74 > 
Kirman study 
Woven entirely in one piece from the best wool yarn 
American ingenuity plus an 
appreciation of the beautiful 
has resulted in the reproduction of the best examples of 
Oriental art in rugs with a wealth of detail and accuracy 
that is truly remarkable. 
These attractive floor coverings are called 
BeitGAL-ORieRTAL RUGS 
reproductions 
Each rug represents typical studies from various parts of the Orient, so that 
in the matter of design and coloring there are Bengal-Orientals that will 
harmonize with nearly every scheme of decoration. 
Portfolio of color plates sent upon request. These prints are made from 
original photographs by Underwood & Underwood, and being 11 x 14 inches 
in size give an exceptionally accurate idea of both design and color harmonies. 
Bengal-Oriental rugs are sold and guaranteed by reliable dealers in all sections 
of the -United States. 
JAMES M. SHOEMAKER CO., INC. 
20 West 39th St., at Fifth Ave. New York 
The transition of the shelf with carved legs into the table is 
market by this 11th Century credence 
French Wall F urniture of the 
16th and 17th Centuries 
(Continued from page 12) 
decoration savored sometimes of Ital¬ 
ian, sometimes of Flemish, influence, 
but the general result was unmistakable 
in its provenance. The usual type of 
motifs employed and their manner of 
application will be seen from the illus- 
tions. It should be noted, too, that 
while much of the ornamentation was 
exuberant and elaborate, there were 
also many admirable pieces in which 
the decoration was extremely reticent 
and simple. An excellent example of 
such restraint is seen in the cabinet from 
the South Kensington Museum, a piece 
well worthy of direct reproduction or 
of being taken as a model for adapta¬ 
tions. Another instance of restraint is 
seen in the Breton chest. The mounts 
during this century were not conspicu¬ 
ous and were, for the most part, rather 
simply fashioned in iron or brass. 
The Development of Designs 
With the dawn of the 17th Century 
we come to a more self-conscious and 
ambitious spirit in furniture design. 
Much of the cabinetwork was regarded 
as proper material for distinctly archi¬ 
tectural composition, was especially de¬ 
signed by architects, and faithfully re¬ 
flected all the contemporary architec¬ 
tural idiosyncrasies. The larger pieces 
of cabinetwork were in more senses 
than one the monumental objects of a 
room. In the matter of elaboration, 
too, there was a marked impetus in 
many directions and the growing ten¬ 
dency toward sumptuosity reached its 
climax when Colbert, in 1664, established 
the Manufacture Royale des Meubles 
de la Couronne, quartered artisans, 
ebenists and designers in the Louvre 
and gave them constant occupation. 
The high water mark of lavish expendi¬ 
ture and lavish production continued 
till the end of the century. At the same 
time, we must remember that a vast 
quantity of far 'ess gorgeous furniture 
was made, informed with the same 
spirit of elegant design and of no less 
decorative merit, but not pretentious 
in materials or execution. 
Chests, hutches, and credences of the 
high-backed type, with shelves or steps, 
passed out of fashion, and commodes, 
secretaires, and bureaux appeared in in¬ 
creasing number. Otherwise the cata¬ 
logue of articles in common use re¬ 
mained much the same as in the previ¬ 
ous century. The commode was a chest 
of two, three or more drawers, elevated 
from the floor on legs and standing 
about three to three and a halt feet high. 
Less frequently there were door* instead 
of drawers. The secretaire or secretary 
was at first a cabinet with numerous 
small drawers, set on a table or stand. 
There might or might not be a falling 
front or doors. Later in the century 
(Continued on page 76) 
