February, 1911 
Edict of Nan- 
tes, there was 
developed, 
principally in 
Holland and 
in England, 
what is known 
as le style réfu- 
gié, the most 
important de- 
signer of which 
was Daniel 
Marot. As is 
Matural the 
characteristic s 
of the style 
have much in 
common with 
that of Louis 
XIV. Heavy 
carving and 
gilding and 
sumptuous up- 
holstery are the 
striking features of this particular period. 
Marot was appointed chief architect and designer for 
the Dutch palaces of William, Prince of Orange; and when 
the latter became King of England, Marot accompanied 
him thither. 
Under William and Mary, London swarmed with Dutch 
merchants and refugee Huguenot arts and craftsmen. 
The queen, who was a china-maniac, carried the Dutch 
taste for porcelain and manufactures of the Far East into 
England. 
In Holland Marot had designed much interior work for 
palaces and noblemen’s seats, including chimney-pieces, 
staircases, paneling, cornices, china shelves, and also orna- 
mental gardens. Nor did Marot stop here: he designed 
all kinds of domestic furniture and beautiful textiles for 
upholstery and hangings. The work of remodelling Hamp- 
ton Court was given to him and Sir Christopher Wren; 
and the old Tudor palace soon became characteristically 
Dutch in appearance. The furniture was designed chiefly 
by Marot, and the comparatively small amount of furni- 
ture to be seen there to-day, consisting of chairs, stools, 
beds, card-tables, mirrors, and chandeliers, are in the Marot 
taste. The accompanying mirror (Fig. 4) is in the Marot 
AMERICAN HOMES AND 
Fig. 14—An oak table 
GARDENS 69 
style. Here we 
have a square 
frame of wal- 
nut or some 
dark wood 
with gilded 
border and 
gilded _—orna- 
ments. The 
pediment is of 
the _— graceful 
swan-neck, and 
between the 
ster ovlel sets 
carved a car- 
touche in the 
center of which 
iS + catved a 
bell-flower. 
The — look- 
ing-g lasses, 
beds, chimney- 
pieces with re- 
ceding china- 
shelves, chairs, settees, and stools, therefore exemplify the 
Anglo-Dutch style that prevailed in England till the 
Georgian Era. The chair (Fig. 1) shows the heavy 
scroll front legs of the transitional period between oak and 
mahogany. ‘The scroll soon turned intoa hoof, or a ball-and- 
claw, at the foot; and this lasted all through the Georgian 
period and with the spring of the knee is characteristic of one 
of the best known types of the Chippendale chair. Fig. ro is 
an example of the transitional period, showing a crown- 
shaped back with a Greek vase-shaped splat. This is 
the chair that appears in the early Eighteenth Century 
inventories as the “crown-back” chair. If this is compared 
with Fig. 11 and Fig. 13, the development is readily under- 
stood. Fig. 12 shows an arm-chair in which the splat is 
carved but not pierced. The legs are earlier than the claw- 
-and-ball foot though they are cabriole in spring. On the 
knee is carved the shell, and the old hoof foot lingers. 
Placed together, chairs of this type were developed into 
the piece of furniture known as “double chair,” Fig. 7 and 
Fig. 8, and settee, Fig. 5. A dressing table is represented 
by Fig. 6 and small oak table by Fig. 14. 
The illustrations are from the Thomas B. Clarke collec- 
tion, recently sold at the American Art Galleries. 
Fig. 15—-An old Dutch family table 
