October, 1921 
47 
The bellied sides of a chest of drawers exem¬ 
plify the Dutch influence which is marked in 
English furniture of the late Ylth Century 
(Below) A graceful phase in the 
development of the cabriole leg is 
shown in this walnut side table. 
The mirror is of the same period 
This cabinet shows a fine example of seaweed 
inlay in excellent condition. The base of the 
piece has been restored 
from Dutch patterns. William III, 
naturally enough, encouraged the ten¬ 
dency and welcomed the Dutch artists 
and craftsmen who had begun to arrive 
on English shores, and so closely were 
the two styles mingled that nowadays it 
is hard to distinguish between Dutch 
and English pieces. 
The influence of France was also 
strong, especially on the more magnifi¬ 
cent and luxurious furniture which was 
demanded by royalty and its satellites. 
During Cromwell’s austere rule the 
exiled court and courtiers had been col¬ 
lecting furniture abroad and assimilat¬ 
ing continental ideas, and when the 
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The escritoire is more typical of the mahogany 
than of the walnut period. It is interesting to 
compare the shell design on the stool with that 
on the table shown above 
The design of this chair, Straight sides are uncommon 
which is in highly-figured in chairs of this period. The 
walnut, is striking and un- legs also are of a type rarely 
usual found so early 
Monarchy was restored in 1660 an era 
of luxury and splendor set in, of which 
the characteristics were rather French 
than English. The Huguenot workmen, 
who came to England after the revoca¬ 
tion of the Edict of Nantes, brought 
with them new patterns and fresh ideas 
for cabinet work. William of Orange, 
who was by no means averse to splen¬ 
dor and pomp, was attracted by these 
innovations; Daniel Marot, in whose 
work Dutch and French influences were 
blended, held a royal appointment, and 
the fine intricate French and Italian de¬ 
signs of Andre Charles Boulle were 
(Continued on page 86) 
