many of the figures AA-ere armed. Both of the Falstaff s had SAvords originally in the right hand. In the next Figure (327) is sbxm-n a miscellaneous group of figures, the soldier in the centre being the oldest and best. The AA-atch-holder to the right is noAV mine, and is marked on the base " Milton." Imagine that poet in a sprigged matinee dictating " Paradise Lost " to his weary daughters! The next best piece in this group is the rooster. He is old and good, and this bird has al- Avays been a favourite AA'ith the potters. Next in order of A-alue and interest are the dogs, and the collecting of these animals alone occupies the attention of many dis tinguished collectors, some of them choosing only what is known as the " spotted dog." One collection already numbers two hundred and fifty pieces, each one differ ent. The dogs shoAvn in Figure 327 are to my taste the least interesting of all the A'arieties. In the next picture, Figure 328, are shown two of my OAvn which are spirited and fine. The spotted one is by far the elder, and is per fect AA-ith the exception of a crack near the base. He is of bone paste, light and soft, and every time I look at him, particularly if it be near the full of the moon, I expect to hear him hoAvl. He looks all ready to bay the moon. The recumbent dog is a faAAm-coloured grey hound, a lovely creature lying on a dark-blue cushion, in Avhich is a small opening for a pen, as he is an inkstand. 316 Fig. 324 Crown-Derby- and Staffordshire w *A ^rr A* |i', g ^^^^^H t ' ^T f I1'. ^HES j - L^ <* w^ i» * m Jj «1 • ¦ a Bwp. W 2? '• *% P*8 Fig. 325 "Cottage Ornaments" ^K» jm ¦* ~^IQl*9&m ¦faj^ ¦¦ . uj ¦Hk. ^fl Mffo sK^aiS Fig. 32b' Two-Figure Group Fig. 327 "Cottage Ornaments COTTAGE ORNAMENTS There are several other patterns of greyhounds, also guardians of ink, Avhich I hope to acquire to make my collection complete. There is also a standing one with a hare in his mouth Avhich is A'ery nice, and one may get at least eight different patterns of greyhounds. There are also some small Pomeranians, like those to be seen in Figure 325. Indeed, the collecting of dogs is a most im-iting field, for when you have the greyhounds all com plete, there still remain the pointers, of which there are many patterns, before you come to the spaniel, which is in reality the " spotted dog." After you haA'e all the dogs, Avhole dogs, which you can get, you can then take up the faces and masks, a branch of the subject Avhich, though difficult, is engrossing. These heads of dogs and foxes Avere used as whistles, or for handles to canes and hunting crops, for paper-weights, and apparently for wall ornaments as well, since some of them are to be found life size. Sir Walter Gibney has a collection of seventy-three of these, nearly all of them of Stafford shire ware, ranging from the early mottled and agate or tortoise shell wares, to those of later times, which were coloured to life. There was hardly a firm of potters, whether of porcelain or pottery, which has not turned its hand to the making of dogs. Go where you will, at Worcester, at Bow, at Battersea, where they enam elled them, at Rockingham, at Chelsea, at Burslem, they all made dogs. Go to Holland and you will find the Dutchman had his favourites too, though he will colour them blue to keep his blue cows in company; but they are attractive for all that. Even from our own potteries 317 THE COLLECTOR'S MANUAL came dogs of many colours and sizes, but those Avill be mentioned later. In Figure 329 of course the most eagerly sought figure is the Franklin, nine inches high. This is one of the old pieces and ahvays attractive. Franklin has the credit for being more often produced in porcelain and pottery than any other one person, not eA'en Wash ington excepted. His long residence abroad, his pic turesque personality, particularly the fur cap which he AA'as so fond of Avearing, made him a Avelcome figure to the potters ; and there is no drinking A-essel too grand or too humble but that you may, perchance, find his face on the inside or out, nor Avas there any pottery too coarse for a statuette of him. The figures of the cobbler and his wife are well-known and good examples, but the " Omer Pasha," AA'hich also has on it " Success to Turkey," and the Uncle Tom and little Eva are too modern to be A'ery A'aluable. The next group (330) is from my oaatq collection, and the figures are of A'arying degrees of merit. All are well coloured and most of them well modelled ; but one only is old, and even that is not more than eighty years of age. This is the Cricketer, on the upper roAv. His head has been broken off and glued on; and Avhen the OAvner sent it to me she apologised for this defect, and also for the damaged nose, by saying that for years it had been the chief treasure in a lively family of thir teen. It seems strange that any of it survived such wear and tear. The three figures in the top row are the stars of the collection: the Cricketer on account of 318 * & Fig. 328 Staffordshire Dogs Fig. 329 "Cottage Ornaments' Fig. 330 "Cottage Ornaments" Fig. 331 Staffordshire Houses COTTAGE ORNAMENTS his age, the middle figure on account of the tragedy Avhich led to her being perpetuated in pottery, and the seated figure on account of the story connected with my getting it. The middle figure says on its base Emily Sandford, and you might not think to look at her grim expression that she had ever had a lover. She did, however, and his name Avas Henry Rush. He Avas the tenant of a house called Potash Farm, and his landlord Avas the owner of the Stanfield Estate, and lived in an imposing man sion called Stanfield Hall, AA'hich Avas a regular " moated grange." For some reason or other Rush attempted to murder his landlord, the latter's wife, and, indeed, the whole family. He did succeed in killing some of them and AA'ounding others, and he disposed of the bodies in the moat. Emily knew all about it, and finally told the Avhole dreadful story; and Rush Avas hanged in front of Norwich Castle, his being the last public execution to take place there. All England rang Avith the horror of these deeds, which took place more than fifty years ago; and a set of Staffordshire ornaments, were made, five pieces in all, consisting of Emily, Henry, Potash Farm, Stan field Hall, and Norwich Castle. These latter three pieces Avere of the style of ornaments, which AA-ere used to burn pastiles or scented tablets in, the perfumed smoke coming out of the chimneys in realistic style. I show some of these houses in Figure 331. The only collector who is known to have anything approaching a complete set of the Rush pieces is Prince Frederick 319 THE COLLECTOR'S MANUAL Duleep Singh of England, Avho has four of the five, the NorAvich Castle being wanting. In my own case, I am on the lookout for Rush himself; and when I secure him I shall be content to let the other pieces go, as the houses are bulky and not pretty in colour or form. I have never come across one of these houses in this country, though there are of course plenty of them here if one could find them. The castle Avith the clock is the oldest; but the middle one shows that class of ornament which appealed to peasant humour, the pitch fork being particularly in evidence. All of these three examples have little sprigs and bunches of flowers scat tered about the base, and these were also put on most of the figures. Many of them are highly coloured, and they add considerably to the gay appearance of the ornaments. Coming almost into this branch of pottery were jugs, such as is shown in the f olloAving Figure ( 332 ) . It is easily recognised as a caricature of Napoleon, the hand over the breast and the uniform being perfectly distinc tive. It is an old and rare piece, but is in proof condi tion and shows its careful handling. So popular Avere the Cottage Ornaments that more than one firm of American potters endeavoured to supply the market Avith such a class of articles, which they managed to sell for fifteen and twenty-five cents. The ornaments made at the Novelty Works, Benning ton, Vermont, were made from 1847 through the next ten years, and have now become so rare that they com mand extraordinary prices. They were sent about the 320 Fig. 332 Napoleon Jug Fig. 333 Bennington AVare Fig. 334 Bennington Ware Fig. 335 Pennsylvania Wa; COTTAGE ORNAMENTS country by means of pedlars ; and Avhile the more useful articles made in this brown mottled Avare have long since been reduced to bits by hard usage, some of the orna ments, like the dog and coav shoAvn in Figures 333 and 334, are still treasured in remote farmhouses as well as in the cabinet of the collector. The dog is an example of the best class of work produced at the Bennington Avorks, and similar ones are also to be found in white. I saAv a pair on sale in NeAv York this last summer. They Avere of A'ery heavy AA-hite pottery, and have weird blue eyes, which give them a Dutch look, and make them far less attractive than when made in the homely but rich-tinted brown ware. The cow ansAvered for a cream jug as Avell as an ornament, the lid on her back admitting the milk, while a hole in the mouth Avas used to pour it out. All the patterns from which these articles were made Avere destroyed by fire in 1873, and since that time their A'alue has steadily increased. These little pot teries up in the mountains of Vermont acquired a Avide fame, and potters came from all over the Avorld to work in a place where each man was alloAved to work out his OAA'n ideas. The mottled ware like our tAvo figures, to make it of value, must have stamped on it either the circular impressed mark, " Patent Enamel, 1849," or the mark " U.S.P.," Avhich stood for United States Pottery. It is not safe to trust to your OAvn judgment about unmarked pieces unless you know all their previous history. Be sure also that they, are in the fine shades of brown, green, and olive 21 321 THE COLLECTOR'S MANUAL AA'hich distinguished this ware from the English Rockingham. There are tAvo or three collectors Avho haA'e made a special hobby of getting these Bennington pieces, some of them living in Vermont, Avhere they had special opportunities of securing authentic specimens. Tavo other ornaments, more curious than beautiful, are sIioavii in the last Figure (335). They are the AA-ork of Pennsylvania potters about 1860, and Avere found near NeAv Oxford, in that state. One of them is a bird, Avhich might belong to any species AA'hich is fancied by the potter. avIio seldom lets fidelity to nature interfere with his idea of Avhat is ornamental. But the other shoAvs an eider famous from mythological times for her habit of stripping her oavii breast to proA'ide doAA-n to line the nest for her young. In many of the museums of this country there is an excellent opportunity to study the figures which were once so common; and before one embarks on the delightful pursuit of collecting them he should become familiar with the popular patterns, the colours Avhich Avere generally used, and the general appearance of the ornaments. INDEX " A New Book of Pier Frames," etc., 237. Adam Brothers, 23-27, 59, 60, 70, 239, 269. Agricola, Georg, 82. American glass, 90-94. " Ancient Coffers and Cupboards," 103. Antiquarian Society, Concord, 121, 129, 132, 177, 232, 246. Arras, 48. Astbury Marbled Figures, 311. Baker's lamp, 148. Ball feet, 111. Banister backs, 56. Banjo clocks, 230, 231. Basaltes, 31, 41, 42. Baviere, Isabeau de, 126. Bayberry-wax, 149, 150. Bedding, 160, 161. Bedsteads, 5, 8, 159-185. Belvoir, 13. Bell-shaped glass, 84. Bennington Ware, 94, 321, 322. Berkeley Castle, 2. Betty lamps, 148. Bible boxes, 235. Bilboa glasses, 98. Billingsley, 189. Bird-cage clocks, 213-216. '•' Black metal," 201. " Black Horse Tavern," 8. Blenheim, 24. Boardman, Thomas, 271. Bohemian glass, 81, 82. Boleyn, Anne, 2. Borders, 25. " Boskies," 315. Bottles, 8, 9, 12. Bracket clocks, 216, 217. Brass, 125-158. Brasiers, 127, 128. Breakfast, 3, 4, 5. Brewster, Wm., 45. Bristol, 32, 33. British Museum, 45. Bronze, 125. Bureaus, 288-308. Burslem, 22, 27. Burton's " Anatomy," 48. Byron, Lord, 162. " Cabinet Dictionary," 238. " Cabinetmaker, Upholsterer," etc., 238. Caloriferes, 127. Cabriole, 57. Candles, 151, 152, 153. Candlesticks, 150, 151, 159, 195. " Cane-bottom'd Chair, The," 52. Canterbury, 2, 209. Carr, Percifer, 36. Castleford, 31, 206. " Cavalier and Puritan," 166. Chamberlain's Works, 35. Chandeliers, 156. Chapin, Abel, 9. Chelsea, 37, 41. Chelsea figures, 312, 313. Chests, 102-124. Chests of drawers, 114. Chicopee, 9. Chippendale, 10, 16, 57-59, 70, 97, 98, 237, 244. Chronicles, Holinshed's, 3, 47, 77, 80. 325 INDEX Church coffers, 104, 105. Church, Major, 12. Cider, 87. Cleaning of pewter, 281, 282. Clocks, 209-233. Clock cases, 220. Clock springs, 226-227. Cobridge, 22. " Colonial," 17, 113. Collecting of clocks, 213, 214. '•' Connecticut chest," 115, 255. Copeland, Wm., 32. Copper, 125-159. Copper lustre, 192. Cooper Institute, 178. Coronation chair, 45, 46. " Cottage Ornaments," 309-322. Court cupboard, 122. Counterfeit glasses, 100, 101. Counterfeit lustre, 200, 201. Couchettes, 160. Crown-Derby, 33, 34, 315. Cupboards, 5, 102-124. Curtains, 173, 174, 179, 180. Custis, Miss, 12. Desks, 234-258. " Description of England," 163, 164, 268. Don Quixote, 28. " Drawn " glasses, 84. Dressing-glasses, 298. Drop handles, 118. Duesbury, 33. Dutch bed-chair, 177. Dutch furniture, 17. "Early AA'estern Travels," 131. Eaton, Theophilus, 49, 69. Ebony, 74, 75. Edmeston, Col., 36. Elizabeth, Queen, 79. Empire beds, 184, 185. Empire clocks, 232. Empire style, 16, 17, 19, 72, 99. English brass, 125. 326 "English Furniture," 73, 74, 109, 164. English glass, 84, 87. Escutcheons, 15. Etruria, 22, 41. Evelyn, John, 54, 165. Faneuil, Peter, 174, 175. Feather beds, 160, 162, 163, 170, 174, 177. Fenton, 22. Fichtel glass, 82. Field beds, 179, 180. Fireplaces, 134. First iron pot, 129, 130. Fithian, Philip, 138. Flaxman, 25, 43. Fleurs, 24, 25. Flint and steel, 144, 145. Foot, Dutch, 19, 51, 70. Foot, French, 15. Foot, Spanish, 51. Form, 2. Franklin, B., 31, 86, 134. French beds, 184, 185. French glass, 96, 97. Frets, 216. Furniture polishing, 182, 183, 293, 295. " Garnish," 263. Geddes, John, 26. '¦ Gentleman's or Builder's Compan ¦ ion," 236. German glass, 81, 82. Gibbons, Grinling, 72. Gilliland, James, 40. Glass, 8, 76-J01. Glass knobs, 17. Grainger's works, 35. Greatback, 43. '• Great bed of Ware," 161. "Guilloche," 106. Hackwood, 43. " Hadley chest," 116, 255. <*mfi INDEX Hancock, John, 186, 192, 193. Hancock, Robt., 34, 35, 36. Handles, 7, 305, 306. Hanley, 22. Hardwick Hall, 106. Harewood, 74. Hatasu, Queen, 45, 76. Hatfield House, 161. Hawthorne, Xathaniel, 67. Hepplewhite, 11, 13, 18, 19, 60-63, 71, 98, 99, 291, 297, 298. Heyward, 9. High-boys, 120, 121. " History of Furniture," 123. Hogarth, 70. Holinshed's Chronicles, 3, 47, 77, 80. Holdship, Rich., 34, 36. Honeysuckle pattern, 70. Howell, James, 79, 80. Husk pattern, 18. Hutch, 105. Ince and Mayhew, 98, 238. Inlay, 121. Inns, 6, 7, 9. Inventories, 2, 5-9, 50, 89, 113, 114, 128, 129, 132, 133, 144, 151, 166, 167, 223, 266. Ipswich, 20, 138, 190, 242, 246. " Ironstone," 27. Italian lustre, 188. Jackson, 23, 24. Joint stools, 47. Josselyn's " New England Rarities," 148. " Journeyman's Cabinet and Chair- maker's Philadelphia Book of Prices," 175, 180. Knife-boxes, 11, 12. Lamps, 149, 154, 155, 283. Lane End, 22. Lancewood, 74. Lantern clocks, 214. Lanterns, 157, 158. " Latten ware," 131. Lead glass, 199. Leeds, 31. Letters of credit, 102. Limewood, 72. Linen, 172, 173. " Linen-fold " pattern, 109. Liverpool, 30. Livery cupboard, 123. London, 11, 12, 16, 59, 209. Long-case clocks, 218, 224. Longport, 22. Louis XIV, 17. Louis XV, 17. Louis XVI, 17. Louvre, 214. Lowestoft, 37. Lustre ware, 186-208. Luton Hoo, 10. Mahogany, 7, 71-74, 305, 306. Manchet, 5. Marquetry, 119, 120, 178. " Massachusetts desk," 255, 256. Matches, 143, 144. Matthesius, Johann, 82. Mayer, T., 27. Memorial Hall, Deerfield, 115. Memorial Hall, Phil., 10, 71. Miniature clocks, 226. " Minister's glass," 84. Mirrors, 95-101. Montgomery, Gov., 133. Monumental brasses, 125, 126. Mouldings, 118, 120. Mount Vernon, 12, 13, 19, 28. Napoleon, 16, 67, 68, 222. National Museum, 221. Newcastle, 203, 204. " New Designs for Chinese Temples," etc., 237. " New England Prospects," 146. New Hall, 206. 327 INDEX ^=^ Oak, 6, 7, 71, 72. Oort, John, 49. " One Hundred New and Genteel Designs," etc., 236. " One Hundred and Fifty New De signs," 237. Opal glass, 94, 95. Open kettles, 130. Parker, Matthew, 2. Parian, 26. " Parochial Antiquities," 104. Paston Letters, 105, 106, 163, 215, 234. Pembroke table, 65. Pendulums, 216, 224. Penn, Wm, 10. Pepys, Samuel, 80, 83. Percy family, 4. Pergolesi, 239, 240. Petroleum, 156. Pewter, 259-287. Pewter marks, 277. Pewter moulds, 261, 280, 281. " Picturesque Views," 23. Pie-crust edge, 19. Pins, 12. Plate pewter, 260. Platinum, 192, 194. Plymouth porcelain, 33. Porcelain, 21. Pottery, 20, 21, 22. Prices of clocks, 227, 229. "Prince's Metal," 131. Queen's ware, 31, 39, 40. Rails, 109. Reed and Barton, 275. " Resist " ware, 197, 198. Revolution, American, 17. Revolution, French, 16. Ridgways, 27. Bobinson, Frederick, 73, 74. Rochester, 12, 34. Rose lustre, 201. 328 Rouen. 210. Rowlandson, 28. Roxburghe, 24. Rum, 135, 136. Rush-lights, 147, 148. Russian brasses, 140-142, 150. Sadler, John, 30. Salts, 280. Saltglaze, 22, 23, 31,311. Samovar, 142. Satinwood, 14, 72, 74. Sconces, 154. S-curve, 106. Sea coal, 134. Secretaries, 234-258. Settees, 69, 70. Sewall, Judith, 132, 133, 139. Sewall, Samuel, 132. Shakespeare, Wm., 126. Shearer, Thos., 11, 14. Sheets, 9, 160, 161, 163, 171, 172. Shelton, 22. Sheraton, 11, 13, 18, 19, 59, 63, 64, 71, 90, 242-244, 248, 252, 253, 306. Sideboards, 1, 10, 11, 13-15, 17, 18. Sidebotham, E. J., 41. Silver furniture, 53, 54, 55. Silver lustre, 187, 192-195. Snuffers, 153. Southampton, 26. South Kensington Museum, 16. Spade-foot, 11, 18, 62. Spandrels, 217, 219, 220. Spanish lustre, 187. Splats, 56-58. Spode, 26, 32, 186, 193. Spotted dogs, 316, 317. " Squabs," 73. Staffordshire, 22, 27, 28, 186, 205, 206, 310, 313, 316. Staffordshire potters, 314. Stalls, 49. Standish, Myles, 130, 131. Stevenson, A. and R., 25, 26. Stiles, 109. INDEX Stoke-on-Trent, 22, 26. Stone china, 32. Stools, 47. Stretchers, 176. Strutt's " View of Manners," 105. '¦• Stump " bedstead, 168. Styles of beds, 168. Sun-dials, 222. Sunderland, 187, 202. 203. Swansea, 187. Sycamore, 74. Symonds, Madam, 139. Table, 1, 5-10, 18, 19. Tablecloths, 9. Tapestry, 50. Tea, 137, 138. " The British Palladio," 238. "The Cabinet and Chairmaker's Real Friend," etc., 237. '¦' The Cabinetmaker's London Book of Prices," 238. " The Cabinetmaker's and Upholster er's Guide," etc., 238. " The Cabinetmaker and Upholster er's Drawing-book," 238. " The Carpenter's and Joiner's Re pository," 238. " The Carpenter's Pocket Diction ary," 238. " The Carpenter's Companion," etc., 238. " The Chimney-piece Maker's Daily Assistant," 238. " The Complete Modern Joiner," 238. •' The Gentleman and Cabinetmaker's Director," etc., 237. " The Joiner and Cabinetmaker's Darling," 238. "The Worshipful Company of Pew terers," 262-264. Tin, 259. Tinder-boxes, 146. '¦' Touchmarks," 263. Trask, Wm., 8. Tulipwood, 74. Tunstall, 22. Turkey work, 49. Valance, 173. Van Courtland Manor, 133. ATeneering, 119. Venetian glass, 77, 80-82, 84, 95. Vermont, 15. Verney Memoirs, 166. Wainscot, 49, 112. Wall, Dr., 35. Walpole, Horace, 75. AValnut, 71. Warburton, Peter, 193. " Ware's Antiquities of Ireland," 147. Washington, Gen'l, 11, 12, 19, 20, 31, 35, 03-66, 85, 103, 151, 175, 221, 222, 247, 298. Washington china, 27. Water's Collection, 83. Webster, Daniel, 67. AVedgwood, 22, 25, 26, 37-44, 89, 186, 188, 190, 197, 199, 201. AA'edgwood and Bentley, 40. AVesley, 27. Whale oil, 148, 149. Wheildon, Thos., 312. AVhite, Robert, 5. AVhitaker, 79. Wills, 6. Wines, 86. AA'ine-cooler, 11, 12. AA'oods, 27, 110, 111, 114, 121, 176, 180, 290, 292, 308. AA'ood and Caldwell, 190. Wood and Sons, 207, 313, 314. " Wriggled-work," 267. 329 Illll llll!' l!!i! ;IIII|I!|IIHII|I|I ' !' 1 > I ' I i il 1 1 !!!i